INTERVIEW: Port Cities

INTERVIEW:

 ALL PORT CITIES PHOTOS: Mat Dunlap

Port Cities

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IT is great to have the Port Cities guys on my blog.

They chat to me about their new single, Back to the Bottom, and what the tale behind it is. I ask whether there is new material coming and what tour dates they have coming; which U.K. dates (they are playing here in March) they are looking for; whether they are fans of British music – how they all got together in their home province of Novia Scotia.

The trio looks ahead and tell me their aims for 2018; the artists and albums that have made an impression on them; how all the myriad sounds and textures they project come together in their superb music; a new artist definitely worth checking out – how they all like to spend time away from music.

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

We’re great. Been busy working on music and video content all week - and are now en route to Ontario for some shows this weekend.

For those new to your music; can you introduce yourselves, please?

Our band is called Port Cities and we are Dylan Guthro, Carleton Stone and myself, Breagh MacKinnon. We're all from Cape Breton, a little island on the East Coast of Canada, and we write Pop songs in a Roots-Rock style.

Back to the Bottom is your latest single. Can you reveal its background and inspiration?

Back to the Bottom was written about five years ago when the three of us were still solo artists who collaborated together. The song describes being in a toxic relationship-cycle with someone; realizing there are serious issues but still (always) coming back to them for better or worse.

How did Port Cities come together? Did you all know one another long before you started playing together?

We all met at a co-writing camp for young songwriters in our home province of Nova Scotia. We had all heard each other's music beforehand - but that was the first time we got to meet and collaborate. From there, the three of us really hit it off personally and creatively and, over the next few years, started playing in one another's solo projects and writing together more and more frequently.

We did that until early-2015 when we decided to put a name on the project and make it our focus.

It seems your music balances Nashville (where a lot of it is recorded) and Nova Scotia (where you are based). That seems like an eclectic mix! Do you think you take a bit from your local sounds and Nashville’s brimming scene?

Nashville was an amazing city to work on our record. Our producer, Gordie Sampson, is a Grammy award-winning songwriter from our hometown - but has lived and worked in Nashville for the past decade or so. Gordie knew us so well, individually, as solo artists: he was the perfect fit to help us find the ‘Port Cities sound’ and hand-picked some of his favourite studio musicians in Nashville to be the rhythm section on the album.

At Nova Scotia Music Week; you scooped five awards (in November). What was your reaction to winning so many awards?! Did you expect to scoop so many?!

We were definitely honored to win!

We were on the road a lot this year, so it meant a lot to be recognized by our peers and feel the love and support from home. I don't think anyone can really predict how those award things will go, so we were pleasantly surprised when the winners were being announced.

Can we expect some future material? Might there be an E.P. along the way?

Yes! Our debut album is out in the U.K. in early-March; so we really hope you like it! Meanwhile, between tours, we will probably spend every spare moment writing and recording our next album.

Your music matches Jazz-schooled timbre and R&B sounds; together with some acoustic sensibilities and calm. Does this diverse range of sounds reflect your personalities and musical upbringings?

I definitely do think our band is an interesting fusion of our musical upbringings: Dylan is a huge fan of Hip-Hop and R&B music - and has been making beats and writes in that style (his father is also a well-known Folk singer in Canada and fronts the Scottish band, Runrig). Carleton played in various Rock and Americana bands since he was a teenager - and I have a degree in Jazz Piano.

I think the common ground we all discovered when working together was our love of a well-crafted Pop song - and that "the best song wins" mantra has been our focus since we started working on this project.

IN THIS PHOTO: Leif Vollebekk/PHOTO CREDIT: Getty Images

Who are the new artists you recommend we check out?

Leif Vollebekk is an amazing Canadian singer-songwriter. His last album, Twin Solitudes, is absolutely beautiful. We had a few of his songs on-repeat over the course of two cross-Canada tours last year.

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

Breagh: Blue by Joni Mitchell

It's the first album that made me want to write songs. I think I literally wrote my first song after listening to it top to bottom in high-school.

Carleton: Born to Run by Bruce Springsteen

I (just) remember discovering this record when I was about twenty-years-old and it started my long love affair with The Boss' music. So many of his songs come from this very masculine point-of-view while still revealing sensitive inner-thoughts.

I'm not sure if anyone does it better than him.

Dylan: Chronic 2001 by Dr. Dre.

I’ve never stopped being so amazed by the perfect blend of organic and electronic elements that give every song its own unique feel where you can’t stop bobbing your head. The explicit songwriting may not appeal to all but I can only respect how fearless it is and it makes the album unforgettable. It opened my mind to another style of music production that I’d never really heard - and I’ve been addicted ever since.

You are coming to the U.K. to play in March. Which dates are you most looking forward to? Do you all love being over here?

This tour will be our third time in the U.K. (and we love it there). Outside of the major cities; it has a lot of similarities to Nova Scotia - so we all feel pretty at home while we're there.

We're looking forward to playing some shows in towns we haven't been before. London and Manchester are always great crowds; so we excited to play those places again.

You have compiled a Spotify playlist of your favourite new British music. Are you a big fan of our artists? Are there favourites from the playlist?

Some of our all-time favourite artists are from the U.K. so, for the playlist, we tried to mix some classics with some of the newer artists that we love. Jessie Ware, James Bay and Troy Sivan are three current artists that we're especially digging in the van right now.

Shura is someone we both have affection for. What is it about her music that captivates?

I came across her music when I saw her music video for Touch. I thought it was so cool and then, when I found out she filmed and edited the whole thing herself; I was super-intrigued.

I love the Jessie Ware Say You Love Me remix, too. I'm definitely a big fan (Breagh).

What has been your most treasured memory from your career so far?

We got to open for k.d. lang at a big arena show in Halifax - so that was a major highlight. I was a huge fan of her music growing up; it was such an honour to share the stage with such a legendary performer. Honestly, just getting the chance to travel to different parts of the world and sing songs for people is something we don't take for granted; so it's always a highlight when we travel somewhere new and we can share our music with people.

How do you all spend time away from music? Any hobbies or favourite ways to chill?

When we’re not playing music, we love spending time with our families, friends and girlfriends: trying to compensate for all the times we are away.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Breagh: Vincent by James Blake

Carleton: John Wallace by The East Pointers

Dylan: That Far by 6lack

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Follow Port Cities

Official:

http://www.portcities.ca/uk

Facebook:

https://www.facebook.com/portcities/

Twitter:

https://twitter.com/port_cities

Instagram:

https://www.instagram.com/port_cities/

Spotify:

https://play.spotify.com/artist/6E9qPOOjsuwnt5kFLFCnWF

YouTube:

https://www.youtube.com/c/PortCities902_

INTERVIEW: Screech Bats

INTERVIEW:

 PHOTO CREDIT: Derek Bremner 

Screech Bats

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THE mighty Screech Bats are one of…

the most exciting and tightest bands around. I have been speaking to them about their new single, Get Better, and what the story behind the song is. The band’s lead, Esme, breaks down the songs on their forthcoming E.P., Wish You Were Her (out on 30th March), and the emotions that go into each track. The band talk about their formation and the artists/albums that inspire them – and how they are feeling about a future gig at Camden Rocks Festival.

I ask how important independent venues are in terms of their growth and exposure; what it was like recording with James Routh (of Sonic Boom Six) in a Blackpool for their E.P.; some of the new talent we need to be aware of – what Screech Bats’ ambitions/goals are for the rest of 2018.

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Hi, Screech Bats. How are you? How has your week been?

This week has been equal-parts exhausting, exciting and disorienting - as our tension and anticipation, that has been building for the last two years, waiting to release some new music climaxed and spewed into the world in the form of Get Better: the single from our newly-announced E.P., Wish You Were Her.

For those new to your music; can you introduce yourselves, please?

We are Screech Bats: Esme on Vocals, Lexi on Drums; Kit on Guitar and Rio on Bass. The best way to describe our sound would be ‘Melodic-Punk-Rock’ - swaying more towards the Rock side of things.

(Think Alkaline Tri-meets-Against Me! with a ladle-full of uncomfortable emotions). 

There is natural closeness and understanding in the band. How did you guys all get together? Was there a mutual attraction and mindset from those first rehearsals?

Yes, we are close. Lexi brought us all together having played in a band with Kit - another band with Rio - and then introduced Esme through a mutual friend. The first rehearsals were definitely a little nerve-racking because you have no idea whether it’s going to work; whether you’re even on the same page musically or whether you’ll have that chemistry when writing. We were lucky and we gelled quite instantly - most probably because none of us takes ourselves, or each other, too seriously.

In fact; Esme is probably the most ridiculous person you will ever meet…in the best way possible! (Esme adds the edit: ridiculous, yet charmingly witty and devilishly handsome).

 

Get Better is your new single. Can you talk about its inspiration and how it came together? Do you all pitch in with the songwriting process?

Usually, Kit will demo an idea of a song then we take it to practice; change bits here and there and adds in our own parts etc. Esme tends to take care of the lyrics and melodies – occasionally, with help from us lot. Overall, it’s a collaborative effort, no matter who brings the ideas to the table.

Get Better, put simply, is about suffering with mental-health (issues) and the road to recovery. It is based on a personal experience of Esme’s and appreciating the value of a certain doctor who, quite literally, helped save her life.

I know there is a spotlight on mental-health and recovery. Is the capriciousness of mental-health something that has affected you all? Do you think it is vital to raise these issues through music – and, hopefully, de-stigmatise a rather dark and ‘taboo’ issue?

Yes, 100% - and this is not a point we can stress enough.

Issues with mental-health have certainly affected us all, in very different ways, but it’s probably one of the reasons why we are so close. We believe it’s beyond-important to raise these issues and it needs to be de-stigmatized for sure. Lexi, in particular, is still upset over Chester Bennington’s death…because it was preventable.

Although, in light of tragedies like these; we are stoked to see more and more people with notable fame using their platform to openly discuss their own battles with mental-health - and also to see it becoming an issue much more seriously addressed in our National Health Service - and an issue employers and workplaces are beginning to take as seriously as ‘physical’ illnesses.

Still; so many people suffer in silence and these are the people whose lives are at risk. We want to destigmatise this topic and put out messages of comfort in the knowledge sufferers are not alone and, moreover, the message that there can be a light at the end of the tunnel and a happy future…even when this feels impossible.

The E.P., Wish You Were Her, is out on 30th March. How does this E.P. differ from your debut? Do you think you’re more confident and experimental as a band this time around? 

We’ve really grown these past two years from our first E.P. and feel that we have finally established ‘our’ sound.

Our first E.P. was loads of fun: the topics we wrote about were often whimsical and the whole thing was pretty polished sounding. It was perfect for us at the time but now our boots are a bit scuffed - and that’s how we like it. We’ve tried to capture a much darker side to the band with this E.P. - and, definitely, think we’ve achieved that.

I understand the E.P.’s title refers to various women who have made an impact in your life, Esme. Are there particular figures that influenced particular tracks? Were all the experiences (with these women) positive – or were there some negative interactions/relationships that had quite a profound effect on you?

Writing the lyrics to this E.P. has been incredibly cathartic for me and, even before the idea that I was going to use these words for songs; I just wanted to get some of these words down and out of my head to help me process some big life-changing events in my life.

Get Better is a thank you to the doctor who completely rewired my brain from someone who was just waiting for the next time to be alone so she could kill herself…to someone who wants to live life to the full and enjoy every second of it. I have suffered from myriad mental-health issues for as long as I can remember and we have a history of severe mental-health issues on both sides of my family; so I don’t remember a time where depression wasn’t part of my life. I never thought I could be the person I am now: if you had shown me a snapshot of my life as it is today to me four years ago I would not have believed it.

Of course, there are other factors that helped me on this road to recovery: my family for their constant love and support - even when I felt like I didn’t deserve it - my friends who have stuck by me when my behaviour was unforgivable and utterly abhorrent and, of course, our band - having this creative outlet and the camaraderie with my band-mates has helped more than I ever thought it could - but this song is for the catalyst of the biggest change in my life; without whom I honestly believe I would not be here: my doctor. I wanted to get these words out; not only as a thank you, not only for myself; but on behalf of everyone she helped and continues to help through the course of her career - but also as a way of reaffirming to myself that I was doing better and I will continue to work at being better…

Finally; as a way of showing people that, yeah, recovery is tough but it happens…and even in the absolute depths of despair; I want to give people living proof that there is a light at the end of the tunnel – and, hopefully, that serves as a reason not to give up. 

Blood in My Hair is about the death of a friend - who died suddenly and was far too young to go. It’s hard to quantify this relationship with words like positive or negative: our friendship was immensely positive; the loss of this person was immensely negative. I was at the age where you feel invincible - late-teens, early-twenties - riddled with drink, drugs and parties: death simply wasn't part of our lives.

The only people I had known who had died had died old…and that felt a long way off from all of us. Losing someone the same age as me with no warning made me really have to consider the reality of what death was. At the time, I was too immature to deal with it and this is why. At the stage of life I am at now; I feel strong enough to look back and think about death and grief - and really think about what it means. Of course, I have no answers. I have been on this Earth a blink of an eye, like the rest of us, but it was an oddly enriching experience to look at death from all angles. During the song, I revisit the night where we all found out - who I was the - but I also try to think about the idea of Heaven and Hell and how this girl had died so young…and as we were all such f*ck-ups, if there was a Hell, we would all be going. Alongside this; I tried to look at the idea of death just being a part of life and does anyone really want to live forever? Should we want to live forever? Perhaps the knowledge that we are finite isn’t scary and we can breathe a little easier knowing that we are just here to enjoy the ride: at some point we will return to nature, dust; the universe, nothing…or whatever we were before we were something. Despite yelling “I’ll see you in Hell” several times in the song; it is intended as another positive-message-one. Haha!

Just Like You is about a one-night stand: an entirely different interaction to the aforementioned tracks. I had a hard situation where, for me, I fell pretty hard for someone who saw me just as a bit of fun. I was enormously hurt and focused all my attention on working out what was wrong with me; why was I so unlovable. But, to get over these feelings, I tried to focus on the situation with her. Knowing this person well; I came to realise that she just needed the self-esteem boost. She was ageing…and not ageing well. She had always only relied on her looks, her party lifestyle and sexual (or romantic) attention to feel validation - and now her looks were waning; she was just clutching at vulnerable, lonely people to feel better about herself.

Realising this helped get over the rejection and, the more I look around me; the more I see other people in the same kind of situation: facing rejection and hating themselves because of it rather than seeing it as the rejecter’s loss (that they are missing out on someone rad). Although; I guess the song is a bit of a ‘f*ck-you’ to this person - and it feels good telling her that I now KNOW there are plenty more fish in the sea…and I now KNOW I’m great and worth something

In the end, the message of the song is: don’t give a damn about people who don’t treat you with respect. Just because one person doesn’t see how awesome you are doesn’t mean the next one won’t…  

What was it like recording with James Routh of Sonic Boom Six - often until the early hours in a Blackpool rehearsal room? Did that configuration progress your music and provide fresh impetus?

We absolutely LOVED it!

We had free-roam of the studio (which was inside a rehearsal room complex). There was an upstairs with a kitchen and dining area - where we could go and make ourselves proper meals, get some downtime and crack on with other work (Esme, being a tattooist, had a lot of drawing to do). It was our temporary home. There's something quite special when you take the band into a studio - especially in a completely new environment -; it's really inspiring; ideas are flowing and you're all in the zone.

We've known James for a long time so it was all pretty natural: everyone was pretty chilled and we were able to discuss and try out new ideas without anyone getting irritated or rushing us through the process. 

Your palette of subjects ranges from ageing and sex to gender-balance and relations; death and life through to depression. How much of your own relationship experiences go into the songs?

The lyrics are entirely based on our own experiences. We find the music is much deeper, more passionate and easier to perform with conviction; when we are performing work we can relate to, believe in and have lived through. Esme says that, in her personal experience, songwriting (just) can’t happen for her if she’s not sticking to the old rule of ‘write what you know’. 

Do you think it is important to keep fresh and depart from the fatigue of the mainstream – the same commercial songbooks that have appeal to Spotify punters - but not those who want to dig deep?

It's a difficult one…

In the end; I think we just write what we write, we write what pleases us; what makes us feel good and what we personally would like to listen to.  We all come from different musical backgrounds, and when different influences infuse, people tend to put you in a bracket - but I don’t think we are actively trying to kick back against the mainstream and, to be honest, we don't even think about it!

This week is Independent Venue Week - it is an exciting time to highlight the best spaces in the U.K. How important are these venues to you guys and your music? What feeling do you all get from performing your songs to a willing and hungry crowd?

SO IMPORTANT! Independent Venue Week is frickin' awesome. It just highlights how many awesome venues are up and down the U.K. We're so lucky here. Music is rife and we have so many amazing U.K. bands. Without these venues, we wouldn't be able to play shows, tour or, probably, even be a band. We want to share our music with everyone - and these venues enable us to do so. It's always heartbreaking when you see another of your favourite venues shutting down for some twat to build flats on.

Performing is an incredible feeling; nothing beats it - especially when the crowd are into it. When people like your music you connect on a whole new level.

It's beautiful.

It seems, in the industry, female bands are seen as a novelty and genre on their own. Does it annoy you there seems to be this rather sexist and ignorant attitude?! Do you think there will be changes in attitude as fantastic new female-based/led groups come through?

It's draining that we still have to talk about this: it's 2018; who gives a fu*k what gender your band members are…either you like the music, or you don't.

We still get heckled so, unfortunately, it is a subject we still have to address. People ask us ‘who’s girlfriends we are’. If we are backstage; people book us as a novelty. One of our favourite comments to date, when we were loading our gear into a show, was: "Oh, look: the strippers have arrived!” 

 Attitudes have been changing thanks to lots of strong artists/bands of all genres and genders - particularly since the Riot Grrrl movement (God bless Kathleen Hanna). It's just a shame they haven't changed quickly enough.

Anyway…attitudes will continue to change; we have lots of hope…

I hear hints of the great Punk bands of the 1970s in your sound. That mixes, in my mind, with great Alternative/Indie U.S. bands of today. Who are the artists you are all inspired and bonded by?

We are heavily influenced by Punk-Rock bands who, in turn, have been influenced by bands in the 1970s - such as X-Ray Spex, Crass; early-Adam Ant, Bad Religion (yes, they're officially a 1970s band) etc. We have certainly taken our own influences from 1970s Punk, it would be stupid not to; but a lot of our influence has come from Against Me!, Alkaline Trio; Blink-182 and The Distillers, to name just a few.

IN THIS PHOTO: Calva Louise/PHOTO CREDIT: John Mo Photography

Are there any exciting new artists you recommend we check out? Which hot acts should we get our ears around?

Calva Louise: easily one of the most exciting bands on the circuit right now. Excellent people, incredible music - and a mind-blowing live show.

Petrol Girls. Although they are not ‘new-new’ – still; not enough people have heard of this band -and EVERYONE should stop what they are doing and have a listen…

Youth Man. Again; they have been making waves in the Punk scene for a while but deserve a bigger audience. We have been lucky enough to support them a few times now - and they put on absolutely electrifying live shows. 

IN THIS PHOTO: Petrol Girls/PHOTO CREDIT: Isha Shah

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

Lexi: Good Mourning - Alkaline Trio

Esme: By the Throat - Eyedea & Abilities

This is a DAMN hard question - and I had to make a shortlist; but I have picked this album because it’s one I always come back to. I have never related to words like I relate to Michael Larson’s lyrics - they are life-changing and this album, his last collaboration album before his death, serves as a constant and heartbreaking reminder of the pain it can be just to live. This is an intensely philosophic album, addressing a huge range of topics with such morbidity and, still, so much wisdom and hope. It seriously affected my approach to lyric-writing - and still influences me heavily today. 

Kit: Take Off Your Pants and Jacket - Blink-182

As ridiculous as it sounds; this album really taught me to play the guitar. I spent all my teenage years in my bedroom playing along to my Blink’ records by ear. This album came out when I was thirteen - and that's when I started my first band. I really did fall in love with a girl at the rock show (a lyric from Blink-182’s Rock Show) - and married her! 

Rio: Live in Munich 1977 – Rainbow

It’s an incredible moment in musical history featuring some of my favourite musicians at their peak. It gets me every time. I’m such an anorak when it comes to live albums, especially around that era - as all my favourite bands were at the top of their game, then, it would seem. The calibre of music then was something else. 

You have a big gig at Camden Rocks Festival on 2nd June. How excited are you about that?! Have you decided on the set-list for the date yet? What other gig dates are you looking forward to this year?

We haven't decided on the setlist yet. We'll decide nearer the time in case we've got a new tune we wanna throw in there, too.

Yes, we are extremely excited - Dublin Castle, 4 P.M.! We're putting together a tour in April, actually, so keep your eyes peeled.

Hopefully, we will confirm some more festivals later on in the year also.

What are your ambitions, as a band, this year? Do you have any goals you want to conquer?

Goals this year would be to play some of the 'bigger' festivals such as Reading, Leeds and Download, etc. We also want to complete our debut album this year. 

Is there any advice you’d offer likeminded bands coming through right now?

Be resilient and have thick skin. Remember why you're doing it in the first place and run with that. Decide on your morals, your message; what you believe in and stick to it: don’t let the bastards keep you down. 

Do you all get time to chill away from music? What do you all get up to when you’re not creating music?

