FEATURE: Reach Out… Bringing Music to a Wider Demographic

FEATURE:

 

Reach Out…

 ALL PHOTOS: Unsplash 

Bringing Music to a Wider Demographic

_________

THE infamous Storm Emma has brought…

chaos and disruption to the U.K. over the past few days. I live in the South and, although it has been alright where I am; the slightest flicker of snow and we descend into helpless pigeons - the much-mentioned 'Beast from the East' sunk his teeth in! We have never been good at coping with the weather: any time adverse conditions arise; the nation loses the plot and it is incredibly difficult to get around. I guess we are not used to the sort of deep and relentless snow the country saw this week. It has passed now and, whilst parts of the U.K. clean up (others are still stranded), it made me think about music and transportation. Many artists took to social media to explain how they were unable to get to gigs and move around. Whether travelling by train, car or bus; it was a hard task getting anywhere local – let alone gigs further up the country. The worst has passed but the past few days have highlighted some problems that affect the music industry. Bad weather is not an all-year-round issue but it is getting harder for artists to survive and prosper if gigs have to be cancelled. I know there is no way we can control the weather but, given heavy snow will curtail gigs and create problems for artists out there; should we think about alternative ways of bringing music to the people?

I am not sure how many artists managed to get to gigs this week but it seems many were cancelled or rescheduled. They rely on public transport, and so, when that is thwarted by the weather – what are they going to do to get around the problem?! The only way to avoid delays and the sort of inconvenience we have seen is to tackle the weather in more pragmatic ways. We know snow and flooding (or whatever) will slow the country down – so why has the Government not taken measures to get the roads cleared and people on the go?! There has been huge frustration emerging from the fact we have all been less mobile than we are used to. Streaming sites like Spotify are growing and getting larger by the day. I have explored the possibility of making video streaming and gigs more prevalent. Facebook Live makes it possible for artists to broadcast live and reach millions. I have found problems with the platform and wonder if it is as stable and slick as it should be. I have watched videos where the connection cuts and the sound are not great. It can be hard getting a great and fulfilling experience that way. With aspects like weather affected so many people and causing havoc; should we look at other methods for artists to get to their fans? I will mention another element of society (more, in fact) who suffer mobility issues. When we are faced with storms and challenging conditions; it thwarts the best-willing out there and throws a spanner in the works!

I am not sure about the logistics and technology involved but, when looking at the virtual capabilities around; one would imagine creating a slick and all-encompassing service would be possible. When rolling this out, you have to consider how utilitarian it needs to be. I am thinking about those who cannot get to venues or gigs; artists marooned and playing solo to those watching at home – others who cannot make it to gigs for reasons other than the weather. Even in someone’s home; making sure the sound and video quality is top-notch is a major consideration. Combining the services of YouTube and Spotify, perhaps, it could be a free service which would make it possible for anyone unable to get to a gig to see the artist from their home. I know YouTube allows you to broadcast live; Facebook has a service and I am sure, somewhere out there, a similar idea exists. The drawbacks extend beyond sound and video quality: it is the way they are marketed and the flexibility of the concept. There are debates around gigs/costs and how much people should pay to see a top artist – I would like to see an idea that extends to larger concerts and makes it possible for anyone, anywhere to see any artist they like. There would have to be a negotiation and discussion regards cost – you cannot expect someone to watch a Radiohead concert free at home whilst others pay to see it live – but that would be something to negotiate.

There are new artists who rely on gigs and revenue so, with the weather scuppering plans; there needs to be fall-back and recourse. Those bands/artists who have to trudge up the country and spent money reaching people should not have to suffer because of the bad weather. If they were able to convene somewhere safe and broadcast from a space; broadcast over the Internet and provide as clear and cinematic performance as possible – that would open doors and give options when the harsh weather strikes. I said I would mention other factions into this piece. It is not only bad weather that impacts musicians and causes disappointment. I feel we have this image of older people being confined to home and having no interest in music. That jaded and cliché viewpoint of the older human remains: they will tell stories of the past and are more comfortable around the T.V. or listening to BBC Radio 4. I can bet you, if you open their ears to what is out there; they would be more engaged and connected with the outside world. Mobility, cost and convenience affect them more than most people. I know there are artists they want to see and, if you look at it; there are modern acts, they might not be aware of, they’d take a fancy to. The fact their pensions do not stretch to a gig ticket is a disability.

They are less agile and mobile; health issues restrict their movements more - and it can be hard to integrate in spaces usually filled with younger bodies. The social aspect of a streaming service would mean, through text or video; fans of all ages can interact mid-song or after the gig. This service could be connected to a T.V. so you would watch a gig on a larger screen. I would be up for that and, whilst I am able to get around without constriction; my busy working life means I am not able to travel and get out as much as I would like. The elderly are often confined to the home and miss out on music a lot. The radio is a source they can get into all sorts of sounds – it does not give them the sensation of a gig, though. The same is true of the disabled. There are schemes that allow them transportation to gigs and, when there, access and seating. Many are unable to leave home and do not even have the ability to travel. I am sure there are even more people in society who yearn to see live music but are limited for one reason or another. I realised a televised broadcast is not the same as actually being there and experiencing the natural environment. Maybe there are affordable ways of doing this but, for now, I am thinking about musicians and those who want to see gigs.

So, then: what of the solution and making it easier for people and musicians to connect? You might say a fix-all initiative would render venues useless altogether – as you could see any gig from your home. This is not a Netflix for lazy music listeners: this is a way of allowing artists unable to travel a way of broadcasting/earning; those less able and mobile a chance to see music. The fact there are tremendous new artists looking to expand their fanbase means connecting the elderly/disabled with their existing audience is a great thing. Music should not exclude and does not go out of its way to do so – it is hampered by various factors and not as connected as it should be. Britain is never good when it comes to preparing for the worst. The heroics of some people this week – defying the snow and helping others – is humbling. The bad weather seems to bring something great from the people. I did think, when seeing social media stories of artists stranded and frustrated; how we could fix the matter and provide options when all other avenues have been exhausted. It is about making music more accessible and putting less pressure on artists who need to get around.

The way to inspire change is to look at what we have at our disposal and how to best utilise it. I know there are streaming sites and video broadcasting: expanding that and making it affordable to broadcast into people’s homes would be a good way of bringing music to people who, normally, would miss out. Some might say this choice and option would mean fewer people going to see gigs. I would argue the reverse: it would bring new artists to foreign eyes and, when they see what they can do live; there is that temptation to come out and see them. The worst of the weather has passed but, as we look ahead; what do we do the next time the country is ravished by the weather?! It may only be a few days but it can cause a lot of damage and problems. Making sure older people and those with disabilities are not overlooked is vital, too. I do hope there is a common solution because, as this week has shown; we do struggle when things turn bad. Whilst children and office workers have revelled at the chance to take a day or two off: others, who cannot afford to take that time off have felt the pinch. Affecting a safety net and solution would ease the burden – for musicians and fans – and, in the process, open the music world up to people who, normally…

MISS out on such treats!

FEATURE: Regular Einstein: Is It Possible to Reinvent the Musical Wheel?

FEATURE:

 

Regular Einstein

 ALL PHOTOS (unless credited otherwise): Unsplash

Is It Possible to Reinvent the Musical Wheel?

_________

MANY people look out at the world and want to find…

something extraordinary and unexpected. Those who love music are constantly searching and questioning; looking around for awesome new sounds and untapped treasures. Every week that goes by promises a fantastic new band or artist. I am always interesting when my senses are taken by surprise and my mind is altered. I often listen back to older music to see how certain artists changed the face of the industry and pushed it forward. Back in the 1960s, for instance, it was easier to reinvent and compel. Genres came to light and artists were taking advantage of new possibilities. The more time has gone on, the harder it has become to genuinely create explosion and revolution. In 2018; how many of us can imagine artists coming along that create their own genres?! Maybe there are various movements and sub-genres here and there: it seems impossible music will be shaken to its foundations by a blast of genius. That is not the fault of artists: the busier music gets; the harder it is to be recognised and craft something unique. I think back to Rock ‘n’ Roll pioneers and the birth of Punk; the mutation of Pop and a time when Grime came about. One could argue the last genuine wave and reinvention came during the 1990s – around the Britpop time, perhaps. I have been investigating music and what has come since then.

One can claim there has been nothing on the scale of Punk music but, if we think about it; there are lots of movements and options available out there. Genres like Pop are having other sounds spliced to them. Newcomers are taking a rather popular sound and splicing in something like Punk and Acid-House to make it sound new and alive. Folk is an area of music always being updated and changed: from harmony-laden acts such as Fleet Foxes to simpler artists who prefer to keep things since and rustic. Bright and inventive bands like Superorganism are cutting up sounds and effects and putting it into the music; songwriters like Nicole Atkins reinventing heartache and desire with her incredible instincts; IDLES bringing in some 1970s Punk with plenty of modern spit and swagger. It is encouraging seeing new artists emerge who do not copy everything out there and not add their own voice. In a larger sense, I am thinking about what the breakthroughs did to the music industry as a whole. If you take a cliché like The Beatles – as good as any to back up an argument – and they changed Pop and took it to new heights. Maybe they did not invent their own genre but, in the sense they blended other genres into their own sound and, thus, created something new – they were celebrated and highlighted by stunned critics.

