INTERVIEW: Bad Pop

INTERVIEW:

Bad Pop

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I have been chatting with the dynamic…

and sensational Bad Pop. Chris from the band talks to me about the new track, On Your Own, and what comes next. I ask him about Bad Pop's start and what they have planned regarding gigs; if the (Canadian) guys are coming to the U.K.; the music/artists that inspire them – whether Chris and the guys have favourite memories from their time in music.

Chris discusses their creative process and how his week has been; what advice he would give to new artists coming through; why Canada produces so many great artists – if the band gets the chance to chill away from their busy music lives.

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

We’re great! You’ve got Chris on the laptop...

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

We’re Bad Pop: an off-kilter Canadian Rock band. We make quite the racket, lots of loud noises - that sometimes sounds like songs. 

On Your Own is the new single. What is the background of that song?

On Your Own is a bit of different song for us. Catherine sings on it; it was largely created in the studio. I’m intrigued as to how people will respond to it. 

Previous singles Bad Pop and Same House were a big success. Did you expect them to be so acclaimed and popular?

‘Popular’ is such an abstract thing, nowadays. 

I’m glad when people like it: we certainly do. It’s funny because Bad Pop was supposed to sound like a Pop song that kind of pokes fun at popular music. I guess it worked! 

Will there be more material from you guys this year? 

There’s a ton of stuff that will be coming out soon - including our first full-length in the fall! 

How did Bad Pop get together? Was there an instant connection there?

We had played together in other bands; so we already had chemistry going into Bad Pop. There is an excitement and danger to how we play that’s very exciting. I think that’s when we’re at our best: when the thing could fall apart and go off the tracks at any moment. 

Which artists and musicians were you inspired by growing up?

I always loved artists that were a bit subversive, and yet, had a good sense of humour to them: Devo, Talking Heads, Ween; the Coen brothers, The Kinks; The Beatles and Paul Thomas Anderson. 

PHOTO CREDIT: Brendan George Kokomo

Are there any new artists you recommend we check out?

Weaves and The Wet Secrets. 

I interview a lot of Canadian artists. Why do you feel the country is providing so many great bands/artists? 

In my experience; the grant system we have in Canada helps develop artists. It encourages, with financial support, artists that are unique and have something interesting to say. It also helps that we look, sound and can pass as Americans - but definitely aren’t. It’s a position that allows us to thoroughly understand and be submerged in their culture - yet, also be removed from it so we can satirize and critique it from a very close, yet slightly removed, place.

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

Last year was pretty nuts for us. We spent most of it away from home playing around the world. So, for the next little while, we’re going to be at home working on a new record.

Do you think you’ll come to the U.K. this year?

There’s talk of being there in the fall. We’ll keep you posted! 

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

Aaron is going to train for a boxing match. (This isn’t a joke). I want to push myself to keep writing more ambitious, challenging music.  

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

Playing the Primavera Sound festival in Barcelona was a pretty amazing experience. I vividly remember looking out at the sea of people and wondering if I’ll ever get to do something this cool again. 

What advice would you give to new artists coming through?

Don’t worry if you’re talented enough, or smart enough or good enough. Nobody is. Just honestly express what makes you unique. That’s what people connect with and remember: that it’s your flaws that make you interesting. 

Do you get much time to chill away from music? How do you unwind as a band?

We’re all in our thirties and have adult lives that we have to balance. 

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).

Range Life – Pavement

Baby Bitch – Ween

Farrar, Straus and Giroux (Sea of Tears) - Destroyer

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Follow Bad Pop

Official:

https://www.badpopband.com/

Facebook:

https://www.facebook.com/badpopband/

Twitter:

https://twitter.com/badpopband

Instagram:

https://www.instagram.com/badpopband/

SoundCloud:

https://soundcloud.com/badpopband

INTERVIEW: Kira May

INTERVIEW:

 PHOTO CREDIT: Adnan Khan 

Kira May

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IT is always exciting discovering colourful…

and vibrant songwriters whose stories and personalities capture the heart. Kira May, certainly, is one of those artists who warrant massive acclaim! She talks to me about the video for her new single, Muscle Memory, and whether this will lead to more material; how she has developed and changed since her debut E.P., Health (2014). I ask about her influences and what the scene is like in Toronto – and why it is so thriving in that part of the world.

She lets me into her future plans and whether a tour of the U.K. is a possibility; the experience of working with Allison Johnston on her latest video; albums that have affected her hard – if there is a fond musical memory that lodges in Kira May’s mind.

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

Hello! It’s been busy, but exciting.

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

I am an experimental Pop artist from Toronto who works predominantly with voice. Using my voice, I make loops; pads, textures and samples to compose and perform my songs.

Muscle Memory is your new single. Can you tell me the story behind the song and the video?

Muscle Memory is about storing overwhelming experiences in your body and unconsciously developing behavioural patterns that are intended to keep you safe. But, as you grow older and further away from the original event; those defences can sometimes cease to serve their original purpose and become misguided, even harmful - keeping you stuck in the past and preventing you from engaging with the present. This song looks, specifically, at this phenomenon within personal relationships.

What was it like working with director Allison Johnston on the video? Did she bring a new angle to the song, would you say?

Allison Johnston is THE BEST.

I explained what the song meant to me and said something like: “I want to be covered in colour” - and she brought that idea to life. We had many brainstorming sessions with Roxanne Ignatius (Artistic Director) and Megan Fraser (Makeup/Hair/FX Artist) to test all of our weird ideas - and the concept kept getting better and better. Allison captured an angelic and, simultaneously, bizarre version of me.

Will there be more music down the line do you think? What are you working on?

Muscle Memory is the lead single from a full-length album called Sense. The album will be out in the spring. Sense is a collection of ten songs that explore panic and depression – and it follows the narrator’s journey (to try and) transcend these things.

Your debut E.P., Health, was released in 2014. You stepped back from music after that. Was it a hard time coming back to music after taking time out?!

I was making music the whole time but I was slow to do anything with it because I was afraid to. I was afraid to record it; I was afraid to ask musicians to play with me…the whole process was a slow and gigantic struggle...in spite of being surrounded by amazing and supportive people.

I had to deal with my personal issues before I had the wherewithal to work on any of this properly. But, now, I feel ready and excited to release Sense - and I already have a follow-up album written and demoed…

How did you get started in the industry? Were there particular artists that inspired you to take up music?

I have been singing since I could talk - but I’ve also had a phobia of singing in front of people since the earliest days of my conscious life. I discovered what music meant to me in the late-1990s when I fell in love with, basically, every Canadian Alternative-Rock band. Then, when I was in high-school, I heard Björk for the first time - and my whole life blew apart. But; I didn’t have the courage to play a tiny set in front of people until 2011.    

Toronto is a thriving area for new music! What is it about the city that compels such fantastic artists?!

I think that there are a lot of amazing artists in Canada, but it so happens that most of the opportunities for them are in the bigger cities like Toronto and Montreal and, so, musicians from all over the country flock to these epicentres.

 IN THIS IMAGE: The artwork for Petra Glynt's single, Up to the People

Who are the new artists you recommend we check out?

It’s hard to narrow this down!

I’m a huge fan of Toronto’s Omhouse and Petra Glynt (now based in Montreal) - both of whom released albums recently. There’s Indie-Jazz artist, Tara Kannangara - who is about to put out some top-notch new music.

Delta Will is putting out new music this year...and there’s the amazing Witch Prophet.

IN THIS PHOTO: Tara Kannangara

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

Also very hard…but I’ll try:

Björk - Homogenic

This album continually teaches me to let go of fear.

Matthew Good Band - Beautiful Midnight

This was my coming-of-age record! I’ve listened to this maybe more than any other record. It’s incredibly nostalgic!

Kanye West - My Beautiful Dark Twisted Fantasy

This album changed the way I think about sound-making and storytelling.

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

No confirmed dates, yet - but I will definitely be supporting the record when it comes out in the spring.

Do you think you’ll ever come to the U.K. and play?

I would love to come to the U.K. to play! No plans yet…but it’s definitely on my mind!

PHOTO CREDIT: Olga Lipnitski

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

I want to write music with new collaborators and expand my abilities as a songwriter. I want to continue to develop courage and fearlessness; particularly in the realm of creativity. I want to learn more about the First Nations, Métis and Inuit communities in Canada - and pay close attention to Truth and Reconciliation efforts. I want to speak out when I see something unjust.

I want to be kind...

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

I have a particular fan who is in touch with me from time to time to tell me how good my music makes him feel - and how excited he is for new work. I think about him on those really rough days when it’s so important to know that there’s a stranger out there who really cares about what you’re doing.

What advice would you give to new artists coming through?

My best advice would be to follow your gut, your intuition. Make the work that feels important and natural to you. Be yourself! Authenticity, sincerity; honesty and courage are the things I find the most moving in art.

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 choose Higher Ground by Missy Elliott (back in 2001). THOSE VOICES.

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Follow Kira May

Official:

http://www.kiramay.com/

Facebook:

https://www.facebook.com/kiramayhem/

Twitter:

https://twitter.com/KiraMayhem

YouTube:

https://www.youtube.com/channel/UCc_Sw_YFxm1NRmpqJaeoGAQ

SoundCloud:

https://soundcloud.com/kiramayhem

BandCamp:

https://kiramay.bandcamp.com/

INTERVIEW: President Street

INTERVIEW:

President Street

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I was given the chance to speak with Pete…

from the Australian band, President Street. He talks to me about the new single, Yeah I Know, and how the band got together. I was eager to discover whether there was more material planned and whether the band favoured a D.I.Y. approach to music-making – and what sounds/artists they count as influences.

Pete explains what gigs are coming up and new artists to get hot about; what we can expect from the forthcoming E.P., Involuntary Actions; what they all hope to accomplish this year; some helpful advice for new artists – whether a U.K. jaunt is part of President Street’s plans.

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

Hey! It’s been great, thanks!

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

Hey. I’m Pete from President Street. We’re an Aussie outfit. We recently released our debut E.P., Involuntary Actions, which we’re very humbled to say got some nice traction in the U.S. college radio scene - and, so, we’re now getting ready to let you peeps in the U.K. have a listen.

Yeah I Know is out on 6th April. Can you tell me about its origins and background?

Yeah I Know is a song about betrayal. Funny enough, I wrote this song at a time when I was hanging out with a couple of film-writer buddies of mine - and I was quite intrigued by the three-act structure that they typically use for their scripts. So, I tried to incorporate that idea into Yeah I Know by capturing the three stages of betrayal: suspicion being the first act, then moving into that quiet stage of acceptance in the second act…before changing into anger for the final act.

(Of course, we need to keep the construct of verses, chorus etc.).

I tried to capture the different emotions by focusing on different sounds in the three acts. In the first act, the focus is on the Mellotron choirs; then we strip the music back for that moment of acceptance before the energy picks up and we let the guitars get a bit dirty and angry in the final act.

It is the first track to be taken from the E.P., Involuntary Actions. What sort of stories and ideas will one find from that E.P.?

We explore a few different ideas in the E.P., both in terms of sound and stories - but, I suppose the key theme is that I’m trying to express emotions through the music. In terms of sounds, we tried to not stay in one lane too much. So, we go from high-tempo/high-energy tracks like I Gotta Move On and Looking for a Sign to the much more raw and emotional vibe of IGK - with Forward Stride sitting somewhere in between.

I Gotta Move on is a song about waking up to the realisation that you’re in a dead-end relationship - and giving yourself the kick you need to finally make the move you know you gotta make.

Forward Stride and Looking for a Sign are both really a bit of self-reflection around the internal struggles that most songwriters/musos go through. Forward Stride is a song I wrote in a late-night moment of self-doubt. As I was moping about, I realised I had one of two options: either give up or get up and move forward. So, I got up and went into the studio and came out at about 4 A.M. with Forward Stride. Looking for a Sign is a song (about the realisation) of being an artist in the world of social media and pop culture - and asks the question about what success looks like.

IGK is about the insecurity of new love - and that feeling of uncertainty about whether it’s reciprocated.

That will be released here on 13th April. It has been getting love in the States and picking up traction. Is it quite humbling, knowing it captures so many people?!

Oh my, god Yes! We were so stoked to get the traction that we did for that E.P. - especially given that it went out over there with no support and it was all about whether people connected with it or not.

Yeah, we’re really humbled.

Do President Street take a D.I.Y./self-made approach to music? Do you feel it’s important to retain your own style and voice?

Yes, absolutely. We’re fully-independent and full-D.I.Y. We really feel that’s important for us to be able to keep the focus on what we think is important: songwriting and musicianship.

Of course, that has its challenges - but we think it’s definitely worth it.

You are based in Australia. How does the music scene differ to the U.K.’s sounds? Is there quite an active scene where you are?

We have a really great grassroots music scene in the inner cities over here - and that tends to drive a lot of the sound coming out of Oz. So, I think there’s probably less of a ‘produced’ element to much of the music coming out of Oz (versus the U.K.).

But; it’s hard to say, though; as sounds and trends in music travel around the world super-fast nowadays.

How did you guys all get together? Do you all share the same tastes?

It was pretty random. It’s a combination of intros from friends - and also finding each other through ads and the Internet. So, we’re really diverse actually and we’ve definitely got a variety of musical influences and tastes between us.

IN THIS PHOTO: Jakubi

Who are the new artists you recommend we check out?

I definitely recommend Jakubi - and I also love what The Preatures are doing.

IN THIS PHOTO: The Preatures

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

It’s an oldie…but it’s Sign o’ the Times by Prince. I love the diversity of what he does on that record and the variety of sounds. Plus, that ‘I don’t give a ----' attitude of his comes through strong, I reckon!

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

We’re hoping to do some gigs in the U.K. the second-half of 2018.

Is the U.K. going to be part of your future plans? Do you play over here quite a lot?

We definitely hope so! We haven’t been over yet - but watch this space.

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

I’m really excited about the new tracks we have ready to come out in 2018 - and that is a real focus for us. We are definitely hoping to connect with people through our music and getting over to the U.K. to do some shows in the second-half of the year is high on our list, for sure.

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

Definitely. It would be the first time hearing Yeah I Know being played on the radio. That is something that you dream of and it didn’t disappoint. It was mid-morning on a Monday - but what a great Monday morning it was!

What advice would you give to new artists coming through?

Honestly: most of the clichés exist for a reason. I think having the strength to walk your own path and not try to replicate is crucial - but a bloody difficult thing to do. Also, it’s a D.I.Y. world out there, so you gotta get across a lot of different things these days – and writing music is just one of them!

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).

Nobody Better by Jakubi would be awesome. Thanks!

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Follow President Street

Official:

http://www.presidentstreetmusic.com/

Facebook:

https://www.facebook.com/presidentstreetofficial/

Twitter:

https://twitter.com/presidentstreet

Instagram:

https://www.instagram.com/president_street/

Spotify:

https://open.spotify.com/artist/5IseRP62H6LXfij5gOqopL

YouTube:

https://www.youtube.com/channel/UCHxwrxuYEA4NfITlFV0JswA

INTERVIEW: After London

INTERVIEW:

After London

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A lot of new bands are coming through…

and London is hosting a fair few of them! It is hard deciding which acts are worth a shout – those that will fade out of the mind and not return. There is no doubt After London are in the first category (emphatically): a stunning and fascinating young band that is already getting people talking. I ask them about their eponymous E.P. and the songs, they feel, are highlights.

The band look ahead to gigs and plans; they tell me about their influences and new artists worth a poke; how things got started for them and how their E.P. launch gig – at Hoxton Square Bar & Kitchen – went; how important London and its people are to them – and whether they each have a treasured memory from their time in music.

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

Frank: We are good, thank you! It’s been busy. Last Wednesday, we had our E.P. launch party at Hoxton Square Bar & Kitchen and, tomorrow, we go back into the studio to add the finishing touches to our next single...

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

Of course...hello! We are After London…and it’s nice to meet you (smiles). We’re a Rock band - and you can usually find us performing at one of the city’s live music venue. Come and see us.

Your E.P., After London, is out. What has the reaction been like to it? How did the launch go at Hoxton Square Bar & Kitchen (7th February)?

Jake: Seeing our fans sing and jam to the songs that we have been preparing for so long made the process so worthwhile.

Frank: Yeah, it’s been great. It’s just nice to have a set of songs out there available for people to listen to. We had a great turnout at our launch party and it felt really good to finally play our full E.P. live to an audience. Hoxton Square Bar & Kitchen is a wicked venue to play. Such a gem!

Is there a standout track on the E.P. for you? Which song means the most to you individually – or is there a band consensus?

I, personally, really like Bitter Man. It’s quite a big and powerful song, which I like.

Will: Agree. Bitter Man makes me wanna drive fast.

Jake: I’m a big old Dreams fan, personally: air-drummin’-guaranteed.

What were the main themes and ideas that inspired the E.P.’s songs?

Frank: These four tracks are pretty much the first songs we properly wrote together as a band.

Will: There are darker, heavier parts which were a tonne of fun to write – stuff you can break out to. There is also pretty, delicate and intricate part, too. It’s a diverse palette (like life!).

How did After London get together? Did you all know one another before the band formed?

Frank: It feels like we’ve known each other forever. That’s sort of the truth for me, Byron and Will as we’re actually family - but Will met Alex at uni. We started writing and playing as a Folk band but then slowly realised we were writing heavier Rock songs.

Then in came Jake who instantly filled the missing hole in our heart…and here we are, talking with you!

Jake: After searching for a band that satisfied me, musically as well as emotionally; I couldn’t have got any luckier than meeting these weirdos.

It seems like a busy time for you guys. Are you already working on new material – or gigging the E.P. as much as possible?

Will: We’re going pretty hard at it! We’re in the studio this week putting the finishing touches to our next single and, for sure, we’ll be following up the E.P. launch show with a gig at The Finsbury on 24th Feb. Come!