Absolutely not: we never chill. Haha! Esme is the owner of a busy tattoo studio (Boileroom Tattoo) where she and Kit are both tattoo artists - and they also do regular conventions and guest spots around Europe. Rio plays in other bands and Lexi works full-time in music - as well as another band.

It's relentless!

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Lexi: Skyscraper - Bad Religion

Esme: I'm Mandy Fly Me - 10cc

Kit: Borne on the FM Waves of the Heart - Against Me! 

Rio: Anti Love Song - Betty Davis

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Follow Screech Bats

PHOTO CREDIT: Derek Bremner 

Official:

http://www.screechbats.com/

Facebook:

https://www.facebook.com/ScreechBats/

Twitter:

https://twitter.com/screechbats

Instagram:

https://www.instagram.com/screechbats/

Spotify:

https://open.spotify.com/album/4IVRb713csqEFeR4Tv6NZ5

SoundCloud:

https://soundcloud.com/screech-bats

YouTube:

https://www.youtube.com/channel/UCiRvmqKbWZn-7F68SbzLs9g 

FEATURE: Over/Under-Complex(Complicated): Is Simple Always Best?

FEATURE:

 

Over/Under-Complex(Complicated)

ALL PHOTOS (unless credited otherwise): Unsplash

Is Simple Always Best?

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I have been listening to a lot of new acts…

IN THIS PHOTO: IDLES/PHOTO CREDIT: Poppy Marriott/Dork

come out and talk about their creative process. IDLES’ Joe Talbot was speaking about his songwriting and penning new music - following the band’s lauded debut, Brutalism. That album went down a huge storm with critics and was one of the best-reviewed records of 2017. The guys have enjoyed big gig demands and barely had the chance to take breathe since then! Talbot was speaking to BBC Radio 6 Music about the transition from the album’s release to touring – explaining he has already written the songs for the Bristol band’s sophomore effort. Last year, I investigated the way songs/album are drip-fed to the public. There has been a certain sense of theatre, business and tease for decades: it has got a lot more intense as competition increases and music is launched via streaming services. It happens with new, unsigned artists a lot. They will tease a trailer for a song and then the artwork; a couple of weeks later you get the audio on SoundCloud/Spotify before the video a bit down the line – it is even more painful and slow! I guess it builds hype and demand, but I wonder this: what is wrong with keeping things simple?! That concern and query extend into the music itself. Talbot explained how he had written a set of IDLES songs (for the second record) and scrapped them - feeling they were too complex and not like them at all...

PHOTO CREDIT: Getty Images

I look at new bands like IDLES and admire their honest approach and direct music. They do succumb (a little) to the staged marketing strategy but they are a lot more ‘conventional’ than a lot of artists. They are keen to get music out there and get it toured. It is not a coincidence the guys resonate and register with critics and fans. The sounds one hears on Brutalism is an unadorned, tinsel-free brand of Punk/Alternative that reminds one of the 1970s regency. There is that swagger from the front and those observational, often witty, lyrics. The band are tight but experimental in their music. The compositions are uniformly excellent and it all sounds incredibly natural – Talbot explained how they often try and nail a song within a few takes. There are other artists taking this thrills-free approach to recording. This dynamic is not reserved to Alternative/Punk bands. Away from the commercial and over-produced Pop artists; there are some incredible examples around. There is talk 2018’s Pop will be a more mature, deep and independent-minded affair – artists less concerned with tropes and following trends. This personal and original take on Pop does not mean slaving over songs and squeezing every ounce of life out of them. A lot of the great hopes for this year – like Sigrid and Billie Eilish – project impactful and memorable music without layers of instrument and synths. Whilst their music flows and has that uncomplicated quality: the promotional angle they take falls back into the needlessly extravagant and planned.

I guess it depends what you look for in music...Some people like music that is crafted and you can hear the work. The same goes for the modern promotional machine: they like the music slowly fed and out in stages. What I tend to find are those artists who produce elaborate and multi-layered songs tend not to stick that long in the mind. It can be a fascinating experience hearing the song – such is the complexity of the thing; I struggle to take it all in and it can be quite a daunting experience. I am noticing more and more artists expend more time on composition, vocals and production. In a competitive and busy age; artists cannot really afford to slip up and, as such, are producing these rich and busy songs. Different people like different things in their but I am becoming more drawn to the songs/artists that have an air of simplicity and ease to them. The same goes for promotional, really. Those musicians who plan a song/album’s release on that week-by-week basis means the consumer has to wait too long and it can be frustrating. Maybe that is harking back to the past and wanting a time that has already elapsed. You can say some of last year’s best albums boasted big productions and a lot of planning – Thundercat’s Drunk and Lorde’s Melodrama – but there is a big demand for music more direct and straightforward.

People want great Punk, Rock and Alternative; they lure after Pop music that has an urgency and gets straight into the mind. Is it getting harder to create the sort of effecting and physical Punk tracks at a time when music is getting more experimental, ornate and ambitious?! Can we ever return to a time when the Pop banger was a simple, three/four-minute gem that had a big chorus, nuance all over the place and hooks everywhere – without having to throw in loads of instruments and make things too over-complicated? I agree there needs to be an examination of how artists are promoting their work and whether we need so many stages – does that take away some of the quality and momentum of a work? Whilst I feel genres like Pop (mainstream) and Punk need to deliver sharp, uncluttered and physical sounds: a few great albums this year have shown how splicing sounds and pushing the envelope results in something fantastic. Many people are tipping Field Music’s Open Here (including me!) to be among this year’s best albums – when the polls come out near the end of the year. The same can be said of Hookworms’ Microshift. The album is gathering huge reviews and shows the band expanding their sound and teasing in new influences. It is a bold and busy album that throws in different colours, ideas and contrasts.

IMAGE CREDIT: Getty Images

Whether you prefer your music sharp and easy to appreciate like IDLES’ Brutalism - or more adventurous like Microshift – you have to make sure it is original and new and provides the listener something inspiring. I, personally, am leaning more towards those stripped-back albums: they are easier to bond with and are remaining in my mind longer. Aside from wonderful exceptions like Open Here and Microshft; the best music, mainstream and underground, is arriving from artists who keep things simpler and direct. I can appreciate those who want to build their sound and try something daring – it can be quite a risk making it pay off and ensuring it appeals to a broad audience. The one thing I do know is how needlessly fiddly and over-scripted releases are. In terms of simple-complex; this argument is a lot easier to settle: keep things basic and easy. If you ladle out a song over the course of weeks and drag an album’s release out forever, it gets really grating and does something to the music itself. I have a lot of respect for the cross-pollinators and complex songwriters but, this year, I want something free from adornment that gets right under the skin and has that bare-boned brilliance. Bands like The Orielles are providing breezy, stunning Indie/Pop that boasts tremendous colour and vibrancy. It is a debate that divides people but I am looking for music that gets its intentions across with as few side dishes and calories as possible. That might sound like a tough challenge - but there are artists out there showing they are more than...

UP to the task.

FEATURE: Togetherness Through Sound: Getting Western Music and Radio Out to the Developing World

FEATURE:

 

Togetherness Through Sound

 ALL PHOTOS: Unsplash

Getting Western Music and Radio Out to the Developing World

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YOU might think those in the developing world…

would favour medication, food and relief above music (you’d be right). I am not pitching the idea (that the) gift of music is more important than healthcare and clean water – those are issues and concerns we in the developed world should be taking care of! I have been thinking about music and how it manages to reach most of us around the world. Whether it is radio or something like Spotify – most of us can receive some form of music during our days. Poorer nations do not have the same luxuries as we do. It is shocking thinking about their plight and what an average day entails. The degree of poverty and neglect is enough to provoke anger and pointed questions. It is not easy curing famine and ensuring developing nations are subsidised and constantly cared for. We do our best here but, in a lot of ways, it is impossible to control the rise of death and famine in these nations. We can do our very best – raise funds and get the message out – but it is a huge fight. Communication with the rest of the world is limited. Large swathes of Africa is cut off from everyone else and do not hear outside voices. Radios are fairly inexpensive but, without the luxury of broadband and the Internet; it is hard to introduce music to the struggling masses. As I said; I know this addition does not solve their daily woes and struggle – it would provide a degree of comfort and, through radio, we can speak directly to them and let them know we are thinking of them.

I wonder how many people in the developing world have heard Western music?! It is said over 75% of households in the developing world have access to a radio. There are over 44,000 radio stations worldwide and most communities, however remote, are able to transmit some form of broadcast. I will look at the problems regarding transmission distance and limitation – and why we need to think more about radio/music and doing something about it. Whereas most of us consider radio a form of entertainment; for many in struggling nations, it is a form of education and information:

“Although in the developing world radio is considered a device for entertainment it can also very easily educate. In this paper, Mary Myers describes various ways radio is used to educate throughout the world. One example she uses to support her claim is an example of a radio program used as a strategy to teach farmers in rural areas new farming methods. Certain studies showed that there a lot of farmers listening to the broadcast listened to the advice that was given on the show and indeed did improve the agricultural fields in the country discussed.  Radio shows can also educate individuals especially women about certain health risks and factors.  A fiction radio soap opera has the power to educate women listening to their show about several issues regarding sexual and reproductive health as well as child and parent relationships. According to a study 85% of respondents who listened to such a program have implemented changes in their lives as a result of the knowledge they learned by the radio show (Myers   7). Myers does indeed justify her statement that radio really does matter”.

That might sound like quite an idea and comforting picture: people are able to hear from nearby communities (and people) are able to reach out and spread those important lessons/messages through the airwaves. The actual cost of setting up communications infrastructure is high. Logistically, it is impossible to implement a continent-wide radio network that would be able to feed stations from around the world. The UN wrote an article (in 2005) that highlighted the issues faced:

“The cost of setting up communications infrastructure is steep, however, especially in rural areas, where distances are vast and population densities are low. Most areas outside the major towns do not have the electricity necessary for operating land telephones or computers. Radios, by contrast, are inexpensive and can run on batteries or solar power. As a result, radio is by far the dominant mass medium in Africa. There is one radio receiver for every five people (compared with one telephone for every 100 people).

The content of radio programmes is also “cheap to create and cheap to consume,” says Ms. Grace Githaiga, executive director of EcoNews Africa. This is especially important in countries with high illiteracy rates and where many rural people speak primarily local, indigenous languages. “Neither the creators nor the consumers of radio content need to be able to read or write, due to the oral nature of the radio,” Ms. Githaiga adds”.

Radio, for developing nations, is vital. Education and awareness are the primary desires. It is important news regarding health, conflict and problems are communicated so that people are aware. There are so many daily problems for those in poorer nations – having a daily feed of news and talk means they get to connect with neighbouring communities and informed of any troubles. Schools are underfunded and it can be difficult maintaining all the educational facilities in the developing world. Because of that; radio is indispensable for children and adults alike. There are radio soaps and local music but there is that missing link: a direct connection to the rest of the world. Developing nations in Asia do seem to be in a better position than those in Africa. In terms of radio access and the Internet; there is hope of development and breakthrough. It is hard to gauge exact figures but, looking at a report published a few years ago; it outlines the gaps and discrepancies in the developing world:

“The excluded far outnumber the connected and even while the Internet is bringing about profound changes to the world, the vast majority of the world's population has no direct access to it (much less any influence over the nature of the changes it brings with it). Of an estimated 179 million people with access to the Internet (barely 3% of the world's population), more than 80% are in North America or Europe, home to 10% of the world's population (4). In most developing countries less than 1% of the population has direct access to the technology that is changing the world. With the growth of the global knowledge economy there is a very real danger that the ever-widening gap between the info-rich and the info-poor may obliterate any chance of a more equitable world order.

Over the past few years a number of experiments have begun to develop ways of blending independent local radio and the Internet. These were presented and discussed at a conference Converging Responsibility: Broadcasting and the Internet in Developing Countries, held in Kuala Lumpur in September, 1999.

Some of these projects have sought to introduce more diversity and a democratic environment into radio programming by using the Internet as a distribution network among independent broadcasters for news and programmes. Examples of this type of experiment include: two projects in Indonesia, Kantor Berita Radio 68H - www.isai.or.id, and Local Radio Meeting Point - www.un.or.id/unesco/localrad/frontpage.htm; the Panos Institute's Banque de Programmes On Line, located in Mali with correspondents in twenty francophone African countries - www.oneworld.org/panos_audio/; and Latin America's Agencia Informativa Púlsar - www.pulsar.org.ec.

Others, such as Sri Lanka's Kotmale Community Radio -www.kirana.lk, seek to address the problem of the growing gap between the info-rich and info-poor by providing collective access to the knowledge resources available on the Internet -- using the radio as a sort of people's gateway making the Internet's resources available to rural and marginalised communities”.

Radio stations in developing nations are highlighting the gulfs between them and the developed world. Whilst some communities have access to radio-fed education and entertainment; for most, something as basic as that – which we all take for granted – is denied.

Not only could a more ambitious infrastructure provide education and news links to the rest of the world; many struggling communities could – probably for the first time – hear music from the West. Not only that but, by linking our big stations with local broadcast, create a direct link between the developed and developing world – making it easier to gauge levels of poverty and need. We know the power music has in the developing world. Not only can it bridge gaps between communities and help bring about unity and understanding – it touches millions of lives and can help us through some dark times. Having that ‘outside’ voice is vital; knowing those in the developing world are not alone would go a long way. So, then…how does this ambition turn into reality? One cannot alter the topography and landscape of parts of Africa and Asia so that developers can install satellites and provide them access to radio stations around the world. We cannot give the people the power of the Internet: one must be realistic when thinking about this! There is mobile technology available but the way it is being used it ineffective – not linking with local radio access/stations and providing streaming licenses. Reports have come out in past years that highlighted how tough it was for India’s poor and marginalised communities to gain access to commutations networks – India’s media policies being stringent and very rigid.

Governments in Africa – from the wealthier nations – need to provide an incentive to telecoms companies to push infrastructure out to rural communities...this extends to Asia and other nations in the developing world. Mobile telephony can open up the world and bringing about change. Developed nations have their priorities when it comes to poorer communities. We see adverts from charities like Water Aid asking for donations so that struggling communities can have access to clean water. We know the AIDs epidemic in poorer nations and how rife other diseases (like tuberculosis) are. I understand saving lives and providing education are more important than providing music and worldwide radio. The thing is; radio can give so much to poorer areas of the planet. Not only can we communicate directly with them: they, in turn, can speak to us and we can get a much better understanding of their plight. Various stations can bring news and education whilst the gamut of Internet stations means people will have access to a library of wonderful music. Music itself has the power to elevate lives and make people feel less alone: radio can bridge the developed and developing world and, through effective use, help bring about accelerated change and improvement. Charities are doing fantastic work and doing all they can to help communities in the developing world. I feel, with a better telecoms system and better investment in these areas; it can bring something new and extraordinary to those in the developing world and, in time, bring the developed and developing world…

CLOSER together.

FEATURE: Winter Warmers: A Playlist to Ease You Into the Working Week

FEATURE:

 

Winter Warmers

 ALL PHOTOS: Unsplash

A Playlist to Ease You Into the Working Week

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NEXT week is, they say…

the coldest of the winter so far. They say that all the time - but it seems like we will have some frosty mornings, at the very least! Depending on where you live determines whether you’ll get any snow and ice. The South looks set to receive a mixture of sleet, rain and snow; further north, you’ll get the real thing – another slippery and chilly one! All of that would be bad enough if it were the end of the working week: the fact we are facing the cold and winter sting on a Monday makes it all the more depressing!

To help calm and balm the soul; provide some lift, warmth and emotion (either reflectiveness or uplift); I have trawled through playlists that either provide beauty in a cold setting or produce out-and-out sunshine. Whether you like your music energised and spirited (getting the body warmed) or more contemplative and tender (able to soothe and calm the mind); there is going to be something in the pack that helps project images of spring and being shut safely in a scenic and picturesque environment. Here, then, for your Sunday evening delectation is an assortment of songs that help delay thoughts of imminent unpleasantness…

FOR a while at least.

FEATURE: Jameela Jamil: A Figure We Need Back in Music

FEATURE:

 

Jameela Jamil

ALL PHOTOS (unless credited otherwise): Getty Images

A Figure We Need Back in Music

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I could have titled this piece ‘MrsJam’ or given it a truly pun-dreadful…

name that would have cringed the senses and caused vomit to gush out of every pore! Avoiding any tabloid newspaper ‘wordplay’; I decided I would keep it fairly enigmatic and oblique. Next week, I am concentrating on a number of things. I have interviews lined up but, in terms of features; I am investigating everything from the pros and cons – for new artists – of a record deal; why the always-excellent Jack White is a modern-day Renaissance hero; ways the Internet can bring music to less-well-off communities and nations – a bit about an album that is very special to me. Before I get to the point of this feature; I have spent the longest time looking for ‘legal’ images of Jameela Jamil. I am not suggesting there are dodgy images circulating of the thirty-one-year-old: one must be careful when reproducing images from various websites! That is a shame because there are some truly heart-melting photos that accompany her recent interview with GQ. It is a fantastic piece that focuses on the incredible Brit and her role on the U.S. hit show, The Good Place. The photos for that interview were shot by the mega-talented Elizabeth Weinberg. They capture the former Freshly Squeezed host in a very good light. By that, I mean her incredible, natural beauty radiates but, more than that; the expressions she employs contrast the funny, charming and accessible answers she gives in the interview itself.

I thought about using one of those photos for the thumbnail here as it, quite possibly, the most striking image I have ever seen of anyone, well...ever. I thought about being a copyright rebel and nicking the photo as I smoked a gnarly cigarette and chuckled to myself...“Who will ever know!”; as I sipped a beer and listened to James Blake’s latest album through second-hand headphones. I felt it best to temporise my desire for intellectual theft as that could lead to me having to destroy this piece (you can email GQ (and other sites) permission to use their photos but magazines/sites rarely reply and actually give that permission – even if it for a perfectly good article!). I have collated some photos – I think – are all above-board and legit! Rather than get bogged down in photographic legalities; I think it is best I stop waffling and chattering nervously. Many of fondly remember Jameela Jamil as the fresh-faced, enthusiastic host of T4 and Freshly Squeezed. She used to run down the music charts on BBC Radio 1 and would bring her unique and inimitable talents to the masses. This might sound like I am casting her as a bygone star who is getting on in years: she is younger than I am and not even at the peak of her career! Right now, she appears alongside the silver-haired mega-legend Ted Danson and Kristen Bell on The Good Place - she plays Tahani al-Jamil.

IN THIS PHOTO: Ted Danson and Kristen Bell in a promotional shot for The Good Place

She is an upper-crust character who, as opposed to being the same stuffy, posh English characters U.S. shows usually recruit – the kind that would scream at a barista in a Mayfair coffee shop for overcooking their duck’s liver, herb-infused panini on rosemary bread – she is a lovable and relatable woman who is more than the ‘token Brit’: she plays a key role and her acting skills have been applauded by critics (despite the fact this is her first acting role; she has learnt a lot from her co-stars). You can read the interview in full – and see Jamil on the show – but points come out of the piece that makes me realise, A): She is a big loss to British music T.V./radio and, B): She is someone who could make some real changes in the music industry. That might sound like a weird assertion…so let me explain. In that GQ piece; there are some bold confessions – if she met her character from The Good Place in actual life she would punch her in the tit (only the one, as it is explained!) – and a wonderful blend of warmth, wit and quirkiness. It is no surprise Jamil landed a role in a successful U.S. show: given the impact she made on British screens; that call was only a matter of time! The always-lovely and beguiling Jameela Jamil is, very much, in a good place (sorry!) right now. Dividing her time between California and London; the actor and journalist is embarking on a new stage in her life.

PHOTO CREDIT: Unsplash

I remember reading a blog she wrote where she decided to abandon and flee her life in the U.K. and go to America – no real agenda; only that feeling she had to get away and make a bold change. That, at the time, lingered in the back of my mind. I was struck by the temerity and gamble a young woman would take and had a fear: what if that backfires and she feels isolated there?! That risk, actually, flirted with my subconscious and has impacted some of my decisions in life. These range from the small – a recent tattoo I got depicting some Kate Bush lyrics – to the medium – gearing myself to escape to London and try and get my writing exposed – to the life-changing and overly-ambitious…this is where the ‘music’ part of my piece comes in. There are a lot of issues and conflicts in the music industry that requires discipline, a vital voice and a natural leader. I wrote a piece recently that proposed a notion many of us want to see: forming a ‘music government’ that would appoint various people/departments to care for various sides of the industry – from protecting small venues to tackling sexism and racism; preserving older music and bringing it to new generations; ensure music is integrated into the primary-school syllabus of the U.K. through to ensuring there is adequate and effective support to those artists who suffer mental-health problems.

PHOTO CREDIT: Unsplash

Whilst many have seconded my notion – getting all Smokey Robinson here! – there have raised a legitimate question: how do you start a movement as huge and unwieldy as this?! That is fair enough but I am pragmatic and ambitious: it will start with acorns and small, positive steps. I have brought Jameela Jamil to mind because I feel she has a similar love for music and a desire to see (positive) changes; she has that experience and knowledge and the personality D.N.A. to affect real movement and evolution. I will come to her professional C.V. but, from a personal stance; Jamil is that engaging and seductive human who compels one to follow her and hang on every word. She has an awkwardness and clumsiness that resonates in me – I somehow manage to fall up every staircase I approach – and has a modesty and shyness that bellies someone who is being thrust into the American entertainment mindset right now. Recently, on Twitter, she balked at the daytime songs played on the radio – I am not sure if she was in the U.S. or U.K. at the time. Maybe there was a nod to her alma mater (BBC Radio 1) and the overly-processed, inorganic sounds they spin during the ‘light hours’. I listen to BBC Radio 6 Music where a broader, quality-focused playlist comes to mind. She and I share a love for James Blake and the music he throws out there; she has exceptional taste and, away from presenting/being a D.J., there is a conscientiousness and sense of mortality the industry could benefit from.

