INTERVIEW: Tishmal

INTERVIEW:

Tishmal

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THERE are very few artists who can provide…

such a vivid, unique and personal interview. Tishmal tells me about her eponymous E.P. and the themes/stories that inspired it; what it feels like having it out in the open; working with talent like Mason Porter on the E.P. – how her Native background, and family morals, go into the songs.

Tishmal talks more about principles held dear to Native Americans and what it is like living in modern American; if there are going to be any gigs coming up; what the differences are between San Diego (where she grew up) and Utah (where she is based) – and whether she will come to the U.K. this year.

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

Hi! This past week was great. I have been preparing for a show at the end of this month and I’ve also been able to do a lot of songwriting. I’m always so happy to be songwriting!

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

I am San Diego native, currently living in Provo, Utah and loving the music scene and people here. My music is ethereal, electronic and raw. People have compared me to Lana Del Rey, Florence + The Machine and Lorde - which I take as humbling compliment. I am a fan of all those artists. 

How does it feel knowing your (eponymous) E.P. is out there?! Was it a fulfilling and exciting experience?

It’s so surreal! Only a small group of people had heard my songs before releasing the E.P. - and it feels good to know the songs are out there for more people to connect with.

What are the main themes explored and tackled throughout?

There are themes and metaphors drawn from my lucid dreams and nightmares that I have. The songs ask difficult questions - a lot of which I don’t have the answers to yet. 

How cool was it working with Mason Porter (Haarlem, Goldmyth) and Christian Darais (The Brocks) on the E.P.?

They are super-talented dudes and I love their work. Mason and Christian are both so easy to work with and they are so creative. We have similar tastes in music: I really trust and admire their production choices. Being in the studio is always a good time. I feel super-lucky to have them on my team.

It seems ‘Tishmal’ is a very important symbol – a Native name given to you by your father. What is the meaning of it? Do you embody a different persona as Tishmal – compared to ‘Rachel Brockbank’?

My dad gave me the name Tishmal when I was about twelve. It means ‘hummingbird’ in Chamtela (A.K.A. Luiseño); the language of my tribe, Payómkawichum, or the ‘People of The West’. We have the tradition in my tribe and in my family to be given a Native name. Having a Native name is one of the many ways we remember, honor and claim our culture. 

I don’t know if Tishmal is a different persona - but I definitely feel like Tishmal comes from a deeper, rawer part of me. Maybe, in a sense, it’s Tishmal who writes the songs. 

How vital and influential was your San Diego upbringing? Was it easy fitting in there and ‘belonging’? What lessons and memories do you take from the city?

I love Southern California and especially San Diego. I believe that geographical places can hold energies that affect us. Growing up in the ancestral lands of my Native heritage connected me to my identity and the land around me: the plants, the smells; the climate – from a young age. I’m super-grateful for that sense of belonging. I miss it.

I also miss being able to wear flip-flops every day of the year!

Utah is where you are based now. What are the main differences in terms of vibe, music and people?

In San Diego, there wasn’t much of a music scene where I lived. Also, at the time I lived there, I was pretty shy and didn’t perform my songs very often. 

The music scene here is such a supportive and positive environment. I have really felt this team mentality from everyone - and this vibe and attitude that success rises with success. I love it! I think we can all agree that Velour Live Music Gallery in Provo plays a big part in that positivity. 

Which artists inspired you most growing up? Can you remember the first single and album you ever bought?

When I was like six, somehow, I got a hold of one of my sibling’s Walkman C.D. player. It had The Jackson 5’s Greatest Hits album inside the C.D. player. I went outside and hid in my backyard to listen without anyone finding out. I played it all day, over and over, until I wore out the C.D. player batteries. I was in love with the young Michael. I also grew up listening to The Beatles and Heart - thanks to my dad’s love for Classic Rock.

I grew up having family jam nights, singing and playing through those songbooks.

IN THIS PHOTO: Kllo/PHOTO CREDIT: Hayley Louisa Brown

Who are the new artists you recommend we check out?

I don’t know if these artists count as ‘new’ or not - but some of the new artists I am loving lately are Kllo, Dark Rooms; Zola Blood, AURORA and Hannah Epperson.

IN THIS IMAGE: AURORA

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

Oh; this question is so difficult to answer! Wow. I cannot pick three, but I will try…

So. Brandon Flowers’ Flamingo album became the soundtrack to a really transformative and hard time in my life as a teenager - this album was my escape.

A compilation album, The Very Best of Daryl Hall & John Oates (by Hall & Oates), taught me a lot about song forms, hooks and Pop music.

Junk by M83 is a more recent album that I was (and am) enamored with - it has moments that take me back to my childhood and moments where I feel like I am in outer-space; floating in the future. 

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

I will be playing shows locally and I am planning a tour through Idaho, Utah; Nevada, California and Arizona this summer with my band. Of course, I would love to go further with touring when the opportunities arise…

Will you come to the U.K. soon? Have you played here before?

I don’t think I can express how much I love London - and the Tube! Why don’t we have an underground like that here in the States!? I went to the U.K. for the first time two years ago and fell in loves – so, yes; I really hope to play in the U.K. soon! I have this dream of playing an acoustic show with London Grammar and Fyfe. 

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

This year, I am planning the release of more music; release another music video, open for some bigger acts and, most of all, just connect with more people. I also hope to really try my hardest in all of this. I don’t want to look back and think: ‘What if I had just worked just a bit harder?’. 

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

When I am not working on music, I love being outside in the mountains; at the beach, among flowers: any sort of nature. I love yoga. Also, my husband and I have recently gotten hooked on The Great British Bake Off – so, we have been staying up late to binge-watch.

