INTERVIEW: MURDAH SRVC

INTERVIEW:

MURDAH SRVC

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IT is exciting coming across an artist who…

goes beyond music and creates their own universe. I have been learning about MURDAH SRVC and what the project entails – and how songwriter CHE brings elements of Asian culture and Anime into his world. I ask about the story behind Icarus – the new single – and shooting the video in London; whether there is going to be more material coming down the line – when Japanese art and culture came into his life.

MURDAH SRVC discusses influences and where he goes from here; whether there are any tour dates coming up; whether the intrepid artist has a favourite memory from music; advice he would give to new artists – ending the interview with a fantastic song.

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Hi, MURDAH SRVC. How are you? How has your week been?

Pretty good. It's been an eventful week. Working on the latest release, Icarus, and arranging the next one...

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

My name is CHE and I'm a singer/songwriter. I've been doing music for a while now. In 2017, I started my new project, MURDAH SRVC.

MURDAH SRVC is an audio-visual project inspired by Japanese culture. When did your love of Japanese art/culture begin?

I grew up watching Japanese Anime on T.V. during the 1990s.

I was so into it that I started drawing Manga myself. I wanted to do this for a living until I went to college. So; I got a Bachelor degree with a Major in Japanese Language, Literature and Culture - then moved to Japan for a while.

Icarus is your new track. What is the inspiration behind that track?

MURDAH SRVC is music and Manga. So, every song is related to the Manga and the other way around. You can read the Manga or listen to the music separately but, when you do both, you get the whole picture. Musically, the track takes inspiration from artists like Massive Attack, SOHN; The Weeknd, Frank Ocean - and it talks about the struggle of the main character to leave his comfort zone and go the extra mile.

You worked with producer Marco ‘John Lui’ Pettinato on Icarus. What did he bring to the song?

Marco produced all the tracks for the MURDAH SRVC project. I went to his studio with demos, most of them only piano and voice, and he added his vision to the table. I wrote like, eighteen songs: we chose five. We come from different backgrounds, so I'm very glad I had the chance to work with him - because it was very exciting to compare ideas and I think the result is (pretty) unique with a distinct sound.

The video was shot in London. Was it fun to do? Do you feel London’s diverse landscape and people is the perfect place to explore your love and fascination of Asian culture?

The video for Icarus was shot in London last December by London-based director Giovanni Musumeci. It was a lotta fun to go to Chinatown and shoot in the middle of the street with people taking pictures of me. London is a melting pot of cultures and, if there's anything you might be into, you’re gonna find it there.

Is London somewhere you gravitate towards? Is the city the perfect place for an ambitious artist to create and thrive?

Definitely. London is inspiring for every artist and it's one my favourite cities in the world. The competition is crazy because there's so much talent and, every night, there is an open mic with amazing musicians. So, to me, this is very challenging...

It makes me wanna perform a better show than the night before.

Is it true Icarus is part of an E.P. arc? Will there be more songs coming? What is the idea/narrative of the E.P.?

In a moment of time when people attention span is very low; I decided to release this E.P. one song at the time with a video along with it. The first single is Running on the Surface and the video, edited by Colla/Vinilica, is a collection of Anime frames from some of my favourite series: Cowboy Bebop, Evangelion; Akira and newer ones like Ajin and Your Name.

Icarus is the second single - and, soon, I will release the third one called Medusa (and so on).

The songs are all about the characters of the Sci-Fi Manga which I've been drawing myself and will be released later this year - in episodes of thirty-two pages each.

Can you tell me how music came into your life? Which artists did you grow up on and idolise?

I was into singing since I was a child but, in my teenage years, I heard the voices of Marvin Gaye, Al Green; Donny Hathaway, Stevie Wonder - that completely changed my perspective and taste. Then, when I was a little bit older, I fell for Electronic music as well; so that's why I define my genre as ‘Future Soul’: Soul music from the future.

IN THIS PHOTO: Goldsmoke

Are there any new artists you recommend we check out?

Lately; I discovered a duo of brothers from London, Goldsmoke. They make very good Funk/Soul with an Electronic vibe to it. Nick has an amazing voice!

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

In 2017; I had gigs in U.K., Germany and Italy. Now, I'm concentrating on new releases - but I'll start touring again soon; so make sure you check my social media to be updated.

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

As a musician, to tour as much as I can to bring this project to as many ears as possible. As a human being, to be a good father and husband…and to learn new things…always.

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

The first time a crowd of hundreds sung all the lyrics of a song I wrote. That made me understand how powerful and uniting music can be.

What advice would you give to new artists coming through?

Be well trained. Don't copy anybody else's sound. Find your own vision and stick to it: if it's something genuine, people will recognise it and follow.

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

As I said before; when I was growing up, I wanted to be a professional comic writer. Now, I draw for the MURDAH SRVC project - but it's more a therapy for me. To relax. Other than that, I love to travel with my family, try new food; see art exhibitions and read.

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 Believe in Music – Donny Hathaway

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Follow MURDAH SRVC

Official:

http://www.murdahsrvc.com/

Facebook:

https://www.facebook.com/murdahsrvc/

Twitter:

https://twitter.com/murdahsrvc

Spotify:

https://open.spotify.com/artist/5GJa1UvUTY6DWQIgvieKrq

YouTube:

https://www.youtube.com/channel/UCY_nIUl534vxoB4DbXKB9NA

SoundCloud:

CHINATOWN PHOTOS:

Giovanni Musumeci

ALL OTHER PHOTOS:

Chiara Longo

FEATURE: 10,000 Hours and Counting… Work, Passion and Ambition: The Playlist

FEATURE:

 

10,000 Hours and Counting…

Work, Passion and Ambition: The Playlist

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THEY say you need to put 10,000 hours of work/practise into something…

in order to become world-class. Whether that is music or literature; producing, art or anything else – that seems to be the amount of time it will take to achieve ‘perfection’. The 10,000-rule seems arbitrary - but many hold stock in the theory. I have been running my blog since 2011 and I have calculated, since then, I have completed my 10,000 hours. Whether that is writing or researching; working on various ideas and whatever – I have reached that goal. It is debatable whether I am world-class (I feel I have a long way to go) but it is interesting looking back at all the time I have spent on my blog. Because of this; I have collated songs that talk about writing and music; working hard and reaching out; moving forward and achieving dreams – some that look at the pitfalls of music and writing in general. Here is a playlist that, not only spotlights graft and a passion for music but provides a rich variety of songs…

TO end the weekend on a high.

FEATURE: Two Eyes Blind: Why Amanda Platell’s Remarks Regarding Stormzy Are Flawed

FEATURE:

 

Two Eyes Blind

IN THIS PHOTO: Stormzy/PHOTO CREDIT: Getty Images

Why Amanda Platell’s Remarks Regarding Stormzy Are Flawed

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THERE has been a bit of a storm brewing regarding…

IN THIS PHOTO: Amanda Platell/PHOTO CREDIT: Dave Thompson (2013)

Amanda Platell’s article about Stormzy. I was going to mention racism and race-based judgement in the title but felt, for legal reasons, it was best to avoid that terminology. If you have not read the feature already, then you should give it a read. I am not prone to reading Daily Mail’s online opinions – I would sooner have my pubic hairs waxed off! – but this piece got my goat and sparked something. Criticising the website for displaying something factually-flawed and ignorant would be like slagging off a Donald Trump for being an egomaniacal A-Hole: we know what we are in for and are not foolish enough to believe things will change. The site/paper is famed for its sheer stupidity, panic and hate-spreading agendas (maybe this is more libellous than anything else I will write!). I associate the readership of the Daily Mail with Tory-voting middle-classes that want everything the way it is: keep out those nasty foreign people and praise everything P.M. Theresa May says. They are in their own little bubble and, so long as the world is in their image and beneficial to them – everyone else is an enemy and worthless. There are exceptions to the rule but, for the most part, their readership is as slack-jawed and pointless as you’ll get.

The latest much-rake from Amanda Platell is aimed at Stormzy and his comments at this year’s Brit Awards. Despite the fact he was the best thing about the night – aside from some near-the-post saves and dives from host Jack Whitehall – he spoke truth and articulated the feelings of many of us in the U.K. I am not accusing Platell of racism although I am pretty sure, were a white artist like Ed Sheeran to make such remarks – she would not take to her laptop and accuse him of being a tax-dodging, over-privilege hypocrite. The article started by laying out some of the facts – looking at his family and what he achieved at the Brit Awards:

“Mum emigrated from Ghana to Britain in the hope of giving herself and her family a better life. And she succeeded. On Wednesday her son — now known as grime rapper Stormzy — won two top gongs, for best British male solo artist and best album at the Brit Awards for pop music”.

Despite the fact her grammar and punctuation are flawed: she went on to state some ignorant and strange opinions:

“If ever there were proof that whatever your background, this is a country that provides opportunities, Stormzy is it. He is a formidable talent. Accepting his awards he thanked God, his family — and then proceeded to attack the Tory Government”.

It is true Stormzy has overcome the odds and made a great life for himself: that final insinuation he should be thankful for the Tory government and has no real right to attack anyone is laughable. As I said earlier in the article: if this were a white Pop artist making saying the same things as Stormzy did – attacking the government and calling them out regards the Grenfell Tower fire – would they be subjected to the same scrutiny and judgement?! Stormzy’s wealth and success have not been easy and he has not been handed anything in life – working tirelessly to get his music to the people and not stopping there. Platell’s comments and thoughts did not end there…

“What was most shocking about this was its bile and ignorance.

The PM has never called anyone ‘savages’ let alone the victims and survivors of Grenfell. Her government has committed £58 million to helping victims of the Grenfell tragedy and more will follow. And yet Stormzy’s message was that, as some vile form of retribution for Grenfell, Theresa May’s house should be burnt down to see how she likes it”.

Stormzy’s point is that May’s government have reacted too late and handled the entire situation with serious apathy and lacking care. Maybe his wording – calling her a ‘savage’ – could be better articulated and phrased. His points regarding the Government and their mishandling of the tragedy are right-on!

IN THIS PHOTO: Prime Minister Theresa May/PHOTO CREDIT: Getty Images

The fact she has pledged that money comes AFTER the fact and is a result of huge backlash and condemnation. An artist like Stormzy has experienced life on estates and knows the type of existence the survivors has led. He knows the kind of folk who live at Grenfell and is entitled to react violently to the Tories and their ignorance. Platell, as I will show, goes on to look at Stormzy’s wealth and opinion he is hypocritical to stick his nose in the Grenfell case when he lives in luxurious surroundings. Musicians are not on this planet to simply parrot their songs and go home at the end of the day. They are entitled to their opinions and are allowed to say what they want to – so long as it is legal. If we suppressed the free thought of musicians and criticised them every time they attacked the government; we would not have any form of expression and many people would riot. I am sure Amanda Platell has thrown criticism at Labour leader Jeremy Corbyn and taken shots at him! What is the difference between a rich person like her attacking Labour and a musician like Stormzy attacking the Tory party?! Platell mentioned Stormzy’s education – he excelled and did well at school – before he started rolling with drug addicts and falling into bad crowds.