Everything about her writing and outpourings impresses me. I have improved as a person and writer since following her (on social media, that is: stalking her would be a rather extreme and creepy measure!) and feel like I am a more rounded and better person…less alone and more understood. Jameela Jamil gave the ever-nefarious Katie Hopkins a two-barrelled fu*k-you when she spewed vitriol and neon vomit into the press – I can’t remember the specific insult but Hopkins ran her mouth off without a thought for other people and their feelings. Right now, Hopkins is in the news because, whilst in South Africa, she stacked it on the pavement as a result of ketamine ingestion (I feel sorry for the pavement, mate!). The reaction on social media has, naturally been sympathetic: by that, I mean there has been justifiable schadenfreude. Rather than mock the idiotic Hopkins; the way Jamil speaks up for people and lets her voice register strikes me. Her website, Diary of a Goon, provides honest and raw investigation about different things – from the recent controversy surrounding Aziz Ansari and the lack of visible disabled persons in the open (she launched Why Not People? that provides better access to gigs for the disabled and raises a very important issue). Her writing is human, memorable and hugely impressive. Music, right now, is afflicted with issues around parity, quality and mortality: areas Jameela Jamil has written about and is determined to change. The lack of mainstream quality means there is an imbalance between the most-played artists and the genuinely good that are getting less airtime and acclaim...

PHOTO CREDIT: Unsplash

There is ongoing and never-ending sexism; emphasis on looks and sexuality (the way some promote female artists) - all of that needs addressing and counteracting; we have issues around disabled access – in terms of gigs and the lack of media attention on disabled artists – and there is a veritable buffet of potholes and chasms in the industry that are not being filled. My government scheme would, effectively, replicate our Government...with the added advantage of not being evil and staffed by a bunch of cu*ts. Working in the U.K., U.S. and Australia; there would be constructive and regulated departments that would work in every town and city of the nation(s); people assigned to tackle issues and provide a much more balanced, moral and inspiring industry. Many may claim we already have a system like that in place: there are people who are good and do fantastic work but nothing as large-scale and ambitious as this. Jamil, as a natural leader and voice of the industry, would make a perfect ambassador. There would not be a Prime Minister, as such: it would be a cabinet based around the Socratic method/maieutics whereby discussion and democratic dialogue would be opened up: the proletariat, for-the-people representatives actually speaking FOR everyone. I am not saying Jameela Jamil alone could change music and bring about a revolution. My point is she has all the D.N.A., desires and experiences to help enforce progressive change and help people. I will start ‘recruiting’ members/’ministers’ when the proposition gains steam and finance but I have been thinking about Jamil’s career arc how far she has come.

From the hangover-curing siren on T4 with that miles-wide-smile and magnetic personality; to the rising star of U.S. television – the young Londoner has covered a lot of ground and is barely in her thirties right now! This might sound like a passion-piece and long-distance flirtation – the heart does skip when confronted with Jameela Jamil – but my motives and proclamations are much purer and less skeevy than all that (at a time when the greasy and toad-like Harvey Weinsten’s perverted misadventures are finding fierce rebuke by the likes of Uma Thurman; journalists and professionals determined not to descend to his slimy and depraved depths!). I miss seeing Jameela Jamil on our screens and her having a say in the music industry. I hope she finds a gap in her busy acting diary to come back to British radio/T.V. and bring truth and guidance to the people. I can see her fronting a BBC Radio 6 Music show – it seems like her natural radio home! – and presenting a new, quality-rich music T.V. show (one that highlights the best new music and the finest from yesteryear). Her U.S. popularity might see her moored in the nation for a while yet but, looking back at her earliest days; we do not have anyone like her on T.V. and radio. Not only does Jamil have a huge knowledge of the music industry and the need for multifaceted change: her crusade against societal ills and wrongs in the world mean she has the perfect blend of characteristics. I am not sure what side of the Atlantic she is right now but I have to ask this of her: if you get a moment between seasons of The Good Place, would you mind awfully…

PHOTO CREDIT: Ezra Bartlett

ADDING your voIce back to the music industry?!

FEATURE: Another Form of Hostility: Discrimination and the Continuing Struggle for London’s Black Clubbers

FEATURE:

 

Another Form of Hostility

  PHOTO CREDIT: Party Flock

Discrimination and the Continuing Struggle for London’s Black Clubbers

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MY eye was caught by a piece in The Guardian…

IMAGE CREDIT: Getty Images/Metropolitan Police

written by Jesse Bernard. The article looked back at the 2005-launched Form 696 that was created by Metropolitan Police. It was a risk-assessment form that mandated the promoters of London’s nightclub life to provide details of the events they were planning – including the race and ethnic breakdown of their intended clientele. It was, rightfully, scorned for being racist and discriminatory. The form instantly attacked the profitability and freedom of Rap, Hip-Hop and Grime. I can see a measure put in place if there was an immense amount of violence and brutality. Clubs and venues were threatened following Fabric’s drug-related incidents. They reopened and relaunched after being threatened with permanent closure. I felt that measure was exaggerated and rash. We know there are going to be drug incidents and violence at venues around the capital. The fact a couple of incidents brought Fabric into the fore should not have resulted in that closure – it is back in business but subject to tight measures and curfews. It wasn’t until November of 2017 before Form 696 was dropped altogether. When the Form was dropped; The Independent captured some reactions:

“Launched by Mayor of London Sadiq Khan, the review included a consultation between local council licensing managers, venue owners, the Musicians’ Union, London Promoters Forum and led by the capital’s Night Czar Amy Lame.

IN THIS PHOTO: Amy Lamé/PHOTO CREDIT: Amy Lamé

Mr Khan welcomed the decision, saying it would help London’s “night-time economy thrive” and ensures the capital is “a welcoming place for artists and DJs of all music genres and that Londoners are able to enjoy live music safely”.

He added: “I called for a review of Form 696 earlier this year because of concerns raised by promoters and artists in the capital that this process was unfairly affecting specific communities and music genres.”

Met Police superintendent Roy Smith said London had seen a “reduction in serious incidents at promoted music events, particularly those involving firearms” in recent years”.

I have a lot of respect for Amy Lamé and know the BBC Radio 6 Music D.J. is doing great work for London. She is helping safeguard the public and protect venues – ensuring those who spend the night enjoying music are not subject to needless harm and prejudice. She welcomed the abolition of Form 696. Although there is no legislation restricting access and right for black clubbers: there is a great fear they are being marginalised and pushed to the boundaries. Areas like East and South London used to be hotspots and havens because of the strong Grime scene. Forerunners like Wiley and Dizzee Rascal put the genre on the map. Dizzee’s Bow-based brilliance brought young black people together in a safe and secure space.

PHOTO CREDIT: Places + Faces

There are new Grime artists like Stormzy and Kano but, as other genres are resonating with the population of these areas – it seems there are fewer Grime and Rap clubs available. Some are being converted whilst others are recruiting more white patrons – some of whom are offering violence and hate at the established and loyal black crowd. The more gentrified and ‘clean’ London becomes; the more isolated black revellers feel. They consume less alcohol than white clubbers but receive much lower pay. Their standard of living is lower so, even in the clubs that retain their musical purity; the raised prices and inflated drinks prices means they are being squeezed out. There are various forms of discrimination at play: economical and violent among them. There are, as The Guardian article highlights, issues with entry and dress codes. Clubs, as part of gentrification, are stiffening their policies and insisting their patrons adopt a different look – this often conflicts with the style and identity of black clubbers. Many clubbers are going to areas outside of South and East London in order to find affordable and accessible music. The irony is, as they have to travel further; they are still spending the same as they always have – less money spent in the bar; more spent on an Oyster Card.

PHOTO CREDIT: Unsplash

Areas like Croydon are more affordable spots for the underpaid, outpriced black youth. They are leaving traditional hotspots and areas in order to sustain their passion and sociability. Not only does this mean they have to assimilate with a different crowd: they are getting further away from their city and feeling overlooked. London is the best city on Earth but, because of its popularity; bars and venues are being refurbished and renovated to accommodate influx and a growing population. All the ‘rough edges’ are being smoothed and those real, genuine spots – with a few more stains on the toilet floors – are being whitewashed and beautified. The club scene in East London is not exactly a trip through Dubai: it is still quite gritty and authentic in certain areas. If areas like Hackney and Elephant and Castle are ‘improving’ and being gentrified – Newham and Bow, perhaps, a little more genuine and grounded. There will be a time where all council estates and locales of London are rebuilt and bulldozed. It might not be that long before all low-paid locals will have to leave London altogether so they can enjoy a good night out. I know for a fact there is a lot of violence and hatred still being perpetrated in many London clubs. Even though there are venues dedicated to fostering the best Grime and Rap music around; there is a clear social division between higher-paid patrons from wealthier parts of the capital and the poorer (predominantly) black attendees.

PHOTO CREDIT: Unsplash

I have heard stories of scuffles and violence. Many have been attacked by bouncers and it seems, the more expensive it becomes and the stricter entry access becomes; the harder it is for young black clubbers to find inclusion. There is hope things will improve and stabilise. The success and advent of artists like Stormzy means there is a great demand for Grime and Hip-Hop at the moment. The only reason these artists rose through the ranks are those local venues and faithful supporters. There were fears, before Form 696 came in, that there would be a lot of trouble from various ‘sectors’ of London society. Implementing these codifications and guidelines was designed to ensure there would be less violence and trouble in London’s clubs – even if it did seem like a shot at black clubbers. The fact there was very little trouble did not prove Form 696 was a success and logical move: there would have been the same level of conflict without it being in place to begin. I still worry there is little consideration being given to the less-well-off in the capital. Maybe there is less bloodshed and illegal activity – against the black population – than previous years but, in another way; raising prices and forcing black clubbers further from the centre of London is another form of discrimination. It might not be as overt as attack and violence - but it is still seeing division and split through the community. In the past, clubs like Common Sense (Peckham) and Eskimo Dance have put on Grime nights and been affordable options.

IN THIS PHOTO: Club 49/PHOTO CREDIT: Getty Images

London’s Hip-Hop scene is evolving and spots like Club 49 and Bar Rumba proving popular; 100 and Supa Dupa Fly great spots that have affection and great knowledge of R&B/Rap/Hip-Hop. I look at these areas and, from images and prices listed; you wonder what kind of punter is coming through the door. The entry fees vary but, when you get to the bar; how much are you paying for a night out? The only way London can maintain a mixed-race nightclub scene is to consider those who earn less than the ‘average wage’. I can understand why some clubs need to modernise – for safety and, by projecting a classier image, they are more attractive – but it is coming at the expense of the low-paid black community. In order to diversify clubbing and the Grime/Rap/Hip-Hop scene; we need to, in a way, rebel against gentrification and offer more affordable venues. There are some out there but they are becoming fewer. In order to sustain the momentum of Form 696’s extinction; clubs, our Government and appointed guardians need to ensure black clubbers are welcomed and as visible as they were years ago – in areas that are becoming more expensive and restrictive. That might sound counter-logical but we need to ensure ever-growing gentrification does not…

PHOTO CREDIT: Pinterest

EXCLUDE black clubbers in London.

FEATURE: Spiceworld: Why a Spice Girls ‘Reunion’ Is a Missed Opportunity

FEATURE:

 

Spiceworld

IN THIS PHOTO: The Spice Girls captured last week/PHOTO CREDIT: @GeriHalliwell

Why a Spice Girls ‘Reunion’ Is a Missed Opportunity

_________

DEPENDING on how far along the spin-cycle…

PHOTO CREDIT: Getty Images

your union flag dress is – the more interested you’ll be in the news the Spice Girls are getting back together. I have never been a massive fan of the band, myself. You can lob criticism at their way all day long. They are manufactured – albeit more credible than the reality muppets they pump out now – and were primed, moulded and cut to an insane length. One suspects the girls’ weights were charted each week to ensure they were ‘commercially acceptable’ – I think there was a conflict when it was suggested, by management, Geri Halliwell (now Horner) was putting on too much weight – and that they were living a very clean and uncontroversial life. They only recorded a few albums and only two of them were good: 2000’s Forever, minus Halliwell, was a record too far. Each member had their role and place. ‘Sporty Spice’ (Melanie Chisholm) was the good singer and, well, sporty one; ‘Scary Spice’ (Melanie Brown) was the tough and edgy one; ‘Baby Spice’ (Emma Bunton) the cute and innocent member; ‘Ginger Spice’ (Geri Halliwell) the standout and ‘most likely to succeed’; ‘Posh Spice’ (Victoria Beckham) the least talented singer – but the most fashionable one. The last actual reunion was in 2007 when the girls embarked on a worldwide tour. It was reported over one-million people in the U.K. signed up for tickets – over five-million around the world.

PHOTO CREDIT: Ray Burmiston/Photoshot/Getty Images

Their first concert in Canada saw them perform to 15,000; they recorded a Children in Need single Headlines (Friendship Never Ends) and scooped awards – mostly for their existing and older music. It was hoped the girls would get back together for good but, following the limited run of the Viva Forever musical; the fascination faded and it was seen as the last throw of the dice. Although their recorded career lasted around four years; the Spice Girls created a legacy and inspired legions of fans. The reason I was not a fan of theirs had nothing to do with the music: strangely it was their political stance and lack of independence that got me. Some might say a manufactured girl group are meant to be subservient and disciplined. They were told what to wear and where to go; other writers penned their songs – although the girls pitched in on most of their tracks – and their love lives were under the microscope. Maybe rebelling and doing their own thing would have compromised their record deal and their popularity. For a band who invented ‘Girl Power’ – more on that later… - they were being directed by a group of men. That is not their fault – a lot of the girl groups through the years have had to exist a certain way. The Spice Girls were not as sassy and cool as En Vogue or Destiny’s Child; they were better than (if not as credible/tough) as All Saints; not quite as compelling as the best girl groups of the U.S.

What does this latest meetup mean for the band? The shot at the top of this feature is them all back together – although I suspect it is heavily edited and filtered! – and they were meeting to discuss possible ideas. From 1996-2002 – between Wannabe’s release and their split – the band helped add something very special to the world. Although they made some good music back in the day; when it came to politics…perhaps comments should have been left out of the media. They once dubbed Margaret Thatcher a Spice Girl – almost the same way The Beatles dubbed Sir George Martin the ‘fifth Beatle’. Not only does the Spice Girls’ patronage of Thatcher mark them out as mega twats – it derailed and undermined their Girl Power movement and what it stood for. I thought their latest regrouping would be a way of backing Jeremy Corbyn and throwing their weight behind him. Maybe they would make another silly mistake and label Theresa May the latest member of the group – who knows with them?! There are rumours as to what the reunion could yield. Some say a multi-million-pound deal could happen in China; the girls launching fashion brands and relaunching their music…maybe doing some shows here and there. The greatest relief for many seems to be they are not going to record any new music! If they had the same ability and sound as they did back in 1996, I would say the world needs Spice Girls to come back. The sight (and sound) of five near-middle-aged women slipping into P.V.C. suits and gyrating around the stage is unseemly, to say the least.

PHOTO CREDIT: Getty Images

If there was a reincarnation then it would be a more mature and different version of who they were. The details regarding the Spice Girls’ relaunch are vague but it puts them back into the consciousness. There is endless debate around sexism in the industry – barely a week goes by without my addressing it – and with music changing and adapting (there are few girl bands; girl-based groups who play Punk and Rock) the days of Spice Girls Pop rule seems like a distant memory. Once was the day you could not walk the high-street without seeing some Spice Girls merchandise staring at you. People – teens and girls, mainly – would line the streets for the latest Spice Girls album. Say what you want about the music and the authenticity of their ‘rebellion’ – there is a role for the girls in 2018. I wonder whether we will ever see a Pop girl group who perform instant hits and create movements and identities. Even the biggest, hardest-hitting bands around are a little bland and contrived. Gone are the days of genuine Punk spirit and those who could ensure for years. Pop is changing too - but is in no danger of moving back to the 1990s. In an industry where many ask whether looks and sex appeal are being placed over quality and talent. Maybe a regenerated Spice Girls would either be a tragic hark to their best days or a ‘grown-up’ (read: a bit crap) band. Creating a new band in their image would lack any spontaneity and credibility. I am in no rush to hear new material from them – having my public hair plucked individually by a convicted sex offender would be a more salubrious option – but there is something intriguing about their reformation.

PHOTO CREDIT: Getty Images

The role of women in music – and how far they have come – is, in part, down to band like Spice Girls. Maybe their brand of Pop has evolved beyond recognition but they were one of the first female bands (outside of Punk) to really stand out and stick a finger to the doubters. Perhaps their brand of rebellion was more cheeky and fun as opposed political and purposeful. Whether you see the Girl Power movement as a fad and gimmick or something that gave women/girls hope and meaning; you cannot deny it captured a spirit and defined a time. There was plenty of world-class music around in the mid-late-1990s. The fact Spice Girls managed to stand out – when the likes of Oasis and Blur were still in the popular forefront – was no mean feat. Alongside the Britpop movement (which was starting to dwindle and foster the next generation); the uplifting and catchy Pop of Spice Girls was perfectly timed. Although the girls cannot recapture the mood and feeling of the time: is the money-driven (one suspects) motives of 2018-Spice Girls a missed opportunity? I am sure they are less financially viable than in their pomp. None of the members has had especially lucrative or successful solo careers. None of them has side-stepped into acting (not in any meaningful way) and they seem content with a more domesticated role in life. They all had solo careers with varying degrees of success.

PHOTO CREDIT: Getty Images

Geri Horner’s career started promisingly but was short-lived; both Melanies had the odd hit whereas Emma Bunton did not really get off the blocks – the less said about Victoria Beckham’s attempt at a solo career the better! Rather than record new music; a wiser option would be something education and constructive. The world does not need Spice Girls-branded clothes or any ventures in the Asian market. They helped launch something unifying back in the 1990s. They helped promote feminism and, through image and music, brought pop girl groups into the fore. There has been nothing like them since. Sexism is a bigger issue and problem, many might say, than it was when Spice Girls came onto the scene. I am not sure how they would modernise and adapt Girl Power for the 2018 world. I know it would be a more popular decision than marketing and clothing. Female musicians are fighting and attacking prejudice but should one of Pop’s great female bands sit by and ignore a need for leadership and a powerful voice? Maybe that is part of their plan but the five members could, between them, do something great. The Spice Girls were always strongest and most relevant when they were a unit: the solo careers produced nothing of much note and endurance. The same goes for business ventures and a striking voice. I suspect the lucrative deals they are discussing are good for their bottom-line but seems like a needlessly over-speculated and hyped move for what it actually is. Few people, fans and non-fans, will care about any new Spice Girls merchandise, clothing or deals. The music world, when it comes to them, would prefer their take on modern gender imbalance and ways to inspire and guide young women. I think that is a safer and more lucrative course that should give the five-piece…

REASON to have a rethink.

FEATURE: NME of the State: Has the Former Industry Leader Lost Its Edge?

FEATURE:

 

NME of the State

 PHOTO CREDITS (unless credited otherwise): Getty Images

Has the Former Industry Leader Lost Its Edge?

_________

WE all have memories of racing to the newsagents…

and grabbing a copy of NME. My experiences began back in the 1990s when the Britpop phenomenon got underway. It was an exciting time for music and one that still rebound in my mind. I was keen to follow all the developments, exploits and explosions. One week, we would read about Blur releasing their latest hit. From there; we would see read about the Gallagher brothers lobbing a grenade into the Blur camp. The rivalry and scuffs between Oasis and Blur was reason enough to purchase NME. I would drool over the interviews and news available in the magazine. I think the last copy of the magazine I bought was back when The White Stripes were still going – maybe 2006 was the last time I actually got it. Since then, the publication has moved to the Internet and, as such, adapted to that way of working. We see very few (good) magazines on the shelves anymore. Certain professions retain the printed word: music is moving online and there are only a few decent magazines available now. Maybe they are being purchased by a certain demographic – slightly older readers who want to retain the purity of the written word – but I know there are younger readers who do not want to completely immerse themselves in the Internet. MOJO and Classic Rock is out there; Kerrang! still has a readership: apart from that, how many other magazines can you name?

Q is one…I know Rolling Stone is still healthy(ish). It is tough surviving in a market where we can get all the music news and goings-on at the click of a button. To me, NME has always been the leader and go-to magazine for the masses. That was the case as recently as the past decade. Maybe music has evolved (or unevolved) to the point where we do not have the same excitement as we once did. I trawl the Internet for ideas and news. There are different sites that I use and, between them, provide me all the information I need. It is rare I look at interviews and read too many other reviews. The reason I used to buy NME is their the features run and the fact I could sit down, engage with the musicians and read all the brilliant reviews in there. This is not me bashing a once-fantastic magazine. The fact they are on the Internet now means there is a greater scope and they can produce more content. The fear I have with NME is, oddly, the same I have with HMV. HMV stands for ‘His Master’s Voice’. There is a dog and gramophone as their logo – one imagines music would be their only concern! I find, as the years go on, music is less of what they do.

