INTERVIEW: Dantevilles

INTERVIEW:

 Dantevilles

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THE world of bands is a varied and, often, murky one…

that promises idols and the ‘next big thing’ – without necessarily offering anything original and substantive. When it comes to Manchester’s Dantevilles; I am much more hopeful and primed. The boys chat to me about their new single, Blackjack, and whether there is more gold coming from them; what the Manchester area is like for music; how the band got together – if we can see them play anytime soon.

I ask about musical inspiration and whether they have progressed since their early days; some new artists worth time and study; albums that are important to the guys – and whether they have any goals worked out for the remainder of 2018.

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

Yeah, we’re top! Spirits are high after the new release - and first show of the year was a sell-out to follow.

So; not bad at all.

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

(I’m) Connor - Vocals/Bass

Jamie - Vocals/Guitar

Paul - Lead Guitar

Cory - Drums

Blackjack is out now. What is the story behind the single?

Blackjack was written as a demo only a month or so ago. We had a pile of tunes we wanted to put on the E.P. – then, this one came out of nowhere and instantly became a contender. It was written, lyrically, with risk in mind and trying to tap into the struggle that is midweek vs. weekend. We all have a lavish, over-excessive approach to the weekend - and spend the week trying to feel normal again. 

It seems the lyrics nod to a certain dare – going for it and taking a risk. It seems like you adopt a similar tactic regarding composition and styles. Would that be fair to say?

Yeah. We don’t actually try too hard to produce clever compositions as I think we all understand how each other works now, which helps massively when writing. We’re just trying something different to your normal band - music’s a bit boring at the moment - and we’re attempting to spice it up again.

Will we see any new material come down the line? What are you working on?

Yes. There’s plenty more material on its way, finished and recorded and, as for new stuff past that; we’re constantly writing and trying to push ourselves towards what we believe is going to be are best-sounding tunes!

Do you think your music has evolved a lot since your first demos? Do you think you will incorporate new elements and sounds into future work?

Certain elements have changed: we’re probably all better musicians than we were when we first had a jam a couple of years ago. I’d never picked up a bass before Dantevilles! We’re trying to push our own boundaries and get out of our ‘comfort zone’ - it’s important.

But, then, other aspects are still the same - like the duel-vocal aspect. It was an aim to perfect that from the off! 

Tell me how Dantevilles came to be? How did you all find one another?

There was a voice in heads one night…

We all had the same dream and met on a street In Manchester…it was fate (jokes aside) but, nah, seriously…we met in Fallowfield, Manchester and moved in a house together in Moss Side. Everything clicked and took off from there.

Manchester is where you are based. How influential is the city? Do you hear a lot of local artists who will make an impression this year?

We’ll make an impression this year: our aim is to take 2018 by storm.

The city is a melting pot for music and now more than ever - we love Manchester - bands up here all get on and do like to support each other both old and new. It’s nice to be involved: it’s a proper-passionate city from music to football and everything in-between.

Did you all grow up on the same music? Which artists did you all vibe to when you were younger?

I think we’re all influenced all sorts. We all love bands like The Stone Roses and The Smiths - but then, personally, we have some random music we’re into: Cory loves Dennis Edwards, whilst Jamie’s partial to a bit of Jeff Buckley; Paul loves Led Zeppelin and Connor (loves) anything out of Manchester.

IN THIS PHOTO: The Nix

Who are the new artists you recommend we check out?

The Nix from Stockport; Saytr Play and Gathering of Strangers

IN THIS PHOTO: Gathering of Strangers

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

Connor: Oasis – Definitely Maybe

It was the first album I listen to on-repeat from start to finish (still do). You get to an age where you start to understand the meaning behind the music a little more - and this, for me, was that album.

Cory: The Streets - Original Pirate Material

For me; it opened the door to a broader taste in music - which has influenced my personal style and drumming style etc.

Paul: Red Hot Chili Peppers – Californication

Because it made me realise I was into guitar music more than All Saints.

Jamie: Carry on Up the Charts - The Beautiful South

Other than having a great deal of sentimental value; the songwriting - composed by Paul Heaton - really opened the door into getting creative with lyrics and structure - and into The Housemartins. The amount of melody and riffs in their singles was inspiring. 36D inspired me to write my first song - even though I didn't fully understand what the song meant...

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

We’ve got a gig on 08/02/2018 at Deaf Institute with Sea Girls. Then; we’re back on the writing game for February. A tour is around the corner – though, for spring, we are currently making plans.

Is the stage where you prefer to be? What can one expect from one of your gigs?

We all love performing best part of being in a band. All eyes on us and we thrive on that. We’re experimenting a bit with our live set to create more of a spectacle: a much more intense, exciting experience when you come to a Dantevilles show nowadays.

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

Playing the Kendal Calling Main Stage last year has to be up there.

We got a taste of how it feels to do it properly and we want that all the time - just the treatment you get is on another level as is playing a stage of that size. We feel like that’s where we should be, anyway.

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

The pub, mostly - we all like a pint – but, apart from that, there isn’t much time away from the band. It’s 100% most of the time: apart from Christmas. Haha.

So, Christmas must be our collective hobby.

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

Paul: Red Hot Chili Peppers - Californication

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Follow Dantevilles

Facebook:

https://www.facebook.com/dantevilles

Twitter:

https://twitter.com/dantevilles

Instagram:

https://www.instagram.com/dantevilles/

SoundCloud:

https://soundcloud.com/dantevilles

Spotify:

https://open.spotify.com/artist/15LbkbmQYhTDVTl1z7GKg0

FEATURE: The February Playlist: Vol.2: He’s Only a Buzzkill If You Liked the Hat-and-Hair Combination!

FEATURE:

 

The February Playlist

 IN THIS PHOTO: James Bay

Vol.2: He’s Only a Buzzkill If You Liked the Hat-and-Hair Combination!

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ONE of the biggest music news stories…

IN THIS IMAGE: Skott

of the week is the fact James Bay has dispensed with the trusted hat and his singer-songwriter, strum-it-and-pour-your-heart-out routine - upscaling to a (more) Electro, sexier version of himself. Away from the Bay of Rejigs crisis – there is a world of new music out there for the hungry masses! MGMT, PJ Harvey and Ezra Furman have fresh material out. There are cuts from Jorja Smith, Kendrick Lamar and Skott; Goat Girl, Car Seat Headrest and Ash. It is an epic and interesting week for music and, although there are few big-hitting artists out in the spotlight: some fantastic lesser-known acts have unveiled material.

I am excited seeing what the rest of February will provide us…

ALL PHOTOS (unless stated otherwise): Getty Images

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MGMT – Me and Michael

PJ Harvey and Harry Escott – An Acre of Land

PHOTO CREDIT: Lindsey Byrnes

Paramore – Rose-Colored Boy

PHOTO CREDIT: Dan Kendall Photography

The Magic Gang – Getting Along

ART CREDIT: Remy Boydell

Car Seat Headrest – My Boy (Twin Fantasy)

Ezra Furman – Maraschino-Red Dress $8.99 at Goodwill

Jorja Smith – I Am

Skott – Stay Off My Mind

MIST (ft. Jessie Ware) – Wish Me Well

PHOTO CREDIT: Phil Smithies

Goat Girl – The Man

PHOTO CREDIT: Iga Drobisz

Leo Kalyan – Stranger

Nilüfer Yanya – Thanks 4 Nothing

Gengahr – Before Sunrise

Kendrick Lamar and SZA – All the Stars

PHOTO CREDIT: Paige Sara Photo

Barns Courtney - Sinners

Ash – Buzzkill

PHOTO CREDIT: Eleanor Hardwick

Laura Misch – Lagoon

Rae Sremmurd – T’d Up

James Bay – Wild Love

Nadine Coyle – Girls on Fire

The Aces – Volcanic Love

Beauty Sleep - The Feeling Back

Grace Carter – Silhouette

Toni Braxton - Long As I Live

We Are Scientists – One In, One Out

Maroon 5 – Wait

U.S. Girls – Rosebud

Kendrick Lamar – Black Panther

Franz Ferdinand – Paper Cages

Erica Cody – Good Intentions

CuckooLander – Lone Pine Drive

PHOTO CREDIT: Karen Qin

Only Girl – Mountain

Julia Biel – Wasting Breath

Joan as Police Woman – The Silence

Au/Ra – Panic Room

Julia Michaels - Heaven

The Wombats – Black Flamingo

TRACK REVIEW: Fifi Rong - Awake

TRACK REVIEW:

 

Fifi Rong

PHOTO CREDIT: Pako Quijad 

Awake

9.5/10

Awake is available via:

https://www.youtube.com/watch?v=247Pb9RRb28&feature=youtu.be

GENRE:

Electronic

ORIGIN:

London, U.K.

WRITTEN AND PRODUCED BY:

Fifi Rong

MIXED BY:

Max Dingel

MASTERED BY:

Leandro Muñoz

PHOTO CREDIT: Pako Quijada

The E.P., Awake, is available from 23rd February. You can pre-order Awake via:

https://www.pledgemusic.com/projects/fifirong-awake

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EVERY time I take a breath and review...

an artist; I hope, by the time I exhale, I can find loads of good things to write about. That might sound like a strange thing to say but, sometimes, there is a feeling the music will fade from my mind when I have completed. That s never the case with Fifi Rong. I have assessed her before and, each song that comes my way; there is a special burst of life and adventure that remains in the mind and compels me days/weeks down the line. I will talk about the special characteristics of Rong and what her new E.P., Awake, represents. I will move to talk about London and why the city is inspiring artists – and why the varied geography transplants into music. Then, for a bit, a bit about bringing the right personnel into music; marrying sounds from the East and West; why we need to embrace artists with more invention and colours – finishing by looking at image, striking figures and why Fifi Rong can go a very long way. Something about FiFi Rong really bursts my brain and gets into the heart. She has a way with music that blends the familiar and the strange. Awake’s eponymous lead-off single has elements of her previous work and displays the same ambitions and blends as her fans have come to know and love. What differs is the subjects and topics addressed. I will talk about Awake’s meaning later but, with each Fifi Rong song; one gets an exotic and passionate blend of notes and vocals. I can detach from my ordinary world and step into music that is a fantasy and dream. You submerge yourself in the music and let the imagination flow wild. That is not something you can do a lot in modern music. I often wonder whether artists, when writing a song, think about the experience and what the listener is getting from it all. Most seem to write from their own perspective and have their own motives. They want the song to connect, for sure, but there is little in the way of depth.