IN THIS PHOTO: Fleet Foxes/PHOTO CREDIT: Getty Images

In the early-1960s, when the band came about; they showed what was possible in music and where it could be taken. The excitement and fever were palpable. Other bands followed in their wake and existing acts like The Rolling Stones and The Beach Boys, in various ways, took guidance from The Beatles. The boys pushed the limits of the studio and, over fifty years after their most-accomplished albums hit the shelves; modern acts are still taking elements from the legendary band. I look forward to Dance and Pop of the 1980s and 1990s. The biggest artists of the day were working in existing genres but brought so much of their own personality into the pot. I think about icons like Madonna and The Smiths in the 1980s; the various British bands of the 1990s who gave music that passion and hope – uniting the people and daring to dream. I have spoken about invention and originality in many other pieces: every passing month makes me wonder whether anything seismic and paradigm-shifting could occur. I, too, often talk of nostalgia and why many of us look back so often. It is not only the connection to memories and times past but the fact something new happened. Grunge sort of started in the 1980s and hit its peak in the 1990s. Grunge helped usher in new American guitar music and that, in turn, fed into Pop music and assisted in a sort of revival and change.

Hop through to the birth of British Hip-Hop and Grime; the geniuses of U.S. Rap and the Pop idols like Beyoncé whose iconography and awesome talent inspired countless artists. It is not only, as I said, the music that changed things: new scenes were born and, when looking at those icons whose aura and personality spoke as loudly as the music – that got into people’s heads and remained in the mind. Music is in great shape now but it is more synonymous with variation and depth as it is groundbreaking sounds and new genres. One could look at music and ask what could come along. What would a new genre consist?! It is exciting to ponder but impossible to imagine. New artists are uniting various genres and sounds, which is great, but it does not really lead to anything new and fresh. I am always excited seeing hungry bands and agile artists lay down their marker and fashion wonderful music. We are at a point in time where there is too much choice and endless options for music listeners! Maybe the sheer volume and size mean it is harder to find space to break ground at all. That seems like a shame because, as I see it; music needs a new wave and excitement it is lacking.

A lot of the best musical inventions came about following social pressure and the need for change. Bands were articulating the desires of the people; artists angered and alienated – music was their way of transforming that confusion and isolation into something productive and incredible. It does not need to be the birth of a new genre at all: maybe a movement like Britpop or something that brings musicians together. I worry the rise in musicians and the openness of the market means there is too much out there to get your head around. This weekend; I will talk about Spotify and the fact it is growing in stature and value. Artists are a big reason for that and have helped turn it into an invaluable fountain for music lovers. The industry is as accessible and wide-ranging as ever which means there is a broader spectrum and narrower margins. I am a big fan of lots of new artists but none of them has helped bring about a revolution. My standards and expectations are high but I wondered whether it is such an impossible possibility?! Most genres have been covered, so the likelihood of artists inventing a completely new sound seems far-fetched. Look out at music and pretty much every genres and sub-genre has been mixed and stirred in every possible form and way. Perhaps the new genre/sound would marry Jazz with Grunge; perhaps a new mutation of Hip-Hop. It seems hard to verbalise and realise what that sound would consist.

There is that need for transformation and an utterly exciting breakthrough. I think guitars will play a part and see a mixture of Television-style songwriting and the drama of Britpop; marry in some 1960s/1970s girl groups and Pop of the 1960s. That might seem like an odd concoction but I hear flickers of ideas and sounds that strike my mind. I feel music needs something to come along that gets people talking and begins its own scene. There is emphasis on originality and promoting artists who stray away from the mainstream. I still think there is too much negativity and problems shrouding all the good out there. A shared desire for unification and unpredictability can be felt. I do appreciate new music but am concerned I look back so often. The joy of remembering new genes form and majestic moments come through the speaker seems like a thing of the past. The industry has changed and there are new demands and tastes. Perhaps there is a greater need for volume and choice as opposed instigating a massive movement. I think it is hard to think of a totally new genre but it is possible to do something different and cause immense excitement. There are a lot of cobwebs and barriers in place at the moment so, if we can address them and overcome them; maybe that will free up the way for artists to make their move. Maybe it will not come at all, though. I feel there is something missing at the moment that needs a proactive response and lot of thought. Music is great how it is but it could be so much bigger, finer and inspiring. Every new genre and movement in musical history has led to change and transformed music in some way. I cannot wait to see who might take up the mantle and run with it. I am not sure the exact form the reinvention will take but when it happens, I am adamant, it will…

MAKE a huge impression that will last for years.

INTERVIEW: Three Kings High

INTERVIEW:

Three Kings High

_______

IT has been a while since I spoke with Three Kings High.

The Bristol-based band came to my attention with the album, They Think They’re People (2016). I have been catching up with them and seeing what they are to. The guys talk about new recordings and studio-time; they tell me about the Bristol; music scene and how they came together; the artists that inspire them; tour dates they have coming up – whether there is a good mood in the camp right now.

I ask about tour dates and whether they have a treasured memory from their time in music; what they would tell new artists coming through – the members choose an album that means a great deal to them.

________

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

Joe: We’re good, thanks. It’s been a busy week: been recording and had a gig in London where we brought a fun bus of Bristolians over to the big smoke with us – so, still a bit fragile but truckin’ on.

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

I’m the singer/ranter/lyricists/gobs*ite in the band, Three Kings High: a six-piece Rock and Roll crew based in Bristol city. We make honest, working-class drinking anthems and, at times, sexy songs to knock boots to and regret the morning after.

Sam: I’m the lead guitarist and funky bouncer for the band.

Hawk: I’m the bassist and guitar-string-changer; silent assassin, drinker; driver (not together) and morale officer of the band.

Tell me how Three Kings High got together - and what those first jams were like?

Joe: I guess it started ten years ago when I moved down South from the North East and met up with Sam Otis (Lead Guitar). We knew each other from our Hip-Hop days: I had some records of Sam’s and he had mine. We were both M.C.s and worked with Veekay (the band’s producer) for a while making Hip-Hop - until we decided to switch it up. I had this idea that I wanted to be in a Rock and Roll band; I always did, to be honest. I guess I had a way with words and got into rapping as it was easier for me not being able to play any instruments.

Sam, on the other hand, tends to be able to play anything he picks up – so, he was a good starting point for experimenting in the beginning. I’d like to say we just had it in the pocket straight away when we got into rehearsals but it literally took years to find our sound. I definitely didn’t ever want to be an M.C.-fronted festival band: that stuff’s just not my bag.

But, because of who we were and our history; we got booked for those sort of nights a lot. I suppose it was our safety-zone knowing we could do that Hip-Hop crossover easily if we wanted – but, really, it’s only the last few years we found our sound and, although it’s still rooted in that Hip-Hop sensibility; it’s only the trained ear that will notice these days.

Bristol is where the band resides. What is the like there for new artists? Do you think it is an upcoming spot for ambitious musicians?

Sam: It’s a great place for new artists. Getting gigs in town is easy and promoters are approachable – so; a good start to get a name for yourself.

Joe: It was easy to get started in Bristol, to be fair, when we first played out we were all over the shop. The gigs were more like public jams but it was exciting - and good to get the opportunity to acid test our early tracks with a different audience each time. There’s some long-serving music venues that, if you put the work in, support you fully. Also, being an out-of-towner and from up Newcastle-way; I always felt pretty accepted here: maybe it’s the transient student crowds that Bristol’s used to that makes it quite open.

But; it’s not always this friendly when you find yourself in another city trying to make moves…

I know you are in (Bristol’s) Foxhole Studio working on new material. Is that a new album? What can you reveal about the songs and ideas you are laying down?

The new stuff is just better.

Not that I don’t stand beside our earlier work but we really found our groove with the last L.P., They Think They’re People, and have built and warped that sound to something new. However; we are all absolute arrogant megalomaniacs.  So; even if its dogsh*t, we still think it’s the absolute bollox!

Hawk: The new tracks in the pipeline are a lot more cohesive. Like Joe said; we seem to have found our groove on this one. They’re more explorative, instrumentally, and are generally just better-crafted songs. We’re really excited to get them out.

Is the mood good and excitable in the band’s camp right now? Is 2018 a year where you have big ambitions and developments in the pipeline?

Joe: Yeah. We’re all pretty hyped about 2018. We’re at the point, now, where our expectations are based in reality: it’s quite nice to come out of those inexperienced teen years where you think you’re gonna be the next number-one band within a month because your so fuck*ng amazing; get your arse kicked and humbled and come back better and more grounded. We had a year of great gigs and busy recording sessions - which is what we’ve always measured our success on.

A crowd’s response is, as you know the gauge. You can think you’re great but, if your reception is flat when you perform that new track, there’s nothing worse…and we haven’t had that for a long time.

We’ve grown a good team around us - after years of being with small labels and various booking agencies etc. We have some strong relationships, now, with publishers and P.R. companies - and it’s freed up some time for us to curate our own nights and even start up a small indie label of our own (Donut Records).