PHOTO CREDIT: Press Association

His tale is an inspiring one for anyone who has been in a bad situation and yearned to make something of their life. Although Platell does highlight the good work Stormzy does – in the smarmiest and least sincere manner possible – but...her piece is filled with anger and falsehoods. Before I get to the crux and conclusion – here is another snippet that enraged the senses:

“For all his life Stormzy has happily benefited from the health care, housing and education opportunities the government, whether Tory or Labour, has provided.

Today, as he relaxes in his £2 million flat, employing accountants who specialise in ‘ultra-high-net-worth individuals’ and ‘overseas companies and non-domiciled individuals’, is it asking too much that he show a scintilla of gratitude to the country that offered his mother and him so much? Instead of trashing it”.

It is laughable to think the fact Stormzy has made a life for himself should preclude him from highlight how the Government handled the Grenfell tragedy. So, in essence; if you benefit from free healthcare and do well; you manage to live somewhere safe and forge a career – you should keep your mouth shut, be thankful and say ‘thanks’ to our leaders?! I am in a semi-okay place in life and I appreciate what I have been provided: I am never going to remain silent and think the Government have done the best for me and this country. The U.K. is wealthy and well-off but being let down by our Prime Minister and the way she orchestrates business.

IN THIS PHOTO: Grenfell Tower/PHOTO CREDIT: Rick Findler/PA Wire

Millions of us were outraged and upset by what we saw at Grenfell. A lot of us voiced our disgust and levelled that at the Government – Amanda Platell and her Daily Mail cronies did not write a piece eviscerating the British public and their opinions. I bet there are a few Daily Mail readers who have even stronger views on the matter than Stormzy himself. Isn’t it ironic Platell should judge Stormzy so harshly and overlook a proportion of her readership?! Her attitude and piece display a general ignorance, mainly in the gutter press, that suggests musicians who have made money should count their lucky stars and be grateful for what they have. Stormzy is not, as she pictures, a lounging star who has millions and lazes around in his mansion all day. His family struggled to get to this country and had to overcome incredible odds. It was unlikely Stormzy would be noticed and make a life for himself in Britain. The fact he has risen to the position he is (is) down to endless graft and raw talent. The music he makes reflects the realities of the nation and highlights issues that need addressing and improving. A lot of what he says is for people like Grenfell’s residents: the befallen and struggling who are trying to make a good life for themselves and do not hurt anyone.

PHOTO CREDIT: Getty Images

The fire that claimed seventy-one in June 2017 cannot be ignored and diminished. I understand there have been some negative reactions that have made the press. Yesterday; it was reported council workers who are monitoring the aftermath of Grenfell are being attacked and (having their meetings) hijacked by protestors – a natural reaction but something that doesn’t help people trying to change things. It is all well and good having the Tories saying they are committed to funding renovation and improvement following the fire. They are implementing changes so that safety measures are in place for all high-rises; better checks conducted and homeless residents rehomed and looked after. The fact there was nothing done BEFORE the fire took hold – knowing Grenfell was unsafe and prone to fire – and the hours afterwards cannot be forgotten. If there has been an instant reaction and a proactive approach right after the tragedy – many would have commended Theresa May and her staff. All of this rhetoric and promise has come after a severe backlash and protest from the public. I was aggrieved at Amanda Platell and her piece because it suggested Stormzy has been handed a lot and has a lot of money in the bank. Maybe he should be more grateful he is wealthy and should recognise the fact the Tories are committed to helping those who have suffered a considerable loss. All of this is crap, of course. It was uneasy reading the words that were aimed at a young black artist who has overcome a lot and entitled to speak for people who do not have a platform like his.

PHOTO CREDIT: Getty Images

I feel Stormzy was right and, although his words were furious and accusatory; Platell’s insinuations and words display huge ignorance against people like Stormzy – voicing anger many of us in this country feel. There is some good news in all of this. If you have missed the latest update - Stormzy’s recent Tweet, calling for people to sign a petition that appointed additional panel members to an independent public enquiry, has surpassed the target 100,000 signatures - it is all detailed here:

“Stormzy has tweeted "job done" after a petition calling on Theresa May to take action to build public trust in the Grenfell Tower Inquiry reached the milestone of 100,000 signatures.

The grime and hip hop star called on his more than one million Twitter followers to sign the petition demanding Mrs May use her powers to appoint additional panel members to the independent public inquiry.

Within a few hours of his tweet, the petition had registered more than 100,000 signatures - the number required for the petition to be considered for debate by MPs.

It was started by Adel Chaoui, Karim Mussilhy and Sandra Ruiz, who were bereaved in the tragedy, and want a more diverse make-up to the inquiry.

In a joint statement, they said: "This week the public have shown they've not forgotten about Grenfell.

"Just as they supported us in the immediate aftermath of the fire, when local and national government response was lacking, they've backed us again - and demanded the voices of the survivors and bereaved are heard".

It is very obvious people have signed this petition because they feel the same way as Stormzy. Many of the people who signed the petition are in the same situation as Stormzy: they might be better off and have a bit of money in the bank. Many would have struggled oppression and faced obstacles building a life for themselves in this country. The fact a proportion of those signees have made a life for themselves and build a sense of comfort means they are prone to the same criticism Amanda Platell levied at Stormzy. Should they be criticised and judged for having angry reactions about the Government and their handling of Grenfell?! Of course not! Stormzy is not the kind of man who will be affected by the article and feel the need to be a bit more passive and calm. The fact he has helped bring change and open discussion is a good thing; he has made a success of his life because of the music he makes: songs aimed at the affected and the lesser-off. The fact he is more productive and universal than our Government – who have no idea about Grime and what the genre stands for – speaks volumes. Amanda Platell’s opinions might have slipped many by but highlight the feelings of some rather foolish and ignorant members of the press. Stormzy has whipped up support and togetherness; he has got people motivated and reflecting the opinions many of us have. He has done more good in the past few weeks than the likes of Amanda Platell have achieved in years. That, when you think about it…

PHOTO CREDIT: Unsplash

IS the greatest irony of all.

FEATURE: The Revolution Will Be Televised (and Staged): Modern Musicals, Music T.V. and Fresh Focus

FEATURE:

 

The Revolution Will Be Televised (and Staged)

ALL PHOTOS (unless credited otherwise): Unsplash

Modern Musicals, Music T.V. and Fresh Focus

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BEFORE I end the weekend with something meatier…

and more general – I wanted to look at the areas of the media that require a serious injection of modern music. I will end by talking about music T.V. and why we need to think about creating more options. Before then, I have been recalling my first-ever theatre memory. It must have been the mid-1990s – or slightly before then. Whatever the year; it was a trip to see Grease in London that introduced me to musical theatre and its potential. I am not a fan of musical theatre by any means but, thinking about the way it brings music to demographics and people that would not normally listen to – it got me thinking about modern equivalents and why the stage is as important as the studio. Although I am a bit ho-hum regarding classical musicals; I do like Grease and think it has a pretty kick-ass soundtrack! Greased Lightnin’ and You’re the One That I Want are instant smashes; Summer Nights and Sandy are pretty awesome. Those songs, and that musical, gives me an idea of what life was like for some in the 1950s. The ‘greasers’ movement in the U.S. captivated youths looking for a sense of understanding a new identity. Look at Grease and the two tribes – Danny and Sandy’s groups – coming together and interacting. That building romance is at the heart of the musical/film. Whether you connected with the original 1971 stage show or the 1978 film – everyone will have some exposure to the musical.

There are two reasons why musicals hold a very important place in modern culture. We get an insight into an area of life we do not have exposure to normally: there is a different form of music one would not normally hear on the radio. Musicals like Grease and Chicago, for instance, might seem dated by the very fact they are set in the past. They have been showing for many years now and we are all familiar with the classic songbooks. Whether you are a fan of West Side Story or The Phantom of the Opera – they are great forms of entertainment that deserve greater oxygen. It seems musicals, in the past, have been reserved to a certain type of theatre-goer: those who are a bit, say, reserved about modern music but find some form of connection with theatrical music. That may seem a generalisation but most of the people I know (who attend musicals) are a bit unadventurous with their music tastes. One of the reasons I wanted to start by talking about musical theatre is the way humour, satire and politics feed into musical theatre. Modern examples like Hamilton are thrilling audiences and picking up awards all over the place. That rapped-and-sung-through musical talks about the American Founding Father Alexander Hamilton. It is a tough, real and dazzling show that uses music and song to illustrate a vital and formative part of U.S. history. We have more escapist and fantasy-filled musicals around but, in a time where we need people to react to what is happening around us; the more realistic musical is favoured.

The Book of Mormon, sure, is a comedy but it looks at two Mormon missionaries who travel to Africa to preach the Mormon religion. Maybe the message is not as serious as Hamilton – it does help make musical theatre a broader and more popular realm. A lot of the established musicals put off people like me because they are a bit stuffy and old-fashioned. The fact the multi-Tony-winning Hamilton has broken records mean there will be a lot of similar-minded musicals emerging in years to come. I would like to see other areas of society provided a musical theatre twist. There is a lot of conflict and division in the country right now. There are racial tensions and we have political conflict; separation regarding Brexit and a lot of divides forming. Look back at the Punk movement in the 1970s and the sort of explosion that happened then. Imagine life in the 1960s and a tale of domestic abuse and one girl’s chance to escape through music and popular culture. Those are three quick pitches but have potential to sound modern, appealing and raw. In terms of genre; one could see another U.S.-based musical that went into a racially-divided neighbourhood and has a Hip-Hop soundtrack…bringing in newly-penned songs and classics from the 1980s and 1990s. If it were British; we could have a 1990s-set musical that forged two Britpop clans together in a humorous setting. Ideas swirl around the heads but that is the point: there is demand and thirst for new musicals that broaden the sonic palette and update the classics.

One of the biggest drawbacks of musicals – aside from the fact they are unrealistic by nature – is the type of music we hear. The songs are often soft and melodic; they are big, showy numbers that are not designed to change minds and impart wisdom. Musical theatre has the potential to change minds, bring about change and provide education. We are living in a divided time so I wonder, as mainstream music struggles to respond; musical theatre could fill that gap. The stage is powerful and, why there is less of an audience compared with radio and streaming sites; that human connection and interaction is potent. Given the violence, racism and splits around the world – can we ignore that in favour of something lighter and less abrasive?! Not only does musical theatre have the potential to bring history and social divisions to the people: there are bands and artists who warrant their own musical. We can educate younger people – and those with rigid tastes – about great movements and artists who have come before. If I were to put any forms of music up on the stage, I would like at the aforementioned Britpop movement; Grunge in the 1990s and 1980s Hip-Hop. Whether (the musical) used pre-recorded music and wrote a story around popular songs or had an original score influenced by the time in which it is set – it would bring people like me, who usually avoid musicals, into the theatre!

