FEATURE: Ones to Watch in 2018: Part III: Who Dares, Sings

FEATURE:

 

Ones to Watch in 2018:

 IN THIS PHOTO: Jacob Banks/PHOTO CREDIT: Getty Images

Part III: Who Dares, Sings

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EVERY time I compile a list like this…

IN THIS PHOTO: Jessica Murae/PHOTO CREDIT: @jasminefarram

it gets me thinking about the diversity and surprises music offers. In this selection; I have brought together some of the most promising new talent from around the world. Here, there are more European and Australian artists; a range of British and North American acts – ranging through the genres and tackling myriad sounds.

I hope there is something in there for everyone – one would imagine so – and there is something that catches the ear. Here are some artists, I feel, will do some great things in 2018; make some big waves and get their music to the masses…

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

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Blushes

Genre: Indie-Rock

Location: Buckinghamshire, U.K.

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

Twitter: https://twitter.com/blushesband

Brooklyn Doran

Genre: Folk

Location: Toronto, Canada

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

Twitter: https://twitter.com/brooklyndoran

Kelly Oliver

Genre: Acoustic-Folk

Location: Hertfordshire, U.K.

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

Twitter: https://twitter.com/KellyOliverUK

Gabriella Cohen

PHOTO CREDIT: Jared O'Sullivan

Genre: Alternative

Location: Melbourne, Australia

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

Twitter: https://twitter.com/gabriellaacohen

Strange Hellos

Genre: Power-Pop

Location: Bergen, Norway

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

Twitter: https://twitter.com/strangehellos_

Buzzard

Genres: Grunge; Punk

Location: Dudley, U.K.

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

Twitter: https://twitter.com/uk_buzzard

Dream State

Genres: Post-Hardcore; Alternative-Rock

Location: South Wales, U.K.

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

Twitter: https://twitter.com/DreamStateUK

Signal

Genre: Hip-Hop

Location: Basingstoke, U.K.

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

Twitter: https://twitter.com/SignalOfficial

Sam Clark

Genres: Pop-Rock; Singer-Songwriter

Location: Adelaide, Australia

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

Twitter: https://twitter.com/TheSamJClark

Emily Magpie

 PHOTO CREDIT: Dominika Scheibinger Photography

Genres: Folk; Dream-Pop

Location: Bristol

Follow: https://www.facebook.com/EmilyMagpie1/

Twitter: https://twitter.com/EmilySpetch

Heathers

Genres: Alternative; Indie-Pop

Location: Dublin, E.I.R.E.

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

Twitter: https://twitter.com/heatherstunes

Scott Quinn

Genres: Electronics; Alternative-Pop

Location: Harrogate/London, U.K.

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

Twitter: https://twitter.com/ScottPQuinn

Thea & The Wild

PHOTO CREDIT:  fotograf julia naglestad

Genres: Pop; Alternative

Location: Oslo, Norway

Follow: https://www.facebook.com/thea.and.the.wild/

Twitter: https://twitter.com/Theaandthewild

Jacob Banks

Genres: Soul; Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/MrJacobBanks

The Aces

Genres: Pop; Rock

Location: Utah, U.S.A.

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

Twitter: https://twitter.com/theacesofficial

LA River Bend

Genres: Folk; Rock; Alternative

Location: Los Angeles, U.S.A.

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

Twitter: https://twitter.com/lariverbend

Skott

Genre: Alternative

Location: U.S.A./U.K.

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

Twitter: https://twitter.com/skottmusic

Sivu

Genre: Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/SiVUsignals

Jessica Murae

Genres: Indie; Alternative; Pop

Location: Watford, U.K.

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

Twitter: https://twitter.com/Jessicamurae

Farah Elle

PHOTO CREDIT: Tara Thomas Photography 

Genre: Alternative

Location: Dublin, E.I.R.E.

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

Twitter: https://twitter.com/FarahElleMusic

 

The Kondoors

Genres: Pop; Soul; Gospel; R&B

Location: London, U.K.

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

Twitter: https://twitter.com/thekondoors

INTERVIEW: Nightshifts

INTERVIEW:

 Nightshifts

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MY mind raced too quickly to a name-based question…

when speaking with Nightshifts. I ask him about the song, Karma, and what the story behind it is. He discusses his music and what he hopes to achieve going forward; why there is such a busy and impressive music scene in Toronto; a few artists that are worth checking out; working with Matthew Vlahovich on his latest track – and whether he will come to the U.K. anytime soon.

I ask him what he has planned this Christmas and the music he grew up to; the albums that mean the most to him; why Bon Iver is such an important artist to him – what he would say to any new artists coming through at the moment.

________

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

I am wonderful, thank you! My week has been great: writing tunes and Christmas shopping.

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

I am a twenty-five-year-old musician from Toronto. I spend my nights recording guitars, synths and drum machines in my bedroom. During the day, I play guitar in the Indie-folk band, Wild Rivers. I love dogs, guacamole and vinyl (in no particular order).

Before I go on – and a little name-based ‘humour’ – if you had to do a night-shift at any workplace; what would it be and why?

Late-night pizza-driver. I love driving at night; listening to music (and pizza…).

It seems, mind, you use the night to experiment with music and keep your mind active. Is sleep something that alludes you? How productive are your night-time recordings?

I’ve had troubles sleeping for most of my life...

It was something I really worried about and had anxiety around. I decided to embrace it fully and live a more nocturnal lifestyle. I used to just lay awake for hours and feel bad the next day that I had wasted so much time.

Now I use that time to write and record (sorry, roommates!).

Karma is your new track. What is the story behind it?

I have been holding on to Karma for a couple of years - it began with a beat I made one winter night…

A couple weeks later, I had the opportunity to go into the studio with Matthew Vlahlovich of Young Empires. We were looking for a starting point, so I brought up this beat. The beat had been called Karma - named after a stripper with the same name that we had hired for a friends birthday party (sorry, Mom!).

The song needed lyrics. I had recently graduated and, like many of my friends, I was having a bit of an existential crisis regarding my career path. I was thinking a lot about what I should be doing with my life. It occurred to me that no one really has those answers - and that we should be easier on ourselves.

This song was written about the sense of relief that letting go creates.

What was it like working with Matthew Vlahovich (of Young Empires) on the track?

It was fantastic. I had never collaborated with an experienced producer before and it was awesome to see how much we differed and how much we had in common.

He has been an incredible mentor ever since.

Was recording the track, and making music in general, a way to quell nerves and focus your thoughts?

It was definitely a cathartic experience.

It causes me to think deeply about whatever is on my mind. It also allows me to turn any negative experience into a productive experience. If something bad happens, I always think: at least I get a song out of it.

I understand your eponymous album is arriving soon. When will that be and what kind of subjects will you be addressing throughout?

I have been recording the songs for this album over the last couple of years. It is a very personal one. It will arrive mid-January, 2018!

The songs are all about love, growing up and figuring out what I am all about.

You produced an official remix of Bon Iver’s Michicant. Was that quite an experience and do you like stepping away and working on other artists’ music occasionally?

That was a fantastic milestone.

I remixed the song with one of my best friends. We chose that song because Bon Iver/Justin Vernon was a huge hero of ours. A few days later, Justin Vernon was tweeting about us and promoting the song. It was the first real validation I had from creating music. It was also the first time I had been paid for music - which really solidified the idea that this is what I will do for a living.

I am encountering a lot of musicians around Toronto and Vancouver. Is there something in the Canadian water, would you say?!

I think about this a lot as I find myself listening to mostly Canadian musicians. I have come to a few conclusions: we are so fortunate to have a grant system which really supports the arts. The government pays for artists to record albums - so that certainly helps. I think the drastic change in season is also a goldmine for inspiration.

Also, if we are locked inside for the frigid winter; we may as well be making beats!

IN THIS PHOTO: Andy Shauf/PHOTO CREDIT: Geoff Fitzgerald

Who are the new artists you recommend we check out?

Well. On the subject of great Canadian artists; I would check out Andy Shauf, Bahamas and Leif Vollebekk. All absolutely incredible - and you can hear the seasons in their music.

I also can’t get enough of Julia Jacklin - an incredible songwriter from Australia.

IN THIS PHOTO: Julia Jacklin/PHOTO CREDIT: @daniel.boud

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

MGMT - Oracular Spectacular

It was the first time I really discovered a new band. My friend Brady and I stumbled across their MySpace before they even had a record deal. No-one sounded like them at the time. After discovering them, I became addicted to searching for undiscovered bands.

Their sounds are still showing up in my recordings.

Radiohead - In Rainbows

This was another big one for me…it just blew my mind. I just remember lying in my bed listening to it on-repeat.

Kanye West – The College Dropout

Kanye was my first musical idol. When I was eleven; my friend and his mom brought me to one of my first concerts: it was Kanye West opening for Usher. Kanye was supported by John Legend on keys; A-Trak D.J.-ing, GLC hype-manning and Christina Milian singing back up. It was incredible.

I looked up to Kanye as a role model - and still; l try to bring his confidence to my creative process.

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

Think very deeply about whether this is what you want to do. If you can’t live without making music, then commit yourself fully. I think a lot of artists struggle by being on the fence. The only way (I think) you will be successful is if you dive in and commit yourself to being a musician.

I also would try not to overthink the process. I struggle with this. Just make music you love; release it, promote it and repeat.

Where can we see you play this year? Any plans regarding coming to the U.K.?

It is a secret right now - but there will be some shows announced in the New Year! A lot of my family is from Britain; so I am definitely hoping to tour there soon.

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

Lots of family-time.

I have been only working and thinking about music for the last few months: it will be nice to shut off and refresh a bit.

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).

