INTERVIEW: Line & Circle

INTERVIEW:

 PHOTO CREDIT: Courthey Halverson  

Line & Circle

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THINGS are rather eventful and fraught…

in L.A. right now – it is understandable the guys of Line & Circle have had a busy and unpredictable time of things. I speak to them about the wildfires in California and how they have been; how the band all got together and the type of music that compels them; what they are planning for Christmas; some new acts to recommend – and advice for new artists.

I ask them about their new E.P., Vicious Folly, and the themes/stories that go into them; what it was like to record and how it feels getting such a positive reaction – and whether there is going to be any more material coming next year.

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

Nice to meet you, Sam. Our new record just came out so it’s been busy here (but fun and exciting). Our release show is tonight - which we’re looking forward to. We’re playing at a new venue called Basic Flowers in downtown Los Angeles (which sort of feels like an after-hours art museum with a bar).

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

Line & Circle officially began with the release of our first 7” Roman Ruins on the White Iris label (based in Los Angeles). That led to our first tours across the States; which we used to develop songs for our debut, self-titled E.P. and our first full-length called Split Figure. Now, this new E.P., Vicious Folly, has just arrived - which we finished earlier this year up at The National’s new studio in Hudson, New York. 

 PHOTO CREDIT: Courthey Halverson  

I believe you started life in Ohio – but have moved to L.A. What was the decision to move from Ohio? What is the music scene like where you are?

I still love Ohio and return frequently but change can be good - especially when you are seeking artistic inspiration from your environment and to be challenged by new circumstances. I had been coming to Los Angeles on-and-off before moving here - and good things kept happening whenever I visited. So I stayed. Maybe there is a music scene here, currently, but we don’t feel particularly attached to it...

Despite that, the friendships and creative partnerships we’ve formed here are deeply fulfilling and have made our work better.

PHOTO CREDIT: Megan McIsaac

How did you all find one another way back? Did you start recording music soon after meeting?

Good people beget good people, I like to think.

We all met through family and friends and got to working together very quickly thereafter. Finding others to be creative with can be tricky but, when you’re lucky enough to meet people you can speak a similar or complementary language with, you’re off and running. 

Vicious Folly is your new E.P. I like the contradictory title. What is the meaning behind the title?

The title-track of the E.P. was sort of born by attempting to process the events of the past couple years. I got curious about similar periods in history, where it felt like society was betraying its best values. The trial and death of Socrates came to mind: when a society was so shaken by its fall from grace that it turned on its own greatest thinker; blamed him for its decline and then killed him.

This became a bigger theme for the song, the video and the whole record — how our painful struggle for advancement can sometimes lead people to violent actions they might not have otherwise considered.

PHOTO CREDIT: Issue Magazine

What sort of themes and subjects inspired the E.P.’s creation?

The record sort of explores this belief the Romans had centuries ago: Homo homini lupus — man is a wolf to (his fellow) man. So, each song kind of ponders this idea that man himself is his own greatest threat. Man Uncouth describes this in the context of a romantic relationship; Who Runs Wild in the context of a mother-daughter conflict and Mid Bloom takes a more optimistic view – that, despite the dark turn of recent events, there is always hope real societal good can eventually spring forth as a result. Man can be a wolf to man - but he is also the only one who can save him.

The album-art became helpful in tying this all together as well. The images come from Peter Flötner's hand-painted playing cards from 16th century Germany. He used the imagery to sort of call out the perceived greed, gluttony and folly of his time. It felt so oddly modern discovering these in 2017 which, for better or worse, is a testament to some of the more enduring aspects of human behavior. Hopefully, in another five centuries, things will be…different?

Your music has garnered positive reaction from the likes of Rolling Stone. Does it provide you energy and inspiration receiving that kind of backing?!

Whenever anyone connects with our music; it feels wonderful. We’ve been getting more personal notes from people this time around, too - which makes me feel like we’re doing something right. That is inspiring. To be able to offer something up that a listener can actually internalize and complete the loop, so to speak, is crucial.

When it’s a positive reaction, all the better.

Tell me about the songs and artists you all grew up on. Which artists did you idolise when you were young?

There was a fair amount of Simon & Garfunkel and Neil Diamond in my parents’ cars growing up - which I feel lucky to have absorbed because the quality of that song-craft is superb and timeless. There was a Guns N’ Roses phase very early on: I would draw pictures of them. Oasis was totally enthralling as well - which later became a gateway for lots of the usual seminal English Rock bands (which I still hold dear; like The Smiths).  

PHOTO CREDIT: Megan McIsaac

I have seen the images of Californian wildfires! Have you guys been caught up in it?! What has been your reaction to it?

We’ve been fortunate that they haven’t impacted us directly…but the damage has been severe and this is incredibly sad. Entire neighborhoods have been destroyed; many animals have been trapped - it’s really awful. This is the latest the fire season has lasted, maybe ever; which certainly hasn’t been helped by the drought and whatever influence climate change is having. That the city is, literally, on fire is, of course, an on-the-nose metaphor for much of 2017 in general...

Thankfully, the year is coming to an end - and, hopefully, the fires will, too.

IN THIS PHOTO: Omni/PHOTO CREDIT: Sebastian Weiss

Who are the new artists you recommend we check out?

I’m fond of the band Omni (from Atlanta) - who put out a great record this year. 

Is there any advice you would give to artists coming through right now?

I’m not sure we’re the ones to ask but I think all you can do is work as hard as possible - and continue passionately making things for as long as you can. Do as much as you can yourself and don’t wait for anyone to make something happen for you. 

PHOTO CREDIT: Issue Magazine

Can we see you perform anywhere soon? Will you come to the U.K.?

We have more West Coast stuff coming in the New Year. We would love to come to the U.K. under any circumstances — hopefully, very soon.

PHOTO CREDIT: Issue Magazine

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

Working on new songs - but there may be some latkes and a hot chocolate or two in the near-future. L.A. is typically nice this time of year because the city gets very quiet and the streets become empty…but it’s still kinda beautiful and warm.

What do you have planned for next year? Will there be more material?

I was just sifting through all of our new demos and there is already more new stuff than we can use for the next record. I’m going to finish writing a few more this month and then the plan is to get back in the studio sometime in February.

In the meantime; we’ll keep playing shows in support of the new E.P.

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).

Since it is winter-time (even in L.A.)...

Sixty Degrees Below by Love Tractor (Brian)

Autodidact by Swervedriver (Eric)

Fortune by Dead Can Dance (Jon)

Take a Chance With Me by Roxy Music (Garrett)

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Follow Line & Circle

 PHOTO CREDIT: Courthey Halverson   

Official:

http://www.lineandcirclemusic.com/

Facebook:

https://www.facebook.com/lineandcirclemusic/

Instagram:

https://www.instagram.com/lineandcircle/

Twitter:

https://twitter.com/LineAndCircle

YouTube:

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

SoundCloud:

https://soundcloud.com/lineandcircle

Spotify:

https://open.spotify.com/artist/6POniDj9dnMFhNsQ63MCB4

INTERVIEW: Breakers

INTERVIEW:

 Breakers

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THERE is good music and awesome vibes brewing…

in the kitchen of Breakers! The guys have been slammed and hectic lately – the interview has been out to them for a bit – but, as I find out; the boys have been promoting hard and getting their new track, Get in Line, out to the people. I ask them about their E.P., Redrum, and how this song differs; whether there is going to be new material next year; whether their crowd-funded E.P. (Redrum) was an important experience; how important small-town unemployment and isolation is to them – and what it was like filming the video for Get in Line.

I discover which artists/albums are most important to the band’s ethos; what gigs they have up their sleeves; how each of them will be spending their Christmases; a few new acts that are worth checking out – and how the band got together in the first place.

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

Our week has been good.

Really hyped to be sharing new music. (Sorry it has taken so long to get back to you). The run-up to Xmas is always busy for all the gigging and various things.

Thanks for asking us to do an interview...

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

We are Breakers - a Rock band from the South East. We've just released our new single, Get in Line - which is a follow up to our debut E.P., Redrum.  

Get in Line is the new single. Can you tell me its background and story?

The song is about trying to live up to responsibilities in life; hence, 'get in line' in our changing social environment. We also wanted to write something that had a banging riff (which, hopefully, we have achieved).

I get a sense there is a concern regarding unemployment in smaller towns. Have you noticed areas you once lived in change? Do you worry about the way Britain is changing – and how most of the money is localised to the cities?

There was is an element of that.

Jamie (bassist) and I worked in a guitar shop for a while - which was good when we were younger. We've both moved on from there. I moved to London and I've found opportunity a lot easier to come by: Jamie moved into working (for systems) for the NHS. I think what I was trying to say, with Get in Line, was that things change and you've got to move with the times. Everything is more centralised but opportunities don't come to those who wait - you've got to go out and get it.

Localised money wasn't something I was too concerned with when writing this song...although, I'm not a big fan of the financial industry and what it's done to the world in general - and how they seem to keep getting away with it. But, saying that, I know people who work in it and they are good people. But, I also dislike the apathy some people have in smaller towns towards social problems - and blaming it on London and/or immigration.

I think Get in Line was musing that people - and myself included - have to be motivated and work for what you want: no one is gonna do it for you. If you don't like something, do something about it.

The video for Get in Line sees you performing whilst being lit by flashing lights! What was it like working on the video with director Simon Stolland?

Yes; that was great fun.

We did it in a space near the Blackwall Tunnel. Shooting the video was great. Simon managed to get some lights for us and our friend, Love, operated them by syncing the intensity of the strobe to the intensity (of the sections) of the song. The drone freaked out when with the strobes came on and almost gave us all a haircut - but it came out great.

Get in Line follows the E.P., Redrum. Have you noticed a change and development in your music since then? How have Breakers evolved since then?

I think we've become a bit more concise with our sound...