ILLUSTRATION CREDIT: Katherine Brickman

I am a big fan of bands like Oasis, Blur and Pulp: artists who were huge in the 1990s and talked about life where they lived. We could have – unless it has already been done – a musical that looked at two different neighbourhoods during that time. Changing the storylines and nature of musical theatre to a more modern and relevant template would recruit a lot more people. I find many musicals a bit uninspired and static – too many that do the same thing and aim for a particular audience. There are areas of society, music and life that are not being exposed and documented. I am buoyed by the success of Hamilton but there have been some criticisms regarding its story – too expositional and tired at times – and numbers. I cannot argue as the production picked up eleven Tony Awards and is a worldwide sensation! Every one of us can formulate and imagine which artist/time period we’d like to see on the stage: whether that is the form of a societal narrative or a humorous interpretation of a treasured time. Music T.V. and music shows are another great way of bringing music, old and new, to the people. My entire piece reacts to an electronic diet and the way we consume and discover sounds. I watched the one-off Old Grey Whistle Test earlier in the week and watched, with closed hands around the eyes, the latest Brit Awards.

The latter was an awkward affair with ill-paired presenters and performances either forgettable or marred (Kendrick Lamar’s muted performance for T.V. audiences, as an example). There were some unwanted winners and needless surprises on the night. Aside from Stormzy getting two awards and triumphing; Jack Whitehall doing a great job at presenting – it was a forgettable and boring night that was more about drunkenness and embarrassment than the quality of music. In fact, thinking about it: how many decent and endlessly watchable options are there now?! I argue there should be a BBC Radio 6 Music version. That is not because I am a huge fan of the station: the fact is, they pride quality over commercialism and have seen some wonderful live sets in their studios. We could skim away shows like the Brits and Q’s award show; get rid of NME’s night and have a proper award show through BBC Radio 6 Music. It could have some live performance and focus on the best music around. There would be no commercial chart stuff in there; it would be all about the great acts out there who miss out on all other nights of the year. It is a suggestion but it is clear we need a music award show in some form – this seems like the best option for those who have a genuine passion for great music.

Music T.V. is the last area where a semi-revolution/overhaul can take place. I predicted the return of The Old Grey Whistle Test last week would be a success and popular choice. Many people revelled at the inclusion of archive footage and performances from the likes of Peter Frampton and Kiki Dee. ‘Whispering’ Bob Harris was back in control and presented the three-hour live show. It was a great night and reminded us why we need a show like this back on T.V. I wonder whether BBC will be smart enough to television and commission a new series of the show. It does not need to depart too much from its classical formula. The studio could be the same and the presenter, whether Bob Harris or someone else, would take care of the introductions. We would have archived footage from previous shows but there is an emphasis on presenting the best new and legendary artists in the studio. The emphasis would be on great artists from all genres - concentrating on electricity, excitement and serious chops. It would be good to see established artists performing their hits: underground, unsigned artists nestling alongside the best of music’s past. You could have music news running alongside and other features peppered in – concentrating on a classic album and having interviews – and create a really good show. It could be a one-hour thing that played once a week at around 9 P.M. I would love to see it return to the screen – as would many others out there.

It would showcase music’s past and bring it to new ears; we would have fantastic new bands/acts playing their stuff and (hope to) create the same kind of progression as we saw back in the 1970s. These are all ideas I think would be feasible and achievable. I am not suggesting putting on a music T.V. show and new musical theatre would revolutionise music and change the world as we know it. I worry the music industry is too focused on the digital and not as expressive and wide-ranging as it can be. We have great musical theatre, award shows and music T.V. out there. There is not as much as there should be and that is something that can be changed. I am confident, if we modernise and expand musical theatre; that will bring in new crowds and lead to a bit of a revolt. There are few genuinely alright award shows but we could get rid of the worst ones and create something genuinely decent and watchable. Throw in a fantastic music T.V. show and it is a good way of kickstarting a move towards more traditional and varied scene. There are many other avenues we could explore when it comes to music: interview shows and a music-based T.V. show (a drama or comedy); a website and, well…anything else. It is good to think about music’s power and how it can influence the world. There are fantastic stories and brilliant artists out there; formats that can be exploited and chances to push music to new heights. It might start with a new musical but, if we keep the pressure going; this could lead to…

INCREDIBLE change and progression.  

FEATURE: The Hipsters Shall Have Their Revenge on Shoreditch: Why Being ‘Cool’ Is Not All It's Cracked Up to Be

FEATURE:

 

The Hipsters Shall Have Their Revenge on Shoreditch

 ALL PHOTOS (unless credited otherwise): Unsplash

Why Being ‘Cool’ Is Not All It's Cracked Up to Be

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MY final two pieces of the weekend…

PHOTO CREDIT: Getty Images

will, for one, look at music made by black artists – and why they deserve more credit than they actually get. I want to address, oddly, musicals and whether there has been a massive reinvention over time; why more artists deserve their own musical…and the way more people are embracing a side of theatre that was reserved to a certain fan/type of people years ago. Before I get to that; I am being faced with a lot of artists who project, rather overtly, ‘cool’ energy. Whether it is the way they treat electronic sounds or the manner in which they project themselves. You get the impression they are angling for a soundtrack spot on Made in Chelsea. You know the type of artists I am talking about: the men are either clean-shaven and wear the skinniest jeans and jackets possible; the women wear 1950s dresses and drive around in a V.W. Polo. The music, worryingly, is designed for these type of shows and racking up the Spotify figures. You listen to artists who have genuine integrity and make music that is natural to them: too many are crafting songs aimed at fitting in with the East London crowds. I can’t be too hard on the area: it is somewhere I want to work in and have a lot of respect for sounds coming from there. What I mean, is those boutique coffee shop-dwelling types who put almond oil in their beards and would vomit blood were they ever asked to shop at Lidl rather than Waitrose.

Take away the too-hip-for-school clubs and bars where all the tables are bespoke – the drinks fancily-named and the patrons reeking of arrogance – and you are left with a very fractured community. I love music that makes me feel cool – not so keen on those who are more eager to please labels than write something meaningful to them. Electro-Pop is one of the fastest-growing genres in music. It provides artists the chance to play solo or as a duo (or trio); there is variation and room for invention; the music is inoffensive and has plenty of commercial bang. As I said; I am keen, around this time of year, to embrace music that brings in the sunshine and reminds one of summer. Last year; acts like Justice and M83 produced heady, fulsome jams that stayed in my head. Unfortunately, there was a wave of artists who produced skeletal, generic Electro-Pop that would make the most leather-clad beard-stroker drop their extra-hot-with-stiff-foam-vanilla-and-nutmeg-cappuccino with a high-pitched squeal. The themes (these artists released) did not stray too far from the average and plodding: songs about jilted hearts and the reckless nature of their lovers. Some did stray from the pack but, by and large, there was not a great deal of difference. This concern is not only reserved to Electro-Pop – there are other genres, like Pop and Indie, where artists are more concerned with image and style.

In fact; many new Rock/Indie bands are breaking out their old denim and patching the f*ck out of it! I cannot blame streaming services like Spotify but there is some truth: the slick and ultra-new nature of the site promotes those artists who pout the biggest and wear the oh-so-trendy fabrics of popularity. I have written, in the past week, about the nature of coolness and whether music can be seen as a guilty pleasure – I have penned pieces regarding language and the quality of modern songwriting. I am a non-denominational music fan who opens his heart to anyone willing to make a serious go of things. Because of that; my vinyl collection if rammed with classic L.P.s and lesser-heard oddities. As I approach new musicians; there is a bit more trepidation than I’d like. I am guilty of interviewing a few bands/artists who fall into their trap. So many people are looking at the Spotify petrol gauge and concerned, if they do not promote a certain gloss and popularity, they will sink and be overlooked. It can be challenging going against the grain and pursuing something that is deeper and more original. I look at the modern charts and there is a three-way divide. You have the camp who are producing good music and doing things their own way. There are others who either designed their music according to the rules of streaming services and T.V. shows – always keen to pen the latest who-gives-a-donkey’s-rectum song that gets people nodding their heads but does not remain in the mind.

The other side of the coin is those who release music that copies what is seen as popular and radio-friendly. These players are about fitting into cliques and getting their music heard in the trendiest joints in town. Maybe there is more of a North-South divide: London artists, and those down this way, more to blame than those further up the country. I am finding, annoyingly, a lot of artists in northern cities forsaking local ideals and sacrificing their roots. You get artists in working-class areas pulling out the keyboards and performing some of the vaguest and most anodyne sounds you are likely to hear. I can think of no other reason bar the fact (these artists) want to get onto certain playlists and create something commercial. This may sound like another shot at those who value streaming figures and Internet notoriety above musicians who want to craft something genuine. It is difficult to succeed and grow in the modern time and not have one ear listening out to the hum of the streaming machine. That word, ‘cool’, can be a bit misleading. One can say a band like Pink Floyd or The Beatles are cool; Radiohead and Roy Orbison are cool – do any of these artists set out to be that way?!

Their appeal and allure is as a result of the originality of their music and the fact they have created a legacy. 1960s bands like The Beatles, I guess, were the equivalent of a lot of bands we see now. They were designed to appeal to a certain market and look a certain way. The thing is, against the marketing men and the need to appeal to young women – the guys penned music that broke boundaries and shook up the world. I would not object to the pretentiousness and oiled facial hair was it not for a distinct lack of quality. My ethics would be shaken but, if a modern artist – who wanted to be cool and fashionable – were to write something fantastic and mould-busting…that would be okay. From The Fonz through to James Dean: icons, real and fictional, have defined what it is to be ‘cool’. Nowadays; we do not really have idols like that or idols of coolness. The coolest music, in fact, is that which rebels against the predictors and prides quality and impact over anything else. I can throw the best Rap, Hip-Hop and R&B artists into that category. I shall not name-and-shame any artists directly – unless I need to borrow money from them in the future – but there are too many calibrating and configuring their music according to the codification and gospel of the modern cool.

Whether that is a song that can nestle neatly into a Friday Spotify playlist or a perfect cut to soundtrack a reality T.V. show – it is all a little bit icky, pointless and dangerous. I would have though Rock and Indie bands would turn their noses up at any suggestion they were trying to create a fashion brand. Maybe it is not only streaming services that are culpable of such sins. The world is becoming more homogenised and, when you think of an area of the capital like Shoreditch and Hackney – there are a lot of new bars opening that play the sort of music I am putting under the scalpel. Areas are becoming posher and cleaner; people are attuning themselves to a new sort of high-street and more upmarket reality. I have voiced concerns Grime and Rap clubs are being marginalised because they are too gritty and real for the young generation. When I try to visualise the embodiment of the uncool and tragic try-hard; it is usually a white male. There are female and black artists who are, tragically, trying to conform to those who want their music a certain way: the majority of the guilty are white men.

IMAGE CREDIT: Getty Images

Maybe we have come too far to reverse these trends and force rationality to those artists who want to be popular and cool. I know every genre/style has its fans – and everyone should be proud of what they hear – but how substantial and meaningful are artists who direct their music at the hip and exclusive? In a way; they are producing music to generate money for all the wrong reasons. I think artists collaborating with brands and companies can be a good thing – getting music to different people and making it more visible is great. There is a line between those trying to do something good and those aimlessly following the crowd. Many might argue the music I have mentioned is not doing anyone any harm. It is connecting with some people and has its place in music. My objection is not with the desire of the artist, per se, but the lack of quality and guts. If you are going to make music for streaming sites and to win popularity…at least make it decent! It is the saggy-breasted nature of the sounds that make the whole endeavour questionable and flawed. I am a big fan of all music but go out of my way to follow those who do not give a damn about hitting streaming records and producing thread-bare Pop/Electro. From the gleaming, white-toothed female Pop artists to the trying-too-hard-to-be-cool duos cranking out something fizzy, buzzing and bland – where does it all stop?!