Your latest release is They Think They’re People. What has the reaction been like performing the album on the road?

It’s been great to perform. After our first L.P. Hail VeeKay, the producer, really cracked how to capture that live energy in our tracks. When we play, people’s reactions are always that we’re tight. I’m sure that might be the case, but, as well; I think it’s because we record our songs as though they’re live - which is a credit to the guys, as I said earlier: I’m just the gobs*ite taking all the glory: those lot are the ones that make our sound big on stage.

I'Il do my best not to ruin it!

That record was released in 2016. How do you think you’ve developed as a band since then? Were you at the point (now) where you needed to get back in the studio and capitalise on the success coming your way?

Sam: Yeah. We knew we wanted to keep running with the momentum we had when recording that L.P. Sometimes we get so caught up doing gigs - and writing becomes the in-between stages. We decided, at the end of 2016, we’d take a new tact and do a few months on and a few months off of the road. For me, writing and recording is the real creative part: performing is showing off, but I like the nerdy conversations about sounds and lyrics and giving that aspect the focus it deserves. All of us have our own ideas for tracks.

In that room; nothing’s off the table.

Members of the band hail from different areas of the U.K. Is the eclectic and broad membership a reason why the band is so layered? Is diversity the key to your success?!

Joe: The short answer is: ‘I have no idea’. It just worked for us. I think it’s more, perhaps, that we met as adults in our twenties, rather than kids from college - apart from Sam and Wookash who knew of each other and worked a little on some Hip-Hop releases. But; even then, I think it comes down to everyone being individual with their own backgrounds. Some are classically trained musicians, some Hip-Hop aficionados. Some Funk and Jazz-schooled and some just talk shi*e and hope no one notices there blagging it…

But, in a small way; I think maybe the regional U.K. differences do inform our background. For instance, up home, there’s a thriving Hardcore scene and, even if it’s not your bag; it’s hard to avoid knowing and hearing and learning about your city’s sounds and musical heritage - being exposed to Punk and heavy Rock, perhaps, morphs your ear to it more. Same for the South West’s Trip-Hop legacy and Electronica past - they eek in through osmosis, no doubt.

Hawk: I’d say it was more because of our diverse musical tastes than our whereabouts. We all come from such different backgrounds in that sense - but we all love most of the same stuff, too. It’s great to hear Sam and Joe go into wormholes about specific offshoots of Hip-Hop, or hear the crazy Math-Rock Wookash is zoning out to. We definitely have experts in different musical genres but without the single-mindedness that can sometimes blinker you into just one scene.

What sort of music did you all grow up on? Give me a sense of your childhood tastes…

Joe: Probably, like most people, my tastes were mainly informed by my parents - mainly my dad’s, with people like The Band, The Kinks, Bob Dylan etc. 1960s and 1970s Rock, really. Then, I discovered bands like Ocean Colour Scene, The Verve; was a bit of a mod until Hip-Hop got me - then it was all I listened to for about five years!

Hawk: I went through a short stage of being well into Hard House and Trance. Glad that’s over. The Blues has always been a part of what I’m into. As I mentioned earlier; it’s the reason I even started playing seriously. Jimi Hendrix, Nirvana; Led Zeppelin, Sublime, Rancid; NOFX - loads of different stuff. Me and my brother used to stuff loads of towels up our jumpers and pretend we were The Fat Boys. Good times.

IN THIS PHOTO: Wasuremono

Who are the new artists you recommend we check out?

Joe: Locally; I’d give Los Savages and Wasuremono a spin and, obviously IDLES. If you’ve been living in a cupboard the last few years and don’t know; IDLES had the best live show I saw last year…definitely worth a peep. Khruangbin are amazing. Caught them the other night in Bristol. Check out there 2015 album, The Universe Smiles Upon You, as an introduction. You won’t regret it.

Hawk: The Chats are killing it right now. There’s also a brand-new band coming out of Bristol called Alexander Sun which I’m really excited about. You probably won’t find much on them just yet - but watch this space on that one.

IN THIS PHOTO: The Chats/PHOTO CREDIT: Dougal Gorman

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

An album that means a lot to me would have to be Unplugged by Eric Clapton. I haven’t listened to it in years but when I was a kid I nicked it off my old man and bought the music book; learnt to read guitar tab and taught myself to play it from start to finish. That’s how I learned to play.

Joe: The Last Waltz by The Band

It’s a live album of The Band’s farewell concert in 1976. Apart from them being at there absolute best, it seems as though it was the end of an era in 1976 - where a certain type of American rock star bowed out to make room for the late-1970s Punk. They were joined by a heavyweight list of their peers such as Muddy Waters, Van Morrison; Neil Young etc. I was brought up on that L.P. and. every Sunday when I was a kid; my dad would play the Scorsese documentary of the same name. So, I guess it’s nostalgic, too.

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

Hawk: We’re organising some tour dates with our new agents that will kick off in May. It’s something that will run along some releases over the year - and we’ll be adding dates amongst them to flesh it out…but its early stages. I’m also trying to start up a live night in Bristol and make that semi-regular: it’s important to us to stay relevant in our H.Q.

We also want to get back out to Europe again and are looking at autumn dates for that. But, right now this month, we’re recording for a release and making a video.

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

Favourite memory would be playing a bar and looking out seeing The Animals, The Troggs and the Yardbirds all in one room watching us. Pretty exciting!

Joe: Hanging out with the Troggs on tour was a big one for me - if only for the fact they were the soundtrack to my childhood. Something else that sticks in my head was when we were on one of our early U.K. tours and it was when E.L.O. first joined us as the backing-singer. It was about four years ago, the final gig was in London at Finsbury Park, and we smashed it! Crowd went mental. When we finished the last track, this big American bloke came up to the stage and shouted: “Who are you guys?”. The music had stopped momentarily while we packing away and the D.J. was getting set up - but we answered in unison: “THREE KINGS HIGH”.

Then, as though choreographed; Ghostbusters by Ray Parker Jr. came over the house system full-blast. The crowd went crackers; we played along and got people on stage with us – “Du du durr du, durrr du du du, du dud du/who you gonna call?/GHOST BUSTERS!”. Ha. It was cheesy as f*ck and maybe we were drunk at the end of a laborious set of dates but that was unadulterated fun - and it set the tone for us as a group. We just want people to have a laugh and get loose with us.

Later that night, we set fire to my shoes and watched them burn because they were possessed.

What advice would you give to new artists coming through?

Hawk: Don’t be too try hard and don’t take yourself too seriously.

Joe: QUIT AND DO SOMETHING ELSE. THERE'S TOO MANY OF YOU NAVEL-GAZING ASSHOLES. Na. I’d say, do everything yourself until it’s too busy to handle; rely on nobody apart from those who’ve shown there dedication.

Never wait for things to come to you…

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).

Joe: Has to be done…

The Band – The Night They Drove Old Dixie Down

Sam: Check your bum for grubs and check this out…

Cosmic Psychos - Fuckwit City

Hawk: This never fails to get me hyped!

Rio – Low Cut Connie

_______

Follow Three Kings High

Official:

http://threekingshigh.com/

Twitter:

https://twitter.com/ThreeKingsHigh

Facebook:

https://www.facebook.com/ThreeKingsHigh/

SoundCloud:

https://soundcloud.com/threekingshigh

Spotify:

https://open.spotify.com/artist/7tXgHSUjOssqKavQl2pXzs

YouTube:

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

FEATURE: The March Playlist: Vol.1: Black and White Town

FEATURE:

 

The March Playlist

 IN THIS PHOTO: Jack White 

Vol.1: Black and White Town

_______

THE singles are rolling in from Jack White…

IN THIS PHOTO: Anna von Hausswolff/PHOTO CREDIT: Gianluca Grasselli

and, with every new cut, he seems to get bigger and more intense! I am usually against artists who unveil a series of singles before an album: let’s hope there is more in the intrigue-tank before White’s L.P., Boarding House Reach, arrives in a bit. Alongside Jack White’s new single are songs from Alma and Blossoms; Unknown Mortal Orchestra and Cabbage; Ellie Goulding, Moby and Anna von Hausswolff.

In addition to those big releases; there are tunes from the underground and lesser-heard artists; some cool cuts that will get into the head; the brilliant and innovative from the underground - guaranteed to banish the cold and inconvenience of the relentless snow!

________

Jack White – Over and Over and Over

Tom Misch (ft. De La Soul) – It Runs Through Me

Unknown Mortal Orchestra – Not in Love We’re Just High

Alma – Legend

Blossoms – I Can’t Stand It

Cabbage – Preach to the Converted

The Hunna – Y.D.W.I.W.M.