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

I recently played a show and was feeling really hesitant going back into the crowd: just so shy and nervous. I was hanging out by the side of the stage when this group of super-young kids came up to me and wanted to talk and take pictures. Knowing my music had inspired those young kids meant so much! It helped me remember that my music is for them - and I love knowing people are resonating with the songs.

I wish I would’ve known more local artists when I was in grade-school - but there wasn’t much of a music scene where I grew up. 

It seems your upbringing promotes peace and connection to nature. Donald Trump, as your President, is the opposite of all that! Do you think he is eroding and pimping-out the land you love and grew up in?

I am sad to say Trump is definitely not the first to take away sacred land. There is a long, terrible; inexcusable, sad history of U.S. government and Native relations. It holds a lot of weight and pain in my heart. I can’t believe some of the things that are happening in history today with Bears Ears, the Dakota Access Pipeline and the other countless battles over stolen lands and broken treaties. Now, more than ever, we need allies and people to speak up for what is fair and right.

This country is still occupied by Native American people - we are resilient and we will continue to fight to protect what’s sacred.

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).

I have been jamming out in my car to Right for You by Lil Silva. Enjoy! Thanks for having me!

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Follow Tishmal

Official:

https://www.tishmal.com/

Facebook:

https://www.facebook.com/tishmal.music/

Twitter:

https://twitter.com/tishmalmusic

Instagram:

https://www.instagram.com/tishmal.music/

SoundCloud:

https://soundcloud.com/user-779959224

YouTube:

https://www.youtube.com/channel/UCFyQ7nQNtqM9qGlQnaKvWhg

INTERVIEW: Æ MAK

INTERVIEW:

Æ MAK

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IT has been cool speaking with Aoife McCann of…

the Irish band, Æ MAK. She talks about their single, Glow, and how that song came together. I was curious whether she grew up in a musical household; whether the guys will be touring at all this year; how important art/visuals are to their music.

I learn more about the band's creative process and what the Irish crowds are like; the albums (Aoife) vibes to; how amazing 2017 was (when the band supported Warpaint); what advice she would give new artists coming through – and why this week has been an especially memorable/tipsy one.

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Hi, Æ MAK. How are you? How has your week been?

Hi. We’re really good, thanks. This week has been a slow one! We’re recovering from a long week of recording in Leeds/a long week of hammering back too many brown ales. It's an exciting week too, of course! Glowin'. 

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

Yes. So we are a four-piece Electronic, Art-Pop band based in Dublin. There’s myself, Aoife McCann, on Vocals; Daniel McIntyre on Production and all things Synth; Peter Kelly and Dylan Povey on Drums and Percussion.

All about that rhythm...

 

Glow is your new single. What is the story behind it?

The creation of Glow was a turning point for Æ MAK. It is the start of a new chapter, sonically, and it is also the first song conceived through a new writing and production process - that started between myself and Dan last summer. It is a beacon for us, embodying what Æ MAK now is after going through a line-up change and a tough year. 

I wrote Glow after an argument I had with someone close to me. It relates to the frustration I, and everyone gets, when you see traits in others that you recognize and dislike in yourself. So; it's about denial, self-acceptance and turning to the ones that you love to accept the good and bad parts of yourself again. I brought the song to Dan and he created the soundscape. He brought it to life. Through our shared musical vision and love of Dance music, we created Glow. The first of many songs we are making together. 

The artwork for Glow is striking and eye-catching! How important is it projecting stunning visuals? Do you think image and music are closely interwoven?

It is so, so important to reflect our music with striking and stylistic artwork - it deserves it. Performance and art are at the core of Æ MAK. You have to make conceptual artwork alongside your music to enhance the world you are striving to create. Through Æ MAK, I aim to build an otherworldly realm for our audience to get lost in; to escape in. 

Can we expect to see new music? Will there be an E.P. later this year?

We will be releasing lots of new music throughout the year. We can't wait to share it. We're not sure in which form yet - but there is, most definitely, a long rainbow-stream of boppers coming in 2018. 

Your music brings light into an ever-darkening world. Do you feel it’s important to keep that hope and ray of guidance burning?

It certainly used to; dark brooding Æ MAK songs are coming, don't you worry.

But, yes; it is important to exude hope and positivity, of course, as both performer/writer - and the listener needs that getaway. It's also important to write about the upsetting and challenging parts of the human condition. If done through an emotive, bright Pop melody then even better. 

Did you grow up around music at an early age? Which artists made an impact on you as a child?

I did. Both of my parents are massive music fans and taught me everything they know about the world of Rock & Roll and Folk, which is a lot. The Clash's London Calling, The Rolling Stones; Talking Heads and R.E.M. would have reverberated off the walls day in, day out. I loved E.L.O...and Christina Aguilera, of course. 

IN THIS PHOTO: Sigrid

Who are the new artists you recommend we check out?

You already adore her, I'm sure but...Sigrid. Holy lord. She is a ray of hope within the Pop music industry. What a songwriter! She's going to be an iconic star we all rave about to our grandkids: the real deal. 

Aldous Harding. She's not a new artist but she's new to me. I am giddy over her.  Paving another road for all of us fierce and theatrical female performers. Her songs are so simple and beautiful; her lyrics feel like they're from a hypnagogic land. Someone's obsessed. Check out her newest album, Party.

IN THIS PHOTO: Aldous Harding

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

Simon & Garfunkel – Bridge Over Troubled Water (1970)

This was the soundtrack to my childhood and early-teens thanks to my mam and dad - along with countless other iconic albums like Pet Sounds and Sticky Fingers. The melodies and harmonies are ingrained into the lining of my heart. This album, 100%, influenced all my writing when I first began in my late-teens. This is strongly reflected in our first Jungle-Pop E.P., I Can Feel It in My Bones. 

Fleet Foxes – Helplessness Blues (2011)

Toss up with their debut album in 2008.