PHOTO CREDIT: Unsplash

You walk in a store (those that are left) and it is filled with D.V.D.s and gadgets. There is a bit of music here and there but, unless you go to one of the bigger stores – like the one on Oxford Street, London – then you are going to find less and less music. It is the same with the online content of NME. The ‘New Musical Express’ had that decades-long reputation as the bible for the music-loving masses. There has been criticism of the magazine since the 1970s (or earlier). Objections aside; there have been some great moments and wonderful articles. It is one of the reasons I wanted to become a journalist. Now, in 2018; I do not really check out NME. There are a few reasons for this downturn. Sites like Pitchfork, The 405 and The Guardian provide better content and there is a specific focus on the music itself. I find the features are more compelling and the interviews more in-depth. NME does produce interviews but it is rare I am actually captivated by them! The magazine/site, to me, defines cool and should be about cutting-edge artists and the strongest out there. I see too many features of mainstream acts and Popstars; features revolving around areas NME should not be involved with. The best thing about NME, now, is the music news. They are on the button and always on top of everything happening. The reason I go to other sites is (because) they can offer more than the latest news.

PHOTO CREDIT: Unsplash

Every site has adverts and banners but, at NME’s website; you are inundated with adverts and pop-ups. I click on a page and, before I know it; there are videos playing that usually start with adverts! If you have to sit through a thirty-second advert each time you play a video – you are less likely to come back and stick with the site. A lot of the reviews are either too brief or predictable – lots of four-star assessments; contributors overrating a lot of releases – and they do not really produce too many original features. It is sad to think the legendary publication has not only become a spent force in printed terms – offering it for free and then, inevitably, giving up on the idea of printing it – but it is producing less quality content. Back in 2015, when sales were dipping and the end was near; The Irish Times outlined the facts – and gave their views regarding the quality-relevance debate:

“…All of which makes the current wave of press stories about the once venerable magazine a bit awkward. Last week’s circulation figures showed that the magazine now sells just under 14,000 print issues every week. There are also 1,389 digital sales, but it’s clear to all that the glory days when the NME was shipping 300,000 copies a week are well and truly over and are not coming back. Indeed, you can measure the slow, steady decline of NME sales in Guardian Media news stories from August 2011, August 2012, February 2013, February 2014, August 2014 and, of course, February 2015. NME Deathwatch is in full effect…

PHOTO CREDIT: Unsplash

The NME’s real problem, though, is a content problem. The reason why print sales have slumped is because the print magazine does not offer anything unique or different to make you part with your few euro. I went through a phase a few years ago of buying the magazine every week, but it quickly dropped off my radar again when I realised that I could find the info I was buying the magazine for, info on new bands mostly, from various online sources. There was also the realisation that those non-NME sources were way ahead of the NME when it came to new acts and that they weren’t waiting for some vested interest or press officer to tip the NME off about the act in the first place”.

The decline and near-death of NME has happened for a number of reasons. There are a lot of articles out there – most from 2015 – that theorised why the magazine went free and why the sales declined. One of the reasons I have abandoned it is because of the brevity of the pieces and the lack of features. There are too many adverts and it is a rather frustrating experience visiting the site. Is the lack of great Rock bands contributing to the lack of NME fire? Tony Parsons wrote a piece for GQ (in 2015):

“It is true that every newspaper and magazine on the planet is still feeling its way in the new digital age, and no definitive model has yet emerged of the best way for a print publication to thrive in the modern world. But the NME has a problem that is not shared by the New York Times or Your Dog magazine…

“Rock music grew old but the NME stayed young. It never went dad rock. It never aped Mojo. Instead of being a curator of a dying art form, the NME kept trying to break new music. This is to the paper's eternal credit. The NME was, at best, God's A&R man. But what happens when there is no Johnny Marr out there knocking - uninvited - on Steven Morrissey's front door? What happens when the high-IQ misfits are starting websites instead of bands?

What happens when the music is no longer the centre of the universe? The NME mattered when the music mattered. But the very reason for the NME's existence - reporting from some damp, unlicensed basement where The Rolling Stones or The Jam or The Stone Roses were tearing the place apart - is no longer there”.

There are other reasons why NME is no longer the go-to magazine/site of choice. Greater competition means there are choices and other options for journalists. New brands mean writers are going elsewhere. Certain sites offer greater specificity and niche tastes; it is easier tailoring sites for a specific taste/market – NME is quite broad and old, now. It has had a great life and continues to influence but, as more rival spring up; it has not adapted in the right way. It seems you get more film and T.V. news than music now.

PHOTO CREDIT: Unsplash

I got to their site and have to wade through so many non-related articles before I get to something I want to read. The sheer volume of other sites means I do not really focus on one for any real period of time. I flick between them and get a little something from each of them. The greatest two threats and reasons why NME has declined is the changing tastes in music and the popularity of the Internet. NME has always been about proffering the best Rock, Indie and Alternative out there. When it reached a modern peak in the 1990s; the music scene was a lot stronger. There were great working-class bands and a great wave of British talent. We had Blur and Oasis duking it out; Pulp and Suede offering something special. Even when The Libertines and The Strokes came around (in the early-2000s); there was a real place for NME. It was at the frontline of reporting and perfect for these bands to get their faces seen. Since then, Pop has taken over and there are fewer working-class bands – even with the rise of IDLES and Shame; there are fewer great Rock bands around. That means the authority and relevance of NME have been called into question. The simple fact is, as music has changed from the printed to digital; NME has not been able to adapt to the shock and fallout.

Since 2015, when it was threatened, it has tried to entice readers in and keep its circulation. I assume there are fewer paid contributors now; it is harder making good money working there and, because of that, writers are going to sites where they can afford a bit more. Advertising helps get the revenue in but, the more they rely on that, the more people are going to avoid the site – annoyed at the constant glare of crappy products and trailers! Maybe I am pining for the past and trying to get a return to those glory days. It is dangerous to live in the past, I know. What worries me is the fact NME have not really coped with the end of their printed career. They could have created a great, organised and appealing online market. What they have done is compromise and broaden too much. We do not go to NME to read film news and read articles from anyone outside of music! I do not write about the latest films because, surprisingly, that defeats the point of a music blog! I am sad the site/magazine has lost its place in music and seems to be a historic footnote. It was once the bastion and king of all music journalism: now, with younger, tauter brothers on the scene; the flabby and greying NME seems to get more criticism than praise. Maybe its fortunes will revive but, as music fans are looking elsewhere for their content; it seems to the heady days of NME…

REMAIN in the past.

TRACK REVIEW: Kirbanu - I’ll Take My Leave Here

TRACK REVIEW:

 

Kirbanu

I’ll Take My Leave Here

 

9.4/10

 I’ll Take My Leave Here is available via:

https://open.spotify.com/album/2cmjcB05PKlsYB166zqR1Q

GENRE:

Indie

ORIGIN:

Heidelberg, Germany/Adelaide, Australia

RELEASE DATE:

22nd January, 2018

The E.P., Echo Chamber, is available from 1st March. Pre-order via:

https://www.pledgemusic.com/projects/echochamber

_________

IT is rather fortunate I am able to review/feature…

more female artists right now – as my inbox was getting full with male artists! I do not mind interviewing and featuring the guys. It is good to include everyone but, when it comes to interviews, the same trend (in 2018) occurs as it did last year: there seems to be very few female coming through. Most of my requests are from labels/P.R. companies where they will have female musicians on their books. I know female artists like a sense of independence but I feel many are being overlooked and ignored – it is assumed they want to do all the work themselves and do not want their name put forward. The inclusion of Kirbanu into my blog is not a way to redress the balance and merely include a female artist. I have featured the Australian-born artists before – and know well enough what she can do! I will take a look at her current single but, before then, it is prudent to look at a few things that stand out; those characteristics that make Kirbanu someone to watch very closely. I will talk about Australia and Germany – artists moving from the former to the latter; the differences between both nations – and songwriting that embraces all emotions and causes shivers; personalities that can add so much to music; why we need to see Kirbanu travel the world and take her music as far as possible – why we need optimism in the present day. I will start by looking at Australia and ask the question: why would anyone want to move away from the nation?! I know every nation has its downsides and lesser areas. We think as Australia as this always-sunny, tropical climate where it is all beaches, care-free people and beauty. That is true in most cases – I know there are more boring areas of Australia. Adelaide, where Kirbanu hails, has produced some fantastic bands through time. From Bad Dreams and I Killed the Prom Queen; The Hot Lies and Funkoars – there are quite a few decent bands worth checking out.

I guess Sydney and Melbourne are the ‘big’ areas everyone looks at. We often forget there are other parts of Australia where fantastic music is being made. Brisbane and Perth are places I love. I can understand why some artists would move from Australia. I love the nation but Germany is luring many in. Kirbanu is finding new lease and fans in the nation; she loves the country and is settled there. I have seen many artists go to Berlin: the capital is productive and broad; it is less stressful than some areas and has a wonderful music scene. Heidelberg is, perhaps, not as rich as Berlin (when it comes to new music) but it has a fantastic landscape and people. The Australian songwriter has relocated and, for many, that might seem daunting and scary. I feel Germany is a nation that deserves more focus and acclaim. Most people gravitate towards the U.S. or U.K. when it comes to settling down. I feel it is somewhere I need to go in order to recharge and find a new musical lease. I have mentioned Berlin and how captivating it is. Kirbanu still visits Australia but she has embarked on a new phase in her life. I am not sure whether relationships and love brought her to Germany – or kept her there – but she is integrated with the people and finding great inspiration. I find Australia has a more notable music scene but it seems to be restricted to a few cities – there are other great areas but few tend to focus on that. Germany has a different way of life and there is fantastic music everyone. The type of sounds you get in Berlin will be different to Heidelberg; that will be different to Frankfurt or Stuttgart. It is hard finding songwriters who stray beyond the conventional and provide the world something new and beautiful.

One of the main attractions of Kirbanu is the way she brings the listener into a very special world. She has a spirituality and passion that nobody else does. Her songs look at love and adventure – like everyone else – but the way she writes about these subjects is amazing. Everything has a sense of calm and beauty to it. There are heartbroken moments and tense thoughts but, rather than project them in a very desolate and wracked manner; Kirbanu ensures the listener is not suffocated and scared. It can be difficult hearing music that has burden and pressure at its heart. I listen to a Kirbanu song and get taken away. It is an immersive and wonderful place to me, that is for sure! I will talk about where that style stems from but, look around music, and do you see any other artists like this?! Maybe there are one or two that have an ethereal and delightful way of working – Hannah Peel among them – but it is pretty rare. The German-based songwriter wants to provide something meaningful and deep and, at the same time, provide substance and meaning. Many might think a particular way of songwriting – impassioned and calming – would fail to resonate and remain in the memory. There is that dependency on urgency and addictiveness. We want our music to be firm, striking and physical. That is all well and good but, now and then; I want to listen to songs that go further and have real emotion behind them – able to entice me in and calm the spirits. When listening to a song like I’ll Take My Leave Here; you can hear emotion working away and something harder working underneath. It is a complex song but one that leaves impressions and does something wonderful to the soul. At times like these – where we are all a little more stressed and scared than we need to be – it can be hard to discover calm and direction.

I will move onto other areas but, right now; why we need to encourage and foster artists like Kirbanu. I have a lot of love for every artist out there and know how hard the music industry is. It is a challenging and difficult industry – creating a sound that sticks in the mind and lasts the test of times is really hard. In a zeal to be noticed; artists are trying everything they can. I feel the levels of innovation and motivation is at their all-time high. We all need the motivation to keep going; to find direction and reasons to keep plugging. That might sound grim but, when listening to an artist like Kirbanu; I have reason to look ahead and find a new perspective. Most of the new artists I see coming through produce emotions and wonderful music – few remain in the brain and offer something genuinely deep and affecting. It is hard to describe Kirbanu’s music and why it does something wonderful. One gets shivers and a sense of sigh when listening to her sounds; you drift off and imagine what the songwriter is singing. That breeze and calm do not come at the expense of physicality and passion. The songwriter has a hugely powerful voice that moves the body and brings every vision to life. She talks about, as I said, love and the pains of life. It is important to hear that from everyone but, when thinking of Kirbanu; you are left with a transcendent and captivating artist who makes the heart skip a beat and remains long in the imagination. I know there is an E.P. coming up (more on that a bit later) and that will give listeners a chance to see where she is now and what she is writing about. I look at how she has developed over the past couple of years and the new aspects coming into the music. Everything has heightened and the confidence in each song (now) is amazing. The songwriting has improved – it was always fantastic – and Kirbanu’s voice has new qualities and nuances. Tie that with the incredible music and stunning lyrics and you have an artist who keeps on getting better. For someone who was always fantastic; this new peak is a benchmark other artists will need to come up to.

I have talked a lot about her sense of entice and beauty. That is one of the first things one notices about Kirbanu. I look at the social media feed of the artist and she motivates her followers and sends out positive vibes. Messages are put online and videos produced. Not only does Kirbanu work in Germany; she travels around the world and will take her listeners with her. There are other artists who produce motivational speeches and posts; those who film videos from other parts of the world – few that have the same effect as Kirbanu. The way she speaks and what she talks about gets into the heart and provides motivation and solace. I message her now and then and, rather than a written message back; she will record something (spoken) to me. It is a lot more human and, in an age where we are disappearing into social media; she brings that sense of connection and realness back to life. That might seem strange but how many of us use social media and actually socialise with anyone?! It sounds like a bit of a misnomer, in many ways. I worry we are all becoming a bit too detached from one another. Kirbanu, in a quest to touch her listeners, will take her camera with her and produce these videos. One will see messages and quotations; there are pictures of the songwriter smiling and radiating – all very positive, encouraging and humbling. I often need the motivation to keep going and find hope. Music is busy and it is difficult discovering artists who produce fantastic music and provide something extra – that personality and sense of motivation that lifts the heart and enriches the body. This year will be busy for the Australian musician. With an E.P. due and touring dates booked; things are going to get busy and bigger. She will be traveling around the world and it will be quite a tiring experience. One knows there’ll be times where she feels down and is not always in that good headspace. It would be nice for her followers to throw back that love and sense of positivity – knowing her; she will keep going and, through it all, see the positive side of things.

There are not many out there who have that same determination and resolve. I feel the world needs to embrace her music and get involved with everything she does. I know Kirbanu will visit new areas and bring her music to fresh faces. I hope she comes to the U.K. and introduces her new music to the people here. There are few positive and exciting musicians who can calm our spirits and provide light. That is not the only reason we need her over here: the music provided differs from everything else and definitely needs larger airing. Every time I see Kirbanu produce a new video; she is in a different spot and narrates where she is. It would be good, if time permits, to see a travelogue from her. Getting her on the road and talking to the local people; embracing new cultures and mixing her musical messages with the varied and wonderful people of where she is. I am not sure what it would be called but there is something infectious and unmistakably positive about Kirbanu. She already produces videos – taking that a step further and having regular, longer videos would help a lot of people out there. Maybe there will not be time to do that with new music due. It is going to be a busy year for Kirbanu and she’ll want to find some rest and relaxation among it all. We are becoming less optimistic as a people and, with every year, things are getting harder. Politics doesn’t help that; the way the world is unfolding means anxiety increases and many of us are suffering because of it. Music is a great way of forgetting about those pains and finding something more encouraging and nourishing. There are few can listen to a Kirbanu track and not feel better about themselves and life. Her effusive and rich personality comes through in every note.

I shall come to look at her latest track in a bit but, before then, a final look at determination and why Kirbanu should be highlighted. Her most-recent message/post on Facebook talks about her move to Germany. She was keen to forge a new life and find opportunities. It is hard moving anywhere: going from Australia to Germany is a huge move! Not only is the distance daunting: the people differ vastly between Adelaide and Heidelberg. There are few brave enough to make that move at all. Kirbanu knew how hard it would be but did not let slammed doors and failed auditions hold her back. She always knew music was her vocation and, as such, has grafted and worked endlessly to achieve her dreams. She still wants more and, with each new phase of her career; you see that determination and desire come through. Success, as she says, is finding that crack in the wall and visualising what you want; staying strong and knowing it will happen eventually. It can be hard finding the patience to stick to your guns and believing you will make it. Most people have goals in life but, for musicians and artists, those are often loftier and harder to achieve. For people like me, too, there are those high standards and big dreams. I want to realise them all and get as far as I can in the world. I know Kirbanu seems like cheer personified and an endless ray of sunshine. She is human and has the same depression, pains and heartache as all of us. She has had bleak days and had her heart broken; she has felt tired and questioned her own words now and then. That is only natural. What amazes me is how productive and inspiring Kirbanu is. She is constantly speaking to her followers and giving them reason to keep aspiring. In her own life; the music gets better and stronger; the visions and themes widen – everything is getting richer and more attractive. That comes from a woman who has lofty sights and will always believe in herself.

It is exciting witnessing new Kirbanu music – seeing what it is about and what new sounds are brought in. From the very first moments of I’ll Take My Leave Here; there is something soothing and energetic, all at the same time. The electric strings remind me, in a strange way, of James Bay’s Hold Back the River. There is that same calm and sound you’d find in that introduction. Any suggestions of Bay are left at the sure where the rain starts to beat. The percussion comes in tough and stiff; it melts the strings away and gives the listener impressions of departure and transition. The beats tease and hiss and there is that sense of movement throughout. Whereas previous Kirbanu songs have been more pastoral and restrained; here, there is greater desire and adventure. It is appropriate given what she is discussing in the song. Words of being bound by hope and needing to leave come through. Maybe she is referring to her old life (in Australia) and how she needed to relocate to achieve her dreams. Perhaps she has been let down by a man and not been treated well. There is the desire to find fresh ground and sense of realisation. There are desires at heart and a passion for change. Previously; the heroine has been moored by hope and a way of life. Each change she goes through changes who she is. Those words and that sentiment make me think. Maybe that refers to relationships or a new city; the way life throws obstacles and how she must transition. The voice lingers and resonates. It is a big and bold performance that floats in the sky and creates colours and shadows at the same time. I have heard few more passionate performances all year. Although I’ll Take My Leave Here is about those harder times and adapting: the need and desire to reaffirm worth and find success is clear.

The heroine will take her leave and carve a path through unknown paths. The chorus is delivered with true meaning and intent. It is time to move on and transition to a new phase. We are all in the position where we want to change things and move on from an older way of living. Our reasons for change might be different. For our heroine; she has got all she can from her current life and needs to move along. You can sense that move and movement as the song progresses. The past has served her well and there are no big regrets in her mind. This existence has run its course and it is the natural moment to see what else is out there. The power of the voice gets right into the heart and under the skin. An endless sense of drama and flair means the song never sounds uninteresting or vague. Kirbanu commits to the lyrics and ensures every note means something. The subtle and gliding strings, fused with the beats and smash, gives I’ll Take My Leave Here mixed emotions and contrasting sides. On the one hand; you feel the heroine is in a good frame of mind where she can move on without any regrets. The tough beats and strain in the vocal make me believe the decision is quite hard. She has established a life where she is and it is going to be challenging disconnecting from that. I can emphasise with that and understand where Kirbanu is coming from. There is, above it all, a sense of relief having this realisation and clarity. Rather than remain trapped in a rut where she lives the same day all the time…now, she knows what she wants and is going out there to get it. The song gets more urgent and skipping towards the end. The vocals become wordless and the beats race. It is a spirited and energised ending that symbolises that actual movement and journey. She is leaving her current home and, by train or plane, departing and looking forward to the next phase. As the final notes/vocals take the song down; I wonder whether other songs on Echo Chamber (the E.P.) will address Kirbanu’s new life and that sense of evolution. In any case; I’ll Take My Leave Here is a stunning song from a restless and always-wonderful songwriter.

I will end things very soon but, before then, a look at where Kirbanu is headed. I know her E.P. is out until the beginning of March – it was funded through a PledgeMusic. Her last album, Drifting, was funded two years ago – another crowd-sourcing project that was successful and, because of that funding, able to realise all of Kirbanu’s visions. This E.P., as she says, is the most poignant collection of songs to date. She has travelled and played around the world since then and experienced new emotions. Drum pads and gritty organs are in there; big percussion and synth moments; lush and densely-layered sounds that take her music a step further. There are changes between the two projects. The album was a beautiful and spellbinding collection of songs with softer tones and that message of hope. Echo Chamber is a tougher and atmospheric thing that is an evolution and step from Drifting. It will be exciting seeing it out in the ether and getting an airing around the world. It is great to see Kirbanu build her music and incorporate new aspects into it. There will be German dates very soon but, after that, I wonder whether she will come to the U.K. and perform here. The U.S. will come calling and there will be big demands coming in. The successful funding of her E.P. means the people are behind it; she can create the best work possible; offer rewards to those backers and know she can rely on her fans to help create her music. That support and mutual respect mean Kirbanu will look ahead and think about possible albums and E.P.s of the future. There is a lot to be excited about for Kirbanu. I will follow her every step of the way and cannot wait to see how far she goes. If she does come to London; I will be sure to come see her and buy her a drink! It is the least I can do for all that wonderful music and supportive messages. Many others feel the same way – maybe a hug would be a healthier option considering the number of people who owe her thanks! I’ll Take My Leave Here shows what a treasure-trove Echo Chamber is. It is a slightly new direction for Kirbanu but retains all her fabrics and sides. Listen to the song; let it swim in the bloodstream and prepare yourself…

PHOTO CREDIT: Ulli Kiefner

FOR a wonderful and spellbinding E.P.