PHOTO CREDIT: Pako Quijada

Fifi Rong is a dreamer and unique songwriter who expend so much intelligence and colour into her music. She blends genres and fabrics; gets deep into human emotions and takes a new angle on subjects many others are writing about. Awake looks at waking up to the truth that you’ve hypnotised yourself and deconstructed the paradoxes of human nature. It is about subservience and subordination; pain and joy: the conflict of self-reflection and liberation. It is a deep and evocative song that signals what the E.P. will display. You never get the same sensation with a Fifi Rong song. Each movement has a fresh candour and dynamic that takes your thoughts in a new direction. I can listen to some of Rong’s earliest material and see how she has come on as a songwriter. There is more confidence and candour; there is imagination overflowing and the sound of an artist unwilling to rest and compromise. I will move on from this point but, before then, I have been thinking about artists and whether they make sufficient leaps. It is hard moving on from a sound if it is established and popular. The temptation is to stick with what you are used to and not really move on from it. You get bogged in a rut and never feel the need to evolve. Fifi Rong is someone who captured the public and critics early but, with each song/E.P., takes on new influence and pushes her music forward. I am excited to see how far she can go and, in years to come; I feel she will be a mainstream artist who can make changes and inspire other generations.  She has received support from publications like The 405 and CLASH – someone who has got to the big leagues already and is not taking anything for granted. She has performed around Europe and played with some big names already.

The capital of the U.K. is somewhere many artists are moving to and being inspired by – finding it a bit daunting and expensive when they get there. Not only has London got resources and everything a musician needs right there; it is the people and landscape that provokes the mind and gets music onto the page. I have seen a lot of musicians come out of London but there are none quite as vivacious and imaginative as Fifi Rong. She seems to take from all the avenues and streets of the capital. Not only does her music look at a range of human emotions and deep issues people go through: the sounds and production notes splice genres and different feelings. This is very indicative of someone who has moved to a busy city and is trying to discover what makes it tick and understand its complex soul. As opposed to towns and ‘quieter’ parts of the globe; London is a rich and enigmatic city that can change one’s personality. It is hard adapting to a new landscape – one as broad and busy as London can exhaust and wear someone down. The city brings people in because of its openness and sense of democracy. There are varied races and religions in the same place; you can move between areas and witness something fresh and colourful. Fifi Rong knows this She has opened her arms to the city but, rather than document all the positives and surface considerations: one gets a deep look at the people and what life is really like. You can say Awake is about general human experiences and something everyone goes through. I feel those contrasts and bigger emotions are more pronounced in the city. London is supportive and caring – despite those who argue otherwise – but it is quite hard discovering who you are and finding community. No matter how much of a struggle life is; you can find a part of London where you are welcomed and improve your life – Rong assesses all the angles and nuances of the city.

PHOTO CREDIT: Pako Quijada

It is fascinating seeing Rong mix her family background and upbringing with the diversity of London. She has Asian background and, of course, is inspired by the East. I hear modern, updated versions of traditional Asian music in her Electronic sounds. One gets a real blast of Asia and the scents that make it such a blissful and fascinating continent. I have never been to Asia but I know the sounds here have inspired musicians for centuries. Maybe music of the East is not as commercial and accessible as that in the West. Blending those two worlds together can be quite a challenging thing to do. London seems like the place you can do that. Not only is there a large Asian population here; the ultra-modern, bustling city means you are exposed to the contrasts of East and West. The beat and buzz of London bring these paradoxes together in a rich and effusive tapestry. It is no wonder, with her D.N.A. and background, fusing Asian and British/American sounds together was the right thing to do. Maybe there is more of a nod to the West: one can definitely detect the charm, eccentricity and strange allure of the East. I feel London is an area that has its ups and downs. Rong has studied here and built a life among the people. She has created a career and established herself as an artist to watch. I know she drinks in the city and its rush but, like everyone, there are harder times when things can get a bit too much and hard. She takes all this into consideration and channels it into the music. Rather than present a rather ordinary and commercial viewpoint of London; you get a heightened sense of the free and complex. It is difficult breaking away from more ‘popular’ and marketable sounds at a time when the mainstream still takes over.

PHOTO CREDIT: Pako Quijada

Fifi Rong knows people can pigeonhole artists and stick with the same kind of music. She does not want to be one of those artists who repeats herself and does the same song over and over again. I know there are those who do not really transform that much between releases. That might be because they have that talent and quality right away – varying and stepping away from that might be seen as commercial suicide. Others do not have the talent and mindset to do anything new and get involved with fresh sounds. Fifi Rong has released a trio of stunning singles – Future Never Comes, The Same Road and The One – that show she never sits still and is always keen to progress. Awake is another step forward and differs from anything she has put out there. There are electronic and natural strands mixing alongside one another; those poetic lyrics and a commanding voice that gets right into the soul. Her Asian heritage means we have a much bolder and eclectic sound than, say, a western artist. Those more homogenised and limited tend to remain in my thoughts for a shorter period of time. Maybe they can get a feeling of other continents through musical exposure and research – it never seems as natural as those who have spent time there. Rong is an artist who pulls the overlooked East into the modern and over-exposed West. Rather than lazily clash them together and hope they coalesce; she digs deeper and artfully weaves something stunning together. Awake is the next phase of her career and one that seems, to me, more personal and meaningful than anything else. Not only is the title-cut bold and impassioned: the E.P. is her richest and most astonishing work yet. This upward trend and arc is the result of continued curiosity and performance. I know, before long, all her hard work and creativity will pay dividends – and she will be a permanent fixture of the British scene.

I cannot talk about Fifi Rong without looking at the image and marketing at work. She has a P.R. representative and, like any artist, there is a very set of way of doing things. I have talked about this in a feature before. The precise and planned nature of release can take away the naturalness and spontaneity of music. That said, when planning a big media attack; one needs a certain semblance of organisation and calculation. You cannot fling a song/E.P./album out there and hope people get behind it. Because of that; artists tend to have set images for each release. Look at Fifi Rong’s social media pages and you get an arsenal of arresting photos! She is one of the most vivid and alluring characters in music. Naturally, one gets a real sense of the East – from makeup and pose to the fashion on display. Rong is someone who pops and comes to life on camera. You get the feeling we have a modern-day  Björk in our midst. The Icelandic legend created her own look and sound: an assortment of beguiling textures and asides; music that was/is so much more entrancing and original than anything else. Fifi Rong is not replicating Björk but, when looking at her images and the way she splices sounds – you get impressions of the legend in her work. Many artists out there have their own style and impression but there are none as immediate and intriguing as Fifi Rong. For her latest E.P.; the funding came from a source that has served her well: the crowdfunding website, PledgeMusic. There, one can pitch an idea and see it supported by backers. It is something more and more musicians are doing at this time. I think it is a fantastic way of raising funds but, more importantly, a way of getting fans involved with the process and the music itself – offering them rewards for being part of the project in addition.

I know Awake could not have happened without the dedication of Rong’s ardent fans. They have helped make it a reality and, as such, it brings the musician closer to her fans. I have stepped away from the tracks but that is one aspect of Fifi Rong that amazes me: how she brings fans into her music and makes them part of the machine. Put this together with a stunning image and the diverse music and you have a modern artist who is already ahead of her competition. She has created an identity at a time where there seem to be fewer genuine human figures. I get the sense (musicians) are keen to forge any reality and physicality and simply put out a rather bland and predictable projection. You are rarely drawn to a musician and everything they are about. That is not the case with Fifi Rong. Not only does her music inspire and motivate the listener to get more involved: the woman behind the music is equally interesting and meaningful. I am inspired to learn where she came from and how her family have impacted her music; why she studied in London and how she brings that into her music; why she writes about the subjects she does – what the future holds in store for her. It is impossible to resist the multiple sides and pleasures of Rong. She has contributed to albums by Skepta (Konnichiwa) and Yello (Toy). Not only has she been part of those albums: her impact on each has been highlighted by critics. She is appealing to other musicians and shows how adaptable she is in the process – something that helps bolster and elevate her own music. There is no denying Fifi Rong is here for a very long time to come. She is a modern artist who has managed to stand out from the crowd and inspire other musicians. There is little to stop her and, with Awake’s title-track out in the ether; we can witness the next stage of her career. She works with people like Max Dingel (who mixed the track, Awake) and Nick Ford (who co-wrote Attack). Sin City was mixed by Leandro Muñoz – who mastered the E.P. – and John Wlaysewski mixed a couple of tracks. Those incredible talents have helped make Awake what it is – Rong is the standout voice and the most impressive credit on the list!