We seem to be straddling an Indie-Rock/Post-Hardcore sound now rather than Redrum - which is more bluesy-Rock in places. Lyrically, Get in Line, and the single which will follow (Run) are a bit more politically-charged, I suppose – although, I think some songs on the first E.P. were some of my best lyrics. Some of the songs came out in a blur and I'm still trying to figure out what they mean. I like that about lyric-writing (when they are a bit subconscious) i.e.  they make sense but your not really sure why; letting the words flow through, rather passively, than really trying to get a message across. There is always a message, I think...

Sometimes; my lyrics are just my subconscious and my conscious mind trying to work stuff out.

That E.P. was crowd-funded and afforded backers the chance to see you perform at (the sold-out) show at the Sebright Arms. Do you think you will take that approach (crowd-funding) for your next work?

We would like to do another crowd-funded thing but we also were really grateful for to those supported - and we didn't want to keep taking money off people. The next release; everything is pretty much free - and that's the way things are now. The Kickstarter campaign was great for getting people hyped for the gig; it is a great model if you’re putting on your own show. We got way more people at that show then the nights we normally play - which are normally poorly promoted. But, being a grass-roots promoter week-in-week-out is hard work - and not something I would do.

But 'pay-to-play', which I have done in the past with other bands, should be outlawed.

Is there going to be more material next year?

Our new single, Run, will be out over Christmas - and you’re the first people we have told.

Take me back to the start. How did Breakers get together? Did you all come from very different backgrounds?

Me and Jamie meet at the guitar shop. I joined a covers band with Scott, Ollie and Jamie (which is still going) and then we decided to do an originals project. I was from Stortford and they were from Hertford - not particularly different backgrounds. We spent a long time in practice rooms before releasing any music, which was good; so we came out with lots of material (which was great).

The first time I rehearsed with Ollie; it was really hot and he took his top off as he was sweating. It was gross and hilarious. (But his playing was immense). He’s a shredding-machine - so no-one minded. We practice, mainly, on this farm in the middle of nowhere (which is nice).

It’s been a great journey so far - and we are really pleased with how things are going.

Which artists did you all grow up listening to? Who are the musicians that have inspired your own music?

Jamie is into Punk, Pop and Pop-Punk; Scot is into Blues; Ollie loves AC/DC.;I love Indie, Post-Hardcore and Rock. We all like Q.O.t.S.A. (Queens of the Stone Age) and their ltest album – so, that was a big influence. But, generally, our music tastes are quite different, which I think is quite good - and make us sound like us.

Who are the new artists you recommend we check out?

We did a playlist of guys we've played with this year and who we liked You can find it on our Spotify page. It’s got The Scruff, Veridian and Baron Goodlove - who we played with recently and was a great show.

IN THIS PHOTO: Baron Goodlove

If you each had the chance to choose the one album that means the most to each of you – which would they be?

Alex: Vaya - At the Drive-In

Jamie: Cartel - Chroma

Scot: Nickelback - Silver Side Up

Ollie: Back in Black – AC/DC

Is there any advice you would give to artists coming through right now?

Don't do it…unless you love music.

Then do it!

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

5th Jan (2018) at The Finsbury

19th Jan at Rose and Crown, Stortford

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

We will all be celebrating with family and friends, which is what it's all about, and releasing our new single, Run - with a hilarious video which we shot ourselves. People seem to dig our funny videos.

Our last video, Salty, went semi-viral on Face(palm)book.

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).

My Love - Baron Goodlove & The Dreadful Noise

(P.S. Sorry I broke your amp).

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 Follow Breakers

Facebook:

https://www.facebook.com/breakerstheband

Instagram:

https://www.instagram.com/breakerstheband/

Twitter:

https://twitter.com/breakerstheband

YouTube:

https://www.youtube.com/channel/UCeEdOH9giIFoPvTvwq0G72g

SoundCloud:

https://soundcloud.com/breakers-the-band

Spotify:

https://open.spotify.com/album/5DUrsbkYRdLKZ7t0AaOTCO

INTERVIEW: LA River Bend

INTERVIEW:

LA River Bend

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AS I battle various agencies regarding certain artists…

and their lax attention to my interview process - I have been provided solace and balm in the form of California’s LA River Bend. The quartet consists Nate Weiner, Emily Elkin; Branden Stroup and Jacob Seldes. I ask Weiner about the band’s formation and how integral the percussion is to the overall sound; whether there is more material coming next year – and what the story behind the new single, Mountain, is.

I find out whether the American band are coming to the U.K. and how LA River Bend developed over time; the artists (new and old) that influence their sound; how this Christmas is fixed; what stories and themes go into their new E.P. – and whether the L.A. music scene is as healthy and thriving as ever!

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

Sure thing! My name is Nate Weiner. I'm the lead singer-songwriter of the band. 

Mountain is the new single from you. What inspired the track?

Mountain is definitely an inspirational track; one of positivity in the face of adversity. Originally, it was a testament to the band and our struggles pursuing music. I think it can be applied universally, though, to whatever obstacles we face in the day-to-day.

Do you all pitch lines and music? How do songs form for the band?

All of the songs on this E.P., I wrote first and then brought to the band for their parts. A song like Summer Wind: I had ideas of parts but needed to flesh them out with the band. That collaborative process has only increased and we are writing more collectively. I bring an idea, chords and melody to the band and, from there, we fine-tune parts/dynamics etc.

It's become very much a full-band process.

LA River Bend are known for the infectious harmonies and stirring arrangements. Are there any particular musicians that have inspired that course? Which artists did you all grow up listening to?

Branden and Emily are great at coming up with harmonies that fit my melodies. Sometimes, I have some ideas but they are so talented and well-versed with scale structure - they are the pros! Emily, of course, brings beautiful string parts to every song. Emily loves The Beatles - and I think that harmony background has helped her. I, myself, listened to a lot of Beach Boys growing up - and Branden was singing choir through college at N.Y.U.

The band began life as the backing for your solo album, Ride the Sun. How important and memorable was that time? Was there a moment when you all stepped from the shadows into the spotlight of LA River Bend?

Although I am comfortable as a solo artist; I love the comradery of a band. When we all play together and come up with our parts, it is a collaborative process. When I hear us play we sound like four people in a band - not myself with a backing band. I wouldn't say there was a definite moment...but I think the goal was to always have a band.

It seems Seldes’ drumming adds new measure and dynamics to the music. How important is that drumming to your overall sound?

Very important! Without Jacob, we would still be an acoustic Folk band. With the addition of his drumming styles; we can blur the lines between more genres - and keep growing as musicians and as a band.

The new E.P., Run These Hills, was self-recorded by Stroup. Was Stroup’s appointment a natural one? What was it like having Eric Boulanger mix the E.P.?

Branden and I started to work together, musically, when he mixed my solo album. Branden is a professional recording engineer making a name for himself (now) in L.A. It was a very natural decision. Branden actually tracked and mixed our E.P. - Eric Boulanger handled the mastering for us. That was great working with him; it was only for the one day. This was a D.I.Y. self-made release until that point so it was great to see a seasoned professional makes his way through our tunes. Plus his place, The Bakery, is awesome.

It's a converted screening room on the Sony Pictures lot - very cool!

Are there any particular inspiration points and moments that led to the songs’ creation? How instrumental and pivotal were relationships and personal revelations when it came to the songwriting?!

The songs were written over such a long period of time that it covers a lot of phases and moments of my life. The songs definitely capture my twenties experience to a large degree. I started writing, primarily, on acoustic guitar and eventually incorporated writing on my Tele. Two early songs that are on the E.P., Don't Get Lost and Fighting the Night, were written on acoustic and stayed so for the recording. I wrote Don't Get Lost as I was approaching breaking up with my girlfriend at the time. Definitely, I was not as fully aware of that in the moment - but I was writing a lot of songs then that were leading to the same conclusion.

There is a glimmer of hope, lyrically, at the end of that tune - but definitely didn't pan out in real life. My father was also dying from a bout with A.L.S. at the time and that, combined with ending the relationship with my girlfriend, came the space to write Fighting the Night. After the girlfriend break-up - and right before my father's eventual passing - I was having a real steady string of drunken nights.

One exceptionally bad one stood out - and a lot of that imagery from that night was put into the song.

Which track from the E.P. means most to each of you?

I have to say I'm the proudest of Mountain; just because I can hear everybody shine so well in it - and we really came together as a family on that one. We, obviously, play it a lot live and I've heard i a thousand times…but I still dig it. Honestly; all of the tracks hold a special part for me but I see Mountain as a definite launching point for the band and the sound we are exploring now.

Is the L.A. music scene as buzzing as ever? What is life like there for a young band?

I feel like there is so much talent and so much great music in L.A.

It is so great to see bands that we know finding more and more success. It makes us feel good, too, knowing that what we like could is getting real buzz and success. The bands and musicians we hang out with in L.A. have the music down - that is what we focus on first and foremost. The possible downside to that, which we have experienced, is that the marketing and image take a backseat to that - and, often, there are times you need that to get in the door and stick out from the pack.

Everything beyond the music that goes into being a band makes it a full-time job and can be overwhelming at times - but we're always learning and enjoying the process.

Are there times when it seems a career in music is far-fetched? How do you overcome these doubts?

I definitely think a career in music is far-fetched all of the time, for me, personally.

Emily and Branden are professionals in the music industry here in L.A., though; they make it work. Emily is constantly playing gigs as a cellist - she played with Lindsay Sterling recently and has a string of upcoming shows with Thee Oh Sees. Branden is a professional audio engineer - currently working at Val Garay's The Barn and Sound Space Studio. If you're a creative person; the best thing you can do to overcome doubts and anxiety is to just keep creating.

I'm lucky to be in a band with my friends...and we're part of a beautiful music family here in L.A.; that alone is fuc*ing amazing. Personally, as a songwriter and musician, I'm just going to keep trying to get better and keep making music. Even if a full-blown career never materializes; I will be playing music forever.

It's more of a lifestyle than a career...

Who are the new artists you recommend we check out?

There are some amazing artists that we have played with over the years. If you haven't checked out Young Creatures, you definitely should. Their tunes and vibe is infectious. We'll be playing with them soon in March at their residency at The Satellite in Silverlake.

