INTERVIEW: Waiting for Smith

INTERVIEW:

Waiting for Smith

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THAT name alone was compelling enough for me…

to investigate Waiting for Smith and discover the facts and figures. Harry (the man behind the moniker) explains that name and details of the new single, Monkeys in My Head. I ask whether there is more material coming; what tour dates are approaching; how he met the band he plays with on the road – which artists compelled him at a young age.

Harry shares a precious memory with me; he recommends a load of great new artists; I ask whether Oxfordshire, where he and the band play, is a good spot to create and perform; whether there are any goals in his mind for the remainder of this year – Harry ends the interview with an awesome tune suggestion.

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

Very good. Just been recording at Abbey Road Studios.

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

It’d be a pleasure. I’m Harry: A.K.A. Waiting for Smith. In terms of my own music taste; I listen to pretty much everything. Sometimes, I’ll wake up and stick on a bit of Oscar Peterson or Ray Charles; at lunch, maybe, I’ll play A Tribe Called Quest and spend the evening listening to Steely Dan or Dire Straits. I’m interested in variety and I want to reflect this in my own music.

I’m currently playing live with Carl (Bass), Tim (Drums); Molly & Rosie (Backing Vocals).

Can I ask whether there is a story behind the name, ‘Waiting for Smith’?

The first incarnation of the group was started with an old school friend, Danny, who has another band now called Self Help. We were always struggling to find a drummer. Eventually, we started rehearsing with a guy called Smith who just never seemed to show up.

We’re still waiting…

Monkeys in My Head is the new song. What is the tale behind that one?

At a very young age, I was introduced to the idea that your emotions are separate from yourself: they seemed to arrive like a storm and leave as quickly as they came. We all have a voice in our head if you think about it. It can feel like our own twenty-four-hour radio station of anger, anxiety and fear - all seemingly trying to prevent us, by any means necessary, from fulfilling our potential.

The trick I was taught (was) when negative emotions swept over me (as they do all of us) was to imagine the voice as an actual monkey that lives in my head.

The song is about not letting my monkey get a grip on me, with its endless instructions, or yelling at it to leave me alone (as I once did). Instead, I like to tuck it up in its cosy bed with some cartoons and a Manuka honey sandwich…the little bastard.

The song is taken from your forthcoming E.P. Are there particular stories and incidents that compelled the song?

Yes. I was taking some time out in Cornwall a few summers ago and spending a lot of time in my head. It sort of (just) came out nearly all once at about 10:25 in the morning…and then I had a cup of tea.

Was the E.P. recorded at Challow Park? Is this a space you feel comfortable in?

It was, yeah - with my good friend Will, who has a background in live sound engineering. I’ve stayed at the studio - and practically been living there for the last year.

Harry. I believe you broke your back skiing – and recorded music whilst recovering. Is that how the band met? When did you guys all get together?

Yes. I used to be a ski Instructor in the French Alps until I broke my back avalanche training. It was all pretty extreme, but a part of me felt strangely relieved - it was the right time for a big change and, although the circumstances weren’t ideal; I quickly came to release that this disaster might well be an opportunity in disguise…

What is Oxfordshire like for a musician? Is it a good place for your music to grow and develop?

It’s a perfect place to begin if you’re looking to find a fan base and play a lot of little gigs. It’s produced lots of great bands like Bombay Bicycle Club, Radiohead; Supergrass and The Foals - because there is a network in place for musicians; plenty of bands and they genuinely seem to want to help each other out.

I’ve heard it’s a rubbish place to tour through, though, if you’re not local: it’s, apparently, hard to draw a crowd.

Which artists are you inspired by? Do you take more influence from older or new musicians?

Influences include J.J. Cale, The Kinks; Dire Straits, Nick Drake; Mozart, Billy Joel; A Tribe Called Quest, Leonard Cohen and Thelonious Monk.

More recently: The National, Johnny Flynn and Vulfpeck...

 IN THIS PHOTO: Kaleo

Who are the new artists you recommend we check out?

At the moment, I’d say, for a nice variety of stuff:

Check out Rex Orange County - just because he’s got something very special. Kaleo for new American Rock music from Iceland; the song, Notice Me, by SPINN - if you like The Cure and miss that they’re not around. Try Set Sail (Blank Kids) by Sticky for the sheer energy of youth - you’ll find it on YouTube. Gus Dapperton, if you like a good haircut and your music with a little groove.

Hollow Coves, if you like beautiful clean acoustic harmonies; Tom Misch and Loyle Carner for some laid-back Hip-Hop. Wild Cherry for acoustic duets. JAIN (Makeba) for incredible innovation. Mia Gladstone for a seriously delicious vocal. PaulWetz’s song Moonlight for some sexy Dance music - it kicks in at 00:31. Declan McKenna for young talent with plenty of glitter and, finally, Flyte:  I know the frontman, Will, and they do some wonderful four-part harmonies.

IN THIS PHOTO: JAIN

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

I remember, when I learnt to drive, my first car was really old and only had a tape player. No one used tapes anymore - but my dad had a large box of them in the attic. I randomly picked The Kinks (Greatest Hits) who I knew and J.J. Cale (Really) - who was new to me. I listened to it on-repeat for about a year whilst smoking cigarettes in my little Ford Fiesta with the windows rolled down.

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

We’re waiting to hear back from some festivals and have a quiet next month - because we’re back in the studio but for the moment…

7th March - The Hatter, Oxford

16th March - The George Tavern, London

27th April – 93 Feet East, London

2nd June – 229 Club, London

2nd August – Wilderness Festival

But (just) check the website for more info.

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

Record an album of songs, do plenty of gigs; call my grandmother more and learn Dutch.

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

I used to do a bit of orchestral contracting work (booking players for sessions) and one of the girls I worked with was obsessed with the Lion King. We were doing a massive session at Abbey Road recording film music - a whole orchestra including string section, choir; horns, timpani; you know…the whole lot. Anyway; this girl walked into the middle of the orchestra to collect some forms from the conductor - after being instructed to do so by the boss...

They said: “Stay there, please, we’re doing a take”. So; she stood still and, to her amazement, they started playing Circle of Life – the theme from the movie. You could see her first recognise the tune, then smile and then just weep with uncontrolled joy - but still having to contain herself from making a noise so as to not ruin the take. She surrounded by about one-hundred-and-twenty players and singers - and what she didn’t know was that they were playing it just for her, as a surprise!

It was one of the most moving things I’ve ever witnessed in music.

What advice would you give to new artists coming through?

I’m still learning myself - but here are a few things that have helped me...

Sing in a range where it feels comfortable - and spend the time finding your unique voice.

Pursue the style of music that you feel is right for you - but don’t get too hung up on style.

Listen to your instinct; not what your friends are saying - and don’t talk to strangers.

Most importantly: try not to take everything so seriously.

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).

Rock Steady by Aretha Franklin

It’s such a great groove and the moves are outrageous!

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Follow Waiting for Smith

Official:

https://www.waitingforsmith.co.uk/

Facebook:

https://www.facebook.com/waitingforsmith/

Twitter:

https://twitter.com/WaitingForSmith

SoundCloud:

https://soundcloud.com/waiting-for-smith

Instagram:

https://www.instagram.com/waitingforsmith/

Spotify:

https://open.spotify.com/artist/57oieIojgviKMyTtzG4kn2

ALL BLACK-AND-WHITE IMAGES OF WAITING FOR SMITH:

Sequoia Ziff (@oneseq)

COLOUR SHOT:

Gary Stafford Photography (@Garystaffordphoto)

FEATURE: The February Playlist: Vol.4: The Way You Make Me Feel

FEATURE:

 

The February Playlist

 IN THIS PHOTO: Janelle Monáe 

Vol.4: The Way You Make Me Feel

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FEW people expected a new Janelle Monáe track…

IN THIS PHOTO: Father John Misty

to arrive this week. She brings us not one but two new slices: Make Me Feel and Django Jane show she is in mighty fine form! There are new offerings from Father John Misty, Alexandra Burke; Superorganism and The Magic Numbers. Aside from all the big-name songs are lesser-known/minor gems nestling alongside – another varied and special week for music. Cabbage, Pale Waves and Editors are among the other artists that bring us some treats for the ears.

As the weather gets colder and more unsure: a packed and energetic playlist to get the blood and body warmed!