In a way; the music industry is a bit like school. We are told, in a way, the best way to become popular is to fit in with the cool kids. Those who hang solemnly around the bike shed or smoke a bit of weed after class has ended are weird loners or things to be judged: those who ride with the cool girls and click with the cliques are the optimal ideal. I am about as cool as a Piers Morgan-branded enema so one can claim there is some bitterness and long-stored hate spewing out at those who court popularity and success. I have grown a lot and my concerns are purely musical. We should not be encouraging artists to make music a certain way and provide the (false) notion hitting streaming highs and getting your music on the screen is the dream. If you want to be that artist, then that is your choice: we should not project that as something good and worthy. There is, mind you, a part of me that wants to reason and yell at artists who give us shallow music without any depth and point – beyond getting a certain crowd fired and excited. Within the gentrified streets and independent cafes; the chrome bars and fusion cuisine – there is music out there that perfectly scores a very bohemian, middle-class and lamentable lifestyle. I yearn for genuine passion and originality; a brand of music that does its own thing because it is the right way to do it. In essence; I want the bullied overweight kid in the playground to stride up to the cackling, always-laid jock and…

KICK the skinny cigarette right out of his smirking mouth.

INTERVIEW: HEGAZY

INTERVIEW:

HEGAZY

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I do not get many opportunities to interview…

artists from New York. I have been talking with HEGAZY about their E.P., Young. I find out the themes and ideas that compelled the work; which song each sister favours; what it was like being raised in a multicultural household – and why Leila and Omnia decided to start recording music together.

I ask them about their influences and the lure of N.Y.C. They talk about their father’s influence on their music; why they took a break from music; if they are coming over the U.K. this year – some cool artists we should watch out for.

________

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

Hey! It’s been great. We just released our first E.P. as a duo - so we’re pretty ecstatic!

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

We are HEGAZY: an Indie-Soul/Pop twin-sister duo based out of N.Y.C.

Young is your debut E.P. Can you reveal the themes and inspiration points for the E.P.?

Young is a coming-of-age story...

All the songs reflect our experience(s) finding our way in the world as millennials in light of all the social and personal challenges we’re facing (economic uncertainty, falling in/out of love and the current climate of racism/xenophobia in our government). It sounds heavy - but most of the record is pretty light-hearted and hopeful.

Which songs do you each connect hardest, would you say?

Leila: Track-three (Smolder) is the most personal to me. It digs into how young love changes into adult love over the course of a long-term relationship and all the worries that come with this evolution (i.e. is it ok if the butterflies are gone? Are we just becoming boring adults?). It speaks to the record’s overarching theme of ‘growing up’ and what that means. 

Omnia: The first single off the E.P., Alive, resonates with me the most. I wrote it about quitting my day-job in the music business to pursue my own music full-time. So many people stay in situations that are unfulfilling just because it’s the safest option - and this song was about breaking free; not only of the corporate world, but of our own sense of security, which can hold us back from achieving what we really want most.

As twin-sisters; I can imagine you two shared a love for music. When was the moment you decided to form the family-named HEGAZY?

We formed HEGAZY after the death of our father, Ashraf Hegazy, in December 2015. He always wanted us to work together and, in the year before his passing, we were already heading in that direction. Once he passed away, we became a band quite, naturally. In the years leading up to his passing, we had already been living together in an apartment, writing songs in adjacent rooms and going to each other for feedback. When our songs started to sound more alike, it made less sense for us to be separate - and we both knew that we would be better received as a duo.

We named the band after our father’s/our last name, because he always insisted that we were stronger together. He was right.

You were born to a Brooklyn-Italian mother and Egyptian father – growing up on Staten Island. How influential were your parents’ backgrounds to your own music? As first-generation Arab-American twins; was it quite confusing growing up in Staten Island – or did you feel a sense of belonging?

Our parents’ backgrounds definitely reflected the music we were exposed to at the time and we’d like to think that everything we’ve listened to has contributed to our music in some way. Our mom loved Billy Joel and Disco music and our dad played classic Egyptian music around the house as well as recitations of the Quran, which are very melodic in nature. Growing up on Staten Island, which has a large Italian-American population, was an interesting experience. We, ourselves, were half-Italian - but we didn’t quite fit in with our peers because we also Egyptian and Muslim. We looked nothing like our mom, who has blonde hair and blue eyes, but looked more like our father - he had darker skin and North African features. When 9/11 happened; we were in the sixth-grade and we experienced a lot of bullying as a result. Other kids called us ‘terrorists’; ‘Bin Laden’s daughters’, etc.

It was a pretty rough time and that experience has stayed with us.

It seems you embarked on different paths before forming HEGAZY. What did each of you learn in your respective music roles during that period?

Leila: I have always been a vocalist first and foremost and, in our time apart; I gravitated towards R&B/Soul music because of the vocal prowess needed to sing in that style. In the meantime, I played piano and learned/listened to a lot of Jazz music - all of which really helped me to grow as a musician. I went to college for music composition and songwriting, which was a difficult thing to learn in a classroom setting. My songwriting got better because I was constantly writing - that was my job as a composition student and I loved it. It was also during this time that I started performing at venues in N.Y.C. and recording my solo records.

I learned so much about writing, performing, recording and navigating the music business - and all of these experiences have laid the groundwork for HEGAZY.

Omnia: I went to school for music production and music business (NYU Clive Davis Institute of Recorded Music) while continuing to work on being a singer-songwriter. It was there that I learned to produce myself, record and edit my own vocals…and see my own visions through from beginning to end. When I work with a producer now; it helps to have the vocabulary to be able to communicate the sound I want and to listen to mixes and masters with the ears of an engineer. I learned so much about the music business and what it takes to be a D.I.Y. artist in my four years of college.

The Arab Spring was also the backdrop of my college experience; so I found myself writing a lot of very political and socially-conscious Pop music. I used my songwriting to vent about my frustrations with the world. This has definitely followed me into HEGAZY.

Do you feel, when you reunited in 2012, you were stronger and more rounded musicians/humans?

Definitely. Had we never gone our separate ways for school as teenagers/young adults, we would never have figured out who we were as individuals and musicians separate from each other. Our band now has such a diverse pool of influences and our differences have made our music that much stronger.

How inspiring is New York and its varied communities? Is its diversity the reason the music scene is so fresh and evolving?

New York has a million different kinds of people and it’s amazing to be a part of that diversity. At the same time, we believe that gentrification has played a big role in the music scene here in the past few years. Although our style (Soul/Pop) is pretty timeless and will always have a place: the type of music that is considered ‘cool’ has shifted to genres typically preferred by white people (Electro-Pop, Indie-Rock, etc.). This isn’t to say that there aren’t people of color engaged in these musical styles: it’s just to say that when people from outside N.Y.C. started moving here in such large numbers, this changed the scene pretty dramatically. So, truthfully; a lot of the music you’re hearing from our city these days isn’t being made by native New Yorkers.

But, this city is evolving and if there’s one thing all New Yorkers (native or transplant) have in common, it’s that we’ll all be racing to keep up! It’s both exhausting and exciting.

Leila and Omnia. You two seem very different – in terms of music and personalities. Does that difference extend to music tastes? What do you each listen to away from HEGAZY?

Leila: Sure. I will always lean towards the Soul realm; but I’ve also gotten a little more inclined towards Electronic music in the past year or so. Lately, I’ve been listening to a lot of music from my peers who are making waves (Gabriel Garzon-Montano, Mitski; Luna Shadows and Verite to name a few). All of these artist were classmates of mine from either high-school or college - and they’re amazingly talented songwriters/artists. Listening to new music keeps my perspective fresh, regardless of genre.

Omnia: I listen to so many different things on my own time and don’t like to classify my musical tastes - because they’re constantly changing. At the moment, I’m listening to a lot of Vulpeck (they’re so funky!) and Larkin Poe (they’re a kickass sister-duo from Atlanta). Last year, I was listening to Sia and St. Paul and the Broken Bones on repeat. The year before; it was Alabama Shakes and Emily King (though this is still my go-to when I just want to feel good).

I also listen to a lot of alternative Arab artists like Mashrou Leila and Yasmine Hamdan and try to keep up with what’s happening on the ground in Indie music around the world; especially, in the Middle East. I’m still a violinist at heart and totally dork-out on Classical music (Antonio Vivaldi is my favorite composer; he was so intense and listening to/playing his works invigorates me).

How important is your late father with regards your music and working together? Was he an instrumental guide and voice for you both?

Our dad is our muse - and we try to remember him when if/when we experience conflict with each other in the process of building our band. He had a fascinating life and his story inspires us to go after what we want without fear. He moved to the U.S.A. at seventeen years of age knowing no English; he did every odd job to make ends meet (all while going a little too crazy with his newfound ‘American freedom’ at first); finished college and made a life for himself. We also used to argue with him constantly about religion and politics – and, even if it seemed that no one was growing at the time, we all grew because of it.

All of these lessons have shaped who are as people and artists.

IN THIS PHOTO: Larkin Poe

Who are the new artists you recommend we check out?

YEBBA (Abbey Smith), Gabriel Garzón-Montano; Jacob Collier, Jaime Woods; Deva Mahal and Larkin Poe (fellow sister-duo).

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

Leila: The Seven EP by Emily King

This record makes my heart melt every time - and it’s my go-to whenever I need to calm down. The vocals are beautifully delicate and lush and the songs are stunning…

Omnia: Oum Kalthoum means the most to me (no particular record; because she released mostly recordings from her live performances) because it reminds me of spending time with our dad. I enjoyed listening to Arabic music with him and, when I hear Oum Kalthoum songs like Inta Omri or Alf Leila w Leila, there’s a feeling of being in his presence again.

Can we see you on tour soon? What gigs do you have coming up? Will the U.K. be among your plans?

We’re playing at The Barnes Foundation in Philadelphia on March 2nd and Rockwood Music Hall on March 16th (in New York City). We’d love to take our music across the U.S.A. in 2018 and plan to do so in the fall.

The U.K. would be such an ideal place for our music - so when we tour Europe it will be part of our plan.

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

Leila: As we mentioned above; I’d love to tour, see more of the U.S.A. and the world. Traveling is always helpful, on a personal level.

Omnia: I hope to be more mindful in 2018 amidst all our big dreams and professional goals, which can be a challenge. For me, this means meditating every day and pausing before responding to things. This is easier said than done and takes constant practice.

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

Leila: I opened for a sold-out Allen Stone show in N.Y.C. a few years back and the crowd’s energy was unbelievable. That was the best performance experience I’ve had - and I’d love for HEGAZY to share in that.

Omnia: I performed at Women in the World Texas a few years back and got to meet Gloria Steinem - who was speaking at the event! Her dressing room was right down the hall from mine and I still wonder if she could hear my embarrassing vocal warmups before I went onstage.

What advice would you give to new artists coming through?