I also would recommend my buddy Austin Antoine - who used to hold the Guinness World Record for the longest freestyle rap, until recently, I believe. Not only is he an amazing rapper and freestyler but he gigs harder than anybody I know.

IN THIS PHOTO: Austin Antoine

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

This is a tough one: there is a library of records that are very important to me. I'd say Mason Jennings' Use Your Voice was where it all started for me as far as songwriting. I learned how to play every song on that record and after that started writing songs of my own. That album was the launching pad for a lot of influential music for the early days of my songwriting. I discovered Bob Dylan, Leonard Cohen; was also listening to a lot of Jack Johnson, Ben Harper; Matt Costa, Alexi Murdoch etc. I dove right in. Mason is by far one of my favorites. That album and the documentary, Use Your Van, was highly inspirational.

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

Keep plugging away to find your unique sound...

Even if your sound is really similar to another artist, or locked in a lot of genre clichés; as long as it is honest and true then it is in the right direction.

What tour dates do you have approaching? Are you heading to the U.K. soon?

We would love to head to the U.K. - if it was financially doable. It would be a lil bit of an expense for us. At the moment; we have to sit back on lengthy touring. Right now, we are looking at doing weekend tours and one-off shows out of town. Honestly; we really need to keep building up our local presence before we can entertain any big touring...

We would love to play festivals, though - that is something we need to be a part of.

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

Out of four members: three of us are Jewish...although we end up celebrating both holidays. We have some fun Hanukkah plans this weekend and, of course, Christmas parties around the corner after that. We have a gig coming up at the start of the New Year. Right now, we are just trying to push the Run These Hills E.P. as much as we can - and hopefully play a lot more gigs (as much as we can)!

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

First of all: sorry for taking SUPER-LONG on getting this interview back: it's been a very busy couple of weeks. In the spirit of the holidays, though; I will dedicate three songs for my three bandmates Emily, Branden and Jacob - because it is 10:18 P.M. - and this interview is way overdue.

For Branden; I will choose one of our old favorites: No Rain (Ripped Away Version) by Blind Melon. Classic 1990s at its best

For Emily; Two-Headed Boy by Neutral Milk Hotel. She played it at a party recently and I had never heard it. It was one of her old favorites - and I love the emotion in this song

For Jacob; 24K Magic by Bruno Mars - he knows why. We have a lot of artists and bands we love - Snarky Puppy, Local Natives - but Bruno Mars seems right for this dedication

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 Follow LA River Bend

Facebook:

https://www.facebook.com/lariverbend

Instagram:

https://www.instagram.com/lariverbend/

Twitter:

https://twitter.com/lariverbend

YouTube:

https://www.youtube.com/channel/UCOObzrOmvIdmqiTPKjdP7EA

SoundCloud:

https://soundcloud.com/la-river-bend

INTERVIEW: The Luck

INTERVIEW:

 The Luck

________

THE brother-sister duo The Luck…

have unveiled their incredible new single, Rise and Shine. I ask them about the song and filming its video; working with Paul Broucek in L.A.; how important bands like Fleetwood Mac are to them; why they decided to take up music in the first place – what gigs they have in the pipeline.

Max and Esmay talk about the artists that have inspired their sound; which new artists we should look out for; how the rest of the year will pan out; whether the London-based duo will perform in the U.S. at all next year – and whether there is new music coming anytime soon.

________

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

Max: Hi! We are a brother/sister duo from London called The Luck - I’m Max and this is my sister, Esmay Luck. 

Rise and Shine is your new track. Can you tell me about its origins and what inspired it?

Esmay: Well, we were down in Los Angeles and I had been listening to one of my favourite songs of all time – Pink Floyd’s Comfortably Numb. Our producer had lent us a Nashville tuned acoustic guitar - and I picked it up to play along and learn the song. When it finished, I just started noodling about and this chord progression developed. Within about ten minutes, all the melodies for the verse and chorus flowed out along with the lyric "I don’t want to live a lie". I recorded it on my phone but didn’t work on the lyrics until I got back to London a couple of months later. I wanted to mull over how the song made me feel, sonically...and thought there was something really powerful in the sentiment of that line - it was instinctive and guttural. It made me think of some past relationships I had had…

I found the title ‘Rise and Shine’ in an old lyric notebook and when I sang it with the lyric, “I don’t want to live a lie", it took on a new meaning for me. It seemed to perfectly match the song - I wanted to write about not giving in; about taking yourself out of a negative place in your life and coming back stronger than before. I took it to Max when we got back to the Bay Area in California - and he helped hone some of the lines and built an incredible arrangement for it! 

Max: This song really hooked me from the first listen; I didn’t want to blow it out of proportion too much but I felt like it was an undeniably powerful song and a great single. I had been experimenting with a Telecaster and VOX amp our producer had lent us and wanted to make the nod towards Pink Floyd...but also really bring out the harmonies and the blend - which was so easy when Esmay sang me the chorus. We had the use of a piano up in the Bay Area; so I focussed on working a piano part into the acoustic and electric guitar parts…and this arrangement was born. I did a rough mix and sent it to our producer - and he got pretty psyched. So, we went back to Los Angeles, into Capitol Records’ Studio A and I recorded the piano part to Rise and Shine on that Yamaha piano that has been used on so many incredible songs - including Prince’s Purple Rain.

It was one of the highlights of my whole life.   

 

The video mixes drama and a certain cool! Was it quite fun to film? Did you have a lot of input when it came to the final result?

Esmay: It was fun to film - although the song is quite serious.

The Vertex team were great to work with too. We had a couple of conversations with Jeff Thomas, the director, working out different approaches. Max and I had discussed telling the story of a girl who was struggling to leave a bad relationship and we wanted to draw on the complexity of emotions that involves – and, ultimately, the courage and conviction it takes to walk away. 

Max: Eme and I also knew we didn’t want to be in the video - we didn’t want to dilute the message with performance-pieces - and we wanted to give Jeff more creative license with the visuals. When looking at locations, we all agreed that a cityscape (L.A., specifically) - felt the most real to us all. The light is also beautiful in that city and the song had been half-written there. Jeff found great locations and, of course, the actors, Jenna Putnam and John Hoyos - both of whom were just right for the parts and had worked together before.

There were so many great moments - and Jeff captured it all perfectly. 

Max and Esmay. You are brother-and-sister. I am guessing you have a very tight bond. When did you realise you wanted to go into music together?

Esmay: Yes; we do and actually. Growing up; it was listening to music that bonded us. Mum and Dad used to always put on music in the car and in the kitchen (the latter is where we spent most of our time together as a family). So, we grew up listening to the same stuff and, when Max started going through a Californian Punk-Rock phase in his teens - he would play the songs to me too. Max is four years older than me and would take me to shows when I was only about twelve-years-old…got some pretty funny memories of being in these mosh-pits surrounded by Max and his mates! They all had younger siblings, too - so that was pretty good fun.

I clearly had the issue that anything Max did, I wanted to do too! Hahaha. I feel quite lucky he would have me tag along like that. 

Max: Yeah; those were great times. It just felt really natural to get Em along for the show. I guess I wanted her to experience the things that I enjoyed; see what I was getting excited about because then we could laugh about it or get psyched etc. But, we never thought of making music together - or even pursuing music as a career - until we were both in our twenties. We had each grown up learning instruments and singing in choirs separately a bit but ultimately had gone into more different careers (I went into finance and Esmay did marketing). We had never even sung together before! It all kind of happened by accident…we both were really unhappy at our jobs. I had become a solo artist after leaving my job in the city and started sending Esmay songs for feedback...

She’d be at her desk and I’d be emailing her these songs - and she would listen and make lyric or melody suggestions in her lunch hour. Then, we found ourselves both in New York at the same time and sat down to write a song from scratch together called Bricks. We were in the East Village back in May 2011. I was staying in an apartment I had found on Craigslist, and my flat-mate,  who was a super-talented creative studying at N.Y.U. came out of his room and said “Woah; I don’t know what you guys are working on but I just got goosebumps through the wall”. I think we knew there and then that this was something worth pursuing for a bit. Esmay had been frustrated in her job up until that point and was seeking something more creative career-wise - having shied away from going to art school when she was eighteen.

Bricks brought a fork in the road for us both - and we didn’t want to live to regret not 'going for it'. 

Esmay: Totally…I was really shy about singing solo in front of anyone but I didn’t want to let my lack of confidence hold me back again. Max really helped me with this - he booked us in to a studio on Avenue B to record the song; found a wonderful vocal trainer called Sonia Jones in London to help me get over the fear of singing in front of people - and helped me find the courage to get up on stage at his best friend’s wedding for my first performance.

I think that was our first gig together! 

I hear elements of older acts like Fleetwood Mac in your music. Which artists did you bond to at a young age? Do you take influence from a lot of modern acts?

We definitely bonded over Fleetwood Mac when we were growing up - I remember hearing songs like Everywhere in the car as a kid. I remember one year we went to Colorado and we were in a restaurant and they were playing Country music. My mum asked who was playing and they said, “Oh, honey, it's Garth Brooks". So, the No Fences album made its way back over to the U.K. and would come on lots of car journeys when we were young…that and Sgt Pepper’s.

Sort of eclectic, but always great, Pop writing. 

Max: Oh man, Garth Brooks. Haha. Legend. It’s funny, I definitely have a lot of time for those big guitars they have in Country-Rock - Dierks Bentley and Blake Shelton - and those influences run through quite a lot of the arrangements we put together. We bonded over Country music, Punk-Rock and quite a few bands of the 1960s and 1970s. Fleetwood's The Chain and Tom Petty’s Runnin' Down a Dream are probably two of my all-time favorite songs and, when we were staying in California, we'd put on these albums; I’d make cocktails, Em would cook her famous chicken pasta and we’d just jump around and be silly - listening to this music that we both loved.

We also really got into The War on Drugs these past few years.

You have been working with Paul Broucek in L.A. What was it like working in the city and with such an important figure?!