Bahamas - No Wrong

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Follow Nightshifts

Facebook:

https://www.facebook.com/nightshiftss

Instagram:

https://www.instagram.com/nightshiftss/

Twitter:

https://twitter.com/nightshiftss

Spotify:

https://open.spotify.com/artist/1GLzXZd8MfzeQgkKKR7k8C

SoundCloud:

https://soundcloud.com/nightshifts

TRACK REVIEW: Aural Air - The Vanishing Dove

TRACK REVIEW:

 

Aural Air

The Vanishing Dove

9.3/10

The Vanishing Dove is available via:

https://soundcloud.com/laura-rai/aural-air-the-vanishing-dove

GENRES:

Folk-Rock; Alternative

ORIGIN:

Dublin, E.I.R.E.

The E.P., The Torpor of Minds, is available here:

https://soundcloud.com/laura-rai/sets/aural-air-the-torpor-of

RELEASE DATE:

8th December, 2017

__________

I am pacing my pieces so that I feature…

an even number of male and female artists in the run-up to Christmas. It is wonderful discovering new talent and people who make a real impression. I will talk more about Aural Air and her music but, with her in mind, I wanted to discuss a number of different things. I want to return to lo-fi Folk and artists who mix beauty and intrigue alongside emotional depth; Dublin and the importance of recognising music outside the U.K.; artists who have a big potential and hope in 2018; a look at vinyl and music that sounds perfect there; the visual side of music and how Aural Air can build next year; music that has its own skin and personality – getting ahead of the competition in a busy and diverse market. I have been reviewing a lot of artists – and interviewing many folk – and seeing similar kind of music coming through. It has been a little while since I’ve encountered something lo-fi and Folk-based. I put out a moratorium earlier in the year – because I was looking at a lot of Folk music – and there was a general need to embrace something different. I went in the direction of Rock and Electro and then embraced something a bit more colourful and unique. It is back to a genre I have a great knowledge of; affection and a real sense of longing for. It is harder for artists who play this kind of music because, if you look at the critics’ favoured albums from this year, there are very few Folk acts. It is harder to get into the consciousness because the best and biggest albums from any year tend to be a little more bombastic and confident. Folk is a genre that is a little ‘quieter’ and has a reputation for contemplation and introversion. I think this is a little unfair because, if you hear acts such as Bon Iver – who can be labelled as Folk-based – then you see how diverse and exciting he is. I wonder why critics/fans seek music that has a bit more spirit and energy?!

I will move on from this point but I have longed to discover an artist who produces music gentle and soothing but has plenty of flair and passion. That may sound like a contradiction but it is satisfying finding music that has genuine depth and layers. Aural Air is somebody who sources Jeff Buckley and St. Vincent as influences. The latter created, what I feel, is one of the best albums of 2017 in MASSEDUCTION. That is not a Folk album but there are songs on that disc that take the volume down and have a more beautiful and softer edge. Buckley is, as my music idol, someone I am intimately familiar with. I am seeing his name come up more and more and, when you hear Aural Air, you get a real flair of the late American icon. His career might only have spanned six or seven years but, when you listen to the material he left the world – it is undeniable he made a genuine change and gave the world something distinctly his. There has been nobody like him but, listening to musicians now, there are plenty who are inspired by him. Buckley possessed Folk elements and had a love of Joni Mitchell and Bob Dylan. In many ways; Aural Air’s sound links the legends of the 1960s/1970s and feeds it through Buckley; takes in a bit of St. Vincent and updates it for a modern audience – adding her own chemistry and recipe into the pot. It is interesting seeing how Folk has developed and mutated but I worry the mainstream is not allowing enough room for it to grow and shine. Aural Air will not race to the big leagues and worry about that now but, in years to come, she’ll want to join her heroes and be able to exact influence on others. She is going about it the right way but I feel we need to allow Folk more space and oxygen – get it to the people and afford it more respect.

I am interested in music from all around the world but, as the year comes to the end, I am looking to get out to the world and investigate international talent. I have been spending a lot of time in the U.K. and struggling to go beyond that. My mind goes to the U.S. and Canada but that is still quite a limited and narrow focus. One can argue the majority of the world’s best and most popular music arrives from these nations – that would be neglecting the range and brilliance one can find outside these nations. I have been aware of Dublin and the Republic of Ireland for years and know how incredible their music is. If you look at the historic acts from here, there are some true treasures and artists who have changed the face of music. This is not to say anything modern, by comparison, will pale into insignificance. Bouts, Æ Mak and Not Monsters are among the hot-tipped Dublin crew one should look out for in 2018. The Klares, Stoat and Heathers have been tipped and, between them, cover a spectrum of sound. I would urge you to check them all out – I have not hyperlinked them but you can find them on social media – and check out how Dublin’s scene is changing and growing. What interests me is how varied and full the music scene is over there. You hear the band and acts coming from the area and it sounds like nothing else. There are a few mainstream artists but, for the most part, the music has a unique tangent and identity. Aural Air fits neatly into the Dublin sect and shows how strong the music of the city is. There is great local media support of music but international sources rarely spend time looking at the music of the E.I.R.E. You can look at other counties like Clare and Roscommon and find great music; pan across to the coasts and discover brilliant sounds. Most of the best music comes from Dublin – that is not to say everything great comes from here!

One of the resolutions we should be making for 2018 is embracing artists from outside of London. I am guilty of featuring too many capital-based musicians and will amend my ways! It is going to be a busy year and I am really pumped seeing terrific Irish music getting some attention. How this will manifest itself into true exposure and recognition, I am not sure. I hope more media sources recognise acts like Aural Air and realise how worthy they are. She will look to get some international dates – and time in the U.K. – and push her music to new faces. I know there are some reputable and fabulous venues in Dublin; a city that provides its musicians with some excellent spaces. The Grand Social and Vicar Street are among the fantastic spaces artists can cut their teeth. It is not only the great artists and venues that compel and intrigue the senses: the aroma and energy of Dublin get into the blood and fascinates readily.  I have never been over there but know full well how magical and addicting Dublin is. The culture there is phenomenal and that inspires musicians to write stunning songs. Aural Air will be looking around the world and where she can go but there is a pretty decent and creative base for her to thrive in. One can claim, if she lived in London, her music would not be afforded the same kind of qualities and space it gets in Dublin. She is going to go very far and will accrue new fans in 2018. I hope she remains in Ireland because there is a great nation with supportive and fantastic people. Maybe, in years to come, relocation to nations like England or the U.S. might provide her greater commercial exposure and opportunities. Right now, when you hear her music, one gets affair of the people and vibrancy of the city; the pastoral and countryside beauty that gets under the skin.

The last few years have seen various albums and sounds take prominence in the music scene. This year; it has been one of the most varied and eclectic I have seen. Whether you are a fan of Lorde or Kendrick Lamar; keen on Thundercat or Phoebe Bridgers – you have been spoilt when it comes to quality and innovation. My personal favourite album of this year comes from Lorde (Melodrama) but there will be many critics sharing contrasting views; there is no clear-cut album that can walk away in my mind. Last year saw Beyoncé’s Lemonade get huge respect; Kendrick Lamar has been a huge name the past few years – Hip-Hop and R&B getting a lot of acclaim and respect. That will continue into 2018 but, when one considers the underground, will it be as obvious as all that? I feel new music is a different beast and there is going to be a genuine place for Folk. I have argued how it gets very little respect – compared to other genres – but there are so many hungry young writers who are pushing the genre forward. Aural Air, as I have stated, is a woman who imbues the beauty of Jeff Buckley but has a unique edge to her. You feel the passion and tenderness come out but there are so many colours and ideas wrestling alongside one another. It is impossible to predict how music will shift and transform but I feel there will be a bigger role for Folk-based sounds and acoustic measures. Not only will Aural Air get a lot of respect from critics and her peers: there are many venues over here that will want to see her perform. I will come to that in the conclusion - but she should be thinking about booking some time in the U.K. and exploring some of the spaces we have over here.

Before I come on to look at vinyl and succeeding in the market; it is worth me noting how incredible and original the music of Aural Air is. I have been comparing her music to others but that is just a guide, really. It is unfair to lump her too firmly with others but I mean it as a compliment. One of the things that get to me is the vocals and sounds she can produce. I listen to the voice and it takes me somewhere safer and special. It is unlike anything out there but has familiar tones and alienates nobody. A reason why Aural Air stands out is because of the themes she explores and the titles she employs. An E.P. called The Torpor of Minds instantly spikes the senses and gets you hooked. It was released a few days ago and, since it came out, has been gaining good reviews and a lot of respect. I am pleased for Laura Rai (Aural Air) but not shocked. She is a hardworking and dedicated musician who has put her everything into the work. Whilst I am not going to review the entire E.P.; I have been stunned by the width and quality that runs throughout – I have heard every track and can attest to its power and nuance. You return to various songs and keen to discover new elements and possibilities. That is the highest compliment you can pay any artist out there. I wonder how Aural Air will move in 2018; whether there will be another E.P. or plans for gigs. I will investigate more in the conclusion but the door is open and the world is waiting. Released on the Irish independent label, L Records; the new E.P. from Aural Air; the enigma and eeriness she can produce has caused many critics to bow down and offer their praise. Plenty have applauded her individual sound and qualities but I hope more gets behind her and push the music far and wide. It is getting reception in the U.K. but you cannot overlook all the continuous and fabrics that make the artist someone to hold to the heart. In a busy and challenging music industry; here is someone who will remain and continue to grow as the years tick by.