PHOTO CREDIT: Pako Quijada

Right away; you get strident and firm electronic notes that melt into breathy and evocative sighs. The song, to me, seems to blend 1990s Dance with modern-day Electronic music. It is an effusive and compelling blend that gets you invested right from the off. Awake’s first lines talk about lights and cars on the street – people milling about and fated souls. There is rush and compaction; it is hard to sleep and stay awake. One can see the lyrics as a straight-out look at the city and how one is in a perpetual state of sleep. You are awake enough to walk the streets but worn by the rush and glare – maybe a new state that is neither sleep nor being awake. Maybe the song is a deeper look at human consciousness and the way we switch between alive and vivacious and numb. The track brings you into a new world and makes you feel every single note and ember. The beats and electronics provoke various visions and interpretations. When singing “Running and running and running don’t run and hide/There is a feeling inside that would never die”; the words breeze and trickle; there is a fantastic melody and catchiness to the delivery. Against the chorus – which is straighter and more strict – here is something more melodic and uplifting. The heroine is in a permanent state of loneliness – which she seems to like – and she paints her personality in blue. Documenting a situation of isolation and detachment could be seen as quite hard-hitting and difficult. Rong projects her words so that you feel calm, fascinated and invested - there is never any sense of bringing the mood down and looking for sympathy. There are jaded conversations that make out with the violin; there are contrasts and difficult choices. The heroine cannot push forward and finds it hard to keep going: she is unable to resist and halt her progress and sense of energy.

It is the contradictions and extremes of the human psyche that keeps coming through. The strange mystique of the city works alongside a woman’s viewpoint of modern life and reality. We are all in this perpetual mould where we are neither alert nor dimmed: like being in standby-mode all of the time. Our batteries are half-charged and we are always looking for answers. It seems Fifi Rong welcomes a degree of personal space and room to move. She has two sides to her personality but, against the bustle and hastiness of modern life – the need to get away and be by herself is evident. The song has that momentum and propulsion that means, after the first listen, it is in the head and committed to memory. Previous Fifi Rong songs have been more colourful and edgy: this is more calmed and melodic. That is a good thing, you see: repeating the same sound would wear a little thin for those who want to find an evolving and original artist. I feel, with Awake, Rong is looking at life in a different way and, rather than be the extrovert who wants to challenge the world and make her voice known – a bit of time away from the bustle and crowds is what’s needed. It is always fascinating hearing how she documents human relationships and the modern world. The phrasing and delivery is her own; the production and compositions constantly thrilling and different. It is the voice that, as always, makes the biggest impact. The way she manages to make every line sound so important and personal is a talent other songwriters could learn from. Awake is a stunning track and shows Fifi Rong is never keen to repeat herself or do what anyone else is doing at the moment. Here is an artist who has a long and bright future ahead of her – on her current single; she shows why more eyes and ears need to point themselves in her direction.

I have talked about Fifi Rong and aspects that make her one of the most sensational artists around. Awake is officially released on 23rd February but there is a pre-order release date of 16th February. You can go to her PledgeMusic link/campaign – at the top of this review – and get it a bit earlier than those on Spotify and iTunes. The eponymous single is out and gives a great representation of the E.P. and what it is all about. I am excited to see the E.P. come out and how far it can spread. Rong has already gained the ear of stations like BBC Radio 1 and BBC Radio 6 Music – some of the biggest stations around. The music appeals to the ultra-modern and those who want something vibrant, exciting and fresh: it resonates in those who want something deeper, calmer and more emotive. I feel there will be touring dates and chances for fans to see the new material come to life. This year will be another exciting and busy one for the London-based star. Awake is one E.P. you surely need in your life - and one that stands out from her previous work. I have not encountered anyone as daring, diverse and consistent as Fifi Rong. She is an amazing artist who has taken big strides but has more to do. I know, in years to come, there will be huge festivals coming her way. Take a listen to the newest cut from Fifi Rong and compare it with her oldest work. I am stunned by her work and can imagine this year being her biggest yet! Awake is a song that grabs you by the clothing and leads you into a magical and brilliant place. A fantastic song from an artist the music industry needs…

A lot more of!

_______

Follow Fifi Rong

Official:

http://fifirong.com/

Facebook:

https://www.facebook.com/fifirongmusic/

Instagram:

https://www.instagram.com/fifirong/

Twitter:

https://twitter.com/fifirong

SoundCloud:

https://soundcloud.com/fifirong

YouTube:

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

Spotify:

https://open.spotify.com/artist/64yPy2kBAhOJSRxOEtL3Qk

BandCamp:

https://fifirong.bandcamp.com/

INTERVIEW: Riveira

INTERVIEW:

Riveira

_______

MY interviews range from those who are…

established and well-honed to those artists starting out and making their early moves - Riveira are a case of the latter. The boys talk to me about their debut single, Remember. It is out a week today and a track that – to those who can hear its private link – worth the wait. I ask them about their formation and what comes next for them; what their base of Brighton is like for new music; the artists they vibe to – and, as the interview went out to them a while ago; how they spent last Christmas and whether any resolutions were made.

Their social media presence is a little bare but, from what I learn in the interview; they have ambitions are looking to build their base. They talk about their music and what ambitions the have; a little bit of background on their debut single – an album each that means the most to them

______

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

Hey, Sam!  We’re all good, thank you! Our week has been pretty busy preparing for upcoming gigs and promoting our debut single.

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

We are Riveira! A four-piece Blues-Pop band based in Brighton - who love a good groove. We met at university and have been in a band for about a year now.

How did you all spend Christmas and see in the New Year? Did you have the chance to unwind and relax a bit?

We were all back in our homes having a lovely break and chilling with friends and family. Home was France for Pol, London for Louis and Harlow for Craig and David.

Your debut single is out on 16th February. Tell us more about it. What can expect to hear?

Yeah. We’re all really excited regards releasing our debut track, Remember! We recorded this back in October at Brighton Electric. This was one of the first tracks we wrote together. We wanted to write a simple but effective track - expect to hear some grooves, bluesy licks and a chorus you can sing along to.

It’s got a simple message: to stop living in the past and live in the now.

That first single is always tough! Have you recorded quite a lot of other material before this – or is this the first thing you have laid down?!

It was pretty tough - but lots of fun at the same time. We spent a lot of time in pre-production demoing different ideas until we thought it was ready to record. We’ve heard the track so many times now, you wouldn’t believe it! But, it’s all part of the process and, when we finally got to record it professionally, it came quite naturally to us.

Now; we are left with a finished product that we’re all proud of.

What is the next step? Do you have more songs coming this year?

We all want to get back in the studio as soon as possible. We’ve got lots of ideas and material we want to record and get out there. We’re hoping for at least two more songs by the end of the year.

How did you all get together? Were you all friends from way back?

We all go to BIMM Brighton and it all started out by Pol and David meeting in one of their classes. They started jamming together just for fun and then Louis and I (Craig) joined shortly after. I’ve known David for a long time now we met at college back in Harlow - and have been playing in bands together for years. Louis and Pol were in the same classes together and they became good friends.

The band came together quite naturally.

Do you all share the same tastes in music? Which bands/artists did you grow up on?

Yes and no...

We all have a mutual appreciation for bluesy, funky and soulful artists. But; we all have our individual tastes. Me and David are into the heavier side of music. David get’s his influences from the Red Hot Chili Peppers - but he’s also a die-hard Metallica fan. I grew up on bands like Muse - but I’m also a massive fan of Architects. Louis’ big into his Jimi Hendrix and The Rolling Stones. Pol grew up on Neil Young, James Taylor and Gorillaz.

Brighton is where you are based. Is it a great city to make music in? Why do so many artists go down to Brighton and create?

Brighton has a great music scene. There’s so much variety: it doesn’t matter what you’re into; you’ll find it in Brighton. There are loads of great venues to play and visit.

The market is favouring solo artists a lot. Do you feel bands get a fair shake?! Is it quite daunting going into an industry that seems to put the spotlight on solo acts?

It’s true that solo artists get put in the spotlight nowadays - but that doesn’t really matter to us. We’re doing this for our shared love of making and playing music together. At the end of the day; it doesn’t matter whether or not it’s a band or a solo artist: it’s about the music.

Who are the new artists you recommend we check out?

Our mates in The Yellow Bellies are doing wonders in the local scene. They’re a Funk-based and put on a great live show. They’re well worth checking out.

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

My personal album would A Rush of Blood to the Head by Coldplay

It’s such a well-written album - and is my guilty pleasure.

Pol’s album would be Wolfgang Amadeus Phoenix by Phoenix

Amazingly-written Indie-Pop which represents what I aspire to achieve in music.

Louis’ album is Hunky Dory by David Bowie

An amazingly eclectic album that’s been a part of his life from an early age (and has been ever since).

David’s would have to be Stadium Arcadium by the Red Hot Chili Peppers

It’s a perfect blend of all of their previous work - on a double-album - and he’s played the song Wet Sand more times than he’d like to admit.

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

We want to play as many shows as possible this year so, if a tour seems possible, we’ll jump on that opportunity straight away! We’re playing at The Green Door Store on 19th of February with In the Basement. It’s a great line-up of local talent and all proceeds go towards the charity, Mind. We also have our first headline show (courtesy of Scruff of the Neck) on 13th of March at The Prince Albert (which we’re all really looking forward to). 

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

Nope. We just want to make more music and play more shows.

As Riveira; do you have goals as a band? How ambitious are you?

We just want to live the typical musician’s dream: write an album, tour the world and enjoy every second of it. If, one day, we could sell out Brixton Academy we’d of known we’ve made it!

