FEATURE: Beauty School Dropout: Does the Modern Consumer Value a Journalist’s Opinions?

FEATURE:

 

Beauty School Dropout

 ALL PHOTOS (unless credited otherwise): Unsplash

Does the Modern Consumer Value a Journalist’s Opinions?

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THIS is not me stroking my nose…

IN THIS PHOTO: Nubya Garcia/PHOTO CREDIT: Rodrigo Gianesi

with a digital gun: rather, a moment’s ponder regarding the place and validity of the critical voice. I am in a position where I need to provide (read: subject) the public my views regarding new music. I do more interviews and features (than reviews) but, when I do review a new artist; the work I put in is a lot more than, say, a piece like this – perhaps settling my argument right from the off! The reason I have put the saxophonist and musician Nubya Garcia is because she is someone lighting up the underground – perhaps the mainstream has turned their noses up and not really got involved. Her solo E.P., Nubya’s 5ive sold out on vinyl in one day; she is one of the most expressive players you will see and, in a year where we need artists to express themselves more than ever – her bold and physical approach to music is a perfect tonic! There is stuffiness, still, levied at people away from the mainstream/conventional market who do not fit in predefined circles and holes. Entire genres get buried deep down and, as I will cover next week; few artists are taking from other cultures and countries as boldly as they should – the fear of judgement or ignorance could be a factor. Among the seismic shifts required in the music industry; openness from the media, and fans, is near the top of the list.

I mentioned how, in the line of my work, I review artists and have to express my thoughts. It means a lot to them and, for those underground blogs; the pieces put out can make a big difference. I wonder whether the same can be said of the mainstream sites? I write for another site (Too Many Blogs) and know many of the artists I review there take heart from my words. Do we, as a people, still tune in to the airwaves of critical impression before buying our music? I raise that question because my psyche has been scuffed by articles and commentators who claim the days of music journalism are dead. The form is more than reviewing: features, think-pieces and interviews are an important part of the agenda. From my point of view; I feel there is a division between mainstream reviews/features and artists who deserve more. I have mentioned one musician who is not as heralded and popular as she should be. Many critics are still beholden to popular, obvious artists and, when they doing around for underground talent; are they really going far enough and championing the very best around?! I feel a slight mistrust when it comes to ‘certain’ sites and the way they source talent. Because of that; I do have a slight scientism when it comes to their album/E.P. reviews.

 My reluctance is minor compared to many who, in a digital and fast-flowing time, are relying on their own voices and approaching music differently. There are two other issues to raise: whether reviews are required when so many of us download songs (rather than entire L.P.s) and the opinion/truth of the piece. So many of, myself included, pick various songs from albums that we do not feel will deliver. Even the records we love…do we listen the whole way through and experience the entire thing?! Streaming sites are great but fewer of us are buying music, sitting down with it and blocking everything out. I remember a time when I would run to the shop, get an album and the rest of the day was invisible: all that mattered was the fact I had this record and was going to listen to every…single…note. Now, even if a huge album comes my way, I have already heard a few singles on the radio. When the album comes, I might skip them – as I am familiar – and pick a few other tracks. Unless I by a C.D. or vinyl – and force myself to listen to an album – a lot of my listening will be fragmented and bitty. There are albums I listen to the whole way through and I find, if I take a rather ‘careful’ approach to the record the first few weeks; down the line, for some reason, I gain a new appreciation and will go out and buy the album – and spend a lot more time pouring over tracks. It irks me so many people are not actually listening to entire albums: if we can get songs for free, and choose what we want, are we going to put stock in critics charged with assessing the album as a whole?! 

Sure; it is useful knowing which songs they regard but, after the first couple of paragraphs – are we paying attention and still invested?! I shall get onto the accuracy issue soon but, before then, another issue occurs: brevity and choice. The former is a reference to certain websites/magazines where their standards reviews are around two-hundred words. I know I am an extreme exception when it comes to reviews – twenty times longer than the figure I just quoted – but some compromise would be nice. Unless there is a big, much-hyped record out there…how much detail is being put onto the page? Some sites are, for some reason, limited to, say, five-hundred words for album reviews. Sadly, this is less to do with keeping the data low and saving space on the site: it seems to be the limit people can tolerate before the mind wanders off and they have walked away. Even with that pretty slim limitation; a lot of writers are not even hitting that! Some mainstream sites seem to be able to distil an album into the space of a couple of paragraphs. It is small wonder people voice their concerns and doubt the purpose of such ‘economy’. With so many sites on the market; it can be hard knowing who to trust and getting a handle on all of it. There are endless voices and, if you want a proper and authoritative assessment of an album…do you try and read ALL reviews or stick with a few sources?!

It can be a battle but, for some reasons, journalists are not really putting a huge amount of effort in. One can argue that signified the bite-sized nature of the modern world. We want something snappy, uncomplicated and precise. If we have to scroll through pages of words then are people going to bother?! That creates a conflict. If there are few words then you cannot get a clear view of an album and what it is about: if there are too many words, you risk losing people’s attention and them trusting their own gut. It is important people make their own minds up but I feel there is validity and worth in the trusted and solid review. I do not subjectively stick to certain sources but I know there are journalists who put in a shift and know what they are on about – and always head their way when a new album is out I am interested in. We are all aware of those albums that have been bigged-up and heralded when they came out; years down the line, we sort of realise it was a bit overdone and it’s not so good after all. The reverse is true, of course. There have been occasions where critics have got it completely wrong and missed the point!

IN THIS IMAGE: The cover to Beastie Boys' album, Paul's Boutique/IMAGE CREDIT: Getty Images

Classic records like Beastie Boys’ Paul’s Boutique was given little love when it arrived in the late-1980s. It took a few years before people realised it was a work of genius. That is not the only classic album where the critics left their brains behind and failed to appreciate a masterful work. It can be hard to spot truly awesome albums because many have serious nuance and it might take a few listens for it all to come together. If you only have a set period of time to get the review down; you are not going to chart an album’s growth and unfurling brilliance. I can forgive a few cases but, in a lot of instances; critics have been so stuffy and snubbed an album that has gone onto rank among the very best – you wonder how they missed it and what they were thinking when that review went down! If some are drooling over albums that are not worth it; others are skipping past potential greatness – many are making inaccurate assumptions and really not listening to the songs. Maybe it is subjectiveness but I am listening to Blur’s 2003 album, Think Tank – which I mentioned very recently – and realise it is not in their top-three. The record was largely recorded without Graham Coxon (except Battery in Your Leg) and relies more on Damon Albarn’s guidance and influence. Many critics slagged it off and labelled it a pale and pretentious work!

IMAGE CREDIT: Getty Images

It is an album that marries African influences with U.S. Rock; British Rave with all manner of textures and ideas. There are a couple of duff songs – Jets and Crazy Beat – but there is so much good in there! I can appreciate constructive reviews, where the reviewer has assessed it and made a valid point, but that is not the case a lot of time. When that was released (in 2003) sites like YouTube were only really starting up – people were still buying C.D.s and experiencing music in a more focused and authentic way. I still gravitate towards websites and want to know what others think before I take that leap. It is good to have a range of opinions and, if the reviews are decent, you can gather a consensus and whole. I am not one who is swayed and beholden to critical views – a sheep who follows their every word – but I rarely dive into Spotify and digest an album without some critical education. I realise I am in a minority, to an extent. A lot of people prefer to tune in to the radio and get a taste of the album there. They’ll hear the singles and, if they like them, maybe investigate the album. The trouble is; if you take that approach, something troubling happens: you rarely listen to all the other tracks and, even if they are not singles, that does not mean they are inferior.

It is a complicated and varied argument but I am seeing a lot of people criticise (ironically) the critics. I feel, the more options available to us – streaming services and outlets – the less we seem to rely on critics and reviews. So many are choosing the song over the album as a form of entertainment. Those who still favour the album are relying on their own views and occasionally look at reviews. I know a core who sticks with the critics but, at this time, there are fewer in that pack than previous years. It is a shame because so many musicians out there rely on great reviews and value what journalists have to say. We must make our own minds up but, at the same time, people charged with writing about a record should not be ignored – they have insight and angles a lot of us do not. I am not in the position where I need to fear the debate: my reviews (on this blog) regard new artists and there is a greater need to write these reviews – they are not in the position to crack mainstream media and I take an in-depth and thorough approach to writing. There have been some epic critical blunders – those who faulted Jeff Buckley’s Grace are morons; those who vacillated over Mumford & Sons’ debut have no use for their genitalia! – but, regardless of age and the past; I feel there is a lot to be said for the critics. Maybe they need to sort out the word limit and put a bit more muscle in; spend more time with an album and dig deeper. People can make their own decisions – and do not need to rely on critical opinions – but it is always useful having another side and thought. My fear is, as the year tick by; fewer people will rely on the critics and they will struggle to get people into the tent. A lot of my fondest discoveries have been as a result of a critical review so, to lose that, would surely be…

A huge shame.

FEATURE: Twenty-(Ten)-Eighteen: Ten Great Albums Turning Twenty This Year

FEATURE:

 

Twenty-(Ten)-Eighteen

 PHOTO CREDIT: Unsplash 

Ten Great Albums Turning Twenty This Year

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IN other posts…

 PHOTO CREDIT: Unsplash 

I have singled out special years in music where the standard of material has been exceptionally high. 2018 will produce a lot of terrific albums - but I have been looking back and thinking of those albums that will celebrate anniversaries this year. The big 2-0 is a vital one for any album: it means it has endured for two decades and, if it has impacted on modern music, then that makes it so much stronger. There are some albums from 1998 that are worth burying and setting on fire – best not mention them... – but there are classic, incredibly strong efforts that have impacted modern musicians and sound as fresh as the day they were crafted. I have collated the ten 1998-released records, I feel, warrant serious celebration this year.