Robin Pecknold. Tears. Love. Help. Can’t deal...Every lyric. Every melody and harmony-line. Still trying to suss which cog I am, in which great machinery...serving something beyond...okay, sorry. I listen to this album every day. Every day. It fills me with sadness AND hope.

Little Dragon – Season High (2017)

We are all currently in love with this album. It has had a big influence on the synth sounds and production on our new songs. To me, it embodies how I feel about my youth and ours and our mate’s experiences. A yearning for more. It also makes us dance our butts off every day. 

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

We have lots of festivals coming up this summer that we’re excited to announce. We also have some exciting shows in the works. We’ll be baring all soon.

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

Me, personally; I’d like to become a real adult person and learn how to cook a nice stew; learn how to pay big important bills and post big, important letters. Soon, I hope: twenty-five is just around the corner. 

2017 saw you support, among others, Warpaint! What did you learn from the gigs and big moments last year?

Yes, that was amazing - very surreal, but I think we learned that we can actually do this and we’re a lot better than we thought. We learned that people connect with our music and performances. People actually want to come and dance at our shows.

So; that feels super-fuzzy. 

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

We played Other Voices festival, December-time, 2016. It was one of the best weekends of our lives, musically and as a band, in the Irish music scene. It’s in the beautiful seaside town of Dingle, Co. Kerry. The sense of community and true love of music is magical there. We were very hungover so were in a fuzzy dreamlike state - this definitely enhanced the connection we had with the audience there. I think I morphed into some kind of tribal witch that night.

That festival is really special.

What advice would you give to new artists coming through?

Find the right people to surround yourself with; people who bring out the best in you, creatively and as a person; be it collaborators, musicians; management…it takes time - but never settle for the wrong fit. Also; f*ck worrying about what people think: in the end, we'll all be dead.

Be whoever and whatever the hell you want to be - and be the best at that.

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).

Ha! Okay. Myself and Dan are drooling over Lorde’s Supercut right now. Spin it! (Smiles).

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Follow Æ MAK

Official:

https://www.aemakmusic.com/

Facebook:

https://www.facebook.com/AEMAKofficial

Twitter:

https://twitter.com/AEMAKofficial

Instagram:

https://www.instagram.com/ae.mak_official/

SoundCloud:

https://soundcloud.com/aemakofficial

Spotify:

https://open.spotify.com/artist/2VQ0jNisT4VhPs41VGvvTX?si=ENyU5F7jSjqC-8f1uiXteg

INTERVIEW: RubēHill

INTERVIEW:

 PHOTO CREDIT: Connor Fyfe

RubēHill

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THE incredible RubēHill reveals the story behind…

his new single, Apartment, and how he manages to create his own style. There are shades of Gorillaz and LCD Soundsystem in his work – the Canadian songwriter talks about those artists. I ask whether there is going to be any more material soon; what tour plans he has up his sleeve – if we might see him in the U.K. at some point.

I ask how his career got started and which musicians made an impression; the new artists he recommends we check out; some albums that have been influential in his life – and whether the name, ‘RubēHill’ signifies a unique personality and persona.

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

Hello! My week has been great; thanks for asking. It’s been pretty cold, overall - but I got to put a new song into the world early in the week and I’ve been buzzing since. How has your week been?

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

Hello, new listener! I hope you like the music… 

It seems like ‘RubēHill’ is a persona and reinvention. Where does that name come from?

It’s definitely a persona. I did musical theatre in high-school and always felt more comfortable playing a character. I never liked the idea of my personal self being the main representation of the music I made. Using a different name was the easiest way to avoid that. I just happened to be reading Flannery O’Connor’s A Stroke of Good Fortune at the time when I was trying to come up with an alias and, sure enough; I really resonated with the main character, whose name happened to be Ruby Hill. 

You are making leaps to create your own style and sound. Is it important you break from the expected and provide something unexpected?!

Perhaps all too stubbornly, yes. Confronting existentialism for the first time in grade-eleven Philosophy class kind of turned the blender in my brain on for a little bit – and, since then, I haven’t been able to make music without having an intense feeling of ‘Well, if existence is so finite and weird; why not just make your art weird?'. I still like to cling to familiar elements and respect what has come before me: but you can definitely do both. My main goal is to just always be surpassing myself. The break from the unexpected happens as a result of just trying not to be frightened when something sounds a little off-kilter, as long as it has intention and integrity.

Surprise is stimulating.

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

The first lyric of the song came from a conversation I had with a friend who had been on a partying spree. I remarked “You’ve been on a bender since I met you”, and was suddenly inspired enough by the line that I wrote it down and set it aside for a beat I had been working on. I changed up the lyric and decided that the song would take place inside the head of someone who has just woken up in their apartment.

I wanted the song to represent the way in which thoughts become dangerously limited when we inhabit small spaces. Writing those thoughts into a song allowed me to step back from my own thought patterns and observe them as an outsider - and it’s provided me with a lot of clarity. Songwriting’s great that way.

It brings in shades of LCD Soundsystem and Gorillaz. Were these artists in your mind when creating the song? How easy was it to get the track together?

Astute observation! Yes, both of those artists have influenced me heavily, amongst others. The song started off with a drum loop inspired by LCD Soundsystem’s song, Someone Great, and I had no idea it would turn into the thing it turned into. Frank Ocean’s Blond had just come out and I was blown away with how unconventional a lot of the song structures were. His pairing of this with bare emotional lyrics really struck a chord with me. I had also just begun listening to the Gorillaz and that drove me to realize that I could incorporate Funk and Electronic elements into my songs - while still retaining the melancholic chord progressions that I’ve always used. Blood Orange’s Freetown Sound did a similar thing for me. The final part of the process was the pitched-down spoken-word bit I do at the end, which was recorded after a day of listening the third Run the Jewels album on-repeat.