_______

Follow Kirbanu

Official:

http://kirbanumusic.com/

Facebook:

https://www.facebook.com/kirbanu/

Instagram:

https://www.instagram.com/kirbanu/

Twitter:

https://twitter.com/kirbanu/

SoundCloud:

https://soundcloud.com/kirbanu

Spotify:

https://open.spotify.com/artist/62PqCX8wie8TrevL39vMKq

YouTube:

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

PHOTO CREDIT:

ALL PHOTOS (except E.P. artwork and main image): Ulli Kiefner

FEATURE: Sit Down. Stand Up: Why Underrated Albums Warrant Fresh Ears

FEATURE:

 

Sit Down. Stand Up

  IN THIS IMAGE: The album cover of Radiohead's Hail to the Thief/ALL IMAGES (unless credited otherwise): Getty Images

Why Underrated Albums Warrant Fresh Ears

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AT this very moment, I am listening to Sit Down. Stand Up…

PHOTO CREDIT: Unsplash

by the irrepressible Radiohead. It is the second track from the band’s sixth studio album. Released in 2003; it (the album) was seen as a minor step between their 2000-wonder-work and 2007’s 'Radiohead 2.0' masterpiece, In Rainbows. After the Kid A/Amnesiac period of 2000-2001; few expected Radiohead to have a whole lot more in the tank. I remember when the album came out: as a huge Radiohead fan, it took a while for Hail to the Thief to resonate and seduce. Its nervy and urgent one-two, 2+2 = 5 and Sit Down. Stand Up is the band at their most insistent and unexpected. All the songs on the album have alternative titles (in parentheses). 2+2 = 5’s is The Lukewarm.; Sit Down. Stand Up’s is Snakes & Ladders. The best, in fact, is Sail to the Moon’s Brush the Cobwebs Out of the Sky. (I am not sure if I have put all the upper-case letters in the right place - the band did tease the rules of grammar). The album received good reviews when it was released - although it was muted compared to their early acclaim. Those who saw promise highlighted the confidence and ambition running throughout. Others, who found it less charged, felt it was filler-heavy and lacked the consistent genius of, sat OK Computer. Thom Yorke was inspired by the ongoing War on Terror (around that time) and right-wing politics. At a time, fifteen years later, where we are seeing a return – or a continuation? – of those fears…surely Hail to the Thief deserves new investigation?!

I grant there are a few weak tracks on the album – The Gloaming, I Will and Scatterbrain could have been left out – but, if you erase them; you have a solid eleven-track album that could rival their finest work! Maybe a lack of strict editing killed the album’s chance of getting into more minds. The opening two tracks are intense and beguiling; Sail to the Moon passionate, beautiful and tender (dedicated to and written for Thom Yorke’s son, Noah) and A Punchup at a Wedding funny, moody and magnificent. There There is, in my view, the finest thing they have ever done! It is hard to put into words how good the song is – so complex, gorgeous and spine-tingling. As a whole, bar a few weak moments; the record is sublime and very underrated. That 2003-nugget is not the only record that deserves fresh ears. Coldplay’s Parachutes, despite its negative associations (it is a Coldplay album, after all!) is actually a lot stronger than many give it credit for. It is a template for superb Pop that many should hold dear. From hits like Yellow and Blues-influenced songs like Shiver – it is a solid album and, as a debut, one of the best ever. Beck’s Midnite Vultures is another one that tends to hover under the retrospective radar. It is as eccentric and scattershot as Odelay but, to many, not nearly as good! Debra and Sexx Laws are stone-cold stunners; it has the Funk brilliance of a Prince or James Brown album – with the invention of a mid-career Beatles disc.

Pearl Jam’s Vitalogy is a record that warranted/warrants more. Elliott Smith’s Figure 8 is an album I am seeing a lot of artists name-check as fountains of knowledge. It was released in 2000 and saw Smith transcend from minimalist solo artist to fully-fledged band-leader. It is flourishing and swelling; diverse, symphonic and grand in place – not what the established core were expecting. Many critics recognised its brilliance and evolution: others were scared and felt it was a drastic-move-too-far manoeuvre from Smith. Fleetwood Mac’s Tusk is seen as weak compared with the faultless Rumours. Tusk followed Rumours and, considering the tensions within the band during that album: few would blame them for producing something lesser and unfocused. As it was, even as a double-record; the album is triumphant and contains so much variation and quality – standouts include the title-track and Sara. One hears about Rumours but, when addressing Tusk; many feel it is too long, muddled and quality-dry. I feel that is nonsense: immerse yourself in the record and discover a band at the peak of their powers! Blur’s Think Tank was released in 2003 and suffered a few problems. There were few who expected the group to continue as a unit. After 1999’s underwhelming  13 - and the ‘best of’ the following year – that was seen as that, really.

Think Tank saw tensions and strains in the ranks; Graham Coxon walked out long before completion and (Think Tank) saw Damon Albarn assume new roles – taking on guitar duties for most tracks. Like Radiohead’s Hail to the Thief; Think Tank sports a marvellous opening duo: Ambulance is a beats-heavy, evocative piece of immersive brilliance; Out of Time blissed-out, sweet-leaf and disembodied. Apart from the zany, processed vocals on Crazy Beat – most of the songs on the album are stunners. Brothers and Sisters name-checks drugs and addictions (how we are hooked on various substances) whilst Caravan features ‘gloom tubes’ and is a sensual, body-transcending experience. We’ve Got a File on You is a sixty-two second Ramones blast; Good Song and Sweet Song are named appropriately – Jets is, perhaps, a little overlong. Some critics felt the disharmony fractured the creative process; Albarn going a bit crazy and indulging his various whims. He was taking from African music and influenced by new sounds – whereas previous Blur records took from U.S. guitar and British Pop.

Nirvana’s In Utero is often seen as the inferior successor to Nevermind. That record was a commercial runaway and megalith of success – In Utero a more subdued, tangled and raw effort. In Utero is (was) Nirvana returning to their roots; penning an album free from polish that did not aim for the charts and singalong crowds. It is a sharper and more abrasive beast. The three boys – Dave Grohl, Kurt Cobain and Krist Novoselic – were turned up to eleven and on fire! Scentless Apprentice, Very Ape (much-aped and sampled); Rape Me and Heart-Shaped Box are all insane and wonderful. There are, yeah, a couple of dodgy scrapes among the pack – Tourette’s among them – but there are out-and-out classics abound! Joni Mitchell’s Clouds is a record overlooked when compared to her best work. People do not really talk about it with the same sigh-and-adore as Blue and Ladies of the Canyon. Ladies of the Canyon was released in 1970; Clouds the year before. In any case; it was a hell of a two-year period for the songwriter. 1971’s Blue would take her to another level! Clouds has Both Sides, Now and Chelsea Morning; Tin Angel and Roses Blue. There are so many other albums I was going to include in this piece. They range from those many assume tragic (Spiceworld) to classics you do not hear about too much in 2018 (Led Zeppelin III and Songs in the Key of Life) – it is a shame so many were not recognised at the time; others have faded from the mind and deserve a dusting off!

I would be interested to hear what others think because, in my mind, there are dozens of albums that were either underrated at the time or, over time, have lost influence. I am revisiting records from Ramones and Destiny’s Child. There is no link between them but both could spearhead much-needed movements: the former could help bolster the Punk movement and great Alternative bands of today; the latter could inspire a new legion of girl groups…those concerned with writing bangers as opposed being led and moulded by others. If you favour Bon Jovi’s Slippery When Wet or the endless fascination of The Stone Roses’ debut – there is validity and cause to argue they need more attention and respect now. We often cling to classics and what others deem to be the ‘best’. Many albums are underrated upon release and only pick up (justified) acclaim after the fact. I guess one can argue it is subjective arguing why a certain album is underrated - that is true but that does not diminish the argument. There are certain albums that, regardless of whether you are a fan, should have a higher place in music’s legacy. Tusk and Clouds are two albums that deserve it; Think Tank and Hail to the Thief two more-modern examples – those, at the very least, are far better than many gave them credit for!

I will leave it here but, as I say: what are the albums, you feel, were overlooked and underrated when they were released? One can argue The Beatles’ debut is not seen as a true classic. It is a scrappy thing and, as such, not regarded as highly as Revolver and Sgt. Pepper’s Lonely Hearts Club Band. Please Please Me is The Beatles at their most basic and uncomplicated. It is them recording an album of set inclusions – what they were performing live at the time. It is not as staggering as their later work but, as an example of how inspirational and exhilarating they were; you cannot deny it is a fantastic achievement. I have been thinking, too, about D’Angelo and the Vanguard’s 2004 masterpiece, Black Messiah. That is not only considered one the best Funk/R&B albums of the decade: many see it as one of the finest albums of the past twenty years. It is a masterful album that addresses faith, rebirth and politics; black-rights, love and injustice. Black Messiah is hardly talked about today! At a time where we need leaders and inspirational music – maybe a reinvestigation of that record is warranted?! I will leave things there because, I appreciate…it has been a long day. I wanted to look at some albums that have received damp praise (compared to what they deserved) and why they should be re-examined. The last one I will throw in is the super-mega-duper Debut - by the peerless and always-awesome Björk. Some do not rate it as highly as albums like Post and Vespertine. I feel Debut is the Icelandic innovator at her explosive best. From Human Behaviour's nervy and tribal-drummed bellicose; the rapture and ecstasy that runs through songs (like that and) Violently Happy; the allure and beauty of Venus as a Boy; the huge chorus and Dance bliss of Big Time Sensuality - it a sensational album from start to finish! Everyone will have their opinion on the matter – it would be good to know which albums others consider underrated. If you do have a particular ‘favourite’ that has been buried in the annals of near-obscurity; make sure you pick it back up, put it on...

IN THIS IMAGE: The cover for Björk's album, Debut

AND let people know how good it is!

FEATURE: I Heard a Bird Twitter in Berkeley Square: Are Some Artists Neglecting the Most Important Social Media Tool of All?

FEATURE:

 

I Heard a Bird Twitter in Berkeley Square

 ALL PHOTOS: Unsplash

Are Some Artists Neglecting the Most Important Social Media Tool of All?

_________

I raised an interesting point on Facebook…

a few days back. It might not have been a calm discussion: more, a coruscating rant against musicians who do not have a Twitter account. It seems, in this day and age, every musician would understand the importance of the platform! Other people made some counter-arguments. They, for one reason or the other, do not use the service. Perhaps they are not getting true value from the site. It is only legitimate and worthwhile if you can get your music out to the people. If you float a profile out there; leave it a while and nobody comes your way – the temptation to leave the site is fair enough. Twitter is a site that appeals to those who want to get their music out to fellow artists, labels and radio stations as quickly as possible. I feel Facebook is more useful for personal interaction – it is less effective regarding music promotion and spreading material. I use Facebook for my music work but it is merely there for my contacts. Little of my work is shared and I know there is a limited scope. I can post a review or article and, unless someone shares it; it is hard knowing how far it goes. It takes longer to share work on Facebook – a few seconds but still a little heftier – and I prefer the speed and brevity of Twitter. I can put an article out there and tag in all the artists I want. It is out there on the page and it looks good. I have more contacts on Twitter and it is a lot easier to connect with others.

You cannot force people to follow you but it is a lot easier to follow others – few ask for permission and it is simpler building relationships. Facebook is better for messaging and bonding in a deeper way – although you might not personally know a lot of the people you are messaging. Twitter, to me, is a business tool: music is as much a business as it is a career/passion. If you want to get your music to the world and build a decent fanbase – surely one cannot ignore the powers of Twitter?! This is my assumption on the matter – I know others disagree and there is a debate. Twitter is a communication call and one that, if used sagely and effectively, can do wonders. The reason I was so perturbed the other day was because of an interview I conducted. I took the band on – I get so many requests and feel no reason to turn many down – and, without thinking, ploughed on with the piece. I knew they had a Facebook page but could not see a Twitter page listed in the bio. I assumed the P.R. company missed it out – they are not always helpful when it comes to logical aspects – and I had every faith I would find one! I looked and checked and, after confirming it with the agency; they revealed the truth: the band do not want to be on Twitter!

I found this somewhat baffling. Even if you are starting out in the industry; why would you ignore Twitter? I can understand a lack of Instagram visibility. I do not have an account and neither do I need one – nobody needs to see my face or chart my goings on beyond what I post on my blog. I do not record music so, for the most part, I use Twitter and Facebook. As the blog becomes more wide-ranging, I will change this. I will bring in a YouTube account and, perhaps, SoundCloud. There are bands who do not want to be exposed and too visible. Some, cool and edgy, see Twitter as another step towards commercialism and corporatism. If they want to do that then they know the risks. Some find greater value in Facebook and word-of-mouth. I cannot understand that assumption. Facebook is not nearly as powerful and accessible as Twitter; it is harder to connect with music professionals and more difficult to recruit a massive amount of followers. All of the opportunities and breaks I have had the past couple of years came from Twitter. I wrote a piece on BBC Radio 6 Music and shared it with the station – tagging in several D.J.s and producers. The fact I did that meant it got ‘likes’; it was shared and commented on by those D.J.s – followers of those people commented and, before long, the article was extended from various tentacles. It was a big moment and one that could not have happened without Twitter! From that one post; I got to meet Matt Everitt – a music news reporter for the station – and given invaluable advice.

I have been on the site for years but did not need to be: I could have posted that article five years ago and would have the same result. I have been contacted by musicians and gained so many opportunities from my time on Twitter. I have a lot of followers and, every time I review/interview an artist; new people see my work and join the ‘flock’. It means I have artists I can contact for work and more who see my work. For musicians; even at the very start – where they have no followers – they can follow similar artist and labels. Before long, they will get people into the tent and their foundations will expand. It took me a long time to get where I am but I have a long way to go. I feel a lot of the cynicism stems around patience and not getting far ahead right away. The band I reviewed had no excuse for ignoring Twitter. Their music is missing out on a huge market: included in there are radio stations, big artists and who knows what! The fact my interview was published and, surprisingly, ignored and fell down a hole was inevitable. If the band is unable to see it on Twitter then it will not get shared and promoted. There is no risk to having a Twitter account. One does not need to pay and it is easy to operate. The fact you can easily connect with so many others freely is a luxury Facebook does not have. You can message people but getting in front of them is not nearly as easy as Twitter.

I can see how some might overlook Twitter. If you are a big artist then you might not need the constant work and effort needed to keep the profile relevant and active. The site is best for those new and upcoming musicians who want find fans and ensure their work gets seen around the world. Facebook is becoming more advert-driven and profit-seeking than ever before. In order to get my posts beyond the walls of my profile; I have to ‘boost’ my profile – pay Facebook to share it with random people. That might generate a few more views but, in reality, it is not as controlled and logical as Twitter – I have no idea who the piece is going out to and whether they are actually reading it. Throw in the fact I have to PAY to do that means I am reluctant to do it for some of the more minor pieces. Twitter is a much more cooperative and reciprocal vessel (compared with Facebook). It is said one-fifth of those you follow will follow you back: that gets larger as you become more popular. People do not like being bothered on Facebook. I try and add various people as ‘friends’ – music-related and to further my work – and they either reject the request or ignore stuff I post.

I try to limit my posts to a few each day. If you do more then people will not be interested and start to get annoyed – this spam approach to social media leads to exodus and irritation. Twitter works the same, I’ll grant you – the fact the average tweet is shorter than a Facebook page makes it less irksome. Different people, depending on the style of music they play and what section of the industry they work, will have their preferences. My argument is not that you should ban Facebook and only use Twitter: I am stating you should use BOTH. I can see other people’s arguments for preferring Facebook – more personal and they prefer its interface. Even if you find a preference in one site; how does that translate into ignorance of another?! If you want to get as far as possible in music then you need to use both and ensure you get the most out of them. That might mean a low-level Twitter coverage and occasional tweets. There is no real rational reason for ignoring Twitter. It might not be as beneficial and profitable as you’d hoped – that does not mean it is worthless. There are great sites that musicians should consult if they want to make the most of Twitter. Here is one...and here is another. Take a look here, too.

The best article I have discovered is this one from Readwrite. The writer talks about the way Twitter connects fans with artists

“The biggest and most obvious advantage of using Twitter for artists is the ability it offers them to engage directly with fans. This is something Amanda Palmer has become quite well-known for among those that follow her. The Boston-based musician and member of The Dresden Dolls is described as a “Twitter ninja” on Twitter’s official guide for musicians and is generally recognized as one of more active and engaging musicians using the service.

Not only does Palmer chats back and forth with fans but she eagerly seeks their input on things like songwriting and t-shirt design”.

It went on to look at the ‘value’ of Twitter and get the best from it:

“Everybody says social media is important, but does putting in the effort actually pay off? It depends on what one’s definition of “value” is and, of course, on who the artist is and what they’re approach to social networking happens to be.

As with most forms of social marketing, the primary value here is in building up one’s brand and establishing a line of communication with customers – in this case, music fans. It may not lead immediately to an increase in record sales or concert attendees, but the act of cultivating those relationships over time will probably increase the likelihood of fans coming out to show or buying a record”.

I have my preference and I can understand why SOME people would prefer Facebook. For artists who want quick access and communication; those who want to find like-minded followers – without bothering people looking for a personal space – should always flock to Twitter. There are natural downsides to the site. It can be expensive to market your work and there is no real messenger service. I never use the site to quickly message someone and chat: I use it to put posts out there and share other people’s work. That is my point, mind you. I have Facebook for personal needs and sharing work with people I know well. Twitter is there to get a bigger audience among people I know less well. Having both options helps me get my work to as many as possible – it would be nice if there was a bespoke music social media tool that could assimilate the two big sites and go even further. I cannot fathom those who ignore Twitter and feel it will provide little use. It would do something for everyone who uses it! If you want to get far in the industry and capitalise on the wealth of professionals and like-minded souls out there; Twitter is the easiest, fastest and best-configured site for that! At the very least, using Facebook more than Twitter – but not ignoring the latter – is a compromise. Anyone who completely overlooks Twitter and feels they are better off without it are going to…

LOSE a lot more than they gain.

FEATURE: Spotlight: Shame

FEATURE:

 

Spotlight

  PHOTO CREDIT: Loud and Quiet Magazine

Shame

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EVERY time I tackle this feature…

PHOTO CREDIT: Africa Pombo

I learn something new about the band/artist concerned. Shame are on the block and with good reason: they are one of the most compelling and demanded bands of the moment. I have listed them (in the past) alongside peers such as Cabbage and IDLES: a couple of young bands amazing critics and fans with their honest and stunning music. They all talk about the experiences of modern life and what it is like for them. There are no pretences and egos: the bands produce music that is natural to them; designed to inspire listeners and get them involved. Shame are a band who look at love and the unpredictability of daily life in a fresh, humour and personal way. The boys are signed to Dead Oceans and based out of South London. I said I was going to get away from the capital a bit and look at other areas. It is inevitable I would return there at some point. Whilst I think the North is a more prosperous and promising area when it comes to the new bands with a unique and promising bent. That is not to say London is infertile and meagre. Shame prove there is a lot of strength and inspiration in the capital’s waters. The boys were touched and saddened by the death of The Fall’s Mark E. Smith. It is unsurprising considering the comparisons between the two...

PHOTO CREDIT: Holly Whitaker Photography

The Fall’s leader was a master when it came to those witty and sardonic tracks whose music sounded like nothing else out there. Shame will not reach the heights of The Fall: they are making strides regards distinguishing themselves from the pack and creating something wonderful. I can hear some of Smith’s candour and accent in the music of Shame. In a world where bands have less of a market share than past years; there are fewer great bands than there were years ago – it is hard making a mark and getting the critics’ attention. Anyone feeling sorry for the band should remember one thing: they are currently in Australia and, from the looks of things, enjoy the hot weather, tepid beer and general coolness. Between jumping into hot pools and downing some cold ones – the guys will play some gigs and, you know, generally rock the Australian public! The band have already sold out Electric Ballroom (London) later this year. They are playing London gigs in April and, between now and then, taking their music around the world. The demand is coming in and the boys busy – consider their album, Songs of Praise, and that can hardly take you by surprise. I was expecting a recreation of our oldest-running Sunday T.V. shows – a lot of choral singing and bewildered old people bleating on about God. In fact; I am glad we did not get anything vaguely ecumenical and religious (the cover for the album reminds me of The Beach Boys’ Pet Sounds).

PHOTO CREDIT: Getty Images

Pitchfork, when reviewing the album, stated the following:

“…But in their fight to distinguish themselves from every other white male British guitar band, Shame imbue their post-adolescent rage with wit and, crucially, an awareness that they may never succeed. From the opening murky “Dust on Trial,” frontman Charlie Steen is fixed on the idea of remaining unheard: “What’s the point of talking if all your words have been said?” He preempts the inevitability that British critics will herald them as saviors of the scene by rejecting the construct. “The idea of a rock star is offensive,” he told the Guardian in a profile that was splashed across the paper’s front page”.

Look closely at that Guardian profile and one hears a band who do not want to be seen as Rockstars and idols. They want to affect and influence – without compromising credibility and their purity. There are background snippets and quotations that really stand out. In terms of their formation and beginnings (when asking drummer Charlie Forbes):

“Shame formed around the Queen’s Head pub in Brixton, the former headquarters of the Fat White Family. Forbes’s dad was a friend of the landlord, who let the young band rehearse in an upstairs room (“Every day,” Forbes says. “Just hop on the bus to the after school club”). There they met assorted luminaries and recidivists of the south London music scene, but managed to avoid the worst excesses of the Fat Whites and their friends, largely through being too young to realise they were hanging around with committed hard drug users (“We were oblivious,” Forbes says).