Esmay: Paul is such an extraordinary person! He is anything but ordinary; growing up in Chicago and moving to the West Coast to work in music, creating with some of the most incredible musicians of our lifetimes - and playing a huge part in some of the most epic film scores and soundtracks of our day…

Well, we both feel so lucky to be working with him. We met him a few years ago in London and started working together on recordings a couple of years ago when we were in L.A. He has been incredibly encouraging, thoughtful and instinctive. He has helped us find our studio sound! Starting relatively late as songwriters and performers; we have spent our time honing who we are as artists - figuring out what we wanted to say; how we wanted to sound. Paul helped us understand how to build out the sound of our songs to make a full-band record, whilst retaining the essence of what we do when it’s just the two of us. As well as listening to all of our previously-released music and all the demos we had ever made, Paul came to our shows and had us perform a couple of showcases at Warner Brothers to really delve into who we were. 

Max: Exactly. He had a vision for the record that totally married up with where we wanted to be - helping us integrate our influences into a sound is as much London as it is California. Perhaps it’s his years of experience spent working in so many studios with so many different composers and musicians...but he knew how to get the best out of us - whether it be lending us instruments to inspire new songs and arrangements or conducting in the vocal booth to get that perfect take for the track. One of the craziest parts of our recording journey was working in some of the same studios with some of the same people that our heroes worked with! Paul took us into the Village; Studio D – where Fleetwood Mac recorded Tusk - for a recording with Ed Cherney (who had worked with many of our favourite artists, including The Rolling Stones). The track recorded there was Holding On - and will be on the album. Ed is actually mixing a few more tracks on the album along with multi Grammy-Award-winner, Paul Hicks. Paul B. also took us in to record at the Igloo Studios in Burbank to work with a young engineer there called Jay Marcovitz. We had such great synergy in the studio.

It’s been amazing to be able to work on this record with every single person on this dream team - we are so excited about it and can’t wait to release the songs! 

Working with the President of Music at Warner Brothers Pictures must get your mind working towards T.V. and film! Would you like to see your music on the screen one day?

Absolutely! That would be EPIC! Our music has always been quite cinematic. It wasn’t something we consciously thought about but it’s like a thread that seems to run through the writing (our lyrics are particularly visual) - and now particularly the soundscape having worked with Paul on the record. We hope they can be paired with some visuals one day.  

Is there going to be new music arriving next year? What is the diary looking like?

Esmay: Yes! We hope to start releasing the next singles in the early part of 2018 - and the album for spring!

IN THIS PHOTO: The E.P. cover for Hippo Campus' Warm Glow

Who are the new artists you recommend we check out?

Max: I first heard Hippo Campus at SXSW a couple of years back. They are worth checking out - and Kurt Vile!

Esmay: Contemporary artists I’ve been listening to a lot of recently are Wolf Alice (I love their new album), Deer Tick; The War on Drugs and Anais Mitchell. Highly recommend! 

IN THIS PHOTO: Deer Tick/PHOTO CREDIT: Laura E. Partain

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

Ahhhh; it’s between Fleetwood Mac’s live album, The Dance, and Joni Mitchell’s Blue for me

Fleetwood Mac are my favourite band of all time and continually influence my writing. The Dance has most of my favourite songs on there - and it’s such a variety that it takes me on a real journey whenever I listen from start to finish. I think, because it’s a live album, it makes me feel so connected to the songs - the performances are so raw and vibrant. Joni’s Blue - well…that just takes me back to my teens when I first discovered her - all the emotions of those years. I find it comforting and it never gets boring. It also makes me think of our mum. 

Max: Bryter Later – Nick Drake

For me; it draws the perfect musical arc. Northern Sky might be the most moving song I have ever heard. 

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

Esmay: We are putting gig dates in the diary which will be U.K.-focused for now. Those will start from about February. 

Max: We have our own online music streaming channel on a platform called Twitch - if you feel like seeing us live in your own living-room, tune in at www.twitch.tv/theluckmusic. We play live from our studio in Dalston. 

Do you think you’ll be touring more in the U.S. or U.K. next year? How much fun has it been performing this year?

We think it will be more U.K. for the next year. We had an amazing time soaking up influences and recording in L.A. and hope to be able to tour there eventually - but we want to do at least the initial release of the album in the U.K. and Europe.

It’s really good to be home for a bit - we missed it!

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

Esmay: Play and write as much as possible! Every gig and every song teaches you something and gets you closer to knowing who you are (and what you want to say as an artist).

Max: Yes and, if you can, try street performing! It’s a great way to get performance experience and earn a bit of money whilst you’re playing! We have done it in wherever we have been - London, L.A.; San Francisco and San Diego (some places warmer than others!) - and it’s always been a positive thing for us to do.  

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

Esmay: Well; we are always writing and demoing new songs – and, as Max mentioned, we stream on Twitch three times a week...so we will probably be doing that up until 23rd December. I am also trying to finish the artwork for the album - so got quite a lot to do!

But; we will almost certainly be taking some time off to spend with family in London!

Max: I definitely want to get that Christmas vibe going so it’ll definitely be a bit of Winter Wonderland; maybe some ice skating at the Natural History Museum, a walk down on of those beautiful streets in London.

Mulled wine and mince pies!

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

Esmay: Nights in White Satin by The Moody Blues

 

Max: blink-182 - What’s My Age Again?

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INTERVIEW: Paul Mosley and The Red Meat Orchestra

INTERVIEW:

 Paul Mosley and The Red Meat Orchestra

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I have been talking with Paul Mosley and The Red Meat Orchestra’s…

lead about the new single, Wintertide, and the story behind it. Its video is out; so I have been asking about it concept and process. Mosley discusses how the group got together and the themes that have gone into the new E.P., Wintertide; whether there is going to be any further material next year; the music that inspires Mosley (and the band) – and the new artists we should all check out.

I discover how the music comes together and what sort of gigs are coming up; albums and songs that have made a big impression; Mosley’s favourite song from the E.P. – advice he would offer any new songwriting emerging.

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

Hallo! Manic, but lovely, thank you. I can no longer deny that Christmas is coming - and must be dealt with…

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

I’m Paul Mosley. I’m a composer; singer-songwriter. I tend to write concept albums and story-songs - and rope in all of the brilliant and talented musicians I have met to make up my ever-evolving Red Meat Orchestra. I’m a big fan of 1970s singer-songwriter vibes and soundtracks - and Folk music - so those things tend to shine through in what I do.

Wintertide is your new single. What can you tell me about the song’s origins?

It was one of those where I had a title and refrain kicking about for ages - then I saw there was an arts festival also called Wintertide in my home-town of Hartlepool - and that gave me the push to finish it off. So, although it was started about five years ago; it was pulled together very quickly in the end from lots of little separate sections. Our engineer called it a ‘folky festive Bohemian Rhapsody’! 

I wanted to get it released in time for Christmas - and I got to play it at the Wintertide festival this year, too. 

 

Its video is out. Was it a fun experience putting it together?

It really was, yes, thank you - our camera-woman Tina Rowe is a brilliant: very arty, reportage photographer; very insistent on natural light, doesn’t even own a digital camera. Then we rocked up with our captain’s uniforms and random junk instruments and, essentially, fannied-about until we had enough footage to tell the story. Jack Harris, who sings a big section of the song, does some excellent dramatic ‘jack-ting’ and I always particularly enjoy seeing Josienne Clarke - who’s well-known for her seemingly very dark and serious, melancholy music - get together with Darren Allford and Esther Dee to knock out a dance routine to a 1990s Rave anthem. 

All of us take music properly seriously but the aim of everything else is to enjoy ourselves - and I think Tina did a great job of capturing that. 

The Wintertide E.P. is out. Its title-track is an updating of I Saw Three Ships. What is it about that song, and older visions of the ocean, that appeals to the band?

I grew up right on the sea-shore; so, as well as being a bit of a classic device for songwriting and storytelling, the sea was always just there…so it does pop up a lot in my songs. I decided to do something that referenced an existing Christmas tune - and that one worked as it had the sea in it. I’m working on a new album for next year which will be more ‘proper Folk’ - possibly using existing Folk tunes within new songs - and this was sort of practice for that.

I am really chuffed with how it turned out... 

  

White Crow and Wintersun look at love in different ways – both vivid, classical and imaginative. Do you think modern songwriters are rather bland and predictable when it comes to talking about love?

Thank you. The Orchestra will roll their eyes at me because I’m quite a big defender of Pop writers; because I can’t do it: I’ve not got a clue how to make those choices that result in a song that makes its intentions obvious. I always think I’m being blatant and everyone says ‘So…what’s that about?’ and I’m like…’It couldn't be clearer!’.

But, that said; yes, of course, there are a ton of - not even Pop - writers out there who - for me - would benefit from sticking a few metaphors into their songs. ‘Dear Diary’ stuff has to be pretty special to resonate; otherwise, it is, as you say, bland and predictable - and not even like a song. It’s just an idea you could *potentially* express in a song - if you compared it to a hurricane or fighting fires; or a wolf or swimming; or maths or a parachute…anything! (Just a bit more than "I feel… "). 

Also having said that; hopefully I *AM* a modern songwriter - and there’s room for my version of songwriting out there, still… 

Is there a favourite song (for you all) from Wintertide? What has it been like working with Folkwit Records?

Wintersun, for me, because it started out as a technical exercise: Can I write a song in 5/4? But, it ended up being lyrically very sincere and quite emotional; plus, it sounds really warm and West Coast Americana; lovely and melancholy - and I got a fantastic email from a new fan saying how much that song resonated with her (so that meant a lot). Also: new fan! Conquering the world, two ears at a time! 

Being part of Folkwit really helped us get on more peoples radar. I’d self-released five albums before that and I am terrible at promotion (one album I actually forgot to put on my website at all…or tell anyone about. Ideal). So; it was brilliant to suddenly be getting reviews from all over Europe and getting to play with other Folkwit bands who have become friends:  Cajita, Laurence Made Me Cry,  Martin Callingham…

How did Paul Mosley and The Red Meat Orchestra get together? What was the spark that got the band united?