Leila: Make music that you like to listen, not music that you think people want to hear…

Omnia: You are your own boss and you need to embody that when managing your own career! Don’t wait to be discovered by someone else: work on building your base one fan at a time and making real connections with the people who dig your music. It’s not an easy path to be an artist, but there will be moments when you’re reminded of how much it’s worth it.

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

Leila:  Jacob Collier – In My Room

Omnia: St. Paul and the Broken Bones - I’ll Be Your Woman

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Follow HEGAZY

Official:

http://hegazyband.com/

Facebook:

https://www.facebook.com/hegazyband/

Twitter:

https://twitter.com/hegazyband

Instagram:

https://www.instagram.com/hegazyband/

Spotify:

https://open.spotify.com/artist/1NSX9n3FgiR9mnwE2OcF3z?si=V_4rjU8yQKiumDyA51ul4Q

YouTube:

https://www.youtube.com/channel/UCvwbzjGQrbZzmUX-dIzryuw

BandCamp:

https://hegazy.bandcamp.com/

INTERVIEW: Heavyball

INTERVIEW:

Heavyball

_______

THE chaps of Heavyball have been talking to me…

about their concept album, When Can You Start? It was released last year and looks at the routine of everyday work and the need to break free. The guys chat about their treasured musical memories and the song, Top of Your Game, and whether each has a standout song from the album. I ask the band about making music in the Midlands and whether there are any tour dates – and a new artist they recommend we check out.

The band choose albums that mean a lot to them; they share their advice to new artists and what they hope to achieve, as a band, this year; whether their own experiences with work influenced their latest album – they talk about London and its influence on them.

______

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

Iball: Alright thanks, mate. Ducking and diving. You know how it is…

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

We are the greatest band to come out of Nottingham since Paper Lace. We are New-Tone band pulling together influences from Ska, Rock and Indie. We are a group of mates making the music we want to hear.

We just hope other people like it as well.

When Can You Start is your new, concept album. What kind of themes and ideas can we expect from the album?

It’s about a nobody that’s everybody - stuck in a job he hates, slowly seeing his life for what it is and desperate to do something about it. It’s bleak but to an upbeat soundtrack. We are a right laugh on a night out, I can tell you. There is a lot going on in the world right now - and we wanted to capture our version of Britain today.

I know there is a tip to the drudgery of the average working week. Were you inspired by your own work experiences to write the album?

Is my old boss reading this?! No? Cool; then absolutely, 'yes'. I have rotted behind far too many desks. Working is a con.

Is there a song from the album that, to you, defines what it is all about – that one you could never get rid of?

Tricky one as they all tell different parts of the story. If I was to choose it would be No More 9 to 5. Without it, the album wouldn’t have the release it needs. Actually…it’s probably the shortest song on the album called Retail Is Detail.

If you just listened to that you would get the idea...

Top of Your Game is already out there. What has the response been like to that track? Was it fun shooting the video for the track?

Frosty: It’s been very positive, so far, which has been great. We opened our live sets with it on the last European tour just after the album had come out and it has been going down very well. We didn’t shoot a proper video for this track. A video is available online but we don’t make an appearance. We did shoot a video for the Perils of Midweek Drinking - which is also out at the moment and doing well. That was about as good a video shoot as we could ever hope for. It was us in a pub drinking for a few hours. What more could we have asked for?!

The album itself has really done well in Germany and Austria - it’s been in top-40 in the D.J. charts in both those countries for the last four weeks.

You guys formed in Nottingham. How did you all find one another and get Heavyball rolling?

Matt and Habs are brothers - so they had no choice but to know each other. Johnny is a childhood friend of the pair of them, so they have known each other all their lives. When they all relocated to London, they found me meandering the streets of Bromley - with nothing but a guitar in my hands.

Is Nottingham a great place to make music? Was it easy getting gigs in the early days?

Bigface: We actually formed in London when we all ended up living there at the same time - so that’s a difficult one to answer. I hear it’s a good scene and Dean Jackson (BBC Introducing East Midlands) has been very kind to us. That’s particularly surprising considering he had the misfortune to teach me for two years!

Jimmy Sommerville applauded your version of Smalltown Boy! Was it humbling hearing that? Is that a song that you all love and admire?

I always loved that song. It’s a great song melodically and rhythmically but the story it tells intrigued me. I suppose everyone has felt they don’t fit in at some point and that resonated with me. Jimmy’s voice is (still) brilliant, so it was an absolute honour to hear him say that.

Who are the new artists you recommend we check out?

Buster Shuffle – five young lads from Bradford. Punk-Pop, I suppose. Great.

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

Habs: It changes all the time - but albums that bring back great memories are always good…right now, it’s Power in Numbers by Jurassic 5.

Iball: For me, it would be The Queen Is Dead by The Smiths

Funny and bleak.

Bigface: The Stone Roses - The Stone Roses

No need to say any more really…

Frosty: Probably Jimi Hendrix’s Are You Experienced? or Axis: Bold as Love

They changed the way I wanted to play guitar.

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

We have a couple of acoustic gigs coming up - then we’re playing the London International Ska Festival over the Easter weekend (on 31 March) which has a great line-up. After that, we’re back in Europe; starting with Cologne (Freedom Sounds Festival) and Bochum in April.

The likes of (BBC Radio 6 Music’s) Chris Hawkins has named you as one of the best live bands around. Does that kind of praise give you a lot of drive and heart?

Habs: Absolutely. We love to play live. From the point of view of writing, you never really get a song right until you’ve played it in front of people. That might be where you think ‘we need to make more of that intro’ or maybe ‘ah, sh*t; that final chorus goes on for far too long.’ More often than that, playing live really gives you a sense of how to make a song connect with people - so you know what to push for the next time.  

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

To keep playing and recording music that I would want to listen to.

Iball: I want to get back on the oche and play some quality darts: I’ve been too busy to play.

Frosty: Just to keep on pushing forward with what we have achieved so far; more gigs and European tours - and see if we can get ourselves out to some new places.

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

Iball: After a not-so-packed gig in Essen in Germany; we shared digs above the venue with another band, The Phantoms, from Norway. Top bunch of lads - and there were about twenty of them! We bought a few crates of beer from the bar and sat up taking turns playing songs and singing all night. It was a really unexpected highlight of the tour. Music is a great leveller: two bands from two different countries getting on brilliantly over a few beers and passing a guitar around.

Habs: We always love playing in Europe: it’s basically like being on a stag do with a sense of purpose. Travelling around and playing and staying in different places always brings a lot of interesting people and comic moments. Clambering down scaffolding outside the old SS Kaserne barracks in order to get to our next gig. On the last tour, in Nuremberg, we stayed overnight above the place we’d just played. The next day, we needed to be on the road at 8 A.M. as we had a long, long drive to our next gig. The problem was that when we got up, we realised we couldn’t get out of the building or even get downstairs because every door had been locked…

The band’s plan was to go back to bed and try and make the problem go away but our ever-resourceful tour manager saw there was some scaffolding on the side of the building. In the end, we all made our escape by clambering down three flights of scaffold with our kit, instruments and leftover beers…an excellent hangover cure.

Bigface: In Austria, a few years ago, the hosts took us for a massive Schnitzel (not a euphemism) which was so big I couldn’t finish it. The restaurant wrapped it in tin foil - which I stuck it in my guitar case backstage. Turns out, I’d accidentally stuck it in an identical guitar case belonging to one of the other bands on the bill that night - who were flying back to Canada after the show.

We haven’t spoken since.

What advice would you give to new artists coming through?

Find a niche…Punk; Metal, E.D.M…whatever – generic Indie is a very difficult scene at the moment. If you want to make any money, get a laptop and become a D.J. Sad times.

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

Long Shot Kick De Bucket – The Pioneers

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Follow Heavyball

Official:

http://www.heavyball.net/

Facebook:

https://www.facebook.com/Heavyball/

Twitter:

https://twitter.com/heavyballreal

SoundCloud:

https://soundcloud.com/heavyball

Spotify:

https://open.spotify.com/artist/0W6fj7JBD2iLpuq1Is1PC1

YouTube:

https://www.youtube.com/user/HeavyballTV/videos

TRACK REVIEW: Żabel - Sloane Square

TRACK REVIEW:

 

Żabel

PHOTO CREDIT: Alanisko Photography

Sloane Square

9.3/10

IMAGE CREDIT: @alanisko  

Sloane Square is available via:

https://soundcloud.com/zabel-music-696927161/sloane-square-zabel/s-ni7zI

GENRE:

Pop

ORIGIN:

London, U.K.

RELEASE DATE:

9th February, 2018

_________

WHEN trying to capture all the elements…

of Żabel onto paper; there is a lot to talk about. I will discuss artists who unite colours and strands together – collated from their past and present love. I will also look at Maltese artists who move to London and the way Maltese music is being overlooked. I’ll investigate creating Pop that has a mainstream nod but goes beyond that; stage presence and creating a persona for the audience; using credibility and popularity to do something good – ending with a bit about albums, influences and the future. Żabel, to look at, has the projection and candour of a modern-day Pop artist. I normally avoid artists who, I think, will stray too closely to the generic and formulaic. Artists like Lady Gaga and Rihanna appeal to me in one way: on the other; there is little beyond their music that captivates and interests any part of me. I am always fearful when addressing young Pop artists because there is always that risk you can find little to discuss and recommend. Żabel is an artist who has the brightness and energy of the best Pop artists out there but subverts expectations and goes beyond the ordinary. Whilst there are elements of Żabel’s look and fashions moulded around existing stars – the bright and colourful hair could have been adopted by Katy Perry or Kesha; the allure and playfulness by Dua Lipa or any of her peers – there is something unique we find. The projection and look, which I shall come to, is part of an artist who wants to make a change in music. The music itself, from Żabel, puts together the best of the modern bunch with older sounds and suggestions. One gets impressions of local Maltese music and the sort of thing she was raised on; those bigger, more commercial artists like Lady Gaga. There has been accusation that Pop music, these days, has lost any sort of edge and appeal. If one wants something deep, engaging and interesting – there are other genres out there.

Żabel describes her sounds as ‘Wavy Pop’ – a collation of sounds and textures she has found throughout the years. You get layers of Rock and Electro buzz; there is Pop core and Indie recollections – all stirred and patterned in a very vivid and smoky pot. You listen to Żabel and get this instant hit from her music. That might suggest something shallow and easily forgettable. A lot of modern Pop has that basic sound and, because of it, the music does not linger and impact. Żabel balances the urgency and hooks of modern Pop but goes a lot further than that. As a songwriter; she puts her personality onto the page and is unwilling to engage in hyperbole, boring clichés and the usual fare. I feel Pop is transforming so that young artist are being given more respect. There is less dependence and demand for those flavourless artists who create banging songs with processed vocals; hook-y choruses and easy-to-appreciate lyrics. There is some of that about but, in 2018, the likes of Sigrid (long-mentioned here), Mabel and Billie Eilish (ditto) are taking a lot of the credit. They are aspiring and fresh-faced but offer the listener something more personal, intelligent and nuanced. Maybe their music leans towards dour and anxious at times – relating to their confessions and personal struggles. Rather than race too far down the hole of serious and wracked: Żabel keeps things bright, uplifting and positive. That is quite a hard balance to strike: keeping the listener invested enough with the subject matter whilst providing something more engaging and spirited in the music. Perhaps that is what we will be seeing more of in modern Pop. What gets to me about Żabel is the way she can take quite ordinary/familiar and shine it up. Other genres are being proffered right now – away from Pop – so it is important the new breed of Popstars recognise what the public want and adapt accordingly.