I will come to the song/E.P. very soon but wanted to discuss vinyl and how popular it is right now. One might assume this an odd diversion but it is relevant when I think about the music of Aural Air. It is all well and good artists emphasising and relying on streaming and digital music but many are overlooking the beauty and importance of the physical formats. I am a huge vinyl fan and am actually writing a piece about it later – whether it needs to be more affordable and ways of ensuring it remains relevant and demanded. I feel those who appreciate the soul and genuine physicality of music will always stick with vinyl. You cannot beat the sensation of getting a record and holding it; putting it on the turntable and watching the needle drop – hearing the slight crackle before the music starts. It is a sense of theatre and tease that delights music lovers and has not lost any of its charm and wonder. You can argue streaming and digital music offers convenience and a modern touch – do we really need vinyl and is it reserved for those who want to live in the past?! I would argue against that because vinyl offers the chance to discover music in all its fullness and best. You can stop and relax; put a record on and really get to grips with it – rather than rush through it and play it off a laptop. The reason I bring up this subject is because Aural Air’s music would sound perfect on a record. She is dedicated to giving the listener the best experience possible and I am keen for her to explore the vinyl market. I am not sure whether she has considered it but one imagines the beautiful music she produced would sound transcendent and alive on a vinyl.

I will come to her new music soon but, staying on this point, it is worth noting how savvy and hard-working she is as an artist. I have seen few who put in the same effort and make their music as widely available as Aural Air. You have a number of platforms to hear it on and (Aural Air) keeps her social media fresh and updated. There are few artists who can claim this and, in an industry becoming suffocating and jam-packed; there is no real excuse for negating these requirements. It speaks volumes about an artist who is keen to build her career and does not want to be overlooked. She is going about things the right way and making big steps by the month. With an E.P. out; there is every sign to suggest Aural Air will be a big name to watch in 2018. The music industry is open to everyone but only rewards those who put in the graft and time. No fear when it comes to Aural Air as she is always keeping busy and putting the music out to the people. Her blend of atmospheric music and stunning vocals; the vivid and candid songwriting, paired with the sensation one gets when listening to it, means you are transported and get into the head of a fantastic songwriter. I am excited to see what her year holds and exactly what she can achiev. You know she will get a lot of gig requests and, as the E.P. settles and gets respect, many people will want to see Aural Air perform near them.

I wanted to focus on The Vanishing Dove as I feel it is the strongest cut from The Torpor of Minds. It begins with twirling and beguiling strings that have high-pitched delight but there is a complexity at work. The notes melt and delight; you get visions of the horizon and moonlight; all manner of possibilities and beauty. It is an evocative and sensual start that causes the head to swim and the voice to swoon. Soon enough; there is percussion stiffening and the mood gets tighter and more dangerous. The “Floating Bridge of Dreams” is brought in and we are taking into a semi-spiritual world that soothes the senses and gets the imagination working. Some of the words get lost beneath the composition – maybe it is my ears but some words are hard to pick up – but it is the way the music and vocals unite that gives The Vanishing Dove its aplomb and strengths. I love how the guitar continues to change and build; the percussion does not impede but manages to summon up power and focus. The heroine is flying through the air and bringing the listener with her. You get impressions of the open world and everything out there; free to allow the body to move and the mind to expand. I got all kind of visions and sights when hearing the song unfold and explore. There is a light one can find, as it is told, when everything is dark and gone. The vocal continues to impress and go in all sort of directions. The range and beauty of Aural Air’s voice is to be commended and recommended. She has a sharper edge which brings out the sense of urgency: able to take things down and provide soothe when required. I have compared her with the likes of St. Vincent and Jeff Buckley but, in a way, she goes down her own path and only really employs a fraction of each in her own material. In terms of quality and boldness; one can detect the same kind of spirit and confidence of these artists – years down the line, she might gain the same kind of plaudits as both.

The Vanishing Dove is as much about is mood and complete whole than the story itself. One finds their own story and viewpoint from the song – a few of the lines do get lost a bit – but there it is how everything comes together that impresses me. Whilst I would recommend the need for a little bit more clarity when it comes to mixing the vocal in (making sure every word is heard and not distorted) that is the only fault I can find with the music. Aural Air’s vocals and sound compensates for any shortcomings and gets right into the brain. It is hard to find a voice that is original and genuinely hits you hard the first time you hear it. That is a testament to a strong and passionate songwriter who wants to be remembered and remain. I know she will continue to make music for a long time and, on the basis of songs like this, many new fans will come her own way. What I love about The Vanishing Dove is how the song has that eeriness to it but there is plenty of passion, hope and beauty to be found. The contrasts and mixtures are what makes the song so strong and alluring. The composition creates plenty of curiosity and helps elevate the vocal and provide its own story. Each listener will have their own view and interpretation of the song. It is not something you listen to and figure out right away. It takes a few listens before everything comes together; each time the song is played you get new light and interpretation. To me, I was thinking about something personal and meaningful to Aural Air. She is someone who has faced challenges and hurdles but is determined to move on and make her way. I may be missing something but I felt a lot of her heart and soul come out in the music. Whatever your interpretation of the song; it is a fantastic cut from the E.P., The Torpor of Minds.

I have talked a lot about the Irish artist and all her qualities. Many overlook cities like Dublin and assume it is not going to have a lot of great music. We all assume the U.S. and U.K. is where all the best music is – we are neglecting the other nations and how much good music comes from there. Dublin is a proud city and has so many great artists playing here. Aural Air knows this and ensures the people are turning on to her sounds. I have heard The Torpor of Minds and recommend everyone gets involved with it and hear it in its complete state. Let us look forward and those artists who have the chance to make changes in the scene and remain there for years. I feel Aural Air has made good progress but she will want to get out to the world and explore various nations. I feel she can have a say in the U.S. and make an impact in the U.K. It is not beyond the realms of possibility seeing her in the mainstream – there are similar artists already there who make you believe she could make it pretty soon. Maybe I am racing ahead but let us not underestimate the potency and quality of Aural Air. Here is an artist that has an incredible sound and gets into the heart with ease. I am excited to see where the music goes and how she grows; whether there is going to be tour dates in London – if she comes over here and we can catch her up close. This year has been a very busy and exciting one for Aural Air so one can forgive the desire to recharge and spend a bit of downtime on her own this Christmas. After the celebrations and festivities; many will look her way and wonder what she has planned for 2018. Given the strength of The Torpor of Minds and the reviews it has been picking up; I have every confidence Aural Air will…

MAKE huge impressions in 2018.

_______

Follow Aural Air

Facebook:

https://www.facebook.com/auralairmusic

Twitter:

https://twitter.com/AuralAir

SoundCloud:

https://soundcloud.com/laura-rai

BandCamp:

https://auralair.bandcamp.com/

FEATURE: What Came Before and What There Will Be: Why I Am Looking Forward to 2018

FEATURE:

 

What Came Before and What There Will Be:

 IN THIS PHOTO: Billie Marten/PHOTO CREDIT: Rory DCS (for Wonderland) 

Why I Am Looking Forward to 2018

_________

THIS year is almost at an end…

IN THIS PHOTO: Lorde/PHOTO CREDIT: Mark Seliger 

but that does not mean I am resting and laying back until then! I have already collated and recognised my favourite songs and albums from this year – Lorde’s Melodrama getting the album honour – and I am still revelling in all the new music coming through. It has been a terrific and busy one for the industry and there are things we can look forward to in the next year. There have been triumphant and stunning albums this year but a couple of disappointing offerings into the bargain. Three big acts I thought would get critics drooling and buzzing have produced albums that are past their very best. Björk released Utopia and, when it was announced a while ago, I was among the most excited and eager to hear the new record. It is, in her words, an album that looks at love and rediscovering happiness. Previous records have looked at breakup and scars whereas her latest album addressed renewed purpose and joy. It is good to hear that from Björk but many were expecting a very different L.P. What we have is something personal and experimental; it is spacious and glacial – there is little of the innovation and energy of her best creations. Perhaps that is inevitable – given the fact she is nearing middle-age – but critics felt the listen was too dull and unengaging. I really like the album and know it will take a little while to bed-in and resonate.

IN THIS PHOTO: Arcade Fire/PHOTO CREDIT: Getty Images

Two other artists who were primed for big releases were Arcade Fire and Eminem. Very different in terms of sound and purpose but here are two huge acts who have, between them, crafted world-class albums. Arcade Fire’s previous album, Reflektor, showed a little weakness but there were moments of brilliance in there (among them David Bowie-featuring title-track). It was a great album but not up to the lofty heights of past material. When Everything Now came out; there were some who instantly praised it and proclaimed it their finest work. As the reviews came in; that heat went away and many had a more reasoned and demure attitude. It is not a terrible album but there are very few songs that remind us of the better-days Arcade Fire. Some songs, such as Chemistry, fall very short of the mark and make me wonder whether they have lost their touch. Considering they produced masterpieces in The Suburbs, Neon Bible and Funeral: Everything Now appears rather limp and sallow stacked alongside them. It is inevitable certain bands will weaken over time – I hope Arcade Fire regain the purpose and spark that made their first three albums such works of brilliance. Eminem is, perhaps, the biggest disappointment from the year. He is around the same age as Björk but, whereas she is talking about new love and exploring fresh horizons: Eminem is on the attack against the government and trying to rekindle the explosions we heard on albums like The Marshall Mathers LP.

Revival is fresh out but is getting some rather mixed reviews. Those who feel it is up to the hype are celebrating his intense raps and incredible wordplay; the collaborative spirit and the fact he still has that fight and determination. It is clear Eminem is fired-up and angry but has that led to a muddled and unfocused album?! It is a huge, nineteen-track record that covers a lot of ground and brings stars like Pink and Beyoncé into the fray. That association with mainstream artists has led some to say he has lost his edge and is going after fame and big names over his own voice and talent. Whilst Revival is not as immense and wondrous as The Marshall Mathers LP; there are some standout moments and reasons why he should not be written off completely. I wonder whether there will be a tenth album and he can regain some of the genius we all expect from Eminem – he is in his mid-forties so he is past the glory-days. There have been other slightly disappointing albums but those names were the ones expected to create year-defining work. I have been impressed by the likes of Lorde, Thundercat and IDLES: music’s variations and eclectic spirit have seen some tremendous albums come through. As we start to say goodbye to a busy and interesting 2017; there are many, myself included, already making proclamation and predictions regarding the year ahead.