Soccer Mommy – Last Girl

Chris Cornell – You Never Knew My Mind

Tracey Thorn, Shura - Air

Chvrches (ft. Matt Berninger) – My Enemy

Dinosaur Jr. – Hold Unknown

Everything Everything – The Mariana

George Ezra – Pretty Shining People

Moss Kena – You Don’t Know

Little Dragon – Best Friends

Dave – Hangman

PHOTO CREDIT: Pooneh Ghana

Lucy Dacus – Nonbeliever

Meghan Trainor – No Excuses

Findlay Brown – When the Lights Go Out

MNEK – Tongue

The Vaccines – Put It on a T-Shirt

Ellie Goulding – Vincent

Andrew W.K. – The Party Never Dies

Young Fathers – Toy

Aisha Badru – Fossil Fuels

 

PHOTO CREDIT: Daniel Alexander Harris

Fickle Friends – Wake Me Up

Anna Von Hausswolff – The Marble Eye

The Breeders – All Nerve

PHOTO CREDIT: J. Konrad Schmidt

Sam Vance-Law – Wanted To

Gorgon City – Motorola

Flo Rida – Dancer

Gwenno – Hunros

IMAGE CREDIT: John Laux 

Superorganism – The Prawn Song

Blakey, JONES – Prism of Love

Etherwood - Climbing

Little Comets – M62

Samantha Harvey – Never Dance Again

Moby – The Tired and the Hurt

PHOTO CREDIT: Kanya

Amber Mark – Love Me Right

TRACK REVIEW: Hollie Haines - Keep Moving On

TRACK REVIEW:

 

Hollie Haines

Keep Moving On

9.4/10

Keep Moving On is available via:

https://open.spotify.com/album/3Z9zwi0xMa9T0kUfp0QJYm

GENRE:

Alt-Folk

ORIGIN:

London, U.K.

RELEASE DATE:

23rd February, 2018

_________

THERE are some important things…

PHOTO CREDIT: George Yonge Photography

I wanted to discuss in this review – so it is best I get down to it, I guess! I will look at Hollie Haines and what she achieved but, before then; I wanted to address artists who are relatable and accessible; musicians who work hard and undergo changes – and come through it impressively. I will go on to document artists who provide music for the masses; give inspiration to others; looking at female artists this year and why things have to change – finishing with bits about future moves and capitalising on success. For Hollie Haines, her career is young but, so far, she has resonated with many. I get sent a lot of requests for interviews/reviews and, by and large, the artists I witness are grounded and easy to connect to. That seems a juxtaposition against the mainstream and popular music culture. You get a few bands/artists who are normal and ordinary but, largely, there is that mass who seem intangible and somewhere else. I am not saying it is easy for big stars to come across as for-the-people but, even those who are starting out seem to project a sense of the aloof and detached. I want to be able to connect with artists and feel like I am listening to someone who wants to get under the skin and strike a common chord. So many artists out there put the music into the ether and that is it – never really a chance to discover who made it and actually bond with the musician. You might say that is the point of such a profession: we are here to listen to the music and not socialise with everyone who makes it. I will grant you that but, as the industry crams to capacity – can we really afford to accommodate those who do not make an effort to connect with their public? Maybe you go to see an artist live and they will chat between songs; many will do interviews and you get a semblance of the familiar. What I am talking about are artists whose natural personality and demeanour suggest the human and nice. New music does things a lot better: artists who you can emphasise with and find some common traction.

Hollie Haines is someone who brims with life and smile; she has that accessible nature and, when hearing her music, she writes for her audience. The songs are personal but she consciously brings people into the music. My reasons for music vary but, largely, it is to find some comfort and companionship. That may paint me as a mad cat-man (if such a thing exists) spending his evenings by a gramophone hoping the birds will come to the garden so he has something to look at – whilst his cat pees on the rug and ignores everything I do. What I am referring to is music that gets into the heart and makes me feel less alone. So much of today’s music is sterile and broad. You never really get a chance to dig deep and one feels the artist is aiming for commercialism and popularity. Haines is an artist who writes about her experiences but wants to help people out there and remain in the mind. I have been in the game a long time and can detect musicians who are in the business for the right reason: those who are doing it to well-known and succeed on streaming sites stand out a mile away! Hollie Haines is in music for all the right reasons. It is an outlet and channel for her; a way of expressing her deep emotions and providing guidance to others. I will move on to other things but, for now, I want to end up with a recommendation: listening to Haines is a way of making sense of troubles and bonding with an engaging and warm soul. It is hard to fake the kind of sincerity and personality one senses on Keep Moving On. It is hard to get a rooting in music – even harder standing out from the crowd and becoming a big thing. Haines might take a while to get into the mainstream but she is someone we need there right now.

PHOTO CREDIT: George Yonge Photography

One of the reasons the past few months have been difficult for Haines is the fact she has moved. Her life has taken her from Leeds down to London. That might not sound like a huge shift for many – Leeds is a large city; its population friendly and warm…oh right! It is hard moving anywhere but, the fact Haines has gone that distance and assimilated with new people has brought it challenges and doubts. Many of us feel safe where we are and get familiar with our surroundings. I am not one who takes big leaps but I am looking to move to London very soon – get involved and closer to where the action is. It can be hard being away from the capital and seeing other people have fun, take advantage of the city and dive into the culture. It is a busy and stressful place but, for a musician, it is the place to be. Even so; it is scary for anyone going alone and settling there. I am not sure whether Haines moved with a friend or boyfriend but, in any case; it has been hard getting used to the pace and energy. A recent post – on Twitter – from Haines thanked her fans for getting behind her. She moved five months ago and, before then, wasn’t excited about music and her songwriting. It is easy to see why someone would become dissatisfied with their lot and need a change of pace. I am in a position where I am writing but want to be somewhere else and a need surrounding. You can be in a good place, physically, but not completely satisfied in other areas. Hollie Haines took action and did not want to completely lose the love for music. Coming to London might seem like a natural move but, for her, it was a very big one. Her story worked out well, in the end – and will give inspiration and guidance to those in a similar position.

That recent Tweet offers thanks to her fans and those who have supported her situation. I am glad she has come through things and is able to open up to her fans. It is clear they have provided her impetus and she, in return, has kept going and brings the world new music. That is what I was saying about musicians: few connect with their fans the same way and have that close relationship. It is wonderful seeing young musicians reveal themselves and feel comfortable opening up to their fans. Haines is in a safer and more secure space where she feels revitalised and fresh. It has been a hard last few months and that dwindling energy was dangerous. Many would have quit music or taken a long break: Haines decided to make a big change and keep that flame alive. Now, in 2018; there is a fresh assault and chance to take advantage of London. The capital is busy and hectic; there are so many artists doing the same thing out there. One needs to stand out and separate themselves from their peers. Haines projects some familiar tones but her personality and unique words come through. The fact her songwriting is so personal and honest means the music is stronger than a lot of what is out there. I am not sure what she has planned in terms of gigs but, in the coming months, there will be demand for new material and more words. Since her debut E.P., The Walls I Built, she has made steps – career-wise and personally – and she is stronger than ever. Keep Moving On is a call for positivity and hopefulness; it is an uplifting song that mixes County, Rock and Folk strands. There are many who would struggle to maintain a positive disposition given the move and dissatisfaction with the older life – failing to embrace a new way and having that hope. It is interesting looking at the musical blends Haines teases and how they absorb into the mind.

There is Rock and Country; there are bits of Folk and Pop and, when listening to her music, you get a confection of various sensations and ideas. I will write a piece later regarding innovation and how hard it can be breaking new ground. Some artists are trying to break barriers and create a new genre: others are happier to provide something more relatable and familiar. Haines, in a sense, is between the two fences. Her music rings the ear and has that impact straight off. You do not need to dig too deep or think too hard for the music to resound and compel. You hear the vocal and tones; the sonic strands go into the mind and it all sits very nicely. Haines brings her own ideas to genres like Folk and Country – the lyrics are the biggest standout and unique edge. In other ways, when writing, you sense an artist who is trying to shake up music and do something genuinely different. Haines is still transitioning and making herself known in London. The city is big and daunting but, for musicians, it is a platform and way to get their music heard. It is welcoming of those who have something original in their locker and want to step into strange territory. You listen to Haines’ music and it is hard to pin down. On the one hand; the warmth and openness put you in mind of other artists. On the other; you have a rare artist who does not deal with clichés and tropes. She does not want to make music to please a narrow audience or get famous. To her, this industry is a way of channelling her talent and drive – getting that passion out there and touching other people. Finding an artist who delves into the heart and creates such an effect should be encouraged and applauded. Keep Moving On is a deceleration for improvement and need for growth.

In 2018; there are many – myself included – asking where music will go and how it needs to change. Maybe it is harder breaking the mould and reinventing music – should that be a bad thing? You can create a wave of excitement and build a following by taking something already out there and adding your own spin. In many ways, that is harder to do: there are so many artists predictable and safe that it means new artists trying to stand out struggle for attention. Haines has been in the business a while and honed and developed her music through time. Starting from modest foundations and a great sound; the songwriting has grown in scope and confidence. All of this means Haines has the ammunition to do something genuinely fantastic this year. Her latest single is proof she has plenty of fire and dedication. The sounds have that personal aspect but they are designed to appeal to a wide audience. I am not sure what she is thinking regards marketing and getting the music out to radio stations. It seems Keep Moving On will enjoy a lot of attention and airplay. Haines is charged and determined; she is masterful when combining genres and elevating music. I think she will play festivals in years to come and, given the competition out there; this is no small feat! Her songs have an established base and, through this year, those numbers will increase and widen. The music will get out to other nations and see her stock rise. It is interesting how Haines has developed and where her music is taking her. London is a great city to get gigs in and has a very broad population. The busy and never-still nature of the city means Haines will have plenty of inspiration and drive. Being surrounded by eclectic people and scenes means the mind, hopefully, will be rejuvenated. I wonder how Haines can change music and help make real improvements.