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

Samuel J. Lawrence – Bitter Mind

A beautiful track with lots of soul - by a local artist doing wonders in the local scene

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Follow Riveira

Facebook:

https://www.facebook.com/riveiramusic/

Instagram:

https://www.instagram.com/riveiraband/

SoundCloud:

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FEATURE: Yorkshire Resolve: How Hookworms Rebuilt and Conquered Following Disaster

FEATURE:

 

Yorkshire Resolve

 ALL IMAGES/PHOTOS: Getty Images

How Hookworms Rebuilt and Conquered Following Disaster

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RATHER than pen a rederivation of the…

excellent piece The Guardian ran a few days back - I wanted to expand on some of the points made by its author, Dave Simpson. The article, as you can see, charts the way the Halifax/Leeds group have managed to survive and flourish after most of their back catalogue was lost in a flood. Boxing Day 2015 saw heavy rain and flooding affect areas around the river Aire. Matthew ‘MJ’ Johnson was at his parents’ home when the news came through: Hookworms’ studio was under five feet of water and the electricity was cut. The frontman drove through the floods to get to the studio. Arriving there; the Kirkstall-based studio was in a state of carnage and destruction: a harrowing and upsetting sight for Johnson. The studio did not have insurance and, on a notorious floodplain; the inevitable result of heavy downpours had taken more than money and bricks – the band’s livelihood and foundations were gone. The band managed to fund the rebuild of the studio through crowd-funding and the generosity of other bands. There is debt in the camp – financial and gratitude – but that has not stopped them plugging on and writing incredible music. One of the interesting points that stood out regarding The Guardian’s piece was the headline: suggesting Hookworms are the most-cursed band around.

I cannot abide by that assumption: curses do not exist and, the fact the band have faced a lot of hurdles is a result of bad luck. Microshift is the integration and assimilation of all their struggle, tensions and hard times. Not only has the album been receiving extraordinary reviews – it is likely to be among the runners when it comes to the end-of-year polls – but I feel it could be worthy of a Mercury Music nod. It is a record that looks at anxieties and stress; honesty and the need for openness. Johnson, himself, has suffered from depression for years and addresses the subject (depression itself) through the record. Body image and views of masculinity are spotlighted: there are joyous tones and redemptive words of wisdom among more introspective and damaged tones. Hookworms have progressed since their first two albums and after a rushed – their words/thoughts – The Hum (2014); there was a rethink and rebrand in camp. The band did not expect their debut, Pearl Mystic, to get such warm acclaim – as they told The Guardian – but that instant success, I feel, drove them to keep going and pushing their limits. Not only has Johnson – and other band members, one feels – been able to cope with depression and channel it into something creative and inspiring; the band have managed to funnel that into some sensational music.

IN THIS IMAGE: The cover for Hookworms' album, Pearl Mystic

Looking back and one might forgive the band for feeling they have a constant glare of misfortune trained their way. From 2009, when they first arrived; they were getting great support slots and some fantastic local jams. From threatening, scorned former booking agents and malfunctioning cars; all manner of breakages and money-draining missteps – the guys had an uphill battle from those earliest days. It is the way they transform that struggle and upset into great music. Their 2013-debut, Pearl Mystic, received some rave reviews (Drowned in Sound gave it a ten-out-of-ten!) and they were quickly being singled as one of Yorkshire’s finest Indie bands. It seems, right now, Rock and Indie sounds in the county are captivating critics. The Sherlocks, Reverend and the Makers and The Orielles are among those providing sumptuous, original Rock (and Pop). The great male and female bands coming from Yorkshire show there is more to music than what is happening in London – the likes of Hookworms are casting eyes further north. The sounds coming from their camp is among the most striking and impactful in modern British music. Lesser groups would have seen all that misfortune and grief – flooded studios and duplicitous promoters – and packed it all in. I have seen artists crippled and broken by lesser events – the fact Hookworms continue to purge and persist is a demonstration of their determination and resolve.

The music could be strained and suffocated: it is free, bold and incredibly meaningful. There are darker moments and hard-hitting subjects explored: never does one feel cornered and alienated. The band handle all their own business and have day jobs they enjoy. Because of that; there is a sense of independence and financial freedom. Obstacles and weather-related disasters have placed the band in precarious positions. Through graft, generosity and crowdfunding; Hookworms have been afforded the opportunity to keep playing and performing. Their spirit and unwillingness to quit is something other bands should be envious of. That is another reason I wanted to highlight Hookworks: a case study of an ill-fated group who have managed to produce incredible music against in spite of everything. Many might look at Hookworms and feel it deeply unfair they have had such a torrid time – they have been especially unlikely but one hopes that is the end of their bad days. Microshift is an album that is, quite rightfully, making critics sweat and drool. It is only March but we have already seen potential year-owning records from Field Music (Open Here), Tune-Yards (I Can Feel You Creep Into My Private Life): Hookworms are the third act, I feel, have crafted something that special. The Yorkshire band are proof something wonderful and inspiring can come out of misfortune and unfair circumstances.

They are an independent band who take care of their recording, finances and careers: they do not need to fight with labels and have to meet any deadlines. The band are not cursed, of course – it is a fictional concept – but they have certainly incurred some rocky times. I know there are other artists who have battled hardships but that should be a guide for them – look at how Hookworms have coped and managed to cope out the other side. They are impressively steely, pragmatic and disciplined considering their past. They are looking to the future and, when one considers a fourth album (in the next year or so?); I wonder what that record will reflect. Let’s hope its creation and stories are not inspired by accidents and financial strains – I feel it will be a lot happier and relaxed. They have won the heart of the critics – they are modest and often query why such heady reviews come their way – but it is all deserved. Hookworms showcase the brilliance and depth of talent in Yorkshire; they are proving to be one of the most consistent and innovative acts around. Above everything; they have ridden storms (or floods) and fences that would floor other artists. I have a feeling this year will be a very inspiring, successful and settled year…

FOR the intrepid band.  

INTERVIEW: SHE

INTERVIEW:

SHE

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FROM the mountains just outside of Washington DC…

it is to the Midlands – and a chat with the up-and-coming band, SHE. I ask them about their new single, Howl, and how it differs from the debut cut, Body Talk. They reveal how they got together and whether there will be more music; the artists, new and old, they are inspired by; what they have coming in terms of gigs – whether the Midlands is a productive and inspiring landscape for them.

SHE have only been around since September. I ask whether the stage is somewhere they feel comfortable and alive; whether it is quite a formative and exciting time for them – they tell me whether (the band) get time away from music to kick-back and relax.

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

We are very well, thank you. Tired but still smiling. We’ve had a busy one. Lots of rehearsals, travelling and an awesome show at The Sebright Arms in London.

Not too shabby at all. Lots of fun!

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

We are SHE. We are an Electro/Indie/Pop outfit, fresh from the box. Bex on Vox and Keys; Robin on Guitar and Keys; Edd on Guitar and Keys; Si on Bass and Ricky on Drums. We’re just a happy little bunch, roaming around; playing music and generally having a jolly good time.

Can you tell me how SHE came to be? Did you all know each other from way back?

We’ve been good friends for a long time now. We’ve been writing together under different musical umbrellas for almost ten years - and SHE came about just at the right time for us. Just a shared enthusiasm for making music; developing our sound and having a good laugh along the way. We’re just a group of like-minded people who love making noise and so we do just that.

As often as we can.

Is there a reason for the name, ‘SHE’? Is there a meaning behind it?

It just seemed to click.

We have five people in the band, all with strong minds; throwing ideas about the place all of the time and naming your band…it’s such an important task. Mammoth, really. Not one to be taken lightly…but ‘SHE’ was always there. Popping up. Giving us a little wave and the more we thought about it the more it just felt right.

Sounds cheesy but, once we’d tried it on for size, wore it for a few weeks; stretched it out and relaxed into it a little, we knew it was our name. It just felt fresh and snappy, feminine and a bit sexy, too.

Howl is your new single. How do you think it differs from your debut, Body Talk?

Body Talk was our debut track - and it was rooted in fantasy. It was based on a movie that gave us lots of freedom and creativity when it came to exploring the lyrics, especially. Howl has a lot more sorrow attached to it. It’s personal - so it feels darker and more mysterious, I guess.

Is there a story behind the song? How did it come together?

Howl is about relationships and the damage they can sometimes do. The imprint they leave upon you; good and bad…but that, throughout the hurt and the love and the intensity, you should always listen out for your mother - or the motherly presence in your life. Your protector. Whoever she or he may be. Your guide...because they can be wiser than you think - and much more fearful than any scorned lover.

Will there be an E.P. coming later this year?

Mayyyybe…

We might have something up our sleeves for you. We’ll see what we can do (smiles). We are enjoying writing and gigging. We can’t wait to put a collection of tracks out there for everyone to grab an earful of.

Watch this space!

You have not been on the scene long (since September) but are already turning heads. Do you think, as a band, you are ambitious? What are your plans for this year?

We’re a passionate bunch, for sure. We like to play good music and give our very best. We work hard and we love to perform so, whatever we have to do to make ourselves heard; then we are always willing to give it a go. Sounds ruthless - but we just love what we do and we love spending time together as friends and musicians. Whatever we can do to hang out and write music…that’s what really bakes our cake.

The Midlands is where you are based. Is the music scene quite active where you are? Are there a load of great local artists?

The Midlands gave us a platform to show gig-goers what we can do and there has been some great talent to come out of Birmingham and the Black Country. There will be even more continuing to creep out of the woodwork in the future, too. I think the venues on our local music scene are brilliant and they do a great job of nurturing new talent; giving newcomers the opportunity to support bigger artists.

There are some proper-quirky little jaunts about town - and we love to pull in a hometown crowd. When a local gig goes well, then that’s something really special. We travel a lot, too; so we’ve seen some great acts up and down the U.K. - and there is new music all over the place.

It’s really exciting when you stumble across new talent.

Which artists did you all grow up on? Can you all remember the first song to lodge in the mind?

That’s a difficult one to answer - because we all have such different tastes. Some of us are into Electronic stuff and others more into heavier Rock/Pop. I think we look back at old school artists from all eras just as much as we look forward to current bands - and even those bubbling underneath the radar; yet to emerge into the mainstream. We are inspired by a lot of different stuff. It even surprises us, sometimes.

We trust each other’s opinions, though. Even when we disagree on likes and dislikes; we can always seem to pull it together and find inspiration from tracks and artists we wouldn’t usually listen to on the regular.

Has it been hard getting gigs – being a new band? Is the stage somewhere you all love?