IN THIS PHOTO: Hip-Hop hopeful (and Grammy-nominated artist) SZA

I am pumped looking ahead and how music will change. I will come to the two albums/artists I am most excited about but, if you look at how some genres are coming into focus; I am sure Pop and Hip-Hop will have the biggest say. Pop has always been a bit of a shaky and unpredictable side of music that mixes credible and intelligent acts with the commercial and depressing. The fact Lorde sticks out in my mind is because she has taken a genre I am sceptical about and added her own stamp to it. She is one of the finest songwriters out there and has blown me away with her skill, quality and diversity. I am hearing a lot of similar artists coming through and it seems there will be a move towards more credible and mature Pop. The same is true of Hip-Hop- a genre that has always had to fight for attention. The fact The Grammys included so many Hip-Hop artists in its main categories is a very good sign. I am pleased there is recognition of truly fantastic musicians doing incredible work – the fact it has taken this long to acknowledge them is a little troubling. It is hard to say what will prevail and rule in 2018 but there are a couple of forthcoming/possible releases I am pumped about. One I definitely know is happening is from Jack White. We have seen a teaser/sound-collage video released that fuses various songs together – snippets of them, at least!

One hears some Rock blasts and acoustic numbers; Bluegrass contemplation and scintillating Blues. I am not sure what the album is called but it appears, as the weeks go by, more details will come to light. The White Stripes legend created six albums with Meg White and has already released two solo works. Blunderbuss was his 2012 debut and was a solid album that pleased fans and critics alike. Its 2014 follow-up, Lazaretto, was a step forward and still retained that diverse and exceptional songwriting. Both albums showed White could perform with new musicians and continue without Meg – without repeating what he had done with The White Stripes. It is three years since his last release so high-time there is fresh material! Both his previous solo outings have been solid four-star releases: it seems the songwriter has not created a bad record in his career to date!

IN THIS PHOTO: The cover for Jack White's album, Lazaretto

I am excited by what I have heard so far – brief as it is! – and there has been a surfeit of great Rock this year. I have mentioned IDLES (they are more Punk) but, if you check out the new breed of Rock bands, there are few that stick in the mind. I love acts like REWS but have heard so many others that are quite weak and generic. Foo Fighters released Concrete and Gold this year and that hardly blew me away; Queens of the Stone Age’s Villains was impressive but, aside from them, there was evidence to suggest the validity and popularity of band-made music was waning – as the solo artist took more focus and, once more, produced the best material of the year.

PHOTO CREDIT: Getty Images

There are rumoured albums and various possibilities (for 2018) but an album from Jack White is what the world needs! Not only will it bring back a musical talent who has inspired many: other acts/bands will hear his work and take guidance from it. I feel there are too many stadium-aiming bands who want to produce aimless riffs and big sounds – so long as it gets the crowds moving. Royal Blood’s How Did We Get So Dark? was another album that I was excited about but was left cold and angry by – it did not progress from their debut and had very little depth and nuance. Jack White is a different beast and someone who broadens his songwriting and creates colourful, wide-ranging releases. I mentioned Lorde scooping my album prize this year: last year, the honour went to another, but different, female talent. If 2014’s best album was from D’Angelo and The Vanguard (Black Messiah); 2015’s was Kendrick Lamar’s To Pimp a Butterfly: 2016’s best record was from a young and beguiling Yorkshire lass. Writing of Blues and Yellows first came to my attention a few months before its release. I was aware of Billie Marten before then – having seen a few of her videos on YouTube – and I was one of the first journalists to review the record (when I was writing for The Metropolist). I hope to receive that same honour next year – I am not revealing spoilers when I say Marten is working on new material...

She has written, on Twitter, how she has been in the studio and looking forward to her second album – without revealing any songs/dates quite yet. One of the riskiest things Marten could do is abandon the Folk template she utilised on her debut: so many young songwriters go in a different direction on the second album and risk ruining things. Marten has tipped artists like Scott Quinn so, perhaps, there might be a more Electronic/Soul vibe on the next record? My biggest hope is she assimilates new sounds but keeps the foundations of her sound true and solid. I adore Writing of Blues and Yellows and was mesmerised by its maturity an instant sense of gratification. In the review I wrote, I foolishly side-lined two tracks as potential near-fillers: Green and Emily. Both and incredible songs that cannot be accused of weakness. The former has some terrific percussion and is one of the bounciest/spirited tracks on the record. Emily is Billie Marten showing everyone out there how to write a haunting, unforgettable song. It is howling and strange; it has beauty and incredible build-up; there are electric flecks and echoed backing vocals – a riot of emotions, sights and possibilities. I think the song is the strongest on the album and proof the teenage Marten is a sensational talent one can easily link with Kate Bush and Joni Mitchell – she has the talent and ability to equal their work and become one of our finest artists! There are similar-minded acts like Lucy Rose (another incredible songwriter) - but Marten is ahead of them all.

Although it would have been nearly two years since her debut – whenever the sophomore album is out – that is no slight. Marten has been busy touring and taken the album to various nations. The U.K. is her base and she has been around the country amazing crowds. Every time I spin Writing of Blues and Yellows (I have the vinyl; put it on and close my eyes) I can imagine the songwriter walking the Yorkshire countryside alone with her thoughts. The epic and sweeping scenes, the British weather; the tenderness and quiet – that all comes through in the album. What blew me away was the emotional nakedness and candid revelation from a new artist. Tracks such as Teeth expose Marten’s fight with mental-health (and its poison); Heavy Weather is as evocative and spine-tingling as you can imagine. That song, in fact, was one I could not get out of my head in 2016. The chorus is something that gets into the heart and bounces around the soul; the vocal is transcendent and it is a song you are buckled by and bond with. Slower, building tracks like Hello Sunshine and Unaware show how Marten can muse and pontificate (slightly) - and keep the intrigue high. Bigger, critical-noted songs like Lionhearted and Bird have been played on radio and celebrated; Milk & Honey is the accusation against a hero – of immaturity and greed - whereas Live is the young woman fighting against restraints, wanting to explore the world; have freedom and space (its homonymic title caused a few problems - and is a right bugger when you are putting through Google!).

As I pitch out my journalistic tent next year; there are artists I am desperate to interview – Billie Marten is right near the top of the list! Whereas Jack White thrills me with the possibility of fireworks and his assured magnificence: Marten’s ethereal and gorgeous tones, coupled with her inspiring songwriting, offers grace and purity. I wonder how she will grow and change on the second album; whether there will be harder/sexier elements or she (as I hope) continues down the same path as Writing of Blues and Yellows. There are other records coming out in 2018 but these are the two I am most excited by. It is great seeing some new acts come through and the promise of the New Year titillate and excite music-lovers. I have made some predictions about 2018 – and assessed some highs and lows of this year – but, in truth, music keeps us all alert with its unpredictable and always-brilliant sense of rebellious. As we begin to reflect on 2017 and all the fantastic music that has come before: we cast our eyes to the horizon and what we can expect to find in 2018. I am hopeful next year will produce some of the best new artists and albums we have heard this decade, That is a lofty expectation but I am hearing rumblings and suggestions there could be an earthquake approaching. Let us celebrate what has come and get excited by what will arrive. Before then, naturally, let’s prepare for a…

PHOTO CREDIT: Getty Images

VERY Merry Christmas indeed!

FEATURE: Ones to Watch in 2018: Part II: A Great Soundtrack in Anyone’s Eyes

FEATURE:

 

Ones to Watch in 2018:

IN THIS PHOTO: Tusks/PHOTO CREDIT: Harvey Pearson 

Part II: A Great Soundtrack in Anyone’s Eyes

_________

AS I reach the half-way mark of my feature…

IN THIS PHOTO: Ferris & Sylvester

I have collated a lot of great names that will make some headway and impressions in 2018. This year has been a great one for music: it is likely next year will be an even bigger and more fascinating one. Because of that; I have been searching the avenues and options out there and brought together, what I think, is a definitive guide.

There are acts from the U.K. and U.S.; some other international treats into the bargain. I am going to bring in more European influences into the bargain in the remaining two parts of the feature; maybe one or two African artists – broadening my horizons and seeing what is out there...

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Confidence Man

Genres: Alternative; Pop; Synth; Experimental

Location: Melbourne, Australia

Follow: https://www.facebook.com/confidenceman1/

Twitter: https://twitter.com/confidencemanTM

Naomi Greene

Genre: Alternative

Location: Paris, France

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

Official: https://www.naomigreene.com/

The Wild Things

PHOTO CREDIT: Marcus Maschwitz

Genre: Rock

Location: London, U.K.

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

Twitter: https://twitter.com/TheWildThingsUK

The Crowleys

Genre: Psychedelic-Rock

Location: Hamilton, Canada

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

Twitter: https://twitter.com/thecrowleysband

Molly DeWolf

Genre: Pop

Location: Seattle, U.S.A.

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

Twitter: https://twitter.com/mollydewolf

Freya Ridings

Genres: Alternative-Pop; Singer-Songwriter

Location: London, U.K.

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

Twitter: https://twitter.com/FreyaRidings

Sam Gouthro

PHOTO CREDIT: @soundgallerysd

Genres: Hip-Hop; R&B

Location: San Diego, U.S.A.

Follow: https://www.facebook.com/sgouthro.music/

Twitter: https://twitter.com/SGOUTHRO93

Sol

Genre: Hip-Hop

Location: Seattle, U.S.A.

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

Twitter: https://twitter.com/Solzilla

MOULETTES

Genres: Chamber; Psychedelic; Progressive; Folk-Rock

Location: Brighton, U.K.

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

Twitter: https://twitter.com/Moulettesband

JEMS

 PHOTO CREDIT: David Solorzano

Genres: Folk; Alternative

Location: Los Angeles, U.S.A.

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

Twitter: https://twitter.com/weareJEMS

Flirting.