ALL ALBUM PHOTOS: Getty Images

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Lauryn Hill – The Miseducation of Lauryn Hill

Release Date: 25th August

Labels: Ruffhouse; Columbia

Critical Snapshot:

“What’s most remarkable, in retrospect, as the cult of Lauryn Hill grows stronger (sporadic concert appearances becoming the stuff of myth) is how slight some of her songs are on record. For being almost 80 minutes long, Miseducation is a surprisingly easy listen, coasting mostly on Hill’s simple repetition of phrases to emphasize a mood. By album’s end, a cover of “Can’t Take My Eyes Off of You” (with beatboxing) seems obligatory but still a part of what she does best: Like Amy Winehouse, Hill gets at the heart of ‘60s soul while slyly turning it into her own postmodern art project”- SLANT

Standout Track: Doo Wop (That Thing)

Brandy – Never Say Never

Release Date: 9th June

Label: Atlantic

Critical Snapshot:

“Still, what makes Never Say Never a winning record is the quality songs and production. The smooth Monica duet "The Boy Is Mine" and the tripped-out "Top of the World" (which features a rap from Mase) are two examples of what Brandy can achieve when everything's in the right place, and they help make Never Say Never a more adventurous record than her debut” - AllMusic

Standout Track: The Boy Is Mine (ft. Monica)

Beck – Mutations

Release Date: 3rd November

Label: DGC

Critical Snapshot:

“Beck also actually sings, rather than employ his usual deadpan vocals, in an occasionally wobbly baritone that still sounds slightly detached. But there's a warmth to his voice that draws you in, grounding even such surreal numbers as the Zen ballad "We Live Again." In a much more subtle way, these songs ultimately insinuate themselves as insistently as "Where It's At" or "Devils Haircut."

Longtime fans will expect and welcome this type of stylistic gyration from Beck, whose muse has led him on a winding path through primitive folk-blues and quirky hip-hop. But those who discovered him with "Odelay" may not take to this--which is why it makes good marketing sense for the label to treat this as something other than the real follow-up to "Odelay" and not risk bucking expectations. But it's absurd to so pointedly compartmentalize a musician whose success in pushing creative boundaries has made his reputation” – Los Angeles Times

Standout Track: Tropicalia

Elliott Smith – XO

Release Date: 25th August

Label: Dreamwork

Critical Snapshot:

“The tales in "XO" aren't delivered with the vocal growl of Waits' most extreme works. Instead, Smith's whispery vocals remind you of the delicate folk style of early Paul Simon, while the melodies echo the melodic beauty of Simon and Paul McCartney.

"I got pictures, I just don't see it anymore" is a typical Smith expression of disconnect, and there's no mistaking the wound in the line. Yet the gentleness of his delivery throws you off. In a pop world normally divided into darkness or light, this is a strange mix that is at once gently comforting and jarring.

It's a doubly affecting approach because Smith, after two sparse indie efforts, backs the songs with bright musical coloring that helps--in such tunes as "Waltz #2" and "Baby Britain"--to make the anguish in the tunes all that much harder to shake” – Los Angeles Times

Standout Track: Baby Britain

Manic Street Preachers – This Is My Truth Tell Me Yours

Release Date: 14th September

Label: Epic

Critical Snapshot:

“The Manic Street Preachers are also one of the few groups capable of integrating orchestral instruments in a way that still produces great rock music (check out the cello in "My Little Empire"), always avoiding the schmaltzy elevator music that can result when some rock musos get a hold of an orchestra. Meanwhile, they manage to infuse some quite dour lyrics with some of the most haunting melodies in rock this side of Radiohead. Bradfield and Moore seldom choose the obvious chords, arrangements and melodies, resulting in music that is heads- and- tails above almost any band on the planet” - Pitchfork

Standout Track: You Stole the Sun from My Heart

OutKast - Aquemini

Release Date: 29th September

Label: LaFace

Critical Snapshot:

“Anything OutKast touch — from the electrofunk of "Synthesizer," which features George Clinton's familiar falsetto, to the soulful, Isaac Hayes-in-spired title track — sounds as though they took it for a spin through the cotton fields in their Caddy. Sporting plenty of live chops (check the Felastyle horns of "Spottie Ottie Dopalicious") and soulful harmonies, Aquemini's fresh, original feel defies rap's coastal clichés” – Rolling Stone

Standout Track: Rosa Parks

Madonna – Ray of Light

Release Date: 22nd February

Labels: Maverick; Warner Bros.

Critical Snapshot:

“From the insistent swirl of the title song to the rapturous sweep of "Power of Good-Bye," the smoky trip-hop of "Swim" to the hymn-like "Little Star," Madonna has succeeded where all of her pop peers have failed: She's made not just street-smart disco, but smart pop. She's built a rhythm nation that doesn't shortchange content, a record that can be appreciated while working up a sweat on the dance floor just as easily as it can be while cooling off afterward” – Chicago Tribune

Standout Track: Ray of Light

Massive Attack – Mezzanine

Release Date: 20th April

Labels: Circa; Virgin

Critical Snapshot:

“…It's the quintessence of 'Mezzanine', yet at least as good is 'Inertia Creeps': insistent drums, slivery Eastern textures and 3D fidgeting in his mind for some kind of domestic peace, only to find that, "Inertia keeps moving up slowly/Inertia creeps/Moving up slowly". He retreats to bed - "There'll be no sound in my eiderdown" - but finds no respite. The track ends with Del Naja repeating, "She comes", over and over, without resolution. It's hard to think of another band since Joy Division with such an aptitude for articulating the despair that lurks at the very heart of darkness” - NME

Standout Track: Teardrop

Fatboy Slim – You’ve Come a Long Way, Baby

Release Date: 19th October

Labels: Skint; Astralwerks

Critical Snapshot:

“His juxtapositions -- the album swings from hip-hop to reggae to jangle pop, and then all combines into one sound -- are wildly original, even if the music itself doesn't break through the confines of big beat. Then again, when a record is this forceful and catchy, it doesn't need to break new stylistic ground -- the pleasure is in hearing a master work. And there's no question that Cookis a master of sorts -- You've Come a Long Way, Baby is a seamless record, filled with great imagination, unexpected twists and turns, huge hooks, and great beats. It's the kind of record that gives big beat a good name” – AllMusic

Standout Track: Right Here, Right Now

Queens of the Stone Age – Queens of the Stone Age

Release Date: 22nd September

Label: Loosegroove

Critical Snapshot:

“Soon, QOTSA would become a real band, with real hits. But they'd never again groove like this, with gurgling Teutonic drones swallowing Stooges chords and intercepted radio cross talk. (This remastered version adds three old EP tracks.) When Homme hums that "words are weightless here on Earth because they're free" over dense space swirl, you hope gravity never takes hold” - Rolling Stone

Standout Track: Mexicola

INTERVIEW: AMiR

INTERVIEW:

 AMiR

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I have been discovering what makes AMiR tick…

and why he decided to record the song, Slow Hands – a cover of the Niall Horan track. I ask whether there is new material planned and what he gets up to in his free time. He discusses his musical influences and whether his parents encouraged his talents at a young age.

AMiR looks at the future and reveals upcoming tour plans; what it feels like gaining the support of the BBC Asian Network; what London is like in terms of inspiration and the people – he selects a few albums that have made a big impact.

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

I’m all good. My week’s been great. I was writing in Liverpool.

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

I’m AMiR and my music is Funk/Soul/R&B-Pop.

Slow Hands is your new track. What was the reason for covering the song (originally performed by Niall Horan)?

After One Direction split to do their own thing; Slow Hands was a track, I thought, was my favourite of all of the new stuff from each member.

I just wanted to put my spin on it.

It has already gained acclaim and praise! Have you been surprised by the reaction?

I was surprised. I love the song and loved writing it - and I’m just super-glad that the people out there are enjoying it.

Can we expect new material? An E.P., maybe?

You can always expect new material. I’m working on a lot of new songs and I’m always writing and trying to create. So, yes; you can.

Has your Asian/Punjabi background impacted your music and sound do you think?

I don't think the fact my father is Punjabi has played much of a part in my music, to be honest. The man, himself, was listening to James Brown and George Michael.

It’s my mum who is the Michael Jackson fan - and he is my favourite. I think, regarding the family background side of things, the fact they never stopped me dreaming of being a musician. That's played the big part - as appose to having a Punjabi father.

Tell me about the artists that inspired you to take up music. Which musicians made an early impact?

Michael Jackson is where it all starts for me. Later George Michael, then Craig David; Eminem, Oasis; Foo Fighters, Red Hot Chili Peppers; George Benson, James Brown and Bob Marley.

I love all of these guys - but it starts with M.J.

BBC Asian Network has championed your work. How humbling is it to you?

I really love and appreciate how the Asian Network is backing me. I’m very thankful and will continue to push on and make more music.

London is where you are based. What is the city like? Do the people provide inspiration?

London is home. I’ve been to so many places to write music and to get inspired. People are different every city you go to; so, I allow myself to soak up the vibes of that place. I’m not one to stay in one place for too long...

There is no place like home.

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

Bad by Michael Jackson, Definitely Maybe by Oasis and The Marshall Mathers LP by Eminem. These all had a major impact on my music and life.

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

Yes. I’ll be on the road soon. I’m opening for Jocelyn Brown at London’s Jazz Café and I’ll be opening for The Jacksons, in Scotland, at the Royal Highland Centre in July. More shows to be added soon.