I think, the way we see it now; is that it’s not about getting loads of gigs - but it’s about getting the right gigs. Sometimes, you can burn up all your energy playing week in week out and, with experience; we’ve learnt to pace ourselves. We are really lucky to have the support of a fantastic label - Killing Moon.

They give us the best advice and guide us along this path so well. We really appreciate that. I think it’s important to take on-board the experience of certain professionals in the industry. Any little nuggets of wisdom they have are worth taking on board - as well as trusting your own mind and heart. Live is definitely where it’s at, though. We love writing and rehearsing, so, so much - but taking it to the stage is next level.

That’s the thrill.

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

Huge question! Again…it’s difficult to just choose one.

I think we’d all need one from each era, from within each genre. This wouldn’t just be five albums here: this would be more like a hundred. One for our nights out raging; one for our tortured teenage souls, another for our sentimental, crying-in-our-bedrooms-alone moments. I think, if we could make one big, love-child album of all of our favourite artists, then that would be a start. We’ll just create one massive Spotify playlist with all of our favourite music - and we’ll ride off into the sunset listening to that, instead. Then everyone’s a winner. If that fails; then let’s go with Now! That’s What I Call Music 1995.

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

Support your local music scene! Get out to gigs. Watch live. Play live. Write horrible music and show everyone. Get better. Know your sound. Develop it. Then, just go out and be awesome!

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

We love down-time with our friends and family. We all have a really supportive network around us - and it’s great to hang out with them. We relish our chill time. It’s rare when the music takes hold of you…but, even when we aren’t on the road or in the studio; we still gravitate back towards each other. These are our buddies; our bread and butter so, if we are away from each other; we do miss each other’s company. Even when we’re sick of the sight of each other; we still love the bones off one another.

That’s really lame, isn’t it?

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).

London Grammar - Hell to the Liars

Clean Cut Kid - Vitamin C

Dua Lipa - Be the One

Fickle Friends – Swim

Pale Waves - Television Romance

Blossoms - Honey Sweet

Royal Blood - How Did We Get So Dark?

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 Follow SHE

Facebook:

https://www.facebook.com/whoissheuk

Twitter:

https://twitter.com/whoissheuk

YouTube:

https://www.youtube.com/channel/UCgIxjHxQt-GWrTNpqv5dQ6Q

SoundCloud:

https://soundcloud.com/she-692274861

INTERVIEW: Ben Mason

INTERVIEW:

Ben Mason

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IT is not often I get to feature an artist…

who resides away from the chaos and busy feet of a city! Those who do are usually within a short distance of a busy highway, mind. For Ben Mason; there is something idyllic and isolated that I had to explore. He tells me about his relocation from the bustle of central Washington DC and details regarding his album, Flesh and Bone. I learn about the songs and what compelled them; how his artwork – he is a talented and noted artist – blends with his music; what he thinks of President Trump’s leadership – and whether a trip to the U.K. is planned.

Mason discusses his favourite sounds and new artists; what he has planned for the rest of the year; the memories (from his time in music) that stand in his mind; what advice he would give to new artists – why relocation from the city (and noise) paid dividends regarding his creativity.

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

I’m doing well, thanks. My week has been beautifully hectic.

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

I’m Ben Mason and I reside in the foothills of Rappahannock County, Virginia, U.S.A. - about an hour west of Washington DC.   

Tell me about the album Flesh and Bone (your fourth C.D.) and the stories investigated throughout.

There are thirteen songs on the record. They track the last several years of my life - which was a journey for me of darkness to grace. Sunshine speaks to the celebration of a love I discovered and held onto for nine years. Haven’t Met You Yet confronts the reality that I have NOT met a partner yet that connects with me in a full-hearted way. Secret describes a relationship I had with a woman who was a swinger; bragged about it and wanted me to partake. (Which I never did). Not my cup of tea...but I’m not judging anyone here!

Beautiful Mistakes is incredibly prescient in that it foretells exactly how that woman left my life. It doesn’t describe the bowl of cereal she handed me the morning: she said she’d met a guy in a dog park and had been fu*king him for over a year. 

The Only One is a song I wrote for her; when I believed in an only one. It also is shaded with my spiritual rootedness that has grown in my heart for as long as I can remember.

Born to Believe was a song I wrote for my publisher in L.A. for a movie that never came out - or has not yet come out. Again; the faith that has carried me over troubled waters appears in calm verses of encouragement. Freedom is about a soldier who kills a comrade in Vietnam while that comrade is out beyond the wire suffering hallucinations. The guilt follows him home where he finds solace in a Harley Davidson motorcycle which he names ‘Freedom’. It’s his “horse made of steel” and every year, when I play Rolling Thunder at the Lincoln Memorial in DC; about 600, 000 of these wounded warriors gather to celebrate and chant their courageous cries for recognition of the wounds of war - which cannot always be seen.

I’ve been involved in this POW/MIA cause since my first record back in 1987, River Deep in Me, and I willingly donated my time and proceeds from C.D. sales at Rolling Thunder to their cause. Sweet Satisfaction describes a soldier's dying wishes as he waits in a desert somewhere in Iraq, for a chopper and morphine, talking to his wife/girlfriend the whole time. He is alive, I hope. I met several veteran who tell this tale of chilling connection to death and the opportunity to reach through this veil to those who love them.

Carmelita is about a sweet old man who wanders out into the desert to be with his lost woman, Carmelita - and she finds him, and guides him home. My favorite line is “Beyond the mist across the sage I see the ribbons in her hair”. Hard to get through this one, sometimes. (I started it in 1997 and finished it in 2014). Complicated Stuff is about an ex- girlfriend’s bedroom and the simple truth that one doesn’t always know when love arrives. But it’s “Always simple things like this...never complicated stuff…I used to wonder what love is…but I get this”. Little Girl is about a friend whose daughter struggled with addiction to opioids and followed the lifestyle he’d enjoyed in bars. She ends up losing the child, and yet, my friends are there with at the church - as the “ashes are tossed in the sea”. Because she’s still his “little girl”. She comes to ask his forgiveness as he is on life-support - and she asks him to just “nod your head “if he wants to stay….because she’s still his “little girl…walking the fields to home.

Everything’s OK was written for my sons - one of whom has type-one diabetes and a rare brain condition. He’s brilliant, beautiful and is a body-builder. But, he could die anytime if his numbers turn the wrong way. The song is about how I sang them both to sleep every night using lyrics such as the ones in the chorus of Everything’s OK.  I also advise them that, they too, will need to comfort a “child in the dark”.

Finally; I’m the One is about a detestable, passionate maniac who offer refuge to a woman and her children at his place in a swamp. He kills the man who comes looking for her and tells her she’s in on that murder. If she tells anyone, “There’s a place out-back where lots of birds will pick your bones”.  He does all this because he’s “the one”. At the very end, he giggles and says “Come here baby, I’m just kiddin’ around”. I’m sincerely interested in disordered minds and wish I’d become a counselor. 

Which brings me to my next answer…

What is your view on President Trump and his style of ‘leadership’?

We’ve elected a grandiose, maladaptive narcissist. The American Psychiatric Association, in their DSM-4, recognizes these disorders: borderline personality disorder; narcissistic personality disorder and antisocial personality disorder. What Trump has is the only disorder which is NOT treatable. He thrives on contention. He despises himself and seeks to avoid exposing this horrid inner-wound to the world and himself by constantly degrading and demeaning those around him. We are ALL his narc. supply.

I opened up for him at Rolling Thunder in 2016. I dedicated my song Heart of the Rebel to him. The crowd of 40k went wild. His people wanted to use it. I said “Talk to my lawyers.” They said: “We’ll use it if we want to…” and that was that. What nobody picked up on was that Heart of the Rebel is about three men - James Dean, John F. Kennedy and Jesus Christ - who lost their lives and left us with a sense of strength. Having the “heart of the Rebel” means being good, courageous and strong. I’d hoped Trump would take that advice. Maybe he has...

Time will tell...

What was it like working with Steuart Smith on your album?

Working with Steuart Smith is like working alongside Rembrandt, Picasso and Mother Theresa: so pure, so giving…and we go back to 1973 - so I’ve only watched that beauty grow bigger. Steve and Nate are my soul brothers, musically. They are the soul of this record and the Loveland (my third C.D.) Nate is simply my favorite drummer in this reality. Steve is a mind-reading savant who walks my twisted path and catches me when I stumble.    

You live in a ‘unique’ and vivid setting. Tell me about that...

I live here on thirty-acres on a river that the Pawmunkey Indians made pottery from using clay and river mussels. I find their pottery and arrowheads and tools and hear the wind making the same song sounds it made for them. I moved here from the center of the DC area where noise woke me every night - and the air and the water were treated by all that shares that space. I came here for silence. I came here to create my art…without knowing what I’d find. My own Native American heritage (Wampapanoag) called me here in other ways. I live alone but I feel the embrace of what comforts all of us: that this life is a masterpiece.

The stars, the fire; the river. I could not see that masterpiece from the paved mazes I ran through in the city. This is one of the darkest counties on the East Coast of the U.S. I’ve seen unbelievable things above me. I’m a mixed media constructionist - which is just a fancy way of saying I find treasures in the bits of things people walk across every day: on the street or along the river; the burnished beauty appears and I manipulate it to tell my stories. The art in the booklet - which comes with ‘flesh and bone’ - are pieces of some of those stories.

Do you think your art and music interconnect and are part of the same whole?

My music and my art are the same...

The mosaics I create with lyrics hold the same kinds of brilliant colors that I use to create physical art - and that physical art has a sound as it blends and calls the eyes to hear and see that harmony. I have to do both.

Have you and your sons made any art together? Is it a lifestyle they are involved with? What are the Blue Ridge Mountains like as a home?