They stumbled over lucky break after lucky break. Not just getting a free rehearsal space for 15 months, until the Queen’s Head was converted into a gastropub, but meeting people who then gave them studio space, and getting free advice from musicians who had been chewed up and spat out by major labels. What they learned was the importance of keeping as much control as possible over their decisions, which led them to sign to indie imprint Dead Oceans for their debut album, Songs of Praise. They also think the very grime of the Queen’s Head shaped them into being Shame: “I don’t think if we had started in a squeaky clean studio it would have been the same,” Forbes says”.

 Frontman Charlie Steen offered some advice and concern when it comes to that Rockstar lifestyle:

“That lifestyle could only exist because of money. Bands can’t go out now and get a kilo of coke or drive to Las Vegas in a Ferrari. Now it’s get a gram of speed and sit in a Travelodge. That’s the reality of it.”

The guys were part of the clique that bonded HMLTD, Goat Girl and Dead. The South London bands transcend the image of modern-day bands. They project a more realistic and exciting brand of music. They do not want the trappings and riches of a style of life many chase – those with perfect teeth and hair that get laid every night and lust after the spotlight. Shame have laid into the Conservatives and the manner in which they are ‘running’ (or ‘ruining’) this country. They have seen what P.M. May is doing and attacked her form of government. Our leaders are not really here to serve the masses: Shame know this and project that dissatisfaction and rebellion through their music. Songs of Praise is filled with songs that talk about youthful existence and the way the country can improve; why we all need to band together. It is appropriate a band who wants to bond the masses should give their album that religious-homonymic potential: pastors who see the darkness around them and want to do something about it. Their start was modest and they relied on advice from musicians and any chance they had to get into a rehearsal space. The fact they have got a deal and are touring the world is as a result of great music and constant graft. The band has that working-class ethic that means they are going to turn down big-money deals and corporate sponsorship.

They refute that gaudy and vile life where their faces will be plastered on billboards and they are hocking every gadget and service they are offered. They want to remain rooted and balk at the idea of becoming big-league stars. Whilst they would never exclude fans of a certain class/political persuasion – one feels they would dissolve a Conservative member/politician if they were within spitting distance of their gigs – you feel this is all about the music. The guys are all about the energy of performance and getting their sounds to people. They are, in a way, political crusaders who are providing something deeper and inspiring. Last year saw the flourishes and bloom of their early-career gestation. They were a new name and, pre-album, a popular force. They toured around Europe and, between dark nights in vans and eating anything that looked vaguely palatable – that lifestyle took its toll and their health was affected. Steen had panic attacks and was vomiting frequently. The riotous and exhausting touring schedule meant there was a natural end: they had to cancel some gigs because of Steen’s ill health. There are worries the popularity and reception afforded Songs of Praise could do even more damage. The guys are in Australia and are back in the U.K. before too long. They will tackle festivals and various nations; they have a long gig schedule and will have few days off between dates. I have quoted a lot from others but the truth is this: the band mean business and have a long career ahead of them. I hope the success and increased pressure does not see them abandon their ideals of naturalness and rejection of superstardom. The more celebrated they become; the harder it is to maintain that working-class, grounded persona. I know they will do their best: creating albums like Songs of Praise will see them maintain that balance of credibility and popularity. You urge them to succeed and look to see where they go next; we wait to see how good they can get and how they lead the scene. They have had a hard road and overcome obstacles along the way. Their success is deserved – so you cannot really deny them their acclaim and position. As they wake up in the warmth and scenic wonder of Australia it makes you realise what…

PHOTO CREDIT: Shame

JAMMY bastards they are!

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Follow Shame

PHOTO CREDIT: Pooneh Ghan

Official:

http://shame.world/

Facebook:

https://www.facebook.com/shamebanduk/

Twitter:

https://twitter.com/shamebanduk

Instagram:

https://www.instagram.com/shame/

Spotify:

https://open.spotify.com/artist/4IeWU3NYBI9mISFVhzXG8f

YouTube:

https://www.youtube.com/channel/UCEzHSKr1_q55AhwaGpkP5xQ

INTERVIEW: DEMAR

INTERVIEW:

DEMAR

_______

ONE of my favourite places to visit is…

the city of New York. I have never physically been there: I have learnt a lot about the people and place through the musicians I interview. DEMAR talks to me about her E.P., Rebels, and the stories that go into it. I ask her about the song, Not Afraid – it is a standout whose background I was keen to discover. She tells me about future gig plans and whether there will be new material – and whether we can expect to see her in the U.K. soon.

DEMAR discusses her upbringing and the music she was raised on; the albums that mean the most to her; how the scene in New York differs from that in Florida (where she started life); if she was surprised by the reaction to her cover of Kendrick Lamar’s Swimming Pools (Drank) – she provides advice for new artists emerging.

______

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

Hello! I’m doing great, thanks. This week has been incredible. I just finished my first tour supporting Howie Day. It was so fun meeting new people and playing for new ears.

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

Sure! I’m DEMAR; a singer-songwriter from Miami, FL. I’ve lived in N.Y.C. for about four years and play shows around the city pretty regularly. I would describe my music as Alternative-Pop: a bit moody with some R&B flavour.

Rebels is your new E.P. Can you tell me about the subjects and inspirations that go into it?

Rebels tells the story of a relationship I experienced that was pretty intense and had a lot of ups and downs. It was really draining and definitely took a toll on me - until I finally decided to walk away. The E.P. explores the different sides of the relationship - and how messy it can be when you’re so drawn to someone but so damaged by them at the same time.

I am especially interested in the song, Not Afraid. It is one of the most emotive and touching songs on the E.P. Is there a story behind that song?

Thank you! That means a lot that you connect with the song. Not Afraid was one of the easiest songs for me to write because the lyrics kind of poured out of me - but it’s been one of the most difficult to share with people because it’s so self-reflective. The song touches on how much control this person had over my thoughts and emotions: the smallest action of his would dictate my emotional state for the next week or more.

It also talks about how in a way I feel drawn to that sadness and I’m not afraid of it. As long as living that way meant I was with him, I was ok with it. That’s a scary thing to admit to yourself, let alone other people.

Your cover of Kendrick Lamar’s Swimming Pools (Drank) went viral last year. Were you surprised by the reaction it got?

I definitely was taken aback by the reaction. When I recorded it, I wasn’t thinking about it reaching people at all: I just did it because it was fun and I love the song. But, the love people have for it is an added bonus!

New York City is your base. What is the city like for a new artist? Are there particular venues you love to play there?

I think New York City is the best place to be if you’re a new artist and trying to find your footing in the industry. There is so much opportunity here and so many great people you can meet just by being present in the scene. Some of my favorite places to play in the city are Pianos and Rockwood.

They’re both great venues.

How does it differ from Florida – where you were raised? Is it a lot more exciting and ‘you’ in New York?

Miami and N.Y.C. are extremely different; totally different lifestyles, people and surroundings. I will always love Miami because it’s home - but New York suits my lifestyle much more. There is more opportunity here for artists and songwriters. The craziness of the city used to get to me but now I’ve become used to it.

I still escape to Miami every couple months for a weekend, though.

You spent time in London. What was the decision for moving there – and what was it that forced you back to the States?

I moved to London because I wanted to experience something out of my comfort-zone and put myself in a place I would grow as a person and an artist. I always knew I would love London - and moving to another country by myself was scary and exciting. I absolutely loved my time there and it helped shape me as a songwriter and as a person. I eventually had to move back because my Visa expired. Otherwise, I would probably still be there! It’s still my favourite place I’ve ever been to...

It still feels surreal that I was lucky enough to have that experience.

You worked with Ben Hobbs whilst you were here – and a lot of other talented folks. Do you see yourself coming back here? Do you love the music of Britain?

I’ve been so fortunate to work with Ben Hobbs. He’s really talented - and I feel like we’re always on the same page. He gets exactly what my music is about and the sound that I’m going for. I will actually be back in London for about a week in July and can’t wait! It’s been too long. I LOVE so many British artists from Rock to Hip-Hop/R&B to the poppiest of Pop - and I’m hoping to catch some of them in concert while I’m there.

Give me a sense of the artists you were raised on. Who were your early heroes and heroines?

I was raised on a wide variety of artists - which definitely shaped the range of influences I pull from in my own music. My dad’s favourite band is Steely Dan; so I grew up on them and that’s where I formed my love of harmonies and that layered sound that they so perfectly crafted. When I was young, I also loved the Spice Girls (obviously) and artists like Aaliyah and J. Lo - which influenced the confidence and sassiness I inject in some of my songs.

Adele and Joy Williams from The Civil Wars influenced the bit of soul and emotion I put into my music.

IN THIS PHOTO: The Aces

Who are the new artists you recommend we check out?

Someone I can’t stop listening to right now is The Aces. They are great. I love their music, their look…everything. Their music is infectious and catchy but has a Rock feel to it - and they’re effortlessly cool. I also really love an artist called pronoun. She’s got Emo/Indie-Pop down to a science - and kills it on every song.

Also, check out Frances Cone. Their song, Unraveling, makes me cry every time I listen to it.

IN THIS PHOTO: Frances Cone

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

This is such a tough question…

One is Phantoms by Acceptance

They were one of my favorite bands in high-school and really influenced me regards wanting to write songs. That album is still one of my all-time favorites.

Second would be Born to Die by Lana Del Rey

I listened to that album so much before I started writing my E.P. and really connected to so many of the songs.

I think the third would be 21 by Adele

Every song on that album is perfect. When I was going through the relationship I wrote the E.P. about; I listened to 21 all the time.

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

I don’t know how qualified I am to give advice…but I guess I would say you really need to know yourself; who you are as an artist and a person before you get into this - because there are people who will try to impose on you what they think you should be.

It’s easy to be influenced by that.

Where can we see you play this year? What dates do you have coming up?

I just finished the Howie Day tour. I’m playing a show in N.Y.C. on Feb 8th and working on some other dates and possible tours. Stay tuned and follow my social media for those announcements! My Instagram and Twitter are @demarmusic and my Facebook is ‘Demar’.

Do you have plans for 2018 already? Is there any new material in your mind?

I’m always writing and am starting to work on new songs. I don’t know yet if that will be another E.P. or a full-length but, right now, I’m just going to work on music and see where it takes me. I have a music video coming very soon and more live videos coming!

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).

Hmmmm…El Amante by Nicky Jam. One of my favorites!

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Follow DEMAR

Official:

http://www.demarmusic.com/

Facebook:

https://www.facebook.com/demarmusicofficial

Twitter:

https://twitter.com/demarmusic

Instagram:

https://www.instagram.com/kendrick_demar/

Spotify:

https://open.spotify.com/artist/4LNxYyiiVMZU7dwe7Pwhmq

SoundCloud:

https://soundcloud.com/demarmusic

YouTube:

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

FEATURE: The February Playlist: Vol.1: CHVRCHES That Welcome Us In

FEATURE:

 

The February Playlist

 IN THIS PHOTO: CHVRCHES/PHOTO CREDIT: Danny Clinch   

Vol.1: CHVRCHES That Welcome Us In

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THERE are some great songs out this week…

IN THIS PHOTO: Let's Eat Grandma

that appeals to those of all tastes and demands. CHVRCHES are back with a new track, Get Out; Moby brings new treasure - whilst videos from Gaz Coombes, Kylie Minogue and Andrew W.K. are out. Alongside is some fresh material from Let’s Eat Grandma and Soccer Mommy; Pale Waves, Rae Morris and Field Music.

It is another sizzling list of musical delights that warms the blood and nourishes the mind. I am excited seeing how February shapes up and what is coming our way – music is showing, every week, it is capable of stunning, surprising and seducing.

ALL PHOTOS (unless credited otherwise): Getty Images

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 CHVRCHES - Get Out

Let’s Eat Grandma – Hot Pink

Soccer Mommy – Cool

 

Hookworms – Each Time We Pass

Andrew W.K. – Ever Again

Moby – Mere Anarchy

Lilla Vargen – Believe Me

Deap Vally – Two Seat Bike

 PHOTO CREDIT: Laura E. Partai

Courtney Marie Andrews – Kindness of Strangers

Erasure – Still It’s Not Over

Lauren Auder – These Broken Limbs Again Into One Body

ARTWORK CREDIT: David Sessions

Marcus Marr – Familiar Five

PHOTO CREDIT: J. Konrad Schmidt

Sam Vance-Law – Gayby

Iggy Azalea (ft. Quavo) – Savior

Jennifer Lopez – Us

Busta Rhymes, Missy Elliott and Kelly Rowland – Get It

 

Pale Waves – The Tide

Sasha Sloan – Fall

Ferris & Sylvester - Sometimes

Gaz Coombes – Deep Pockets

Frank Turner – 1933

The Streets – If You Ever Need to Talk I’m Here

Harper – Running Underwater

Ms Banks – Come Thru

Tove Styrke – Changed My Mind

Justin Timberlake – Man of the Woods

Poppy Ackroyd – Resolve

The Weeknd, Kendrick Lamar - Pray for Me

Kojo Funds (ft. RAYE) – Check

PHOTO CREDIT: Milly Hutchcraft

 Llovers – Just Just

Millie Turner – The Shadow

 

Rae Morris – Wait for the Rain

Kylie Minogue – Dancing

 

Rhye – Summer Days

PHOTO CREDIT: Pablo Arroyo

Lykke Li – Time in a Bottle

Migos – Stir Fry

Field Music – Cameraman

TRACK REVIEW: Screech Bats: Get Better

TRACK REVIEW:

 

Screech Bats

Get Better

9.5/10

Get Better is available via:

https://soundcloud.com/screech-bats/get-better

GENRES:

Rock; Alternative; Punk

ORIGIN:

London, U.K.

RELEASE DATE:

31st January, 2018

The E.P., Wish You Were Her, is available from 30th March. Pre-order via:

http://screechbats.bigcartel.com/product/wish-you-were-her-screech-bats-ep-2

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SOMETHING wonderful is happening in music...

PHOTO CREDIT: @del-photos

at this very moment. In fact, there are quite a few wonderful things occurring that make me feel hopeful about the future. That might sound vague – so let me explain...I will come to the wonders of Screech Bats in a moment but, when thinking of them; I think about the great female bands of the moment - and how they attack stereotypes and discrimination. I want to investigate independent venues and how, especially this week, they are under the spotlight and being celebrated – and mean a lot to newer bands like Screech Bats. From there, I will talk about bands that have a rawer sound and write about meaningful subjects; a look at connections and closeness within the ranks; differing from the commercial grain to provide the listener something more exciting and prosperous; a small nod regarding heart-on-sleeve songwriting – ending with a chat about recording processes and adopting a new way of working. Esme Baker (Vocals), Lexi Clark (Drum); Rio Hellyer (Bass) and Kit Reeve (Guitar) compromise the exhilarating and explosive Screech Bats. It is odd how we categorise band and how, in this time, we do not seem that far evolved regards labelling and respect. By that; I mean many – critics, fans and the like – call any band without penises ‘girl bands’. That may be factually true: but what is wrong with dropping the ‘girl’ part?! I listen to a lot of music but, among my nostalgic favourites are En Vogue, Destiny’s Child and TLC. They are, again, compromised of women but there seems to be something rather patronising about the tag of ‘girl band’. They are seen as a homunculus and lesser; a cute and pink-coloured proposition that, bless them, are making music with the boys. Screech Bats (rightfully) refute that label and see themselves as what they are: a kick-ass band that can mix it with the best of them.

PHOTO CREDIT: Derek Bremner

That is something modern music needs to get out of: sexism and the way we, for no reason, compartmentalise women and men; so that the latter gets the spotlight and attention; the former still has to fight to gain parity (little sense of) and respect. I am avowedly committed to raising my voice in a quiet congregation. There are many male journalists out there but, in truth, how many are actively writing about sexism in the industry?! It is a topic I have covered in depth – but it always annoys me how now, in 2018, we are still lacking necessary progression and consciousness. A lot of great new artists are being overlooked because of their gender. Screech Bats address and confront a lot of issues through their music. They are getting gigs and recognition but I feel, because of the way the industry is set up; how long it will take them to ascend to the bigger stages – compared to a similar, like-minded male band. I will talk about some gigs they have coming up – and why everyone should come and see them – but I am seeing a lot of female groups that are producing exceptional material. Whether it is dreamy, Folk-led harmonies or delicate Pop fusions; harder, spikier Punk or the sort of U.S./U.K., Rock/Alternative concoctions of Screech Bats – there is a lot to be excited about. I have always preferred female musicians because there is a depth and sense of innovation the guys lack. That might be a generalisation but I listen to everyone from Hannah Peel to Sleater-Kinney and am amazed at their dexterity. There are female-only festivals available out there but I wonder whether the solution – when it comes to showcasing the best female artists – is a simpler one: dropping the gender tag and assessing music…and nothing else. We should have a gender-neutral, fluid industry that supports every artist on their own terms – regardless of their gender, sexual orientation or race. I am proposing a system/government for music and, without boring you with the details, would hire specific people to tackle everything from sexism to the threats placed on small venues. In any case, getting back on the tracks; bands like Screech Bats show how stupefying and unevolved sexist attitudes are.

This week is Independent Venue Week and, as such, there has been fevered passion placed on the best spaces out there. I have been tuning into BBC Radio 6 Music and their celebration of independent venues. Steve Lamacq’s afternoon show (1-4 P.M.) has been broadcast from a new venue each week including Boileroom - where Screech Bats have a special connection to – and it has been illuminating. I was tuned in yesterday when Lammo was at Liverpool’s Parr Street. He spoke with IDLES – who played a stunning set there – and the guy who runs the joint. They spoke about the need to preserve these spaces and how, for many, it is a sociability and sense of understanding they cannot get anywhere else. That goes for musicians and the punters who come down. I am fearful there is not enough being done to safeguard the great venues around the nation – going back to that government idea… - and it threatens to cut short the careers of some sensational artists. Screech Bats have some wonderful gigs coming up but the way they cut their teeth and develop their craft is these venues. They have enjoyed hotly-received gigs in venues designed to showcase and support upcoming artists. If their lifespan is questioned and they have to battle to keep the doors open – what sort of damage will that do to the music industry?! It is, in a way, a sort of global warming: the solid foundations and fauna that makes the world beautiful will wilt, crumble and melt. It is shocking seeing so many wonderful venues close because of various reasons – either noise complaints, underfunding or fewer people attending in a time where we spend our evenings on a laptop. The reason I raise this point is because Screech Bats are the sort of act you want to see go all the way. They have a live energy and set that blows the cobwebs away and provides a captivating memory. Led by the scintillating and nuanced voice of Esme Baker; the band are as tight and in-tune as any I have heard.

There is a closeness and understanding that makes every song strike and lodge in the brain. They will go to play some huge venues in time – and I know they will headline a major festival in years to come – but the only way they can get there is these smaller locations. I wonder whether our Government are aware of the live music scene and how wonderful it is. They are probably more into Classical music and spend their evenings cosied up with a nice documentary about Vera Lynn. Not that this is a bad thing – she is a legend! – but they are so detached from reality and why we need to do everything we can to secure live venues. Screech Bats are among the best live performers around and always treat their audience to a seriously awesome show. I wonder whether they fancy and lure after the openness and mass-capacity venues: maybe they will continue to bring their music to the best small venues out there. We need to get out of the mind-space of calling female bands ‘girl groups’ – the new Spice Girls ‘reunion’ will hardly help! – and offer more female artists time at these venues. I study the bills of the venues around the country and there is still the dependence on male bands and artists. I wonder whether there is that assumption male artists are more profitable and commercial. As their E.P. looms, more later; the exceptional Screech Bats will be plotting new moves and a fulsome, adventurous summer. I know their talent and determination will get them to the top but they raise issues more of us need to investigate and challenge. It is hard enough (for female groups) to get recognition on their own terms – and avoid being seen as lesser beings – but that is triplicate when you throw in the sort of threats being levied at small venues. In any case; the wonderful quartet gives me a reason to believe they will be huge fixtures in years to come.

PHOTO CREDIT: Derek Bremner

I have spoken about the tightness and sisterly bond within the ranks. Their sounds are raw and exciting but there is plenty of depth and intelligence in the music. I hear a lot of harder, dial-turned-way-up bands who lack substance and are designed to get crowds thrashing around and not take anything away. Don’t get me wrong: I love bands that can get the juices flowing and get the fists pumping. There is something primeval and unbeatable about that sense of belonging and community – everyone bonded in a venue; a helix of grit, swagger and imminent detonation bringing us to the point of ecstasy. If you can translate that to tape then that is something rather special. I am always drawn to bolder, louder artists but, as I get older; I find myself looking for something more meaningful and personal. I grew up listening to the likes of Soundgarden, Audioslave; Nirvana and Ramones: bands who could create something timeless without being shallow and commercial. They penned songs that addressed deep and important subjects – sometimes harsh and dark – and, as such, resonated hugely. Now, as I mix in classic acts and newer bands (most of them female/female-led); I look to Screech Bats and see a reason why we should highlight them above their peers. Not only do the four-piece have closeness (more on that in a bit) but they manage to blend suggestions of older-days and the new. Bands like Against Me! and Siouxsie Sioux and Ramones; Jimmy Eat World and Cayetana (the Philly Punk band are fairly new onto the scene). I grew up in the 1990s – started life in the 1980s – and was exposed to a mixture of the 1970s Punk pioneers and the Grunge/Alternative legends of the 1990s. It was a heady and revealing education that has stayed with me. I get a sense Screech Bats have a similar authority and passion. You can sense embers of Punk’s past but they have a fondness for U.S. Alternative/Indie bands and fuse that with their own D.N.A. and conjecture.