Your sound is fresh - but I am interesting learning your influences. Which artists have impacted you all?

Jake: We draw our inspirations from all over the place; venturing into as many genres as possible helps us really hone into our own sound. We draw influence from similar-sounding bands like Wolf Alice - but we have plenty of love for Fleetwood Mac!

How important is London itself to your music and development? Do the people inspire the music at all?

Frank: For us three; we grew up in a small town in Hampshire. There was never really that much to do - which was probably a good thing, as we ended up playing music or some of us were in bands and putting nights on. What’s wicked about London is that there is so much going on. There’s so much opportunity to be creative...which is pretty nice.

Jake: I was born and raised in London so it has definitely had an influence on my music. I think that’s because London is one of the most diverse places on Earth. I end up putting a bit of everything in there.

Alex: I’m from the sticks, too but, since moving to London, I can’t get enough of how much this amazing city has to offer - it’s like nowhere else.

IN THIS PHOTO: Dream Wife

Who are the new artists you recommend we check out?

Frank: Dream Wife! Haha. I think I may be their number-one fan, but I really love them. Hey Heartbreaker is such a tune. 

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

Frank: Whaaat…there are way too many...

As a band-favourite-album, I think, probably Rumours – Fleetwood Mac. It’s an all-round, eleven-song banger.

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

We’re playing The Finsbury on 24th February. I love this venue as it’s always a guaranteed good night out. More details for live shows to follow (smiles).

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

Our first U.K. tour!

Jake: Headline Reading/Leeds…

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

We once spent a solid thirty minutes writing a song dedicated to Squashies. We couldn’t stop. Best song we ever wrote.

Frank: Aha, yes! We were going through an experimental stage...

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).

Seeing as we’re close to Valentine’s Day; I’ll go for Wolf Alice – Don’t Delete the Kisses

Either that or Dream Wife – Hey Heartbreaker

Jake: Bernadette Carroll – Laughing on the Outside (I can’t get this bloody song out of my head – put on blog at own risk)

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Follow After London

Official:

http://afterlondonofficial.com/

Facebook:

https://www.facebook.com/afterlondonmusic

Twitter:

https://twitter.com/after_london

Instagram:

https://www.instagram.com/afterlondonmusic/

SoundCloud:

https://soundcloud.com/afterlondon

Spotify:

https://open.spotify.com/album/02WqwHMUnuG8zEt8SJTH9e

PHOTO/IMAGE CREDITS:

LIVE PHOTOS:

 Chris Patmore 

ALL OTHER PHOTOS:

Nour Hassaine 

E.P. COVER:

Aisling Porceddu

INTERVIEW: Louis Antoniou

INTERVIEW:

Louis Antoniou

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THE music industry promises a lot of potential…

but how many artists deliver something original and captivating?! For that matter; how many artists shine and showcase a unique personality?! I have been talking with a genuine original: Louis Antoniou discusses his music career and the details behind his new single, You Ain’t the Girl. I ask about his influences and whether we can see him tour; which albums have made a big impression on him – and some new artists we should investigate.

The songwriter discusses his memories of last year and how You Ain’t the Girl differs from his previous song, Bad Apple. I ask whether he has any ambitions for 2018 and whether he grew up in a musical household – and whether humour/wit is an essential part of his musical chemistry.

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

My week’s been good. Thank you, kind sir. Been busy getting everything ready for the release; band practice etc.

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

I’m a 1960s-inspired, Alternative-Rock singer-songwriter. I’m merging the classic old sounds with the new Indie songwriting styles that I love.

You Ain’t the Girl is the new single. What can you tell me about its origins and story?

At the time, a couple of years ago, I was listening to a lot of Chuck Berry. A massive component of his style is that his lyrics tell a story, very much like Dylan - who also found inspiration from him very early on in his teenage years. You Ain’t the Girl is fiction, I think: there are elements of truth mixed in, I suppose. Although, when I perform the track or think about it; I have a clear image in my head of everything that’s mentioned, lyrically: I can feel the sticky dance-floor beneath my feet.

Perhaps it is a true story…

The lyrics are tongue-in-cheek and have already connected with fans! Do you think humour and honesty are important when it comes to music – and resonating with the audiences?

I’m always determined to get my personality, thoughts and feelings across in songs. Some people just wanna sing the cliché, manufacture Pop stuff...which is fine: there is a place for that, as we know. I feel like part of Amy Winehouse’s charm, and a reason why people, girls in particular, connected with her songs was that she sang about real-life experiences and got her feelings about these heartbreaks across - bluntly and with a bit of London sass about it. I guess I’m trying to the same and I deem it important for me, personally…and to further connect with fans.

How does it differ from Bad Apple, your debut track, in terms of scope and sound? Do you think you have progressed since that song?

They were both written roughly around the same time - but You Ain’t the Girl was very fresh and was not ready to be recorded. This track is more melodic - which lends itself to the storytelling style, I think.

Bad Apple was harder-hitting, ‘say-it-how-it-is’ kind of vibe. I think they both complement each other, side by side.

You Ain’t the Girl was one of five singles recorded at The Crypt Studios. Will those sessions manifest into an E.P.? What material do you have coming up?

I thought about doing an E.P. for these five singles, but there’s one track in particular called Masters of Distraction which doesn’t tie in with the other four tunes. (I like an E.P. to have a constant theme that flows throughout). That one track is a twisted, satirical outlook of the future - something else I like to write about. I have other songs ready to record which focus more on this type of song structure I plan on doing for the E.P. for. For the other four tracks I recently recorded; I was going to do an E.P. called 4 Love Songs Later - but didn’t want Gary Barlow calling me up giving me jip.

Do you remember how you got into music - and the artists that compelled you at a young age?

Growing up, it was The Beatles and The Rolling Stones. This probably sounds boring to most but this snowballed into other artists, and inspirations for my music today, like The Doors and Led Zeppelin. I would sit with my mates in the park at sixteen and we’d play Back Door Man through some shoddy speakers and I would take it all in. Discovering these bands led to me experiencing a heavy Blues phase; adoring artists like John Lee Hooker and Howlin’ Wolf. I like to think, with my love for current Indie/Alt. music too, that I have a cacophony of influences in my music. I like to take little bits of inspiration from all over the shop.

I know where it comes from and what it means to me but it might not be obvious to everyone else.

Did you grow up in quite an eclectic musical household?

Upon reflection, yeah, I suppose I did. My dad loved Jazz-Funk and my mum, still to this day, obsesses over E.L.O.

I take it all in.

Last year was a busy one in terms of gigs and events. What are your highlights from 2017?

I think the boys and I enjoyed playing Y Not Festival for a number of reasons. We survived the mud - which was one thing. Funnily, the first and last gigs of 2017 still stick out to me. We played The Cavendish Arms back in Feb, our first real show as a four-piece, which we smashed. We were unbelievably tight. Then, fast-forward to November when we played The Camden Assembly and you can see the growth, the confidence and camaraderie develop over the year.

IN THIS PHOTO: Mono Club/PHOTO CREDIT: Ben Davies

Who are the new artists you recommend we check out?

I’m big on Mono Club and Shame.

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

You mean the most-interesting?!

Whatever People Say I Am, That’s What I’m Not (Arctic Monkeys) sticks out for me. Probably because that was the first real set of songs I learnt to play on the guitar.

Right now; Father John Misty’s Pure Comedy really resonates with me as an aspiring singer-songwriter. An album mocking the current political system in America: highlighting the need for a race of people needing entertainment…and being praised as one of the albums of 2017. What a legend.

I’m also big on Bob Dylan - so Highway 61 Revisited would feature in my top-three.

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

Don’t eat yellow snow.

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

I’m playing Fiddlers Elbow (Camden) in March, and then, Zigfrid Von Underbelly - a hell of a name - in April.

How important is the stage when it comes to bringing your music to life?

I’ve always been regarded as a live artist, rather than a studio artist. Of course, that’s about to change (with me) releasing five singles, but I think that statement in itself justifies how important the stage is for me. I like to make the live shows unique. I have big plans for future gigs, too. Every show I’ve performed differs from the last. It may be the same songs sure but fans know I provoke different emotions every time I perform them. Perhaps I'll jump into the crowd for one song; sometimes I perform a song acoustically. The stage and set-lists are vital for me regards portraying the artist I am.

That’s something I’ve learnt from Dylan...

2018 is here. What do you have planned in terms of personal goals and ambitions?

I really want to play a church gig. Correct me if I’m wrong, but I can’t recall a modern-day Rock outfit playing one of the church venues, tearing up the stage. I also have a series of poems I’m desperate to self-publish; focusing on the seven deadly sins in the modern-day world. I think I might do a Kickstarter campaign.

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

Any…?

Let’s go for this heartfelt number: Melody Gardot - Baby I’m a Fool

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Follow Louis Antoniou

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ALL PHOTOS:

Paul Hammond

FEATURE: A Girl Called Kate: The One Word That Started It All…

FEATURE:

A Girl Called Kate

ALL PHOTOS (unless credited otherwise): Unsplash 

The One Word That Started It All…

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THIS will be a short(ish) one…

but is an article that takes me back to the creation of this blog. I cannot name the ‘Kate’ in question – in case, on the off-chance, she is reading! We fell apart, more or less, a couple of years ago today – or it might have been a few! (It was definitely in February, I know that). Regardless...a few points need to be explained. The first is that, until that point, we were getting on really well - and were often in communication with one another. There was a silly miscommunication that, essentially, destroyed a years-long bond and understanding that was, to me, very important. Another thing to add: we never met in the years we knew one another. At the beginning – which I shall get to – she was working in a Mayfair office and was riding the Tube when I emailed her back in 2011. I was impressed by her blog – I probably shouldn’t name it; lest people snoop – but there was a feature that got me interested and struck my heart…and, in a way, led to me forming a blog. Nowadays; she lives down near the New Forest and runs a business with her boyfriend. She has transitioned from acting – she was auditioning and performing smaller roles – and is now settled in a different part of her life. I am not sure whether she still has that spark and desire for acting: I suspect she is too busy with her business and thinking about settling down.

She is a few years younger than me and, when I contacted her back in 2011; I felt like there was a like-minded soul out there who ‘got me’ – despite the fact she had no idea who I was. Before a series of emails and chats; I contacted Kate to tell her how I loved her blog and why this one piece, that investigated the power of music and how it got her through a breakup, resonated with me. On the back of that one piece of writing; I started my own blog and tried to reason why music came into my life – and what it means to me. I was compelled to email Kate and explain to her why her words struck my mind and I thought, after that, this would be it. She was on the Tube and said she would email me back, fully, later. After that; we exchanged emails and built up an (ersatz) friendship that revolved around music and what it meant to us. It was a great time and, although I never got to see her; I remember that time fondly and connecting with a very special person. The fact things broke down so rapidly still affects me but, I know, there is nothing I can do to salvage things. We have both moved on and she is different from the woman I connected with years ago – although, there is that spirit and core that has inspired everything I have done since.   

PHOTO CREDIT: Getty Images

In the piece I read of hers, there was a word she underlined: focus. Through all her turmoil and breakup, there was that clarity and need to keep going through it all. She was heartbroken and, listening to Noah and the Whale’s Blue Skies (from their album, The First Days of Spring); was simultaneously reminded of her relationship and given me the power to work things out - and take comfort in the music. Such a stirring song provided her guidance and, thinking about it now, I am transported back to those evocative email exchanges and someone being so honest and open with somebody they had never met. In truth, I miss her dearly which should not really be the case seeing as we have not contacted one another for such a long time. I think it was the things we had in common and the way music connected us both that left such an imprint. That one post – and the need to ‘focus’ – made me re-evaluate where I was at the time (where I am not: in a sh*t job where I do not want to be) and looking to make something of life. I think I am much further along than I was back in 2011. In some ways, I am rooted – not that much further in terms of living situation and happiness – but my work has started, developed and hit heights.

That single interaction (that started the friendship) opened my eyes and forged me with somebody I wanted to know more about and discover what made her tick. Before long; I understood why she loved Noah and the Whale and what significance they held. The same goes for The National and Arcade Fire. Not only did Kate’s great taste in music impact me but the ambitions she held and how she managed to overcome hurdles and hurt. It is debatable whether I would have a blog were it not for her but, rather than talk about those emails and my ‘friendship’ with Kate; I thought it best to pass on the lessons I have learned and why writing a blog has brought me so much pleasure. I never met Kate but got to know a lot about her family and ambitions. At times; I was a confidante and someone she would share secrets with. Through all the emails and words we shared; it was that one that stuck in the mind: the need to focus and find clarity in bad situations. My response that to what word was to set a blog up and channel frustrations and curiosities. I had never really thought about focus and why I needed to. That sounds strange but, reading a brave woman show fortitude after being let down made me decipher what was important in life and what I wanted to achieve.

Within weeks; I was planning my blog and writing those first pieces for Music Musings and Such. That was over six years ago now and, since then, I have made great connections and grown more confident as a writer. I guess this is a florid and roundabout way of suggesting why people should write and start a blog. We often feel, in this day and age, sociability is becoming a less tangible and human thing. We spend so much time on computers and do not get out there as often as possible. As much as I abide by the notion we need to spend less time on social media: if I had not made that connection years ago; I would not be writing this and, as a result, would have missed out on all the music, people and moments. Maybe I would have taken a different approach to life and ‘settled’ – that sounds positively awful and boring. I am thankful I took a chance and got in touch with a human I felt close to on the strength of a single post in a blog. The fact she responded and we enjoyed a few years of communication means a lot to me. If I were to go back and do what I did before we lost touch then, yes, I would do it again – I was in the right and felt aggrieved I was shut away.

I have no bitterness and regrets about the time and, actually, feel it was one of the most important and transformative experiences of my adult life. My blog has been going for over six years and I hope to keep it going for a few more years yet. Anyone who is unsure how to foster a love of music or communicate something they cannot say in real life; hopefully they will take heart from my story and how I came to write. If I overlooked this blog and did not contact a stranger to tell her how much her words meant to me then I would not have got the response and, after that, embarked on a friendship with someone I grew quite close to. Her relationship with music – and how it helped get her through hard times – stays with me now and is in the back of my mind when I need guidance and that voice that tells me I am doing the right thing. I look back and how far I have come: I am looking forward and asking myself what I can achieve and where I can go from here. Something big, productive and special stemmed from a tiny, accidental acorn that arrived one day when, in truth, I was looking for a distraction. That happy discovery set me on a course that has changed who I am and made me think bigger and bolder. It can happen for everyone out there – anyone who needs a kick and a new adventure. It is hard to believe it all began with a blog post, a Noah and the Whale song and…

A girl called Kate.

FEATURE: Monday’s Child: The Motivation Playlist

FEATURE:

 

Monday’s Child

 ALL PHOTOS: Unsplash

The Motivation Playlist

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I am unsure whether I will put another piece out today…

but I am keen, soon, to explore the way musicals have changed and whether there should be more music-based musicals – those that look at the story and history of a particular band/artist. I also want to put out another piece that addresses the value of music and whether a lack of money going into the industry will affect it in the long-term. There will be interviews and other assortments but, prior to another depressing week at work; we all need a little boost and pep before throwing ourselves back into things. I have looked around for some pumping, blood-heating songs that will get the soul relaxed - and keep the mood lifted at the very least! Without further ado...a collection of songs that will retain the best of the weekend and hold back suggestions of Monday as much…

AS conceivably possible.

FEATURE: ‘Unlike’: Will the Decline in Facebook’s Popularity Affect Musicians?

FEATURE:

 

‘Unlike’

 ILLUSTRATION CREDIT: Jake Rowland/WIRED

Will the Decline in Facebook’s Popularity Affect Musicians?

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THERE are all kinds of problems brewing…

ALL PHOTOS: Unsplash

at Facebook H.Q. right now. The main image is from a New York City-based artist, Jake Rowland – it appeared on the cover of WIRED and, aside from the fact I am unsure whether I can use the illustration in my piece (always hard to tell...); it reveals a very glaring portrait of Mark Zuckerberg. The website/social media platform has been around since 2004 so one can forgive a decline after a near-fourteen-year regency. Twitter has been accused of losing focus and not evolving since its inception. A BBC article raised eight arguments to state why Facebook is in decline. The amount of users has gone down slightly – dropped to 184 million users – but it seems like a drop in the ocean. Many users, myself included, are fed up with the changes and tweaks that are not enhancing the user experience and creating any development. The news feed ‘prioritises’ important news and pieces – often stupid statuses and banal videos – so people have to switch to see most-recent news. I wonder who actually wants to see the ‘most-important’ news above a conventional timeline. It is irksome having to change and get things chronologically – rather than what Facebook deems to be the best and most-relevant news! That drop in figures – down from 185 million – might seem expected but, for a site that invests so much and holds such power…should it be levelling out at all?!

The more people that come into the world; the more social media users available, no?! Twitter is not really exploding so you have to wonder whether people are coming off social media altogether. Factors such as ‘fake news’ call into question the ethics-driven approach of Facebook. The site prides itself on openness and transparency: not wanting to promote falsehoods and those who seek to spread hate. There have been controversies and accusations leaders in Russia and the U.S. use Facebook to perpetuate their questionable ideals; extremist videos and graphic content has slipped through the net – disturbing content and sexual content has also got through. There are concerns over cyberbullying and privacy; how safe our details are and whether, in fact, we need to spend so much time on sites like Facebook. Not only have executives spoken out against Facebook – and the culture employed – but one wonders, as the Internet population explodes – can sites like Facebook control that influx and adequately safeguard privacy and their users?! You have to ask whether this kind of scenario was conceived back in 2004. I imagine Zuckerberg and his staff and doing the best they can but, right now, it seems like a mansion coming under fire from a crusade of fighter jets. Facebook is influential and one of the most-important websites in history: the fact it has peaked, by the looks, makes one wonder whether there will be a decline coming.