My sons are gone mostly now on their journeys – but, yes, we made many pieces of art together and crafted stories as we rode in the car someplace. The land here gives off such intention; it’s where Pangaea came apart and back together about a billion years ago. The Blue Ridge Mountains are the oldest from that collision. In fact; I live next to the last remaining mountain that was volcanic, Battle Mountain - where Custer got his ass kicked by the Rebels.

But, these mountains were part of the Grenville chain which belted the earth about 1.1 billion years ago. There was a five-mile crack right where I’m living, the size of Yellowstone, about 735 million years ago…so; we have some crazy minerals here: green epidote, blue quartz; red jasper, pink feldspar - and I use those rocks in my art.

Is it hard living in near-wilderness and away from the city?

It’s been challenging to live in such isolation - but it’s fed my art and music as if I’d been starving. So; it’s brought me to life. I’m only seventy-five minutes from DC - and gigs I do there.

PHOTO CREDIT: Greta Van Fleet

Who are the new artists you recommend we check out?

Check out Greta Van Fleet. They are the rebirth of Led Zeppelin - but apparently don’t even know there ever was a Led Zeppelin!

Do you have any gigs coming? Where can we see you play?

I’m playing at Pearl Street Warehouse on February 7th; Gadino Cellars February 10th - and Griffin Tavern on February 23rd.

Will the U.K. be among your upcoming gigs?

I’d gladly come to the U.K. I love early and current Brit-Rock.

What is your fondest memory of your time in music so far?

Too many memories…

But, one time, we were playing somewhere and a well-dressed woman and her navy captain husband stopped by our table to say their son was in a band. “What’s Jimmy’s band’s name, dear?” she asked her dour, naval officer husband.

”The Doors”, he muttered.

Is there any advice you would give upcoming artists?

Love your gift and let it lead you…and call me up. Let’s just talk. I’ll convey what typed words always fail to be able to do (540-937-3570).

Can I tempt you to end this interview with a song?

Please play I’m a Man by The Yardbirds: the world’s greatest band

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Follow Ben Mason

Official:

http://www.benmasonexperience.com/

Facebook:

https://www.facebook.com/Ben-Mason-Experience-175550383206751/

FEATURE: Superhuman Behaviour: The Female Artists Who Have Made Such an Impact on My Life (and Continue to Do So)

FEATURE:

 

Superhuman Behaviour

 IN THIS PHOTO: The album cover for Björk's Debut/ALL PHOTO CREDITS (unless stated otherwise): Getty Images 

The Female Artists Who Have Made Such an Impact on My Life (and Continue to Do So)

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THIS week…

IN THIS PHOTO: En Vogue

I want to explore everything from Hookworms - and the struggle the Yorkshire band has faced the past year or so - to some troubling observations I have made concerning the music industry. I have written a lot about gender division on my blog - and will cease for a little while, now... - but, say what you want; there is a clear fact: there are divisions and needless sexism. Call is natural schisms of male pantheism: progression, reappropriation and education is required so that music is a more level-minded and gender-balanced culture. Is it (bear with me...) disengendered ecofeminism and irrational divisionism?! It is, in my mind, insane and Stone Age. This is not an article that points figures, cracks out the stats and eviscerates my male peers: I want to explain why, for me, female artists have played such a massive role in my life; why they have changed my mindset and view of the world - and why modern female artists deserve more attention and exposure than they are getting. I will talk about the artists, now, who I am responding to - but I cannot think about my love of music without considering those artists I connected with at a young age. It seems strange but, away from big bands like The Beatles, T.Rex; The Rolling Stones and Led Zeppelin: it was strong solo artists like Kate Bush, Carole King and Tori Amos that registered and resonated. There were some female bands that created great memories - from The Bangles to En Vogue - but, as a child, it was the dynamic, stunning and multi-talented solo musicians that inspired me to get more involved with music.

I can talk forever abbot heroes like Michael Jackson, Jeff Buckley; Radiohead and Blur - great male musicians who have done so much to make me the person I am. Their music has scored some transformative moments and, when I think of them; it is always those carefree childhood times and school days. The female-created music goes deeper: soundtracking challenging times I overcome; those occasions when I needed guidance and something more profound. I will compartmentalise Kate Bush and Tori Amos but, when I think back to my school years; there is a dichotomy and extremism of tastes - I reacted to Carole King and Björk at different times. King was the first female solo artists – away from Bush and Amos – that taught me about music and the world. Tapestry is an album I listen to and open my heart like an ocean. I can hear a song like It’s Too Late and, from those first evocative notes; the tingles form and I can remember exactly where I was when I first heard it. I have mentioned male artists and the way they influenced my early life: more to do with those happier times and carefree experiences. The likes of Carole King were there when times were tough and, even when they were good; there is something about their music that has hit me harder – and shaped who I am as a human.

Tapestry, especially, arrived in my world when I was five (1988). It was one of those early albums and one that helped me adapt to a new way of life and environment. Something in the music, the voice and arrangements fought through the mire and provided guidance and comfort. Luck and social standing is a disloyal and unpredictable aspect when you are that age. I was not bullied (at that stage) but was often unsure and struggled to form friendships. I was not lonely - but it took a while to fit into a clique and find my tribe. Carole King was there and, in her seductive and enticing way, did something no other (male) artists did: providing a carapace and a comforting robe of security. Not only that but her music – in the way it impacts me now – was a lot more intriguing and passionate than a lot of the chart music at the time. It is hard to name a lot of female Pop bands of the moment: when I was young, there seemed to be even fewer! I was searching for great female artists to balance the male-heavy sounds I was exposed to at school/home. The Bangles were a group I discovered, rather illicitly, when Eternal Flame (one of their best-known hits) was played on VH1.

IN THIS PHOTO: The Bangles

That initial attraction came from the video itself: the members lips-syncing to the track in a rather serene, romantic and unfamiliar setting (I think it is a beach in America - I might be wrong). The same way a Kate Bush video had a formative role on my early memories: The Bangles’ Eternal Flame opened my mind to emotions and aspects of life that were, at that point, shrouded and immature. I must have been around seven or eight when I saw that video (the late-1990s) or it could have been earlier. Whenever it arrived; there was a strange power and magic that came from that song - one that, every time I hear it, I am back in that childhood setting and reintroduced to the furniture, smells and sights of the time. I feel artists like King and The Bangles impacted me because there was more honesty and purity in their music. Male artists, to me, where about power and confidence: female acts, with a few exceptions, more passionate, real and intelligent. That might seem a generalisation and vague comparison - but Kate Bush was the first heroine that meant music would obsess and stalk my life. The Beatles have played a bigger role - and they are my favourite band ever - but Kate Bush remains untouched. I have her lyrics tattooed on my skin; the fortieth anniversary of The Kick Inside (in a couple of weeks) is an opportunity to pay tribute to a record that changed my life...

The Kick Inside, alongside Hounds of Love (1985) and The Red Shoes (1993) taught me - aside from parenting and education - loads about the world and nature. I was aware of the complexities of love and the beauty of the natural world; the depth and variations of the human voice: what mesmeric and unique music could do to an impressionable human. Hounds of Love is bombastic in parts and, on the second half’s suite of songs; immersive and narrative. I will place a moratorium on Kate Bush references after the anniversary piece (is a week okay?!) but I cannot talk about female artists and their role without mentioning Bush. It is strange to think The Kick Inside, recorded and released when she was a teenager could make such an impression - this would have been the late-1980s/early-1990s – on someone who not much more than a decade younger. In the 1990s, when you had fatter production and an ‘evolved’ sound, albums like Nevermind (Nirvana) and Dangerous (Michael Jackson) changed the way I interacted with music. The Red Shoes was a bold move for Kate Bush - she has stated, in interviews, that production is a little too brash and unnatural for the type of music she was writing. Like Hounds of Love and The Kick Inside; that record introduced different sides to love and young life; the world around me/us and important concerns (conservation and climate; feminism and strength through adversity).

Whilst icons like Kate Bush broadened my scope regarding the world, matters of the heart and more ethereal areas: Tori Amos and Björk helped when I needed spirit and resolve. Björk’s music came into my world chronologically. I picked up Debut around 1994-or-so and, from the opening bars of Human Behaviour; I was captivated by its bellicose and tribal lust. That video – shot by Michel Gondry - was one of the first that sticks in my mind. The entire Debut album got me hooked on a human who did things very differently. Björk was/is that innovator and unique soul but, more than that, she was the voice of an outsider. There was a rebelliousness and potency in the music that gave me energy and desire to fight against - or cope, at least - with a troubling time. I was bullied a lot throughout high-school and, by 1995, for instance, it was at its (bloodied) worst. Not only did Björk’s music help me deal with that violence and abuse: the music gave escapism and dream-like landscapes at a point where I needed evasion from the snow-filled peaks of my real life. I followed Björk through Post and future albums: I have not missed a record and, with each revelation; there is fresh revolution and development. I love how she can change her sound and look whilst retaining that inimitable and unmistakable personality. Björk continues to offer assistance and clarity as her new and past music runs through my veins. There are a lot of female artists I will not get to mention who are important – from Janis Joplin and Aretha Franklin to Madonna and Suzi Quatro.

Madonna in fact, like Kate Bush - someone the American learnt from and, as a result, upped her game – played an enormous role in my life. Early albums such Like a Virgin (1984), True Blue (1986) and Like a Prayer (1989) highlighted the growing stature and confidence of a legendary artist. From Like a Virgin to Like a Prayer; one can see the maturation and independence of Madonna come into the fore. That maturation concerned sexuality, production and fashion. Madonna’s music got saucier and more controversial - the video for Like a Prayer caused snootier critics to drop their monocles in their port! - and the icon started to write and produce more of her own music. She became a fashion icon and inspired legions of fans to copy her. For a boy; Madonna’s music and look did not have the same meaning as it would for a girl. I was drawn to a strong and individual female talent at a time when music - and music television - was proffering male artists. Not much has changed (as I shall go onto) but there was a rebellious and defiant drive to Madonna that tackled that male dominance and introduced me to a new sensation. If her music was crap and processed, it is likely girls and young women would only find appeal: the fact the songs are so addictive and exceptional means her music appeals to both genders and all ages.