This song required a very specific convergence of influences at a very crucial time. It was easy to create for the song because it all happened naturally - but difficult in between writing sessions because I battled pretty frequently with whether or not it was any good.

PHOTO CREDIT: Connor Fyfe

Will there be more music down the line? Can we expect an E.P.?

I currently have a good number of complete or near-complete songs that I plan on putting out sometime soon. It’s just a matter of when and how.

How do you think your music has evolved through time? Do you think you are in a place where you feel most comfortable and free?

I’ve evolved over time mostly through immersing myself in specific musical phases. It’s really helped me to be well-rounded but, at the same time, it made it hard for me to find my own voice for a really long time because I was always trying to be like other artists. I still take influence from other artists’ ideas - but I no longer want my music to sound like anyone else. This acceptance of my own voice and the creation of the RubēHill persona has definitely led to me feeling freer and more comfortable as a creator than I ever have.

Tell me about your musical upbringing? Which artists and albums were you raised on?

Growing up, so many people in my life were such huge music lovers that I was just always exposed to all kinds of music. I’m pretty sure I remember hearing Miles Davis’ Kind of Blue when I was four. My parents exposed me to a lot of really funky stuff. I played trumpet in elementary-school and wanted to be Dizzy Gillespie really badly. At the same time, I was always a sucker for the hits and distinctly remember really hoping Smooth by Santana came on every time I listened to the radio.

When I started playing guitar, it was because my uncle took me to see Roger Waters live in concert - and my twelve-year-old self decided that I wasn’t going to make the Comfortably Numb solo sound cool on trumpet.

Who are the new artists you recommend we check out?

I’ve just recently put Brockhampton's Saturated III into rotation and it’s totally blown me away. Would definitely recommend. Weaves are a band from Toronto that (just) deserve so much attention. Their sound is so gutsy and so wild. I would say the same thing about the band Algiers from Atlanta, Georgia. My friend Sam has a project called Mute Choir - and I truly believe his upcoming debut album is going to change the world; so look out for that one.

IN THIS PHOTO: Mute Choir/PHOTO CREDIT: @louisa nicolaou

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

This is so tough. My answer will probably change tomorrow - but I’ll take a crack at it anyway.

Caustic Love by Paolo Nutini

I went through a particularly rough bout of existential dread one summer - and Iistening to this album every night before I went to bed helped get me through it. It’s a great record. 

Channel Orange by Frank Ocean

This record changed the way I looked at music and I don’t really know how to describe it past that. 

In Rainbows by Radiohead

It’s a perfect record. There isn’t a single sound out of place and there isn’t a single moment where it feels lacking or overdone. It’s so lush yet so sparse; so aggressive yet so gentle. I heard it for the first time in grade-eleven and haven’t gotten sick of it yet.

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

I’m playing a gig in Toronto in February with an awesome artist named Alex St. Kitts, whose been a heavy musician in the scene for quite some time (and whose project is called the Projektor). It’s going to be fun. I don’t have any immediate plans to tour outside of Canada, but that definitely doesn’t mean I don’t want to…

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

I hope that 2018 is the year that I get to hold a vinyl version of the first RubēHill record in my hands and go “oh, wow”.

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

When I started playing guitar I would frequent local open mics - because I didn’t have a band to play with but really wanted to play with other people. There was this one Blues/Jazz club where I used to get up and jam with a very seasoned Blues singer named Andy Earle, who kind of took me under his wing at the jam and taught me a lot about playing and, more importantly, listening. One particular night, I decided that if my thirteen-year-old self was to sing Every Day I Have the Blues - even though I did not have the blues even every other day. The singing was so brutal.

Andy turned to me after the song, laughed, and said: “Listen, kid; you have to sing it like you mean it. You get up here saying “Every day I have the blues” but it don’t sound like you have the blues’”. I was mortified in the moment: but it was such an important lesson and it has stuck with me to this day.

PHOTO CREDIT: Con Fy

What advice would you give to new artists coming through?

Encourage your friends: friends prop each other up and create movements. Movements change the world. Stick together and everyone's work will be better and healthier. 

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).

Brockhampton - Boogie

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Follow RubēHill

Official:

https://www.rubehill.com/

Facebook:

https://www.facebook.com/rubehillmusic/

Twitter:

https://twitter.com/rubehill

Instagram:

https://www.instagram.com/rubehillmusic/

SoundCloud:

https://soundcloud.com/rubehill

Spotify:

https://open.spotify.com/artist/1pEHTNsmh8Px7NMyFmnyUQ

YouTube:

https://www.youtube.com/channel/UCUqebVM2Lnl4D4mOdrW4Buw

FEATURE: Attack and Absolute Phase: The Changing Nature of the Producer in Music

FEATURE:

 

Attack and Absolute Phase

 ALL PHOTOS (unless credited otherwise): Unsplash

The Changing Nature of the Producer in Music

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THERE have been noticeable shifts in the music industry…

over the past few decades. Tastes have changed and genres have come and gone. We have seen a lot of technological developments over that time. Streaming and digital downloads have joined conventional hardware and, in many ways, the industry has improved and opened up. It is wonderful new, unsigned musicians have the chance to release music and get it heard on the radio – years ago, this was not a possibility. I am pleased music is more diverse and busy; there are greater options - and it is busier and more explosive than ever. One of the most noticeable splits is between artists producing their own material and those hiring others. I raise this issue because, listen to the radio last week; I heard an interview with Gordon Raphael. He produced The Stokes’ masterful debut, Is This It, at Transporterraum, New York City. It is debatable, if another producer was selected, they would have created the album we hear today. The rawness and distorted vocals; the New York sound and the sensation of a young band tearing up the rulebook – The Strokes themselves could not have devised anything as grand. I look back through history and those epic producers like Sir George Martin and Tony Visconti; Rick Rubin and Quincy Jones – throw in Nile Rodgers and Brian Eno. Aside from the fact they are all men – more on that later – they have helped create some of the greatest albums ever.