In 2015; I wrote a Folk-Opera called The Butcher - a ghost story told over twenty songs - because Folk-Operas are so hot with the kids right now, obviously…it was very ambitious and I didn't want to make a low-fi version: I wanted the full wish list. (Singer) Esther Dee and I had been friends for a few years - so I wrote it around her and my friend Jamie Lawson as the ‘romantic leads’ – then, I pretty much went through my contacts from composing theatre music and my old band Moses to pull together what I needed - from Flamenco guitar to bassoon and concert xylophone. The lot!

Come the live shows; Jamie had had a hit with Wasn’t Expecting That and wasn't going to be available; so I asked Jack Harris, who I had seen many times at London Folk clubs and was a huge fan of, to step in and, brilliantly, he did. Similarly; from the same scene, I had met Josienne Clarke a few times and had written the part of Delores with her in mind - so, I was quite determined to get her and again, thankfully, she said yes. Catherine Earnshaw I had met at a variety/acoustic club we both regularly played at called The Village Green Preservation Society ran by Piney Gir…she had always sang a cappella Folk songs and had packed it in to have her son - and now wanted to sing again. So; I wrote her into it too….and, so, The Red Meat Orchestra assembled.

Thankfully, for me, they all seem to have stuck around (and be up for more)! 

What kind of music did you follow as children? Do you all have similar tastes in music?

We were pretty much a Beatles household when I was a kid: I was never a massive fan of the 1980s, even, DURING the 1980s - but I had phases as a teenager; some terrible (T’Pau - I cannot justify or explain...) some I stuck with forever (Nina Simone, Throwing Muses and Harry Nilsson). 

The Orchestra have wildly varying tastes, but a similar attitude to quality: Darren knows a ton of Disco…but it’s good Disco. Catherine, Katy (Violin) and Josienne know a lot of the Trad-Folk; Gav (Drums) and Sam (Bass) are Men of Rock but, again, good Rock. Metal, essentially. Proper.

Esther and Colin (Guitars, Saxes) both know a lot of Soul and Jazz-ers; Anna (Cello) knows all the Broadway stuff - she actually runs a Show-Tunes-for-toddlers business! Xylophone George is our Psych./Alt/Avant-Garde queen - and Jack Harris’ knowledge is just ridiculous.

He is encyclopaedic - about everything! 

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

There will be some full Orchestra gigs when the next album is out late-2018 but, as everyone also has their own projects, you’ll have to catch us individually for a while, first. Me and Jack are off on a pretty hefty U.K. tour together (in March/April); Josienne has tours with both her duo partner Ben Walker and her new band, Pica Pica, in spring. Esther is touring with her Soul/Funk band, Crowd Company; Catherine is *Always* at Cecil Sharp House - and I have a London show doing something dark and mysterious on Saturday 24th February at The Harrison (in Kings Cross, London). 

Oh…and we *might* just pop up on New Year’s Eve Eve (30th December) for a London show. Keep your eyes on www.facebook.com/paulmosleysongs 

Is there any advice you would give to artists coming through right now?

Honestly? None. It’s always an exciting time to make music - and it always seems, to people who went before, that their time was the proper time …

I have no idea what will work for the next lot coming through…but they’ll love it. I hope I am part of it. 

IN THIS PHOTO: MOULETTES

Who are the new artists you recommend we check out?

I pretty much pinch and co-opt everyone I like so, obviously, check out all the individual members of The Red Meat Orchestra - and we have two new members joining for this year’s project: Raevennan Husbandes from Art-rockers MOULETTES and Trad-Folk player Cohen Braithwaite-Kilcoyne. Also; check out spacey Sad-Core Oh Sister; super-arty-bonkers Tom O. C Wilson.

IN THIS PHOTO: Emily Mae Winters

There’s a great gang of superb singer-songwriters out there: Jess Morgan, Kirsty Merryn; Emily Mae Winters; Kelly Oliver, Kitty MacFarlane and Nadine Khouri; Gypsy-rockers Evil Edna and, my favourite Bristol-based, Japanese one-man band, ICHI. 

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

We are having an office party! Well…a band party with other halves and kids (and everything) - I think I may have underestimated how big a pub we’re going to need… 

Do you have all your shopping done?! Is this a time of the year you all enjoy?!

Enjoy? Yes, definitely. Shopping? Not so much…Amazon a week before and a last-minute dash around the big Asda as per, probably… 

What do you have planned for next year? Will there be more material?

 There will - and I am very excited about it. The next album will tell the story of The Loneliest Whale in the World. It’s a true-ish story - you can look it up if you wish - and that is turning into a really lovely collection of songs about family and ‘having your voice heard’…I also have another theatre show brewing and, possibly – hopefully, if I can find the time - another E.P.

Plus; everyone is doing their individual projects too - so lots of music to come.  

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

Thank you so much. It was lovely to answer questions which are actually about the music!

If I can cheat slightly and request a song from the other projects of a couple of Orchestra members, that would be great. Please play Jack Harris’ Molly Bloom and Josienne Clarke and Ben Walker’s Darkling Bird

Or, if not, then Walk Away Renee by the Four Tops - as it is my favourite song

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FEATURE: Kick Out the Jams: Why Josh Homme’s Actions Against Chelsea Lauren Cannot Go Unpunished

FEATURE:

 

Kick Out the Jams

PHOTO CREDIT: Getty Images  

Why Josh Homme’s Actions Against Chelsea Lauren Cannot Go Unpunished

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NO humour and insincerity is meant…

IN THIS PHOTO: Chelsea Lauren

by me referencing the MC5’s most-famous song as the title of this piece! It is not a playful piece of wordplay: the idea is to cast scorn and opprobrium on musicians like Josh Homme - who feel their status and legacy preludes them from repercussions and awakening. I was going to reflect on Josh Homme’s unprovoked attack of photographer Chelsea Lauren when it occurred (a couple of days back) - but I wanted to let the dust settle and see how the Queens of the Stone Age frontman responded to the, understandable, wave of social media anger and shock. I will come on to look at how these actions – assaults against other music professionals are not new – but I was not expecting something as random and violent from Homme. I know, as many newspapers and commentators have stated, he has been embroiled in controversy throughout his decades-long career. There have been incidents of homophobia and violence (threats, at least) but, given the fact he is a Rock frontman under constant scrutiny, far fewer examples when, say, compared with artists from other genres – and the legendary Rockstars of old. That is no defence but, at the very least, Homme has come out and apologised for his actions. The initial statement - released on Twitter - from him blamed the situation/music for the attack – a case of getting lost in the moment and not really thinking it through.

PHOTO CREDIT:  Emma McIntyre/Getty Images for KROQ

I have seen the footage (a fellow gig-goer captured the moment a few rows behind Chelsea Lauren) and it shows the kick in all its horrifying (and gory) detail. The frontman was prowling and swaggering on the stage when, as he walked in the direction of the photographer, kicked in her direction and, as we know, inflicted injury. The camera was forced into her face and, with it, the photographer spent the night in the emergency room. Not only has Chelsea Lauren vowed never to shoot the band again – as a fan and follower; that decision could not have come as easily as you’d imagine – but there needs to be sterner investigation. Homme, after the initial statement, recorded a video where he looked genuinely upset and affected. His culpability is undeniable – the U.S. frontman has confessed a serious error of judgement and, in his own words, acknowledged there are issues to address. Other erratic behaviours have been noticed recently: the same tour has seen him slag-off fellow artists and appearing with blood on his face (whether a self-inflicted cut or an accident whilst performing). I saw Queens of the Stone Age ignite London’s O2 Arena recently and that show was a massive success. Homme’s on-stage interaction was minimal but he switched from a quasi-philosophical shaman (living for the moment; being your own boss; questioning our role on this planet) and middle-finger-to-The-Man rebel (ignore the curfews and urging us to party like it’s 1999!).

It was a fantastic show and, throughout the gig, Homme danced, walked and swooned around the stage and connected with the audience – without any physical connections with photographers! That was fairly recent into the Villains tour so, one wonders whether the slew of gigs and miles covered have taken their toll – the recent incident occurred at a gig in the U.S. One can argue most artists, who cover the same ground and days, do not succumb to acts of violence! That is true, but it is clear the Queens’ lead has a lot of problems to address. Things go beyond exhaustion and stress: perhaps there are deeper psychological troubles that, in a brief explosion, came to the surface at that gig. Whatever angle you look at it; that casual and reckless attack has left a stain on the floor of music. Fellow photographers have come out in support of Chelsea Lauren; determined not to associate with Queens of the Stone Age in the future. That is understandable and I wonder, when Homme issued a video apology, he knew the fallout would be huge. Forthcoming gigs are going to be a rather tense affair for Homme. Ironically; there will be more glare and focus on him – aimed more at his actions rather than his voice.

I, myself, have issues and anxieties that I am aware of. The way we deal with these burdens – when things get hard and pressurised – defines who we are as people. There is never an excuse for any acts of violence at a gig. This was not an attack on women or photographers: it was a man unable to control his emotions and sense of entitlement. One cannot go as far as putting barriers between photographers and bands (as fans would need to be guarded in the same way) but I wonder whether we are being too soft in regards these acts. It was, essentially, assault - and one would like to see Josh Homme dealt with the same way anyone else would (I am not sure whether Chelsea Lauren is pressing charges or not). I can understand the weight put onto a musician’s shoulders in this day and age: the destabilising and exhaustive demands levied can create physiological and physical cracks. Homme needs to control his temper better and, if there are problems he needs time to focus on; take time out of money and cancel a few dates. There needs to be a serious period of self-reflection and repentance: a man who lashes out without any reason like that cannot continue the way he is. The fact he realises the damage done, and accepts he make a huge mistake, is good to see.