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

I (just) hope I keep making music - and more and more people listen and like it. I’ll always keep writing - but I feel like people's response is really keeping me going…so more of this will make 2018 perfect.

Do you get time to hang away from music? What do you get up to? 

When I’m not creating, I love going out with my mates: snooker hall, watching football; boxing and drinking too much. Nothing to do? Get drunk with people you love.

What are your aims and ambitions for the rest of this year?

There’s a few things - but (just) performing, in general, is what I feel I was meant to do. I love to write and create new music. Performing that music is the icing on the cake: that's what makes any struggle worth it.

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).

Bruno Mars (ft. Cardi B) – Finesse (Remix)

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Follow AMiR

Facebook:

https://www.facebook.com/amirofficialuk/

Twitter:

https://twitter.com/amirofficialuk

Spotify:

https://open.spotify.com/artist/3sz3zBDijQwZ1isnVqjB3j

FEATURE: Confessions of a Failed Romantic: Valentine’s Day Realities for Musicians

FEATURE:

 

Confessions of a Failed Romantic

 ALL PHOTOS: Unsplash

Valentine’s Day Realities for Musicians

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SOME claim to have seen their entire…

life flash by their eyes. I am not sure if it is T.V.-induced fantasy, but there is always the magic rule of three: a flashback from childhood and something formative (a kiss or achievement); ending with something from the present. Barely did Christmas wind down before the card companies book their next Caribbean cruise and crank out the new order of Valentine’s Day orders. All the Valentine’s Day-related gifts are on the shelves: from cheap booze and flowers to chocolates and stuffed bears – the game has hardly changed the past few decades, has it? It might sound like I am down on the day but I object to the way it is seen as special and legitimate. Other events – like Easter – have a purpose and a community imperative. You can get together and celebrate something that, at least, holds some meaning. I started giving a hoot about Valentine’s Day when I was a teenager. I used to participate in the chatter and speculation at school – which girls would fake their own deaths to avoid receiving a card from me; others hiding like I was a sniper – and, yeah, the ‘novelty’ did start to wear off. As one gets older; the day seems reserved for those already in relationships – rather than those hoping to start one! I have seen a lot of statuses, from musicians and creatives, dreading Valentine’s Day.

As many of my female musician friends rush to the supermarket to stock up on batteries – don’t use your imagination on that one! – and the blokes desperately drunk-dial former girlfriends in the hope they are desperate enough to take them back – it is a rather strange time of year that puts undue pressure on singletons. One can throw various adjectives at Valentine’s Day in order to encapsulate its divisive and commercial nature. I shall pack the sour grapes away for another year but one thing occurs: how love songs come back into the fore and are everywhere you look. I have been looking at other sites and what they are doing to ‘celebrate’ the day. Some are polling musicians to select their favourite love song – or the one that makes them feel deeper about the world – and others are concentrating on dating and sex. I wanted to do a bit of both and look at the music world. I have written before about musicians and dating: how it can be hard to find time to date away from the daily demands and find something long-term. One of the most common things I see on social media is artists talking about their relationships – usually how they are single and struggle to find someone special. It can be quite heartbreaking seeing so many longing for love and not able to end that drought.

I will end by talking about love songs that mean a lot to me - I will put up a Valentine’s Day playlist on the day itself. My romantic ‘plight’ has not been smooth or particularly lucrative. From the early years pining for girls outside of my reach; through to the frustrating teen years and now, as I am comfortable in my thirties; yearning for those out of reach is back once more – the results are broadly the same! I think there is something in the fact those with creative bent – musicians, D.J.s and producers etc. – have a harder time settling down and maintaining relationships. I am not sure whether there is a correlation between their mindset and the way they approach relationships. I feel the reasons so many like myself are single is because of the time music takes out of them. The other reason is a certain ‘standard’, I guess. Creative people view life differently; they have ambitions and aims and, I feel, crave a certain ambitiousness and excitement from their other half. There are so many couples (most) who do the boring bare-minimum and hardly shake the world up. That is fine but, when everyone else is settling down and going grey early – why would you follow that and sacrifice a world of possibility, excitement and potential?!

Maybe being single is the way to achieve that: another person might slow it down or be willing to compromise. The industry we work in (music) is one that warrants full dedication and unlimited time. Between sleep, work and coming home – how much time does one have for relationships?! Valentine’s Day holds significance for many; a lot of people go full-guns-blazing and really pull out the stops. There are those more cynical and apathetic who let it drift by and await Easter: I sort of fall in the middle and feel there is a way of making the less commercial – much more positive and inclusive. Maybe a rebrand is a little difficult (and late) but we should think of Wednesday as less a ‘hump day’: more of a…actually, I forgot what I was going to say! My point is; those single and without love should not despair and feel excluded. Musicians and those in the industry tend to come more into the fore. There are a lot of people who do not have the time for relationships or struggle to hold one down. They get stimulus and connection through music but, in the social media age; this is electronic, artificial and intangible. They can rationalise and marginalise a degree of loneliness through music: pen songs that provide others hope; write about their experiences and provide a musical perceptive. We are flooded with the sickly-sweet adverts and the shelves of gifts: I wonder whether there is something more to be got out of a day that promotes love and happiness.

I am not proposing a Disneyland-type experiment but, in a fraught and troubled time; should we use days like this to make everyone feel more included and understood – single musicians and those without the option of love. There is a lot of music out there and, what I have noticed, is how more and more music goes away from relations and their purity. Artists are becoming more introspective and talk about anxieties. We have been told the new Pop wave is going to be a more confessional and deep affair. There are a lot of love-related songs around – the happy and contended to the jilted – but there is greater currency in songs that deal with personal struggle and psychological issues. Avoiding cheesy love songs is a lifelong mission for me: there are few genuinely great new love songs that provide guidance, hope or some sort of direction. I am glad music is getting broader and not taking a commercial route. Maybe we are growing tired of the cliché songs of failed love and those pining from the shadows. The need to be original and distinctive means music is arching away from love and romance – going into other areas of exploration. The adverts are out and, with that, the glossed superlatives: the ‘Greatest Love Songs Ever’ and ‘Essential Love Songs’ collections have been dusted off and repackaged for those who have not heard the same songs a million times over.

If I had to select three songs that counteract the banal and cheesy this time of year; I would go for The First Time Ever I Saw Your Face by Roberta Flack; Hallelujah (Jeff Buckley) and Hey Jude. I know the last is not about a relationship or sex: the others are less overtly relationship-based but The Beatles’ classic is about John Lennon’s son, Julian. The first choice makes me think of childhood and the first time ever I heard the song. It was a revealing and stunning moment where this ethereal, heart-melting vocal came from the speakers. Hallelujah came to me by its author, Leonard Cohen, but the Jeff Buckley version holds more weight. It is about sex and orgasm; a gentle passion and everything you can imagine. Hey Jude is that big, singalong anthem that has been passed through the decades and still causes shivers. I am less a fan of those weepy, over-emotive love songs that see the protagonist climb every mountain, swim every ocean and nunchuck every ninja (the last one is less common!). At a time where most of us find flushing the handle an energy-draining demand: can we really believe those exaggerated and absurd tracks? I’d be reluctant doing a decent parallel park for love: climbing Mount Fuji, frankly, seems like an expensive and pointless brag!

Of-the-minute love songs like Tell Me (Joan as Police Woman) provide a more realistic, relatable sentiment – artists are changing the narrative and, perhaps, becoming more negative and submissive in the process. Maybe I am stepping off the garden path but, for those who cannot find love; music is a way of making sense of it and finding (synthetic) company. I find the Valentine’s Day carnival can be a bit raw for those who are not going to be loved-up and nauseating on 14th February. I am not a grouch and cynic – I have time for a bit of Too Many Broken Hearts in the World! – but think there are better ways to celebrate love and relationships. The fact it is distilled to one day makes invalidates it meaning – if you are going to profess your undying love one day; it makes the remaining 364 a bit shallow! We need to get people together and show those without relationships – too busy to find someone or unable to find compatibility – that they are included and wanted. I talked about those three visions that flash by your eyes as life starts to slip away (always keeping it cheery, me!). The first would be the first crush I ever had. The clumsiness in which I initiated any sort of date is etched in my mind. I shall not mention her name in case she is reading or, you know, dead.

The second memory would be completing university after three tough, hard-working years. The third, I guess, would be the good results of running this blog – and the success I have achieved. I have got closer to people online and made some important connections. I feel I have made changes and a real difference to some people’s lives. That, surely, must mean more than notches on the bedpost or seduced hearts?! Other creative sorts need to realise they have achieved a lot and made a real difference to the world. Maybe they have not tasted, for a while, the thrill of the chase or the completeness of a relationship. That should not be seen as a negative and reason to feel down. Rather than feel jealous at the loved-up couples drooling over one another; speaking in baby-talk and causing the stomach lining to come straight out the backside – remember a sage quote from The Simpsons. When thinking of the smug couples who do not share a thought for anyone; I am reminded of the episode where Bart burned the family’s Christmas presents and hide the evidence. News anchor Kent Brockman put out an appeal and gave a harsh message to the thieves – Bart’s story was someone stole the presents late at night. I will, to those nauseating valentines, borrow his killer line – and paraphrase Thom Yorke in Exit Music (for a Film) – and hope that they choke…

JUST a little bit.

INTERVIEW: Big & The Fat

INTERVIEW:

 PHOTO CREDIT: Keira-Anne  

Big & The Fat

_______

EAST London’s Big & The Fat entice with…

their new single, Crack Crack. I ask them about their start and where ‘Big & The Fat’ comes from; whether there is going to be some new material soon; the music that has inspired each of the members – what gig dates they have come up.