Business owners like Mark Zuckerberg have to look at money and ways of funding their ventures. That means, more and more, advertising takes a bigger role. People’s lives and data are being seen/used and we are bombarded by adverts – part of a marketing machine rather than a social network. Bringing it to music and how it affects artists; the argument comes down to two factors: whether people are spending less time on Facebook and whether the site is equipped to deal with the needs of musicians and the complexities of the industry. I have always argued Twitter is more versatile and useful for the artist/creative. It is easier to connect with well-known figures and hook up with people. You do not need to send requests and wait for permission: you can follow someone right away and tag them into posts.  Retweeting means posts can go out super-quick and it is a far less complex layout (compared to Facebook). I am less harassed by adverts and there are fewer needless functions and areas of the site – like events and apps; marketplace and all the other, needless tinsel. I will look at Twitter soon but I am concerned musicians are struggling to compete and succeed on Facebook. They rely on social media more than any other industry. Whilst many can get the word out and build hype without spending time on social media: most share their music that way and find it easier to get fans and followers their way.

It is great having a site like Facebook where you can share news and information with friends without much of a struggle. Perhaps Facebook is better aimed at normal people rather than musicians. That raises another concern: are artists being ignored and do the top bods at Facebook realise how important social media is to musicians?! The fact the site is not as broad as Twitter – in terms of the people you can connect with and how quickly you get information to more people – is a natural limitation for an artist. I worry whether the rise in fake news and the vulnerability we feel is making them less intrepid and more worried. I wonder how my posts are being viewed and how far they are going. Facebook is limited in regards its scope but it has not really progressed and evolved in terms of functionality and reach. There are fears the Chinese-speaking world could create a rival site or something that reaches more of the world. The data/information-obsessed nature of the world means it is harder to police those who view what we put online. Threats to democracy and personal privacy are putting people off using the platform. Musicians are in the same boat: they have material out there and share their details with fans/friends. A lack of trust and disinformation means many advertisers are retreating and losing faith in Facebook!

For musicians, as opposed average users; they utilise advertising more and often use Facebook to advertise their own music – collaborating with brands and raising finance cohabiting with marketing companies. The BBC article raised an interesting point I had not considered:

“The new superpowers in the world of business are a new kind of media-technology giant who monetise personal data. And with the evolution of the data economy comes the evolution of data regulation. GDPR, the European Union's incoming data protection regulation, is due to come into force on 25 May and will have a massive impact on companies such as Facebook, who could face huge fines for breaches. Facebook COO Sheryl Sandberg has said the company has already adjusted privacy settings in anticipation. At its recent earnings call, Facebook specifically warned that GDPR could be an impediment to future growth”.

There are worries surrounding tighter regulations and fines. Will these fears and protectionist impositions mean Facebook scale-back the site or compromise users in another way? My biggest concern surrounds every point I have already raised: how the cumulative effect will cause detriment and damage to musicians’ prosperity and success. Users are being put off by adverts and the way their data is handled; whether there is any substance in social media – and whether the short-term dopamine burst we get from social media ‘success’ (people liking our work and sharing it) is becoming an unhealthy addiction.

The fewer people subscribing to Facebook and remaining on the site; the fewer people there are to support your work and share it. I feel there is general apathy and fatigue creeping in as well. Maybe we have come to a point where we’re numb and using social media for no good reason – rather than making new connections and broadening our horizons. The main use I have for it (and Twitter) is sharing my posts and trying to build my profile. It is okay for personal interaction but that might be an oxymoron: we are not actually interacting or connecting in a human, real way. The competition from Twitter means musicians and creative sorts and spending more time here. If Facebook made it easier to follow successful bands/artists and those you want to connect with; maybe that would keep people in and provide a more attractive option. Twitter is more user-friendly because there are fewer distractions and it seems a lot wider-reaching. The rise in anxiety and isolation is alarming and evident. Rather than blame Facebook and point fingers at its faults; should we be looking at social media in general and weeing people off? It is hard to say that to musicians: the competitive nature of the business means social media is a very important part of their everyday life. It is impossible to detach from these sites - careers will suffer – but Facebook could offer a bespoke look for artists/creatives – something that could take away the bad points and mean users’ time was spent more effectively. Everyone needs to feel they are safe and their data is not being shared improperly; they want to feel secure and understood; they want to feel the information they are seeing is factual and true.

It might seem an extreme measure creating a separate site for musicians but, as social media becomes an important part of the mechanism – and less important for regular users – adapting the way it operates and looks might be a preventive measure. I am worried musicians are losing trust in Facebook and not really seeing ‘value for money’. There are some great articles that offer suggestions and tips for musicians looking to get the most from Facebook. One interesting point from the author, Leah McHenry, suggested way musicians could better spend their time on Facebook:

“I will schedule 1-2 posts per day (if that), and make sure that each post is more meaningful, entertaining, inquisitive, or somehow conversation-stimulating to my fans.  Beyond that, I will post spontaneous “mini blog-type” posts, personal thoughts, more text, and photos that I think will resonate with the culture I’m creating around my music.

I also pay attention to the pages I’ve liked in my own news feed, and whenever I find something amusing, thought-provoking, or entertaining, I often will spontaneously post that to my page on the spur of the moment.  I believe this will really work well if you’re posting often, at least every day”.

Devices like Facebook Live are good ways of streaming videos to followers and letting them into your world: should the site be moving in this direction and removing some of the flaws and needless pages people do not really want to see?

I’ll end this piece by asking whether social media, as it stands, needs to be scaled-back and integrated – there are many different sites doing the same thing. Everyone uses social media for different reasons: for artists, there is a personal, business and promotional aspect to their experience. Designing something for them – that does not get them addicted and offers constructive progression – would be a sage move forward. I think Facebook as it is not really winning new fans and voices: at the worst, it is driving people away and revealing its cracks. I know there are great points to Facebook – there are many reasons I will remain with it – but, as more people flood in and fears around security rise; is Facebook equipped to deal with all of that?! It is a hard time for them but one that can be salvaged. It is clear constructive talks need to take place and Mark Zuckerberg needs to face his critics. It is a tough time for any social media business leader right now. There are so many factors that are causing people to rethink the time they spend on the sites: this is detrimental to business and means popularity will wane. It is clear things need to change and we all need to be more aware of how we use social media – and how much of our lives are spent there. Artists use social media to get their music out there and, with competitors like Twitter proving more appealing to many; is the hegemony of Facebook a thing of the past? A few newer inventions (Facebook Live) are steps forward but I wonder, fourteen years after its inception, these minor moves are enough to…

KEEP musicians invested.

FEATURE: Welcome to the Beautiful North: Why Classic and Modern Music from the North Stands Aside from the Pack

FEATURE:

 

Welcome to the Beautiful North

PHOTO CREDIT: Unsplash PHOTO CREDIT: Getty Images

Why Classic and Modern Music from the North Stands Aside from the Pack

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FOR some reason or other…

PHOTO CREDIT: Unsplash 

my mind has been up North; investigating music from the past. I have been flicking through my C.D. collection and reminding myself how good The Beautiful South were – some see them as a ‘guilty pleasure’ in music! I debate the term: can we ever call music, no matter where it originates, as something to be embarrassed about?! The Beautiful South disbanded after the album Superbi due to, quite wonderfully, ‘musical similarities’. The fact, one suspects, they got on well and were doing the same thing over and over meant they went their separate ways – rather than squabble over creative direction and new moves. I miss the guys! Through the years, the band employed three different female singers – Briana Corrigan up until 1992; Jacqui Abbot until 2000; Alison ‘Lady’ Wheeler until the end – and were a rare thing: a male-heavy band that had a female lead; a band, in essence, with three lead voices. I will not go through the entire back catalogue of The Beautiful South – there are other acts I want to bring in – but I miss the witty lyrics of Paul Heaton and the blending of Dave Hemmingway, Heaton and Abbot into that ‘classic’ line-up. The variation and options afforded to the material was great. From the Heaton-led, Abbot/Hemmingway-hummed/sung Dumb (from Quench) to Perfect 10 (ditto) – and that cheeky to-and-fro between Heaton and Abbot – it was an incredible time...

PHOTO CREDIT: Getty Images

There was, of course, debate and conflict in the band. Between the heavy drinking of Heaton (and the entire band, one suspects) to the various fall-outs through the years – the Hull band made a huge impact on music. How many of us, realistically, can claim we ‘lost’ our copy of Carry on Up the Charts?! That essential Beautiful South collection is a perfect soundtrack from the band. All the classics are in there! My favourite song from the band is My Book. It is from their sophomore album, Choke, and perfectly blends Heaton’s lyrics and the inventive, always-epic compositions of Dave Rotheray. With some effective “You are!” backing vocals from Corrigan; it is a brilliantly rushing, exceptional track. Not only is it a fantastic composition and piece: the interplay is tight and the lyrics are original and witty (the Soul II Soul-hinting “Back to bed/back to reality” ending…). That entire album is almost as strong as their debut, Welcome to the Beautiful South. The reason I loved/love the band is that they were not the cool, trendy sort who produced big songs without a message or sign of originality. The band wore raincoats, hung around the boozer and one suspects, as a backstage rider, there would be bags of crisps and bicycle chains on the list!

They were a normal, working-class crew who wanted to bring their mix of sardonic, witty lyrics and eclectic music to the masses. I wonder whether that could ever come from a southern band?! One could argue there have been some interesting, humorous bands from this neck of the woods – none that spring to mind! Humour, intentionally or not, was always part of the band’s mix (Dave Hemmingway’s dancing in the video for You Keep It All In reminds me of an octopus have an enema removed after a heavy night on the booze!). From their 1989 debut to the tenth album in 2006 – the band covered so much ground and won legions of fans. Paul Heaton and Jacqui Abbot record together as a duo - but the days of The Beautiful South are long-gone. Their demise makes me yearn for a band who can produce solid-gold hits that address normal life – albeit it, with a cheeky, and often murderous, twist. One can imagine Heaton penning songs in a pub somewhere in Spain; inspired by various lines and modestly getting the songs into the notebook (the thought of the led writing on a laptop is too much to take!). I am not suggesting all new bands lack humour and the same dynamic as The Beautiful South: the point I am making is they were intrinsically northern and, compared to their southern rivals; they had something extra and wonderful. Other northern bands that got under my skin were Oasis, Pulp and The Smiths. I need not go into the history of The Smiths but, like The Beautiful South; so much wit, intelligence and pathos came from the songs – I often see Heaton as a more popular and likeable version of Morrissey.

PHOTO CREDIT: Getty Images

The legendary Manchester band only released four albums (studio) but, in that short time, managed to lay down their marker and transform the industry. They are a band who exult so much influence in the present time. Morrissey and (Johnny) Marr remain one of music’s strongest songwriting duos – Paul Heaton and Dave Rotheray one of the most successful and underrated. The Smiths departed from the average and formulaic ideas of their peers and brought listeners into the real world! I wonder whether the always-evident economic and social gap between North and South means these bands stood the test of times. Stories of pub romance and council estate dreaming held weight because the authors actually LIVED that life. They resided around people hanging washing on the line and chatting over the wall. That may sound a bit 1960s-Coronation Street but among the gossip and idle chats were roots and honesty. Songwriters living in those communities were affected by the personalities and modest climates. Southern artists, in the 1980s or whenever, had the same struggles and lifestyles but, the wider the gap became; that reflected in the music industry. When the 1990s brought us legends like Pulp and Oasis: the disparity between the Northern realism and Southern escapism cemented. Southern belles like Blur could articulate a way of life one might expect to see in the North: the London/Essex equivalent was not nearly as vibrant, witty and accessible as, say, Oasis’ attempts.

PHOTO CREDIT: Getty Images

The Gallagher brothers shook music up and were, in my view, the last big band to unite the masses and create a genuine fever! The boys are recording solo material but, in the same way, I hanker after The Beautiful South: millions want another chance to see Oasis record and perform. Liam seems keen to get that going: Noel is more reserved and realistic (the arguments and rifts that broke the band up will come back). Pulp, on albums like His ‘n’ Hers (1994), Different Class (1995) and This Is Hardcore (1998) brought their version of intellectualism and social observation to the untrained bodies. It is no coincidence songs like Disco 2000 and Common People are decades-enduring masterpieces: the lyrics speak to people and, with fantastic compositions and choruses, go a lot further than most of the Pop tat being tossed around during that period – many would argue the songs are stronger than most music produced today. Again, like Oasis, The Smiths and The Beautiful South; the honest cocker Jarvis was a master at one-liners and those ripe, perceptive views. I am not sure whether Jarvis Cocker is recording solo material soon but, once more: Pulp are a band we need to see back in music! It might be tied to their Yorkshire backgrounds – although Cocker spent some time in London and the band did not solely stay in the North – but (Pulp’s) music spoke to those who needed direction and understanding; it was vastly different to southern-made music and the mainstream ‘best’. Listen to Different Class and every track sounds urgent, anthemic and essential.

PHOTO CREDIT: Getty Images

One can throw in The Stone Roses and Happy Mondays into the mix. Both bands were packed with type-A personalities and those whose egos stood out-front. The Ian Brown-led Stone Roses crafted two brilliant albums and, like The Smiths, affected millions in a short spirit. The experimentation and colours of Happy Mondays compelled a generation and makes me wonder: where are the modern equivalents?! Many claim music has changed in such a way we can never reclaim that glory and produce bands that have the same aesthetic. Others say there is wit and originality in modern music – it is integrated more finely and responding to market tastes and trends. Adverts push technology and making life as ‘easy’ – simple for idiots and lazy buggers – as possible. Music, in a sense, is adapting to that and using more technology; becoming easier to understand and more impactful. Having a modern-day Pulp or Stone Roses might be impossible! Even now, as music moves on and grows, I am still seeing divides between North and South. Perhaps the wealth and housing gap has started to close but you cannot argue against the fact the wealth and opportunists remain in the South. Great northern newcomers like The Orielles (Yorkshire) and False Advertising (Manchester) show there is the same sort of invention, originality and spirit burning in the North.

IN THIS PHOTO: False Advertising

Bands like Shame and IDLES are talking about the same themes as The Beautiful South and The Smiths – only, they are based in the South and living in a very different world. I love the artists we have now but there are few bands who rival the cheek, honest and humour of those great northern legends. I still think the best innovation and originality comes from the North – Yorkshire and Manchester still leading the charge – but there is that demand for a certain something: ingredients and aspects missing from the modern industry. I listen to a gem from Oasis or Pulp and wonder whether we will see their like again. Arctic Monkeys might be one of the last ‘older’ bands still in operations that mix the wit and humorous side of life with spot-on observations of life and vivid, wonderful characters. I still gravitate, when I require something special and unexpected, towards the North and the artists coming from there. I am not sure whether it is that way of life and the manner in which they approach life – it has that extra kick and burst of life. Some of the best Indie artists of this time are performing in the North - and more eyes and ears should be directed that way.

PHOTO CREDIT: Getty Images

I have every faith we shall see some breakthroughs and returns to the past (when it comes to witty bands who can balance emotions and ideas) but music has shifted a long way from the past. It is not a coincidence, as things get harder and more stressful; I gravitate towards the northern bands that made such an impression on me. There is still that ignorance of the North and the music coming from there. Many overlook Scotland and the brilliant artists who have come from there. We overlook Yorkshire and the brilliance brewing; the strong bands of Greater Manchester and what’s happening around Cheshire and other parts of Northern England. I will leave it there but wanted to throw a message out to the music world and ask whether we can revitalise a brand of music I associate with the North. Throw in more humour and those Paul Heaton-like songs; the anthems of Pulp and The Smiths with the baggy charm of Happy Mondays – the acid of The Stone Roses and some classic-day Arctic Monkeys. There are more people than me who desire that kind of sound: I struggle to find this kind of brilliance and relief in the modern scene. There are brilliant northern artists around but, still, they are being overshadowed in favour of their southern rivals. History has shown what wonders have come from the North: getting out of the London-focused quagmire could open eyes and minds to the fabulous artists, past and present, from…

PHOTO CREDIT: Unsplash 

THE beautiful North.

INTERVIEW: The Skinner Brothers

INTERVIEW:

The Skinner Brothers

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THERE is something rather saucy and sassy…

when approaching The Skinner Brothers. Not only did they skip a few of my questions but they do not have a Twitter account – a folly that can lead artists to trouble! Fortunately, the boys have plenty of quality bang-age and controversy to get people in and leave them hooked. I talk to the band the band’s singer, Zachary, about their new debut single/video, Watchu, and what new material is coming – and what areas of the capital we should watch out for when it comes to new music.

I learn about the band’s influences and what it was like supporting The Libertines; why the Dublin Castle holds some pain memories; how the guys hang away from music – leaving the interview with a right-on Norman Cook-led epic.

______

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

I can, quite truthfully, say that I’ve stayed in a different bed each night this week. So, everything is really, just beautiful…

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

We’ve got Piff Spice on the Bass Guitar, Chino Pola on the Drums; Slade Gabbici on Lead Guitar and me (Zachary Charles Skinner) on Vocals.

Watchu is your debut single. What was the inspiration behind the song?

I used to run a night every week in the Dublin Castle in Camden. It was all fun and games until I got barred for dedicating one of the nights to Charles Manson - I was surprised anyone even knew who he was. He has some really good songs -  check him out...

It is a funky and taut track. Was it quite hard getting it that slick yet deep?

I think it’s all about the bass and the drums: it gets low and it gets high. As long as you can dance to it, everything is sweet.

The video looked like it was pretty cool! Who came up with the idea of the video?

The idea came naturally between us. We wanted something a little like Lock Stock' and that poker episode of Only Fools and Horses mixed together.

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

The B-side to Watchu will be coming out in March - and we have the second single coming out in April.

I believe you supported/toured with The Libertines. That must have been an awesome time! What were they like?!

Touring with The Libertines was a real treat. Growing up in the '00s; we were all big fans of those guys - so it was really nice of them to give us the chance to get up on the big stage!