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

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PHOTO CREDIT: Emma Tillman

Father John Misty – Mr. Tillman

Alexandra Burke – Shadow

Billy Lockett – Empty House

Janelle Monáe – Make Me Feel

Mel & Kim – Where Is Love

The Magic Numbers – Sweet Divide

Sigala (ft. Paloma Faith) – Lullaby

RAYE (ft. Mabel and Stefflon Don) – Cigarette

Lo Moon – Wonderful Life

PHOTO CREDIT: Rahi Rezvani

Editors – Hallelujah (So Low)

Frank Turner – Be More Kind

PJ Harvey and Harry Escott - An Acre of Land

Jordan Rakei - Eye to Eye

Vance Joy – Take Your Time

Superorganism – Reflections on the Screen

Pale Waves – Heavenly

Cabbage - Arms of Pleonexia

Let's Eat Grandma - Hot Pink

PHOTO CREDIT: Shervin Laine

Jukebox the Ghost - Everybody's Lonely

Little Dragon - Sway Daisy

Submotion Orchestra – Variations

YUNGBLUD - Polygraph Eyes 

Louis Berry – Stumbling

Elliot Root - Wicked Lies

Poppy Ajudha – Where Did I Go?

The Aces – Lovin’ Is Bible

Twin Shadow (ft. HAIM) – Saturdays

Boniface – Phantom Limbs

The Breeders - Nervous Mary 

PHOTO CREDIT: Martin Barker

The Ninth Wave – New Kind of Ego

Imagine Dragons – Next to Me

Jazz Morley - Me and My Mind

isaac gracie – last words

Confidence Man – Don’t You Know I’m in a Band

Nadine Coyle - Gossip

Ruby Francis – Drip Drop

PHOTO CREDIT: Jake Clifford

Thunderpussy – Gentle Frame

The Vegan Leather – I Take American

TRACK REVIEW: Darlingside - Old Friend

TRACK REVIEW:

 

Darlingside

Old Friend

9.6/10

Old Friend is available via:

https://soundcloud.com/darlingside/old-friend-1

GENRES:

Indie; Folk

ORIGIN:

Massachusetts, U.S.A.

The album, Extralife, is available here:

https://open.spotify.com/artist/3DkhgIw7lIyxekurpXNTrm

RELEASE DATE:

23rd February, 2018

LABELS:

More Doug/Thirty Tigers

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IT has been a while since I have featured…

a band on this area of the blog. I will talk about Darlingside very soon but, before then, a few points that seem relevant to them. They have a great and memorable name; a brilliant portfolio and a connection that seems to lift their music to the masses. They are an Indie/Folk band – which makes me think about the genres and what is happening on that side of music. I also want to look at Boston and Massachusetts-made music; how a new album can elevate spirits and take an artist to new heights. I will talk about the band market in general and, to end, a bit about U.K./U.S. bonds and how an international fanbase is vital at this time. I also want to look at song influence but, before I get there; I will speak about the way Darlingside operate and promote their music. I have used a few images in this piece – from the past couple of years – but it seems the band is due another photoshoot. That is not a shot at them – ironically – but a declaration of intent. They have a great look and bond; they are a wonderful group that has been around for a little while now. The guys have some biography out there and one can investigate who they are and where they came from. Their official website is great and they have tour dates up and all the latest releases. I will look at their new album, Extralife, soon but, right now, a chat about websites and social media spread. I have grown a bit weary regards artists who do not put a lot online and neglect that side of things. It is important getting the music nailed and out there but, in this day and age, imagery and looks are crucial. It is part of the machinery and shows the full range and look of an artist. If you have little information or few photos; it is not going to look good for those who want to know more.

I have seen plenty of acts who do consider everything but, as the market gets more competitive and busy; no artist has an excuse for neglecting any side of music. You need to be aware of what is happening and what the market needs. I feel bands like Darlingside are setting an example others should follow. Even though a post-album photoshoot would get them some more requests and coverage: they are pretty solid right now and have a great outlay. Every new fan can see what drives them and where their music came from; where they want to go and what drives them. Music is not only about listening and digesting music. The modern musician is a complete package and, because of that, every angle needs to be considered. As I said; I have seen too many artists who overlook the simple aspects of their online visibility. I will move on from this part but, before then, a nod to Darlingside and how they work. They have considered their social media channels and making their music as prominent as they can. There are great photos and snippets; one is informed of their every move and, for those who want to follow them long-term; they ensure there is an ample package out there. This is becoming rare: so many new artists feel music alone is good enough. I long for artists who think about every aspect and have that professional look. The band intrigues me for all sorts of other reasons. Their name is compelling and, almost, poetic; their sound incredible and tight – which I shall talk about – and their motivation and ambition incredible. All of this comes to the fore when you follow their plight online. I have followed them on social media and I am always stunned by their passion and openness. It is a great thing to see at a time when so many are ignoring simple considerations like this.

Their sound, though, is quite hard to define. It mixes in Folk and Indie but, in reality, it lacks the overall softness and stillness of Folk: there is not the simplicity of Indie and a sound that aims for anything commercial. The guys have been playing a long time and seen their music evolve and mutate. I have not heard anything quite like them: nobody out on the scene has the same mannerisms and motivation as they do. I have looked at other genres over the past few months. It has been a while since I have come to Folk and examined its many angles. Darlingside, one imagines, would have been raised on classic artists - supplementing that with the best modern artists around. Their blend of Folk is Alternative and modernised. It splices in other genres and does not keep it simple and predictable. I will discuss bands and why a certain T.V. show over here is due a revival. Before then; an examination of Darlingside’s unique fusions. There are many artists out there trying to put Folk together with other styles – the results are mixed. I am a bit saddened there are few who manage to concoct a perfect blend. I know my standards are high but, surely, there are artists out there capable of fusing the pureness of Folk with something exciting and new. First Aid Kit are one act that spring to mind: sumptuous vocals and rousing songs. I have a lot of faith and belief in Darlingside. Their album bursts with spirit, diversity and sensations. The songwriting is deep and their personalities come to the fore.  Whilst the subject matter christens areas like relationships and personal moments; the music is never plodding and routine. The band go a step further and push boundaries. Maybe Folk purists say (Darlingside) are too adventurous and wide-ranging to call themselves Folk artists: Indie acolytes feel the U.S. band are a little too pastoral in places.

What amazes me about the band is their connection and songwriting creativity. Choruses and verses spring from the page; the performances are consistently exceptional and the lyrics get right into the head. Their playing is excellent and the entire experience is one of education and amazement. I have not heard many bands that do things the same way as them. It is great hearing them on the scene; producing fantastic music that takes away the stresses and strains of modern life but makes one think and reflect. It is the harmonies that have been getting the critics fired-up. I have mentioned the vocals of First Aid Kit: Darlingside provide a male take that is no less beautiful and entrancing. The band is not content to sit still and repeat what they did at the start of their careers. Many get tempted to stick with a popular format or become too commercial. It is always sad seeing bands who stray from something authentic and sell their souls a bit. Darlingside have gained popularity but have not, on Extralife, stepped into the ordinary and obvious. Many still look down their noses at Folk and feel it is a lame and limited genre. We all get images of those older artists who strum and talk about the natural world. I have addressed this topic but the point remains: do we have a good view and understanding of Folk’s depths and complexities? I feel many are still naïve and shallow regarding the genre. In my view, we should all give more oxygen and attention to a wonderful form of music that is capable of seduction and incredible fire. Listen to Darlingside and you get immense beauty and sensational emotions bristling and conflicting in every song. I will pass on to new areas soon but, when hearing the band; I am compelled to look at Folk closely and how it has progressed through the decades.

PHOTO CREDIT: Lithophyte Photography/Vivian Wang

It has been a while since a U.S. band have been on the reviewing pages of my blog. I investigate American music a lot but, for the most part, it is interviews that come my way. I get to look at L.A. artists but, for the life of me, I cannot remember when a band in the Massachusetts area came to my ears. We all think of the state and gravitate towards Boston. Now, we see America and still stick rigidly to areas like Los Angeles, New York and Nashville – Texas might come to mind for some. These might be the most popular and fastest-growing areas for great music: how about those lesser-represented states that are producing fantastic music all of the time?! I feel Massachusetts is a part of the U.S. that has always held sway and influence. The Lemonheads, Pixies and Aerosmith all hail from Boston – The Breeders and The Cars are from there, too. It is a fantastic city but, when thinking about the state in 2018; there are a lot of great up-and-coming artists. I still think as Massachusetts as a band-heavy area these days: there seem to be fewer solo artists and other formations that stick out. Great acts like Nemes, The Drax and Speedy Ortiz are fantastic bands playing in the state right now. It is a shame the mainstream does not pay more attention to state away from the obvious. I know there are fantastic things happening in Massachusetts and Boston. Darlingside is a band that does not try to emulate anyone else but, at the same time, feed from all the colour and diversity in the state. They are attuned to the beat of Massachusetts but dip back into the annals of music and splice things together. I wonder whether, in years to come, they will remain in the state and continue to make music there. They are settled right now but, as the media still focuses on the bigger parts of America – is that driving bands away from home? I feel the band will progress and shift to somewhere like New York in years to come. It is a mighty trek but, as they become bigger; perhaps that desire for bigger things will get them moving. Massachusetts is a wonderful state for music but one that is under-viewed by big sources.