Over the course of this year; I have seen a few cases of male musicians saying or doing something reckless and inexcusable – whether a physical attack or an unforgivable remark. Given the scandals coming out of the acting industry – and many male producers/stars accused of sexual assault – few are going to be forgiving or patient when they see acts like Homme’s come into the news. I still have a lot of respect for him – and this will never be repeated – but, as head of one of the world’s biggest band, this sets a terrible example to those who idolise Queens of the Stone Age. I am not sure how the matter will resolve itself; whether legal process will begin or it will gain more publicity – there needs to be some accountability beyond apology. Homme needs to recharge his batteries and, if there are external events/situations impacting his mood, these need to be challenged and squashed. As Queens of the Stone Age continue to tour and face thousands more fans; I am concerned something even bigger and more worrying will happen. There will always be one or two controversies in music...but I cannot fathom why Homme did what he did. It was such a casual and unprovoked kick against someone who was doing her job. I hope something positive comes out of this event – Homme has a moment of self-actualisation and seeks help if needed – and the Queens’ lead learns a valuable lesson. Scars, physical and emotion, have been left on Chelsea Lauren – let’s hope she does not lose faith in other artists. One thing is for sure, mind: nobody wants to see anything like this…

PHOTO CREDIT: Press/Getty Images

DARKEN music’s name.

INTERVIEW: Owen Paul

INTERVIEW:

 Owen Paul

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I am always impressed by artists who can create success…

one decade and return strong and relevant years down the line! That might sound like an unsexy way of introducing Owen Paul: in my view; it is a commendation and plaudit! My Favourite Waste of Time was one of the most notable and popular songs of the 1980s. Now, in 2017, the legendary songwriter is back strong. I ask him about the Amazing (Stonebridge Remix) and what comes next for him; how he feels about returning to the spotlight after so many years  - and whether there will be more material next year.

Owen Paul talks about his influences and a chance meeting on Chris Evans’ Radio 2 breakfast show; a fall-out with Sharon and Ozzy Osbourne; recording with Mike + The Mechanics; the musicians who have inspired him – if this Christmas will provide an opportunity for time with the family.

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

Yes. Real good, thanks.

Lots of travelling for gigs and promo work, interviews etc. I’m getting used to talking about myself (repeatedly) again after all these years. L.o.L.

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

I’m most well known for the 1986 summer smash-hit, My Favourite Waste of Time. But; I have done many other things since, such as being a member of Mike + The Mechanics - for an album called Rewired - and doing a European tour with them (to name but one).

Tell me more about Amazing (Stonebridge Remix). What was the reason for getting the song remixed – and does this song have a special place in your heart?

Yes. The song is important to me.

Like most artists; all songs are very personal and we treat them like our children so to speak, so we like to see them thrive. My involvement with Stonebridge (on Amazing) came about because I asked him last year to remix My Favourite Waste of Time for its thirtieth anniversary.

He said ‘no’ (L.o.L.); but that he would love to work with me on something new - if I had a brand-new song...

Fortunately, I had a newly-written track that Robbie Williams was going to record for his last album - but changed his mind about at the last minute. I sent Stonebridge the song, he loved it; he did his magic and, before I knew it, we had an official U.K. Club chart hit on our hands.

My Favourite Waste of Time was released back in the 1980s. Since then, you have had an interesting path. Are you surprised, in a good way, to still be in music?!

Yes. I am absolutely delighted still to be working in the music industry: most writers/singers or performers would tell you that all they want is to make a living doing what they love and to be able to afford to write and record new material as a result.

I am no different - so I am very very happy to be still doing it.

I know you have had an infamous argument with Sharon and Ozzy Osbourne; run your own theatre and take time from music. What was the reason behind stepping aside from the music industry?

Put, very simply: after the massive success of My Favourite Waste of Time; both myself and my record company, Sony, had a massive fallout...in effect, they wanted more of the same. I did not. This is not uncommon in the industry; so I decided the only answer was to walk away and to start again at a later date.

Not for one second did I think it would take me over twenty years. L.o.L.

It seems like you have lived quite a life! Do you think all these experiences have made you a stronger person?

I would certainly say I am way better at my job now than I was back in the day; both as a writer and performer. As for stronger, well let’s say I am well used to rejection and I can cope – plus, I am proof that, without perseverance and belief in yourself, you won't last five minutes in this industry (and I’m still here, so I must be doing something right). Not all experienced record company executives/manager/publishers etc. know what they are talking about - ask Paul McCartney (The Beatles were rejected and turned down lots of times).

Often, the artist knows best...

Recently, you performed on Chris Evans’ BBC Radio 2 show. How did that come about - and how important was it?!

Yes; that was very random...

I had been asked to perform for a Dutch radio station - who just happened to be in London for the week and they were broadcasting from Wogan House at the BBC. Chris Evans heard I was in the building and asked if I would come on to his breakfast show and sing live.

So, before I knew it; I was singing to the nation - which was a timely reminder to anyone listening (and there were millions; my phone went into meltdown) that, (1): Owen Paul is still alive and kicking and (2): he has new material too.

I was very happy with that.

Can we expect any new material next year? What are you working on right now?

Absolutely. I have never stopped writing songs since I was a teenager. I just stopped releasing them. But, now we have a Club chart hit in the U.K.; we are planning way more for next year.

I already have the songs (I’ve had plenty of time to prepare. L.o.L.)

It can be hard for artists of past decades to assimilate and attune to an ever-developing industry. Do you think the digitisation and changes in music have been beneficial? Is it vastly different to when you started out?

I think, just like at any time the music industry, it is full of good and bad things. Streaming, for example, is great for the public - but not so for the artists as almost no royalties are paid. On the other hand; the Internet has changed the way everything works - so someone like me can survive via Facebook, Twitter; Instagram and so on. We can have direct contact with our audience, old and new; so we can very quickly tell if a song is well received or not - without having to beg a record executives permission for release.

It’s all so much more instant - and that is very much a good thing.

Who are the new artists you recommend we check out?

There are always lots of great new acts out there - they may just be harder to find. When one works in the recording and writing industry, sometimes, it's hard to listen to anyone else's music just for pleasure the way everyone else does. We tend to dissect them too much for enjoyment. On the other hand; sometimes a new band just leaps out at you...

I know they are not new, as such, but the last band who really stood out to me was The 1975: a great mix of old and new styles wrapped up in one act.

 IN THIS PHOTO: The 1975/PHOTO CREDIT: Getty Images

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

Definitely “Heroes” by David Bowie

Other than the title-track being the best record ever made, in my opinion, the experimental nature of the whole album shows that the possibilities for a brave singer/songwriter are endless....even in the mainstream.

Rumours by Fleetwood Mac

It is an absolute masterpiece - and Lindsey Buckingham is a genius.

The Joshua Tree by U2

A band at the very top of their game and giving it all they've got. I love it.

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

No more gigs for me for this year; however, lots to come in early-2018 and beyond; both 1980s-type events and (solo) new material shows. So; I am very happy and excited about what's to come.

For gig info, see www.theowenpaul.com; Facebook (Facebook/TheOwenPaul) and Twitter (@owenpaulreal).

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

As mentioned before; perseverance and belief in your own work are key: you will be crushed otherwise.

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

No exact plans as such - but lots of recording/mixing for sure. All will stop for my children, of course, at Xmas...and rightly so.

They are my proudest achievement.

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

I think being part of B.E.F. (the British Electronic Foundation) with Martyn Ware and Glenn Gregory (from Heaven 17) was a standout for me. We performed at all three Rewind 1980s festivals - and the crowds loved it.

It was good to be back.

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

Heroes – David Bowie

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Follow Owen Paul

Official:

http://www.theowenpaul.com/

Facebook:

https://www.facebook.com/TheOwenPaul/

Twitter:

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

Instagram:

https://www.instagram.com/owenpaulofficialpage/

YouTube:

https://www.youtube.com/channel/UC3Z7X7Ciu64BoFFdIT0bIcw

INTERVIEW: Chantal O’Brien

INTERVIEW:

Chantal O’Brien

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MY zeal to have more female artists appear on my blog…

has been answered in the form of Chantal O’Brien. My prayers have been fulfiled by a terrific artist who brings us the incredible track, I Need You. O’Brien talks about the single and its glamorous video; what new material is coming next year; moving from Brisbane (to London) - and how her Spanish heritage impacts her music.

I ask about the artists and sounds that have inspired her; whether there are going to be any gigs before 2018; what her Christmas has in store; how her early experiences (singing in choirs and playing at open mic nights) affected her creative rise – the three albums that mean the most to her.

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

Hey. I am well, thank you…and yourself?

It has been a really productive week! I will be releasing a covers mash-up this week - currently finalising the editing process!

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

Yes, sure. Well; my name is Chantal O'Brien and I am singer and songwriter born in Brisbane, Australia - and I am also half-Spanish. I am releasing a few singles and my debut album will be released in 2018! The date is being finalised as we speak. My music is solely based on Pop; however, I do add different influences in my music such as Country, ballads; House and many more.

I was classically trained; however, when I was eighteen; I decided to focus on the Pop world of music - and haven't looked back since.

I Need You is your new song. Tell me more about its background and inspiration…

I Need You is about a woman using her seductive charm to capture this guy's attention and heart. In the music video, it explains in more depth. See; we [women] have this power to seduce men and get any man we really want. So; the song is about the journey of how this woman really likes this guy…so she uses her skills to get him and she tells him she needs him – but, in the end, it was a game; she was toying with his emotions.

It was a fun song to make. I am not a manipulator in real life, I promise. Haha. I wanted to aim for a new cutting-edge sound and my inspiration was a mix of Jojo and will.i.am.

The video is very glamorous! What was it like putting that together and seeing it back?

Why, thank you! It was loads of fun – and we had an amazing time bringing the song to life through this music video. Seeing it back…I was definitely proud of the work. I loved all the different scenes and looks.

Is there going to be more music coming in the future?

Of course: this is just the beginning! I will be releasing a few more singles in 2018, and then, I will drop my debut album toward the end of the year.

I can't wait to share it with you all. 

Brisbane is where you hail from. What was the city like for music and opportunities? What compelled the decision to come to London?

Wow; that is a great question! Brisbane will forever be my home-city and it had many opportunities; however, I did feel that, eventually, I would need to move to Sydney or Melbourne to further progress in a music career that I wanted - though, personally, I do feel that London was more desirable and more of what I wanted to do in music. London brought many opportunities and has a huge music scene. I also studied a Bachelor of Music in London at LCCM (in Southwark, London).