Genre: Post-Ironic-Fuzz

Location: London, U.K.

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

Twitter: https://twitter.com/actualflirting

Becca Krueger

PHOTO CREDIT: Natalie Powers

Genres: Pop; Electronica

Location: Denver, U.S.A.

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

Twitter: https://twitter.com/becca_krueger

Tusks

Genres: Electronic; Experimental; Ambient; Indie; Pop

Location: London, U.K.

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

Twitter: https://twitter.com/Tusks

Albert Man

Genres: Alternative-Rock; Pop

Location: London, U.K.

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

Twitter: https://twitter.com/albertmanmusic

Tayá

Genre: R&B

Location: Liverpool, U.K.

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

Twitter: https://twitter.com/taya

J.I.D.

Genre: Hip-Hop

Location: Atlanta, U.S.A.

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

Twitter: https://twitter.com/JIDsv

RAYE

Genres: R&B; Electro.

Location: London, U.K.

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

Twitter: https://twitter.com/raye

The Winachi Tribe

Genres: R&B; Electro.

Location: Warrington/Leeds/Bradford, U.K.

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

Twitter: https://twitter.com/winachitribe

Abra Cadabra

Genre: Rap

Location: U.S.A.

Follow: https://www.facebook.com/abznoproblem17/

Twitter: https://twitter.com/abznoproblem17

SISTERAY

PHOTO CREDIT: Daniel Quesada PhotoSpace

Genre: Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/sisterayuk

Deadset Dream

 Genre: Alternative-Rock

Location: Sheffield, U.K.

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

Twitter: https://twitter.com/DeadsetDreamUK

Ferris & Sylvester

 PHOTO CREDIT: Daniel A Harris Photography

Genres: Alternative; Country; Americana

Location: London, U.K.

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

Twitter: https://twitter.com/FerrisSylvester

Nick Byrne

PHOTO CREDIT: Beli Klein 

Genres: Alternative; Folk; Acoustic

Location: Buckinghamshire, U.K.

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

Twitter: https://twitter.com/nickbyrneuk

Pryti

Genres: Rock; Alternative; Grunge; Metal

Location: U.K.

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

Twitter: https://twitter.com/prytigatge

Katy Rose

Genre: Pop

Location: Los Angeles, U.S.A.

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

Twitter: https://twitter.com/katyrosemusic

FEATURE: It’s You, Not Me! The Link Between Misophonia and Creativity

FEATURE:

 

It’s You, Not Me!

 PHOTO CREDIT: Getty Images

The Link Between Misophonia and Creativity

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IT may sound like an odd topic to raise before Christmas…

 PHOTO CREDIT: Getty Images

but something has struck my ear – in quite a harsh and detrimental way! There are a lot of ailments/conditions that go unnoticed and misunderstood. It may sound like a universal thing but there are many medical professionals/people who feel misophonia is a misnomer or myth. It is, essentially, a selective sound sensory syndrome – ‘sound-rage’, if you will. Sound is a broad-ranging and complex area: many different people are provoked and irritated by various sounds. For me, and many out there, particular noises get into the head and cause incredible anger. In my case, that anger is suppressed and sublimated – lest it erupts into a full-blown explosion. I am in a rather irritating position whereby my working day is dominated by all manner of noises and irksome sounds that mean I retreat into my own mind – put the earphones in and turn the music up. For me, the most egregious sounds are those of throat-clearing and coughing. Being around people who are ‘of a certain age’ and have no manners whatsoever – there is an endless stream of noise and annoyance. Being inches from loud throat-clearing and coughing; sniffing, sneezing and nose-blowing is enough to make my blood boil. It may seem like a common-sense anxiety: how many of us actually like that sound?! Having misophonia is something that can be mild in many people – hard to determine whether someone is naturally reacting to an annoying sound or has a genuine conflict. In my case, there is a daily (and never-ending) woe. There are many other things that annoy me about my colleagues – hence the reason I am on the job-seeking warpath – but a continuous stream of germs, snot and splutter means I am more isolated, angry and uncommunicative than normal. Other working environments have been a lot more appealing and harmonious – a younger base and far fewer who flood the office with noise. There are members of the family (and others) who are a bit loud/germ-y but I am much more tolerant and forgiving – although I do jump and get wound-up.

PHOTO CREDIT: Unsplash

Maybe it is the sheer rudeness and lacking manners that enrages me so: the depressing fact that, I guess, when one reaches a certain age, they are incubators for every malady, noise and head-pounding sound effect known to man (something cheery to look forward to). Others are aggravated by the sound of loud eaters; some by other triggers/sounds. It can hit people differently but I have that ongoing stress and upset – avoiding situations and environments where there will be these noises; having to muffle the sounds and try and block them. So, then, is there a point beyond getting something off my chest?! There is, as it happens. I know a few people with this condition and there does seem to be a common link: they are all creative-minded. Those who have the burden of misophonia tend to have a more creative and artistic mindset – not in every case but there is a general trend. I was looking at an article published on the BBC website that explained it:

“The results, published in the journal Current Biology, revealed the part of the brain that joins our senses with our emotions - the anterior insular cortex - was overly active in misophonia.

And it was wired up and connected to other parts of the brain differently in those with misophonia.

Dr Sukhbinder Kumar, from Newcastle University, told BBC News: "They are going into overdrive when they hear these sounds, but the activity was specific to the trigger sounds not the other two sounds.

"The reaction is anger mostly, it's not disgust, the dominating emotion is the anger - it looks like a normal response, but then it is going into overdrive."

One can argue there is no direct link between misophonia and creative abilities: some will say it is a personality drawback rather than a neurological misalignment. It is interesting discovering but, whilst not Christmas-related, there are positive results that come from the condition. Until more research is done on the subject – determining why some are predisposed and whether it constitutes an actual disorder – I have found myself immersed more in music and writing.

IMAGE CREDIT: Getty Images

Maybe it is a natural reaction to sounds around me and my desire to replace them with something much more melodious and harmonic. So; if you need to know more about the condition (and whether you suffer from it); here is another article that goes into detail:

“Finally, a scientific misophonia study which has yielded some positive results.

A recent study by Northwestern University found that misophonia sufferers may be significantly more creatively talented than ‘normal’ folk thanks to something called ‘leaky’ sensory gating’.

You view see the full report here (warning: mostly impenetrable)

Despite being a severe misophonia sufferer myself, I found it hard to decode the report (I must have a very particular form of creative, misophonic genius). However, here are some of the key findings from the study in italics and my layman’s terms interpretation below:

“Creative achievement is associated with “leaky” sensory gating”

This will sound strange, contrary even, but evidence suggests that talented creatives tend to lack the ability to filter out irrelevant sounds and/or images.

In other words, the creative achiever’s sensory filters are ‘leaky’ and they’re easily distracted by what’s going on around them.

For the misophonia sufferer this is the brain-pummeling sound of someone licking their lips… or a work colleague clicking their pen.

While this brain rage can be a burden in almost all scenerios it also endows us with the propensity to process ideas outside of the conventional focus. And this is where our superhuman skills come into play.

“Divergent thinking is associated with selective sensory gating”

Here’s where it gets a little more complex.

When we talk about ‘divergent thinking’, we’re talking about the thought process used to explore different possibilities and solutions. In other words to generate a quantity of different creative ideas.

The more I am exposed to triggers and annoying sounds – it is much worse where I work than, say, a normal day walking/travelling around London – the more I concentrate on my work and escape from what is around. That may sound like a worrying and alienating lifestyle but the effort/tolerance it takes to surround myself with certain people is a draining experience.

IMAGE CREDIT: Getty Images

It is interesting seeing how certain minds are wired and why those who are afflicted by misophonia are more adept when it comes to creative output – if there is a correlation between one and the other. It seems like there is a link because, as I have mentioned, quite a few musicians I know have the same condition. I have written about dementia and how those with the disease store musical memories in a different part of the brain (than everything else) and whether music therapy can unlock other memories – that might have been forgotten and ravaged because of Alzheimer’s/dementia. Creative ability and music talent are as much to do with composites of the mind as they are hard work and dedication. We know those with a predilection for arts like music have different brains to everyone else. I guess there are few sustainably positive aspects of misophonia but it can be a signifier there is a creative spark inside you. I wonder, given the fact the condition is an annoyance of noise; the need to create pleasant sounds is the brain’s natural reaction. If certain people, like me, are sent into a spin at the slightest sense of an annoying sound – a counteraction would be something beautiful and soothing. I am different as I do not make music - but my urge to write and produce pieces is, in part, inspired by misophonia. I have been a sufferer for years now but have found the problem exacerbated because of my working conditions. The only real ‘bright spot’ has been that immersion into music and writing. Certain people are affected by different noises: it can be everything from a coin dropping in a machine or the rustling of a packet of crisps. There are obvious drawbacks, if you’re a musician, when it comes to having a hatred/fear of certain sounds: life is no rosier for a journalist, I guess. My triggers are narrower than some – none of the sounds that annoy me are present (much) in the music I listen to – but I can imagine, for some, their working life is a mass of contradictions and hurdles.

PHOTO CREDIT: Getty Images

There are treatments that can aid those afflicted by misophonia:

“If you’re an anxious person, you want a music-based clinician who can administer the kind of music intervention that will ultimately strive to more permanently release anxiety. Another way to look at this, is that you want a therapist who can utilize music to alter the function of the brain’s amygdala (moving the individual’s nervous and physiological system from high arousal to calmer). A music-based clinician can help you mediate fight/flight with music. Anxious people, and people with misophonia, both tend to have higher arousal systems, involving fight/flight. When a person is in fight/flight the HPA Axis (Hypothalamic-Pituitary-Adrenal) shoots catecholamine in the blood stream (cortisone, adrenalin, etc.), and other hormonal and physiological processes occur. It is generally unhealthy for the body to be frequently and excessively activated like this”.