What sort of sounds did you all grow up listening to?

It varies between members – but, to list a few:

KISS, Red Hot Chili Peppers; The Jam and Frank Sinatra.

Who are the new artists you recommend we check out?

There is some pretty fresh stuff coming out around New Cross and Peckham right now. I recommend a trip down to the 5 Bells Pub because there is always something going on there at the moment.

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

I like London at night - particularly West End/Soho. That area is really beautiful. As long as I’m not bored, everything is great. The way people act in this town seems to be a stimulus for a story or two.

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).

Just one, son: Freak Power - Turn On, Tune In, Cop Out

Thank you

_______

 Follow The Skinner Brothers

Facebook:

https://www.facebook.com/theskinnerbrothers/

Instagram:

https://www.instagram.com/theskinnerbrothers/

YouTube:

https://www.youtube.com/channel/UCIp5TPlRAWLEIyA969K2V3A

PHOTO CREDITS:

Vicky Polak

TRACK REVIEW: Katharsis - Come with Me

TRACK REVIEW:

 

Katharsis

Come with Me

9.3/10

Come with Me is available via:

https://open.spotify.com/track/48TGLIrpw5WxfrSTnS7WQH

GENRES:

Pop; Electro; R&B

ORIGIN:

London, U.K./Karlsruhe, Germany

RELEASE DATE:

16th February, 2018

PRODUCED BY:

Katharsis and Oscar Neidhardt

MIXED AND MASTERED BY:

Tom Hill

_________

I am noticing a few things happening in music…

that I had not picked up on before. I will take a look at Katharsis in a minute but, thinking about her situation and personality; I am compelled to raise a few other points first. Although she is London-based; Katharsis has German blood and, in music, I am seeing more German artists come my way. I want to look at the debut stage and the tools for success; finding new love and how that can influence music and songwriting; playing in London and making the most of the city; providing a new insight into music and revealing bits about one’s personality; fusing sounds together in a new way – where she will head throughout 2018. I want to start with Germany: a nation that keeps coming to mind. Katharsis has done it the other way but, what I find, is that musicians are settling in Germany and making a life for themselves there – Berlin seems to be the most popular place for aspiring creativities. I am not sure what it is about the nation – I have never been there – but I am told there is a way of life that differs from anywhere else. Berlin offers the thrill and variety of London without the expense and crowds. You can live there for less and get about easier – it is attracting a lot of people over there. Other parts of Germany are appealing to musicians but, for the most part, Berlin is the place to go. One would forgive artists for going over there is the U.K. was that bad a place to live in – that is not true so, I think, there is something extra and special in Germany. That might sound like a lazy sentence (grammar got away from me there!) but it is the people and the warmth; the history and the diversity of the music scene. Whether you are moving to Germany or coming from there: there is something innately magical and appealing about the country.

Karlsruhe-native Katharsis has come to the U.K. and is living in London – she takes her German roots and D.N.A. to the capital. I wonder whether Berlin was an option for her along the line or whether, seeing others come to London, there was only ever one choice for her. Not only do we get a great artist in London making music for us: Katharsis provides the new scene here with something special and unique. I will talk more about that but, when seeing her story and listening to the music, I can hear elements of German Electronic fused with Pop/Indie of the U.S. and U.K. It is an intriguing blend which makes me wonder whether we should look more at Germany and why it is so popular. I have been a bit harsh on London, perhaps: there is a reason why so many artists come over here and make music. In the case of Katharsis; she wants the opportunities and venues here; there are great fans and different nationalities living alongside one another - the sheer inspiration and wonder of the city. Whether you view Germany as one of the fastest-rising nations for new music or not – you cannot deny there is something about the country that allures and attracts. Katharsis, and her German peers, think differently to other artists and have a fresh perspective to work. We all know there is that German reputation for efficiency and a hard work ethic: that feeds into the music and the way artists go about things. Katharsis (Freya Volk) has settled in London and fuses the best of Germany and the U.K. into her sounds. One gets stunning and focused sounds together with the freedom and experimentation of London – a swirling blend of genres with the passion of Germany. I wonder whether Katharsis will move back to Germany or spend some time in Berlin. That is not a suggestion or way of getting rid of her: with new music out; she could get some great gigs in Berlin and, when she has seduced there, come back to the U.K. and play here.

Come with Me is the debut of Katharsis. She has recorded other music before – and performed a live session video of the track, Apple Water – but this is the solo outing for her. It is quite nervy and scary having that first song out and trying to get to the people. I get annoyed at some artists because they feel putting out the minimum is okay. It does not matter whether you are on the first single or the tenth: throwing out a few photos and no information is not good enough. You can argue new artists do not have the money and opportunities to have a lot of photos – that is wrong: everyone can take their own photos and get them online – but the modern age means every artist can put up a professional and full social media spread without spending too much money. It is irritating hearing excuses and people shirk responsibility and visibility. If I were a musician; I would hire a photographer to take a dozen snaps or so – different poses or settings – and pay that money out. I have my own website so, apart from that, it is personal information required. That would not take much time so, before I have even released a song; everything would be waiting for listener and journalists. That does not seem too tough, does it?! I would only spend a little bit and, whatever the cost, it would be worth it – you stand out from the crowd and attract the eye. This is not a long-winded and cruel kick at Katharsis: she is one of the few people who understand there need to be images out there and something for her audience. She has a biography out there – would be good to know which musicians inspire her and what she grew up on – and there are some great-quality images. One gets a mix of colour and black-and-white; there are social media links and you can readily hear Come with Me.

I will move on to other things but, before then, I will remain on this point. I know there are a lot of considerations for artists when they put out the debut single. They have to launch themselves to the world like a job interview. All the information needs to be correct; they need to be smart and polite; say the right things and compete with so many other people. There is a lot to take in and understand – getting all of that right can be a real task! You might say the song itself is the most important thing to get right and hone – that would be right! There are other things artists need to consider aside from the material itself. The music industry is as much about the electronic, social media side of things as it is the core sounds. Artists need to launch themselves with as much impact as they can from the very off. Ensuring you have a solid social media outlay and keep your audience informed and updated is vital. I am seeing too many overlook this and struggle to compete with other musicians. Katharsis has been in music for a little bit and spent most of her life around music. It was only natural she would make music herself and choose it as a career. I am excited seeing how far she will go in the industry: this debut cut is a big step and the introduction of a world-class artist. I would understand if Katharsis put out a fantastic song but her social media was a little lacking and slight. She has considered everything and, as she looks ahead, that will only get stronger. Right now, she is in a better position than most of her peers. Maybe that harks back to her German roots and sense of structure – I do not want to go to national stereotypes and owe it all to Germany.

Finding new love and making it work is only easy in theory: the realities of making a relationship work and grow is a lot tougher than you’d think. We have all been in the situation when love has come into life and has affected us in a real way. I am seeing songwriters stray away from love and start to look more into themselves. Modern songwriters are becoming introspective and talking about their personal struggles and thoughts. Although many are moving that way; there are some remaining in more traditional areas and talking about their experiences of love. Katharsis’ Freya Volk, I’m sure, has been in the position where she’s had her heart broken and been screwed around – everyone will have faced this predicament at some point in their life. Rather than put down a rather harsh and suffocated romance onto the page (for the debut); she has penned something hopeful and inspired. I will talk about the song when I get there but, when thinking of Come with Me, there is a hopeful and positive outlook. You get impressions of a young woman who has a wise and practical approach to the music; she has an open heart and knows the listener wants to discover something with a positive bent. I am sure there will be more anxious songs through her career but, right now, she is in a better place. As more songwriters move towards their journal entries – and away from the pages of their diary – there is that pressure, for those who remain in relationship territory, to try something new and evolved. Sticking with the tried-and-tired approach to music means a lot of songwriters are ending their careers early. It is tough to write about something as everyday and broad as love and do so in a fresh and inspiring way.

Again; this sounds like me winding up my boots and waiting to punt Katharsis in the rear. In fact, like before, it is a compliment. She will record a lot more material and address other themes and she progresses: coming in with a song that talks about relations and love is, actually, quite a brave move. Modern Pop and Electro is changing and, because of that, it can be hard gauging what is required and what is ‘fashionable’. Rather than fit into niches and cliques; Katharsis is writing from the heart and mixing something personal and classic. You get something relatable and tangible but, alongside that, a new angle on love. My overall point is Katharsis has managed to produce something that can bring people together and strike the heart. Come with Me makes you think and it challenges the listener to consider their own lives. Even though her love life is personal and complicated; I can listen to her debut song and relate to Katharsis. She manages to project a song that will resonate with everyone who hears it but, after you have finished listening; there is a little mystery and room for interpretation. Few new songwriters can create something that complex yet simple – a trick I look forward to seeing in many future recordings. Living in London; there are ample opportunities for Katharsis; she has so many stories by her feet and people to interact with. I am not sure how influential love will be when it comes to more singles and an E.P. The reason why love songs are popular and commercial is because we can, in some way, relate. Even if the lyrics are generic and samey – which they are not in Katharsis’ case – one can take something away that has meaning. You might argue those writers who talk about love in a very personal way would alienate the listener. Somehow; Katharsis has managed to bridge the familiar and unique and released a song that produces new insight and revelation every time you hear it.

Later today; I will talk about the North and why music there should be celebrated and highlighted – the new breed and some classic artists. I said I would step away from London but, as I have concentrated on other areas recently; it seems like I am owed a return to the city. The same argument can be applied to other cities around the world. I wondered, earlier, why Katharsis would move from where she lived in Germany to the U.K. It is not as simple as saying, if you live in Germany, then Berlin or, say, Hamburg would be a natural next step. The same is true of anyone living anywhere else in the U.K. – and the thought they would go to London or Manchester. Whilst the city is not to everybody’s tastes; there is something about the people and culture that draws songwriters in. In the case of London; all the best art comes from here; there are fantastic musicians and wonderful venues to explore. Katharsis plays The Finsbury soon – a place I am very familiar with – and there are going to be so many other venues requesting her services. Not only does she have possible gigs in every corner of the capital: the people and day-to-day life will, surely, compel new music and ideas. On top of that; there is the multicultural aspect and cosmopolitan vibe of the city. It is impossible to spend any length of time in London and not be affected in some way. That sort of promise is why many songwriters come here and make a life for themselves. So many are concerned with rent prices and how hard it can be to make it over in London. The realities are clear: it is not easy to live and succeed in a city that gets more packed and expensive by the year! The negatives are there – and there for obvious reasons – but there are numerous positives for artists to concentrate on. Getting the best out of the city can be a hard thing to achieve. Katharsis has taken the leap and come to a country that could have swallowed her up. Rather than become scared and daunted by the city; she has tackled it head-on and immersed herself in the people.

I am sure she undergoes the same stresses as everyone who lives there – smelling butt on the Tube; getting hip-checked down Oxford Street; being stuck in a cab during rush-hour as the meter spins towards suggestions of bankruptcy – but the city is so huge…it is possible to get something wonderful from it. As a musician; she is in a fantastic place to find support, like-minded artists and willing venues. Getting the music right and honed – so that she gets those requests – is an important part of the business plan. That has already happened with Come with Me but, because it has only been out a couple of days; it is hard to say how what reaction people will afford it. I know it is already receiving press – excluding myself – and people are responding in some way. As spring approaches; I am sure Katharsis will launch new material and think about an E.P. That debut single is always daunting for an artist: knowing whether it will endure and prove popular; will it get airplay and focus from bigger sources? I do not think she needs to worry too much about that. The track is amazing and she is in a city that can provide that exposure and love. Katharsis is a hard-working artist who is always pounding and getting her music out there. It is wonderful seeing any new artist take their first steps into the business: those who do so in London have all that opportunity and area to cover. I am thrilled for Katharsis and know she will go a long way in the business. I will come to look at the song in a bit but, before I do; I wanted to end with a look at fresh sounds and fusions – that which the music industry needs to see more of.

Katharsis has come from her native Germany and has a Classical upbringing. She grew up around some of the Classical greats and had a very different start to life. Now, in London, she is more exposed to Pop and R&B; she ties in the Classical past with modern, commercial sounds but, rather than lazily throw them together; what one gets is an assured and dynamic combination that I have, for one, have not heard. Come with Me was produced by Katharsis and Oscar Neidhardt and exposes her dreamy, sensual and multi-layered vocals. It is fantastic hearing all those colours and ideas coalesce into something magnificent and unique. What strikes me is the confidence Katharsis has right from the off. The song gets right into the mind and compels you to play it time and time again. It is a fresh and summer-ready smash but one that has a beating heart and sensitive soul. I will talk more about the song’s origins and story when I review it but, looking back; I am affected by the complexities working away. It is clear Katharsis has grown up around music and it fed into her blood at a very young age – that passion has continue and heightened as she has grown older. The fact her track does not repeat what is out there is a because of a few things. Taking that German background and melting it into the eclecticism of London is one thing. Katharsis has a personality like nobody else and thinks differently – her music, therefore, will reflect that. She is someone who knows what it takes to succeed and will do everything it takes to make it happen. I love how there are strands of R&B and Pop working away but things never feel cluttered or predictable. You get fresh sensations and nuances from an artist who does not want to see her music lost and buried among the more average and uninspired sort.

Come with Me is all about dreaminess and taking things easy. The composition – light piano, finger-clicks and suggested beats – ease into the foreground and whisper like a haunted smoke. The heroine’s voice, therefore, has that same smoothness and seduction. It is arresting hearing it for the first time and discovering what it does to you. It quivers and echoes but there is that strength and passion that is hard to ignore. It seems Katharsis in a safe place and in a relationship where there is give and take. It is difficult adapting to a relationship but, from what one hears, there is a sense of comfort and assuredness in her bones. The song seems to emanate and tumble from her photos. You get images and impressions of late-night conversations and pillow-talk. There are all these suggestions tumbling and, mooring it all, is that superb and comforting voice. It is hard not to be taken and impacted by Katharsis’ tones and emotions. This is all new to her – the closest she has come to love – but there is a sense of understanding and comfort. It is strange and uncertain going into any bond but, right now, the heroine is solid and safe in her convictions. The early days can often lead someone to a feeling of longevity and security – the longer things go on, the more likely cracks are to form. That is not a shot at the relationship but the reality for many. There are piano flourishes and tiny little details that bring the lyrics to life and cause the listener to conspire and dream. Come with Me gets into the head like a drug and makes the heart beat a bit faster. Following the story; I see the lovers awake at night discussing life. The conversations, to me, are less serious and have a sense of fun to them. They are chatting about their days and what they want to achieve together.

Past the mid-way point; new revelations and ideas come to mind. The chorus sees the heroine tackle the future – everything needed is “right in front of me” – and look far ahead. It is encouraging seeing that clarity and positivity come to her eyes and set her on a course. I feel this love has come from a bad period where men have messed her about and made false promises. Rather than accuse and dwell on those times; you get a sense of a woman who has found someone solid and trustworthy that will lead her wherever she needs to go. I wonder whether this excitement and certainty belies the fact the love is in its infancy and subject to fallibility and entropy. That sounds sceptical given the facts: the heroine is happy and has no reason to doubt the guy. She is in a good headspace and is comfortable enough making plans and opening up to her sweetheart. The lovers waste the day away and are immersed in one another. Come with Me has a modern, breezy sound that can get people involved and reacting. It is simultaneously beach-ready and insular. There are washes of colour and energy but, like that, it contorts and turns the bedroom lights off. That contrast reflects the dynamics of sex and passion. The duo is free and happy enough to submit to one another but, away from the physical nature of love; there is a connection and depth that requires safeguarding and appreciation. The mantra of “We’ll be okay” is enforced and carved into granite. There is no desperation upon the delivery – it is sung in a rather uplifted manner – but I wonder what provoked those words. Maybe both have natural doubts and there is that feeling things are too good so soon – and things could go bad. Both might have bad track records and know how quickly love can go sour. The heroine might be reacting to her man’s feelings: assuring him they will be fine and she is a very loyal and dependable sort. The reverse might also be true. By the time the song trickles to the end; you get a better understanding of the heroine and why this song means so much to her. It is a heartfelt, passionate and intriguing song from a new artist who has a lot more creativity, life and promise inside her.

Katharsis plays The Finsbury tomorrow (19th) so, if you are in North London; make sure you get over there and see her play. It is a tiny venue but one with plenty of character and heart. I hope to get over there in the coming months and put a few artists up. It will be interesting seeing Katharsis grow and where she heads next. I know there is more material in her mind so, seeing what form that takes, will be interesting. I am not sure whether an E.P. is planned for this year but it is clear there is momentum and energy in the veins of the German-born artist. She will take London by storm and have so many chances placed before her. I know there is competition when it comes to Electro/Pop/R&B artists but that is not a warning: Katharsis has an edge and a U.S.P. that will see her get gigs and festival requests. As the weather gets warmer and we are all planning our festival diaries – will Katharsis be among those included in this year’s roster?! She might want to start local and get a few gigs under her belt but, after that; she will have ambitions and aims to go further. Come with Me is proof she is among the most exciting and promising new artists around. It is a song that lingers and remains lodged inside the head. I am thrilled she has come onto the scene so strong and know, with fans behind her, success will come easily. Katharsis works hard and is keen to get her music heard and appreciated. I will leave things there but, before I go, recommend people investigate her sounds and throw their weight behind her. In a packed and exciting music world; it can be hard deciphering which artists warrant approval – and those who are only here for a short time. Time itself will reveal that but, rather than weight; we all know, in our hearts, which artists are deserving and are the hungriest. Katharsis is someone you will not want to take your eyes off. Come with Me is proof she is off to a flyer and, if you follow the hidden meaning of the song’s title; those who truly appreciate her music will follow her…

WHEREVER she goes.  