How important is London and do you feel settled here? Are the people key when it comes to provoking new music?

London is important as it is a stepping-stone to where I want to be and, yes, I feel very settled here. I have created a life here. They are key, and through some of my experiences, it has helped to provoke new music. You also continue to grow every day in life and music. So, each song I write; I feel that I am continuously evolving - and people would relate to the music that I write.

You have Spanish heritage. Does the romance and history of the nation come into your music?

I sure do!

Well; it does and I actually will be releasing a single in 2018 that is Spanish. It is called Acercate - which is translated to ‘Come Closer’. Think of Bailando by Enrique Iglesias (ft. Gente de Zona and Descemer Bueno).

It is all about passion, dancing and much more! I can't wait to release this!

Through the years, you have played at open mic. nights and performed in choirs. How important were those experiences and do you think they helped craft your music visions?

They are very important as they gave me opportunities to meet producers and like-minded musicians. It is all about meeting and networking at these events/gigs. You also create a name for yourself and get to work with other musicians.

Each opportunity is part of the journey.

Can you tell me who the musicians were that inspired you growing up?

Oh gosh…I could be here for a while!

Well; I can give you a hand full of artists who have inspired me. These artists are: Whitney Houston, Elton John; Billy Joel, Christina Aguilera; Phil Collins and Mariah Carey.

 IN THIS PHOTO: Becky G/PHOTO CREDIT: Getty Images

Who are the new artists you recommend we check out?

Well; Becky G and Natti Natasha. Really amazing artists. I especially love the song, Criminal – (Ozuna x Natti Natasha).

PHOTO CREDIT: Getty Images

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

Small Mercies – Beautiful Hum

This album is amazing - especially the song, Innocent. There are many memories that I can relate to with this album.

Rihanna – Loud

This is a wicked album! This is my go-to-beats I play when I am driving. 

Mariah Carey – Butterfly

Well…what can I say?! I love her music - and her voice is incredible. Even though this was released when I was six-years-old (now, you would know my age!); I love the songs and it reminds me of my childhood. I always loved the song, Honey.

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

No matter what, believe in yourself and never give up!

Where can we see you play this year? Any new dates coming up?

Good question! We are currently arranging this as we speak. All dates and venues will be announced shortly - and you can check my website out and Facebook.

It will start in early-2018 (and in London).

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

No, it isn't…I love Christmas! I will be heading to Spain for a couple of days; then, I will be back to head to the studio to write music and record.

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! I would love Criminal (Spanish) – Ozuna x Natti Natasha or Innocent (English) – Small Mercies

Thank you for having me. Wishing you an amazing Christmas and a happy New Year.

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Follow Chantal O’Brien

Facebook:

https://www.facebook.com/Chantal.0Brien/

Twitter:

https://twitter.com/ChantalO7

Instagram:

https://www.instagram.com/chantalobrien1/

YouTube:

https://www.youtube.com/channel/UCsKK4hHadolT3oHATNc_MEw

INTERVIEW: Lazybones

INTERVIEW:

Lazybones

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ONE thing you can definitely rule out…

when it comes to the Brighton-based group Lazybones is any signs of slacking! Joe (from the band) talks about the new single, Snake, and details about its cool, retro video. I ask how they came together and what the scene is like in Brighton; whether there is going to be any new material next year; some great new acts worth investigating – if the guys have a quiet-ish Christmas planned.

I learn more about the music that makes them tick; why their live shows are so celebrated and explosive; whether there are any gigs before the end of this year; some advice for fellow artists emerging right now – what plans they have in store for the year ahead.

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

Good, thanks! We’ve been super-busy in the lead-up to our single release - so we’re very excited to see it all come together.

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

Sure. We are Lazybones from Brighton. We have Candi singing and playing the organ; Joe (me) on bass and Sam on drums.

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

It is indeed!

So, lyrically; Snake is a bit of a rant about those sneaky, backstabbing people who we all come across from time to time. People who are always on the take and would screw you over without thinking twice.

The song came together pretty quickly. We just wanted the sort of riff that a bunch of kids could jam out in a garage: the kind of riff you play when you first pick up a guitar and (just) want to play something loud and fast. We really wanted that straightforward, immature sort of aggression in the song.

The video is quite lo-fi and trippy! Was it a cool experience putting it together? What is the concept behind the video?

We wanted to keep everything kinda rough and D.I.Y; so we recorded the video in the same rehearsal room where we recorded the song - and it’s mostly a performance video filmed on V.H.S. by Katia (of No Tape Inside). The song has a nostalgic vibe for us; so we got our mate Joey Pearson to make up some 1990s cartoon-style animations of the lyrics to flash up on big old T.V.s around us.

The whole process was a laugh…apart from the old 1990s T.V.s - they kept breaking and weighed an absolute ton!

Is there a specific story behind the name, ‘Lazybones’? Where does that moniker come from

We just wanted a name that loosely suggested bare-bones-kinda-music: rough and ready, no frills. Someone said we are lazy for not getting a guitar player - maybe that crept into the thought-process?

You have a raucous and fuzzy sound! Are there particular artists who have inspired that?

Generally; stuff like Sex Pistols, Black Sabbath; Chas & Dave and Scooby Doo early on and, more recently, bands that have brought back that rough, vintage and fuzzy sound with a new edge. The obvious: Jack White, Queens of the Stone Age; Slaves and Yeah Yeah Yeahs.

Brighton is where you are based. What is the area like when it comes to cool bands and venues?

There are loads of great bands in Brighton at the moment that we really love: Black Honey, Tigercub; Demob Happy, Royal Blood…there always seems to be great bands knocking around (and occasionally taking over the world).

Tell me how Lazybones got together? How did the trio become ‘one’?

We all just knew each other from gigging around Brighton and seeing each other’s bands... 

It started as just me and Candi writing together. We didn’t really know what sort of band we wanted to be at first; it just boiled down to a couple of points: 1: We have to be a three-piece, somehow...and 2: It has to be an honest representation of who we are: something straightforward; to the point, no frills etc.

 IN THIS PHOTO: Black Honey/PHOTO CREDIT: Jamie Noise

Who are the new artists you recommend we check out?

Black Honey, TIGERCUB and Clever Thing.

IN THIS PHOTO: Clever Thing/PHOTO CREDIT: Stewart Gardiner 

Is there any advice you would give to artists coming through right now?

I don’t really feel like we are in any position to give advice on music careers: we only really started being a real band in October this year!

I guess what you put into this is what you get out...and the songs are the most important thing.

Sticky Mike's Frog Bar in Brighton is a big show on 22nd. Are you guys pumped about that one?!

Yeah; it should be a good one! We are on at 1:30 A.M. and there is free glitter and Jack Daniels on the door - so might be a bit of a mad one.

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

We are supporting DEAD! at the Prince Albert in Brighton on 6th Feb - and we will generally be out and about gigging in Feb/March.

Is the stage where you feel at your best and most free? It seems like live performances are where the music truly comes alive...

Yeah, sure; playing live is what it’s all about...

We definitely feel more comfortable playing the songs live. That’s how they are all formed and sound best to us: live and loud in a room.

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

We will be sitting in our pants, drunk; watching The Muppets Christmas Carol.

What do you have planned for next year? Will there be more material?

We are working on some new stuff that we can hopefully get out for Jan/Feb sort of time – that and some gigging around the country!

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).

Candi: Against Me! - Osama bin Laden As the Crucified Christ

Joe: Grinderman - Honey Bee (Let’s Fly to Mars)

Sam: Nomad - Death From Above 1979

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 Follow Lazybones

Facebook:

https://www.facebook.com/wearelazybones

Twitter:

https://twitter.com/wearelazybones_

SoundCloud:

https://www.instagram.com/wearelazybones/

YouTube:

https://www.youtube.com/channel/UCTZCus55u0MUwLmBJgJL1kQ

INTERVIEW: Public Order

INTERVIEW:

Public Order

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THERE might be a slight tinge of irony to Public Order…

given how epic their music is! There is Electronic smoothness - but the kind of beats and production qualities that makes one want to get their body moving and raise the voice loud. I ask the guys about their live set and whether there are any dates coming up. They talk to me about the single, Violet Skies, and the story behind it; working with vocalist Rebecca Hurn on the song; whether there is going to be some new material down the line – and how the group came together in the first place.

I ask about that name and whether there are links to the Rave culture of the 1990s; whether there is an active music scene where they are in Wales; some great new artists worth checking out; how this Christmas is going to be spent – a few albums and songs that mean a lot to the trio.

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

Great. Thanks for interviewing us!

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

We are Public Order; a three-piece producer/D.J. group from Merthyr.

Violet Skies is the new track. What can you tell me about it?

A melancholic Pop tune with really nice vocals from Rebecca Hurn...

PHOTO CREDIT: MY PROD

It features, as you say, Rebecca Hurn. How did you come to meet her? 

We met Rebecca through the Forté Project and mutually decided to work on something together.

Rebecca. I believe you wrote the song. I know there is a bit of a personal inspiration. Was it quite an easy song to write – or was it a bit of a challenge?

We produced the track; however, Rebecca wrote the top-line! 

“I wrote Violet Skies based on how I spent my summer - it’s basically about the beginning of a relationship where you’re kind of together and kind of not.” - Rebecca Hurn

Its video looks like it was fun to shoot! Was it quite a blast?! I believe the song received funding and backing. Can you tell me more about that?

We shot the video with one of our good mates Tyler Wilkins. (It was quite a chilled shoot and we had a good laugh!). We were funded to release the song by the Forté Project - who support emerging artists.

How did Public Order come together? Was it quite an instant bond between you all?

We’ve all been friends since we were little - and then starting music together. Nothing was really planned!

The band-name refers to the Rave culture of the 1990s. Was that quite an exciting and eye-opening time for you guys?

We’re only eighteen. Hahaha. But, we’ve always been inspired by that culture and the music that goes with it - even if our music doesn’t sound like it!