IN THIS PHOTO: Tony Visconti/PHOTO CREDIT: Getty Images

Masterpieces from David Bowie, The Beatles and Michael Jackson have been crafted and shaped by incredible producers. One can argue the reason these titans have been so successful is the way they work with the artists: able to confer and compromise; adding their input and help turn great ideas into truly fantastic ones. I talk to some people and they either do not know what a producer does, or else, think it is someone who hits ‘record’ and remembers to stop the recording at the end – the same way people my age did when we were children; illicitly taping the charts on Sunday evening! I will look at gender division in production but, looking back, and there is a split between the self-producing artists and those who had hired guns. You can argue the greatest bands and solo artists relied on other producers. Technology was not what it was now: they could not create music on laptops and always take a D.I.Y. approach; considering the standard the music had to be and what the music incorporated. Even the greats like David Bowie and The Beatles had a big say in their music and what was involved. They never handed the material to the producer and let them control it: there was always discussion and a mixture of the producer’s expertise and the artist’s insight. You can argue the classic albums sound the way they do because of these incredible producers.

IN THIS IMAGE: The album cover for Frank Ocean's Blond/IMAGE CREDIT: Getty Images

If the artist had been allowed to produce legendary cuts like Pet Sounds (The Beach Boys) and Blonde on Blonde (Bob Dylan) – would they have the same quality and genius?! Times were different then but, since the turn of this decade; mainstream artists are taking more of a role. Many of the best artists out there produce their own stuff – if not all the albums; songs here and there – and do not like to gift complete power to another party. I wonder whether there the role of the producer is diminishing slightly?! It is changing so that more and more artists are taking care of their own work and relying on their own voice – this is especially true of independent acts. A lot of mainstream artists still hire producers but, what I find, is the best and more natural music out there arrives when the artist in question has a production credit. You can look at albums by Beyoncé and Frank Ocean and, whilst they are listed as Executive Producer; they are joined by an army of production talent! It makes me wonder whether, in the case of the biggest names out there, it is impossible to craft work of that stature alone. The split coming is between the mainstream and the underground. The idea of the D.I.Y., self-produced artist is coming to the fore. Even if the music is multi-genre and band-made: artists prefer to produce themselves and relying less on outside forces. There are a few reasons behind this explosion.

Producers are expensive and, depending on your budget; it can be tricky setting enough money aside to afford one. A single song can eat of many artists’ budgets. If you have to record an entire album, you might be in the studio for a few weeks or so. Count up the cost of the producer and other expenses – engineers and various studio bodes – and the total is eye-watering! Even with social media largely free and easy; artists still need to print posters, think about promotion costs and gigs – paying for transport to gigs and throwing in food and drink. The modern musician is as concerned with budget and affordability now as at any other time. Depending on the experience of the producer; it is often unrealistic hiring someone to help bring the music to life. Studios vary, in terms of costs, but I am staggered how much people charge for a few hours. Many artists cannot afford the steep fees. It is a shame because, as we can hear from the best albums floating about; having an outside body offering expertise, advice and input can take a record in new directions. You will never have an industry where all artists produce their own work and it is a self-made business: the fact so many new musicians are crafting a D.I.Y. ethos is impressive.

It is a more affordable option and means you are not fixed to studio dates and specific times. Technology allows artists to put any instrument and sound they want into the mix; they can create an album from scratch and see it through to the end – essentially, a studio in the palm of your hand! Not only is it a more cost-effective way of working; it means the artist gets full say in the creative process and does not have to compromise. For newer acts; there are fewer going to producers and recruiting them for their project. The fact modern studios/producers are expensive and located, largely, in cities is not always convenient for artists who want to create something affordable and quic. It is, of course, possible to work with other producers without breaking the band. Some are joining with other musicians/local producers; some artists get reduced rates and being given a break; others mix self-production with studio work – there are options for those who want to have a professional sound and retain a degree of independence. With each passing year; I am seeing new artists take a more involved role in their own music. Whether through a home-built studio, or recording on a tablet, they are producing songs that do not require the elaborate and costly environment of the studio.

IN THIS PHOTO: Grimes/PHOTO CREDIT: Pinterest

Many new artists, females especially, remaining independent – without a label and producing their own work – because of the lack of female producers out there. The situation is getting better but, compared to the men; there are far fewer women in studios – which is causing debate and issues. I know there are improvements and, compared to a few years ago; there is a greater number of women becoming producers. That said; the majority of the big album releases are produced by men; most of the artists I review, male and female, have their music produced by men. That is no indication of quality and a gulf: there are still problems around education, studio culture and a lack of real change. I know Music Production is taught in music schools and universities but that is not the case in schools. The fact music is not part of the syllabus in many schools – it is an option but not mandatory – means children are not being encouraged to go into production; discussions around gender equality are not beginning. I know more women are heading into studios but look at the new music we listen to and there are so many fantastic female producers either putting out their own stuff – or working with other artists under the radar. Established female producers like Grimes, Catherine Marks; Lauren Deakin-Davies and WondaGurl are considered among the best in the business.

IN THIS PHOTO: WondaGurl

Although a lot of new musicians are producing their own material and overlooking an expensive studio; I feel something should be done to make things more affordable and accessible. It is good musicians are taking control and learning a new craft. It is encouraging seeing that independence but there is still great value in the traditional producer. So many great albums have been produced by someone not associated with the artist – that professional who comes in and add his/her touch to the work. Costs are a big issue: many unable to afford time in the studio and having to do things their own way. I think an objective nobody can add so much to a band/artist’s work. There is this drive for musicians to take some initiative but, thinking ahead, the only way to ensure musicians and producers have a more sustainable and profitable relationship is looking at reasons why artists are going D.I.Y. It is interesting seeing how production has changed and the way new musicians are putting out their work – those in the mainstream do not self-produce as much as the underground. If we can strike a balance between D.I.Y. artists and those who can head into the studio – more equal than it is now – then I feel it will lead to a much more…

BALANCED industry.