Aside from one or two niggles – baffled by musicians who are not on Twitter! – the hot London band are on the rise and showing immense promise. I learn more about the quartet and what drives them; how last year went for them; what they hope to achieve this year – they recommend some new artists for us all.

______

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

So far it’s been studio, studio, gig; studio, studio…so we can’t complain.

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

Shimon, Constantin; Greg and Alex – A.K.A. Big & The Fat - an Electronica/Krautrock band from East London.

Can I ask where your name, ‘Big & The Fat’, came from? Is there a story behind that?!

They are the two terms we hear people use to describe our sound. We wanted a name that reflected that - so it stuck.

 

Tell me about the new single, Crack Crack. What is the story behind it?

Crack Crack was written within a couple of hours after a show last summer. The verses contain lines overheard in conversation and snippets of something read in the newspaper - which all elude to the idea of someone who ‘could do better’ or being ‘almost there’ but, ultimately, held back by being emotionally unstable.

You are releasing a limited edition vinyl through We Can Do It Records in March. Do you think it is important to keep your music physical AND digital? What can we expect from that release/vinyl?

It’s so much nicer to create something tangible that you can give to someone. In an age where new recorded music is mostly experienced online, it feels right to counterbalance it with something physical. We’re lucky that our label, We Can Do It, also think the same. The 7” vinyl will be pink and feature two tracks, Fruit and Crack Crack.

PHOTO CREDIT: Jess Newby-Vincent

Last year was a busy one for you! Was it quite nerve-wracking being a new band? How did you all get together as a group?

We’ve been close comrades from an early age: writing together in other bands before we formed Big & The Fat. So, making music together feels normal. Big & The Fat is the way we express the sounds we love to hear and make.

Is there going to be more material later this year?

100%. We’ve got a bunch of other tracks we’re planning to release in the summer and beyond.

London is where you are based. Is the city the best place for the band, do you feel? How does London influence the music you write?

Living in London made it easy to see and play gigs from a young age - which definitely influenced our lifestyle and what we were listening to (if anyone remembers all-ages gigs (circa 2007) you’d know what we mean). Having said that; I’m not sure a city is the best place for a band: I’d imagine you’d probably find more headspace and physical space to make music outside the confines of a modern city like London. But, it’s the only life we know – so we could be wrong. We’ve talked about moving to a smaller European city together…

But then we sober up and top up our Oyster cards...

Can you talk about the music you all grew up on and were struck by at a young age?

Like most young-teens; we grew up listening to British millennial, radio chart-Pop and American MTV Pop/Punk bands. Sometimes, our siblings would show us something better - but we were all generally obsessed with guitar music from a young age.

IN THIS PHOTO: Human Music/PHOTO CREDIT: Josh Fray 

Who are the new artists you recommend we check out?

Not all new, but: Balothizer, ho99o9; Juana Molina, Girl Band; Re-TROs, A House in the Trees; Zahra O’Shea, Japanese Television; The Amazing Snakeheads and our buddies, Human Music.

IN THIS PHOTO: Zahra O'Shea

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

Shimon: Screamadelica – Primal Scream

For breaking the traditional ethos of band music - as well as being a crazy-unique Dance record. This album made me understand pulse and rhythm in a new light.

Constantin: Niagara – Niagara

Four rhythmical geniuses going at it for fifteen minutes without a moment’s paus - and you’re so busy cradling the rhythms in your head you wound up hypnotised.

Greg: Songs for the Deaf – Queens of the Stone Age

The first heavy album I got into; introducing me to so many different styles of music.

Alex: Loaded – The Velvet Underground

I put it on and never get bored. There’s an abundance of amazing tracks on there.

PHOTO CREDIT: Léo Bodelle

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

23/02: Blondies, London

15/03: Birthdays, London

07/04: Lock Tavern (SINGLE LAUNCH PARTY), London

18/05: The Monarch, London

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

To release more tracks and crawl into as many new ears as possible.

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

I don’t think any of us take real breaks from music: we’re usually writing or playing in some capacity - even if we’re not together.

PHOTO CREDIT: Josh Fray

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

S + G: Touring the U.K. as a support band early on in our musical life (under a different guise) was a big eye-opener for us. We were all super-young and it was the most we’d played together up until then - in such a short amount of time. So; it was a good chance to know what it’s like to be on the road performing night after night.

C: Standing in front of a mic'd-up setup in a giant festival tent like Bestival and hearing that oomph.

A: Touring Germany and Czech Republic in our previous incarnation - as that was the moment which encouraged us to move on, musically, and start our new chapter as a band, Big & The Fat.

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).

Ratatat – Loud Pipes

Suuns – 2020

Daniel Norgren - Howling Around My Happy Home

The Fall – Blindness

_______

Follow Big & The Fat

PHOTO CREDIT: Kiera-Anne 

Official:

https://www.bigandthefat.com/

Facebook:

https://www.facebook.com/bigandthefat

Instagram:

https://www.instagram.com/bigandthefat/

Spotify:

https://open.spotify.com/artist/1vChA6Z2ztkvqaMmbPDQ4Y

TRACK REVIEW: RIDER - Hurts Me Too

TRACK REVIEW:

 

RIDER

Hurts Me Too

9.4/10

OFFICIAL RELEASE DATE:

23rd February, 2018

VIDEO RELEASE DATE:

12th February, 2018

GENRE:

Pop

ORIGIN:

London, U.K.

LABEL:

Sapien Records Ltd

_________

I was pretty eager to return to an artist…

I last featured a year ago. I will look at RIDER’s new song, Hurts Me Too, but, before then; I will address sexual confusion and liberation; how confusion and depression can force an artist into making bold choices. I will look at those who have a positive outlook and optimistic bent on life; U.S. talent who move to the U.K.; spirits who are free and alive; musicians who can get into the public forum and have that special sound; channelling personal conflicts and hardships into music – a bit about this year and why RIDER will attack it and succeed. As it is Valentine’s Day on Wednesday; I wanted to bring in relationships and love. In the case of RIDER; her experienced and takeaways are much deeper than the sentiments one will see staring back from the card shelves. Hers is a very real and affecting time that has not only shaped her music but the way she lives her life. I am writing a piece concerning Valentine’s Day later and a bit about love songs – how they have changed and why they affect people so much. I feel musicians and creatives approach love and sex in a very different way. I will look at RIDER’s relationship conflicts in relation to Hurts Me Too later but, right now, it is interesting addressing things close to the heart. It can be hard, for those experiencing something unusual, to express that to family. For me; it is more about pining and wanting someone who does not reciprocate: for RIDER; her issues arose when she was in a relationship with a man. She was optimistic about the future and the fact they could spend their lives together. Maybe it was not as concrete as marriage and settling down: it was a stability and security that seems secured and assured. During this time, as I will venture; her heart split and her thoughts turned to a woman.

Raised in a family where the idea of bisexuality and homosexuality was seen as a sin and wrong thing – revealing this sexual confusion had a stigma and sense of fear. The young American artist was struggling to find who she was and what all of this meant. She sought help and therapy – I will come to that later – but maybe the fact RIDER fell for a woman did not signify a clumsy sexual transition: it was more, I feel, an unhappiness at her situation and wanting something she was not getting. Her life and sexual coming-of-age has a filmic and dramatic quality that could be put onto film: the struggle and realisation of a young woman trying to adapt to changing life and hard situations. I am not sure what her relationship status is now – whether she is seeing a man or woman; whether she is single – but her decision and realisation came at a time when depression and anxiety were at fever-pitch. Maybe the relationship she was in was taking away some of the string and struggle – it was not as enriching and medicinal as she would have helped. It was a Band-Aid, perhaps, that provided a physicality and sense of comfort but, when looking for something deeper, there was not the emotional and spiritual simpatico she sought. RIDER had to reveal to her then-boyfriend she had feelings for another woman; she had to tell her family and face judgement and discomfort. In 2018; we are starting to become more educated and aware of the fact sexuality is a spectrum and not a binary thing. Those who have ‘Christian’ ideals should show forgiveness and tolerance: many, unfortunately, are close-minded and feel everyone should be straight, white and obey the Lord – anything that stands outside their rigid circle should be neglected, isolated and eradicated. Addressing subjects such as sex and confusion will give heart to other people in the same situation; it will drive them to be brave and face their situation without fear of reprisal.

Depression and anxiety is a ‘taboo’ that affects many of us – myself included – and can be as big a motivator as a burden. It is understandable RIDER felt a sense of panic and strain. She was hiding a secret and not revealing it to a family who felt being in love with someone of the same sex was evil and unforgivable. RIDER turned to online therapy and, slowly, was provided the shoulder and understanding she was looking for. That, in turn, provided a sense of relief and emancipation. Through constructive therapy and dialogue; she picked the pen up and put her feelings down in Hurts Me Too. The song’s video is out tomorrow (12th) and showcases all the colour, drama and flair of the situation. Right now, for the purposes of this review, I will do my best to describe the song as best I can. Before I come to this, I wanted to look at depressions and anxieties that impact musicians. There is a prevalence in the community that is alarming and under-treated. In RIDER’s case; it was exacerbated by being in a relationship she was not committed to. I figure there was something else at play before the peak of her depression. The fact she was in a relationship with a man first, in my mind, was a way of delaying something that was deep inside her all this time – who she really was but could never reveal to the world. The carapace against imminent revelation was to ensconce herself in something others deemed ‘normal’ and conventional. I cannot imagine how hard it was for her to come out and reveal who she really was. The fact we are in a world where there is a stigma attached to sexuality and freedom of choice means depression rates are at an all-time high. The upside of this is the fact these topics are being addressed through music. Rather than hide her emotional turmoil; RIDER has put it all into her music and been able to find some sense of comfort and gravity.