There are so many great female artists around but, as ever, being overlooked in favour of the men. It is difficult getting your name out there regardless of gender – it is so much harder for women. The festivals are committed to creating something gender-balanced…not for another few years at least. I wonder why it takes so long for organisers and festivals to get their act together and create parity. It is 2018 and we should encourage a more gender-balanced scene. It is a shame there is so much imbalance as, in my mind, female artists out there are more engaging and appealing. I am not sure why people fee female artists are inferior to men. Maybe there is a commercial aspect to male artists, especially bands. They have always brought in the crowds and money – that is because women have not been afforded the same opportunities. Haines is not someone who fires against authority and the decision-making bodies – she must feel a bit aggrieved by what is happening out there. Her superb music will get rewards but I wonder, as I do with many female artists, whether she’ll get all the celebration she deserves. Sexism is present in music and it is something we all need to tackle. I worry artists like Haines will take longer to get onto festival stages because of their gender. You listen to songs like Keep Moving On and it warms the heart and soul. It is a fantastic sound and get the spirits lifted. In addition to all of that; you get energy and motivation – the body sways and the voice is compelled to chime in. These combinations would sound great on a large sound. Maybe Haines’ music is more suited to Folk festivals but she has a songwriting talent that could see her ably taking to any stage. I wonder whether we will see any productive and concentre changes this year.

Haines has played Sofar Sounds Oxjam; she has performed smaller gigs but, now she is in London; those ambitions will heighten and Haines will want to play bigger spaces. I feel certain genres, too, get overlooked and given shorter shrift. Maybe it is me reaching too far but there is less attention given to Folk and underground Pop/Rock. The mainstream still favours a certain sound and sort of music. It has to be huge emotive or energised; rousing and able to get crowds pumping. I can understand that from a headline perspective but, as you listen to a Hollie Haines song, the imagination wanders and the brain conspires. Her sounds would be perfect for a larger festival: a chance to inspire many and ensure her music gets out to the masses. I feel her gender holds her back in a way but I wonder, in terms of style, Haines will struggle a bit. It all sounds very bleak but it means, when she does get that recognition; the taste of success will be so much sweeter. I think she is looking to settle into London and acclimatise to the way of life. It is a huge city and will take a bit of time before all the gig demands come flooding in. People are responding to her latest cut – making me believe tastes and changing and folk are looking for songs that have more depth and quality. I am one of those people who feels quality and substance are more important than anything commercial and easy. Haines is an artist unwilling to compromise and settle for something so easy. That is another reason her music stands out: it is from a human who wants to be honest and pure in everything she does. She has battled indecision and taken a huge step in life. Having doubts and being lost could scupper and derail lesser artists: Haines has made changes and, now, she is putting her feeling onto the page. Keep Moving On is her paen to positivity and hope. It is a song that, once heard, remains in the head for an awful long time.

The swaying and delicate strings that open Keep Moving On get right into the brain. The embers seem Country-fried but there is a mix of Folk and Rock in there. A balance of acoustic trip and electricity gives the song romance and intrigue. You are caught by the swooning and straying Country tones but buoyed and moved by the Folk edges. It is a fantastic brew that leads to a wonderful vocal. Haines’ voice is pin-sharp and sweet. She pronounces her words precisely and lets her thoughts skip like a deer in the snow. The phrasing is remarkable: words flow and stop; they elongate and syncopate. The heroine subverts expectation by swerving away from love and that predictable source. She hates to disappoint but here, against the grain; this is not a story of forgotten love or finding ‘the one’. The heroine was with a boy but, it seems, things were not desirable and she had to make a decision. It is okay to step away and readdress life, as she says, and it is okay not being okay. We all get into ruts and feel we need to remain on a certain path. Maybe she had been living life for someone else and expected to do what everyone else wanted. The relations and passion has run its course and, in terms of herself; there was something missing. The spark had gone and the way she was living lacked desire and purposefulness. I was instantly connected with someone whose desire to change and improve leapt out. I talk in the past tense but, as the song moves on; I am discovering new life and ideas. Haines’ way of singing is poetic and real. Her accent comes through and it is all about the voice. She delivers her lines with such a sense of purpose and drama – in the sense it is physical and well-performed; never heavy and dark – that it is impossible to ignore what she is saying. Haines has been following a barren path and needs to assess the situation.

The chorus steps in and has more of a Country vibe – the verses are more Folk-based and sound differently. The multiple vocals and layers lifts the chorus and lets it be known you need to keep moving if things aren’t going your way. Changes are hard but, in a lot of cases, they are needed and important. I have been thinking of making changes myself and have been caught in a bit of a miasma. It is hard dethatching from one way of life and doing something completely different. Haines knows this but, rather than get caught in a funk and feel solemn; she has resolved to be stronger and get herself away. There is beauty in her life – Haines feels sad others do not appreciate what they have – and the song starts to race. I get hints of The Staves and First Aid Kit; Country acts like Little Big Town and Miranda Lambert. It is a fantastic blend that gets right into every pore and engages the senses. The song’s changing dynamic and bi-polar characteristics mean it is a more evocative and sentient than song than you’d imagine. The chorus is the deceleration of where Haines is now: moving on and in desiring a situation where she can fulfil her dreams. All is not lost and bad but, in essence, where she is now is not as comfortable and happy as it could be. Rather than retreat and admit defeat; she is keeping her head up and realising what she has in her life. I was excited throughout the song and amazed by the candour and quality. The phrasing has cuteness and charm but it strong and nuanced. You are hooked by every word and follow the songwriter as she lets the listener into her life. The Walls I Built (E.P.) released last year showed what a strong and special songwriter Hollie Haines is. Keep Moving On seems like the second phase of her career. It is the ‘London Chronicles’ and the documentation of her new life. I wonder whether there will be more material coming this year. It is clear Haines has new desire and keen to explore where she is now. It has been fantastic discovering an artist who does things differently but has seems familiar and relatable. You can connect with her songs and appreciate what she is saying. I am excited to see where she will go now and what she can come up with. If you have not discovered the colours and contours of Hollie Haines – get involved with her music and show her some love!

Haines’ Alt-Folk magic has entranced audience already and seen her get into the minds of fans and journalists alike. The weather is still pretty nasty – although, it is warmer and less harsh today – and it is a perfect time for people to connect with a brilliant artist. Keep Moving On is enough to warm the cockles and put one in a finer frame of mind. I am pumped and excited to see where Hollie Haines goes and what her next steps are. There will be more material, I assume, and that will lead to gig requests and appearances. She has played some gigs in town and had the single reviewed by websites. The word is spreading, and so, I feel this year is a very important one for Haines. She wants to get her music out there and now – in a better frame of mind and place – there is that compunction to reach the people and get the music seen. There are few out there who have the same determination and spirit as she does. There are loads of great small venues around London; some fabulous ones further afield she would be welcomed and desired. As the weather improves and warms; I feel the people will react and come out in force. I mooted the possibility of an E.P. – maybe that will come later in the year. I shall end things now but want people to investigate Haines’ music and discover an artist who has come a long way. It is going to be a very bright future for Haines and her sounds. I can see her touring internationally and playing larger festivals. She is a wonderful artist and makes music for the people. That might sound strange but it is the way she manages to resonate with everyone that stands out. Her music is not reserved for a clique and small audience. It is music for the masses and, because of that, more people need to get involved. Keep Moving On is a fantastic song from an artist who has struggled with doubts and problems but has come out the other side…

WITH emphatic resolve and desire.

_______

Follow Hollie Haines

PHOTO CREDIT: George Yonge Photography 

Official:

https://www.holliehaines.com/

Facebook:

https://www.facebook.com/holliehainessongs/

Twitter:

https://twitter.com/holliehaines

YouTube:

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

SoundCloud:

https://soundcloud.com/hollie-haines

Spotify:

https://open.spotify.com/artist/3TmWI5f479FgFtRzEcs6DA

INTERVIEW: Findlay Brown

INTERVIEW:

Findlay Brown

_______

THE intriguing Findlay Brown was once labelled…

Yorkshire’s answer to Paul Simon. I was keen to ask him about Simon and whether his music is a big draw. Brown is an itinerant musician who moved to New York – and is now based in Copenhagen. I ask about his background and what inspired his upcoming album, Not Everything Beautiful Is Good.

Brown talks about his influences and what it was like appearing on David Letterman’s chat-show; which albums are most important to him; if there are any tour dates coming up – what his favourite memory from music is.

______

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

I'm good, thank you. It's been a little hectic. My son just turned four and he managed to have three different birthday parties somehow!