I know they provide a great live sound: the sound one hears on record retains that raw excitement but brings in other strands and textures. You cannot deny they have a clear connection and respect for one another. The band began life as a side-project – Hearts Under Fire was the band that went on hiatus and, before long, saw them form Screech Bats. Other artists might have drifted apart and lost contact; gone separate ways and formed other groups. That was not the case here. Screech Bats is the result of four women who love spending time together. Baker notes how the rehearsals were a thing of relief and love; they would all look forward to getting in that weekly space and jamming – determined to get some incredible music down and toss ideas around. You know, when hearing them, they will always be together and continue to evolve. There are bands out there where the relationships are quite strained. I can hear it come through clearly. If the members are not all together and focused; it leads to material that sounds sloppy, insincere and distracted. The bands that keep in the mind and propel the heart are those where the members are a unit. There is no weak strand or half-hearted member of Screech Bats: every player has their role and the democratic nature of the group means each is free to express and evolve. Bands who recruit a dictatorial/undemocratic regime means the frontman (usually it is the male bands who are most rigid) and the other members are mere pawns. It is good having a lead songwriter but, if the other members are not allowed a say in the composition and future work – how long will they happily play together? Screech Bats are led by Baker’s creations but, at every stage, there is discussion and assimilation. Clark, Hellyer and Reeve are not shills and silent partners: they are integral to the sound of Screech Bats; helping bring those vital and personal messages to life. The girls have a real love for one another and treat their band as more than music – it is a safe space where they can be open with one another and channel frustrations and revelations through something wonderful.

I will come to the song itself but, before then, I want to look at Esme Baker specifically. I have been reading P.R. material regarding the track, Get Better, and their upcoming E.P., Wish You Were Her. If the latter reminds me of a joke on The Simpsons – Homer sending Marge a bawdy postcard when he was away; cheekily suggesting the busty woman on the postcard is a more attractive spouse – it is a collection of songs that stem from harder times. I will focus on the song in more details soon but, when looking at the tracklisting for the E.P. – it seems like romance, one-night stands and death are working alongside hope, rebuilding and tackling the taboo. The Valentine Song and Just Like You suggest something romance-based and personal; Blood in My Hair and Get Better have their own themes – Every Good Thing, maybe, more redemptive and spirited. The band is not here to be chart puppets who write about love in a very lacklustre and ordinary way. They are unconcerned with the boring, cliché and tired: their music is much more candid and interesting. Baker, herself, has battled with mental-health issues (as have many; as do I) and, in a sense, revealing it through music is brave confession and therapy. She wants to break the taboo and address topics that are cloistered and hidden from the mainstream. As more and more musicians reveal their mental-health struggles; more listeners are seeking out revelation and dialogue through music. She does not write about it in a very disturbed and accusatory manner: the songs are real and open; her heart is out there but, above all, you get truth and guidance from a songwriter who will give heart and hope to many. The same goes for the rest of the band. Their experiences and lives are interwoven into the songs and movements. Throughout the E.P., there will be assessments of one-night stands and relationships running their course; life and death contrast; everything is done with a positive message and sense of renewed purpose.

Wish You Were Her is out on 30th March and follows their 2016 eponymous E.P. Their latest material is their mist confident, mature and impressive. One of the reasons is the way Baker takes off her clothing and reveals scars. She has gone through turbulence and harrowing times and emerged stronger and more resolved. I am not sure whether she is in a much better place now – my interaction has been brief – but I bonded with the songs and the messages coming through. Music is here to heal and educate as much as it is to provide escapism and physical relief. Although my experiences with love/sex are different to those of the band/songwriter – the former more frustrated and dwindling; the latter more monastic and theorised – I can relate to those lines about mental-health and battling demons. I have been walking the black dog for sixteen years and, as much as I want it to do – I know it as much a part of me; a reason why I am creative and live life differently to others. The horrid, sh*tty side of depression might be good for writing and creating: when it comes to relationships and everything else; it can be quite lonesome and hard. Experiencing the worst aspects of the illness – I have been at the point of death a few times – and trying to get people to understand how hard is a constant fight. I know Baker’s experience is different to mine: we have a lot in common, in a lot of ways. I hear her perform personal and troubled lines in a very earnest and unencumbered way. There is too much stigma and taboo attached to subjects like anxiety, depression and mental illness – there is a certain amount of reservation when it comes to sex and passion, for that matter. Music is not an innocent virgin who reads a book by candlelight and is chaste and pure – artists are free to express themselves and not be fearful of repercussion and judgment. As the mental-health crisis expands and becomes a burden – I wonder whether we should still treat the subject as a sitting shiva. We throw drapes over mirrors and, when it comes to ill health and death; we discourage people to look at their reflection – we prefer them to focus on something more ‘dignified’. Massive respect to bands like Screech Bats for providing oxygen and light on the subject.

The thing that hits me about Get Better is, well…the hit. Backed by production values that mean the words are decipherable and passionate – clean enough so they are not mixed down low in the track – but keeping the instruments and microphone dirty; it is a song that takes you by surprise. A lot of Rock/Punk-natured songs are either too lo-fi and undercooked – making it difficult to hear what is going on – or, even worse, it is polished and prim. Production that wears Prada and drinks a mojito is not going to bond well with a (male) core than prefers tattoos, ripped jeans and the work of The Clash – there might be some good sex and fun; it will never lead to anything real and long-lasting. I am going off-track but my point is this: the production perfectly supports the band’s aesthetic and adds new dynamics, layers and colours. Backed by stunning support and incredible musicianship – the percussion is tight, evocative and tough; the bass holds it all together and adds melody and bounce; the guitar is tussling, bruised and snarled – Baker is up-front with a vocal that mixes deeper tones with painful words. It is easy to fall for her voice right from the off. It is so expressive and instant; it is beholden to nobody else and carries so much weight and wonder. The “emptiness” in her soul was part of a conspiracy and crusade loosely tied with string and fraying at the seams. Against the tide and rip-tide notes; Baker lets her voice bounce, protest and crash. Right from the start, she reveals her pains and shows how tough things have been. Rather than dress things in tinsel and project metaphor and innuendo – things are direct, unadorned and direct. Skies once sunny and romantic are black and cloudy; doors once golden and open are black and closed – there is a bit of metaphor, sure, but it is meant to convey the troubled past and how bad things were. One instantly projects themselves into the song and follows the heroine. It is the way Baker projects and delivers her lines that (gets the words) into the head. There is a distinct accent – a slight London twang with, I think, Americanisms in places – that differs from what is out there.

Rather than copy the rather stilted and limited vocals I hear in so many bands: she brings my mind back to the halcyon days of Punk and some of the best new bands of the moment. Whether speaking about herself or a general malaise; there is this figure adorned in white who meets a subject in a nightmare. Maybe it is a therapy setting or a troubled conversation. The heroine casts a tragic and despondent figure that used to possess a certain hope and alacrity. Now, through circumstance and ill fortune; she is a shadow of her former being – tried to battle through the smog and find supportive voices. Whether seeking a softer, tender kiss – a relationship that provides hope – or answers to the quandaries spiralling in her mind – she is pleading and imploring to the ether to deliver clarity. Talk of needles and revelation gets me thinking of medication and counselling. Maybe the injection of medication has brought some stability; the conversations have led to semi-conversion. Know what Baker does for a living (a tattoo artist and studio owner); maybe her work and the way she expresses who she is – through art and design; bonding with like-minded people and etching something profound to the skin – her profession and passion have provided that stability. There is talk of absence and a departed figure. Whether it is a representation of her former self (and a happy guise) or a guy – their loss is causing tears and anxiousness. I feel there is a mixture of the two. The heroine has seen romance go and been let down by men – perhaps the type who do not appreciate who she is and all her wonderful points – but the depression and numbness that she feels requires a more medicinal and productive remedy. The band are incredible throughout and provide ample support for their lead. The strings snap and bark; the percussion and bass work alongside one another and elevate the vocal. Baker is like a “grain of sand lost in the galaxy”. She is keen to reveal her shortcomings – she is not perfect and has been in a bad place – but that is part of being human.

Baker is beating herself up to an extent. Maybe she has been withdrawn and a bit off with people who are there for her. That is understandable given her illness and struggle. Now, with clearer sight and a more positive psyche; she is an available friend and improved – those who have left her have reason to come back and provide another chance. She is, as Get Better implies, improving and determined to get through the storm. She is special and worth a damn; she followed a darkness through corridors and avenues – taking pills and resisting the lure of darkness means things are starting to look up. There is melody and uplift in the composition. The chorus lifts the spirits and, after one listen, sticks in the head. The effusive and positive coda means people will register an instant hit and feel lifted listening to the song. Baker has traversed the quicksand of ill psychology and lost people along the way. Her way with words and images makes the song a more physical and real thing. It is that sentient quality that means you go into the song and follow her every step of the way – letting her know things will be okay and she is closer to perfect than she things. Get Better provides background and revelation; it goes to the confessional booth and does not hold back for the priest. The heroine is brave and resolute through every machination and phase. Whilst an exceptional writer and unique, compelling lead voice – the song depends as heavily on Reeve, Hellyer and Clark. Their support is not a minor role: they heighten every line and provide each emotion Baker sets out to deliver. They have been performing together a long time so know how to connect and deliver a wonderful song. The bass works with the drums and drives the vocal; the guitar works with all three but takes the song in a new direction. It is a four-way unification that not only provides Get Better the strongest, most alluring skin it can – the nuance and depth means listeners will keep coming back for various reasons. The song is indication Screech Bats are among the finest young bands around – and that everyone should get their E.P., Wish You Were Her, on 30th March.

I have talked a lot about the band and what makes them special. Their E.P. was recorded in a Blackpool rehearsal space with James T. Boom (of Sonic Boom Six). Sessions would often start and run through the early-hours and, in a lot of ways, provides a more realistic impression of the E.P. It is harder to convey pain, urgency and a need for rebirth when the sun is out and there are people milling about. After the sun goes down, and the peeps are tucked in bed; the bands plugged in and started work on Wish You Were Her. Get Better is, to me, the core and gravity-centre of the collection. It is a song that will relate to many - but provides others something they have not experienced before. There is too much commercialism in music. This means issues like mental-health and distilled into a cocktail of heartbreak, self-doubt and generic pomp – it is not as raw and focused as it should be. Screech Bats want the positive to override things. They want their listeners to realise things will be okay: that does not mean they turn the listening experience into a PG-13 thing with censored words and softer tones. They talk about sex and men in a very human and honest way; they tackled life and death without being off-putting; the way they look at mental illness will help many and encourage other artists to do likewise. I have talked about sexism and gender labelling in music. I feel we need to get out of this mindset and calling female bands ‘girl bands’. That might sound like a narrow distinction but there is something Pop-based and juvenile about the word ‘girl’. Bands and are bands, mate – we should not separate and divide artists because of their gender. I urge everyone to get Wish You Were Her when it arrives. I have provided the pre-order link at the top of this review. Get Better is a fantastic track that shows how much the band has developed in the last year or two.

The band play Boileroom (Guildford) tomorrow; they head to Nambucca on 23rd; back in Boileroom for 5th April – there are a couple of gigs between them. They are splitting their time between Surrey and London but, as I hope, London will be their future basis. They have careers and lives that cannot be uprooted but, when it comes to fostering and developing their careers; being based full-time in the capital might be the solution. I have a lot of affection for areas like Brighton, too – I wonder whether they will pull gigs at Green Door Store or Sticky Mike’s Frog Bar. I mentioned Brighton because I have limitless respect and love for the people. They are much more open-minded and accepting than many – naming no areas/people – and are a lot friendlier and compassionate than others. I feel Screech Bats will be welcomed and taken to heart. The same goes for those in cities like Manchester and Leeds – the former, especially, is somewhere they should aim to play this year! They will stick to local spots but, knowing these areas; I feel the band could find popularity and huge acclaim in other cities. They hit Camden Rocks Festival on 2nd June: one of the (if not the) biggest gigs of their career! That festival seems natural-born and designed for them. In the hot and scented air of Camden; they will thrive and strike. I know they, in time, will get U.S. dates and gigs further afield. I know promoters, labels and venues in the U.S. – from New York and L.A. to Texas – and Australia that would love to house their kind of music. How far ahead they are looking is up to them. I know they will go all the way and, right now, we have the wonderful Get Better. To paraphrase The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band classic: “I have to admit it’s getting better/A little better all the time…

(AND ever better it will get!).

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Follow Screech Bats

PHOTO CREDIT: Mace Maclean Photography

Official:

https://screechbats.wordpress.com/

Facebook:

https://www.facebook.com/ScreechBats/

Instagram:

https://www.instagram.com/screechbats/

Twitter:

https://twitter.com/screechbats

SoundCloud:

https://soundcloud.com/screech-bats

Spotify:

https://open.spotify.com/album/4IVRb713csqEFeR4Tv6NZ5

YouTube:

https://www.youtube.com/channel/UCiRvmqKbWZn-7F68SbzLs9g

FEATURE: Summer Colours: It’s Almost Festival Time…

FEATURE:

 

Summer Colours

  ALL PHOTOS (unless credited otherwise): Unsplash

It’s Almost Festival Time…

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THE weather is still chilled and…

most of us cannot wait to see the back of winter! As the temperatures start to hit double-figures; our minds turn to festivals and a potentially busy diary. The collective wardrobes will be rearranged and prioritised – wellies and festival gear ahead of the winter clothes! – and we will all start to decide which events to attend. I feel we all need the energy and excitement of festivals right now. Glastonbury is enjoying a ‘fallow year’ – allowing the fields to replenish and recover – and that means other festivals can step up. You can check out all the festivals this year - but among the highlights are Latitude Festival (12th-15th July) and Isle of Wight Festival (21st-24th June). Outlines takes place from 2nd-3rd March: there are few major festivals before then. We do not have to wait long for it all to kick into gear – once the weather improves... – but there will be many clearing their diaries, booking time off work and preparing for the upcoming delights. Many feared the absence of Glastonbury would be a huge vacuum and loss. Whilst it is a shame the event is not happening this year; we need to give the land time to rest and, if anything, it builds anticipation for next year! I am seeing a lot of new, boutique festivals spring up. I don’t believe you can really have TOO many festivals, to be fair. Music is such a broad church that it means someone, somewhere will want to get out and see some live music.

IMAGE CREDIT: Getty Images

Camden Rocks Festival happens is on 2nd June: a chance for those diehard headbangers – and those who like a proper, decent band – time to meet and mosh. There is the more accessible and broad In the Park Festival on 27th May (I think it should be written in lower-case but I cannot bring myself to do it! There are Dance festivals and Folk attractions: most people are going to be catered for this year! Why I wanted to write this piece was to encourage people to get out there. I have attended local festivals but have always been put off by the cost of attending a big festival. I have always wanted to go to Glastonbury but, by the time I have commuted down to the site; there is already that transport cost – and all the food, drink and various items I will buy during the day/weekend. It can be daunting considering the costs but, if you limit yourself to one or two festivals a year – it does not break the bank and is worth the investment. Regardless of the weather – you’ll likely catch a bit of rain! – the sense of togetherness and fun is evident. If you are a first-timer; do a bit of research and you’ll find a festival to suit your tastes. Most get going around May/June and run through to about September – there are a few either side but the big ones fall during these months.

Many people have been feeling down and despondent lately. The cold weather and fatigue – work and personal life – means they have little energy to get out there and get to gigs. I have written about independent venues and how, in a week where they are being celebrated; we should set some time/money aside and visit our local one. Preservation and dedication should not be reserved to a single week: committing to further investigation and study should be part of every music-lover’s soul. I am going to get to gigs this year and, if I can rustle some bodies together, get to a smaller festival. We all spend too much time worrying and working; being cooped up - and not being as sociable as we should. The antidote to the winter blues is the summer sun: getting into the open and experiencing festivals around the world, not only Britain, is crucial. Marketing budgets have increased and, with the power of social media behind them; organisers have been able to get more people in. Many of the major festivals have adapted to growing demand for live music and provide the consumer more for their money – in terms of food, entertainment and options at each site. The more people come to festivals; the more money that can be spent booking top acts and a range of eclectic artists.

2017 was a record year in terms of festivals overtaking other forms of live music – I feel that will continue this year. Although there are fewer female headliners than there should be (something that needs correcting) I am excited by the options out there. I mentioned how new festivals are popping up here and there. Ever genre should be represented and given it chance to shine. As I plan the rest of my year; I am keen to get to a big festival and soak in all the colours, scents and sounds. Being around like-minded people and experiencing great and varied live music is a perfect way to boost the mood and banish the winter glumness – and create a treasure-trove of memories into the bargain. I urge people to do the same. It might take a bit of research but, depending on your preferred choice of music; you’ll find at least one festival that suits you. The BBC has its Biggest Weekend festival. It is a four-day festival and will have a site in England, Wales; Northern Ireland and Scotland. That happens in May and is a perfect introduction for any festival virgins – with a mix of mainstream and newer acts playing. It is a great time to plan your festival diary and start saving the pennies. We all deserve a treat and there are few better ways of witnessing music at its peak than a festival. There were fears, when Glastonbury announced a fallow year, there would be nothing worthy taking its place. Do your research and you will find some great alternatives. Maybe they are not on the same scale as Glastonbury but that is not to say this year will be a washout. So many new and existing festivals are waiting for you to embrace them. With that said, and the weather as chilly as ever, start thinking ahead…

DUST those summer clothes off!

INTERVIEW: DYGL

INTERVIEW:

 DYGL

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MY mind has been working overtime trying…

to recall the last Japanese band featured on my blog. I am not sure there has been one! Maybe I am wrong: what I do know is DYGL, from Tokyo, have provided me a glimpse into the Japanese music scene. They discuss the single, Let It Sway, and what comes next for them. I ask how they got together and what the scene is like where they are; if there are any new artists to look out for – and whether they are coming to the U.K.

Nobuki (from the band) talks about their style and evolution; what the highlights from last year are; why British and American bands have proved instrumental to them; what they hope to achieve this year –some great albums that the band hold close to their hearts.

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

Hi. This is Nobuki from DYGL. It's been kinda-chill week. We’ve started doing pre-recordings for a new track (that's supposed to be the next single).

For those new to your music; can you introduce yourselves, please?

We are four-piece Indie-Rock band based in Tokyo. It's been almost five years since we formed DYGL. It might look little tricky but it comes from the actual English word ‘Day-Glo’ - meaning a fluorescent colour. Lately, it seems like fewer and fewer people are trying to do Rock music - but we are still so attracted to the sounds of the guitar along with a tight drum; the rhythm of the bass. We might be (kinda) the last Rock band in the world…

Actually; there must be thousands of "last Rock bands" in the world, though.

Tell me about the song, Let It Sway. How did that song come together?

I wrote this song by (just) singing along whilst strumming an unplugged Fender Stratocaster. Maybe it was three years ago, already. (Lyrics came later). I think it's interesting that the lead guitar phrase takes the chorus part instead of the vocal. We actually hadn't released this as the single when we recorded it - until we released the limited cassette tape including this and Let It Out when we went to London and Brighton last year.

But; we made the video for this one a little while ago - so I think people recognised this as the single...

The video looks kind of funky. Tell me about its creation and how the concept came together.

We asked our friend Mitch to make the video for us. Actually, it's a little hard to find a good video creator in Japan who can share the same tastes and vibes with us. We're lucky that we can find and work with him. We wanted to make a retro-oldies-type video; so he used Super 8 film camera for the main scenes. Actually; it's was quite a relaxed one: hanging out and filming, then done.

It was fun shooting.

Since your 2015 debut E.P., you have produced a string of fantastic tracks. Is there more material coming this year? What are you working on?

Now, we're preparing for the next single and getting warmed-up little by little for the next album as well. It’s the second album - as DYGL, of course, but, also, personally - I haven't released any ‘second album’ so far, even with the other bands that I had been in. So, I'm really excited for that. Hope we can release it around summer, I guess? We'll try our best to make one that's worth waiting for.

We wanna write more songs, more lyrics: more of something new.

You are one of Tokyo’s fastest-rising bands. What kind of music scene is there in the capital? Are there quite a lot of great bands coming through?

Tokyo is hectic. There are too many scenes - and bands are doing their own things here and there.

But, basically, Indie-Rock music scenes are not that popular. It actually exists but even the Indie music scenes are contaminated by the commercial music market. There's worthless hype, as well - and a few good bands are ignored often. Sometimes; we're categorised in some nonsense genres that the Japanese media have made up - but we honestly felt isolated in the Japanese music scene. But, of course, we're not American nor British (band), so, sometimes, we feel really strange not being part of anywhere. But, I guess that's the good thing: for us to focus on what we wanna do. Ther are some interesting things going on as well. There's a Noise/Avant-garde scene in the city called ‘Koenji’ - and I think it's worth checking.

Koenji is the centre of Experimental music. Historically, many bands are involved with this city like Melt Banana, Boredoms; Yura Yura Teikoku (which Shitaro Sakamoto was in). But, generally, the Japanese music market is all about commercial music; even the bands who are called ‘a Rock band’ care more about business and the market too much. These domestic scenes have been really boring for more than ten years but, recently, some young lads started trying to create something new - inspired by the old Japanese legends like はっぴいえんど (Happy End) or 山下達郎 (Tatsuro Yamashita).