The past few months; I have spent a lot of time looking at British, Canadian and American artists. It seems most of my time is split between the U.K. and North America. I have looked at Maltese artists in past years but it has been a bit of a while. Perhaps the biggest Maltese Pop artist I know is Chess. She has family roots there but is based in London. The same is true of Żabel. Many of us do not recognise there are industries and scenes in other parts of the world. We get fixated on North America and the U.K. but forget there is a wide and interesting music scene in other parts of Europe. The fact these areas do not have the same money, labels and radio stations as the U.K. – and venues for that matter – means they get overlooked. It is a shame there isn’t the opportunities for artists to remain on Malta and survive as a fully-fledged artist. That said; there is a wonderful music scene shaping up there. Most of the sounds you will hear are Pop/Rock-based – there are not many Hip-Hop and Rap artists there! – and it is influenced by the music of Britain and America. These tastes come from the radio stations and artists we have over here. The thing I have noticed about Maltese artists is the personality they put into music. There is something brighter, sharper and more heartfelt about the music. That might seem a cynical and dubious claim to make. A lot of British Pop artists aim their music at the charts or what they feel the radio stations are looking for. There is some of that pressure in Malta: the culture is different and there is not the same infiltration from the mainstream. The people, the sunshine and the geography enforce songwriting and lead to something more vivacious and alive.

I will move to look at other subjects but, when thinking of Malta, there is a clear link between there and here. Artists come to the U.K. because they feel they have a better chance of survival and recognition. It is unusual to see a Maltese artist remain there and grow big – so the transition and move to Britain is the next natural step. That said; one cannot overlook the importance of Malta and why the country is producing wonderful artists. There is less pressure on the island; the people are friendly and there are some great venues like Bridge Bar and Black Gold Saloon. The Garage and Casey’s Bar are hotspots; the Malta Song Festival and Jazz Festival is putting the country back on the map. There is a rising music scene inspiring young hopefuls to pick up a pen and get out to the people. I have spoken about Maltese artists before and always have the same takeaway: they have great talent but need more exposure and opportunity. That is no fault of Malta itself. The country is trying to build a bigger industry and open these venues for young artists to play. Żabel learnt a lot from her time over there. It was only a matter of course, after being spun on radio (more later), she would feel the pull and lure of the U.K. The young artist has made some big moves the past few months and one wonders what the next step is - I hear suggestions there is an album coming later this year. The big Jazz and Pop scene in Malta means it is a part of the world more of us should look towards. Żabel is the embodiment of all that is happening in the country right now: the colourful output and varied songwriting; that fusion of island-made sounds and mainstream-ready tastes. I feel Żabel will go further than a lot of artists from Malta. She has had a great music upbringing and grew up around some wonderful artists. All of that comes to the fore when you hear her tracks.

It has been a successful and busy time for Żabel. She has been played on Channel Radio and enjoyed a stint on the talent show, Don’t Stop Me Now; prime-time T.V. shows and some of London’s best venues. Although she has been in the industry for a few years now; this year is going to be one of the busiest for her. It is amazing to look at Żabel and how far she has come. Her days on talent shows (thankfully) are over – that was back in 2010. I am not a fan of artists who appear on talent shows but I understand it is important exposure. You cannot blame someone for wanting to bring their music to a national T.V. audience. One has to accept that those shows create temporary artists and are not the best way to find the artists of tomorrow. Fortunately, that experience has not affected the pull and longevity of Żabel. She has used it as a springboard and learnt a lot from it. Before her album, VITA, reaches us; we have the exceptional single, Sloane Square. People have already heard it but many more will want to see that song come to life. What strikes me about the song is the way it takes personal origins – mixing love and a rare meeting with more general themes – and fuses that with familiar sounds. The strong voice shines and there is a nice balance of gloss and raw energy. I find a lot of modern Pop still tries to put too much gloss and shine into the pot. You do get artists who take the layers off and let natural talent come through – it is rarer and less common than you’d hope. I have been looking for Pop artists who produce songs big and affecting but go deep enough to keep me invested. Żabel has affection for everyone from Queen and The Beatles to SIA and Eminem. That might sound like a difficult brew to coalesce and unify.

Before I look at Żabel’s stage mannerism and looks; I will finish by nodding to what she will produce in the future. I’ll end the review summing her up but, looking ahead to her music in 2018; it seems like there will be many opportunities before her. Already featured on great radio stations; it seems like many of London’s biggest stations would play her music – Manchester, for that matter. Żabel is unsigned and, to the best of my knowledge, there is not a P.R. company pushing her music out to the people. There is a lot of ammunition in Żabel’s locker. I have seen many Pop-based artists come and go: it seems Żabel has the staying power many modern artists lack. I have mentioned how there is an album mooted in the form of VITA. Sloane Square is a cut from that and, as we go through 2018, there will be more offerings from the record. One has to wonder, before and after that album’s release, where the Maltese artist will go. There will be gigs and, given her growing stature; there’ll be opportunities around the capital. In a busy and packed industry; the artists who want to remain and get gigs need to go further than your average artists. I am confident Żabel will get her music out to the people and build her reputation. Right now, she is doing sterling work regards the songwriting itself. Her music is appealing and can cross genres; it is accessible enough for Pop radio stations but had sounds that will engage the cooler side of the dial. Reacting to the industry’s changing demands regarding Pop artists: here is an artist equip to survive and build her portfolio as we move through 2018. I am excited to see which artists will break out and take the imagination. I feel personality and persona are the aspects that will win the race. That takes me to a very noticeable side of Żabel’s music.

Many of the biggest Pop artists of the day have their own fashions and looks. You think about SIA and Lady Gaga and they have a very noticeable and clear look. Extend that to Rihanna and Katy Perry – all of the major stars have some form of unique fashion and on-stage personality. Their shows are big and bold; they are trying to appeal to a mass audience and put something different on the stage. What appeals to me, in that sense, is the way they can create a character and identity that differs from who they are away from the stage. Isabelle Luca Borg is the woman behind Żabel. You get two different people when you look closely. Borg is the rather shy, yet ambitious songwriter who has grown up around music and integrates different shades into her own ideas. Away from that, you have Żabel. She has already performed at the 02 Shepherds Bush Empire and taken that captivating personality to the people. I am interested seeing where Żabel can take that bright and tantalising look. She has the clothing and make-up; there is a new person and confidence that comes out – someone many young listeners can take inspiration from. Many might think an artist like Żabel could not appeal to somebody like me – a slightly older, male listener. There are some aspects reserved to young girls and women; most of what Żabel does is targeted at a specific and tested audience. A lot of what Żabel does on stage is down to that identity she has crafted. It is difficult producing something bold and exciting without replicating the fashions of Lady Gaga and her peers. Żabel has her own identity but, if you look closely, there are some recognisable tones that will appeal to fans of the biggest artists out there. I have been mentioning the word ‘Pop’ a lot through this review. It would be unfair to see Żabel as a pure Pop artist. She goes a lot further than most modern-day Pop artists. You get, as I said, Alternative, Indie and Rock ideas mixed within the Pop. There is emotion and energy; colour and fizz – a nourishing recipe that has gained Żabel a lot of fans.

PHOTO CREDIT: Alanisko Photography

I will address the song soon but, before then, all of what I have already mentioned could be used to do a lot of good. Żabel has made an impact in Malta and brought her music to the U.K. Although the Pop tide is turning to artists looking inside themselves and going away from commercial avenues; I feel this is where Żabel can fit in. She has songs under her belt that are resonating with D.J.s, producers and fans. Sloane Square is a song that hints at bigger things. I am not sure how many gigs she has already played but there is every chance she will take her music up and down the country through this year. She has come a long way in the past few years and learnt a lot from her time in music. The music is getting stronger and her performances more rounded and striking. The way Żabel writes and delivers her music not only acts as guidance to new musicians coming through – it will inspire her younger audience and give them direction. Modern artists should think closely about what they are putting out and whether they are making music for themselves – or they have the aim to help their listeners and act as role models. Another fine aspect of Żabel is the modesty she has. There is no ego regards the musicians: humbleness and a hard work which means she differs to a lot of the mainstream artists around. Many people have been excitedly chatting about the young artist. She has crafted some excellent songs but, in my view, Sloane Square, is the most interesting and developed song Żabel has put her name to.

PHOTO CREDIT: Alanisko Photography

The vocal takes a while to come back in but, when it does, looks at Sloane Square and its relevance. It reminds the heroine of a special person and something deep and meaningful. I got impressions of a love affair or meeting that happened there – and how the two have drifted apart and cannot reignite that fuse. Prior to the vocal coming through; there is a build-up that creates impressions, imagery and ideas. The music is subtle and crackling. Occasional, mannered beats and twinkling electronics – darker and lighter ideas – mix together to provide images of Sloane Square. I heard twilight and moonlit suggestions come through in the notes. The song does not race in and takes its time getting to the listener. The introduction sets the scene and makes one think about the song and what it means to them. The electronic moments are seductive and intriguing; there is a softness and sense of expectation that puts you in the mood and gets the mind thinking. What resonated with me is the way Żabel let the music speak first and, when she does come to the microphone, there is a calmness and maturity. She is remembering this special place and what it means to her. I am not sure whether Sloane Square is a meeting spot for two lovers – their place and position in a busy city. Maybe it is the first meeting and where that date began. Whatever the reason and impact of the London location; every listener can relate to having a very meaningful place in the world. For an artist that has a bright look and bold personality; Żabel produces a song that puts its heart out there and does not feel the need to aimlessly embolden and run. That is a reflection about the changing nature of Pop and how artists are maturing. This rather adult approach to love does not mean the song lacks interest, memorability and fun.

The vocals harmonis and the composition shimmers and entices. The heroine remembers that meeting in Sloane Square but there is a void and need for someone to return. Home is where the heart is, she says, and there is somebody missing from her life. I am not sure whether the heroine is talking about a long-term lover who has left her or gone abroad; maybe she is referring to the way we can get caught up in the romance of a place and time but leave it all too soon. She is there waiting for her sweetheart to return but her words are hanging in the air – a supplication and plea that requires an artist. Before she gives in and thinks about moving on; we get an itinerary from the heroine as she travels home. She takes the Tube and negotiates the District Line; walking to her place and complete with a heavy heart. When she gets to her door; there is the man waiting for her. There is a vulnerability to the song, as well. It seems a lot of what is being talked about is theoretical and imagined. She wants the romance to work and find satisfaction but that longing and desire is being overshadowed by disappointment and a lack of respect. Maybe the man did turn up or he left her waiting – I think there is that dreaming and hoping but nothing tangible and real. When things go bad, the young woman still goes to her mum to find that comfort and solace. It has been a hard time for Żabel and she has put her heart out to someone who does not appreciate it. The heroine has waited and assessed her life. Home is most important to her and the recollections of Sloane Square seem to be rooted in the past. In a wider sense, Sloane Square is about belonging and where home really is. Thinking about the heroine’s travels on the Tube and trudging home makes me think about her life in Malta and adapting to a scary new life.