_______

Follow Katharsis

Official:

https://www.thisiskatharsis.com/

Facebook:

https://www.facebook.com/thisiskatharsis/

Instagram:

https://www.instagram.com/thisiskatharsis/

Twitter:

https://twitter.com/thisiskatharsis

YouTube:

https://www.youtube.com/channel/UCElTIV8PbRuFAf-huxwB3mA?view_as=subscriber

SoundCloud:

https://soundcloud.com/thisiskatharsis

PHOTO CREDITS (unless credited otherwise):

Lidia Huerta (Colour) and Ben Mcconnachie (Black-and-White)

FEATURE: 'World Music': Do Artists Take from Other Nations’ Musical Culture Enough?

FEATURE:

 

'World Music'

 ALL PHOTOS (unless credited otherwise): Unsplash

Do Artists Take from Other Nations’ Musical Culture Enough?

_________

IT was quite hard coming up with a title…

that assessed and underlined what I was trying to say. I have covered a lot of musical ground over the course of the day – so will not burden and keep people too much, now. Some of the best sounds of the year, so far, have incorporated different cultures and textures. I have been awed by music from Tune-Yards and The Go! Team – both their current efforts splice in music from other continents and countries. It is hard to pinpoint exact parts of the world: there are African, Asian and North American touches here and there. I have been thinking of the albums that travel the world, as it were, and blend traditional Western elements with something lesser-heard and new. Many people consider music to be on a downward curve and slightly devalued – not quite as rambunctious, inventive and striking as previous years. There is validity to that argument but I wonder one thing: are musicians pushing boundaries enough and making music that strays beyond the walls and smoking area of the mainstream? We all hear acts who splice genres and do something that is very un-commercial and bold. I am all for that but, largely, that experimentation revolves around traditional instruments and predictable confines. That is not to say the sounds that arrive are ordinary and soft: artists like Tune-Yards are among the most arresting and sensational around right now!

I will mention a couple of ‘classic’ albums soon but, in new music, there are a few artists that take from various continents and communities. Before I mention one of my favourite new musicians; it is worth addressing that dreaded term: ‘World Music’. I put it in upper-case because we often see the genre as an outsider and unique – maybe not in a good way. Many feel music that comes from outside Europe and North America is ‘World Music’ – or it is the various sounds and squawks from nations we do not usually go to regarding good and fascinating ideas. We feel anything unconventional and away-from-the-traditional is unusual and warrants exclusion. I grant there are types of music, that fall into that genre, that are quite hard to get behind. I love African beats and flavours; I am keen on the strings and eccentric elements of Asian music – little bits of Australian music and what happens in indigenous areas. It is tricky embracing all other nations because the quality does vary. What I wonder is whether artists feel everything from other parts of the world hold little value because it is not featured on the radio and in the charts – that would be a faulty assumption.

IN THIS PHOTO: Vanessa Forero

An artist I am very fond of – and have not heard from in a while – is Brighton-based Vanessa Forero. She has Colombian background/D.N.A. and has used instruments from South America in her music. One need only listen to her 2016-E.P., From the Uproar, and there are incredible touches that one does not normally get from other artists. You need only look at the E.P.’s cover to see the sort of colour and exotic she brings to the music! There are beguiling pipes and percussion; incredible strings and international, vivacious swirls. You can see my technical grasp/terminology is not exactly profound – Forero would be best-placed to answer that – but I saw pre-release videos from her home where she guided the viewer into her world. She had/has instruments everywhere and balances conventional instruments with those from South America. One hears From the Uproar and there is a mystical, spiritual elevation that I have not heard anywhere else! Forero is part of a minority who are willing to expand their minds and challenge the predictable. I am not saying all other artists lack that spirit and quality: it is difficult to integrate music from other nations and make it fit inside familiar moulds. I am finding, with a lot of the bigger, bolder albums coming from artists; they are putting unusual sounds and international flavours into the pot. Fifi Rong is another artist who manages to bring other nations into her music. She blends East with West: the delightful and engaging tones of Asia with harder, more-crowd-friendly tones of the West. The result is some of the most appealing and inspirational music I have heard in a long time. Artists like Forero and Rong not only add something unexpected and fresh into the music - they introduce the listener to other sides of music (and nations we might think of when it comes to music).

I have mentioned Vanessa Forero and her Colombian ties: others I know source from Japan and China; parts of Africa and Central/South America. Most of the accessible and quality music we hear does not stray too far from the U.K. and U.S. I wonder whether artists are doing enough to broaden the scene and inspire the new generation. We are at a time when artists are being scrutinised and judged with every move they make. I am impressed there is so much invention in music but, if we want to go beyond the expected and known – do we need to take from other parts of the world? One of the most effective ways of doing this is to travel to other nations: is this feasible and possible for any artists; let alone newer acts who struggle to afford gigs in parts of their own country?! I wanted to mention two albums that took from African rhythms and ecosystems: Paul Simon’s Graceland and Blur’s Think Tank. The former saw Paul Simon break barriers and pair with the Ladysmith Black Mambazo choir – at a time when there was apartheid and racial discrimination in South Africa. The role of Ladysmith on Graceland cannot be ignored. I have not addressed vocal possibilities when it comes to other continents. The stunning, harmonious blends make songs like Diamonds on the Soles of Her Shoes and Homeless define the album and make it sound like nothing you have ever heard!

IMAGE CREDIT: Getty Images

It is not only the African vocals that go into Graceland. Los Lobos appear on All Around the World or The Myth of Fingerprints. Aside from legal battles between Los Lobos and Paul Simon; it is the voices and strings of Los Lobos that take a song from the ordinary to the sublime. Elsewhere on Graceland; the African influences and elements make the album such a varied, interesting and intense experience – and give listeners a window into other parts of the world; music they would not ordinarily hear. Damon Albarn and Blur sojourned in Africa during the Think Tank period and would write and record in humble and simple conditions. Albarn, especially, has always been curious regards other parts of the globe. For Think Tank; you can hear Africa in titles - Moroccan Peoples Revolutionary Bowls Club – and the swoon-and-bliss of Caravan. Blur travelled to Marrakesh and Morocco and were inspired by the people there. Songs like Crazy Beat and Gene by Genre came together in Marrakesh. The vocals were sung outside – the band felt it was a breath of fresh air being out of the studio and in such splendid conditions. They would record vocals on rooftops and underneath trees; it would be a real eye-opener for the band. Not only did that experience compel Albarn to look deeper into Africa (and Asia, in later work) but it adds a real niche to Think Tank.

IMAGE CREDIT: Getty Images

The record blends Western loops and electronics with those exotic and beautiful sensations of Africa – deftly able to weave the best from the West and East without losing its solidity and purpose. The two albums I have mentioned are among the most popular and notable than feature elements of other continents. To be fair, if you did your research, there are a fair few that go beyond the confines of home and pick from other parts of the world. In my view; there are not enough modern artists taking a leap and going to other countries. You do not, actually, need to leave your home to get a sense of international music and areas parts of the globe. I think, for a band or solo artists, a recording jaunt abroad can not only revitalise and rejuvenate music – it can infuse and infect an album and bring new dynamics into the ranks! If I were a musician, I would set money aside for some time in Africa - getting involved with local communities and sounds coming from there. It does not even need to be confined to Africa and Asia. Being bold enough to go to lesser-represented part of the U.S., for instance, could introduce new sounds and people to the mind. Consider Australia and how vast the land is; the scope and wonder of South America and all the inherent choices there. The world really is open and available to eager musicians – is it being exploited as much as possible? I agree it is tough assimilating foreign sounds into a market that still relies on Western ideas and a mix of genres (rather than nations). I feel, with a little curiosity and ambition; artists who are willing to splice something international into the scene will reap the rewards and inspire other musicians…

TO do likewise.

INTERVIEW: The Trouble Notes

INTERVIEW:

The Trouble Notes

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I have been talking with the Berlin-based band…

The Trouble Notes - and asking about their latest single, Lose Your Ties. The album of the same name was released yesterday and it shows, from the off, what a force they are! I ask the guys about the songs on the album and what comes next for them; whether there are going to be any tour dates on the horizon – and whether they will come over to the U.K.

They discuss their favourite music and great memories from their careers; why London is not as foreign as you might think (to them); how important the stage is to The Trouble Notes; any advice they would give new artists emerging – they recommend some cool artists to investigate in closer detail.

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

Hey! Actually, it’s been a pretty busy week for us. We have our album release next week (16th February) - as well as the first concerts of our release tour, which starts in Hamburg! Needless to say, we’ve been in the rehearsal room a lot preparing - and we’re on our promo game. It’s been a lot of work, but it is an exciting time for us!

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

Yes, so. We are a trio consisting of Bennet Cerven on Violin, Oliver Maguire on Percussion and Florian Eisenschmidt on Guitar. Our music is incredibly hard for us to define because we try to bend genres and fuse cultural traditions with our music. When we have to, we call it ‘music for travel’ - because we spend nine-ten months per year on the road traveling and touring.

Each of our songs is meant to be a kind of cultural bridge that we’ve written during our time on the road - mixing the musical style of the different places we visit and creating a kind of soundtrack to our journey.

Lose Your Ties is the new single. What is the story behind the song?

Lose Your Ties is a pretty personal song for us because it is literally meant to be the story of our origins. I (Bennet) used to work at a firm on Wall Street in N.Y.C.; wearing a neck-tie every day and feeling completely unfulfilled with what I was doing. This song is about the very moment that I decided to up and quit, take my violin and a bag of clothes; board a flight and start this journey. We all found one another along the way: each of us ‘losing our ties’ to whatever held us back from pursuing our passions. The track is about the transformation from the moment you first hear that little voice in your head telling you to uproot yourself and change your life - to the final act of taking the risk and embracing your newly forged path.

That is really one of the main messages behind our music: realising that many of the obstacles that we face have been put there by ourselves. Often, at times, we are the very people that hold ourselves back…

It is taken from the album of the same name. Can you reveal the stories and inspirations that go into the record?

If Lose Your Ties is the story of the origin: the other songs are each a kind of soundtrack to the experiences we had in our first years together. There are eleven songs on the album - and each song has a story and particular mix of style that makes it unique.

Barquisimeto, for example, is about our experience traveling to Venezuela in 2016. In the months leading up to our departure from Europe; the Venezuelan economy was seriously faltering and security warnings were being issued to everyone wanting to travel there. Crime was spiking, people were experiencing massive supply shortages and, at a distance, Venezuela seemed like a very ugly place to visit. But, upon our arrival, everything began to change. We were welcomed with open arms by people eager to connect with us and share their culture and beautiful homeland with us. We wrote the song, specifically, to trace the emotions we felt: from the fear of the unknown to the good-natured vibes of our Venezuelan family.

Is there a particular song from the album that stands out as being especially memorable?

Perhaps the most successful song of ours until this point has been Grand Masquerade - also included on the record. The song was the one we played on the streets of Strasbourg that went mega-viral, amassing something like seventy-five-million views worldwide! But, it’s the story behind that song that we feel resonates with so many people. We believe that at some point in your life, you are forced to mask something about yourself from others. Be it political views, sexual orientation or religious beliefs; there is something that you feel others should not know.

The song is about the decision we make on whether or not to remove the mask and reveal what we are hiding - or walk around forever in a kind of masked conformity.

Lose Your Ties follows the hugely successful E.P., Soundtracks from the Streets. Were you surprised by its success and how many people latched onto it?

Honestly, yes.

Soundtracks from the Street was made as a kind of ‘street album’ that we could bring with us to sell while we were busking and playing street music around Europe. Obviously, we had sold a lot of copies in the street - but it was last fall when some of our videos went viral that it shot up the charts, peaking at number-five in the U.S.A. (and in the Latin and World Music charts!). It was a very pleasant surprise for us - and something we are truly thankful to a lot of new fans who saw its purchase as a way of supporting us.

Now; we need to repeat that whole process with Lose Your Ties.

What is the music scene like in Berlin? Is it a great place to make/perform music?

Berlin has been our base for the past four years and has certainly had its influence on our music. As far as musical cities go, it’s a complicated scene. The city is obviously extremely famous for its Electronic music scene and offers some of the very best in the Jazz and Classical music world. But, much like other large cultural cities, the music market is a bit over-saturated. There are many great venues here and talent from all over the world comes to perform - so the people of the city are spoiled with good music.

That means you have to work twice as hard to get people to come to your concerts: a challenge that we took head-on…

IN THIS PHOTO: Opal Ocean/PHOTO CREDIT: Kathleen Mary Lee

Who are the new artists you recommend we check out?

Ollie: I have (really) been listening to a lot to Opal Ocean. They’re a guitar duo from Australia.

Florian: Kallidad (from Australia) is also a killer band. They are a dope mix of Spanish guitar and Heavy Metal style. Plus, easily some of the nicest dudes we have met while on the road.

Bennet: There is also Yatao - a duo here in Berlin that brings the hang drum to the next level. I'd definitely recommend Time for T., as well, great friends and incredible musicians. Their music is kind of tropical-Indie-Rock.

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

Bennet: For me, it is Rodrigo y Gabriela’s 11:11

They were a massive inspiration to me - and part of the reason that I left my old career and came to Europe. In a way, I was following in their footsteps. That was the record that I had on-repeat in the months before I made the big change!

Oliver: Fugees - The Score

It was the first album I really loved when I was a wee lad. Lauryn Hill’s vocals and memorable raps: it brings me the feeling of the 1990s each time I hear it.

What gigs are forthcoming? Where can we see you play?

The 2018 tour season kicks off this month! We’re pretty much planning to be touring the whole year. In February, we’re in Germany; followed by March in France. Then, in April-May, we split between France, Italy and Germany. This summer is already filling up with festivals - and we are hoping to get some U.K. dates in their in June/July and then, in October-November, we’re making our way across the pond and touring the U.S.A.

Will you be coming to the U.K.? Have you performed over here at all?

A little-known fact at this point is that Ollie and I (Bennet) actually met in his native London. For our first few months together, we lived together in West London and performed all over the city. At least once per year, we make our way back to London and perform a couple of concerts; usually once in the West and once in the East. The city has always been good to us and it remains a kind of ‘hometown’ for us - and is dear to our hearts. We have done a small tour of the U.K. in the past - but it’s a country that we are eager to explore much more. The tour schedule is really filling up for the year but it looks like we’re going to get over to the U.K. in the summer.

The exact dates are still in the air.

Is live performance something you all love? Do you feel most alive there?

We are definitely a live band. There is a kind of energy that we emit, feeding off the crowd: that makes our live shows a real experience for everyone in the room. That definitely comes from all the years of busking. In order to be a good street musician, you have to be a very strong performer - to make your presence felt, transmit energy and captivate an audience. Over time, it’s something we have become very good at and we love doing it. That’s probably another reason people connect with us so much on stage: because we genuinely have fun and get lost in the moment.

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

We suppose you could say that 2017 was a bit of a ‘break-out’ year for us because of all the videos that went viral and online success that we’ve had. But, somehow, we have a feeling that 2018 is going to be our biggest year to date. Our focus is going to be on the stage show - since people still often see us as a ‘street band’. That’s not to say that we do not still want to stay in the streets from time to time: we LOVE busking and it’s a huge part of our identity. However, we have aspirations of bringing the songs and vibrations of the different streets that we have played on to the bigger stage. This is a goal for 2018: to build a killer stage show where the audience can transport themselves to different parts of the world with each song – all together from the same room!

Bennet: Aside from our musical goals; I’m involved in a few working projects that will help make life a bit easier for the independent artists. We’re focusing on some Blockchain solutions to help decentralise the industry and give the individual artists a bit more control over their work.

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

Ollie: Definitely performing in front of my family in London! Every time we go back to London, my whole family comes out and supports and, for me, that is just bliss.

Their support lights a fire for me.

Bennet: It’s very difficult to pick just one: we have had the opportunity to play in so many beautiful and historical places. I think, for me, the dream was always to travel; so when I have had the opportunity to perform in packed squares in the shadows of some of the most beautiful buildings in our history, it is a special experience. There’s a particular memory in Verona that often sticks in my mind. We were playing at the base of an ancient Roman gate on a Saturday evening with a huge crowd of people in front of us (and watching from their windows). Afterwards, so many people came to us and remarked what a magical moment it was.

We’ve had numerous moments like that - and I cherish every single one of them.

What advice would you give to new artists coming through?

I think one of the things that we want to be known for in the music world is being one of the hardest-working groups around. We do nearly everything independently: we financed our album, booked our tours; travelled…everything. It was all a huge risk, but we believed so strongly in our music and enjoy playing so much, that the challenges can all be overcome. A lot of young artists today write a few good songs; send out some demos and expect labels and bookers to come and help them get them in front of a crowd.

We feel you have to create your opportunities, get out into the streets and go play. Connect with people. Inspire and be inspired. We all have our own way in this world: find yours and do everything you can to bring yourself where you need to go. Once you’ve found your own path, the rest will follow…

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).

Rodrigo y Gabriela – Tamacun

Time for T – Long Day Home

Opal Ocean – Mexicana

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FEATURE: Forty Years of The Kick Inside: The Birth of an Icon

FEATURE:

 

Forty Years of The Kick Inside

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

The Birth of an Icon

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THIS is not the first time...

PHOTO CREDIT: Gered Mankowitz (1978)

I have spoken about Kate Bush’s debut album, The Kick Inside. It is, however, the most important piece regarding the album: the record is forty today and, as such, has been receiving thoughts and praise from around the world. Before I come to my thoughts; I asked songwriter/festival organiser, G LaRoche to send me some words about the album. I will put his words on to the page, verbatim:

“When I play acoustic cover sets (usually in quaint little country pubs or spit n sawdust venues) one of my favourite perks of the set is seeing the look on people’s faces as a man with a Mohican haircut and torn punk trousers starts to play Kate Bush’s 1978 anthem Wuthering Heights with gleeful manic overacting. After all the song is sung from the perspective of a desperate soul hell-bent on reconciling with her lover…my take on Cathy’s character is more, what 20th-century folks call, a ‘bunny boiler’!