The young bands seem to get bored of all the commercial bands and try to revive some authentic sounds. Still; it's hard to find the really good ones from those scenes, though. There are the other bands who are singing in English in an Indie-Rock style. Tawings are cool. They're gonna play for SXSW at Burger Records' showcase. I like Boys Age, as well. Not too many foreigners stay here to record music - but I met the guy from the U.K. who's doing music in Japan under the name of Harley and the Hummingbirds. He's cool, too.

My friend Ian Martin recently researched and analysed almost the WHOLE Japanese music Indie scenes in unbelievable detail and published a book. It's called Quit Your Band! (You might wanna check that out if you're interested in Japanese music scenes now.

How did DYGL come together and discover one another?

We were in the same university called 明治学院大学 (Meiji Gakuin University) in 2011 and found out we shared the same taste in music: Oasis, The Smiths; The Beatles, The Kinks; The Strokes, The View; The Libertines and these kinds. (Believe me; it's not that easy to find the guys who REALLY like these ones - especially The View!).

In Japan, each university has a community called ‘Circle’; in which people are doing some club activity stuffs: sports, music; volunteers etc. We were in the same Circle called 現代音楽研究会 (Gendai Ongaku Kenkyukai means ‘Contemporary Music Club’, of which the guy from Salon Music used to belong) and we formed DYGL in 2012. Actually, almost everyone was doing Hardcore, Noise; Avant-Garde or Ambient – so, Indie-Rock bands like us looked so weird in there.

It was a really interesting experience being in the club.

I hear elements of The Strokes and Arctic Monkeys in your work. Are British and American bands (like them) a big source of inspiration?

Yeah, it's huge. I've been listening to a bunch of music from overseas since I was thirteen or so - the bands you're mentioning as well. Personally, I've really been into U.K. Rock music - especially from the 2000s. Also, some of my favourite ones are from Sweden, France and Australia. But; I wanna say we're all just looking for good music: all we care about is the music itself. If it's good, it's good no matter where they come from. But, yeah, I definitely recognise that I was influenced by the music from the U.K. (all the time).

I don't know why - but I am really attracted to the British sounds.

Which artists did you all grow up to? Did you all bond with music fairly young?

I think we all started listening to music around elementary-school or junior-high. None of us was trained at Piano School or anything. We started listening to Japanese Pop or Rock bands, first, when we were nine or ten and gradually began to find some more interesting Rock bands from Japan - or even from outside of the country. Each of us used to be in another band when we were in high-school (before we all met). We did have similar tastes by that time, already. To me, the first experience was the View's first album, Hats Off to the Buskers.

I was fourteen when I first listened to the album at an instrument shop in Jiyugaoka - which is the city between Shibuya and Yokohama. At the corner of the shop, there was C.D. section and I had been hanging out there often to check some new music. At that time, I started listening to some foreign bands and realised it's quite different from Japanese bands – but The View's first album blew my mind and I quit listening to all the bands I was listening to at that moment - and rapidly fell into this kind of music. I read the liner notes inside the C.D. and found out that the guy, James Endeacott, who found The View also found The Libertines and The Strokes - and I thought, like, ‘I really need to check these bands’.

Last year, you played so many gigs and countless new fans flock your way. What were your highlights from the year? Was it a quite a tough and challenging 2017?

Yeah. 2017 was a really busy year. It was the tour-life. The number of the shows we've played is the largest ever. We went to many countries to play gigs. Most of them were Asian countries and they are way more beautiful than we've expected - especially China. We've done seven shows there and it was a really huge experience. We spent many crazy nights hanging out. Everything is huge, audiences got so excited: it's beyond imagination. We quite enjoyed Thailand as well. I love the atmosphere there.

It seems like there are many music fans and they’ve got a cool taste for art and music. We always appreciate how Taiwan’s people are welcoming to us! I think we’ve been there over five times - but we're always happy to come back there. We could only do one show each in Korea, Indonesia and Malaysia - but can't wait to come back to all of the countries that we've been to. Playing in London and Brighton was totally epic. I've been dreaming of that for centuries - since I got really into Indie-Rock music when I was thirteen or fourteen-years-old.

Really glad that one of my dreams come true.

LOGO DESIGN: Kieran Riddiough

Who are the new artists you recommend we check out?

We all are into the young Liverpool band called Trudy and the Romance these days. Shame are also cool. As I mentioned before; you can check Japanese four-piece girl band, Tawings. They are a Post-Punk band and sound tight.

The Districts from Philadelphia are really amazing as well! (Maybe you might know, though). We recently covered Buzzcocks’ Ever Fallen in Love (You Shouldn’t’ve) for the compilation album called Rhyming Slang Covers (released in Japan). There are so many local Indie bands in this - so it'd be cool if you check it out.

IN THIS PHOTO: Tawings

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

For me; I wanna name The View's first (and best) album, Hats Off to the Buskers

This one opens my entire music world - to know a bunch of indie rock bands – and are all classics. This one is massive in my life.

Yotaro:  For me; I wanna name Atlas Sound’s Parallax

Yosuke: To me; the album that means the most is Dog Man Star by Suede

It has been my favourite since I saw them on Japanese T.V. when I was a teen.

Kohei: Figure 8 by Elliott Smith

Because this brings back memories and bums me out.

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

The closest show we're playing is the Beach Fossils tour in Japan (in March). We're planning to record our album around April; so we wanna do the tour in the second half of this year! We might be going all around including Asia, Europe and North America…we're thinking Australia and Canada as well. It'd be even greater if we could come down to Brazil and South Africa, but let's see.

Will you play the U.K. anytime soon? Might we see you gig here?

We're coming to the U.K. this February to record the single - but we're be coming back for some shows and festivals soon! It's on our list to do the festivals in the U.K.; so, it's a great honour for us. Actually, we recognised there are so many good music cultures in each city in the U.K. – so, we hope we could do a U.K. tour by driving around in the tour van!

That'd be awesome.

Any New Year’s resolutions made this year? What do you all hope to achieve, personally, in 2018?

Because of the tight tour schedules; we couldn't really focus on writing new songs last year. We're gonna try to focus on songwriting this year – do it even harder than before. That's the main thing, I guess. (As much as we can). To me; maybe learning Spanish and Chinese is (still) on my list. As a band, we wanna try to find some new style of Rock music.

Also; we want to find a good label or record company who’ll understand and support our music.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Ok, sounds cool. I'll list these up down below. Enjoy!

Nobuki: Yura Yura Teikoku - Kudo Desu (Hollow Me)

Yosuke Shimonaka: Psychic TV - White Nights

Kohei Kamoto: Elliott Smith – Happiness

Yotaro Kachi: The Velvet Underground - Pale Blue Eyes  

_______

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FEATURE: Reasons to Be Cheerful: 2018 and the Need for Optimism (The David Byrne Philosophy)

FEATURE:

 

Reasons to Be Cheerful

 PHOTO CREDIT: Unsplash

2018 and the Need for Optimism (The David Byrne Philosophy)

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HOW many of us…

PHOTO CREDIT: Unsplash

during the course of an average day are genuinely optimistic and hopeful - and easily block all the bad news out? I guess, historically, humanity has had its ups and downs – people facing conflict and struggle – but it seems, with every passing year; we are becoming more insular and depressed. Maybe it is the population rise and the fact the world is becoming more compact; the way we immerse ourselves in technology – and forsake a certain humanity and physicality – or, perhaps, it is the way the world is unfolding and breaking up. Two days ago, in London; Talking Heads’ leader, David Byrne, delivered a talk about positivity and the need to be cheerful. It was at The Roundhouse - and, as they described it, was: 

“It may seem like there isn’t a whole lot to be positive about in 2018, but amidst all the chaos there’s hope. David Byrne believes there are actually a lot of encouraging things going on around the world—they’ve given him hope and inspired a new record, and he’d like to share them with you. He’ll be presenting them live, by way of a talk and visual presentation”.

I heard Byrne talk to Lauren Laverne – got myself a rap going on! – about that night (yesterday) and he was in fine fettle! He discussed his upcoming music and how, in everyday life, we are fed negative images and anxious news.

Byrne’s Reasons to Be Cheerful looks at various sectors of society and accentuates the positives: why there is hope and great developments we should be excited about. Influenced by the Ian Dury song of the same name; there is lots of good out there not being reported – we do all have some reasons to be positive! I shall come to my own experience soon enough, and why I feel music needs to adopt a sunnier attitude, but, if you think about the news stories that fill the smallest columns: how often do we see those positive and redemptive tales?! David Byrne’s talk/seminar is one part of an ongoing output that focuses on hope and a genuine utopia – a rubric formation that is, to me, the tetracycline of the modern age: eradicating ills and curing a numbing way of life. He is gearing up to release the album, American Utopia, and will produce playlists and videos – all focused on that theme of cheerfulness and reasons to look up. His album is out on 9th March and, ahead of that, we have been treated to the single, Everybody’s Coming to My House. Other titles on the album have a (...I think) positive bent: Every Day Is a Miracle and Doing the Right Thing are among them.

I imagine, given the title, there is going to be an attack against Donald Trump and how the people can create a better America. Perhaps some irony will be in there: how President Trump is forging American in his own vision; his idea of a ‘utopia’. I expect a lot of positive messages a new direction: castigating the negativity in the world and focusing on better realms. Field Music has done that with their single, Count it Up – a song that asks people to count themselves lucky if they find fortune and small victories here and there. Byrne, himself, asked how many of us wake up, read the paper and feel lifted. He is depressed half the day: most of us will share a similar sense of fatigue. In the ‘Civil Engagement’ segment of his site; there are hopeful and breakthrough developments; ‘Health’ looks at, among other things, ending the drugs war in Vancouver; there are articles about street-closure and bike-sharing schemes – urban developments and transportation schemes. The cultural section shines a light on the 'AfroReggae' initiative: it offers an alternative to Brazil’s youth; many engaged in crime and a nefarious lifestyle. Finding the joy in life can be like dancing to an imaginary beat. We hear a lot of propaganda, ‘fake news’ and lies spread on social media; our papers and T.V. is filled with negativity and doom – where do we go to get our fix of uplift?!

PHOTO CREDIT: Unsplash

David Byrne’s concept draws in news from around the world; projecting hopeful messages through music – ensuring a note of positivity is injected into us. I feel music can play a big role regards that. In terms of lyrical themes; there are very few tracks overly hopeful and expressive. Some provide sonic light but, when you study the lyrics; they hint at something quite dark and strained. It is commercially risky moving away from the established and trusted and penning something that gives the listener something more nourishing. One of the reasons I look back at music – rather than stay with newer songs – is the way it makes me feel. Maybe some of that is to do with a remembrance of good times: to me, it is something in the production, sensation and lyrics. We have plenty of happy songs in modern music - but there is more reliance on introversion and personal struggle. Maybe it is hard to put all the good news/development in the world into music: ensuring sounds have a more positive tone can make a big difference to everyone. Music, in general, is a fantastic way of lifting the mood and changing lives. David Byrne’s need to redress the negative-positive balance should be a guide for all of us. Whether you feel the type of themes explored in modern music are okay as they are – you cannot argue there is more unhappiness and negativities than there needs to be.

IMAGE CREDIT: Getty Images

Perhaps that is a natural reflection of modern life and the information we digest...that all needs to change. We cannot avoid the realities and stark truths the news projects. It is a hard and bleak time but, among all of that, there are avenues of wonder and reasons to be cheerful. One of the ways to get out of a collective funk is to take a different approach and integrate more light into life. Music is that ever-powerful tool that can enrich and elevate a human to new heights. The fact so few artists are harnessing its positives and potential is worrying. Maybe other artists need to take a leaf from the likes of David Byrne and Field Music: write more about what we should be thankful for; some of the carefree, inspiring aspects of the world. I am excited seeing how Byrne’s idea unfolds and evolves. He has already delivered a talk and a website; there is an album due and news will surface – can he keep it running and compel other artists? I think his positive and motivated stance is a breath of fresh air we all need right now. An article in Elite Daily (last year) highlighted another benefit of music:

"Recent research conducted by Signy Sheldon and Julia Donahue of McGill University in Canada proved that when people listen to happy, upbeat music (instead of emotionally scary or sad music), they can recall happy memories within a shorter amount of time.

In the experiment, the researchers had participants listen to four different genres of original music they had never heard before: happy (positive, high arousal), peaceful (positive, low arousal), scary (negative, high arousal) and sad (negative, low arousal).

After listening to the piece of music, they had 30 seconds to think of a memory that personally involved them, that had a specific time and place and that didn't last for longer than a day".

IN THIS PHOTO: David Byrne/PHOTO CREDIT: Getty Images/Press

There are numerous reasons why music can help: there are clear reasons why artists should incorporate more uplift and joy into their music. It does not have to be a Polyphonic Spree spew of glee: a few songs that highlight life’s treasures and good sides would make the music world lifted and more hopeful – and impact the listener directly. At the very least; David Byrne’s one-man crusade against negative deserves acolytes and huge support. Few go out their way to turn all the bad into something positive. Adopting a new attitude, even briefly, can make a big difference. I am pleased Byrne is leading a charge and getting us all to think in brighter terms. As you go about your day – as a musician or fan – think about the good around you and fighting off the negativity. That can be hard to do but, by focusing on those oft-overlooked glimmers of light; it means the happiness levels rise and the anxiety levels drop. This something, in a world where the news headlines are often grim, that will…

PHOTO CREDIT: Unsplash

BENEFIT us all.

INTERVIEW: The Broken Islands

INTERVIEW:

 The Broken Islands

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IT has been at least a few days since I…

last featured a Canadian artist. I get a bit nervy being away from the country for that long, you know! Luckily, The Broken Islands are out in force to tell me about their (2017) album, Wars. The video for No One Left to Kill is out – a great opportunity to ask about the song’s creation and the themes that went into the album. I discover how the band came together and whether they are coming to the U.K. soon – and if there is a cool story behind their band-name, too.

I discover what the music scene is like in Vancouver; the new artists worth a second listen; the artists they all grew up on; if they are going to be busy this year; what it is like getting love from the critics – the guys each choose a song to end the interview.

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

We’re great, thanks for asking. So far, our week has been fantastic. We arrived on Saturday afternoon and spent the rest of the weekend drinking - it feels like home already!

In all seriousness, now that it’s Monday; hopefully the real fun begins. We’re here to, literally, pound the pavement to get our new L.P. into as many hands as possible (and book some shows). If all goes well, we’ll be back this spring/summer to play a few gigs and do some more drinking.

In all seriousness…

For those new to your music; can you introduce yourselves, please?

We are The Broken Islands from Vancouver B.C. (Canada).

If we’re doing roll-call, we are…

Rachelle Boily (Vocals)

Kurtis Sheldon (Guitar)

William Macdonald (Guitar)

Stephen Cameron (Bass)

Rachel Ashmore (Keyboards, Vocals)

Mitchell Williams (Drums)

Sorry to ask but is there a special reason behind the band’s name, ‘The Broken Islands’?

You don’t have to say sorry. We’re Canadian: that’s our job. Sorry.

Initially, and for the longest time, we were called ‘The Sluts’. There are a lot of reasons behind that name - but that is for another day. Then, one of our members had a beautiful little girl and we collectively decided that the name needed to change. That decision was obvious and easy: finding a new name was not. Not at all. Being a democratic band; we were all able to passionately put forth one really shi*ty name after another. It was embarrassing, really.

We would come to the jam space three times a week and everyone would have the BEST (worst) name for the band. It went on forever. Then, one day, Stephen - who is an avid sailor - was going on and on about some trip he took up the west coast of Vancouver Island. At some point during our extended geography lesson; he mentioned ‘The Broken Islands’:  six small, uninhabited islands in the Pacific that just get thrashed all day and night.

Ding Ding!

Vancouver is where you play out of. How productive and varied is the music scene there? Is it a pretty cool place to live in?

The music scene is incredibly varied in Vancouver right now. There are some really great venues in East Van. that put on nights full of bands you’ve never heard of - that will leave it all on the stage and completely blow you away. It’s a very supportive scene full of socially-conscious, hard-working; honest gems of human beings. To be fair, from all of the over-priced condo developments; leased cars and generally shi*ty people as well in this city, the Pop scene must be doing great, too.

As for how productive is it - that’s a very broad question, isn’t it?!

Is the music scene being productive in making a difference? Overall, no. Not at all. We’re just the ones on the left going on about all of the things you can’t fix with a fuc*ing meme, aren’t we?! But, to us and our friends, yes...it’s made a world of difference. Like in any city, the underground music scene is where anyone can feel comfortable in their own skin - and being Canadians in the new world of Trump; finding a place where you can be yourself is harder and more important than ever.

Is it a cool place to live? Outside of the ridiculous cost of living, it’s pretty fantastic.

No One Left to Kill is in the ether. Can you tell me about the song and its background?

Oh, that one! 

No One Left to Kill came about relatively quick after a lifetime of completely fuc*ing up every relationship ever.

The video looks pretty cool! Whose idea was the concept behind it?

The video really just created itself. As lame as that sounds, it’s just a stream-of-consciousness-while-exploring-the-idea-of-finding-comfort- in-being-alone.

That song is taken from the album, Wars. What are the main themes and ideas you explore on that record?

We could give a whole bunch of bullsh*t answers about wanting to go into the studio and make this album or that album - but we didn’t. We just went to our jam space, turned everything up as loud as possible and let it all go. Day after day; month after month; over and over and over until Dave ‘Rave’ Ogilvie hit record.

No master plan. Just an honest record.

It was well-received by critics! Has that given you drive to create new material? Will we see more material this year?

The kind words from critics have been great for sure - but we’ve never stopped writing. We have twenty-or-so new songs at various stages that we are working through. Some are still just colours and shapes: others are more or less ready to kick you in the teeth.

How did you all get together? Did you know, when you started jamming, you would make a load of music together?!

Like we mentioned earlier; the music scene in East Van. is a very social, very tight; very loving community. Most of us have been friends for years: the others were only one degree of separation away the whole time.

When we formed the band, it was definitely done with the intention of creating something we would be proud of: something we could share with the people closest to us at the very least - since none of us seems to communicate very well in real life.

Or so we’ve been told...

Do you all share similar tastes? Which artists do you source from?

Hahaha! Similar tastes?! Yeah, right...

What artists do we source from? Well; we personally think we wear our influences on our sleeves. That’s not the proper answer that we’re supposed to give, of course; but one day it’ll be MC5 and another it’s Jackson 5 - and that’s for just one person!

There’s bloody six of us.

You source from a lot of genres and styles. It seems you have invented your own sound. Has it been hard crafting such a heady and eclectic sensation?

Let’s just say everyone having such different musical tastes definitely created some very ‘lively’ conversations in the beginning. Now, after countless hours of slowly letting tracks find their own way; we trust each other to just let it go. No one intentionally plays a particular style - but everyone definitely plays their own style (and it works).

IN THIS PHOTO: Actors

Who are the new artists you recommend we check out?

Without a doubt, check out Little Destroyer*

You have to listen to Actors*

Oh, and The Corps, for sure!*

*East Van. handshake. Xoxo

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

Rachelle: Ulrich Schnauss - A Strangely Isolated Place

Because it tells a story without words; it transports me to a fantasy world and calms me and every single time I listen to it - whether it’s my thousandth time; I hear a new instrument or sound I didn’t notice before.

Kurtis: Howlin’ Wolf – The London Howlin’ Wolf Sessions

I grew up listening to Blues and Jazz. The riff for the opening track, Rockin’ Daddy, was the first riff I learned to play. Still number-one 'desert island record' for me.

William: Joy Division - Unknown Pleasures

Reminds me I’m not alone.

Stephen: Led Zeppelin - Led Zeppelin II

My sister gave it to me when I was eleven because she hated the music I was listening to - and it changed everything, musically, for me from that point forward.

Mitch: Around the Fur by Deftones

When I started playing the drums, I was addicted to this album. I would play along with it for countless hours. I still love it.

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

Yes, absolutely...!

No idea…!

Let us update this next week…!

Haha!

Will the U.K. be part of your touring plans?

Right now the U.K. is our main touring plan for spring and early-summer: maybe in late-summer, we’ll fly back and hit the continent.

Looking back on your time in music so far; are there favourite memories that come to mind?

Selling out our favourite club, The Cobalt, twice has to be up there but, without a doubt, recording with Dave ‘Rave’ Ogilvie takes the cake. The guy is a genius who’s worked with a hundred of our heroes – but, over and above, he’s the nicest guy in the world. You rarely meet people like that or have the pleasure to work with them. He’s on the top of our list for sure.

How do you all spend time away from music? Any hobbies or favourite ways to chill?

Well…sometimes, we drink…

Oh, and Rachelle walks her dogs - while drinking.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Rachelle: Massive Attack - Paradise Circus (Gui Boratto Remix)

Kurtis: Tom Waits - Come on Up to the House

William: DJ Shadow - Building Steam with a Grain of Salt

Stephen: The Police - Invisible Sun

Mitch: Grizzly Bear – Aquarian

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 Follow The Broken Islands

Official:

http://www.thebrokenislands.com/

Facebook:

https://www.facebook.com/thebrokenislands/

Twitter:

https://twitter.com/broken_islands

Instagram:

https://www.instagram.com/_thebrokenislands_/

Spotify:

https://open.spotify.com/artist/5gpCj0xQj8BwdG3uXPUJRr