INTERVIEW: Aphrose

INTERVIEW:

Aphrose

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IT has been a wonderful experience chatting…

with the Canadian songwriter, Aphrose. She discusses her current single, Move On, and the tale behind it. I ask whether there is more material coming; which artists have compelled and shaped her music; whether women have to work harder (in the industry) to get the same acclaim as men – if she is coming to the U.K. to perform.

Aphrose talks about her upbringing and if she feels she’s changed since her debut cut. I ask what it was like working with producer Scott McCannell on Move On; the albums that mean the most to her; how she creates such vivid and genre-straddling music – what she hopes to achieve, personally, in the coming months.

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

Hey, M.M.S.! I’m well, thanks. My week has been going really great so far!

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

Hello, everyone. My name is Aphrose. I am a Soul singer based out of Toronto, Canada.

Move On is your new single. Is there a story behind it at all? What inspired it?

Yes, there is certainly a story behind Move On...

It was written a little while ago and, though it was a favourite of mine; other songs and projects were prioritized over it. I rediscovered Move On in one of my old song notebooks and knew it was time to record it. The sentiments of the song aren’t directed at any one person in particular - but it’s a story that most, if not all, women can relate to. It’s a song of empowerment, of realizing one’s own self-worth and moving on.

Sonically, I was inspired by Phil Spector’s Wall of Sound, Amy Winehouse’s lyrical honesty and Quentin Tarantino soundtracks.

I know the song breaks barriers and frees us from limitations! Do you think, as a woman in music, that message is especially personal? Do you think there are too many obstacles placed before female artists?!

Yes! 100%! I genuinely believe that women have to work twice as hard as their male counterparts to ‘prove’ their worth and ability and to be taken seriously - not only in the entertainment industry but in all walks of life. Society has historically objectified women as lesser beings: valued for their desirability over talent and skill. Women, for their part, have mostly been socialized to accept this inequality - but the tides are changing.

The time for remaining passive amidst injustice is coming to an end...

What was it like working with producer Scott McCannell on the track? What did he bring to the production?

I started working with Scott last year and it’s been such a fun journey so far. Scott specializes in analogue production methods - which give the song a warm, vinyl-like sound you would hear on a record. Move On was the very first tune we worked on together. I played the song on keys and sang over top and told him that I was hearing a Wall of Sound-type aesthetic - and he knew exactly what I was going after. We cut the demo in like, two hours to his four-track cassette recorder! It blew my mind how fast he worked and how many instruments he could play.

When we finished the demo; we knew we had something really cool and couldn’t wait to get the band in to cut it for keeps to tape.

Do you think you have strengthened and changed since the debut single, The Middle? Did you consciously try and create a different-sounding song with Move On?

I feel like I’ve strengthened as an independent artist, definitely. I have learned a lot since the release of The Middle and will continue to learn. But, as much as I’ve grown, there are still some unifying elements that are present within both songs, such as having lots of layered background vocals and heavy bass throughout.

Move On is a tribute to the Soul sounds of the 1960s that I love; whereas The Middle is more of an ode to the Neo-Soul sounds I love from the 1990s/early-2000s. Both those musical eras deeply influence my overall sound.

I believe a video will be released on 19th February. Can you reveal what sort of themes and ideas will be explored in the video?

Yes. February 19th is the video release-day! I’m so excited to share this visual with everyone. There are themes of defiance and resistance as well as themes of unity and solidarity - all themes that are significant in today’s social climate.

Will there be more material later this year?

Definitely. I am working on releasing an E.P. later this year. Stay tuned!

I hear Soul, Gospel and Pop in your work: music that crosses genders, races and time periods. Did you grow up in a diverse neighbourhood and, as such, have exposure to an eclectic range of sounds?

Yes. I grew up in Scarborough - a borough of Toronto - which is the most diverse city in the world. I feel really blessed to have had the opportunity to connect and learn from people of all ethnicities. My background is Trinidadian; so I grew up listening to a VERY eclectic range of sounds such as Soca, Calypso; Reggae, Chutney; Parang, Motown; Pop, Gospel; Classic Bollywood and even Country music!

As a child, I listened to whatever my parents listened to and, despite how uncool I thought that music was at the time (because all my friends were listening to boy-bands and Alternative-Rock); I’ve grown to realize how much those genres have shaped me as a musician - and I’m eternally grateful to my parents for exposing me to such a wide array of sounds.

You have worked with names like Daniel Caesar and Nikki Yanofski along the way. Have you learnt quite a lot from these people?

Most certainly. Witnessing the drive, work ethic and teamwork behind an artist’s success has been a cherished lesson - showing me, not only what it takes to get to where they are, but also what it takes to stay there. From Daniel, I learned that it’s possible to find success using unconventional means, such as not signing to a major label. From Nikki, I learned that at the end of the day, after all the bells and whistles, raw talent will always shine through.

IN THIS PHOTO: Francois Klark

Who are the new artists you recommend we check out?

Francois Klark (@francoisklark) is an emerging Toronto artist that I have had the pleasure of working with. His sound is a mix of Jon Bellion-meets-Kevin Garrett. Check out Spaceman.

Lydia Persaud (@lydiapersaud) is another emerging Toronto artist who I admire greatly. Her sound is a cross between Soul and Folk. Check out Everything.

YUKA is my favourite band in Toronto. They are a Funk/Soul outfit fronted by the incredible Claire Doyle. Check out Make Up Your Mind.