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

I'm a singer-songwriter. Originally from England: recently moved to Copenhagen from New York. I'm about to release my fourth solo record. My music is very much influenced by classic songwriters from the ‘60s and ‘70s like Paul Simon and Harry Nilsson; soundtracks and Folk artists like Jackson C. Frank and Fairport Convention.

I would say it’s melodic and intimate - and sometimes cinematic.

Tell me about the track, Home. That was released before Christmas. What is the origin of that song?

Home is a little love song about my family. A simple day with my wife and son with nothing to do; nowhere to be: just enjoying those special moments together.

Will there be any more singles in the coming weeks?

Yeah. A song called When the Lights Go Out is released on 2nd March.

Not Everything Beautiful Is Good is out on 18th May. Can you reveal any of the themes and ideas that inspired the song?

Love, death; transcendence, the battle between good and evil - and traveling through black holes. 

The title suggests feelings of deceit and false smiles. Is that a reaction to the modern world and nefarious politics – or something more personal?

The line from the song - that the title is taken from - goes not "everything beautiful is good but everything good is beautiful" - and it's about a society that's entrapped by nihilism, celebrating greed and selfishness and other ugly characteristics where good things lose their meaning and value. It's about true beauty being destroyed, torn down or twisted in some way; whether it be in the arts or in our culture in general.

It's a lot to do with what Orwell wrote about and what concerned him.

You have already gained huge kudos and appeared on David Letterman. How important is it having those experiences under your belt?

It's a great experience to do those kind of things. Doing Letterman was especially exciting - knowing The Beatles had performed on that same stage in the ’60s.

I hear tones of Paul Simon in your work. Is he someone you grew up on? Which artists made an early impression on you?

I didn't grow up listening to Paul Simon but have become a huge fan in recent years. Music wasn't a big part of my life until my late-teens, when I discovered L.S.D. and the music from the ‘60s (that was influenced by psychedelic culture).

Bands like Traffic, Family; Arthur Lee and Love.

You are from Yorkshire – based in Copenhagen now. What was the reason for that move? How do the two musical worlds differ?

I moved away from Yorkshire when I was eighteen to Bristol where it was very much about Club music and Trip-Hop; then to London where Rock 'n' Roll music was having a bit of a comeback and there was some great Electronic music being made too! We recently moved to Copenhagen from New York to be closer to family - especially my son.

I was lucky to have some great musician friends to collaborate with in New York: there were some great Folk artists that I hung out with and put on events with. I worked on a record label called DPC with Tobias Wilner from the Danish band, Blue Foundation - and was introduced to a lot of the music community based here in Copenhagen through him.

IN THIS PHOTO: Mind Over Mirrors

Who are the new artists you recommend we check out?

Mind Over Mirrors.

Mark Maguire and I just got an album by an artist called Snow Palms which I really love. I listen to a lot of Ambient/Instrumental music at the moment.

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

What's Going On by Marvin Gaye

It is one of my favourite all-time records that I never tire of. It never stops feeling relevant - and his voice is otherworldly.

Scott 4 by Scott Walker

It is total perfection for me: the songwriting, string arrangements and the overall production. It has so much drama. Scott Walker is a totally original artist and I love pretty much everything I've heard that he's made - but I can't fault this album in any way…

Finally…any of The Beatles’ albums!

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

I'll be announcing some dates soon...

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

Enlightenment!

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

The Letterman show, as I said before, is a highlight and there have been some other great shows too. I performed at a War Child concert at Brixton Academy alongside the Pet Shop Boys, Lily Allen; Brendan Benson, Keane and others. I came out on crutches because I had a broken leg from being run over by a taxi couple of weeks before.

That was pretty memorable!

What advice would you give to new artists coming through?

Don't compare yourself to anybody else and don't give up.

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).

Don't You Know by Jan Hammer Group

_______

Follow Findlay Brown

Twitter:

https://twitter.com/findlaybrown

Facebook:

https://www.facebook.com/FindlayBrown/

Instagram:

https://www.instagram.com/findlaybrownofficial/

Spotify:

https://open.spotify.com/artist/5SxW5qi5l3VJnO0qzsI8Rs

YouTube:

https://www.youtube.com/channel/UCBw2gZUd-EDHGGYcv8K0ZXQ

PHOTOS:

Alex Lake

INTERVIEW: Brain Donation

INTERVIEW:

 PHOTO CREDIT: Sean Conroy 

Brain Donation

_______

THERE are areas of the world where I am discovering great artists…

PHOTO CREDIT: Sean Gallagher

and stepping away from London. Dublin is a city that has always produced fantastic artists: the new breed coming through retain that pride, innovation and strength. I have been speaking with Brain Donation about their upcoming E.P., The Second One, and whether we can expect some material from it soon; how the guys all got together; what Dublin is like for ambitious artists – whether there is a special reason behind the ‘Brain Donation’ name.

I learn more about the band’s creative process and how they have grown; what advice they would give to new artists; if they ever get time to relax away from music; some of the new and older acts that inspire their movements – what touring plans they have cemented already.

________

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

We are Brain Donation. We’re from Dublin and we play Alternative-Rock. Broad strokes aside; we make a sound heavily influenced by American Grunge music and British New Wave. We play with lots of energy and like to keep our music relatively simple - with the occasional overindulging musical hiccup.

Can I ask if there is a special story behind your name, ‘Brain Donation’?!

Well, when we first got together, AL already had the name and had done many childhood sketches (of logos) as a boy. In the end, we didn’t like the spelling of it so we just removed the ‘a’ from ‘deaf’ and spelt ‘leopard’ with two ps…and then we were good to go.

We actually went through a good few names at the start - but kept making the fatal mistake of telling them to people too soon and having them spoiled. We had quite a few gigs booked very early on so, eventually, it got to a point where we had to say ‘ok, whatever the next name we think of; that’s the one going on the posters’...

‘Brain Donation’ it is.

PHOTO CREDIT: Second Frame

The Second One is your upcoming E.P. What sort of ideas and stories compelled its creation? What are the main differences between this and your debut E.P.?

It’s definitely a more mature E.P. than the first one. Down to the finest detail.

We were only playing together for about two or three months when we recorded our debut. We recorded it ourselves in a friend’s house - and it was a very kind-of D.I.Y. job. It was also just odds and ends of songs we put together at the start.

Now we’ve been playing together for three years and we have our own little writing process. We tend to get the initial musical idea together in the rehearsal room and then we will take the ideas away and write lyrics and develop them a bit more. There’s always exceptions to that though. We demoed ten songs for this latest E.P. and we sent the demos around to our friends and to Ivan - who recorded the E.P. - to get a feel for what the best four songs would be.

Will there be any singles from the E.P. coming up? What do you have planned for the coming months?

We are releasing a video for every song on this E.P. - so there will be four singles. We’ll release one with the video and then spread the others out over the summer for promotional material for our festival dates and tour dates. We have been confirmed for a few festivals now in Ireland and, hopefully, we’ll be confirmed for a few more. We’re playing a good bit here and we are hoping to get over to the U.K. for some shows in the summer.

At the end of the summer, we will be going to Switzerland to play a few shows there as well.

PHOTO CREDIT: Second Frame

What was it like working with Ivan Jackman at Hellfire Studios?

Ivan’s great. Myself and Ollie had recorded with him while we were playing with another band and he mastered Brain Donation’s first E.P. - so we do always tend to have his ears on what we’re doing in some way shape or form. He has a Steve Albiniesque approach to the recording process: everything is done really natural-sounding, warm and roomy - which is exactly what we wanted.

How did you all get together? Was it a shared love of music and the same artists – or was there a special spark that brought the band together?

Myself and Ollie have been playing together since we were pups. Ollie and Alan played together in a band called Gypsy Rebel Rabble and they were playing a few shows in Berlin in 2013 - and myself and a few others went along for the trip. That’s when the three of us hung out for the first time and we all get along like a house on fire - but it was two years before Brain Donation materialised.

How the band came about was a bit unusual. Myself and Ollie had booked an Irish tour with our old band, The Stoney Brokes. About six weeks before the tour, that band broke up and, rather than fall out of favour with the promoters and bookers we were working with, we decided to get something together to do the tour. We actually, originally, were going to do a two-man acoustic thing - which is really funny now looking back because of what way the band went genre-wise.

Ollie told Alan about it and he said he wanted in - and it all just grew from there…

Dublin is your home. Is the city pretty active in terms of great music? What is it about the E.I.R.E. capital that keeps native artists rooted there?

Yeah; there is a lot of great music here. I’m sure everyone says their scene is full of great music but music is such a strong tradition here in Ireland - and we have such a vibrant festival circuit and live music scene.

In terms of being rooted now; I’d imagine it’s the same reasons that artists stay rooted everywhere. Home is home. I think a big thing is the support network we have here. We have so many bands and musicians and our population is quite small - so you do feel a great sense of community.

Are there any new artists you recommend we check out?

I’m really liking OTHERKIN at the moment! They’re doing a lot in the U.K. as well so, if you haven’t already checked them out, then I’d start there!

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

We have our launch in Dublin on 23rd March and a handful of gigs around Ireland. Then, we only have a few bits and pieces before festival season starts. We’re playing in Switzerland with our friends Dirty Sound Magnet (who you should also check out) in September - and they’re helping us book some U.K. dates for the summer as well.