PHOTO CREDIT: Alanisko Photography

There is that connection to family - but Żabel has moved to a new nation and getting buried beneath feet and rushing bodies. I have seen many artists talk about transition and change and, when you look at Żabel’s latest cut; she is finding who she really is and needs direction. She is making music here and showcasing her stuff to the people. Maybe Żabel has a love/sex life and being social but there seems to be deeper issues and problems that are coming to the surface. That desire to return home is bubbling away and compelling her decisions.  I would love to see a video for the song as it would bring new light and insight to a song that has a personal edge but, at the same time, will connect with many other people. I got the impression Żabel was content in London but missed some of the comfort and familial wisdom she had in Malta. I am not sure whether her family are over here or in Malta still. It seems, in some form or other, there are those conversations that are keeping her level-headed and moving forward. The production and composition are never too intrusive and dominant. It is all about the vocal and letting the lyrics shine. At times, the song moves from Pop to Soul/Gospel – dropping the background and letting the vocal stand alone – and then it goes back to something hotter and more insistent. Sloane Square is a fantastic song from a young artist who puts an original spin on common themes. What position Sloane Square takes on VITA has yet to be seen. I am not sure what other songs will be featured alongside it but the latest track from the Malta-born artist has turned heads and captured hearts. It is a brave confessional from someone reacting to the challenges placed before her – the need to look at what’s important and where she feels home is.

Take a look at her social media pages and you see a young artist embracing music and excited to see what comes next. She brings a sexy and bold show to the people and has been performing around London. Her latest song has collected thousands of plays and getting to many new ears. The sets are well-received and critics are responding to an artist throwing her everything into music. Żabel has seen her music get onto the radio and pick up reviews. These steps are important for someone who has dreamt about success since a girl and worked exceptionally hard. It has been a tough road for Żabel but all her hard work and effort is paying off. Moving to the U.K. is a risky and strange move for anyone – not least someone who grew up on Malta and enjoyed a very different way of life. Żabel is settling into London and has been here a while now (about five years). The capital is welcoming to anyone who wants to get their music to a broad and hungry demographic. I have seen many artists come and go but, when thinking of Żabel; there is every reason to suspect she will be in music for many years to come. Her album is due later this year and she’ll want to see how Sloane Square does and what reaction it receives. The song is a lot deeper, more interesting and fresh than a song about love where the heroine gets her heart broken and regrets meeting the guy. I cannot wait to see what more is coming from Żabel. She has so many ideas and song brewing; some real passion and that desire to get out to as many people as possible. If you have not discovered the music of Żabel and what she is all about – make sure you remedy this and listen to Sloane Square. Here is a young star working in an industry/genre that has many players but very few who does things…

QUITE like her.  

_______

Follow Żabel

Official:

https://www.zabelmusic.com/

Facebook:

https://www.facebook.com/zabelmusic/

Instagram:

https://www.instagram.com/zabelmusic/

Twitter:

https://twitter.com/ZabelMusic

SoundCloud:

https://soundcloud.com/zabel-music-696927161

FEATURE: I.O.Q. Is the ‘Internet Age’ Having a Detrimental Impact on Our Language Skills?

FEATURE:

 

I.O.Q.

 ALL PHOTOS: Unsplash

Is the ‘Internet Age’ Having a Detrimental Impact on Our Language Skills?

_________

TOMORROW will be a very positive and productive day…

where I will champion and celebrate great things/people in the music industry. One thing I wanted to raise, and have noticed, is how attitudes and mentalities are being altered by a reliance on digital outlets. I interview a lot of artists via email and often send out questions on a Word document. I know many of us are not always accurate regards grammar and punctuation – I am not perfect by any long shot – and am finding a lot of errors and problems cropping up. Some artists put a huge effort in and, for the most part, the answers I get back are accurate, require little editing and seem perfectly good. There are a few, however, whose command of their native tongue seems lacking. I will get documents riddled with simple errors and poor English. As I type this; I am second-guessing everything and wonder whether I am getting to the point quickly enough (probably not!). I think the Internet is a fantastic thing and has progressed humanity in so many ways. We can reach the entire world and have a greater access to other people than we did decades ago. It is wonderful being able to reach someone in another country or hearing any song you want within seconds. I have written extensively about the Internet addiction and the consequence on our mental-health – so I shall not tread that ground too much when making this point.

I have received some documents back where I have had to pick through the answers - and spent longer editing than I did writing. Some would argue this is not too much of an issue considering most interviews are verbal and it is a journalist’s job to proof-read what a musician writes. That is fair enough but I wonder, as we become more digital and less physical – are we losing an ability to communicate with others and articulate the same way we did years ago?! The deepest and most meaningful connections I make are when I speak to someone directly and engross in conversation. The Internet and social media are wonderful but I fear my time spent there is chipping away at my language skills and ability to write as sharply and proficiently as I want. Not only are some musician’s written responses lacking – when it comes to basic language and accuracy – but there are more concerning realisations. As a journalist; I look at artists’ pages and how they promote music. Some of the content/responses I see are troubling, to say the least. Many so-called ‘fans’ are posting hurtful and offensive comments at the artists: in fact; the sort of language and interaction I am seeing more frequently leaves me troubled. Many might say this is the way things are going: the fact so many can retain a sense of anonymity and protection – behind their screens – means their inhibitions are eroded.

We know there is bullying and harassment online; people are less afraid to offend others and, connecting that to music; are we losing basic language and interaction skills. I love writing but I feel myself getting a little rigid and lost at times. I lack the fluidity I would like and find my ability to be concise and clear does lack now and then. Maybe offensive comments and Internet trolling are not related to music directly – they do show there is a problem in the way we communicate and conduct our lives. I am a little worried the Internet and social media are damaging me as a writer. It is an invaluable networking tool but, as I spend most of my free time in front of a screen…I am out in the open less and not really communicating with other people. I am more confident, relaxed and open when face-to-face with someone: the insular nature of the Internet means I am losing basic abilities and struggling to ween myself away from the digital community. One of the other worries I have is the nature of songwriting and how language is used in music. There are some fantastic songwriters out there but I feel, as we regress and retreat into the online more – there are fewer standout lyricists; fewer original songwriters who challenge convention and stand aside from their peers. Certain areas of music (in terms of genre) have some brilliant poets and linguistic jousters who keep the English language very much alive and well.

Maybe it’s me, but I feel Pop music is becoming simpler and less articulate by the year. Mainstream artists are struggling to break past clichés and stereotypes; the lyrics one hears are filled with lazy metaphors and samey suggestions. That might be a sign of commercial demands but, tied into my worries around interviews and the standard of the written word – I am concerned the quality and standard of songwriting is declining. The people I have included in my blog – all of them – do not fall under this accusation (that is not me protecting my back: I am looking out at other musicians). There are incredible songwriters around but I am rarely struck by brilliant wordplay and phenomenal couplets. A lot of songwriters, when they are not performing and traveling, are dedicating their lives to the Internet and online demands. The fact they are not spending as much time socialising or reading means their ‘conversation’ and learning comes from the Internet. Social media sites are filled with lazy statuses and people abbreviating wherever possible – pages of poor language and negative expressions. If we expose ourselves to this more and more; that means the way we write and speak is affected. I am noticing something happening in music. Maybe it is not a lack of intelligence and innovation: language is more ‘punchy’ and not as compelling as once was. As I say; tomorrow, I will move onto positive aspects but this has been playing on my mind – does the digital age mean we are not really expected to write as acutely and eloquently as we used to?!

I have read some shocking answers but do not blame any artists – it is a trend that is becoming more common. Mainstream Pop, for the most part, is at its least inspired and I am finding myself more interested in compositions and melodies than language and lyrics. Many will pick this piece apart and come to conclusions: my views are subjective and one-dimensional; my writing is not up there with the greats of literature! You would be right regarding the second point: I feel we do not necessarily place the same value on language and expression as, say, when I was younger. Perhaps we cannot blame the Internet and social media for a deterioration of interaction and language skills. It is clear we are less communicative and connected – ironically! – than ever and, in my view, letting basic abilities rust and fade. I find myself, at times, recalibrating and trying to remember how to have an actual conversation. The remedy for this would be getting out there more and forsaking the grip of the Internet: for people whose stock and trade rely on it; that compromise is a lot trickier to accept than you would think. I am a huge fan of words – in case you hadn’t guessed! – but worry we are less articulate, profound and arresting than decades ago.

Where we have made leaps in terms of technology and the way we can reach the rest of the world; have we, ironically, isolated ourselves and replaced, in many ways, physical interaction with a synthetic version?! I can see the way songwriting has changed and long for armies of songwriters who push past the ordinary and really get into the mind – there are far fewer than I would like, that is for sure! All of this comes back to the way we use the Internet and whether digital outlets provide the same intellectual nourishment and stimulation as, say, books, newspapers and human socialisation. Maybe there is no easy solution but it is evident advances and benefits of technological advancement have compromised other areas of our existence. Language is a beautiful thing and it is always evolving. We are communicating differently – many would say we are more engaged and curious than days before the Internet. From my viewpoint, seeing songwriters emerge and working as a journalist; there are problems emerging – at the very least, there is a ‘laziness’ that is affecting my work. I notice the quality of my work slip and realise it is because I spend so much time away from other people. I do not read as much as I should and isolate myself to a degree. Music amazes me and I think we have come a long way in so many other areas. The industry is huge and open; there are so many sub-genres and fascinating angles; some incredible artists and big breakthroughs. My concerns only apply to a small portion of the industry – and I am hopeful things will change and a revival will occur. Maybe the modern age means language has permanently changed and this is the way things will always be. I acknowledge there are a lot of benefits and positive evolutions; alongside that is a decline in language and the written word that…

CAUSES genuine alarm.

FEATURE: First We Take Berlin… How the German Capital Is Proving an Ideal Spot for Musicians

FEATURE:

 

First We Take Berlin…

 ALL PHOTOS (unless stated otherwise): Unsplash

How the German Capital Is Proving an Ideal Spot for Musicians

_________

THERE are certain cities in the world…

that prove ideal and truly alluring for people. Depending on what you want from your life; there is somewhere on the planet you can go. In terms of music; there is always that conflict between desire and affordability. A lot of us would like to fly off to L.A. and spend a few years there – if only for the great weather and landscape! I would like to spend a bit of time in Melbourne and go to New York; maybe bed-down in London for a bit and then head to Manchester – if I could do that within the spaces of a few years, that would be cool. All of that sounds ideal but the sheer cost of ambitions tend to pull most of us back! I always monitor where musicians go and why they decide to settle in a particular part of the world. Many still go to the more predictable and familiar areas of the world – New York, London and Los Angeles are favoured spots. More and more, I am discovering artists, especially British, are relocating from the U.K. and moving to Berlin. I ask musicians, when interviewing them, why they are drawn to the city. It seems, on paper, a random choice for someone to go to. The answer I get back is always the same: it is less expensive and the way of life there is calmer and easier to deal with. In essence; many feel Berlin offers the same sort of cosmopolitanism and culture as, say London and New York, without the constant crowds and sense of suffocation.