She was a Pop artist who could have sold herself and compromised. Rather than portray herself as a corporate puppet and have others pen her music; we got, instead, a musician who was not going to hide behind a corporate skin. THAT was incredibly powerful when I was younger. I have spoken about Björk and how she gave me power and a sense of protection. Tori Amos’ songwriting still manages to grip and compel me over twenty years since I discovered her music. Cornflake Girl is the song that stands out from the rest: that rushing, mind-grabbing introduction and fantastic chorus; a singular vocal and lyrics that get you singing along - and make you think. That song is from 1994’s Under the Pink and features piano-led songs and the sort of quiet-loud numbers that gained her comparisons to Nirvana. The record is a sweeping (third record) and one that drew from harsher, tougher subjects - female suffrage and mutilation; Yes, Anastasia was written about Anastasia Romanova - the Grand Duchess of Russia and daughter of Tsar Nicholas II - and it is a complex, inspiring record. The music stands out and I have learnt so much about different cultures, concerns and sides of society - that I would only ever hear about from books and the news. Little Earthquakes (released in 1992) is another favourite that looks at alienation and sexuality; depression and personal struggle - a quixotic and (almost) therapeutic set of songs that amazed critics and shows bare-naked honesty. Songs like Silent All These Years and Winter became staples in my earlier listening experience. They are cerebral and unusual songs – not the kind of thing I was exposed to at that time - and inspired the new generation of female singer-songwriters (in the 1990s). Her influence is ongoing and, with new and bold female songwriters emerging; I can see the influence of Tori Amos in them.

IN THIS PHOTO: A promotional shot for Tori Amos' album, Under the Pink

There are some fantastic female artists in every corner and crook of music. Although there are no icons on the same level as Björk or Madonna: that is not to say future stars are absent from the scene. I have great faith and investment concerning modern female artists. I find them more innovative and compelling (than their male peers) and they linger longer in the mind. From Billie Marten and Hannah Peel through to Skott, Lorde; Sigrid, Laura Marling and Bat for Lashes - that is only the tip of the iceberg! I am excited by news of a forthcoming Florence + The Machine album and what that will hold; there is news of a Kate Nash L.P. - newcomers like Jade Bird and ALMA look set to do something very special. There are great female-led bands and fantastic Soul artists; proper Punk thrash and Pop artists who inject elements from the 1980s and 1990s into an intriguing and colourful cocktail. I was going to post this yesterday - on the one-hundredth-anniversary of women being given the vote - but, owing to a busy schedule and this being a celebration of female musicians…I felt it was best left until today. I am excited by the crop of female artists we have on the scene and know, between them, they will make changes in the industry. I am always disappointed when debates around equality and gender come up: it shouldn’t still be so persistent in 2018! Some of the most memorable and impactful musical memories of my life have been created by female musicians. They have managed to do something male artists have not: helped shaped my life and desires; taught me so much and, in addition to all of that…

IN THIS PHOTO: Florence Welch (Florence + The Machine): PHOTO CREDIT: Daniel Jackson/Trunk Archive

PROVIDED truly wondrous music.

INTERVIEW: LAOISE

INTERVIEW:

LAOISE

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THIS is the second time I have…

PHOTO CREDIT: Lucy Foster

included LAOISE on my blog. I spoke to her last year and, a few months on from that; she tells me about her new single, Bother – and how it differs from her previous track, Rich. I ask what we can expect from her forthcoming (second) E.P.; what the scene is like in E.I.R.E. (where she resides); why the people of Dublin are very important to her; whether we will see her play in the U.K. – the artists and albums that have inspired her.

I wanted to know what it was like working with producer Chris Bubenzer on her current number; whether she has a standout memory (memories) from her career to date; how she spends time away from music; why artists like Kate Bush and David Bowie are important to her – and why this week has been a busy one!

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

Hello! I’m so great, thank you.

My week has been crazy; exciting getting ready for my next release on 7th February!

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

I am LAOISE. I’ve just turned twenty-one - and I’m an Electropop artist from Ireland.

Bother is the new single. Can you reveal what inspired that song?

Out of all my songs; Bother was probably the hardest for me to write. I wrote it about a relationship that went horribly sour and it really messed with me. It took me a while to get myself back - and it was when I bumped into that person a while after we had ended that I realised I was me again…and that they couldn’t hurt me anymore.

Chris Bubenzer produced the track. What was it like working with him?

Yes! Myself and Seán (A Place Called Kai) were so excited to work with Chris on this track. He is so talented. I can’t get over how much he changed this song for me: it feels so much more celebratory now. Working on a track that is quite personal with someone new can feel daunting. But; Chris and I just clicked instantly - and I think you can hear that in the track.

Bother follows the track, Rich. Your music is getting a lot of love in Ireland! How humbling is it knowing your new music is getting such love?

Ireland has been the sweetest and most open-armed community to release my music. All the support has been so humbling, definitely, and I really notice it when I play live shows; people are there for the love of music and it’s obvious.

At the end of the day; Ireland is my home - and it always feels that way.

You are getting passion from U.K. sources, too. Any plans to come here later in the year?

I’m dying to play in the U.K. again! I may have a few little plans to visit during the summer. You’ll have to keep an eye out. Hehe.

I know an E.P. will follow this spring. What sort of themes and ideas will you be looking at? What was the creative process like?

The creative process for this E.P. has been so different to my debut. I’m still finding myself delving into deeper themes like expressing my anxiety and such but, more than anything; I feel such a sense of clarity and peace in my writing today that I’ve never experienced before. I think stepping into adulthood has really shifted my perspective on life and it’s made me see the world in a new bright light.

My songs have become more alive, energetic even, and I’m really enjoying it.

It will be your second E.P. Have you noticed a shift in terms of sound and confidence since Halfway?

Completely. When writing the Halfway E.P., I was a little timid at times: maybe worrying about how people would think of my music. But, with this new E.P., every decision I’ve made has felt very authentic to myself. I’ve really just been challenging myself to further develop my Electropop sound.

So; I guess you could say this E.P. has become a little bigger and better.

You grew up in Galway. Was there a music scene there at all? What sort of music were you exposed to?

The music scene in Galway is great. I got to see many acts like James Vincent McMorrow and Little Green Cars there when I was younger - and they’ve always stood as my favourite live experiences. But, away from that; I grew up playing traditional Irish music and would play in small pubs with other musicians. I think, because I was exposed to other musicians at such a young age; I learned that music was something I was unquestionably going to pursue...

I hear shades of Kate Bush and David Bowie’s enigma and changeable creativity. Are these icons people you were influenced by at a young age?

I’ve always loved Kate Bush. I still remember the first time I heard Wuthering Heights’ chorus and I had never heard anything like it before: it completely transcended little seven-year-old me to a new world. With David Bowie; well, I had never seen anything like that before! I was a little older when I started listening to Bowie - maybe fourteen - but his creativity on stage truly inspired me to find my own sound and style.

They both really taught me how to express myself in my own way; be it through fashion or music…

IN THIS PHOTO: Bülow

Who are the new artists you recommend we check out?

Oooh…so many. I’ve been listening to German-Canadian artist bülow a lot lately. Her voice is gorgeous. Also; SHY Martin. She’s an incredible songwriter.

PHOTO CREDIT: SHY Martin

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

Ah. I always think of this - and I always change my mind!

So; I think Lorde’s Melodrama is very important to me right now. Being the same age as Lorde: I feel so much of what she’s purging - and the album really does purge you. It’s fresh and courageous music and it’s really inspiring me to write more.

Secondly; Warpaint’s self-titled (2013) album has made a lasting impression on me because of the originality and personality in their music. Their voices are so expressive and you can feel such a vigorous sense unity in their songs.

Lastly; The Altar by Banks has massively impacted my crossover from writing Folk songs to Electropop songs. I love that she’s balanced her emotion so well with her production: every song feels so carefully thought-out and her lyrics really hit home for me.

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

A small tour later this year is definitely on the cards. I’m announcing a very special show in Dublin super-soon and I’m SO excited for it.

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

I think playing Forbidden Fruit Festival last summer stands out the most when I think back on the past year. We arrived at the festival early to set up, and we were only a few metres away from Bon Iver soundchecking (I’m a HUGE fan, so that was crazy) but, when it came time to play our show, the tent completely packed-out.

It was the first show I played where I felt such a strong connection with an audience.

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

There’s a small island off the west coast of Ireland called Inishbofin. I used to travel there every summer with my family. It’s pretty remote so it’s a great way to take a break from my laptop or my phone.

I haven’t been in a while - but it’s the most beautiful place to refresh my mind and relax.

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

Just because it’s way too much fun to say: Babooshka by Kate Bush (“BABOOSHKA")

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Follow LAOISE

Official:

https://www.iamlaoise.com/

Facebook:

https://www.facebook.com/laoisemusic/

Twitter:

https://twitter.com/laoisemusic

Instagram:

https://www.instagram.com/laoisemusic/

Spotify:

https://open.spotify.com/artist/23an6pADJ65QGp0XlnkYkI

SoundCloud:

https://soundcloud.com/laoisemusic

YouTube:

https://www.youtube.com/channel/UCHED5AUlEkNYFoShveroybA

INTERVIEW: Whitney Rose

INTERVIEW:

PHOTO CREDIT: Jen Squire 

Whitney Rose

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THE incredible Whitney Rose chats to me about…

her album, Rule 62, and the themes that inspired the music. It was released last October – I ask whether there will be more material this year. She discusses recording in Nashville and working with The Mavericks’ Raul Malo (on her album); why last year was especially productive; the three albums that mean the most to her – and some great new artists to investigate.