PHOTO CREDIT: Sean Gallagher

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

Woman of the year…

We have lots of little tiny goals - but the main one is to finish the year with some press coverage. Because of the D.I.Y. nature of our beginnings, we never really did much of a press push or paid much attention to that side of it.

We are also changing how we release music. After this E.P., we will be making releases much more often, on a song-by-song basis. Record a song, make a video; do promo and tour, rinse and repeat. There has been two years between both of our E.P.s. - and we don’t want that to happen again - so our main aspiration is to finish 2018 in a positive routine of regularly releasing new material for people to hear.

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

We went to Eastern Europe last September and played ten consecutive shows. It was the first time we did something like that for so long and it really was such a lovely time. You can rehearse every day of the week, but nothing will get you as tight as just playing loads of shows: we came back from the tour and we were just impossibly tight.

A personal favourite memory for me is going back to a house party with a bunch of complete strangers and arriving at the house to hear that the people who were there already were listening to my band.

PHOTO CREDIT: Second Frame

What advice would you give to new artists coming through?

Delegate. Ask for help. Ask for advice. You’d be surprised how many people will be willing to help you. Also; support your own scene. Go to gigs, read about your peers; listen to the music they’re making and collaborate.

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

The short answer to that is ‘no’.

Ollie, our drummer, has two side-projects where he plays guitar with people; he has two jobs and an array of hobbies. I do music production and Alan plays cover gigs and builds craft battle-stations for fantasy gamers (I tried really hard to make that sound cool).

I like hiking whenever I get the chance: Dublin is surrounded by mountains and sea so there are so many beautiful places for hikes. We’re all different, though. If we’re ‘unwinding’ together, it’s usually over a pint…

 PHOTO CREDIT: Sean Conroy

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).

It’s pretty late and the guys are definitely asleep - so I’m going to be a bad sport and undemocratically say:

New Secret Weapon - Headmelt Radar

The Eskies – Napoleon

The Hot Sprockets - Right Spots

_______

Follow Brain Donation

Twitter:

https://twitter.com/braindonation

Facebook:

https://www.facebook.com/braindonationmusic/

SoundCloud:

https://soundcloud.com/braindonation

Spotify:

https://open.spotify.com/album/4F0JQZMfKNcTzY6a5hRi7X

BandCamp:

https://braindonation.bandcamp.com/releases

INTERVIEW: Wieuca

INTERVIEW:

Wieuca

_______

FROM the chill and beauty of Austria…

it is off to Athens, Georgia – and a chat with the incredible band, Wieuca. The guys talk about their new E.P., Local Celebrity, and the ideas that inspired it. I ask how they came together and what the scene is like in Georgia; whether a bass player replacement disrupted the recording/band chemistry; if the U.S. band reckons they have grown since their debut – and whether they are coming to Britain.

I ask which artists inspire them and what tour dates they have coming up; if they all get time to chill away from music; what their aims are for this year – they provide advice for new musicians thinking of following in their footsteps.

_________

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

Jack Webster: Bangin’. I saw the Drive-By Truckers twice.

Andrew Cleveland: Great. It’s rained every other day in Georgia. Perfect weather.

Jack O’Reilly: Good. Yourself?

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

Jack Webster: Hey. I’m Jack: newest local celebrity to the Wieuca fam.

Will Ingram: I’m Will and I’m (just) a baby boy.

Andrew: Hi. I’m Andrew, A.K.A. ‘Ace’: second-newest addition to the squad, handling all the Electronic bleep-bloops.

Jack O’Reilly: Hi. I’m O’Reilly - and you know that’s the sitch.

Will: We also have a guy named Rob...

Local Celebrity is your new E.P. What can you tell me about its creation and the stories behind it?

Jack Webster: Will made my sister some dope kicks in exchange for a feature on Friendster.

Will: I draw trippy things on people’s shoes when trippy music isn’t paying the bills.

Jack O’Reilly: Cradle-to-grave; this record was made in a shorter span than anything else we’ve released to date.

How do you think your new stuff differs from your early material back in 2012? Is the new E.P., in your view, the best thing you have done?

Will: It’s probably the most ‘us’ thing we’ve done. When we started, we just played music we wanted to hear that didn’t exist - like Alt-Country mixed with Emo. The problem is, if you don’t know the exact points of reference (say, Texas Is the Reason and Whiskeytown) it kind of just sounds like Indie-Rock. Local Celebrity has been our most successful effort to smash very disparate styles together without losing what makes them distinct.

It marks the departure of long-time bassist and producer of Sam Kempe - and welcomes the arrival of Jack Webster and Andrew Cleveland. Was it a hard transition – or was it quite a revelation?

Jack Webster: While it’s refreshing and exciting to experience new-fangled band chemistry; I find it shatters the grand illusion a bit to join a band that you love listening to.

Andrew: I lived across the hall from Will last year and we would always jam on the sounds coming from the other rooms - so, this really just feels like an extended late-night beat battle.

Do you know whether there will be more material later in the year? Do you think that far ahead?

Jack O’Reilly: Some of us do, fortunately…

Will: Yeah. Get ready for the E.P. - that combines Black-Metal and K-Pop. I’m dead-ass.

Tell me how the band all got together and how ‘Wieuca’ came to be. What is the inspiration behind that name, too?

Robert and I had been playing music together since, literally, the day we met at eleven. When we both knew we were moving to Athens for college, it was like: ‘Alright, I guess let’s be a real band now’.

Is there quite a big music scene where you are in Athens, Georgia?

It’s huge for the size of the city. All your waiters are old hipsters pissed that their band never got famous.

Do you all have similar taste in music? Which artists are you all inspired by?

Jack Webster: Early Young Thug

Andrew: Prince, Nas and James Blake

Will: I hate music.

Jack O’Reilly: Definitely not. Bobby ‘Boris’ Pickett and the Crypt-Kickers and Ween.

IN THIS PHOTO: Magdalena 3 Vidas

Are there any new artists you recommend we check out?

Jack Webster: B.Y.V./Y.O.D.

Will: Magdalena 3 Vidas - if you like Latina rappers.

Jack O’Reilly: TWEN.

IN THIS PHOTO: TWEN

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

Will: We’re doing SXSW - just for the tacos and margaritas.

Jack Webster: ...and the Tito’s.

Will the U.K. be part of your plans? Have you been over this way before?

Andrew: I learned the word ‘queue’ from Netflix - so that counts for something, right? Plus; a couple of years back, Jack and I gave up coffee for tea in the morning.

Will: Actually, yeah; we’ve been planning for fall 2019. We’re scared.

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

Jack O’Reilly: Too personal...

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

Jack Webster: The one that sticks in the mind (laughs) for me is covering a classic Wieuca jam (Low Probability) with my (other) band, Big Morgan, at the Guilt Complex release-show in May 2017.

Andrew: One time, Will and I saw this guy in McDonald’s spill three milkshakes on the floor over and over again - and he felt really bad about it.

What advice would you give to new artists coming through?

Jack Webster: Come thru!

Will: Be anything except a new artist coming through. Go into rogue taxidermy.

Andrew: Always pull up.

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

Will: No chilling allowed. Don’t watch T.V. - and sleeping is for idiots.

Jack Webster: I like to cut the felt around town at local billiards halls and shoot dice very competitively.

Andrew: Sleep is the cousin of death but, yeah; I mean, I try to get my seven-and-a-half in. I really like old European cars.

Jack O’Reilly: A vod sod fills the musical void half-empty.

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).

Jack Webster: The Who - My Wife

Entwistle (John) at his finest

Will: Gays 4 Donald by Pink Guy. Pretty much sums up the U.S.

Andrew:  James Blake - Love What Happened Here

Jack O’Reilly: Comment Elles Dorment - Jacques Dutronc

_______

Follow Wieuca

Official:

http://wieucamusic.com/

Twitter:

https://twitter.com/wieucaath

Facebook:

https://www.facebook.com/wieucaband

Instagram:

https://www.instagram.com/wieucaath/

SoundCloud:

https://soundcloud.com/wieuca

Spotify:

https://open.spotify.com/artist/3ETy4vUQ0DVE0ESKgPjAfv

BandCamp:

https://wieuca.bandcamp.com/

INTERVIEW: KTEE

INTERVIEW:

KTEE

_______

MANY would assume there is not much of a…

music scene in Austria. As KTEE proves; there are some fantastic artists performing over there right now. She talks to me about her latest track, So What, and whether there is more material later this year. I ask whether she feels she’s developed and grown since her teenage years; which artists/sounds influence her sound; why she moved from Vienna to Ireland – and whether it was hard rebelling against parents who did not want her to follow a path into music.

KTEE discusses tour plans and prized musical moments; whether there are plans regarding playing in the U.K.; advice she would offer new artists of the moment; a new artist we need to check out – how the talented songwriter unwinds away from her music career.

________

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

Hi. Good, so far. A lot of work: promoting a single is BUMM (smiles).