There is a lot of excitement and hype in the Darlingside camp right now. Their new album, Extralife, has been released and is already gaining positive reviews. Fans and followers have been eager to dig into it and see what all the fuss is about. It is a dependably solid and effusive combination of songs and sights that marks the band out as one of the best around. I have listened to the whole album but felt it best to focus on a single song – I would not be able to give every song proper depth and investigation. What I found – when listening to their record – is the way they have progressed and how confident they sound. There is excitement, energy and purpose in the ranks. That suggests Darlingside were lacklustre before: a new album always gets artists moved and pumped. The Darlingside boys have been promoting their album and excitedly sharing songs/reviews with fans. They are definitely amped and it is all with good reason: the latest record from the band is the best thing they have done. Many are dubious whether bands still hold sway and can appeal to people on a base level. We have some terrific bands around but the market is dominated by solo artists. I am not sure whether things will change in the next few years. It seems people demand band and proper examples – how many original and promising bands can you name at the top of your head?! I can name a few but, when I think about it; the solo artists are the ones that stay in the mind. Darlingside are among a rare breed that manages to summon huge quality and longevity. I know they have been around for a while but, looking ahead, I feel Darlingside can endure for many more years. They are able to project something swelling and epic but keep things intimate.

One of the problems with bands is that commercial aspect. Those who wield guitars and want to craft something immense often struggle to break from the formulaic and obvious. I hear too many bands repeating what is out there or, if they are unique, they get overlooked and struggle for acclaim. That might signal deeper issues in music but, thinking closely; can we really afford to let great bands slip underneath the radar?! I feel music is lopsided now; to the extent where solo artists are getting the majority of the pie. Aside from the rather wooden and forgettable bands; there are a lot out there who get in the head and deserve bigger shoes. Darlingside are fresh and have managed to captivate fans on both sides of the ocean. I was alluding to a T.V. show that has made a (one-off) return to British screens. The Old Grey Whistle Test came back last night and, with it, showcased archive footage and some great performances. Years ago; the show was a much-watch for those who wanted to see the best new bands perform in a rather modest and honest space. The performances were always urgent, memorable and special. You could tune into the programme and watch brilliant performances and a magazine-style show that differed from everything out there. There are few modern options that rival the magic and brilliance of The Old Grey Whistle Test. We have music shows but, in my opinion, there is nothing that rivals the bygone show. I am among a group of people who want the show to return on a permanent basis. The reason for this is to bring back the art of sparse and raw performance. So many artists go on radio and we do not see anything real or unpredictable. If they are on T.V.; the set is rather garish and everything is carefully planned. I want the return of a scrappy and wonderful show that has gone down in history.

PHOTO CREDIT: Robb Stey

The reason I mention this in this review is the fact Darlingside could perform on the show. Last night, on BBC Four; the performances were largely acoustic-based and tender. There were some brasher moments – mainly from the archives – but the show was focused on calmer and more personal outpouring. I would love to see Darlingside grace a show like The Old Grey Whistle Test and bring their music to the screen. Extralife is an album that could benefit from T.V. airing. The band has followed up their debut, Birds Say, and capitalised on a popularity rise in the U.K. The band has come from America and performed on big stages and Folk festivals. They have played Glastonbury and up in Cambridge; played in London and, at the end of last month; they performed a sold-out show at London’s Courtyard Theatre. The band use the new album to explore religious schisms and daunting themes; a look at a world falling apart and people who are struggling to make sense of things. The guys ask whether anything we do will make a real impact. That sounds rather bleak but, at a time when we need bands/artists to address what is happening in the world; this seems like an album that will answer a lot of questions. It is compelling diving into the music and finding beauty and optimism mix with bleak and tortured themes. Darlingside have grown since their debut and are pushing their music in new directions. They fuse Baroque-Folk with Indie and riparian sounds. They have been compared with The Beach Boys and Fleet Foxes; their charm and special bond has been noted by fans and critics – the group are definitely ones to keep your eyes on. It is hard, if you live away from the U.K. or America to get attention in the other nation. We have a lot of great British acts who struggle to get America listening: few of our critics go beyond the home-grown and represent U.S. forces.

It is, therefore, all the better Darlingside seem to have a natural home here. We have always loved great Folk and, with festivals set-up to promote the best around; it is no wonder the band were invited here and done so well. Establishing that important bond will see them coming back here quite a lot. I am not sure whether they are back in the U.S. or basing themselves back here at the moment. I assume they are back home but I have been thinking whether a U.K. move would be right for them. It is clear they have fans here and garnered great respect from festivals and critics. It would be great to see the guys over here and get them here on a permanent basis. Maybe that is years down the line but, right now, they are revelling in a sea of fondness and appreciation. Extralife is an exquisite collection of songs that will see them go very far in the industry. I will stick by them and follow them every step of the way. I will move onto Old Friend in a bit but I wanted to end this section by commending the guys on their rise and how they have been taken to the heart. I know they will be touring heavily this year – let’s hope they come to the U.K. and do some more dates over this way.

Old Friend has been online for a few months but is one of the standouts from Extralife. The strings come in fast and flowing. They trickle and stream - and the listener is enveloped in a world of calm and beauty. Other songs on the L.P. are sparser and more direct: here, there is an emphasis on beauty and fullness. From the first moments; you imagine scenes unfolding and swim in the warm waters. There is sunshine and moonlight conspiring with one another. I was helpless to refute the calm and tenderness of the song. There is definite passion and intention in the strings. You never feel like it is a lazy set-up or there to simply score the vocals. The guitars are essential and carry so much weight and glory. I was helpless to resist their immense power and potency. I was reminded of Nick Drake and his early work. There was the same sort of panache and wonder one would get from listening to Drake. The harmonies come in and it seems the song’s subject is remembered and in the mind. The oak bends into the night and there is talk of compromise. One can imagine scenarios and whether there is a literal person being assessed. I was thinking about a state of mind or state of the world that had gone by and was being remembered. It is hard to overlook the vocals and focus on the lyrics – the effect the voices have on the soul is immediate and strong. I listened to the song and thought whether a companion and trusted friend was key to the song; maybe there is metaphor being employed to address the world and how it is changing. Nature and the natural world play a part; at every turn, you feel like you’re out in the open air and walking alongside the band. The production is incredible and allows every note to reign and shine – without things being too polished and refined.

It is one of the less word-heavy and lyrical tracks on the album: the song relies on beautiful instrumentation and creating visuals with composition. Graceful, sweet horns mix with the more stringent strings; they gracefully converse and take the song in different directions. It is almost like listening to classic Folk artists at their very peak. The notes all seem so natural and pure; you never get the feeling the band has had to sweat and labour over the song. That might sound like a bad thing but, listening to Old Friend unfold; you find a band who open their arms and minds to their listeners. The composition is such a fantastic and nuanced thing. I had to listen to the song several times before all the embers and ideas sunk in and did their work. It is such a heady and rousing brew for the listener to comprehend. It is that tagline and chorus that gets to me: what are the guys tackling and mentioning when they sing the song’s title?! One could hear the composition and think a friendship is being talked about – all the complexities and how faith and commitment are playing alongside one another. The river bends and the wind breezes; one feels the spirit rise and questions come to mind. The listener is helpless to resist the insistence of the music – it gets into every nook and fills the brain with something truly wondrous. By the end of the song; you dive back in and are keen to reinvestigate the song. Old Friend is a typical example of how assured and talented Darlingside are. There are other songs that match Old Friend in terms of beauty: none have the same spine-tingling potency, in my view. Other numbers look more deeply at the world and have that unsettled heart. Here, as we hear; there is something more comforting and calm working in the heart. A marvellous song from a band that gets stronger with every new release! Let’s hope this album gets all the respect and acclaim it deserves – early reviews suggest critics are involved and responding to every single note!