I ask whether Whitney Rose will come to the U.K. soon and what her tour dates are looking like; what advice she would give to new artists; whether she has any ambitions/resolutions for this year – what the music scene is like in Austin, Texas (where she is based).

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Hi, Whitney Rose. How are you? How has your week been?  

It's only Tuesday...but good so far! Bowled a really good game last night, which never happens; so feeling pretty damn fine.  

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

I'm a singer/songwriter based in Austin, Texas. I write songs, record them and then travel the world to play 'em live - for folks who like the above-mentioned recordings.  

Rule 62 is your latest album (released in October). What were the themes and inspirations that compelled the album’s creation?

Rule 62 means ‘don't take yourself too damn seriously’ - and that's the major theme in the music. A number of the tunes approach shit*y situations in a light-hearted way.  

It was your second release of 2017. Was that a year you felt especially productive and driven? Was there a lot you needed to get off your mind? 

2017 was definitely an ambitious year…

We released the two albums and played almost 200 shows - but 2018 is turning out to be pretty similar. I like the hustle and I appreciate every opportunity that comes my way.  

Which songs stand as highlights from Rule 62? Is there one that stands above the rest, perhaps? 

My favorite song on the album is probably Trucker's Funeral. It's just a really fun story to tell. I never get sick of it.  

The album’s title is a rule from Alcoholics Anonymous: a pronoun-adjusted point of reflection that urges one not to take things too seriously (more-or-less!). Was there a lot of turmoil and disconnection around the time of the album’s conception? 

Nah.

What was it like recording in Nashville and working with The Mavericks’ Raul Malo? How does that setting differ from Austin (where you are from)? 

I love spending time in Nashville (and then coming home to Austin). They're both great music cities but I find that Nashville is more a city where sh*t gets done; whereas Austin is more a city where art gets made. I like taking advantage of both of those things.

Working with Raul is always great - he's a master musician and a good friend.  

PHOTO CREDIT: Jen Squires  

Is there a productive and varied music scene in Austin? How influential are the people in regards your signwriting? 

You can't turn a corner without stumbling upon some incredible live shows. I've met and befriended some of my favorite songwriters in the world here - and they inspire me and drive me to get better every day.  

Your music and voice projects images of Nancy Sinatra and Bobbie Gentry. Who are the artists you grew up on? What kind of music was played in your house as a youngster? 

When I was a toddler; I fell in love with Hank Williams, Dolly Parton; Keith Whitley, Kitty Wells and Johnny Cash (to name a few). When I got a little older (grade-school age-ish); I discovered Doo-Wop and fell in love with that, too.  

IN THIS PHOTO: Margo Price

Who are the new artists you recommend we check out? 

I really like Margo Price; Lindi Ortega, Nikki Lane and Aubrie Sellers.  

IN THIS PHOTO: Lindi Ortega

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

Just three?! This answer would probably change from day to day, but three albums that I have listened to a million times and always come back to are:

Pieces of the Sky by Emmylou Harris; Heart Like a Wheel by Linda Ronstadt and Diamonds & Dirt by Rodney Crowell.

The vocal performances on all three slay me.  

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

Don't read the comments. When you find yourself about to read the comments, go write a song instead.  

What gigs do you have coming up as we head through 2018? Will you visit the U.K.? 

So far, I've just been playing shows at home in 2018 (I have a weekly residency at the Continental Club in Austin when I'm not touring) but we leave on a West Coast run in a couple weeks for about a month. Then, we have a few weeks back in Austin before we head to Europe for a couple months.

We'll be in the U.K. in May! 

PHOTO CREDIT: Rob Norris

Do you have any ambitions of resolutions for this year at all? 

I've been trying to exercise more frequently and eat better. It's not easy to stay healthy on the road - so that's something I'm working on.  

Can we expect more material this year soon, perhaps? Are you working on anything new? 

I recorded a version of a song I've been covering for years - at the end of 2017 - which we'll be releasing soon. L.P. four is in its creation stage (which is always fun). 

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). 

How about How to Forget by Jason Isbell. I love that song

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Follow Whitney Rose

PHOTO CREDIT: Jen Squires

Official:

http://whitneyrosemusic.com/

Facebook:

https://www.facebook.com/whitneyrosemusic/

Twitter:

https://twitter.com/whitneyroseband

Instagram:

https://www.instagram.com/whitneyrosemusic/

Spotify:

https://open.spotify.com/artist/1kltSDXx78MGhHmxbe35tx

SoundCloud:

https://soundcloud.com/whitney-rose-music

INTERVIEW: Fabich

INTERVIEW:

Fabich

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I have been speaking with Fabich and asked him…

about London and its appeal (he was born in Germany and recently moved to the U.K.) and working with producer A-Minor on the song, Naked Lines - that track joins Fabich and Aaron Pfeiffer together. I was curious whether this is the start of a new vein of creativity and whether there are any concentre plans; the experience of recording at Bob Marley’s former house; how it felt gaining success in the U.S. – Fabich picks some great new artists worth checking out.

He discusses his tastes and whether there are any tour dates coming; if there is a standout memory from his time in music; the three albums that mean the most to him; why Fabich takes a very head-on approach to music and writing – and how he got into producing/music to begin with.

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Hi Fabich. How are you? How has your week been?

Hey. I'm fine, thank you! My week has been awesome. I just arrived in L.A. three days ago and I'm loving it so far! Good weather and cool people. I'm very excited about the music scene here!

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

Yes. I'm a music producer and D.J. originally from Germany - and I'm currently living in London working on new music! I released my debut single, Hold On, on Island Records last year - and I'm currently finishing my upcoming E.P. and second single...

Naked Lines is your new track. What was the inspiration behind its creation?

Before making Electronic music, I was actually producing a lot of Hip-Hop and R&B artists – so, with Naked Lines as well as my other recent work; I combined both of these styles into something that's a lot of fun to me and feels like my own.

Tell me how you hooked up with Aaron Pfeiffer. What do you think he brings to the song?

I actually met Aaron in London - and he's just an amazing talent and really fun to work with. We have a couple of new stuff in the works together - and Aaron is also singing on my upcoming track, Back to Life (as ‘PHAT’; together with the singer, Sedric) and Jafunk!

Producer A-Minor helps elevate the song. Are you going to be working together on any future material?

Yes. A-Minor is a good friend of mine and we already have a few ideas for upcoming tracks together...

Tell me how you got into recording and producing. Did you grow up around Dance music and a house that fostered that passion? When was the moment you decided THIS is what you want to do full-time?

I got into recording and producing through D.J.-ing at local school events and parties! So, at some point, I wanted to make my own music instead of just playing other people's tracks. I bought a keyboard and tried to make my own songs. As a kid growing up; I liked all kinds of music from 1990s: Love Parade Techno to American Hip-Hop. I always knew that I wanted to have a job in the music industry because it has always been my biggest passion!

Previously; you enjoyed U.S. success and recorded at Bob Marley’s old house! How different were your experiences there and those in London (where you are now)?

I think the experiences don't differ that much, to be honest! I love exploring new cities and cultures; so, moving somewhere new is always exciting for me! London is a lot colder, though…so that’s a bit tough. Haha

Is there quite a productive and varied scene there? How easy is it to get exposure in the English capital?

Yes. The scene here in London is amazing - and there's a huge amount of talented people from all kinds of genres (and all around the world). One of my favourite places in town for live music is a Jazz club in Soho called Ronnie Scott's - the talent there is so good and I haven't really seen this anywhere else in Europe. To get exposure here is not easy - but everyone has been very welcoming so far.

I'm happy to have met a lot of humble and talented people in the scene here!

It appears you embrace the daring and immediate. Is music a way for you to tackle the world head-on in your own style?

Yes. Self-expression is very important to me!

When making music; my main goal is to have fun and do something authentic. Of course, I hope that other people also enjoy it but I almost feel like that's out of one's control - so, I'm very happy about the positive reactions I get!

 IN THIS PHOTO: Jafunk

Who are the new artists you recommend we check out?

If you don’t know them yet check out Jafunk, Just Kiddin; Pat Lok, Cabu; Young Franco and Mokoa. They all make sick music and are unique, in my opinion! I also love an artist called Frits Wentink - who is probably a bit lesser known, but his stuff is amazing. 

I do a monthly mix series called 12 Tracks Tape which you can find on my SoundCloud page. I invite a guest every month, whose music I really like, to do it together with me. Check it out (smiles).

IN THIS PHOTO: Pat Lok

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

N*E*R*D – In Search of...

This is my favourite album - and I never get tired of it.

Justin Timberlake – Justified

Partly produced by The Neptunes and Timbaland; this is a modern classic to me: a lot of great and timeless songs on there, in my opinion!

Frank Sinatra - Live at the Sands

This is my favourite live album of Sinatra's. It (just) puts me in a good mood. I especially like it during the colder days of the year

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

Yes. I have two big tours planned and I'm very excited to perform more this year. I spent most of 2017 in the studio - so I can't wait to play the new music live!

What do you hope to achieve, personally, in 2018?

I wanna keep on working hard to bring you new music - and also enjoy life while doing it… (smiles).

Have you got a favourite memory from your time in music – the one that sticks in the mind?

There are so many good memories…so it’s very hard to choose one…

Among my favourite moments; spending the Winter Music Conference in Miami with my whole team (is definitely one) – that's always a lot of fun!

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

Let's go with my favourite one, then: Pharrell (ft. Jay-Z) – Frontin’

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Follow Fabich

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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:

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Facebook:

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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:

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Facebook:

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Twitter:

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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

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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?

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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.