 My first full-on experience of ‘The Kick Inside’ was at about the age of 12 when I would spend most of my weekends with massively oversized 80s headphones on, going through my parent’s vinyl collection, absolutely absorbed in music. Through doing this I discovered tons of aged music that my school contemporaries were unaware of…and probably still couldn’t give a toss about! I was a uniquely uncool kid. While classmates were discussing Oasis, Blur or Radiohead I’d be discovering Supertramp, Jethro Tull, Peter Gabriel (plus his Genesis) as well as a wealth of 60s, 70s and 80s classics.

If I liked a song I’d copy it to a mixtape (for the kids out there: tapes were bought over in the Viking longships and were notoriously unreliable until Abraham Lincoln invented the Biro). If I liked the whole album it’d go on a tape in its entirety…although sometimes with the track order changed for no specific reason! This way I could listen to that music over and over on my Walkman or on my bedroom ghetto blaster. I even made some extremely embarrassing radio mixtapes with me pretending to be retro DJ Alan Freeman in between my favourite songs.

PHOTO CREDIT: Chris Walter - WireImage/Getty Images  

The Kick Inside got the full album treatment (I think it was on side A with The Cars self-titled album on side B). Why did Kate Bush get the prestige of a whole side of valuable 90-minute tape??? Well, firstly that voice…somewhere between a siren and a banshee it pierced, intrigued and infested my young mind. Since this album, I’ve had a love for kooky, octave shifting, female vocals like Lene Lovich, Poly Styrene from X-Ray Specs and Alice Glass from Crystal Castles. 

The sound of the album straddles that point between the prog. rock of the early 70s, which to many can sound dated but I kinda enjoy in a cheesy, guilty pleasure sort of way, and the soft rock and pop of the 80s yet with a more mature sound than either of the above.  

The haunting quality of ‘Moving’ allows Kate to use an extraordinary vocal range; the sombre yarn of ‘The Man With The Child In His Eyes’ making good use of minor to major shift to emote the tale and a personal favourite with ‘Them Heavy People’ being a pseudo-reggae track. Of course, we all know Wuthering Heights as the albums commercial high point, but this ain’t no ‘All The Small Things’ or ‘Smells Like Teen Spirit’. It’s an exceptionally clever bit of composing and Kate does a great job expressing empathy for Cathy’s character. I could go on!

IN THIS IMAGE: The Yugoslavian vinyl cover for The Kick Inside

My parents did have a couple of other Kate Bush albums, but me being of that certain age I was more interested in the album covers…if ya catch my drift! My loss probably, but The Kick Inside remains a classic in my eyes, an album that shaped a lot of my musical taste during my teens and a staple on my current MP3 Walkman…even if the biro is now redundant, the nostalgia is not!”

Those are impassioned words from someone who took a lot from Kate Bush’s debut cut. It is hard to believe the record is fort-years-old today! I remember discovering the record when I was about six or seven and hearing those incredible tones come from the speaker. I guess, like many, it was the sight of Kate Bush twirling in a white dress for the Wuthering Heights video that sticks in the mind!

I think it was her The Whole Story V.H.S. that was out around that time. It drew together her singles/videos and, as a boy; the sheer wonder and dizzying beauty of Bush’s music got to me. I listened to albums like The Red Shoes, Hounds of Love and The Dreaming when I was growing up: none made the same impression as The Kick Inside! The effect and magic of the album have only grown stronger over the years. I have lyrics tattooed on my arm – lyrics from Moving on my left; I am getting some from The Kick Inside on my right in a few weeks – and take huge wisdom from Kate Bush. Songs (on The Kick Inside) deal with love and realisation: they do it in a very different and exotic manner. Her phrasing, delivery and intonations elevate the words and provide them with an almost-spiritual mystique. There is nobody who performs and sings the same way as Kate Bush! She takes music and makes it her own; bending words and capturing feelings few of us can comprehend. Every song gets into my head and, each time I hear them, it provides something different. It is strange to think Kate Bush is almost sixty! I listen to The Kick Inside and hear this nineteen-year-old fly, explore and seduce: forty years later; the effect and impact the album has on the mind has not faded!

IN THIS PHOTO: Kate Bush performing on the Late Late Show in 1978/PHOTO CREDIT: Eve Holmes

Critics were not exactly universal in their praise of The Kick Inside. In 1978, when there was nobody out there like Kate Bush; people did not really know what to make of Bush! She was this unique soul in a music world that, even back then, preferred the conventional and commercial. The Punk movement was over – or changing, at least – and bands such as Blondie were riding on the crest of a wave. Some saw the young Kate Bush as a strange and unusual figure – how do we deal with someone so odd and unusual?! Maybe they thought she was a novelty singer; someone whose ‘charms’ would take years to win and gain popularity. Those who saw the potential, a lot of retrospective reviews were better-minded, knew the world was witnessing a future-legend take her first steps. One only needs to look at interviews from 1978/1979 (see below) to realise why Bush was adored and appreciated. She spoke as she sung: articulate, detailed and story-like; beautiful, cute yet strong. It was the steeliness and determination of Kate Bush that amazed many. She was a teenager at the time and many assumed she would not be around long - or else would have the record label dictating her every whim. The Kick Inside’s follow-up, Lionheart, was released in 1978 and was not as lauded as her debut – that need to get another album out sharpish meant Bush was rushed and had to work in a different style.

She gained more control, and got critics back on track, by 1982’s The Dreaming – that realisation she needed to have a say of her music means she has endured this long (Hounds of Love in 1985 was, actually, the first time Kate Bush fully took the reins!). If many claim Hounds of Love is her peak achievement: the reason I love The Kick Inside is because it was the debut. The album was penned and honed by the time Bush got into the studio. The teenager was writing songs at the family home and seeing her creations come to life on the piano. She would work with producers and other musicians on The Kick Inside but, unusually, there were no other writers! There are greater solo songwriters in today’s scene but, often, we feel Pop artists are happy enough to let others pen their songs and step aside. Kate Bush was never going to be someone passive and overly-collaborative. A bold, independent and free spirit – her music was an extension of that personality and expression of her spirit. Moving feature whale song; there are lines about motherhood, nature and meditation: not themes many artists were covering at the time! There is philosophy and truth throughout; gorgeous confessions of love and incredible maturity. It is hard to believe a song like The Man with the Child In His Eyes was written by someone as young as thirteen – it might have been twelve when the songwriter completed that song.

Wuthering Heights remains Bush’s most-famous and notable tracks. It is so unusual and rare: nothing else in music even comes close to equalling the sensuousness and allure of the track. Rather than deal in tropes and clichés: The Kick Inside looks at art and the natural world; literature and womanhood. Maybe that is a result of Bush’s teachings and family background – growing up around artistic parents; where subjects like feminism and literature were part of her upbringing. The Kick Inside is an album that, consciously or not, has compelled generations of songwriters – not only females in the industry! Whether it is the erotic, daring tones of Feel It and L'Amour Looks Something Like You; the flowing, freeing movements of Kite; the rush of James and the Cold Gun – there are so many different sides and personalities. I hear a lot of modern artist name-check Kate Bush and take guidance from her songwriting. She was, back in 1978, unconcerned with what was expected and warranted. She was never going to write simple songs and let anyone label her – perhaps that was part of the problem. The fact so many critics missed out back then has come back to bite them now: the legions of artists that source from The Kick Inside is staggering! Big names like PJ Harvey, Florence Welch and Madonna have, in some way, assimilated aspects of Kate Bush into their own music.

It was never only about the music with her, either. The looks and style; the documentation of the world and deeper issues; the iconography and incredible personality; the strength and fortitude from someone so young – all of this inspired artists and drove them to be different. The Kick Inside is my favourite album for a number of different reasons. It provides comfort and safety at moments when I need it most. I always learn from the record and, as I unearth fresh revelation; I become better-informed, wiser and more rounded. I feel I understand feminism more and open my mind to music that does not rigidly hang to rules – that which goes beyond and tackles the boring. The instrumentation and varied compositions (of The Kick Inside) get into the mind and provoke images. The songwriting is uniformly stunning and the visions, huge! I hear interviews of Kate Bush from 2011, when she is asked about her debut album and its creation – and whether she ever looks back on the songs at all. It is weird her talk about her music – she does not really listen to her music a lot – and realise it is the same young woman of 1978! Forty years is a long time in any case: in musical terms, there are few albums that remain that long and continue to inspire. I was going to make this piece a lot longer but, rather than bring in the facts and figures: a more personal and direct feature was in order. I will be listening to the album all day – and do quite a lot, obviously – but wanted to lay down some words and, hopefully, bring The Kick Inside the new audiences. We all wonder whether Kate Bush will release more material and perform again – she is that never-ending enigma and source of speculation! Whilst we ponder and look at her future: pick up a record that turned heads in 1978 and, forty years down the tracks; it remains a fountain of inspiration, the majestic and profound for some of music’s…

MOST imaginative minds.

INTERVIEW: George Simpson

INTERVIEW:

 PHOTO CREDIT: Jay Hillyer 

George Simpson

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HIS music is already known and…

adored by BBC Radio 2. George Simpson has performed on Jeremy Vine’s show and, himself, shows immense promise. I ask him about his new single, Finding Myself (officially released on 23rd February), and working with Kezia on the track. He reveals plans regarding forthcoming material; the artists who have inspired his sound and direction; how it feels to have his music acclaimed by big sources – and some new artists who strike his mind.

Simpson talks about his start and upbringing; playing in Melton Mowbray, Leicestershire; which albums mean the most to him; whether he gets more inspiration from new or older artists; what he hopes to achieve this year – and why he came to music rather late.

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

I’m good, thank you! Very busy planning out my releases and album tour! A bit stressful - but in an exciting way!

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

Yes, of course. I’m George, George Simpson. I’m from the heart of the U.K.: Melton Mowbray in Leicestershire. I’ve been writing songs for about ten years - and have been releasing music for five years.

A lot has happened in the past five years!

Finding Myself is out on 23rd February. Tell me about the background and where the song came from?

Last year, after having released a few albums previously; I wanted to find some inspiration and a slightly new direction and, having watched the Nashville series; I fell in love with Country music. So; I guess Finding Myself shows this, stylistically! The song is about my first love and how it turned sour. I was living in Leeds at the time, I was nineteen, and it was the first time I had to collect my thoughts, move back home and start again to ‘find myself’.

 PHOTO CREDIT: Jay Hillyer

Kezia features on the track. Did you write the track alongside her? What was it about her voice that led you to feature her?

I wrote the song and I wanted it to be a Country duet and my producer, Ben Haynes (from Spondon, Derby), had produced some of Kezia’s work. I loved her voice when I first heard her - and we both thought she would be perfect on the track! Her voice is so powerful, distinct and she is (just) great!

Your music has got love from some of BBC Radio 2’s biggest D.J.s! Is it quite daunting and flattering knowing they back your work? Does it spur you on?

Yes it does - although they aired my previous singles a few years ago now; it gives me confidence that, although I am independent, the sky is the limit with what you can achieve on your own!

Do you think there will be more music coming later this year? What are you working on?

Yes. My third album, Hearts and Gold, is out in April. The title-track will be my next single (also out in April).

PHOTO CREDIT: Mike LB

I know music didn’t impact you until your teens - you didn’t start recording until your twenties. Why was it quite a late revelation for you?

Yes, that’s right.

Like I mentioned before; I released my first single five years ago (when I was thirty!). So, it really late! I picked up the guitar when I was eighteen and joined a cover-band at twenty-two as a singer; playing in pubs and functions etc. - but it’s only in my late-twenties when I got into writing. As soon as I could play an instrument, the writing began! I was always sporty and that took up all of my time. There was no desire to get in to music any earlier - which is unusual for musicians I guess.

Music is one of those things where people look back and wish they had started when they were young.

Do you get inspiration from new artists – or are you more compelled by older sounds? Who are your main influences?

My influences are really varied. From a writing perspective and as a singer, George Michael is one of my older influences. More recent influences, from a writing perspective, are the likes of James Bay and Jason Mraz; London Grammar, RHODES - naming a few. I love HAIM and generally modern, commercial music. I’m a song-lover.

If it’s a great song, I love it no matter what the style.

IN THIS PHOTO: Howard Rose

Who are the new artists you recommend we check out?

The new artists I follow and like, without naming obviously-famous commercial acts that we all have heard of, are: Howard Rose. He is an Alternative-Soul-Rock singer-songwriter with a blistering voice. Also; the Folk singer-songwriter, Daniel Duke (from Northern Ireland), who has the most calming and soothing voice (and beautiful songs). Check those guys out!

An artist who hasn’t quite made the big-time is RHODES. But I love his music. Cinematic Pop; epic tracks that I get lost in! Love it!

PHOTO CREDIT: RHODES

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

With albums; I’d have to go back to the ones with pure nostalgia: 1990s albums when I was listening to loads of albums.

Stereophonics – Word Gets Around

Me and my friends would sit around singing along to every word. Great times! 

(There is one! God this is hard! I’m not going to think too hard about this - but I’ll give three different examples!).

Second; for just being able to listen to it through and getting lost in time: RHODES – Wishes

Huge, epic production- really, really emotive – love it! Love to drive to it.

PHOTO CREDIT: Jay Hillyer

Fleetwood Mac - The Dance!

Sitting in the back seat as a kid on the way to Devon with my parents with the album blasting out, with us all singing along! Happy memories - and what a great album.

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

Yes, you can! I’m currently planning a tour - but the album launch is in my hometown of Melton Mowbray on 19th April. There are numerous of dates around the U.K. in April and May - and I’ll keep you posted on those!

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

I’d love to move forward in the industry! Things have changed: streaming is the thing, now, where it wasn’t as much a few years back. So, I’d like to move forward and gain new fans and listeners – increase my fan-base this year and really try and market myself well; to let people know who I am and hear my music! I’d love to get a really good support slot with a reputable act; get out and enjoy playing my music again!

PHOTO CREDIT: Scott Choucino

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

Yeah. I keep fit and go to the gym every day! That is a good release. I love cooking and also (just) going out eating and drinking when I’m not writing! I still play a bit of football, too. I don’t watch much T.V., though.

I’d rather write songs!

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

Ahhh, yes I have loads, actually!  They would have to be live shows! Three that stand out to me, were performing on BBC Radio 2’s Jeremy Vine show live on air. That was an experience! Seven-million listeners - so pretty intense! Also; my second album’s launch at Melton Mowbray Theatre – 350-seat, sell-out crowd; me playing new songs with my band. That was incredible. I'll never forget that!

I’ve also supported Dirty Sanchez with one of my previous bands, Maslow, on their tour. They were crazy - and we shared backstage with them. It was also quite random to have us playing a support set to their fans that weren’t really there to see live music. So; the whole thing was random but special - and magical in a weird way! One of the guys necked a bottle of vodka before going on stage (Dirty Sanchez)!

I’ve got loads more - but those three stood out!

PHOTO CREDIT: Mike LB

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).

Ah, thank you! Could you play Do Something Beautiful - Colour Colour. This is Howard Rose’s band (who I mentioned earlier). It will give anyone a morning lift when they hear it!

_______

Follow George Simpson

PHOTO CREDIT: Scott Choucino

Official:

http://georgesimpsonmusic.com/

Facebook:

https://www.facebook.com/georgesimpsonmusic/

Twitter:

https://twitter.com/georgesimpsonxx

SoundCloud:

https://soundcloud.com/georgesimpsonmusic

Instagram:

https://www.instagram.com/annietaylorband/

Spotify:

https://open.spotify.com/artist/48hSEzeJBhUjvhfec66VrZ

YouTube:

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

FEATURE: The February Playlist: Vol.3: YES...It Is THAT Moon River…

FEATURE:

 

The February Playlist

 IN THIS PHOTO: Frank Ocean 

Vol.3: YES...It Is THAT Moon River…

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IT is a return to the big-hitting…

IN THIS IMAGE: The cover for Muse's single, Thought Contagion

acts and, with that, some truly epic music! That is not to say the past couple of weeks has been a quiet one: this week, mind you...there are some fantastic cuts. There is new material from Frank Ocean and Manic Street Preachers. Courtney Barnett provides a glimpse into her forthcoming album, Tell Me How You Feel, and a very welcome treat for the ears! There is a mighty new track from Muse; David Byrne has something out; Soccer Mommy and Albert Hammond Jr. bring us something special and immense – that is only scratching the surface.

There is a great mix of mainstream pearls and some unexpected deliveries; underground cuts and fantastic moments from the upcoming and established alike…

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

________

Frank Ocean - Moon River

PHOTO CREDIT: @autumndewilde

Albert Hammond Jr. - Far Away Truths 

Manic Street Preachers - Distant Colours

David Byrne – This Is That

Eminem (ft. Ed Sheeran) - River

Soccer Mommy – Still Clean

Muse – Thought Contagion

Courtney Barnett – Nameless, Faceless

The Chainsmokers - You Owe Me

Lo Moon – My Money

Delta Goodrem – Think About You

BOOTS (ft. Run the Jewels and Christin Milioti) - Delete Delete

Boy Azooga – Loner Boogie

Ryan Adams – Baby I Love You

BANFI – Never Really Cared

Tracey Thorn, Corinne Bailey Rae - Sister

Everything Is Recoded, Giggs – Wet Looking Road

Ellie Goulding – Vincent

Youngr – Remember

Moose Blood – Have I Told You Enough

Remy Ma (ft. Chris Brown) - Melanin Magic (Pretty Brown)

PHOTO CREDIT: Jennica Mae Photography

Lauv - Getting Over You

Beach House – Lemon Glow

LACK – Cutting Ties

Tom Misch (ft. Loyle Carner) - Water Baby

Happy Accidents – Act Naturally

Benin City – Final Form

PHOTO CREDIT: Jonathan Vivaas Kise

Rejjie Snow, Anna of the North – Charlie Brown

Lord Huron – Wait By the River

Vance Joy – Call If You Need Me

PHOTO CREDIT: @joeseth.carter

Royal Blood – Look Like You Know

Rhye – Song for You

Hannah Jane Lewis – Aftershock

Tinashe (ft. Future) - Faded Love

Field Music – Count It Up

Brandi Carlile – Every Time I Hear That Song

Mauwe – Gold

Wiley – Been a While

TRACK REVIEW: Weekend Recovery - Oh Jenny

TRACK REVIEW:

 

Weekend Recovery

Oh Jenny

9.4/10

Oh Jenny is available via:

https://soundcloud.com/weekendrecovery/2-oh-jenny

GENRES:

Garage-Rock; Punk

ORIGIN:

Leeds, U.K.