It is, as I confess, a strange thing to write about but I am becoming ever-fascinated in the correlation between music and the mind. Although there are many out there who are affected negatively by certain sounds – they have an unusually high creative aptitude and can translate that into incredible music. It is not reserved to musicians, of course: people in other areas of the arts possess a similar talent. The creative mindset and makeup is a fascinating thing that warrants closer investigation. As someone who (however mildly) gets annoyed by various sounds – I know there are good sides that come out of it. Misophonia is not really a recognised condition among many; doctors and professionals feel (those affected) are short-tempered and easy to annoy. Let us hope, as more and more people come forward about conditions such as this; people out there start taking…

IMAGE CREDIT: Liberty Antonia Sadler (for Metro.co.uk)

IT much more seriously.

INTERVIEW: Dear Pressure

INTERVIEW:

Dear Pressure

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THEY are new on the block…

but there is a lot to be excited about when it comes to Dear Pressure. The Canadian duo discuss the single, NEVER, and how they got started in music; Quin and Matt tell me how they came about the name ‘Dear Pressure’; whether there is more material coming up; what they have lined up for Christmas – whether they experiment a lot to create such a catchy song.

I ask about their influences and upbringing; whether there are any gigs coming up before the end of this year; whether Toronto is a great place to create music; advice for any new songwriters emerging – and how this week has fared for the guys.

________

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

It’s been great, thanks! Really excited about finally having some music out. We’ve also been honing in on some more tunes this week (which has been fun).

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

We’re Quin and Matt. We pretty spend all of our time making tunes at this point - not much else to the story. 

Can I ask just ask about the name, ‘Dear Pressure’? Where does that name stem from?!

We had been messing with a ton of different band-names - and they were all really bad.  None of my friends liked any of the names we had. At a certain point, we were like: “Hey; we should stop giving into peer pressure”. 

We just word-played from there because we're weird…and then, bam, ‘Dear Pressure’ stuck.

 

Your new single, NEVER, is out. Can you reveal the story behind the song?

Matt: NEVER was a tune we made in the summer. We have diverse musical influences; so it’s been (always) a challenge to fuse them in a way that makes sense to ourselves. NEVER was one of those songs that came super-quickly and naturally - within one jam session we had most of the song laid-out. Quin wasn’t completely sold on the song so; I was like: “Dude; listen in the car and you’ll know what I’m talking about”.  

So; we went on a drive and then we both knew it we had something cool on our hands.

Quin: That’s the one good thing about cars.

The song certainly does get into the head! Did it take a look of experimentation and work to perfect its sound? How quickly did it all come together?

Making the actual song itself was easy.

It happened very quickly but we had been trying all sorts of different things for about a year.  We had so many ideas and fragments - and I guess NEVER was the song that put it all together.  

Do you feel you’ll release more material in 2018? What do you have planned?

Yea; we’re releasing an E.P. in 2018.

How did Dear Pressure come together? How long have you guys known one another?

Matt: We met in class but we didn’t talk about music - until one day, where we did talk about music because I was carrying my guitar home. The rest was history…

Quin: I ran into Matt on my way to a friend’s place and he was carrying a guitar. I asked him how he was doing and he said he had been busy with music. We just started talking from there and we showed each other some things we were working on.  

Is it a pretty good place to record music, Toronto? Why is it proving so attractive and fertile for new music?

Matt: Right now; Quin and I could be on the beach if this wasn’t Canada – but, instead, it’s minus-seventeen; so we were stuck inside recording tunes. Not really complaining about either: it’s a pretty great thing to be stuck doing. 

What sort of music did you both grow up on? Do you both come from eclectic households, musically?

Yea; we both listen to a lot of different genres. 

Quin: I grew up in Hong Kong. They play a lot of Cantopop there. But, I spent most of my time alone in front of my computer. So, when I was thirteen or so, I discovered Radiohead and The National (through the game, Portal 2) and got really into them - and then I found U.K. Garage and Dubstep tunes deep into YouTube. It’s funny; because I was just some kid who had never even been to Europe, let alone a rave or a club. But it got me into producing music – Electronic music, music with laptops.

So; I thank the Internet for that.

Matt: I’m really all over the map: I grew up listening to a lot of Blues music. I’m a huge SRV, Jimi Hendrix and BB King fan. I always go back to those records, especially Axis: Bold as Love by Hendrix and Live at the Regal by B.B. King. I also love Psychedelic-Rock.

I dig some of the modern incarnations of it - especially Tame Impala.  

IN THIS PHOTO: Joseph Ember

Who are the new artists you recommend we check out?

We’ve been working with our buddy Joseph Ember a lot. He’s about to drop some fire

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

Quin: Untrue by Burial – or, maybe, Blonde by Frank Ocean

Matt: Empyrean - John Frusciante

I just think it is the best late-night album of all time (late-night if you’re alone and sad, though). The guy is a genius.

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

We’re really focused on getting the record done first and then we’ll play - down the road for sure...

Do you think you’ll come to the U.K. and perform next year?

That’s the dream.

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

I think we’re coming through right now: so; if anyone has any advice for us, let us know…

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

We have plans to work - we’re always working.

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

River Tiber’s Patience is blowing our minds

________

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TRACK REVIEW: Hero Fisher - I Let Love

TRACK REVIEW:

 

Hero Fisher

I Let Love

9.5/10

 I Let Love is available via:

https://www.youtube.com/watch?v=LI6E8nR_m3E

GENRE:

Alternative

ORIGIN:

London, U.K.

RELEASE DATE:

24th November, 2017

__________

THE final days of the year are ticking down and…

with that, the chance to reflect on great talent primed for movement and success. I have been following Hero Fisher for a while and know what a promising artist she is. I will talk more about her but, having seen her live, wanted to chat about artists who have a rare and unique stage presence; how songs, blessed with an original concept, can stick in the mind; how early honours can propel and boost an artist; the ‘difficult second album’ and making the most of success; how things are shaping up in 2018; artists that move about and absorb different musical tastes – and why female artists are back in the mind. Hero Fisher is someone I have known about for a long time but got to see her live earlier in the year. I have been a fan and always gripped and fascinated by her work. On record; you hear the beautiful vocals and rich tones; the incredible musicianship and lyrics that go beyond the ordinary. It is on stage when the music jumps and really comes to life. I have seen her work and, with another musician (his name escapes me), created a layer of sound. Fisher would record a vocal and capture it on a machine; that vocal would then be repeated through the song – she could do the same with a guitar sound. Whilst in the midst of a set; she can layer her own voice and build a unique and mesmeric song. She has a great demeanour and manner that is rare to find in live performers – too many are quite awkward or do not interact with their crowd. Hero Fisher has cheekiness to her and is one of those rebellious pin-ups who is a strong and alluring proposition. You listen to her chat and there is modest and sweetness but she has an impressive tongue and banter that compels you to follow her live. I have seen her once - but know what a reputation she has.

I know this will continue into 2018 as she continues to promote her music. It is in front of other people you get the most affecting and sustained hit. Many are primed towards social media and streaming – because that is the way marketing and promotion goes – and forget about the importance of gigs. It is vital to balance the two and not put too much emphasis on digital forums. Hero Fisher has an impressive social media layout but elevates her music when she is on the stage. I have heard a lot of new acts who seem impressive online, and have attention to detail, but they come off quite limp and forgettable up-close. It is a shame to see but I am more likely to see an artist, and remain with them, when they put in a stellar show. After seeing Hero Fisher at The Finsbury; she is someone I am determined to remain with her and see her perform a couple of times next year. Her set is quite sparse and simple but it is the way she mutates and echoes that get the crowd stunned. The likeable and intriguing personality, coupled with the music, is a reason why Hero Fisher is among the most talked-about and incredible artists around. It is not only the incredible live gigs that stand her aside: her songwriting and original bent cannot be discounted. When listening to I Let Love, and diving into its lyrics, you are experiencing something new and strange; an artist who does not play by conventional rules; an extraordinary writer who has her feet on the ground but takes the listener somewhere unexpected. I shall come onto that topic soon but, before then, urge anyone who has not witnessed Hero Fisher on the stage to do so. She puts her heart and soul into the performance and, regardless of the size, can hook every crowd; keep them in her palm and control the room – making sure they go away talking about her for days to come!

I have mentioned how Fisher’s latest song is a great work that defies categorisation and simple analogies. I hear a lot of songs that talk about love and life but they are cliché and rarely transcend the ordinary. It can be annoying discovering the same type of music and unable to fall for music. I want to hear musicians who can bond the familiar with their own angles and agendas. I discover so many acts who have the potential to be good but, when you hear the song, it leaves you a little cold and jaded. There are new artists who are proving me wrong and doing something wonderful. They can talk about love and what we experience in everyday life and transform it. Hero Fisher’s latest track looks at contagion and jumping between people. By that; each verse is different but looks at the day in a life of various characters. It is a spirit that balks against quotidian life and the mundane grind. Hero Fisher takes the narrative of predictability and imbues her characters with a spirit and force – one that inspires the listener and, in doing so, gets them to rethink their choices. This is only one song from Fisher but, when listening to her back-catalogue; one hears this kind of endeavour and pioneering spirit. I am always impressed by songwriters who go beyond the commercial and easy and write something with genuine depth. Fisher is someone who sees life differently and does not have a predictable lifestyle. She goes through her day looking at the world with an artistic and creative way. You can argue whether the mainstream artists – who pen average love-songs and do not let their imagination run wild – are needed and whether there needs to be changes made. These acts have validity but, as they are in the spotlight of music, should we be reversing our structure and ensuring acts with intelligence and unique insight get their rewards? I feel acts like Hero Fisher have to fight a lot harder than those artists who take the easy route.