I think Darlingside are coming back here in May and will take in the likes of Manchester and London. At the moment; the guys are preparing to take their latest record around the U.S. From California to Tennessee; Darlingside are going to cover a lot of ground and will see thousands of faces. It is just as well they have released a stunning album to keep the fans entertained. They have armed themselves with stunning new songs and produced something truly sensational in Extralife. I am pleased I have discovered the U.S. band and have looked back at their catalogue. It is amazing to see how they have come on and how confident they are now. They always were but, as time has progressed; new elements have come into their music – the guys are determined to make their mark on music! I will end things in a bit but, before then, would recommend everyone gets involved with Darlingside and seek out their new album. It is a relevant and contemporary collection of songs that frame those incredible voices and make the listener consider the world around them. That can be quite a challenge at a time when many of us are looking for escapism and something more light-hearted. You will not get dragged down or depressed when listening to Extralife. The album has positivity and wants to lift the listener and challenge their way of thinking. I will leave it here but, as I do, the notes and embers of Darlingside resound in the mind. A fantastic U.S. band that is a big name here and, as they tour this year, will reach new fans and areas. I am glad the boys are on a rise and getting great reviews. It is a sign that Folk – modern and classic mixing – has a voice in modern music and shows bands still have…

PLENTY of life left in them.  

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Follow Darlingside

PHOTO CREDIT: Tønder Festival (Official)/Morten Fog) 

Official:

http://www.darlingside.com/

Facebook:

https://www.facebook.com/darlingside/

Instagram:

https://www.instagram.com/darlingside/

Twitter:

https://twitter.com/darlingside

YouTube:

https://www.youtube.com/darlingside/

SoundCloud:

https://soundcloud.com/darlingside

INTERVIEW: Sedge

INTERVIEW:

Sedge

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THERE is something fascinating and unique…

bubbling inside the Sedge camp. I have been speaking with the Canadian band about their latest album, Psychochondriac, and the themes that inspired it. They talk to me about their formation and the artists they were raised on; how their latest album differs from their earliest work; if Canadian music gets the attention it warrants – whether there are any new artists we should check out.

I ask the guys what their tour plans are; if they are coming over to the U.K. this year; when music came into their lives; how the guys chill away from their music careers; if there is a treasured memory from their time in the industry – they all nominate a song to end the interview.

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

Rob: Hi. The week's been great. Thanks for asking.

Mitch: Hello. I’m good. The week has been going by quickly...

Brian: Hi. How are you?

James: Good. You?

Dean: What’s up? The week’s been movin’, boy.

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

Rob: We are a five-piece rock group from Toronto, Canada and just released our second album, Psychochondriac. Our style of Rock has been referred to as Garage/Grunge: 1990s-style Rock and Roll.

Your sophomore album, Psychochondriac, is out. What is the story behind that title?

James can answer that…!

James: The title is a combination of ‘hypochondriac’ and ‘psychosomatic’: being so afraid of life you make yourself sick.

Can you reveal what themes and ideas inspired the songwriting?

The themes are just random thoughts, fears and stories meshed together.

How do you think the new album differs from your earliest work? Do you think you are bolder and braver as a band?

Rob: The new album definitely shows the growth of the band as a whole.

The first album had songs that James had written years before while the new album showcases songs written by the band as a whole – and it’s definitely a bolder sound because of it.

James: The new stuff is a bit heavier and a lot more collaborative. It’s a good progression...

Mitch: We have really been exploring options for parts. We would try out various arrangements and not really settle until we were all happy with a song structure. I think you can hear the growth of us as songwriters and a band as a whole.

Did you all come into music at different times? When did the band come together and gel?

Rob: Music has always been a major part of our lives. We’ve been together for a few years now and have gelled since the start.

Mitch: There’s a bit of an age gap between the five members of the band; so we would have all been raised on different music. I’m eight years younger than my brother, James. I was listening to Smash Mouth while my brother was listening to Thrush Hermit. But, as we grew older, our musical tastes started to cross paths. Then, we started playing music together.

Toronto seems a popular area for new musicians! What is it about the city that inspires creativity?

Rob: The city has a great music scene and not only for Rock - it’s probably the fact of so many styles/influences of music the city has to offer.

Mitch: The city is just so diverse that I think artists of any nature can fuse multiple influences together - and some of it is groundbreaking stuff. There are amazing artists of every genre in the city.

Do you think Canadian music gets the respect it deserves? Is it quite hard getting your voice heard above American peers?

Brian: Canadian music is misrepresented by mainstream radio/T.V., in my opinion. I feel like popular music is in a bad spot lately… (“Am I that out of touch?! No, it’s the children who are wrong”).

Dean: I feel there is great music made in Canada: I just don’t think many people get to hear it.

Rob: I don’t think so, as Canadian music is known worldwide. Even if you look to Rap/Pop with Drake and Beiber - if you have good music, it will make it out.

Mitch: I just think that it harder for bands to tour here...

In the States, bands can go from state to state and tour their set and sell their merch. and spread their name around. In Canada, you can drive sixteen hours and still be in the same province. It’s difficult for bands to get over to get Visas to go over the border in order to play shows and sell merch. I think Canadian music itself is super-diverse in the sense that it makes me think of multiple genres all at the same time

IN THIS PHOTO: Output

Are there any new artists you recommend we check out?

We just played our record release-show with two awesome local bands: Honesty from Toronto and Output from St. Catherines.

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

Rob: Right now, we have shows lined up around Toronto and the rest of Ontario. It would be great to be able to tour outside of Canada - but nothing planned yet.

Mitch: Yeah. We’ve got a couple gigs lined up this spring around Ontario. Hopefully; we’ll get something going in the summer, as well, around Quebec. 

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

Rob:  We’d love to make it to the U.K. Can we stay at your place if we do?

Mitch: I would love to convince all of our wives/girlfriends to vacation there and, somehow, we sneak in a couple of gigs during the trip. Sadly, I don’t see us visiting this year. Hopefully, we just keep doing our thing and word spreads - and we can gain some new contacts and go out by 2020.

Goals.

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

Rob:  To keep on playing shows and having fun; getting our name out there more and promoting the new album as much as possible.

Mitch: To keep playing shows and spreading the word. I’d love to get back into the studio soon also.

Dean: Tour the world - 2020 goals.

James: Get into the studio again...

Brian: Play as many shows as possible.

​​​​​​​

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

Rob: Our record release-show in Toronto a few weeks ago was really fun. The crowd was great and wouldn’t accept the fact we had to stop playing! They continued on until we played an encore - and almost got us to do a second one…

James: We drink beer and quote The Simpsons.

Brian: Abbey Lane and the jam space.

Mitch: I love getting together and writing songs. It’s super-fun and I look forward to it every week. We are all so accepting to trying each other’s ideas. It’s always a fun time.

Dean: The time we spent together jammed with our gear in an S.U.V. while on a mini-tour of Montreal and Ottawa was a time I relished in every way. It was one of the best times of my life.

What advice would you give to new artists coming through?

Rob: Don’t rely on anyone but your bandmates: sometimes it seems hard to get your voice out there but keep the D.I.Y. attitude going and never stop.

Mitch: GRIND IT OUT. Put in all the work with getting shows and making contacts and messaging blogs; same regards other artists and networking - and social media and all that. It’s weird to think that all of that goes with being in a band (especially when you just wanna write and play music) - but being in a band comes along with all these other responsibilities in today's day and age.

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

Rob: Unwinding as a band usually ends up in our jam spot working on new music!

Mitch: I like to watch cop movies and taking long walks on the breach.

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).

Rob: The Kinks - Dedicated Follower of Fashion

James: Courtney Barnett - History Eraser

Brian: The Fall - Frightened

Dean Crone: It’s cold outside, so I always have an amount of Reggae and Brenda Fassie to create an Illusion of warm. Brenda Fassie - Weekend Special

Mitch Heron: This is from the solo project of the Garage-Rock band Harlem’s guitar player, Michael Coomer...Lace Curtains - Police Brutality

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Follow Sedge

Facebook:

https://www.facebook.com/sedgemusic/

SoundCloud:

https://soundcloud.com/sedgegdes

BandCamp:

https://sedge.bandcamp.com/

INTERVIEW: Leaone

INTERVIEW:

Leaone

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EVERY new cut from Leaone is a fantastic experience…

and memorable moment. I have been talking with him regarding the new track, The Swans Will Sing, and whether more material will surface. He talks to me about his influences and how his music has developed; what it feels like having the ear of big radio names; what he would say to new artists of the moment – whether he feels his music would be suited for film or T.V.

I ask what gigs are coming up for Leaone; if summer festivals are tempting; if he gets any time to unwind away from music; what he hopes to achieve before the end of the year – ending the interview with a rather cool and epic song!

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

Hey man. I’m here and there, you know! I’ve had a good weekend. Caught that new Paul Thomas Anderson movie, Phantom Thread - the one with the Jonny Greenwood score. Very good! Yesterday, I was over in Southwold with friends. 

The sea air is certainly good for the mind. 

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

I’m a music artist from Suffolk. That’s about it really! I sing, produce, and engineer everything you hear on my records. Occasionally, I might record other musicians but, generally what you hear is just me. Although, I do gig with a live band consisting of good friends - whom I am so grateful for.  