I hope she is in a better place now but, thinking about her difficult time and conflicts; I hope her experiences can help other musicians. They might not be struggling with sexual identity and a relationship they feel trapped in – there are all sorts of situations where RIDER’s words can provide guidance. I am at a point where I need the same kind of bravery and answers as RIDER. I am not in the same place where I have to hide an attraction: my uphill battle is with location, profession and happiness. Being, physically, in an area of the world that does not appeal to me; the need to get to London is at a peak. I have been struggling to get to the capital and get more desperate and upset the longer I am away. The same goes when it comes to my happiness levels and lack of sociability. Being away from somewhere I have always wanted to be is causing a lot of damage and emotional stress. RIDER is, I hope, in the place she wants to be now but that sense of clarity has taken a long time. RIDER’s experience has compelled me to think of other options to get where I need to be. The method I am undertaking right now – conventional job-seeking and endless hard work – are not as profitable as I had imagined. I know exactly where I want to be and what I want to do: managing to get there and actually make it a reality is the thing I am unable to get past. Maybe undertaking therapy, online or physically, would be the best next step. It is not the same as career guidance but would help unlock some emotional and psychological tangles. I am not sure but, as I go further into 2018; the need to find happiness and live life my way is dominating my mind. I am looking out at music and trying to find positivity in the sounds and artists that are filling my speakers.

RIDER is the embodiment of Californian sun and vibrancy. She studied in Liverpool and is in the U.K. – she actually spent her early life in Pennsylvania. She has moved about and explored the world but RIDER manages to bring her experiences and life in the U.S. One gets the expansiveness and unique landscape of her home with the new elements of the U.K. RIDER takes what she has learnt in Liverpool and fuses that with bits of London. The concoction and blend is unique and it leads to some of the most spirited and uplifting music around. Her life has thrown up some challenges but, right now, she seems to be in a much better place. It is the optimism and energy that comes off the page that brings you in. Artists in a similar situation would funnel their words into more gloomy and lacklustre sounds. I am all for those who show emotion and reveal themselves but it can be quite hard listening to songs that raw and upset – and leads up to seek out something more hopeful and bright. There is no real need when it comes to RIDER. Hurts Me Too is a song that tackles the confusion and suffocation felt when RIDER was in love with another woman. She recognises the pains and heartache her boyfriend would have felt but lets it be known she hurts as much – this is not easy and it is a decision that is taking a lot out of her. Many would have been unable to commit these feelings to song: RIDER has not only achieved that but created something fresh, uplifted and productive. I am not saying her latest track is an explosion of sunshine but it will provide guidance and heart to many out there. Looking at RIDER and one gets this energetic and adventurous spirit that can do anything. She is artistic and sporty; she embarks on new challenges and embraces the world.

There is a positivity and hopefulness that many should try and emulate. RIDER, to the American, is all about embracing life and not being bound by rules. Whether that is snowboarding, climbing trees or going to a new country – there is nothing she will not stop at. She is an optimist, at heart, and is always looking for that new challenge. So much of modern music is about the conventional, obvious and honed. People do not really surprise you and it is easy to get buried in the endless marketing drives and gigs. Artists either lack the energy or the imagination to take an original approach to life. Maybe it is the American D.N.A. or the way she was brought up. Whatever the explanation; RIDER is a unique soul in a musical landscape that needs leaders. So many of us are bogged by workaday life and we struggle to get out of our comfort zones. RIDER has the same demands and struggles as anyone but, when music is done, she gets out there and attacks the world. I am not sure whether she is in a relationship right now but there is energy and a lot of life surging through RIDER. She has gone through a hard situation and has learnt a lot about herself. Rather than dedicate all her spare time to music and writing; there is that need to live life and detach from things. It might be easier to have that wild and untamed experience somewhere like the U.S. – where the landscape is broader and the weather better. Here, the young artist is getting out into the open and finding pleasures and possibilities in the U.K. I know she has settled and is playing gigs in the U.K. I wonder whether she’ll be tempted to return to the U.S. (briefly) and spend some time somewhere like L.A. or New York. I want her to remain here but wonder whether a ‘creative break’ in the East or West of the U.S. would give her some new musical impetus and provide an opportunity for fun. That is all ahead but, right now, she is preparing to put Hurts Me Too out to the world.

RIDER has channelled a lot of personal struggle into her music. Her debut single, A Little Light, got love from the U.S. and U.K. and saw her featured on T.V. shows and great radio stations. A lot was accomplished and her name is out there in the public. It is only a matter of time before she is a big name and commanding huge audiences. I know this because there are no musicians who have the same threads and personality sides as her. RIDER can go a long way in the industry and make some real changes. Hurts Me Too is a fantastic offering that will lead to more demand and popularity. Many will want to see an E.P. and more material from her. I am not sure what is in her mind but this year is going to be a very exciting one for her. One reason I know RIDER will go far is because of her spirit and sense of freedom. She is not bound by the same rules as everyone else and tackles the world with boldness and determination. There is that sunny disposition and boundless energy that sees her get out into the world and see what is waiting. Many of us cannot experience things the same way as RIDER. We do not know what she has been through, and so, it can be hard to get into her shoes. RIDER opens herself up through music and lets the listener into her world. It means we can get an impression of what she is about and how life flows through her. That immediate and near-physical connection is something a lot of musicians lack. Music is often detached and the listener experience somewhat cold. RIDER is an artist who wants her audience to take something away and feel differently about themselves. Every song you hear (from her) provides some new perspective and inspiration. It is wonderful being in her presence and hearing the music strike the heart.

The opening phases of Hurts Me Too bring in moody, starlit beats and electronics that put my mind back in the 1980s. There is something dark and subtle about the composition; there are shades and strands weaving inside one another and one projects images of the night and contemplation. To me, the music signifies that awakening and the first blossoms of revelation. It is a teasing and seductive entice that leads to the heroine’s first words. Her voice has a calmness and beauty that is quite unexpected. Her soft tones have power underneath them and, when speaking about the hope of change, clarity and sense. She knows she has put her man through hell and it has been tough. She has tried to find herself and make her way through life. It is a difficult time and there was never the intention of hurt and disappointment. Many singers would belt the words out and place too much energy and emotion into the mix. By projecting something soothing and tender; you get more of a hit and the song seems more meaningful. I was drawn to her voice and the sensations it causes. You buy into everything RIDER says and follow the lyrics carefully. The story unfolds and the heroine has been struggling with feelings that were false and meaningless. In every moment, there are tones of 1980s Pop and artists like Madonna. Maybe that was not a conscious choice but I get an impression of her when listening to Hurts Me Too. The chorus is a bright and strident thing that lifts the energy and elevates the background. The beats and electronics broaden and sharpen; there is explosion and fireworks as the heroine lets it be known she cannot be the girl she wants everyone to be. Her boyfriend will be hurt but RIDER cannot live a lie anymore. It has been a hard truth but, now she has this clarified, the desire to move on and address who she really is important.

You get sucked into the chorus and its big, wide-eyed energy. The heroine wishes she could provide everything her man needs. It hurts her having this confusion and heartache working away. It is not easy being in a relationship where her heart is really not in it. Rather than walk away and not challenge the feelings; she has offered apology and heart. That is a big move from someone who does not want to create heartbreak and anger. I hope the two managed to remain friends but, rather than feel bad about her former love; eyes are on the future and where the heroine is heading. Her love for another woman is not a passing fancy and idle fascination. There are concrete plans and the hope of solidity and long-term happiness. One cannot begrudge someone who has this sense of clarity and wants to make things a reality. Hurts Me Too is RIDER’s way of transitioning from a tough relationship and trying to adapt to new feelings. The stress and anxiety bubbling in her heart have caused her a lot of pain and discomfort. It is not as though the man she was with treated her badly and made her think of someone else. I guess the revelation and crystallisation was always going to come: the fact the man got caught in the emotional crossfire was not his fault. That being said; it is interesting listening to the lyrics and some of the thoughts that come out. RIDER discusses therapy and the fact (family) have told her she should not love a girl the way she should love a boy – there is something wrong and bad about loving a girl, it seems. The combination of rebelling against close-minded views and being who she is has led to this moment. Sexual identity and security is important when it comes to happiness. She was not in a good place and, rather than dwell and let that damage her; RIDER has explained everything and is not hiding away any longer.

The chorus has a vibrancy and restless energy that gets under the skin and will compel people to dance and sing along to. It will be a big summer hit and, when out in the live forum, get the bodies moved and crowds united. The heroine is happy now – having faced her darkest hour – and she cannot help who she has fallen for. The voice gets bigger and more impassioned as the song enters its final stages. Hurts Me Too can easily fit into the mainstream as there is that excellent production and catchiness that will get people hooked and invested. What I have noticed, in artists going against commercialism, is a return to 1980s sounds. I am not sure who RIDER was brought up on but the Pop sounds coming from the new single reminds me of the scene back then. There are some modern Pop ideas but, largely, I hear the 1980s and the brilliance from that time. It is evocative and stunning discovering an artist who can lovingly splice the modern and past sounds so effectively. RIDER is inventive and does not want her music to simply come along and sound like everything else. I am hearing more artists looking back and reintroducing near-forgotten times into modern music. Many deride the 1980s and feel it is a rather woeful decade. I have a lot of love for it and realise how influential artists like Madonna are. I am not suggesting that is the only influence here – I can hear the American idol in Hurts Me Too. There is modernity and boldness that means it will perfectly suit those who want something instant, big and evocative. You get that in spades from RIDER’s latest track. It is her finest moment yet and showcases a young woman at her happiest and most confident. She is more daring with her music (than her debut) and has that hunger to succeed. Sexy, strong and nuanced: Hurts Me Too is a track many will carry around with them for a long time. I can see the multifaceted young artist going a long way in the industry.