It is something that irritates me but I feel 2018 will see some changes come into play. I will talk about Fisher’s upcoming album but I am looking ahead and wondering whether music will redress its reliance on mainstream, commercial acts. The airwaves are filled with plastic, processed stars who have a little bit of talent but are buried in machinery and technology. The songs are tinny and empty whilst the lyrics hardly push towards the profound. The assumption is this is what people want to hear; the definition of what is seen as ‘popular’ and warranted. This music is often aimed at a narrow, young, audience and means we have a rather stagnated and stale scene. The charts do offer light relief and options but there are far too many Pop acts that get that undue promotion. Maybe it is never going to be the same as things were years ago: times where there was consistent quality and amazement in the upper leagues of music. Maybe streaming and the digital takeover means the emphasis is on image, popularity and accessible sounds: challenging music and appealing artists have to shout louder because of this. Maybe it is the hard work that gives an artist strength but, when considering someone like Hero Fisher, I worry she has to work too hard to get her name out there. I know she will shoulder the responsibilities of music with aplomb – her natural talent and songwriting power mean she will have a busy and productive 2018. Her songwriting is a good reason why we should remain with her. Listen to a song like I Let Love and you are instantly sucked into a new world and feel differently about things. Not many songs have the potency and prowess to do that – a reason to be excited about her album, Glue Moon.

The title alone gets you interested! It has a child-like innocence but, if said fast, sounds like ‘glooming’ (or ‘gloaming). The image and concept of a sticky moon is one that struck me. I wonder where the title comes from and whether there is metaphor and simile present. I would like to find out what symbolism goes into the title but, when listening to a cut like the one we have now; it is clear the record is going to be strong and impassioned. Delivery – her debut L.P. – was celebrated and showed what a strong and original songwriter she was. The album was brought out two years ago and has been getting great reviews and love. I have heard some of its material on the stage and can attest as to how powerful it is up-close. The upcoming album is going to be under the microscope because of the debut’s strength. Fisher strengths and talents go into that record; she made it her own and crafted an identity and wonder – I wonder how far the sophomore album will go. Glue Moon is going to be a stunning album and I am glad to see Hero Fisher pushing forward. So many artists I know are not recording new material or stop after one album. It can be disappointing seeing how music’s pressures and challenges get to people. Few of us can put ourselves in the position of a musician and realise how intense and challenging things are. Songs take a while to craft and it can be difficult sustaining a career. Hero Fisher knows all of this and is someone who is aware – even though she is a new artist – of the perils of that second album. Historically; that record is always seen as challenging and troubled: artists who create a fantastic debut have the pressure to repeat themselves and keep the fascination high. Acts like Oasis (who created a magnificent one-two in the 1990s) overcame that hurdle with confidence – not too many other can do so with ease. It is stressful following a great introduction but that is only because many people want more of the same.

PHOTO CREDIT: @sonyajasinskiphotography

The trouble with repeating yourself is the material, inevitably, will be weaker. All your best ideas have been used so, if you stay on the same course, it is more difficult coming up with something new. Some artists go the other way and completely depart from what they released before. The music loses identity and it can leave some confused and detached. The artists who are most successful take the second album as a chance to evaluate the strengths of the debut and what made it shine. They retain that and naturally assimilate influence from their present day. That can include new themes and sounds; a natural growth and maturity that can balance and blend with their early work. Hero Fisher laid down an impressive marker with Delivery and showed she was a songwriter with promise and skill. Glue Moon, even with I Let Love out, looks like it will be different and evolved. I can hear embers of her debut but there are new strands that come into play. Older songs like Sylvie have been based on a single figure and possessed a certain type of tones and flavour. Fisher’s new song is more ambitious and takes itself in another direction. The lyrics look at various characters and the central theme – overriding the mundane and shaking off demons – is a different one. I wonder whether the second album is defined less by friendships and personal challenges; more about broader themes – tackling them with a special eye and sharp pen. Fisher does not bore you with her music: each song reaches deep and brings something out of each listener. I know she will continue to craft songs for many years to come. Seeing how she has grown and developed is very exciting. She is someone who dedicates every morsel and molecule to music and what it can offer. Her career, even this far, has been filled with highlights and celebrated moments. She does not have wealth and privilege: her natural talent has got her where she is today.

PHOTO CREDIT: @eaglefarringdon 

Look back at her C.V. and she has shared the stage with some incredible talent! She has collaborated with Alison Mosshart and Boy George in the Mark Ronson-scored baller, Carbon Life. She opened for Neil Young and The Rolling Stones at Glastonbury; she has been shortlisted for prizes and has won fans in Blur and The Horrors. Here is an artist who has a great reputation and that experience of the big stages. I have seen her in a modest setting but the exposure she has already had means her new music has that wider scope. She knows, soon enough, she’ll be playing Glastonbury and huge festivals – she wants to create material that can balance intimacy and widescreen, crowd-uniting jams. Her songwriting is inspired by great storytellers like Jeff Buckley but she has a fierce Rock side that makes one thing of Patti Smith. I am not sure whether I Let Love will be on the new album (one assumes it will) but I know, when the record is unleashed, many will be booking Fisher and lining her up for festivals. Few can deny she has achieved a lot over the last few years but I feel 2018 will be a very important one for her. She has that ammunition and history; there is more material out and, with that, more venues will come through. Sets can build older songs like Push the Boat Out and lace that with fresh cuts. Next year is already proving to be an interesting one. I am writing a piece (later today) that casts my mind to the albums and acts I am excited about. Among the acts I am excited about are Jack White and Billie Marten – two very different musicians bringing out new material. New music is looking rather bright and there will be so many fantastic albums released during the course of the year. Music is like an ecosystem that is always changing and growing. I am looking forward to seeing new species and lifeforms come into music and offer their sounds. I have mooted how Pop and Hip-Hop are going to be two genres changing and growing. Both have struggled to make much impression – Hip-Hop underrated and shunned; Pop rather generic – but the newer breed is pushing the genres in the right direction.

Hero Fisher is making moves towards the mainstream and looks set to get there quite quick. Not only has she absorbed and integrated various sounds into her music: the artists she has shared the stage with would have provided her with the impetus and desire to keep striving. Fisher is British-born but was raised in France. She resides over here but I know that movement would have fed into her music. Those who experience more of the world are, naturally, going to have a richer palette. Hero Fisher has a broad canvas and she brings a variety of sounds and sights into her music. Female artist are always in my mind and most of the requests I get are from men. It is disappointing to see so many men come forward but that is more to do with labels/P.R. companies. I have loved most of what has come my way and feel reluctant turning down someone good because of their gender. I am always looking for more female artists because there is something different about them – and music has enough sexism in it as it is. That is something that will be on my mind next year. Hero Fisher is an artist I have known about for a couple of years and I hope she gets the dues she deserves. All of her talent and ability shows she is up for the challenges and is one of the strongest performers around. I am excited seeing where she can go and just what she can produce next year. There are few who have had that background and are so consistent. All this bodes well and means many eyes will be trained her way as we creep into an exciting time for music.

PHOTO CREDIT: @saulwodak

There are scratched and precise guitar strings in the opening moments. Tribal drums come in and there is that building mood and energy. Although the composition remains quite light in the early stages – albeit, pressing and exciting – the heroine comes in and talks about the mundane and ultra-regular.  We get a list of activities that include cleaning up the driveway and taking care of household chores. She goes through the workaday life and the office and commute; getting lunch and engaging in something rather boring. As we know the song relates to various characters and their day; there is the need to cast our mind away from Fisher and the various guises that are being represented. The heroine, that said, let love slip through her fingers and she has, perhaps, been too focused on work and music. I listen to the chorus and hear the emotion and revelation that comes through. The verses are delivered with such a speed and rush you know that is a reflection on the hectic nature of her life – and many others she watches around her. There is very little time to engage in relationships and concentrate on something more meaningful and pure. Perhaps the dedication and time needed to forge a relationship have put her off. Music is a big part of her life so it is understandable Fisher would let love slip by. Maybe it is more a reflection about a character and someone that has sacrificed a lot of her/his life for a career. I love how the chorus has a more relaxed and soothed tone. It calms the song down and ensures the core message is provided time and affection. That need to slow and let love come through is pressing in the mind. Fisher’s voice ably switches from scatted and hurried to a soulful and tender lullaby.

The next verse flies in and we see someone/Fisher sleeping with the lights on and falling sleep in front of the T.V.; walking through an empty carpark and struggling to stay awake. There is that contrast of accelerated day-to-day and the rather unspectacular ordinariness of life. People dozing and slumping; wondering where things have gone wrong – and why they have not dedicated more time to meaning and love. This comes right back in the next verse as, once more, that speedy delivery gives the song a fresh round of fire and kick. I have seen a lot of great comments and love afforded the song and there have been some more muted. We all have our opinions on music but there is nothing to fault at any stage of I Let Love. Even by the half-way mark; I realised it was one of Fisher’s strongest and a song that leaves its mark on the heart. It is a light and delicate song one moment; it transforms into something bolder – never getting too heavy and rushing away. Maybe people want something more swaggering and bold; some bigger strings and greater urgency. There are few that can deny the meaning in the music and how relevant the subject-matter is. I was hooked into the song and helpless to refuse the images and scents. I was following every scene and suggestion from Hero Fisher. Into the second verse; I was thinking about a different character and someone who has let love go by. There is that central mandate that suggests our everyday lives are getting in the way of human connection. How much do we actually achieve from work and pushing ourselves?! You can argue it is hard to detach from the rigmarole and demands of the day but, when it comes to it, there is that desire and importance of love.