IN THIS PHOTO: YUKA

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

Oooh…this is a tough question! I have so many favourites but, ok - let’s see if we can narrow it down…

Lady Soul by Aretha Franklin

She is my all-time favourite singer and that album has SO many bangers (I mean; ALL of her tunes are amazing). But, my favourite song of hers is Ain’t No Way - and it’s on this album.

The College Dropout by Kanye West

This album is amazing; every song is so dope - even those hilarious interludes! Never Let Me Down is one of my favourite tracks on this album. The spoken-word bit at the end makes me cry, without fail, EVERY TIME.

Channel Orange by Frank Ocean

I am amazed by Frank’s writing and production styles. He is so eclectic and weird (in the best way possible!) and every track is beautiful on this album. My favourite is Bad Religion. I think I listened to this album twice a day, every day for like two-months-straight when it first came out!

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

Touring is in the works, for sure. Specific dates T.B.D. I have an upcoming gig in Toronto at Lee’s Palace on February 23rd. I’m opening up for two amazing Toronto-based bands: Yuka and Gold Complex.

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

I hope to travel and bring my music to places around the world and reach new fans. I also hope to collaborate with more artists and create new experiences.

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

Another hard question!

I’ve been really fortunate to perform in some amazing venues across North America and play some really fun shows. One memory that stands out is being the frontwoman for The Daft Punk Tribute: an eight-piece band that recreates the works of Daft Punk live. We had the honour of playing a sold-out show at the renowned Le Poisson Rouge in N.Y.C. - and the vibe and energy that night was next level…and gave me the affirmation I needed to know that music was my calling.

What advice would you give to new artists coming through?

Keep hustling. It’s a grind; especially when you are self-managing and wearing many hats such as manager, P.R.; social media marketer - as well as creating your own music. It can be so exhausting. Just putting yourself out there.

There is a fine line between persistence and annoyance - and you have to ignore feeling self-conscious about crossing that line. That has been one of the hardest lessons for me to learn thus far. Most importantly: keep creating and believing in your art.

The right people will find 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).

Awesome! City of Angels by Miguel. I love his new record.

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Follow Aphrose

Official:

https://www.aphrose.com/

Facebook:

https://www.facebook.com/aphrose/

Twitter:

https://twitter.com/AphroseMusic

Instagram:

https://www.instagram.com/aphrosemusic/

SoundCloud:

https://soundcloud.com/aphrosemusic

Spotify:

https://open.spotify.com/artist/2rmzhSK2Jh6O406qYuLrd6

INTERVIEW: Joseph Watt

INTERVIEW:

Joseph Watt

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THE music of Joseph Watt…

is exceptional and deep. I was keen to ask him about the new track, FIVE AM, and the story behind it. He discusses how he came to meet Heidi North – who co-wrote the track and supplies vocal power – and whether there is new material afoot. Watt discusses his favourite albums and artists; what gigs he has coming up; whether he has any goals for the year ahead – what his favourite memories from music are.

I ask about self-production – as Joseph Watt handles and produces his own material – and why many artists are taking control back; new artists we need to watch out for; how important London is regarding his creativity and sound – and how FIVE AM is part of an ambitious, multi-genre project.

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

I’m well, thanks. It’s been my favourite kind of week - with a mix of music stuff going on; with some rehearsals for drums and some studio work on vocals. It’s not always as varied as this, mind you...so I’m making sure I make the most of it!

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

So. I’m a twenty-two-year-old multi-instrumentalist and producer based in London. I’ve started a self-titled project, drawing on all my influences, for which I’ve got a busy year ahead.

FIVE AM is your new single. What can you tell me about its story and inspiration?

Well, originally, I was planning to write an album titled I WENT TO BED BUT DIDN’T GET TO SLEEP; based around different emotions at different hours. FIVE AM was initially about that horrible voice you get in the middle of the night that draws on your insecurities. When writing it, I realised that it ran perfectly parallel to the insecurities of an artist - as the voice that tells them they’re not good enough - so FIVE AM became a mix of both, really.

It seems to address a certain sleeplessness and uncertainty. Were you going through fatigue and insomnia before the song came together?

At the time, I was struggling with sleep most nights - and I also found myself doing much of my writing and production in the middle of the night. It seems impossible to write in any other tone of voice at those sort of times for me.

FIVE AM was written with Heidi North. How did you come to meet her? What elements and aspects did she bring to the writing of the song?

I met Heidi at university - where we were studied together and ran in similar circles. I heard her voice on a track and wanted her involved. However, I was also struggling with writing on the subject - mostly because I was writing about a certain emotion – where, if I’m experiencing it, I can’t write and, if I’m not; it’s not legitimate. I explained this to Heidi and she offered to help write some lines and lyrics - and I loved what I heard.

Over time, we honed down these lines together to form the vocals.

I believe you are releasing more singles this year. What was the idea behind releasing a multi-genre, ambitious project like this?

I listen to a pretty broad spectrum of music, and so, I was concerned that if I were to go ahead and start releasing it wouldn’t sound coherent and it may just be confusing. It was last year that I recognised that these different influences are a key element of my style and that my music can drop into different categories depending on the nature of the song. It’s very much a case of: “I should just go for it because, truly, I’ll never know how it’ll be received until I know”.

FIVE AM is self-produced. I notice a lot of new artists producing their own songs. Why do you think this is? Do you prefer having full control over your own material?

I think that the label-market has really formulised music, at least with Pop, and that has forced the more creative artists to self-promote, self-produce and self-release. Pair that with the increased affordability and accessibility of studio equipment and we have a recipe for endless creation. Personally, I love it. I think, at least in my head, I lean towards the more creative side rather than the commercial (side) of music - and being able to have full control means I’m able to make those exact dreams come to life.