Rents are high over this way: it is far less aggravating and stifling over in Germany. I have never been myself but, from every account I hear; the German capital is a lot more accessible to artists. Rent prices are still forcing a lot of people out of London. Many would argue you could go to Manchester or Brighton would be a more local option – if you are in the U.S.; surely there are other, nearer-by areas you could go to?! Costs are not the only thing ambitious musicians are wary of when choosing a lifestyle. In fact; it is not only fresh artists moving to Berlin: many established and settled artists find the appeal of Berlin too much to resist. I can understand why people would want to go to London and settle there to further their music. The city offers opportunities and endless venues; there are fantastic stations, labels and avenues in London: do artists get the same options over in Berlin? Although there are no stations quite as high-ranking and popular as BBC Radio 1 or 2; there are some great local brands such as radioBERLIN and Star FM; FluxFM and 98.8 KISS FM Berlin that offer artists a platform and a voice. Radio On broadcasts to Amsterdam and London and is an insomniac’s dream: a twenty-four-hour station that started from pirate roots; it has grown to become one of the most in-demand options in Berlin.

Radio Rixdorf leans more towards the alternative and unique – favouring unusual sounds and that which strays away from the mainstream. Reboot.fm is a fantastic station that offers great music, information and news. You can toss RadioBerlin 88.8 Statdtstudio and Pirate Cat Radio into the mix! Savvy and knowledgeable artists can make the most of the radio stations in Berlin and be involved with the best in the U.K. and U.S. The Internet means any artist can interview with any D.J. around the world. Streaming services and music-sharing websites mean music can get into the hands of British and American producers without the artist being located there. In terms of festivals; there is Lollapalooza Berlin (8th and 9th September) and Fusion Festival 2018 (to the North of Berlin). Berlin has a great mix of venues, too: from underground spots like Monarch and SO36; Loophole and 8mm – one can find something more overground and varied in terms of the musical options. The underground clubs provide Electronic and Dance; some Punk and Pop: venues like Quasimodo provides excellent Jazz whilst Piano Bar Van Gough provides a subtle and sophisticated blend of piano music and cocktails. Berlin provides that balance of energy and spirit; quieter, calmer spots where one can relax. I know areas like London and L.A. offer the same split but, when you look at Berlin; everything seems different and more appealing – not that I will ever change my mind regards London!

IMAGE CREDIT: Getty Images

There are a few downsides to Berlin that I can see. It is good there’s an influx of varied artists heading over that way. British bands and solo artists are heading that way; original groups and dynamic producers are living there – artists and talent who have been in the business for years/decades are adding their voice to Berlin. I feel the scene is diversifying but, at the moment, there is still a heavy leaning towards Dance and Electronic. We think about Berlin and hear electronic buzz and sweaty dancing; pummelling beats and something youth-orientated. There is truth to that but, more and more, something new is being added into the scene. I worry there is still an over-dependence, in terms of the venues and stations, on E.D.M. and Trance. Maybe that is a sign of the demographic and tastes of Berlin: a younger crowd who yearn after liberating and propulsive music. There is a building Jazz scene but there are genres that hardly get a voice in – Hip-Hop, Rap and Rock are not as big as they are in other parts of the world. One can argue Hip-Hop/Rap is strongest in the U.S.; Pop and Alternative better here, maybe – Australia is an underrated gem that gives attention to all genres. Berlin is not as broad-minded and busy as London – one of the benefits of a huge population that sources from various nations and races. Berlin does have diversity but, compared to London and New York and it lacks the same punch and scope. That is not the fault of Berlin: it is a smaller city and, as such, needs more foreign recruitment and influence.

The affordable rent and prices are tempting artists to the German capital. A sixty-square-metre place, with living-room and plenty of flexibility, will set you around about 600/800 Euros P.C.M. 600 Euros is around about 528 of our British pounds. That may sound expensive but you match that with the same flat/house in London and the saving is immense! This website gives a clear breakdown of food and rent costs; it throws in all the utilities so that musicians wishing to live there know what they are getting themselves into. Even considering somewhere like Manchester and it seems Berlin is quite a good choice! There are expensive parts of Berlin but districts like Mitte, Friedrichshain-Kreuzberg and Charlottenburg-Wilmersdorf provide fantastic cafes and coffee houses; brilliant history and monuments; technology and a clash of more traditional houses and new-builds. You can do the research yourself - but, if one accuses the Berlin music scene of lacking huge diversity: you cannot claim the topography and geology of the city lack that needed variation! Young and affordable areas of Berlin, like Friedrichshain, can offer quiet and solace for those who want to escape from the energy and options of the locality – the engaging crowds and party atmosphere. London, in my view, is rife with choice and ideas for those who are fussy and not quite sure exactly what they want.

You can go to the South for Grime music and great clubs; choose a spot in the North and find more community and familial vibes – embrace the trendiness of the East and something cooler and more cutting-edge. Berlin has the same broadness but, if anything, provides less stress and struggle in the most built-up and packed areas. Even the centre of Berlin seems less daunting and fearful than an average night down in Piccadilly. For those songwriters looking for inspiration and new direction; Berlin’s museums and art galleries like East Side Gallery and KW Institute for Contemporary Art show the dichotomy of classical and modern – ample fodder and ammunition for hungry artists! This link/website shows the quick pros and cons of living in Berlin:

Pros: 

- Very multicultural city where you're more likely to meet a non-German than a German in some areas. 

- Diverse cuisines that's delicious and affordable. Berlin's the place to try out Michelin-starred restaurants without costing an arm and a leg. 

- Low cost of living means that you can easily and comfortably live in Berlin for less than 1000 Euros a month. 

- Easy to get around with: transportation, bike, car-sharing. 

- A great place to collaborate on creative projects. It's a hub of designers, programmers, developers and artists. A lot of people are freelancers so they're open to new projects and trying things differently.  

- There's something to do to suit every lifestyle. You can go clubbing on a Sunday afternoon or spend an evening doing a screen printing workshop. 

PHOTO CREDIT: Getty Images 

Cons: 

- Red tape and bureaucracy. Although this can be experienced in other cities, the fact that a lot of people who work in government jobs don't speak English means an extra hurdle to get over. 

- Berlin doesn't have much of a corporate or business industry. Which means that finding a job can be a bit tough if you're not fluent in German. Although startups offer a lot of native English jobs. 

- Because the cost of living is low, so are the salaries. When compared to other German cities like Hamburg, Munich and Dusseldorf, Berlin salaries are usually 20-30% lower. When you're living in Berlin, you're here to enjoy the city rather than to save a lot of money.    

- Berliners can be a bit impolite. You won't get a thank you for opening the door for someone else. And you can forget about smiles and small chitchats when it comes to customer service. This doesn't apply everywhere and it is slowly changing for the better. 

- The city isn't appealing in winter as it's cold, windy and very gray.

Many can argue the impolite nature of (some) Berliners is matched by those of London – maybe, the low wages would put some people off. The bad weather and greyness of the city (during winter) means many might want to go somewhere warmer and more colourful when it gets cold. If you think about low wages as the biggest downer of the city: the majority of good points and benefits explains why people are flocking there and changing their lives. The lower rents and inspiring population – despite some ruder elements – outweighs anything negative and offputting.

Musicians can look at sites (like this and this)  to get a more detailed impression of the German capital. Berlin does have its drawbacks and limitations but, when artists compare that to larger cities in the U.S. and U.K. – they find the positives are huge and there is plenty of potential. The furore and ambiguity surrounding Brexit might make it difficult for some to relocate to nations like German, I think the pantomime politics of the U.K. is leaving many in no doubt: things are crumbling and the nation is losing its identity. Germany has its conflicts but, by comparison, it seems more stable and all-inclusive as Britain…and the U.S., for that matter! You can call the people less-than-polite but the government in Germany wants the nation to grow and integrate with the rest of the world. Can we really claim that is the way things are over here?! Berlin is not powerful enough to make every musician abandon their home and go over there. What I AM noticing is more and more musicians seeing all the benefits of Berlin and finding the temptation impossible to refute. I will go and visit the city and see what all the fuss is about: so many musicians prefer the way of life there and what is happening right now. You can scoff and feel Berlin is inferior compared to bigger cities like London but, when you see the number of musicians/artists going over there, there is clearly something…

MAGICAL in the water!

FEATURE: Mad Hatters and Timely Hares: Why March Is a Fantastic Month for New Albums

FEATURE:

 

Mad Hatters and Timely Hares

 IN THIS PHOTO: David Byrne/ALL PHOTOS/IMAGES: Getty Images

Why March Is a Fantastic Month for New Albums

_________

WE are only a portion of the way through 2018…

IN THIS PHOTO: Kate Nash

but there is much to get excited about. There have already been some corking albums out – including Field Music and Tune-Yards’ year-bossing cuts – and that is no danger of stopping! I am going to write some traditional features later but, right now, I wanted to look at a collection of albums that will make March a wonderful and memorable one. The winter is still here and struggling to take a hint: the need to look forward to something promising is hot and heavy.

I bring together the best albums we can look forward to next month – the epic and fully-stuffed L.P.s that will erase all the misery and cold of winter.

_________

Gwenno - Le Kov

Release Date: 2nd

Genres: Alternative; Indie

Label: Heavenly

Moby - Everything Was Beautiful, and Nothing Hurt

Release Date: 2nd 

Genres: Dance; Electronic

Label: Mute Records

 

Soccer Mommy – Clean

Release Date: 2nd

Genres: Alterative; Indie

Label: Fat Possum Records

David Byrne - American Utopia

Release Date: 9th

Genres: Alternative; Indie

Label: Nonesuch Records Inc.

Gengahr - Where Wildness Grows

Release Date: 9th

Genres: Alternative; Indie

Label: Liberator Music

 

Mount Eerie - Now Only 

Release Date: 16th

Genre: Alternative

Label: P.W. Elverum & Sun

The Decemberists - I’ll Be Your Girl 

Release Date: 16th

Genre: Indie-Rock

Label: Capitol Records

George Ezra - Staying at Tamara's 

Release Date: 23rd

Genre: Singer-Songwriter

Label: Columbia

Sunflower Bean - Twentytwo in Blue

Release Date: 23rd

Genres: Alternative; Indie

Label: Mom + Pop Music

Jack White - Boarding House Reach

Release Date: 23rd

Genres: Rock; Alternative

Label: Third Man Records

Ashley McBryde - Girl Going Nowhere 

Release Date: 30th

Genre: Country

Label: Atlantic/Warner Music Nashville

En Vogue - Electric Cafe 

Release Date: 30th

Genres: R&B; Pop

Labels: eOne; En Vogue

Kate Nash - Yesterday Was Forever

Release Date: 30th

Genres: Indie-Pop; Indie-Rock

The Vaccines - Combat Sports 

Release Date: 30th

Genres: Alternative; Rock; Indie

Label: Columbia Records

INTERVIEW: Waiting for Smith

INTERVIEW:

Waiting for Smith

_______

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.

______

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!

_______

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

_______

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

________

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

_________

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! 

_______

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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