I have talked a lot about RIDER and how her life has changed recently. She will launch Hurts Me Too at Hoxton Square Bar & Kitchen on 21st February – two days before the track is officially released. That gig will give many new ears a chance to discover RIDER and what she is all about. The fashionable slice of London seems perfect for someone who has embraced the city and taking advantage of its cultures and contrasts. I know spring and summer will be an important time for her. I am not sure what her touring plans are but, when the single comes out; many radio stations and venues will clamber and be eager to see RIDER in their midst. It is only right the talented songwriter gets her dues and achieves her dreams. She has bravely fought against discriminatory voices and barriers. It is hard coming out and confessing something hard to people who do not share the same morals and sense of belonging. Few can deny it has been tough for RIDER but, rather than let it weigh her down; the music she is producing is strong, spirited – it has an emotional edge and is revealing. Who knows how far she can go this year. I predict there will be festival dates and some important London gigs. There is another market the U.S.-born star could exploit: the U.S. itself. I wonder whether she will perform there in 2018 and get her music out to the people there. She already had popularity and a fanbase there. Her new home has welcomed her and, as she gets bigger and better; the more she will want to explore the U.K. and possibilities available. Hurts Me Too is a fantastic single from an artist who will go a long way in the industry and change things. I know there will be more material and, maybe, that will translate into an E.P. Make sure you investigate RIDER and follow her progression. This is the start of things for her: it will only get bigger and better. Hurts Me Too shows there is an endless spirit, inventiveness and ambition…

IN the talented musician.

_______

Follow RIDER

Official:

http://www.sapienrecords.com/rider

Facebook:

https://www.facebook.com/RiderMusicPage/

Instagram:

https://www.instagram.com/ridermusicpage/

Twitter:

https://twitter.com/ridermusicpage

Spotify:

https://open.spotify.com/artist/5G2EghUKgFfKXlghzyBVM6

YouTube:

http://www.youtube.com/channel/UCb06p7O6K2FuCSMGGGAUCqw

FEATURE: To the Five Boroughs: The New York Playlist

FEATURE:

 

To the Five Boroughs

 PHOTO CREDIT: Unsplash

The New York Playlist

_________

I am not sure I can add anything to…

PHOTO CREDIT: Getty Images

the authoritative and wonderful celebration held on BBC Radio 6 Music. They have been focusing on the great state of New York and the music that came from there. To me; there is more to New York than the clichés: the rushing traffic and noise; those distinct boroughs and the urgency; the landmarks and the sense of wonder and size. It is, to be fair, a state more complex and rich than many people think. I have been considering the artists who are either based in New York or performed there – both past and present. As opposed to somewhere like London: New York is its own world and has so many diverse and compelling neighbourhoods. Newcomers like Princesses Nokia are putting the city back in the public fore: to be fair; the fascination has never gone away. My imagination casts to three different times: the 1960s when Bob Dylan played the East Village. This was before he made it huge – well before he went electric and shocked his established fanbase. It was a rich and heady time for Folk music. An article in The New York Times’ Sunday Book Review looked at New York’s expanding Folk scene from the late-1950s/early-1960s – and how Dylan helped change things and offer progression.   

“Dylan was drawn into politics, releasing “The Times They Are a-Changin’ ” in 1964, but he soon rebelled against the prevailing political orthodoxy. In a New Yorker article he declared, “I’m not part of no Movement. If I was, I wouldn’t be able to do anything else but be in ‘the Movement.’ I just can’t have people sit around and make rules for me.” Of course, he broke one of the biggest rules of the folkies when he turned electric at the 1965 Newport Folk Festival, giving Pete Seeger heartburn.

PHOTO CREDIT: Getty Images

Dylan’s apostasy was the most significant indication that New York folkies were broadening their musical range with electric instruments. One Village-based group, the Lovin’ Spoonful, led by the Washington Square veteran John Sebastian, became what was probably the city’s first folk-rock band. They were connected to another city group, the Mamas and the Papas, whose leader, John Phillips, had been one of the Journeymen — and the success of these bands, Petrus and Cohen suggest, signaled the end of the bustling New York City folk scene”.

The next period I think about is the birth of Hip-Hop - and how it has developed through the years. Brooklyn might have lost its crown in the past few years: other boroughs like Manhattan, and states further south, have taken hold and are producing bigger stars. A great article at WNYC looked at Hip-Hop’s invention - and how it managed to gain a foothold in The Bronx:

“Hip-hop's foundations were being laid in the 1970s, brick by brick, by DJs in the South Bronx, sometimes even in burnt out or deteriorating buildings. These pioneers invented sampling (isolating one sound and reusing it in another song) and hip-hop's other key elements through trial and error, mostly by fooling around with records at home.

DJ Kool Herc, a.k.a. Clive Campbell, laid the first building block of hip-hop down in 1973. That was when he reportedly hosted a party in his building at 1520 Sedgwick Avenue with a sound system, or sound equipment used to DJ a party. Herc's sound system was a guitar amp and two turntables.

"Kool Herc brought the idea of the Jamaican sound system to America," says Marcus Reeves, journalist and the author of Somebody Scream! Rap Music's Rise to Prominence in the Aftershock of Black Power”.

IN THIS PHOTO: Eric B & Rakim (considered to be the most influential D.J./M.C. combination in contemporary music)/PHOTO CREDIT: Janette Beckman/Museum of the City of New York

We can chart those early days of Hip-Hop and what an amazing movement is was. Although the genre still lives life in the shadows: it is a powerful voice providing some of he most sounds around. From Beastie Boys through to De La Soul; through to Jay-Z and Kendrick Lamar and Eminem: the American Hip-Hop movement has evolved and compelled through the decades. It has branched to other nations and brought in other genres and cultures: it all began back in the 1970s on those modest foundations. Aside from the Is This It/The Strokes sensation of 2001: there have been few fantastic guitar bands coming out of the state. There was a brief and active Garage-Rock/Post-Punk explosion after that album but, since then; New York has not really witnessed a huge and emphatic scene! There have been incredible New York-made albums but, and the third scene that has compelled me, the sheer variety of the modern day is staggering. Maybe there is nothing as world-changing as the Folk and Hip-Hop movements. Listen to BBC Radio 6 Music’s thorough and passionate look at New York’s incredible musical lineage. Wu-Tang Clan’s Mathematics and RZA took over the station for a couple of hours; Huey Morgan delivered a New York special – the station highlighted a dozen albums that captured/captures the spirit of the state. There are some fantastic New York newcomers but, for the most part; we look back at the state’s music and all the wonders from the five boroughs.

IN THIS PHOTO: Debbie Harry of New York-formed Blondie/PHOTO CREDIT: Getty Images

Rather than investigate history and timeline of New York’s blossoming music culture – other sites and writers can do that better than me – I thought it best to collate a selection of New York-inspired/based sounds: looking back at the legendary icons and the new breed who ensure eyes will always be trained on the mighty state. It is a fantastic part of the world that has done so much and transformed music as we know it. Such a candid, vivid and multifarious market that has made an impact on so many lives. It is not only the music that inspires evocative discussion: the bustling, multicultural neighbourhoods are teeming with energy and discussion; the terrific venues draw the people in and spit incredible sounds into the open – it is an organism and tapestry that is like nothing else. New York is truly unique. Rather than keep your eyes busy and distracted: have a listen to the stunning music either made in New York/by a New York artist or influenced by the state. As we remember the peerless impact New York has made to music - we must not forget the fact it will continue to shape and inspire the people…

 PHOTO CREDIT: Unsplash

FOR generations to come…

INTERVIEW: Sunstreets

INTERVIEW:

 ALL BAND PHOTOS: Hush Photography 

Sunstreets

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I have been spending time with the awesome-foursome…

of Sunstreets. They chat about their new single, Only Time Will Tell, and whether there is going to be more material coming. I ask the Southampton band how they found one another and if they have plans regarding gigs and performing. They tell me about their musical upbringings and favourite artists; what Southampton is like for music – they offer advice for new artists emerging.

I ask them about Paul Simon’s performance retirement and whether they have views on that; how important independent venues are; if they struggle to stay optimistic in a busy and hard scene; what this week has been like for them – and whether they get chance to chill away from music.

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

Hi. We are all well, thank you - and our week has been great! We were rehearsing hard in the lead up to Icebreaker Festival which was held on Saturday (3rd February). We had such a great a time and had a really lovely crowd; we played lots of new material - which seemed to go down - well so we’re all happy!

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

We are a four-piece Pop/Rock band from Southampton called Sunstreets - made up of Lisa Vibert (Vocals), Matt Cook (Guitar); Jamie Rendall (Bass) and Sam Turner (Drums). To sum up our sound: it’s very guitar-driven with strong riffs stemming from our Rock roots; combined with a rhythm acoustic guitar - to create a unique softer feel to fit alongside female vocals. All our songs have a strong lyrical meaning, which is influenced by the music we grew up listening to - ranging from story-teller songwriters such as Bruce Springsteen and Paul Simon to musical influences like Stereophonics, Goo Goo Dolls and U2.

How did Sunstreets come together? Do you recall when it all sort of ‘gelled’?