Looking ahead; what are you working on in terms of new material?

We’re working on some many collaborations and remixes with other vocalists/artists. There’s load to look forward to!

You are a Welsh collective – I always assume the country is quite quiet! Is there a big scene where you are? How easy is it getting exposure?

There’s loads of good music coming from Merthyr and the surrounding areas! The scenes not massive but there’s so much talent here!

IN THIS PHOTO: Rebecca Hurn

Who are the new artists you recommend we check out?

We recommend you have a listen to Rebecca Hurn’s solo stuff; as well as Upbeat Sneakers; Tracy Island, Chapel Row; Local Enemy, Florence Black and Pretty Vicious.

IN THIS PHOTO: Local Enemy

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

Worlds – Porter Robinson

The Stone Roses – The Stone Roses

Stoney – Post Malone

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

Get all your mates involved - and don’t take it too seriously!

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

Bit of both! Hopefully; we’ll have time for a good drink and some music stuff!

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).

Mall Grab – Pool Party Music

Lil Peep – Star Shopping

Post Malone - Patient

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Follow Public Order

Facebook:

https://www.facebook.com/PublicOrderUK/

Twitter:

https://twitter.com/PublicOrderUK

Instagram:

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

SoundCloud:

https://soundcloud.com/publicorderuk

Spotify:

https://open.spotify.com/track/1CZqXhRORrnRvZbhscjkPz

YouTube:

https://www.youtube.com/channel/UCG6NSXpEjqG5BGVmSlzy64Q/videos

FEATURE: Sound and Vision: Why We Need an Enduring Music-Themed T.V. Show

FEATURE:

 

Sound and Vision:

IN THIS PHOTO: A promotional shot from the HBO drama, Vinyl/PHOTO CREDIT: Getty Images  

Why We Need an Enduring Music-Themed T.V. Show

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I have always contested, when it comes to the civil war between…

IN THIS PHOTO: A scene from Vinyl/PHOTO CREDIT: Getty Images  

British and American drama - the U.S. had an advantage over us! Maybe it is their deeper pockets or broader pool of talent – I feel the Brits have a lot of catching up to do. Most of our drama tends to stick within family-drama-and-domestic-strife-mixed-with-police-procedurals and we could never summon anything as imaginative and long-lasting as, say Orange Is the New Black, Girls or Mr. Robot. Those shows benefited from large budgets but I feel there is something about American drama that goes beyond anything here. Sure...we can do imaginative and stunning, but most of our T.V. shows do not last into seasons: we have series and tend not to have serial drama (apart from soaps) on the air. America has failing dramas but they have given the world so many great shows. Services like Netflix and Amazon mean we are witness to a cavalcade of captivating shows that hook you in and keep you invested – spending hours/days on the sofa glued to the latest happenings.

PHOTO CREDIT: Getty Images  

That is not the same here...I feel the same with comedy: the U.S. is far superior when it comes to sitcoms. I look at new options like The Goldbergs and Black-ish and laugh my arse off regularly! Those shows have received mixed reviews but, for the most part, I watch the episodes and find myself bent-double with laughter. The lines are sharper and more unexpected; the premises and concepts go beyond what we offer here. That is been the case through history: America providing comedies that go beyond the obvious and are phenomenal sharp and memorable. We, here, are often lumbered with those traditional family sitcoms that rehash the same jokes and bore everyone with cringey scenarios and hapless losers. We tend to look at shows like The Office and base every comedy around the guise of the squirmy, un-P.C. lead - albeit it, one with a good heart. It gets boring but we could never create anything as belly-aching and brilliant as The Simpsons or Family Guy – our record with animated comedies is abysmal and embarrassing! So, then: what is the point of this opening?!

IN THIS IMAGE: A promotional shot for Family Guy/PHOTO CREDIT: Getty Images  

To me; there is a gulf between the U.S. and the U.K. In terms of T.V.; the nations are leagues-apart – that is not the case when it comes to music! I feel we are pretty evenly-matched with regards music! Despite the fact America has an incredible music economy, when it comes to converting that into film/T.V. magic – there is something a little lacking. Over the years, the U.K. has been a little more reliable when it comes to channelling the rich music scene into the screen. We have produced some great low-budget T.V. shows that have music as the backdrop; focus on periods such as the 1960s and 1970s – the effusive and transcendent vibes of the period swim into the head. This piece is compelled by the fact, over the past few years, our drama and comedies have been lacking and limited – aside from the odd one here and there; we cannot compete with the U.S. I was excited when the American T.V. drama Vinyl was announced in 2016. The premiere occurred on 14th February (2016), on HBO, and was an odd, if original, treat for Valentine’s Day! Although initial reviews were somewhat mixed; the series was renewed for a second season and, on 22nd June, 2016; the decision to continue the series was revoked. It seemed a slight retool would not improve the series - so it was not seen worth the producers’ time to continue the show. It is a shame; because I watched a few episodes and loved the performances and storylines. I am a big fan of actors like Olivia Wilde and Ray Romano and felt the ensemble was well-meshed and tight-knit. All the players were exceptional - but it was the entire cast that made it pop and resonate.

PHOTO CREDIT: Getty Images  

The show was set in 1970s’ New York and the pilot saw Richie Finestra, President of American Century Records, on the verge of selling his struggling company to German Polygram - an impending distribution agreement with Led Zeppelin as part of the package. But, after an awkward encounter with Robert Plant; it's clear that the sale is in jeopardy. It goes from there but we see, through the series, various famous figures/musicians involved in the turbulent fortunes of the label; the music scene of New York in the 1970s; the characters’ lives intersect and develop - I felt it has legs and promise! Maybe it was quite niche and primed for a few episodes (rather than multiple series). Perhaps a film would have been a better fit but I feel more time and resourcing should have been paid to Vinyl. America has attempted other drama where music is the backdrop – I remember another set in Harlem that saw Hip-Hop and Rap scoring the goings-on. One other reason I was urged to pen something along these lines is because our attempts at music-based T.V. have been flat.

PHOTO CREDIT: Getty Images  

We have a series right now, Sounds Like Friday Night, that has been struggling with critics and tries to mix sketches, live performances and guest hosts together. It is a hard blend to get right and it seems like an attempt to revive the popular show, Top of the Pops. That is coming back but only for a Christmas Special. We have created plenty of music shows but few that are fictional dramas that run for any length of time. The U.S. has Friday Night Lights and Nashville: two series that have provided smashes and, not only helped put certain genres and areas of music into the spotlight; some of their stars have gone on to launch their own music careers. I was annoyed talented actors like Olivia Wilde were put into a vehicle that was destined to run out of gas shortly into the trip – I would like to have seen it go a lot further!

IN THIS PHOTO: Olivia Wilde/PHOTO CREDIT: Mark Mann

Maybe that example was a case of a unique and ambitious show not quite hitting the mark and needing longer to bed-in. Networks and bosses are cut-throat when it comes to series: not willing to give them grace and see whether they can formulate into something successful (Breaking Bad was nearly sank because of the reluctance of networks). There is so much great music out there, past and present, that deserves some form of compassion and proper treatment. If Vinyl was the U.S.’ best attempt of the past few years: I wonder what Britain has to offer?! I would like to see something that combines the best U.S. and U.K. actors and spreads its time between both nations. I am fascinated by everything from the best 1960s Pop to the 1990s; the Dance scene of the latter and the incredible rush and genius we got from the former. It would be a comedy-drama and would look at various periods of music and the artists of the time – soundtracked by the finest songs of the time...

PHOTO CREDIT: Getty Images  

I am thinking something that mixes the concept of Vinyl but brings in more comedic elements. Not only would a dramatic series – either financed by a British or American studio – be beneficial but we need other options, too. Here, we have a couple of televised music shows - but there is nothing that really gets into the mind and stays in the memory. Gone are the days where we lusted after chart sounds and tuned into Top of the Pops. In the U.S.; there are endless chat-shows – that feature music guests among the line-up – but very few other options that dispense with nauseating hosts and concentrate on the music itself! We have huge and growing radio stations but why can we not convert the rich and endless wealth of great music into something televised? I know acting and T.V./film is a different discipline but I worry T.V. bosses and studios are too rigid when it comes to comedy and drama.

Maybe I am drooling over the potential, shine and chain-smoking wonder of Vinyl - and baffled why it did not remain on the air longer. I am as big a music fan as anyone out there and feel there is a concept that could take music, historical or present, that captivates the masses and has that sustainable energy. Times are bad in the outside world so that desire for escapism and the arts is at an all-time high. We want to engage with something that reminds us of all the good out there; the brilliance of music and all the pleasure it brings. Listening to it is fine - but I feel there is so much more to get from the industry. I am fatigued and bored by our attempts at ‘comedy’. There have been a couple of great modern sitcoms but, largely, we produce the same thing - and we do not have the same writing talent as the U.S. That goes for drama and, whereas we can do gritty and domestic; we do not have the creative imagination and finances to do something as ambitious and scintillating as Breaking Bad.

PHOTO CREDIT: Getty Images  

The music industry is different and, when it comes to comparing the two nations; each has their own strengths. The U.K. has produced the best music ever – I am thinking about the likes of The Beatles – and our modern Indie/Alternative scene is stronger. America has finer Hip-Hop artists and, whilst Rap stars like Eminem are past their best days, we cannot reach the same levels as Jay-Z, Kendrick Lamar and Princess Nokia. Our nations have had their problems; we both have vastly unpopular leaders who are leading the world into peril and strife. I feel we need to come together and combine our wonderful music and entertainment industries. Not that a well-oiled and colourful music show will remedy the wounds inflicted by our leaders but we here need something to revitalise our T.V. shows – something that employs music and does something creative and inspiring with it. The U.S. has a stronger film and T.V. sector but it has struggled to create a music show that has endured (apart from the likes of Nashville). I am not sure what this as-yet-unreleased show would be called - but I am not the only one who feels the world deserves a format that unites T.V. and music…

PHOTO CREDIT: Getty Images  

INTO something glorious.

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

___________

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

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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

__________

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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_________

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

___________

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