The album, Get What You Came For, can be heard here:

https://soundcloud.com/weekendrecovery/sets/weekend-recovery-get-what-you

RELEASE DATE:

17th February, 2018

LABEL:

Headcheck Records

_________

IT has been a bit since I looked at…

a band and investigated that side of music. I will come to Weekend Recovery in a minute but, before then, I wanted to look at a few things. Garage-Rock and its mutation is high on my mind; I will talk about Leeds and artists in Yorkshire; bands who go away from the mainstream and produce something lo-fi yet popular; getting the ear of big sources and how important that can be at the start of the career; where music might be headed this year – and how Weekend Recovery will go in the future. I have been thinking about Garage-Rock and how the genre does not really have a lot of representation in the present time. I guess Weekend Recovery mix in some Punk but, if you look at their influences, the likes of The White Stripes are in the mix. I am seeing more and more female-fronted bands come through and this gives me strength. We are still being buried in all-male bands and, when it comes to festivals, that seems to be the main commodity. It is a dependence we need to get out but, with bands like Weekend Recovery; it is providing range and new colour to music. I am excited seeing how music changes this year and what comes to the fore. Solo artists are being tipped but there is hope bands will have some say and make some headway. The past few years have been solo-heavy: bands have not really crafted anything unifying and overly-original. In the underground; there are some wonderful bands coming through but, in my mind, there are few that really rival the best solo acts. Why is this, then?! I feel there is an issue coming from the mainstream – I am wandering a little off course, I realise. There is still that need for big Rock bands and those who can fill stadiums.

Maybe it has been a long time since we saw anyone as massive as Oasis in music: modern bands are a different beast and few have the same ability and swagger as them. Bands, today, are bringing in other genres and taking music in a different direction: there are Alternative/Rock bands but few have the same genius and ability as the departed Manchester band. Critics are not really encouraging those artists who go beyond the expected and foster something deep. There are some wonderful artists in the mainstream but I am seeing few who splice Rock, Punk and Garage together – music that fills the heart, brain and lungs. The new breed is doing that much better: Weekend Recovery are among the most assured and appealing of the pack. New artists are keen to keep genres like Garage and Punk alive. The reason I am excited about Weekend Recovery is that they mix elements of legends like Oasis and The White Stripes. Garage artists like The White Stripes created some of the greatest music of the past couple of decades and perfected that under-produced, raw sound. Many artists – in the underground – are doing that but I have been searching for a band that mix the magic of The White Stripes (and their peers from Detroit) and bigger British bands. The guys have all grown up on classic Garage/Punk bands and those huge, anthemic British bands of the 1990s. My hope is bands assume a bigger role in 2018 and, in years to come, can show the same influence and dominance as they did in the 1990s. That might not happen if we rely on the mainstream alone. The new breed is the ones we should be looking out for, it seems. There are some terrific Pop and Indie bands – who are intelligent and inventive – but a part of me wants that energetic and exciting thrill; groups that make me think of past glories and acts – keeping my mind in the present and what is to come.

PHOTO CREDIT: Dave Heritage

Among the aspiring Garage and Punk bands is Weekend Recovery. Maybe they cannot reproduce the same sort of brilliance and angles as The White Stripes. The reason I keep mentioning them is because the Leeds outfit has that same spirit and confidence; they put some Blues and Rock into the blend; there is a lot going on that inspires the body to move and the senses to spike. It is no surprise a Yorkshire band should come to my mind. The county has always produced sensational music that differs from the norm and keeps older genres alive. I have heard Electro-Swing and Hokum in Leeds; 1980s Pop and Alternative-Rock. It is a busy city and part of a county that keeps on amazing and progressing. Strangely, it is the way Yorkshire artists look to the past that keeps music looking forward. I hinted how there are great bands around but there is a missing ingredient: something that may, oddly, be in Yorkshire. So many new bands are concerned with fitting into a certain mould and following the pack. One of the ways bands will have a bigger say, and development will be seen, is to think outside the box and take bold steps. Yorkshire is a county without fear; one that does things their own way and channels a unique spirit. Leeds is the centre of all of that candour, energy and motivation. I have always loved the city and feel the artists here are among the best in new music. The North does not get the credit it deserves: we still look to London and the South for bands and the best new acts around. I am not suggesting Yorkshire, along, can kick-start a revival and spawn the new generation of heroes: what I am saying is the county warrants more eyes and acclaim.

PHOTO CREDIT: Tim Wilson

Maybe it is the way of life there; the personalities and ethos of the people – something in the air means the creators and creatives go beyond the ordinary and sip from a different well. Leeds is a wonderful city bursting with hungry artists and strange minds. Weekend Recovery, and that great name, have made strides and are putting the county on the map. Yorkshire has always been there but I feel, with the advent and rise of solo artists; it is going to be harder for the county to gain the legacy and acclaim it deserves. Weekend Recovery have their heart and spirits in the current but have a love and fondness for the past and its wonderful music. Their music is fantastic and takes my mind back to when I started falling for music. Everyone looks for something different in music. For me; I want a combination of unexpected motions and embers of the past. That is hard to concoct – but there are some artists that do that. Many join sounds together lazily; others have some promise but cannot sustain that. I feel Weekend Recovery have all the ingredients and fabrics to ensure they remain and inspire. I am not surprised to see Yorkshire produce a band like this. Their new album, which I shall mention later, contains frustration and songs about modern life; fire and spunky vocals with great riffs and relevant lyrics. I shall move on in a minute but, to end this part; a final nod to Yorkshire and why its artists are so important. There is an originality and passion that strays from the cliché and mainstream. They push boundaries and tackle new realms; they move past the worn and do something genuinely new. Weekend Recovery are another example of this. They are a superb quartet who, I think, will make some big waves in years to come.

Before I come to look at a song from their album, Get What You Came For; a talk about sounds that go low and have that undercooked aesthetic. I am not saying the music of Weekend Recovery is lacking any polish and spit but, when listening to the music, you get a sense this band want to keep their music alive and alert. I mentioned The White Stripes – and shall not bring them back too often! – but the Detroit duo were masterful when it came to the eight-track-sounding songs that packed a punch and sounded wonderfully direct. Weekend Recovery project themes of dislocation and anger in a very genuine and unpretentious way. I keep saying that word, ‘genuine’, but that is a commodity lacking in music. There is so much fakery around and plastic sounds. Artists, for one reason or the other, are not doing anything new and seem determined to get streaming figures up – rather than hit the heart and break rules. That does not apply to everyone: there are a lot of artists who understand music lovers want sounds that do something special and unexpected. Weekend Recovery put me in mind of the 1990s’ Garage rise and the great British Rock of that time. I get hints of Punk from the 1970s and modern Alternative. There is a bit of polish in the music but, above all, there is that meaty and sweat-filled sound that bursts from every note. I am interested seeing how the band progress but, as they say, they are producing their most assured and mature sounds to date. This maturity does not indicate a dampening and distillation of their primal energy. What we can hear in their album is the same brilliance as before but, this time, there is depth and nuance that was lacking.

Those musicians who forgo the shine of the modern studio are to be congratulated. Weekend Recovery have a great live-sounding dynamic and that means the material can easily translate to the stage. It is wonderful hearing artists who can put onto tape music that does something physical and evocative. Maybe my words are not forming as eloquently as they could be: the firepower and brilliance Weekend Recovery put out gets one rather excited! There is nothing to suggest they will be here for a short time. It is a competitive and busy market out there, for sure. So many artists are competing and doing their own thing. Maybe it is the fact they are from Leeds; perhaps it is the artists they were brought up on – there is something that takes them above and beyond what one normally expects. The guys have won some important ears - so it shows their music is striking the right chords. I have seen some big Rock bands come and go; there have been Garage artists who have remained for a short time – none that have really endured and made that much of an impact. The fact Radio X and BBC Introducing have noted Weekend Recovery’s strength and promise tells you all you need to know. The band is picking up acclaim which, in turn, is giving them confidence and feeding into their sounds. It is great seeing artists get acclaim and putting that on their social media feeds. It shows pride and how much great predictions means to them. It is important to recognise why people rate your music and why it means a lot to them. Reviews and plaudits alone cannot make you or ensure a long and fruitful career: it shows there is a lot of love out there and people are supporting you. The reason I wanted to raise the subject of critical acclaim and support is how (because) we need to start supporting those bands that have the promise to remain.

I have talked about how bands have seen declining stock; their wonder and appeal is not as strong as it was years ago. Every time I encounter a band that has a list of high-profile sources in their corner; it lets me think they have the promise to remain in music and change the game. One cannot underestimate and ignore areas like Radio X and BBC Introducing and what their kudos proves. Weekend Recovery are turning heads and, with every listen, getting stronger and more assured. I hope the Leeds band continue to record albums and keep their spirits high. Get What You Came For is a wonderful album that is already picking up positive reviews and support – despite the fact it is released today. The band will get more respect and attention the next few days: it is going to be a busy and productive year for them. They have a release-show in Camden later – Camden Rocks Presents, in fact. It is a gig that will bring their new sounds to the capital; it will get them fresh support and add to that tally of impassioned praise. The band have played in big London venues and gained local support in Yorkshire. I will end the review by predicting where they will go and how far they can reach. The acclaim accrued so far means people recognise the brilliance of the band and the fact they are doing something new. Everything they do goes beyond the predictable and tired. 2018 will be the best year for the Yorkshire band to date. Not only is an album out; they will play some big shows and, as festivals start; that gives them the opportunity to get to large crowds and bring their explosive music to the masses. I will end things here but I hope I have managed to represent all the best sides and facets of Weekend Recovery. They are working in a busy market and will take a few more years before they reach the mainstream. Right now, things are heading in the right direction and people are reacting.

The opening has spirit and step but does not get too carried away. It is a rousing and punchy beginning that gets the feet moving and the fists tightened. Oh Jenny has that acceleration and energy but never explodes or gets too far ahead of itself. The band show how tight they are from the very first notes. Lori steps up to the microphone and gets her words out. Whether she is speaking about herself or another figure; subjects of loneliness and being left aside are in there. She asks – a subject or us – whether you have been left alone and know that feeling. I can hear the emotion crack in the vocal; the urgent need for answers and a demand for answers. The heroine does not mind if she is sitting (with the heroine) or miles apart – something oblique and mysterious comes out. The chorus bursts and there is a definite chant. The heroine questions Jenny and asks what she is doing; pointing a figure and giving her a dressing down. Maybe Jenny is a subject who has alienated her friends and lost her edge; maybe she has burnt bridges and is calling people out. It is hard to see whether the subject is a once-popular idol who has fallen from grace – or a cursed human that has caused damage and problems for the heroine. It is interesting speculating as the words pour out. The chorus, as said, is a big and emphatic thing. The guitars, bass and drums bristle and slam; the vocals get more active and spirited – a primed and ready charge that gets right under the skin! The band have always been great at crafting great choruses and instant hooks: this comes through emphatically in a song like Oh Jenny. Some of the words get buried in the mix – it can be difficult hearing some of what is being sung. It is not a surprise to hear that considering how uncluttered the production is. In order to project that Punk/Garage mood; the production and recording is fairly basic.

It is not really a problem some of the words get buried and overlooked: the sensation and energy override any issues with clarity and decipherability. There is death behind the eyes and a sense of patronisation. It seems Jenny is a figure that does not really care for anyone and seems to have a problem with the heroine. She has an agenda and is only looking out for herself. The anger from Lori suggests she has endured a lot of crap from Jenny. The vocals get bolder and striking towards the end. They come to the fore and are sharpened as the words reign and register. The band thrashes and creates a fantastic sound behind their lead. The ill-fated and accused subject is being labelled, poked and levelled. What strikes me is how the song manages to mutate and change directions without losing focus. The vocal comes from an under-produced background to an up-front thing; the composition changes course and the lyrics shift slightly. It all hangs together brilliant and the band never lose their step along the way! Few have the confidence and ability to create a song that covers so much ground and gets straight into the heart. It is less than three minutes in length yet creates a huge hit and stays in the mind. One can hear shades of singers like Chrissie Hynde and the legends of old – there is freshness and originality in there, too. Other tracks on Get What You Came For have a similar tune but, to my mind, do not have quite the same brilliance. Oh Jenny stands aside because it mixes the personal with universal. We all know a person who puts themselves first and does not really care for anybody else. If you have not heard Weekend Recovery and what they are all about – Oh Jenny is a brilliant start and perfect encapsulation of what they are all about.

Get What You Came For is out and, whilst I have not reviewed the entire album; it is a work that needs to be heard and celebrated. The ten-track record is a sumptuous and busy collection of songs that takes in various themes and inspirations. There is an abiding sense of anger and need for change. Songs like Why Don’t You Love Me? and Turn It Up are among the most urgent and instant songs the band have come up with. I wanted to concentrate on Oh Jenny because it struck me hardest and brings together all the strands and sides of Weekend Recovery. It is brilliant finding a band who can put together a tight artist that has so much passion and difference. There is that single, concrete sound: songs do not remain rigid and stick on the same course. Themes differ and there are fascinating little angles in each cut. The band's performances are uniformly excellent and professional. The production allows the raw Garage-Rock sound to mix with something a little bigger and bolder. What you get in Get What You Came For is a band vibing and creating some of their finest material. I wonder where they can head from here?! They play London today but, going forward, there is a lot of potential for the Leeds group. The country is huge and there are so many great venues they could play. I wonder how many of Leeds’ established spots they have already charmed. They could head to Sheffield and York; play over in Doncaster; get themselves to Wakefield and Bradford. I feel the North is a market that more artists should take advantage of. I feel Weekend Recovery could do well in Manchester and enjoy some success over there. The guys have a sound that could do really well over there. That will be in the minds of the band but, as they launch their new L.P.; many ears and eyes will come their way. I hope there are more London dates among their plans – so I can see them play and see what the fuss is all about.

I will end this by urging people to seek out and investigate Get What You Came For and get involved with every song. There are few that have the same power and potency as the Leeds band – many others band could learn from them. It is a packed and loud music scene where it can be hard to stand out and get your stuff heard. I have every faith Weekend Recovery will cure the hangover in music and ensure bands get more of a say. I am glad solo artists are finding favour but, for the past few years; there have been fewer standing out and remaining in the memory. I feel the new breed is the most promising when it comes to long-term success and invention. It has been a long time since I have really got behind the band market and seen something fresh. Newcomers like The Orielles are sparring with established greats like Field Music – there are plenty out there that give me reason for hope and excitement. There is still the reliance on solo acts, and so, it is wonderful Weekend Recovery are making strides. Get What You Came For shows the Yorkshire clan are on a mission right now. It has been a while, also, since Garage-Rock and Punk has got into my thoughts. There are some brilliant newcomers around but, for the most part, Rock and Alternative are favoured. Get involved with Weekend Recovery and take a listen to their new album. Try and see them play and understand why some huge names are throwing their weight behind them. In a year where the best solo artists will get most of the focus: celebrating wonderful new bands is really important. The intrepid and incredible Yorkshire band will be a familiar and stadium-ready proposition…

BEFORE too long.

 

_______

Follow Weekend Recovery

Official:

http://www.weekendrecovery.co.uk/

Facebook:

https://www.facebook.com/weekendrecoverymusic/

BandCamp:

https://weekendrecoveryofficial.bandcamp.com/

Twitter:

https://twitter.com/weekendrecmusic

Spotify:

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

YouTube:

https://www.youtube.com/channel/UClfw-KMCuoVBIthvKBx4OQg

SoundCloud:

https://soundcloud.com/weekendrecovery

INTERVIEW: Annie Taylor

INTERVIEW:

Annie Taylor

_______

THIS is not the first time I have…

encountered and featured the Swiss band, Annie Taylor. Even though they are without a Twitter account – I am going tough on artists without one! – I was interesting seeing what Teach Me Rock ‘n’ Roll, their new single, was all about. I learn more about their next moves and what the music scene is like in Switzerland; the artists/albums that have inspired them – and whether they will come to the U.K. this year.

I was eager to discover how the band came together and which new artists we should keep an eye out for; how they view their (busy) 2017 – and what they can tell us regards future music. Band member Gini picks up the questions - and reveals the inner-workings of Annie Taylor...

______

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

Hey, Sam! We are tired, but happy, and driving back to Switzerland right now. Yesterday evening, we played at Lady*fest in Saarbrücken (Germany) which was a lot of fun - but also combined with a lot of shark-blood shots! Anyway; it was a pretty exciting week for us - with a lot of girl power! We played at OOAM festival with our besties Las Robertas (Croatia); Japanese band, Tsu Shi Ma Mi Re and the Swiss band, Mama Jefferson.

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

Psychedelic, Grunge-Pop, baby!

Teach Me Rock ‘n’ Roll is your new song. What is the story behind it?

This song is an homage to people who influenced or impressed me in a way. It’s pure admiration for being who you are and being proud and celebrating it. Personally, I think this is the true Rock ‘n’ Roll attitude.

Will there be more music coming along this year – an E.P., perhaps? 

Since we started to play shows last March, we were really busy with playing live. There is an E.P. planned for this year but it’s hard to estimate the releasing date. There will be a first recording session this spring, though.