Sunstreets began as a solo project by Lisa - with the ultimate aim of becoming a band. It finally came together as a complete band almost exactly a year ago, when we met Matt. Sam and Lisa had already been playing together in an acoustic setting and we met Jamie, I think, in October/November 2016. Then Matt joined after we put an advert out in February 2017.

I think the first practice we had with Matt was when it all gelled and straight away knew it was right. We didn’t have to explain anything of what we were after: he just sort of did it (much to our amazement!) and it all sounded great. In fact, I think on the very first practice we showed Matt Wildfire and he just came straight out with the riff.

It kind of just fell into place!

Tell me about the single, Only Time Will Tell. Is there a story behind the track?

Lisa: I write all the lyrics for our songs and this one in particular; I feel was a turning point for my writing. I think at some point in everyone’s life things don’t go the way you hope: it feels like you’re just going around in circles or you find yourself at a crossroads in your life where you don’t know what you should do. I try to write songs as open as possible so that people in any situation can relate to the lyrics and make their own connection - and it not be limited to what it means to me. So, without giving too much away; I wrote this song to reassure myself that it’s ok not to know what’s coming and what the future hold. As I was once told; life has a way of working itself out - but it never happens how or when you plan it to. As the chorus says: “Only time will tell, where we all go now/ you don’t need to know where, when or how” which, I think, sums up the message of the song and to the listener.

We live in a very fast world and I think, sometimes, we have to accept that some things are out of our control - and that’s ok. The artwork is a metaphor of this - with something as delicate as a feather being blown around in the wind; just like us through life. The journey it could go on is endless: through all the weather and all the cities or towns and, I suppose; the point is that you never know where it’ll land and if it ends there!

How do you think you have developed since your debut single, Vacant Eyes? How did it feel having that song featured on BBC Introducing Solent?

Lisa: Vacant Eyes came out when Sunstreets was just a solo project. I wrote the song a long time ago - as it took a couple of years to get the song out. I came across many problems which was definitely a lesson for future releases, but was well worth pursuing. To have my first release played on the radio was something I was very proud of - as that seemed somewhat of a dream. Although the track didn’t exactly do all that well; it was a stepping stone which has been invaluable. I think my writing has come on a long way since then and, since meeting the rest of the band, the sound I was searching for has finally come together. I feel the songs I’ve written since, particularly the latest songs, seem to be falling into place a lot easier now. We know each other better and we’ve started experimenting with ideas together.

I’m excited about the future.

Will there be more material this year? What are you guys working on?

I hope we’re releasing more material this year: we have been looking into it but nothing is set in stone at the moment. We’ve got a lot of songs which are complete and ready to go; all of which are different in their own way - but we’ll just have to wait and see what happens. For now, we’re just trying to gig as much as we can and, hopefully, we can play some more festivals to get our name around a bit more (and show people who we are)!

What is the Southampton area like for music? Is it as productive and varied as some of the better-known cities?

Southampton has a great music scene. So many amazing original bands are around at the moment and coming out of the area. The city is full of great venues such as The Joiners and Talking Heads along with many others which give local bands the opportunity to play and support touring bands and other local artists. The surrounding areas across the South like Portsmouth, Brighton and Bournemouth all have a great music scene, too; some of which we’re yet to branch out into (we hope to soon) but, unfortunately in this day and age; independent music venues are struggling - not just in Southampton but all over the country (which is a shame).

We’re proud to be able to support the local music scene as it’s a really important part of communities. Eventually, musicians often do end up needing to travel to bigger cities such as London purely to expand audience-reach and build up to playing in bigger venues…but the venues in places like Southampton play such a vital role for music developing and showcasing emerging artists and bands that the country needs.

Who are the artists that influence you? Do you share tastes in music?

All of our influences are mainly Rock-based; so we all like fairly similar bands and artists. Sam and Lisa are both big fans of Bruce Springsteen, whilst Sam also likes musicians such as Phil Collins, Toto and Billy Joel. Alongside Bruce Springsteen; Lisa is influenced by artists such as Stereophonics, Paul Simon; Bon Jovi, Goo Goo Dolls; U2 and The Killers. Matt has a more Metal and Heavy-Rock influence: so bands such as Muse, Guns N’ Roses; Slipknot and Two Door Cinema Club.

Jamie is particularly influenced by bassists such as Flea from Red Hot Chili Peppers and John Entwhistle from The Who.

It can be hard staying optimistic in the modern music scene! Does music and the desire to get your songs out there help? What is your opinion regarding mental-health and self-doubt in music?

The music scene, put simply, is tough. This, naturally, will bring in many feelings of self-doubt and often can lead to mental-health issues - particularly with the industry being the way it is now. Musicians have to work exceptionally hard and overcome a lot of rejection on a regular basis - but modern-day advances have caused there to be so much more expectation where you need to be active on social media: posting regularly; showing people, not only your music, but who you are as people (and be engaging all the time). Now times have changed; on the one hand, there is much more opportunity for musicians to get their music out there - because of things like social media and independent distribution. However; the downside of this is that the volume has increased so much so that there are many more musicians doing the same thing. It’s much harder to stand out and actually have your music heard by the right people. You do have to graft away. It’s like swimming upstream against a strong current: you either fight it and adapt to get to the top or it’ll keep pushing you back down.

But ultimately, musicians keep going purely because of the love of writing and the love of playing music. Being a writer, particularly; you open yourself up and bring to the surface all your emotions - which is a dangerous thing for mental-health as you continually relive moments of your life (good or bad); especially when you then end up playing those songs live for years to come! But; I find I write to help me overcome my worries or fears and use my songs as my own advice which, I admit, most of the time I need to take! I’m just glad to see there’s a lot more organisations about now which are directly aimed towards helping musicians - especially in light of a number of musicians and creatives who have recently taken their own lives.

It’s opened the world's eyes to the struggles creative people go through.

What gigs does the band have lined up?

So far, we have a couple of gigs lined up in Portsmouth for March and are due to play a gig in Southampton soon, too (date to be confirmed). We just played Icebreaker Festival - which was our first gig of the year - but we hope this to be the start of many more.

This year; independent venues are under the microscope – a music legend, Paul Simon, is retiring from the stage. How important are gigs to you guys? What has been the most memorable gig you have attended?

Gigs are so important for upcoming musicians: it’s where you learn your craft! Even if you’re playing to an empty room or for a few people, it’s experience - and any opportunity to play is worthwhile. If gigging wasn’t possible, there would never be any musicians in the world - as no one would learn how to put on a show, talk to a crowd or what to do when things go wrong (which will happen at some point!). It’s sad when you read about musicians as iconic as Paul Simon calling it a day because touring isn’t the same for him anymore and he doesn’t enjoy it as much. Obviously, he’s accomplished more than most in a lifetime and is iconic for a reason; but I hope, for his sake, he doesn’t give up music completely – as, I think, he’ll realise it’s a part of him and it’s not something a songwriter as great as him can ever switch off.

Lisa: Sam and I had the opportunity to see Paul Simon live in Bournemouth at the BIC in 2016. He is such an inspiring man with so many stories to tell. I’d love to just sit and have a long chat with him as I am just so in awe of him; the vibrant life he has led and, of course, his natural talent for writing! Growing up with his music being played definitely is the reason for this connection - I especially remember singing along to Homeward Bound as a child! But; seeing him was a dream come true. I was singing my heart out along to all the songs and, although we were right at the back (as we got the last tickets); just being there in the presence and atmosphere of one of the all-time greats will always be one the most memorable gigs for me.

Matt: Seeing Aerosmith live would definitely have to be the most memorable gig for me!

Jamie: The most memorable gig for me would be when I went to see Iron Maiden and all the power went off! It was right at the start and we waited a while before it came back on – but, once it did; it was one amazing concert.

Sam: Seeing Bryan Adams in Bournemouth with Lisa. We managed to get right to the front (all be it, a little tipsy!) and he was just so amazing, live. It was just one great gig.

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

Lisa: Bon Jovi - These Days

I think this was one of the first albums I discovered that I started to understand the importance of lyric-writing and how you can connect with certain songs. This album, in particular, has had different meanings to me over the years as I’ve been growing up – which, I think, is why it is the most meaningful to me (as it’s not just relevant to one time in my life).

Matt: Muse – Origins of Symmetry

The song Plug in Baby was the reason I learned to play the guitar!

Sam: Born to Run – Bruce Springsteen

All the songs are about hope, where you’re going in life and about moving forward. Its message is what makes it such an inspiring album to me - and was the start of my appreciation for Bruce Springsteen and his music.

Jamie: Sum 41 – Does This Look Infected?

This means the most to me as it was the first album I ever bought.

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

Mainly to gig and get our names around. We’d love to do more festivals to reach out to new audiences and, hopefully, get the opportunity to expand across the South with our gigs. We only formed as a complete band a year ago: it’s been a bit of a whirlwind as we’ve been working so hard getting our music up to gigging standard - as most songs were only written throughout last year; along with releasing two singles already last year. Now we’ve got a good selection of original songs which we can swap between for gigs…we feel we’re ready to give it our all and play where we can.

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

Play any show, especially when starting out - most will be for no money at all. All gigs are experience and a chance to meet new people who, you never know, might be a very important part of your journey. A lot of musicians are perfectionists – me, included! Perfection is good to a point: but learning when to stop and appreciate a song for what it is (is) very important.

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

We’re not full-time musicians - and each of us has jobs - so our free time is our music! We’re all very flexible so we can gig and work around anything musical (as it’s important to us all).

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).