The Swans Will Sing is new. What can you reveal about its story and creation? It has a mix of dark undertones and classic sounds. Did you have a distinct vision of what the song would sound like before you recorded it?

Most of my songs have been kicking around for months, if not years, in some incarnation. I had the melodies for the quieter parts for a long time but didn’t really know what to do with the chorus. Then it just came pouring out, through frustrations with life I’m currently going through.

I was nervous about sharing it with Fierce Panda as it felt like a bit of a departure to my previous E.P.s. - but they really liked it and it feels good to be able to express myself freely without constraints. Weirdly, I feel like those quiet parts and the horn sections were inspired by Chet Baker - who I had been listening to a lot.

Will there be a video for the song?

I have had ideas for a video, but who knows.

I generally produce and make my videos myself, which I love to do, but it does pull me away from getting on with writing and recording - so I’m not really sure at this stage.

Last year; you released two E.P.s (Oh, My Sweetest Sin and Wild Horse Ride On). Do you think you’ll put another E.P. out this year?

I haven’t really decided yet...

I’ve certainly got the songs for a new E.P., if not another two or three! Right now I feel like releasing songs independently, one at a time. I feel singles that have had heavier promotion have overshadowed certain songs. But, who knows; my mind on everything changes from day to day.

You gained respect from the likes of Jo Whiley and Chris Hawkins. Did it feel pretty good finding such a broad mix of fans in the radio industry?!

I was really shocked to be picked up by the nationals, to be honest! Radio is such a massive deal to me. Every time I get played it’s such a buzz. I mean, I have so much respect for people like Jo Whiley and Steve Lamacq! It’s a massive privilege to get played by them. I think it feels much more significant because they are personalities that have been a part of your upbringing: it’s not a faceless medium.

I just need Zane to spin me on Beats and I’ll be happy!

How do you feel you have progressed and developed as an artist since your earliest days? Do you think you are stronger and more confident now?

I’ve been writing and recording music for many years; way before I ever released anything properly. I think, at this point, writing music just feels engrained and a natural part of who I am. So, I feel more content and confident in just being an artist; even if no one knows me or listens to me. I know I get so much out of it personally; whereas I think when you are starting out you are so eager to ‘make it’ and get ‘signed’.  I’ve realised that I’m not going to stop making music regardless of what goes on in terms of the ‘business’ of it all.

I still get really nervous playing live; simply because it is such a rare occurrence and you’re always at the mercy of engineers that don’t know your sound - and often performing through poor systems. Like, I’ll rehearse my arse off with my band for one show and that’s it you know, until three months later. You can’t exactly get on a roll like that. But, it’s just not feasible at the moment to gig all the time. 

Which artists made an impact when you were growing up? Who do you count as idols?

Chris Cornell, Johnny Cash; Leonard Cohen, Nick Cave; Kanye West and Julian Casablancas. Oddly, none of them English! Growing up as a kid, I really liked Smashing Pumpkins, Soundgarden and Rage Against the Machine.

Your music has a cinematic, dramatic quality. Would you like to see one of your tracks on the screen one day?

Totally! I did sign Goldtooth off for a movie sync, but the movie has yet to see the light of day. So, God knows what’s happened there! I’d love to write and score for movies - especially arty, independent cinema. That’s my bag. I’m not really into Hollywood blockbuster: films like Betty Blue, The Dreamers and A Girl Walks Home Alone at Night are more my sort of thing.

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

I’ve got a couple of shows coming up. The first is at The Social in London on Little Portland Street. That’s on the 22nd March. Its free entry and Fierce Panda’s birthday party. So; no excuse not to come if you’re around the smoke. The other is at The Hunter Club in Bury St. Edmunds on the 7th April. There’s a chance I might play that one solo without my band - which would be a first!  I have made some tentative plans for a pretty awesome tour in the autumn - but it depends on a few things as to whether I can pull it off.

The summer is coming up. Do you have any festivals plans? What would be your ideal festival date?

Well, I’d love to. I mean, I’ve applied to play a tonne of them so I guess I’ll just have to wait and see. Latitude festival would probably mean the most - because I live around the corner and I’ve been almost every year since it started. But; I’d love to get out and play overseas. I went to Way Out West festival in Gothenburg last summer just for fun, which was amazing.

I’d love to play there. 

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

Just remember to live, really! Spend more time with my friends and family. Musically, I just want to write more, not procrastinate so much and try and keep away from the Devil inside my head. I want to perform more and just keep releasing music.

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

Working with Jim Lowe in the Stereophonics’ studio in Shepherd’s Bush, and hanging out with him in bars in London, is definitely my fondest memory so far.

What advice would you give to new artists coming through?

Well. I still feel very much like an artist just starting out. But, my advice would be to trust yourself and remember that no one more than yourself carries your best intentions. Just like in any walk of life, there are arseholes and pirates out there - so hang on to your wallet.

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

I’m pretty bad at that! I don’t really ever stop thinking about my music. It can be a drain on personal relationships, that’s for sure. But, outside of music, I’m happiest when I’m travelling and exploring new places. I hate staying in the same place for too long.

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).

That’s a tough one: there’s much amazing music I love. But, how about this one: Let Your Eyes Wander. It’s a song I love deeply off of Chris Cornell’s last solo album, Higher Truth.

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Follow Leaone

Official:

http://www.leaone.com/

Facebook:

https://www.facebook.com/hisnameisleaone/

Twitter:

https://twitter.com/hisnameisleaone

Instagram:

https://www.instagram.com/hisnameisleaone/

SoundCloud:

https://soundcloud.com/hisnameisleaone

YouTube:

https://www.youtube.com/channel/UC3YQ7DgQOn_38ZL-JODDGkQ

Spotify:

https://open.spotify.com/artist/0xnQLDQdsgWs9s04rraaWv

INTERVIEW: Scenic Route to Alaska

INTERVIEW:

 PHOTO CREDIT: Michael Johnny Carson Kuby 

Scenic Route to Alaska

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EVERY new Canadian band I am faced with…

provides a fresh insight into a productive and curious country. I have been speaking with Scenic Route to Alaska about their latest cut, How It Feels, and its rather cool video! They tell me about the inspirations behind their forthcoming album, Tough Luck, and how they all got together; whether they’ll come to the U.K. this year – what other dates they have coming up.

I ask the guys whether their part of Canada (Edmonton) provides ‘challenging’ conditions in which to record; whether there are new artists we should get fired up about; if there is a great memory from music that has bonded them – the band choose treasured albums that have made an impression on them.

______

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

Not too shabby. Staying warm: coming off a couple weeks of -25C to -30C weather. Still made it out to the rink for a couple skates!

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

We are a three-piece Indie-Rock band from Edmonton (Alberta), Canada. We take a lot of influence from The Beatles, old-school R&B and Rock; the Canadian scenery, 1990s rock and modern Indie music.

How It Feels is your current single. What is the concept behind the song?

Our new single, How It Feels, is an impulsive Indie-Rock song about the challenge of finding love, or any relationship for that matter, while being caught up in the hustle and bustle of touring and life on the road. The song was written after getting home (the same night) from a European tour - where the band played thirteen shows in fourteen days across four countries.

The video looks pretty cool and funny! What was it like shooting? Did you have fun doing it?

It was a ton of fun shooting it! We were lucky enough to work with a local twenty-five-year wrestling touring pro named MASSIVE DAMAGE. He provided the ring, a training session; help with choreographing the match, a young up-and-coming wrestler (Young Blood Cody Blayde) and a badass presence to rough us up pretty good. Definitely one of the cool parts of playing music is getting to throw yourself into different experiences that most people don’t get a chance to try. We got a couple-day crash-course into the world of wrestling - and it was super-cool to be a part of something like that.

Worth all the bumps and bruises, for sure!

PHOTO CREDIT: Michael Johnny Carson Kuby

Tough Luck, the new album, is out on 9th March. Can you tell us the themes and inspirations behind the songs?

The overall theme of the record is longing for love and the loneliness that ensues when you don’t find it. We’ve been on the road a lot in the last few years and it’s made it difficult to build up new relationships with any significant depth to them. Although most of the songs seem fairly self-sympathetic: there are hints of optimism dispersed throughout.

It seems you have been lying low this winter. Is it the best season/weather to get an album recorded? Do the harsh conditions drive your creativity?

Winter, probably, is the best season for writing/recording up in Edmonton. We try to avoid touring heavily in the coldest months in Canada - just because of how unpredictable the roads can become. The winter can get very cold, dark and quiet; so it’s pretty ideal for hiding away in a basement or studio to jam out new ideas out. Also; very ideal for getting out to the rink and playing some hockey! Having said that; most of Tough Luck was written and recorded in the summer months this time!