You have produced for other artists along the way. Has that experience given you the confidence to push your own music?

So. I really enjoy producing and I take great joy out of producing other’s music as well as my own. I think, being a part of the process for several artists; then watching them have the confidence to go out and release and gig (and then receive positive feedback) made me recognise that it is pointless waiting until I believe everyone will love my music. That time will never come. These artists have just gone for it and I really admired that: they’ve made me recognise that I can do the same.

Which musicians did you grow up listening to? Can you remember the first song you ever purchased?

I grew up in a relatively Classical household but, at that time, it wasn’t what I chose to listen to. I think, actually, the first song/album I purchased was The Singles by Basement Jaxx. I think, like most kids, I went through phases. It developed through into a pretty even balance of classic Jazz artists, popular Classical; Pop and Rock.

London is your base. How important is the city and its people regards your music?

For a musician, London is the place to be. That certainly is a start…

IN THIS IMAGE: Albert Man/IMAGE CREDIT: Arnab Ghoshal

Who are the new artists you recommend we check out?

I’m naturally going to have to shout out a few artists that I play for!

Sasha would be one. I think she’s a great artist and it’s always a pleasure gigging her stuff. She’s playing a communion gig on 4th March at Notting Hill Arts Club, so check her out!

Albert Man would be the next. Not so much a new artist but he is an up-and-coming artist! He recently had his new single launch for Say Something Loving and he has some great fans...and no wonder: he’s a great writer and great performer.

Last one I would say is Broadstrokes. This guy is crazy. He plays the piano, sings and plays synth through organ pedals - all at the same time. He’s got a super-chill track out, Clean, and he’s bringing out an E.P. May-time. Definitely, one to watch out for.

IN THIS PHOTO: Broadstrokes/PHOTO CREDIT: Imogen Forte

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

I’m going to start with saying Opposites by Biffy Clyro

When this came out, I remember planning to listen to it the following day on my walk to school. I put my headphones on, set the album off and my mind was blown. It’s an all-round great album - but it was the drum production that really got me. It was so clear, so punchy and so tight. It’s just one of those albums that really excites me every time it comes on somewhere!

I think, next – which, I guess, in the context is a bit of a curveball - would be 99.9% by KAYTRANADA

When this album came out, I was starting to get into production properly and he put this album out and I loved it. It wasn’t really like anything I had heard before but, following it around, and I was amazed that he just had his style - and he didn’t and doesn’t change it for anyone!

Finally; I think I would choose Continuum by John Mayer

I listened to this a tonne when I was at school and, though I don’t hear it in my music, no doubt it really influenced me in my music-making. What an album.

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

Well. I’m really releasing these songs so I can have a reason to gig and tour! That’s where my passion truly is: in the playing. The thing is, with my own songs, I can do exactly what I want to play; with exactly the set up I want. So, I don’t have anything yet but keep your eyes and ears open - I’m aiming for a headline show at the end of 2018!

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

I’m not great at writing resolutions: I find it more stressful that I should. I got pen and paper and the only thing I wrote down was ‘to release four tracks this year’! It’s not quite a personal achievement, I guess.

Who knows; maybe it’ll better me…?

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

I think the most recent was my debut gig back in mid-2017. There were eight of us in the band and, though I really enjoyed rehearsals, there was that stress. I wasn’t really sure what to expect by playing my own stuff for the first time - but there isn’t a feeling that matches looking up and seeing great musicians really enjoying playing your own music.

I thought my enjoyment would come from watching the audience participate in my music but, instead, it was watching the amazing band.

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).

Mentioned above: I’m gonna definitely say Clean by Broadstrokes!

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Follow Joseph Watt

Facebook:

https://www.facebook.com/JSPHWTT/

Twitter:

https://twitter.com/JSPHWTT

Instagram:

https://www.instagram.com/JSPHWTT/

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

_________

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.

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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

_______

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.

______

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

_______

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.

______

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

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

So; not bad at all.

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

(I’m) Connor - Vocals/Bass

Jamie - Vocals/Guitar

Paul - Lead Guitar

Cory - Drums

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

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

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

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

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

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

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

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

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

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

There was a voice in heads one night…

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

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

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

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

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

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

IN THIS PHOTO: The Nix

Who are the new artists you recommend we check out?

The Nix from Stockport; Saytr Play and Gathering of Strangers

IN THIS PHOTO: Gathering of Strangers

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

Connor: Oasis – Definitely Maybe

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

Cory: The Streets - Original Pirate Material

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

Paul: Red Hot Chili Peppers – Californication

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

Jamie: Carry on Up the Charts - The Beautiful South

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

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

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

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

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

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

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

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

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

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

So, Christmas must be our collective hobby.

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

Paul: Red Hot Chili Peppers - Californication

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Follow Dantevilles

Facebook:

https://www.facebook.com/dantevilles

Twitter:

https://twitter.com/dantevilles

Instagram:

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

SoundCloud:

https://soundcloud.com/dantevilles

Spotify:

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

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

FEATURE:

 

The February Playlist

 IN THIS PHOTO: James Bay

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

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ONE of the biggest music news stories…

IN THIS IMAGE: Skott

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

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

ALL PHOTOS (unless stated otherwise): Getty Images

________

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!

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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

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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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The band came together quite naturally.

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

Yes and no...

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

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

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

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

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

Who are the new artists you recommend we check out?

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

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

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

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

Pol’s album would be Wolfgang Amadeus Phoenix by Phoenix

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

Louis’ album is Hunky Dory by David Bowie

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

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

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

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

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

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

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

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

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

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

Samuel J. Lawrence – Bitter Mind

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

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Follow Riveira

Facebook:

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

Instagram:

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

SoundCloud:

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

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RATHER than pen a rederivation of the…

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

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

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

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

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

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

FOR the intrepid band.