Lisa: Richie Sambora – One Light Burning

Sam: Deacon Blue – Dignity

Matt: Audioslave – Cochise

Jamie: Ben Howard – Keep Your Head Up

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Follow Sunstreets

Facebook:

https://www.facebook.com/sunstreetsuk

Twitter:

https://twitter.com/sunstreetsuk

Instagram:

https://www.instagram.com/sunstreetsuk/

SoundCloud:

https://soundcloud.com/sunstreetsuk

YouTube:

https://www.youtube.com/channel/UC-2Q9OYG8COvfXp76lSCnKA

FEATURE: Do Dogs Dream in Colour? Why The Old Grey Whistle Test’s One-Off Return Should Kickstart a Revival

FEATURE:

 

Do Dogs Dream in Colour?

 ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images

Why The Old Grey Whistle Test’s One-Off Return Should Kickstart a Revival

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THE gods of music (gender-neutral, you understand) do like…

IN THIS PHOTO: Bob Harris during his Old Grey Whistle Test period

to tease the minds of us mere mortals! We are teased the return of some band or other; we get pumped about this and that before, too long, it gets taken away from us! I have been tossing around the idea Top of the Pops should make a permanent return but am concerned about certain things. That show, for me, resonated because it was a classic, top-of-the-charts configuration that included the best acts of the day. Maybe I am misremembering or over-romanticising the bygone show. I believe there is a whisper it will be returning for a special some point down the lines. Apart from Jools Holland’s longstanding Later…there is not really a lot to get pumped about regarding music television. I have been reminiscing – got my rose-tinted spectacles back from the shop – but there was something eventful and exciting about watching the best of the mainstream come to life. Perhaps we have become too familiar with YouTube and services where we can project our own version of music T.V. It is sad thinking we cannot return, in some way, to those halcyon days. Against the extortion and excess of modernity comes a hint of nostalgia that, to someone like me, raised my hopes. I am too young to remember The Old Grey Whistle Test and what it stood for. It was commissioned by Sir David Attenborough, oddly, and ran on BBC2 from 1971 to 1988.

I was five when it ended so my memories are dim to say the least! It was the rival and alternative to the more Pop/mainstream Top of the Pops: The Old Grey Whistle Test was more concerned with Rock and those who did not go to the allotted smoking area to burn a fat one off. Devised by the then-produced Rowan Ayers; it was a stripped-back, basic show that was the antidote to the glitzy and gaudy shows one might have seen on the box. The lineup of presenters was a varied one. Richard Williams (remember him?!) was the first incumbent – until Bob Harris took the reigns over in 1972. I shall come back to Harris when speaking about the one-off show we will see later this month. Harris left The Old Grey Whistle Test in 1978 – labelling New York Dolls ‘mock Rock’ a bit later down the line – and was replaced by Annie Nightingale. The show was cancelled by Janet Street-Porter – the Head of Youth Programmes at that time – and, as one would expect from her; common sense and reflecting the opinions of the masses not top of her mind. It was a show that saw its share of problems – especially in the earliest days. There were technical issues and bands usually recorded instrumental tracks prior to the show – the vocals, for the most part, were done live on the day.

The show transitioned to an all-live format by 1973 but, considering the lip-synch nature of shows like Top of the Pops (especially the modern incarnation); I feel there is an important place for The Old Grey Whistle Test on our screens. Bob Marley and the Wailers gave their first British T.V. performance there; Billy Joel and Heart performed on the show; New York Dolls’ performance on the show, in a way, created a Punk revolt. Not only did The Old Grey Whistle Test help usher Punk in: it has laid the bones down for modern versions like The Tube and Later…with Jools Holland. Like a lipstick-wearing flirtatious tease: the show is only going to provide brief pleasure and satisfaction. Once the doors are shut at the end of this month – the show; not the girl! – that will be it. Like TFI Friday: we know shows can age and not always recapture the same spirit that made them popular way-back whence. Three decades after its cancellation; the late-night show will feature interviews with former alumni such as Andy Kershaw and Annie Nightingale. It will show on BBC Four on 23rd February and ‘Whispering’ Bob Harris will introduce live music and talk to the former presenters. We will see rare archived footage and a view vote – where they can vote for the performance the BBC Four audience would most like to see again. Among the archived performances are legendary turns from Queen, Tom Petty and Blondie – Led Zeppelin and R.E.M. are in there, too!

IN THIS PHOTO: Joan Armatrading during her prime

On the night itself; they’ll be live music from Peter Frampton, Richard Thompson and Albert Lee – who have all played on the show before. Interviews with Dave Stewart, Ian Anderson and Kiki Dee will be included. Danny Baker, Chris Difford and Joan Armatrading will be interviewed, too. I am pumped and cannot wait to view it myself. Not only will it be a chance for 1990s children like me to connect with a show my parents would have seen: it is an opportunity for younger generations to see a show that made such an impact on music. Many people will see the show for the first time. Rather than see Old Grey Whistle Test’s one-night swansong as a nostalgia-fest for those who prefer their music older and less Pop-y: we need to see the show as a catalyst for needed change and inspiration. It is good Jools Holland has his show on the air. That show offers a platform to the best of the new and older breed: jamming genres together and providing a forum for musicians to produce some utterly fantastic sets! So many first were created and spawned during The Old Grey Whistle Test’s first foray. Not only did it direct the nature of music television and give birth to the next wave of youth-orientated music television: genres exploded and, at the time, guitar artists had a place where they could perform in a very natural space.

IN THIS PHOTO: Richard Hawley at 6 Music Live

That is not the case with modern music, really. Most of the big radio stations offer live sessions and platforms: there is not an all-out mainstream show that showcases the most innovative and gnarly acts around. We live in a time when, for a number of reasons, there is a need for revolt and regeneration. There are some great guitar bands around – but they are buried and swimming in a sea teeming with all sorts of sounds and acts. Top of the Pops has died and one would wonder, if it were to resurface, it would succeed and capture the imagination. In 2018; we are losing long-term concentration and have an accessible library of sounds at our (sore and worn) fingertips! Why would we ever consider sitting in front of the T.V. and watching the day’s biggest artists playing to us? Can we even guarantee the musicians on that Top of the Pops stage are doing it live and for real?! I wonder whether, alongside Jools Holland’s successful show, we could either revive The Old Grey Whistle Test or produce a modern sister – the title would have to go; not very modern and funky! We, now, divide ages, genres and tastes so that there is a station for each type of listener. There is really a consensus and compromise for the broad-minded listener to explore! I suggest a show that inherits the ethos and foundations of The Old Grey Whistle Test – a basic set and showcasing the most important artists of the day – but putting in established and older artists.

IN THIS PHOTO: Sigrid

We do not need something ultra-current and apropos. Music, now, is so trained towards streaming figures, radio playlists and meaningless statistics. Having a show that sticks a greasy middle-finger up at the beard-stroking digital luvvies would be perfect rebellion! You could have bands like IDLES, Goat Girl and Cabbage greasing it up alongside Wolf Alice and Field Music. In other room; Popstars like Sigrid, James Blake (who is more Electronic, I grant you) and Beyoncé. You could have titans and newcomers on the same stage: bringing in as-yet-unsigned acts with those living stars that, in turn, could learn a lot from those newer acts. Running concurrently would be an integration of classic stars and artists – such as Sir Paul McCartney, Stevie Wonder; Carole King, Aretha Franklin and the like! It would be a feast of sounds that would compel viewers and musicians alike. I feel; putting the ‘right’ acts on the bill would help bring about change and explosion. I am not intimating it would be on the same level as 1970s Punk: more a modern-day equivalent that would bring guitars and mass-unification sounds back into the charts. At the very least, we would have an authoritative and stocked music show that could run and get people away from the laptops! Maybe, then, we could think about putting music videos, classic and fresh, into the show?! Visual aspects would be important and, if we are splicing older and new; how about archived performances, interviews and turns?

PHOTO CREDIT: Unsplash

It would be a way of connecting younger listeners to the past; getting modern sounds to those who might avoid cooler radio stations – changing the game and giving us all a must-see weekly show we could all bond to. This is an imaginative leap from The Old Grey Whistle Test’s BBC Four return to a worldwide, multi-genre phenomenon that spearheads a revolution! Bob Harris, I am sure, would be the first to back such a proposition: a show where genres like Country could sit with Alternative and Punk! Whatever happens; it is wonderful having a musical institution back on the screens – if only for three hours! It will be great to see those legendary musicians back in the studio and on the BBC. What happens from there is anyone’s guess. Perhaps there will be renewed interest in the show – depending on what the viewing figures are like – and there could be a resurgence, perhaps? It is hardly a coincidence The Old Grey Whistle Test is being revived at a time when people crave something urgent, classic and vital. Anyone who assumed the grey-named T.V. show is a relic that is dredging up the (tired) bones of some faded musicians – you’d do good to remember why the show ran for so long and what it gave to music. I cannot overlook its role and what it achieved during its lifespan. Let’s hope this one-off show spawns a T.V. movement which, in time, revives the lost art of…

PHOTO CREDIT: Unsplash

ESSENTIAL music entertainment.  

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

_______

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!

 _______

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

________

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

_________

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

_______

Follow Riveira

Facebook:

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

Instagram:

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

SoundCloud:

https://soundcloud.com/riveiraband

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

_________

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

Official:

http://fabichmusic.com/

Facebook:

https://www.facebook.com/fabichmusic/

Twitter:

https://twitter.com/fabichmusic

Instagram:

https://www.instagram.com/fabichmusic/

Spotify:

https://open.spotify.com/artist/1mwP5J1kB8clYx0SoNL0uh

SoundCloud:

https://soundcloud.com/fabichmusic