Just the way our schedule worked out last year.

Tell me how Scenic Route to Alaska got together. How did the band form?

We’ve been buddies since we were kids...

Went to the same school, started learning our instruments around the same time and played in different bands together ever since. We formed Scenic Route to Alaska in the of summer 2010 after the fourth member of our 1950s/1960s Blues and R&B cover-band (we used to play in) couldn’t play shows with us anymore. We started playing Trevor’s original tunes that he had just started writing. That led to us creating, recording and touring a ton and, since then, haven’t looked back.

Is Edmonton a great place for new music? Are you seeing a lot of promise?

Absolutely. The scene here is full of talent and creativity and is incredibly supportive. In a lot of ways, our climate is pretty conducive to spending most of your time hiding away; working on your art and creating. There’s also always a bit of an underdog vibe - which helped create a pretty awesome community of artists lifting each other up.

More recently, we’ve started to see some Edmonton musicians break out and see some massive success in the industry (Mac Demarco, Purity Ring; Peter from July Talk).

IN THIS PHOTO: Andy Shauf/PHOTO CREDIT: Geoff Fitzgerald

Who are the new artists you recommend we check out?

Here are a few pretty sick Canadian artists:

Andy Shauf; Wintersleep; Close Talker; Born Ruffians; Royal Canoe; Leif Vollebekk.

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

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

Shea:  I’d probably have to go with Abbey Road from The Beatles

It’s just one of those things where my dad always had that C.D. in his car and I became obsessed with that album on long drives visiting family in Vancouver. It fueled my love for The Beatles - and music in general.

Murray: First Day of Spring by Noah and the Whale

This album just came out at a time of my life when the lyrics really meant a lot to me - and I was being introduced to this style of music. I think these songs made a serious impact on our early development as a band.

Trevor: (Dang; both of those records (mentioned above) would be high up on my list as well!). I guess I’ll go with Heartbreaker by Ryan Adams

I didn’t discover this record (or really listen to Ryan Adams) until 2014 - and it opened up a ton of songwriting doors in my life. He’s got such an extensive catalogue which is packed full of diversity and creativity. I really love the way his records are recorded - you can really feel/hear the analog tape when you crank it up…and it makes me feel like I’m sitting in the middle of the studio listening to it all happen!

You have a packed touring diary for this year! Do you love behind on the road? Which dates are you especially excited about?

We do. We love playing shows and getting the opportunity to play in different parts of the world. Touring is a pretty crazy beast that has pretty heavy lows and highs. You really test your body’s limits with all the playing, loading; driving and drinking. Your life becomes pretty unpredictable and unstable being away from all the comforts at home. We wouldn’t trade those experiences for anything.

For this next tour, I’m not sure if there’s any specific city we’re excited to play - but we are playing our first string of shows in the States, which will be new and cool!

Do you think you’ll be in the U.K.? Have you ever played here before?

Doesn’t look like we’ll be coming over to the U.K. this tour, but we definitely are looking for ways to make it back over there soon. Our only time over there was a couple of years ago where we played three straight shows all in London. We would love to make it over more often.

Hopefully soon!

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

I think the goal is always to keep pushing ourselves forward in our musical careers. We’re lucky to be able to play and write as much as we do for a living - and we just want to keep growing this opportunity. Playing in more countries to bigger crowds and sustaining doing what we love to do for as long as we can is what we’re working hard to accomplish.  

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

Our best memories of playing music tend to link to great or weird shows/venues we’ve played in. Maybe the weirdest was when we showed up to the venue for our first show in Berlin and the room we played in could literally hold fifteen or so people. There was a stage in the room but Trevor and Murray were the only ones that could fit on it. Shea had to set up his drums in a small closet-like hole-in-the-wall on the side of the stage. Totally invisible to the crowd - and with lasers and strobes coming out from inside the hole. It was nuts.

We CAN say, however, that our first show in Berlin ever was totally sold out…even if it was just eighteen people (or whatever the cap. actually was).

What advice would you give to new artists coming through?

The best advice we can give is just to start playing as many shows as you can. Play all over your hometown until you run out of venues; then hit the road and do it in other cities. It’s the best way to get better at playing and to get connected in the music scene!  

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).

Shea: Phosphorescent - Song for Zulu

​​​​​​​

Murray: Dr. Dog - Jim Song

Trevor: Angel Olsen - Shut Up Kiss Me

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Follow Scenic Route to Alaska

Official:

https://www.scenicroutetoalaska.com/

Facebook:

https://www.facebook.com/scenicroutetoalaskaband/

Twitter:

https://twitter.com/scenicalaska

Instagram:

https://www.instagram.com/scenicroutetoalaska/

SoundCloud:

https://soundcloud.com/scenicroutetoalaska

YouTube:

https://www.youtube.com/channel/UCfzv58YtYoLMOE9yjkGDGng

Spotify:

https://open.spotify.com/artist/4tUP4gz64sNmLHP1M2eLI5

INTERVIEW: Sertari

INTERVIEW:

Sertari

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IT is a busy time for Sertari…

as her E.P., Bright Star, is out. I speak with Sertari about the songs and influences behind the E.P. – and whether it differs from her earliest work. She speaks about her musical upbringing and charity work; what gigs she has coming up; how she spends free time away from music – some new names to investigate closely.

Sertari discusses her personal aims and experiences running a record label; what guidance she would give new artists coming through music right now; working with brands like Akai Pro – and whether she has any special memories from her time in music.

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

Hi. Yes, fine; thank you. It has been a busy, but exciting, week of radio interviews, performances; writing and more!  

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

Of course. I am Sertari - I am a singer and songwriter. I’m from Hampshire but come from a Greek-Cypriot family. I love anything to do with getting up on stage and singing (or writing) music. I have performed at some great venues around the U.K. and recently toured Cyprus - which was absolutely amazing!

I also love a good old cup of tea. 

 

Bright Star is your new E.P. What can you reveal about the stories and ideas that enforced the songwriting? 

The E.P. took a long time to put together…some of the songs I must have written years ago.

Between the time I started writing this E.P. to the time of release, there where a lot of events happening in my life. I had my first child, I moved house; I was also working in several function acts and working a day job. As you can see, there was a lot to deal with - and the way I dealt with the demands was to write songs and perform. It was a way of me releasing my emotions no matter what the subject was. What I have noticed is I build a story or idea and use that as a metaphor for how I am feeling.

On Bright Star, I talk about being lost in a city and being guided by a star to help me through; trying to escape to “somewhere we can breathe” – you could translate that as being lost in yourself, but there is a way out of your darkest days.

I am also a bit of a universe geek - so I do like to talk about stars and planets! 

How do you feel the music on Bright Star differs from your earliest work? Can you feel yourself growing as a songwriter and performer? 

I definitely feel I am growing as a songwriter and performer. I think it's good to keep evolving and draw upon new ideas; experiment with how to write music with new sounds in the mix. I first started out as more R&B; then I moved to Rock then Pop-Rock - and now I feel I am started to find my feet and sound: a blend of different genres and styles…let me call it ‘Alternative-Pop’!  I feel I am more adventurous with my vocals.

However, I will never deny room for more growing and improvement and I am a great believer that, with every new E.P. or single released, it’s always a step forward and learning curve…

I know you have worked with brands such as Akai Pro. Do you feel, working with various companies, it helps bring music to younger generations? Is that an important drive for you? 

Yes. I think it's important to bring music to a younger generation – although, the younger generation has it so easy these days. With the ability to find music through many platforms; I feel being involved with a company is not the only way to draw the young listener in. However, as an artist, I feel it is great to get brands backing your work - as it’s all part of growing your own brand and identity. I am pleased to announce I have just been endorsed by Vocalzone! 

Very happy about that - as I use them at almost every show!

 

I believe you started out running your own label - sourcing talent from the South Coast. Was that a good way of seeing what life was like for a new musician? Do you feel you’ll run your own label in the future? 

I ran the label with my drummer and producer, Ben. We did it with more of a view to helping other artists out - but also give us a platform to get out and perform; to showcase what we did as well as others. I'm not sure I'll run another label as (just) running myself as an unsigned artist keeps me on my toes.

However; I'm always up for collaboration.  

You were offered a record label recently. What was the reason for turning that down?!

Oh yes! It was a label in Greece. Unfortunately, the deal itself was not right at the time. I think it's easy for a young artist to get swept away when they are offered a deal. But, a deal is a contract at the end of the day and it's got to work both ways - and, unfortunately, this one didn’t.  

So, for the moment, I will stay independent!

You do a lot of charity work and bring your music to a lot of different people. Do you feel other artists should involve themselves with worthy causes and do a bit more for others? 