Taking the lights down and dedicating time to love is an important balance and balm to the stress and rush of life. The percussion gets bigger as the song goes on. Fisher’s voice echoes and repeats; she builds layers and hovers in the background. It is an ethereal and graceful sound that washes over the skin and provides a tender kiss. One can imagine Fisher is the kind of woman who gives her all to music and her life – that need for something more is always at the back of her mind. I am impressed by the complexities and layers one discovers in the song. The beats have a nice patter and balance: able to add that heartbeat and force but never too intrusive. There are guitar strings that break through the mist and provide colour and sunlight. Fisher’s voice is the star that shines and illuminates the path. It is a stunning performance from a vocalist I feel is getting stronger by the release. I can hear new aspects coming through: there is a greater soothe and beauty; fresh tones and colours come out in the performance. Anyone who yearns for a grittier and more Patti Smith-esque songwriter cannot fault Fisher reflecting and speculating. She looks at the boring daily grind and how the spirit and revelation of greater meaning is what we need. Most of us are trapped in something rather mundane and predictable. Do we spend the time to actually inject substance and purpose into our lives? People get so caught up in work but, when you look at your week, how many interesting moments are there?! It is a typically solid and impressive offering from a young songwriter who feels the weight of the world on her shoulders but has a wisdom and intelligence few possess. Long may this success and consistency continue as we look to see how her 2018 pans out. Incredible stuff from the always-wonderful and challenging Hero Fisher.

I am not sure whether there are late gigs coming for Hero Fisher but she’ll want to get her new single out there. Many are excited about it already and it has been picking up heat and affection. The weather is bitter and sharp, for sure: Fisher’s latest gem is a hot and comforting song that drags you into its bosom and illuminates the mind. All her natural traits and layers are in the music; you can hear that incredible voice weave and conspire – a majestic and transcendent piece that has already got under my skin. I know many artists who take the same approach as Hero Fisher and ensure their music has the same strength, originality and nuance. I hope they all get the credit they deserve next year – it will be interesting discovering which genres and artists get the biggest profit. I would love to see Fisher live next year and discover how her new material sounds that close. Glue Moon is an album that is not going to be difficult or disanointing: it is going to be a triumphant and exhilarating record that you will want to get involved with! I have spoken about Fisher’s itinerant past and the artists she has shared the stage with. The London-based songwriter has already crafted a great career and is in the mind of many prominent and influential journalists. She will build on that next year and I feel it will be the most exciting and successful one for Fisher. I will leave it there but wanted to congratulate Hero Fisher on a fantastic single and big step. I love the lyrical dynamic and the vocals on it; the rich music and how the song compels you to come back for more. Here is someone who will go a long way in the industry and genuinely has the promise…

TO be a future legend.

<

_______

Follow Hero Fisher

PHOTO CREDIT: @gatesface

Official:

http://www.herofisher.com/

Facebook:

https://www.facebook.com/herofisher/

Twitter:

https://twitter.com/HeroFisher

YouTube:

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

Instagram:

https://www.instagram.com/therealherofisher/

SoundCloud:

https://soundcloud.com/hero-fisher

Spotify:

https://open.spotify.com/artist/2UTLIPgfUhvKa3m0poQrC0

INTERVIEW: Percival Elliott

INTERVIEW:

Percival Elliott

___________

OLLY and Samuel form Percival Elliott….

and, before I got down to things, I had to ask the origin of that name! The guys talk about the track, Forever, and what we can expect from their album, Save Your Soul. I ask whether artists like Father John Misty are important to them – as their sound reminds me of him – and what acts they are inspired by; whether there is going to be any touring; what the scene is like on the South Coast – and some names we need to look out for.

The guys have supported Fatboy Slim so I ask what that was like; if they have plans formed for next year; how this week has played out for them – and how they will be spending this Christmas.

________

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

Olly: Yea, good...I sold a Chinese bronze antique censer at auction for a friend today. I made a good price - and made a good friend very happy.

It’s been great putting Forever out; let’s see how she flies…so, yes, been a good week. How do you do? 

Samuel: It’s been an amazing week, thank you. I’ve had the great pleasure of working with some young bands with great promise in the studio. 

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

Olly: Good day to you. We are Percival Elliott - and we write songs that move the listener, tap into the heart; shake it about then put it back in. Musical surgeons; digital doctors, if you please.

That is our job - and we love it.

Samuel: We are a band who loves all genres of music and have stitched together the beautiful sounds of a string-quartet with the clashing chords of Grunge. Just wait until you hear the rest of the album.

Forever is just the beginning...

I am interested in the name, ‘Percival Elliott’. Olly. I believe its origin has something to do with your great-grandfather. Tell me more about him… 

Olly: Well; my father informs me he was a right old English eccentric: loved his country and those around him. Apparently, very unpredictable. He would sometimes go missing for days; only to return with exciting ideas and new inventions...he was the heart of the family and a kind man. He would dress like a gentleman, whistle and hum to himself all the time. My grandma said he believed in time-travel.

I just love that! 

Samuel: We have the most amazing pictures of Mr. Elliott and his family. He really does look like a time-traveller. It was a no-brainer to name the band after such a gent. 

 

Forever is the new song from you guys. What is the background to the track?

Olly: Butterflies...blushing, love and hope.

Samuel: Love, life and everything in-between. Have you ever met someone who has enchanted your heart so much that you’d never want the feeling to fade?! Forever is the story of eternal love: the kind of love which is written about centuries after the initial spark.  

It is the first single from the album, Save Your Soul. What sort of themes and ideas inspired the new record?

Olly: Sam and I are both music fans - so the album is an eclectic mixed bag. It’s Folk-meets-Pop-meets-Rock-meets-more-familiar-sounds. We jump from singing about stalkers, to love songs; to party people.

It’s a good record, so we believe.

Samuel: We even have a ditty about a cat entitled Captain - inspired by Cat from Hell by Lynn Truss. One of my favourite tracks has to be Betty: the story of a young lady who has lost her way - accompanied by the sounds of Supertramp and Queen.

I think Betty will have to be the next single. 

Your new single has that reliable mix of vocal harmonies and hard-hitting piano sounds. Names like Father John Misty and Jeff Buckley come to mind. Are these artists who have inspired your work?

Olly: Well read. Mr. Misty is on the button right now - and Mr. Buckley has scared many a heart. Both, like many old and new artists, have been an influence on this record.  

Samuel: Father John Misty’s work is thought-provoking, mystical and highly entertaining. Josh Tillman really knows how to create a mood and traps you in that moment like an Englishman in a queue at the Post Office. 

Buckley is timeless: Grace is an album that never fails to inspire me. It’s my go-to album when I have writer's block. 

Which artists did you grow up listening to? Which musicians have inspired your own music?

Olly: Elton John, The Beatles; Neil Finn, Tom Petty; The Doors, The Beach Boys; Queen, Mr. Misty.

Cor! Sound like a festival I’d die for...

Samuel: I was brought up in a musical family with varied taste; so I was exposed to the likes of Megadeath, Asia, Anathema; Gary Numan, Peter Gabriel; right over to Classical and Jazz. At a young age, my old man would allow me to go through his vinyl collection and put on whatever I liked.

Extremely trusting of him. 

IN THIS PHOTO: Sabrina Claudio

Who are the new artists you recommend we check out?

Olly: Sam? 

Samuel: I’m loving Sabrina Claudio at the moment. Her latest album is beautiful.

The latest Steven Wilson album was a lesson in Pop music production. It’s stunning - and one to check out. 

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

Olly: Elton John - Yellow Brick Road

Samuel: Cor; that’s unfair. Queen – Innuendo

It’s incredibly heartbreaking. 

You guys have performed to sell-out audiences and supported Fatboy Slim! What has been the highlight of your career so far?

Olly: Hard to call. We have and are having such fun. My favourite thing is grabbing new ears, turning heads with our work…but I do love playing in a classic London venue: you can sometimes feel the Rock history seeping through the walls. 

Samuel: The highlight of any show/tour, for me, is that moment right before you hit the stage. The moment of uncertainty...it’s like peering over the edge of the Grand Canyon. 

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

Olly: Embrace technology: it’s never been so good for artists to get their works on tape...and never burn a bridge...unless you got a rowing boat, Sam (smiles). 

Samuel: Write, record and release: the world needs to hear your music. 

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

Olly: Icebreaker Festival in Portsmouth, England. It’s one of my favourite shows. It’s all going off musically in Pompey…look out for pirates!

Samuel: In February; we will be playing Icebreaker Festival. For me, this is a home-town show. I love the local festivals - as you get to hang out with the most amazing musicians and friends. There is a real community spirit to the day. 

You are based on the South Coast. What is the music scene like there? Is it a great place to find inspiration? 

Olly: The beach...Brighton is a melting pot of artists and musicians; Portsmouth is buzzing with the live music scene.

Samuel: Portsmouth is amazing for music. We have the likes of Jerry Williams, Marley Blandford; Kassisin Street and Coax - the list could go on and on. 

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

Olly: I intend to watch Bedknobs and Broomsticks on-repeat with my 1860 glass goblet and some vintage port and cheese. I will probably sing a few carols around the Joanna. Just time out with friends and family. 

Samuel: Christmas is all about spending time with the family…and Doctor Who!

What ambitions and aims do you have for 2018? 

Olly: Make people smile, laugh and love...that’ll do nicely.

Samuel: Live, learn and to be excellent to each other. 

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).

Olly: Drive My Car - The Beatles

Samuel: I Went to the Store One Day – Father John Misty (Groundhog Day for lovers)

________

Follow Percival Elliott

Official:

http://www.percivalelliott.co.uk/

Facebook:

https://www.facebook.com/PercivalElliott/

Instagram:

https://www.instagram.com/percivalelliott/

Twitter:

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

YouTube:

https://www.youtube.com/channel/UCPHgX4k7Ei0zgXtulQk6f8w

SoundCloud:

https://soundcloud.com/percival-elliott

INTERVIEW: Line & Circle

INTERVIEW:

 PHOTO CREDIT: Courthey Halverson  

Line & Circle

___________

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.

________

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)

________

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.

________

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).

________

 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

_________

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!

________

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

________

 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.

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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…

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INTO something glorious.