How did Annie Taylor come to be? How did you all find one another?

Cyril and I met on a plane when we both were kids. For, like, fifteen years we didn’t know or even talked to each other! But, somehow, we started to be social media friends when we met as kids. Out of the blue, Cyril contacted me in 2016 and was asking about making music sometime. This is how it all started. We got along really well - and Adrian was playing drums in our living-room. Soon after this terrible first session; I convinced a good friend of mine, and actual bass player, Michael to give it a try - and he ended up being our bassist. Unfortunately, just after forming the band our drummer, Adrian, moved to London.

We are very happy now - playing our shows with the really awesome, big-hearted guy called Dimos.

2017 was a huge year for the band. Did you expect the sort of opportunities and feedback you received?! How crazy is it looking back?!

We are very grateful for all the opportunities we got in the first year playing together! Basically, all we wanted was to play music and, sometimes, a show. If there are people coming to our shows and liking to our music - this the best feedback which we could get! There are also a few really exciting things coming up for us this year.

Which musicians inspired you all? Were your childhoods quite musical?

I remember, exactly, the moment when I knew I had to become a musician! A few years ago, I went to one of my favorite band‘s (Wolf Alice) shows and it hit me like no other concert ever before. I knew I really wanted to be their support band one day - and that was what made me pick up my guitar again. I played guitar before, but most of the times I was making children‘s songs for adults and playing them just for myself. Dimos had a similar experience: he started to play drums because of the drummer on The Muppet Show!

Zurich is where the band is based. What brought you all there? Is it quite an active scene?

This is our hometown - which spoils us every day! We are very lucky having a few really awesome venues like Mascotte Zurich or Gonzo in town. They have amazing bookings; bringing bands such as  The Black Angels, Hinds and Death Valley Girls into town.

Who are the new artists you recommend we check out?

A few days ago I saw, for the first, time Thu Shi Ma Mi Re, who played like there was no tomorrow! So, if you’re not under their spell now you should definitely check them out! They also have a really funny video clip (called something in Japanese) which I have no clue what it means.

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

We all have a very mixed taste in music but, somehow, we find a common wave to play at. Lou Reed’s Transformer is an album who inspires Cyril almost every day. Cyril is super-into analogue recording and, of course, he loves the way the album was recorded.

Bassist Michael’s favourite album of all time is Motörhead. He admires Lemmy a lot.

Dimo’s pick is Elder by Lore. He loves how the drums are recorded and how the whole album takes you on an epic journey.

My favorite album at the moment is Wolf Alice‘s new masterpiece, Visions of a Life. Just by writing down the name of the album, my heart starts to beat a little bit faster. The songs are so diverse and incredibly sensitive and smart. Their song, Sadboy, makes me feel every possible feeling. That’s awesome!

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

Yesss! In March we’re going on a fifteen-day Euro-tour which is ending in Zurich (together with L.A Witch). Basically, we will play in Italy, France and the French part of Switzerland.

Do you think you’ll hit the U.K. at some point in time?

Hopefully soon but, since we are working on an E.P., there are no plans for going to the U.K. yet.

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

Since we had a lot of fun the past year, we are hoping for a lot more fun evenings filled with good music and new friends! There is a lot more to learn in playing music together - so I’m curious what is waiting for us.

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).

Wolf Alice - Sadboy

_______

Follow Annie Taylor

Facebook:

https://www.facebook.com/annietaylorband/

SoundCloud:

https://soundcloud.com/annietaylorband

Instagram:

https://www.instagram.com/annietaylorband/

BandCamp:

https://annietaylor.bandcamp.com/

Spotify:

https://open.spotify.com/artist/3oR0fg4OcsTKOjVY17u1e0

YouTube:

https://www.youtube.com/channel/UCiDZn25GaaIV6-Zu_uekMFw

INTERVIEW: Ebru Ellis

INTERVIEW:

 Ebru Ellis

_______

SHE is a vibrant and restless artist putting out…

some incredible music right now. Ebru Ellis talks me through her latest single, Blocks, and how it came together. I ask whether there is more material coming; what it was like working with Nathaniel & Nait on her new cut; what it was like, in fact, working with Sam Smith and Craig David; the artists who have inspired her to make music – whether she has any tour plans for the coming months.

Ellis discusses her role in the London Community Gospel Choir and how early music came into her life; some new artists that are striking her ear; the three albums that are most important to her – and some personal goals she hopes to achieve before the end of 2018.

______

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

I’m really good, thank you…

Ok. So, my week has been a mixture of trying to get back into the U.K. time-zone after coming back from my trip to Las Vegas (which was amazing!); getting to grips with requests regarding a Blocks music campaign - whilst preparing to start rehearsals for a live performance U.K. radio promo tour.

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

Hi, everyone! My name is Ebru Ellis and I am a singer/songwriter from London who has a love and passion for music and people. Oh, and food: can’t forget my love for food!

Blocks is your new single. Tell us about the story behind that track...

Blocks is really (just) a song of encouragement for anyone who has had or about to face setbacks while pursuing their dreams. It’s about not allowing other people or situations determine what your identity should be and whether you are good enough or not. Self-belief is really important - as that will be the fuel to help you overcome any kind of negativity or delays.

It is a powerful and restless song. It sounds like it is destined for success! Did you know, when listening to it back, it would sound so urgent and fresh?!

Thank you! I didn’t really focus on how it would sound during the creative process until I poured my heart and soul into it - and then listened back to it only to realise how happy I was with it. You have to allow the creative process to take place - otherwise, planning for it to sound a certain way can make the song become too mechanical; lack transparency and emotion.

What was it like working alongside Nathaniel & Nait on the track?

Being friends with my management’s production company; it made the process of working with them absolutely organic. They are so amazing and gifted. I’ve never worked with a team before where we clicked from the get-go - and there was so much chemistry. I felt free to be myself to show great ideas and the crap ones too and I think that is really important when writing songs.

They understood me as an artist and, as a result, we wrote my E.P. in four days.

Has it been tricky transitioning from (providing) backing for the likes of Craig David and Sam Smith to stepping out alone?

Not at all! Working with such incredible artists gave me an insight into the life (of what it takes) to work hard and focus to make it. It also gave me a better understanding of what it is like being a female in the industry.

What were those experiences like? Was it pretty daunting singing alongside such big names?

No. I didn’t find it daunting in the slightest. I was super-excited and grateful to be given those opportunities. Every little experience helps you grow in your craft: it looks great on your biography and people have more respect for you.

You are an honorary member of the London Community Gospel Choir. Have you sung alongside them? How does it feel to have that honour?

I’ve loved the London Community Gospel Choir since I was seventeen-years-old and they’re like my singing family and friends. It is an absolute honour to sing with them when I get the call. The standard is high so, to get in, you’ve got to be on your ‘A’-game. They are all so incredibly talented - and it always stretches me vocally because they sure do not hold back!

Will there be more music coming? Can we expect an E.P.?

Oh, for sure! My E.P. will be out this year and I cannot wait for everyone to hear it! There are some real banging tunes on there - that are songs straight from the heart - and at least one song that everyone can relate to, and own, as their anthem.

Are there particular musicians who inspired you growing up? How early did music come into your life?

I grew up listening to the likes of Destiny’s Child, Whitney Houston; Mariah Carey, Celine Dion; Jill Scott, Aretha Franklin…and the list can go on. Top of the Pops was my favourite show for hearing new music and discovering artists! I would get £1 a day as pocket money for school and, instead of spending it on penny sweets like other kids, on some days I would save it and buy singles - which were on cassette at the time for 99p!

Although I don’t remember when I started; I just know that, on a daily basis, it became such a big part of my world. I would sing getting ready for school; I sang on the way to school, I would sing in class and, obviously, sing when I got home - to the point where every day my parents would shout up to my room: “Ebru; that’s enough now!”.

So, maybe I came out of the womb singing instead of crying. I must ask my mum! L.O.L.

IN THIS PHOTO: Sincerely Wilson

Who are the new artists you recommend we check out?

You have to keep an eye on the likes of Sincerely Wilson - who recently sang alongside Wretch 32 - and has such a smooth, sultry voice (and his range is ridiculous!). You can check him out on YouTube. You will also love Ricardo Williams if you love real R&B. His new single is currently being played on Radio 1xtra. His vocals will make you pull some ugly faces - and get you all up in your feelings!

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

Destiny’s Child – The Writing’s on the Wall

This album helped mould my love for R&B music - and I loved how the whole album told a story!  

Spice Girls – Spice

This album helped me in search of my identity as a young girl and assured me that it was okay to be myself…and that diversity is a beautiful thing.

Christina Aguilera – Christina Aguilera

This album meant the world to me because Genie in a Bottle was the first song I ever sang as a solo artist (when I was thirteen-years-old). I saved up my money to buy this album and cannot tell you (the amount of) times I played it over and over again. Her vocals stretched me to another level!

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

At the moment, I’m in preparation with my band for a promo tour up and down the U.K. - specifically for radio. However, I will definitely be doing shows later on this year as I am already in the process of rehearsing with a live band. I will be sure to post dates, once confirmed, on my social media (so keep your eyes peeled!).

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

Well. Being a proud female British artist; I hope to achieve lots of success and acceptance with the release of my style of music. I would love to see development and growth of my fan-base - even more so this year. I hope my songs will personally inspire and influence others that might have, or about to face, setbacks in life. I’d also love to tour in quite a few countries and engage with people from cultures around the world.

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

Most of my favourite memories are usually made in the studio! Firstly, that’s where I discovered my true love for coffee - because I needed something to keep me awake during the fourteen-hour writing and recording sessions! L’OR is a great choice for instant coffee by the way - and I’ve discovered the trick to making a microwave coffee taste like coffee-shop coffee. After you add the milk to the coffee; microwave it for a minute so that when you add the water: it gives you a nice froth on the top.

Sshh…don’t tell anyone - and you can thank me later! Haha.

On a serious note, though; one time I was losing my voice in the studio after recording so much and I was feeling insecure about hitting a high note. I prayed that my voice would recover quickly. I decided to relax for a few moments and start again and it was one of the best emotional performances I have ever given in a song!

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).

H.E.R. - Best Part (ft. Daniel Caesar)

I absolutely love this song because the music is so stripped back that you can really hear the emotions in the vocals. I don’t know how, but it makes me feel like I’m in love (even though I’m not yet) every time I listen to it! Now that is what you call the power of music!

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Follow Ebru Ellis

Facebook:

https://www.facebook.com/EbruEllisMusic/

Twitter:

https://twitter.com/ebruellis

SoundCloud:

https://soundcloud.com/ebruellis

Instagram:

https://www.instagram.com/ebruellis/

Spotify:

https://open.spotify.com/artist/48cPcmBKvlgAqIuX357tJe

YouTube:

https://www.youtube.com/channel/UCRglbmZwBPx2VGq3TA4WYRQ

INTERVIEW: CROATIA

INTERVIEW:

CROATIA

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THE sheer breadth and range of Canadian artists available…

on the market keeps me pretty busy! CROATIA’s Matt and Justin tell me whether there is a story behind that name; what it is like playing music around British Columbia; what they have planned for the coming months; how the quartet all came together – I ask them about their new track, Make Circles. The guys talk about their upbringings and the albums/artists that compel them; if we will see them come to Britain – and whether there are any new artists worth a closer examination.

I was eager to know more about their current E.P., Half Dreams; what they hope to achieve this year; if there is any advice they would give to upcoming artists – what it was like working with Rob Willey on their latest video.

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

Justin: Busy, busy, busy! We had our single release-show recently - which was the biggest local show we’ve ever put on. Now, I’m leaving the country for New Zealand (sorry, guys).

Matt: We’re kind of glad Justin is leaving for a month so we can hit our studio and write some new music while he is gone - he’s going to have a lot of lyrics and vocals to write when he’s back! It’s really important for us to take short breaks and re-focus solely on songwriting. Shows are great, but we have a hard time being creative while rehearsing.

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

Justin: We’re CROATIA. We play dark Synth-Pop. We’re from Victoria (British Columbia), Canada. We all love the name ‘Dave’.

Make Circles is your new track. What is the story behind the song?

I kept finding myself in these terribly cliché romantic situations over the course of a few months - that I didn’t foresee at all. The song is, basically, about being completely weirded-out, excited; terrified and (just) entertained about the whole thing all at once.

What was it like working on its video with Rob Willey (and Tall Grass Films)? How come you selected him to visualise your latest single?

We were really flip-flopping on what song of ours we would release as the first single off of our E.P. - and which one we would be able to pull off in a straightforward and appealing way with a video, given our timeline. We had heard good things about Rob from other artists - who had worked with him in Victoria – and, upon contacting him with about a month-timeline; he not only made himself available but was genuinely excited to work on the video idea with us.

He’s a Rockstar.

Make Circles is taken from the E.P., Half Dreams. Are there particular themes and inspirations that forged the songs?

Not at first. But, as soon as we decided on the songs to be released, I’d say a few themes popped up: a general feeling of achieving a lot of personal and artistic goals WHILE simultaneously questioning your entire life course is the main theme overall I’d say.

You are from British Columbia but are named ‘CROATIA’. How come you went with that band-name?

Matt: I’m part-Croatian; so I was always convincing my friends to check out all these crazy Croatian athletes who aren’t overly-professional but always seem to win things. I’m a big fan of Croatian MMA guys like Stipe and Cro-Cop; so the country of Croatia was always an inside joke. Eventually, we just kept saying the word so much that it birthed some new strange meaning - and we decided to use it as our band-name. It’s a beautiful word: it has more vowels than consonants. It’s also a beautiful country so, hopefully, we will get to play some shows there one day!

Is it quite a busy and active scene in Victoria (British Columbia)? What sort of sounds are coming from there?

Justin: Yeah! Victoria has quietly become one of the epicentres of music and art on Canada’s West Coast over time. So, so, so many bands across genres and styles are popping up all of the time. We also have a pretty diverse amount of promoters covering different levels of musicianship and fame which brings a lot of interesting music to town, despite us being on an island. Some of our favorite bands from Victoria that are worth checking out are Bridal Party, Diamond Cafe; Bodies, Smash Boom Pow; Layton Kramer, Peach Pyramid; Peach Pit, ACTORS; Douse, Art d’Ecco (and bands like that).

Did you each grow up in musical households? Which artists came to your ears at an early age?

I grew up playing piano at an early age - but wasn’t from a particularly musical family. I did grow up with a TONNE of 1980s Pop and Rock as a kid, though, thanks to my dad. I was also obsessed with Pop music when I was younger - when music video culture was so rampant. I think that definitely swayed my music tastes. Primarily, I find myself influenced by Soul, R&B and Post-Punk.

Matt: Steve (Synths/Programming) and I grew up in families that were constantly listening to music - so that really helped. But, overall, none of us has serious musicians in the family. Our friends and families are really supportive, thankfully.

IN THIS PHOTO: Close Talker/PHOTO CREDIT: Rachel Pick

Who are the new artists you recommend we check out?

Justin: Close Talker from Saskatoon (Canada) are an absolutely phenomenal Indie band with one of the best live shows I’ve ever seen. Been playing their latest record, Lens, on-repeat. Charlotte Day Wilson (Toronto) has also been a constant for me, lately. Seriously; some of the most inspiring R&B out at the moment...

Matt: Diamond Cafe from Victoria BC. This dude is the real deal! Search for 'It’s Been a Mess Without You'.

IN THIS PHOTO: Diamond Cafe

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

Justin: The Mars Volta - Deloused in the Comotorium

When you’re an angst-filled teenager there is enough heartbreak, hooks; meaning, musical genius and aggression to get you through just fine. Also; I’ll never be able to release anything that complicated ever for fear of losing my mind.

Matt: Frank Ocean - Blond

I grew up listening to bands - and not many modern solo artists. Sometimes, the personal message can get lost in a band setting as four people compete to share their message. Blond was the most personal and intimate album I’ve ever heard: I feel like I know everything about Frank Ocean’s life after listening; despite the fact that he’s a very quiet guy. The production and musicianship are unreal as well.

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

Justin: We will be announcing a few Western Canadian dates fairly soon! Follow us or something...

Do you think CROATIA will come to the U.K.? Might we see you at some point?

Definitely! Nothing in the plans as of yet but that would be incredible. Honestly, the U.K and the rest of Europe are looking a lot more feasible as tour stops for us than our neighbours to the South at the moment. Haha.

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

Personally, I just want to write the best material I can and stay inspired. We’re always pushing ourselves and keeping each other in line when it comes to ideas, lyrics etc. (That may not be the best we can come up with). It’s nice to write with people who aren’t afraid to say how sh*tty they think a certain chorus or melody is. Haha.

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

I played a Punk house show a few years ago in this hilarious Punk ‘mansion’; complete with pillow fight mosh-pit, ten ripped-up couches in various spots to sleep on; giant beer bottle slingshot aiming into various yards…and a nineteen-year-old popping a champagne cork into their eye right as midnight struck.

Professionally-speaking; probably the festival spots I’ve played but, personally…that night, without question.

What advice would you give to new artists coming through?

Just don’t stop making your music or art in general. I’ve thought of giving up music so many times in the past for various reasons, but couldn’t imagine if I actually did. There are a-thousand highs for every low: there are a lot of lows starting out. Haha.

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).

Close Talker - Waking Up

Matt: Diamond Cafe - It’s Been a Mess (Without You)

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Follow CROATIA

Facebook:

https://www.facebook.com/Croatiamusic/

Twitter:

https://twitter.com/CROATIA_band

SoundCloud:

https://soundcloud.com/croatiamusic

Instagram:

https://www.instagram.com/croatiaband/

Spotify:

https://open.spotify.com/album/7xcRJ4SrZDx3VRvTuscKgl?si=J7bXmrA8R7yLwCF-pYzzgA

YouTube:

https://www.youtube.com/channel/UC47fJK1rmH4smevhN84vXHA