I do this as the causes that I have worked with have been close to my heart.

I feel, if other artists also have things they are passionate about or want to bring more awareness to something they believe in, then, yes; I think they should do what they feel is best for them. Sometimes, bands and artists are in a position of being able to reach a lot of people - so it’s good to use this to good effect.

Which artists were you raised on? Did you grow up in a musical household?  

Yes. I grew up in a very musical household. My dad used to be in a Greek function band playing at many weddings and events. My mum used to be in Classical choirs, so I used to hear her practising around the house - and I have three older sisters who were also into all sorts of music. I used to listen to the likes of No Doubt, Tori Amos; Led Zeppelin, Guns N’ Roses; Night Wish, Andrea Bocelli; Mariah Carey and so on.  

IN THIS PHOTO: J. Ivy/PHOTO CREDIT: @heathertalbert

Are there any new artists you recommend we check out? 

I feel terrible as I have not got out recently to listen to the underground music scene! But; please check out J. Ivy (who I collaborate with on my E.P.). At the moment, I have been listening to Twenty One Pilots a lot - not that they need any recommendation!

IN THIS PHOTO: Twenty One Pilots (Josh Dun)

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

Well. I have been filling up the diary: I have some great festivals coming up, including Lowde Fest on 7th July; Kitesurfing Armada festival on the 23rd June; Petersfield Hometown Festivals on 27th May. Also; I will be performing at the O2 Academy Islington on the 18th March in the SoundWaves (Final) competition.

Tickets are available through my site.  

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

Well. I have started to write my next E.P.; so it would be great to get to a point where I can take it into the studio and start the recording process. I would love to get one of my songs featured in a film or ad.

That would be amazing!  

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

I did a show in Paphos (in Cyprus) and it was an outdoor event in the mountains. My band and I went on as the sun was setting. It just felt that everything seemed to fit with the atmospheric sounds - and singing about stars under the stars felt peaceful.

It made me feel very relaxed…plus, we got to stay in a yurt - and it was beautiful! 

What advice would you give to new artists coming through? 

I think (my advice would be) patience and determination. You have to do it because you enjoy music: not because you want quick fame. If you're doing it for the fame, you will be disappointed as, unless you’re very lucky; most really successful artist had been doing it for years before they had their major break.  

Don’t give up! You have to be your own label these days and control everything about your music - which can be quite exciting in itself, yet challenging. But; you can't wait for things to fall into your lap: you need to be productive and remember the core reason why you write and perform your music…

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

Umm…that’s a tricky one as, when I'm not at work, I'm working on my artist project and, when I'm not doing that, I'm performing with the other function bands (I'm in). Also; I have a three-year-old daughter who is just beautiful. She’s full of spirit and has loads of energy!

When I do have that moment to myself, I like cuddling up in my P.J.s with a cup of tea; either watching a film or Vikings – or, sometimes, I listen to The Ricky Gervais Show.   

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). 

Coldplay - A Sky Full of Stars 

Been listening to this a lot recently  

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Follow Sertari

Official:

https://www.sertari.com/

Facebook:

https://www.facebook.com/sertari

Twitter:

https://twitter.com/sertari

SoundCloud:

https://soundcloud.com/sertari

YouTube:

https://www.youtube.com/sertari

INTERVIEW: Bella Barton

INTERVIEW:

Bella Barton

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THE last time I spoke with Bella Barton…

she had just shared Daughter with the world – her incredible single that announced a rare and stunning talent. Now, with Reflections out (23rd February is the official release date), I was keen to find out more; what the song is about and how it came together; whether her teenage years means she has a unique perspective on music – and what we can expect from her forthcoming album, Ten Songs.

I ask about her ambitions for this year and whether she has a favourite memory; if there is any chance for her to relax away from her busy career; if her time at the BRIT School – and following such alumni like Amy Winehouse – makes her feel any pressure – Barton nominates a song to end the interview.

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Hi, Bella. How are you? For those new to your music; can you introduce yourself, please? 

Hello. I’m great, thanks! I’m Bella Barton. I’m an eighteen-year-old Folk/Jazz musician and raging feminist. 

Reflections is your newest track. What is the inspiration behind that song? 

Reflections is actually one of the first songs I ever wrote. It’s about the impossible beauty standards set by our society that condition young girls into feeling unattractive in their own bodies. Throughout my life; I’ve subconsciously wanted to look conventionally attractive - and mainly for men.

I wrote this song because I realised that beauty is an illusion and we need to escape this conditioning! 

Daughter is the song I know you for. That dealt with sexual harassment and rather ‘tough’ subjects. It seems you like to keep your music deep and challenging. In a music world that still promotes the commercial above all – do you find it hard to remain true to your ethics and voice? 

I don’t particularly find it hard to remain true to my ethics and voice; I guess because I’m constantly writing, reading poetry and listening to music. So; I’m always being influenced by different things and writing about whatever makes me feel something. I actually write about various other subjects that affect me personally, like panic attacks and unrequited love - so it’s not all political. 

Being a young artist in the industry; do you think your age inspires the subjects you write about – and how you approach music in general? 

My age definitely inspires the subjects I write about - as I’m experiencing a lot of these topics for the first time So; if a song is about love, it’s my first time feeling love; it’s all very raw. 

Ten Songs is out in March. Can you talk about the sort of ideas and songs that will feature? What was it like recording the album? 

I’m really happy with the whole album. I also enjoyed recording it. It made me realise how excited I am to write and record as many songs as possible!

Do you think they’ll be any more singles released from the record? 

Other than Reflections; I won’t be releasing any other singles from this album. I’m excited to release all ten songs.

You are a BRIT School student. Is it quite daunting following alumni such as Amy Winehouse?! Has it been a formative experience for you? 

I don’t find it daunting following BRIT School alumni because all of their music is different to mine. Amy Winehouse is one of my musical influences and I love her - but I’m not intimidated by the fact that she went to BRIT: if anything, it’s just quite nice knowing we both found our interest in music in the same place. 

Which artists have you grown up on? Who are the musicians that inspire you the most? 

I completely admire The Beatles: their music, beliefs; early and experimental albums, their individual careers - to be honest, (just) anything to do with them. Like I said; Amy Winehouse is one of my musical influences, mainly because I love her unique combination of R&B and Jazz.

I love classic Jazz artists. Obviously Frank Sinatra, Dean Martin; Tony Bennett and, also, Ella Fitzgerald. Ella Fitzgerald’s Someone to Watch Over Me heavily influenced one of the songs (Serenity) from my album.

Are there any new artists you recommend we check out? 

Nadine Shah is an artist I discovered recently - and I’d definitely recommend her song, Ville Morose. It’s not usually the genre that I listen to, but it’s so beautiful. 

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

I just did a gig at the Dublin Castle in Camden, which I loved playing; so I’ll probably be playing there again sometime soon! I do a monthly gig at the Star and Garter pub in Putney Bridge which is very chill and lovely. 

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

This year; I would love to (just) play as many gigs as I can and also achieve complete spiritual peace through my Buddhist practice.

The latter might be slightly difficult

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

When I think about it…my favourite music memory was the other night at Dublin Castle! 

What advice would you give to new artists coming through? 

The advice I’d give to new musicians would be to write down anything that comes into their head - because you can turn almost any thought into a song you love. 

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

To unwind, I usually just turn to Buddhism, meditation; chanting, etc. It makes me feel calm again and connected to my inner-self: I forget about superficial and external worries.

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’d love it if you played The Ballad of John and Yoko by The Beatles. Thank you! 

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Follow Bella Barton

Official:

https://www.bellabartonmusic.com/

Facebook:

https://www.facebook.com/bellabartonmusic/

Twitter:

https://twitter.com/BellaBarton_

Instagram:

https://www.instagram.com/bellabartonmusic/

Spotify:

https://open.spotify.com/artist/4E0qcQ1yJQvPuhzOBfsw0V

SoundCloud:

https://soundcloud.com/bellabartonmusic

INTERVIEW: Dom Fricot

INTERVIEW:

Dom Fricot

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IT is to the shores of Dom Fricot…

who discusses his latest gem, Help Is Needed. I was eager to discover the story behind the song and what we can expect from his sophomore record, Deserts (out on 23rd March). He chats about his musical development and whether songwriting is a way of translating anger; working with David Vertesi on his new album; which artists have inspired him – some new musicians he vibes to.

I ask whether the Canadian artist will come to the U.K. and see us; how he spends time away from music; what advice he would offer fresh artists; how music came into his life – what tour dates he has in the pipeline.

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

The week has been great. I’m currently living in the Netherlands, rehearsing and writing. My cousin just came to visit me from Switzerland and we had a great time biking around. It’s an absolute paradise for cyclists here.

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

My name is Dom Fricot (used to be 'Dominique Fricot', but I shortened it for this album). I’ve been releasing solo albums since 2012 and, more recently, joined an international collective of singer-songwriters called Folk Road Show. (Think C.S.N.Y.-meets-Fleet Foxes). This March 23rd, I’ll be releasing my third studio effort, Deserts. The album kind of honed in on this post-Genesis Peter Gabriel/Phil Collins sound.  

Help Is Needed, your new song, seems like a cry for help and declaration for calm. Was there a particular event that compelled you to pen the track?

I penned it shortly after the shootings at the Bataclan, while the Syrian refugee crisis was happening. I wasn’t there, but I had been in Paris a couple days before it happened - so it felt very close.

Do you feel songwriting is a way to channel frustrations and making sense of the world? Do you think things will improve before long?

I totally think that’s what songwriting is; at least for me. Songs seem to most often emerge out of emotional wounds or mental frustrations. Do I think things will improve before long? I think there are a lot of forces right now pushing society in the right direction, but there are obstacles that we have to overcome when it comes to any of the major issues: gender-inequality, gun control; racism, economic disparity etc. The list goes on.

I think the obstacles are pretty daunting - and what I’m trying to point out in my song is that it’s an all-hands-on-deck scenario.  

Your sophomore record, Deserts, is out on 23rd March. What sort of themes and ideas go into the album?

The album is a lot about nostalgia and looking back on hard memories with a new perspective. When I first began writing songs, it was in the wake of my father’s passing at the age of sixteen. At the time, the songs were just about regret or pain and longing. I actually had a strange moment while recording this record because, all of a sudden, I had a bout of depression. It didn’t make any sense to me. The weather was great, I was healthy and I was living my dreams...

I’d taken a month off work to make this album and, all of a sudden, I was having so much trouble just getting out of bed. In the middle of it, I discovered, via Google...I’d made a conscious decision to forget when it happened: it was on exactly that day, sixteen years ago, that my father had passed away. I didn’t intend for the songs to be about my parents, but there is a lot of my mom and dad on there.

Echoes is the memory of having my dad as a soccer (‘football’ to you, I suppose) coach and hating the pressure - but now missing those times. Measure Up is another one about him where I reflect on how I can’t really imagine comparing myself to my dad. He just always seemed like this giant of a personality; saving money for seven years to move to Canada from Mauritius and, later, building my childhood home by himself with a couple friends to help him out. The album has a lot of looking back. But, also, a bit of my mother’s social justice via Help Is Needed - and I think she would have despised it as a piece - but Meredith Clark is kind of a dark look at the issue of consent.

You worked with David Vertesi on the album. Why did you want to work with him? What qualities did he bring to the recording?

Dave really brought an ambitious approach; giving this album a focus.

In our first meeting, he was very clear that he wanted me or us to have a goal for this record. He personally wanted to make this record sound different than anything I’d done. I’d originally wanted to work with Dave because I’d really liked what he’d done with other tracks for Vancouver artists that I’d heard him produce - and I just knew he had knowledge of genre and modern music far beyond my breadth of awareness. In the end, I think he knocked it out of the park. He pushed me, vocally, in new ways that I’d never been pushed before and he made me make uncomfortable choices with the songs that I ultimately loved.

I think that’s a key role for a producer: to get the artist to see their work in different ways and take risks that they normally wouldn’t.

How did music come into your life? Was there an artist or album that spurred you to create songs?

It seems pretty common, but I remember listening to Smells Like Teen Spirit at full-blast, on-repeat in the back of a friend’s car when I was about ten-years-old. I started playing the guitar and decided that I wanted to be a Rockstar and write songs. I immediately sat down with a pen, and the five chords I knew and gave up in an hour. A couple years later, with a bit more emotional maturity, I started listening to Dave Matthews - and it was like the clouds parted and I understood how songs were written.

It seems, to me, Canada is a better country to create music than the U.S.A. Do you feel you have a better climate to write the sort of music you want?

Mmm…I don’t know about that.  

I’ve never lived in the States - so I can’t say for certain. I just notice certain spaces or places have a little more electric charge when it comes to creativity.

IN THIS PHOTO: Bend Sinister

Are there any new artists you recommend we check out?

From my hometown of Vancouver, there are a couple artists that are really making waves that I think you should hear. Bend Sinister has a sort 1970s Prog-Pop sound that is pretty fire. I’d also watch out for Youngblood or We Are the City - if you haven’t heard of them.

Both great artists.

IN THIS PHOTO: Youngblood/PHOTO CREDIT: Kezia Nathe

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

I’ll be releasing the album with a tour across Canada in March. You can find my list of tour dates on my website. I’m pretty excited about some of the highlight shows: Mar 10 in Toronto at the Burdock; Mar 18 in Calgary at the Ironwood and Mar 30 in Vancouver at the Fox Cabaret.

Will you be playing the U.K. on your travels? Have you ever been over this way?

I currently don’t have any tour plans for the U.K. - I’m hoping to get over there in the fall, though. I’ve been to London a couple times and played a couple Sofar Sounds shows last year. I was also there in 2014 and 2015 for a couple of spot dates - on my way to tour continental Europe with the Folk Road Show.

I always really enjoy playing for U.K. audiences, actually.

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

I always have a tough time setting the goal...

As a footnote to all the music stuff; I’d like to find a more permanent place to live. I’ve been very nomadic and transient for the last three-and-a-half years (with solo tours and the Folk Road Show). I’d like to settle somewhere closer to my sister’s - and my nieces and nephews.

Musically, I think this is the best album that I’ve ever made and I (just) want to get it into the ears and hearts of the people that I think would really love it. I don’t need to play Wembley, but I’d like to use whatever modern means to get the music into their hands - whether it’s through a few different Google or Spotify playlists or playing an opening slot on a tour for an artist that would make complete sense with my vibe.  

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

Now, you mentioned the U.K...one of my favourite memories was the first time I played London. I was at a venue called The Slaughtered Lamb, I believe. It was a Sunday night and, straight after I played; this ‘chap’ came over and said: “Hey, you should really come say hi to my friends. I don’t want any of your CDs, but I’m pretty sure they do”. I went and said 'hello' and sold some discs. After the show, they all came over to ask what I was doing that night. It was already 11 P.M. or so and I thought the night was over - but they assured me it wasn’t. They packed me in an Uber with them to go for dinner at a friend’s place. We ended up in this amazing two-bedroom apartment right on the Thames in Wapping.

They pulled out my guitar and told me I had to entertain. This isn’t usually the way I liked to be forced into things, but it was all done in a very tongue-in-cheek way. We ended up drinking wine and singing songs into the wee hours of the morning. Now; we’ve all experienced campfire sing-alongs, but what stuck out most for me was how random this was to share that experience with a bunch of very friendly strangers - all because of music, really. They told me I was now part of their ‘Wapping Massive’.

I’m still in contact with a lot of those people today.  

What advice would you give to new artists coming through?

Bite off more than you can chew and chew it.

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

I like to hike or, as I mentioned; riding bikes here in the Netherlands is an absolute dream. I hadn’t taken a vacation in ever and, last year, I took myself on two four-day vacations: one to Croatia and one to Mexico. I learned it’s important to treat yourself like that every so often.

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).

Well; any song…

I think you should honestly play Wendell Walker by Andy Shauf. Another absolutely incredible Canadian artist. If you have a time restraint; try, maybe, You’re Out Wasting. But, I was a pretty good sport; so I think you can handle the eight minutes of Wendell Walker (smiles).

Besides…it’s totally worth it.   

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Follow Dom Fricot

Official:

http://dominiquefricot.com/

Facebook:

https://www.facebook.com/domfricot

Twitter:

https://twitter.com/domfricot

Instagram:

https://www.instagram.com/domfricot/

SoundCloud:

https://soundcloud.com/domfricot

YouTube:

https://www.youtube.com/channel/UC_tC5FX24rOFa4A19z6I22Q

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.

_______

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!

_______

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)

_______

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

_______

Follow Louis Antoniou

Official:

https://www.louisantoniou.com/

Facebook:

https://www.facebook.com/Louisantonioumusic/

Instagram:

https://www.instagram.com/louis_antoniou/

SoundCloud:

https://soundcloud.com/louis_antoniou

YouTube:

https://www.youtube.com/channel/UCXaimbme5y2S-fWNm7u5QSA

Spotify:

https://open.spotify.com/artist/34nd9ZqVVsFUd3ANXsLSw4

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…

_________

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

_________

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?

_________

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

_________

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

_______

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/

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SoundCloud:

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PHOTO CREDITS (unless credited otherwise):

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