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

I am KTEE: a Pop artist from Austria. I totally love what I do and I am living my dream by writing songs, playing gigs; promoting my singles, giving interviews and being who I am (which is fun, sarcastic; ambitious, loving; hard-working, energetic…).

Your new track, So What, is out. Can you reveal the story to that one? What inspired the track?

So What is a very special song for me since the message behind it is one that is so important for me, personally - and I also think for many other young people: to do what you love, even if other people make fun of you or say that your dreams are stupid - or that you are not gonna be able to fulfil them.

Time is so limited here and that’s why it is so important to not waste your life by playing by the rules of others. The song also says that it is, of course, not always easy to ‘do what you love’ because we live in a world ruled by pressure; by people or a society telling you what is ‘cool’, ‘good’; ‘preferable’, ‘perfect’ and ‘desirable’.

Nobody is perfect and there will be obstacles in your way and you will make mistakes - but those mistakes make help you grow. As long as you always try to live your life by your own rules and know what is good for you and what’s not, you are on the right track.

It seems there is that defiance and sense of growth. Do you feel you have come a long way since your teenage years? Is music the way you make sense of all those hard times?

Oh yes; I have definitely grown a lot and I have come a very long way since my teenage years. Of course, music helped a lot! There was a time in my life where writing songs has kind of saved my life. It was my only form of expression.

Kind of self-therapy you could say…

Can we expect an E.P. or more material later in the year?

Of course: there is more music to come this year. You can expect a new song in May. We are already working on it (smiles). An E.P. is planned as well (end of the year).

I believe you used to record songs on a bulky red cassette player your mum gave you! How treasured are those early moments? Do you have any of those songs left/safe?

Haha. Oh yes; I love those tapes! I still have some of them, yes. So cute - my eight-year-old self practicing Celine Dion songs, trying to sound like her (smiles). If I could, I would go back in time and tell little KTEE that her dreams of becoming a singer and releasing her own songs will come true one day.

This cassette player was my favourite thing ever! I didn’t need a T.V., computer games…I spent so many hours with it in my tiny room. Thanks to my mum, I could listen to my own voice, analyse it and become better. Thanks, mummy!

Maria Neustift was where you grew up. Is there a big music scene in Austria at all? How does music differ there to, say, the U.K.?

Maria Neustift is veeeeeery very small; a very nice village in Upper-Austria. There is a music scene in Austria but not a very big one - and definitely not for English-speaking Pop music (smiles).

How it differs? Well; in the U.K., the live music scene is biiiig compared to Austria. When I was in London a few weeks ago, I played every evening. You can play there every day, which is amazing. Now that I am back in Austria, I miss this. We don’t really have that here.

I know you were keen to follow music but faced some competition and resistance from your parents. Was it hard convincing them you should study in Vienna and do things your way?

They wanted me to study, but not music (smiles). That’s why I didn’t study music. They said they would not support me if I decided to study music. So, in a way, I satisfied them by studying something ‘that made sense’ in their eyes but, at the same time, I was following my dream of becoming a singer/artist/songwriter. In the mornings, I went to university; in the afternoon, I studied and, in the evenings and at the weekends I wrote songs, connected with other musicians; played live and took part in competitions…

Now, my parents are very proud of me – at least I think they are (smiles).

After Vienna, you spend some time in Ireland. Is that when you decided music was your vocation? Was there a single moment that compelled that decision?

Yes. I spent some time in Ireland but that was before I went to Vienna - I was nineteen-years-old when I went there. No, actually: I’ve known that music is my vocation since I was eight-years-old.

However, in Ireland, I started to write my own songs and I discovered my love for experimenting with sounds, lyrics...

You successfully qualified in The Voice. How important was the time on that show in terms of your career and direction of sound?

It was not The Voice that is on T.V. but it was another competition called The Voice that we have here in Austria. However, I took part in a T.V. talent-show called Heroes of Tomorrow and was one of the greatest and most-important experiences I have made so far. I learned so, so much. I had voice training there (my singing technique improved); I got a lot of self-esteem and I overcame my self-doubts. I got a lot of great feedback and that pushed me in a way. 

I am so happy that I was part of that show!

Which artists were most important when you were growing up? Did you have idols and heroes?

As I mentioned before; Celine Dion was my hero when I was very young – and, also, Whitney Houston. When I got older, I started to love Pink, Jessie J and Beyoncé. I still love Jessie J’s voice and her attitude! She is a goddess, she is a queen (smiles)!

IN THIS PHOTO: AIVI

Are there any new artists you recommend we check out?

Check out AIVI. She is a newcomer from Austria!

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

I have some gigs in New York in March - and I hope I’ll be in the U.K. again in May!

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

I wanna play a lot more gigs than I did in 2017. I wanna release my E.P. by the end of the year and I wanna reach as many people as possible with my song (that’s why I hope radios will play my song: for playlist curators to put it on their playlists...).

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

My first radio interview (thank you, Liferadio!),

The moment when we finished writing So What and realised it is an awesome song (smiles).

The London tour.

What advice would you give to new artists coming through?

Never give up! Keep fighting and keep dreaming! Do what you love; no matter what it takes! You will fall on your face; you will fail and you will cry and be disappointed. People will judge you - haters gonna hate - and it is a tough business! But, if this is what you love, stand up; shake off the dust keep fighting!

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

I have to admit that, sadly, I don’t have any free time. I work every free minute. Sometimes, in the evenings I watch T.V. - that’s relaxing (smiles). 

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).

AIVI – Shooting Star

_______

Follow KTEE

Official:

https://www.kteemusic.com/

Facebook:

https://www.facebook.com/KTEEsings/

Instagram:

https://www.instagram.com/kteemusic/

Spotify:

https://open.spotify.com/artist/16RDAkL9ygzmY49DzTXJCp?si=muopkLznS3a6Hy4KqvpyRQ

YouTube:

https://www.youtube.com/c/KTEEmusic

INTERVIEW: Just Like Fruit

INTERVIEW:

Just Like Fruit

_______

I always love going down to Brighton…

and hooking up with some tremendous talent. Today; I get to spotlight Just Like Fruit and discover more about their music. They reveal the story behind their latest song, Mama Said, and the themes that inspired their E.P., On the Door. They talk about Brighton and why it is such a pull for musicians; how they all got together – and whether there is going to be more material this year.

I ask what it is like being compared with the likes of Courtney Barnett; how they all chill away from the music scene; whether the video for Mama Said was fun to shoot; new artists we need to investigate – what touring plans they have for the coming months.

______

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

This week's been great, thanks. We've just released our new music video - which is very exciting. But, in general, we’ve just been cracking on with all that in-between stuff. Being a musician is a full-time job!

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

We are five long-time pals making Rock ‘n' Roll music anywhere, at any time. 

Mama Said is the new track. What can you reveal about its origin and background? 

It's a track kind of about doing something exciting and being on the move, so it was probably written whilst being bored. It all started out on rusty acoustics and, therefore, had an old, rusty Country-romp vibe, which we found was still kind of there after we took away the acoustics – so, we added a couple of extra splashes of Country into the recording for good measure. 

The video looks quite high-wire and energetic! How did you come up with the concept? How much fun was it getting it filmed?!

We initially, actually, had a very simple and innocent thought that it would be fun to spend an afternoon chasing Taran around. Eventually, we developed that thought into a concept for a music video; adding a storyboard and a setting.

Everybody wants to be a cowboy for a day. 

What is a shoot like that like?! Does it make writing songs more appealing knowing you get to shoot a cool video (like Mama Said)?

Firstly; thank you for calling it a cool video. It's always a lot of fun imagining videos but it's usually much easier to envisage a video after the writing of the song - once everybody's played it a few times. Don't want to be prematurely telling the band that this new piano ballad has a video idea attached already cos we might (and usually would) speed it up and go and add some distorted guitar on there. 

The song is the latest release from the E.P., On the Door. What has the reaction been like to the E.P.? What sort of themes and stories inspired its creation? 

Pretty good thanks. We've sold them all - so it’s gone down as a success for us in that respect. The sort of themes that carry the E.P. through are live fast, live good and do right. 

Will there be more material later this year?

Most certainly. On top of a few more exhilarating music videos; we also have two singles for our songs Gone Gone Gone and Harder to Breathe in the vault that we are looking forward to releasing. It’s proceeding to be a very busy, fun and forward-looking period for us. 

Brighton is where Just Like Fruit is based. How did the band get together? What is Brighton like as a centre for music and creativity?

We all kind of met at different stages…

Kieran (Rhythm Guitarist) and Dion (Lead Vocalist) have always been next door neighbours in Streatham, South London. Dion and Taran (Lead Guitarist) met at this crazy-of-all-crazies festival called Smallworld as little kids.

As for the rest of us; we met studying music at college in Twickenham - where we became a band.

I know you guys source everyone from Courtney Barnett and The Rolling Stones as influences. Who are the artists you all grew up on?

Collectively, I think we could cite Sam Cooke, Jimi Hendrix; The Beatles and Led Zeppelin as definite-vital-vitamins whilst growing up. All 1960s influences. It kind of explains the Just Like Fruit sound when you see it on paper like this. Haha. 

IN THIS PHOTO: Octavian

Are there any new artists you recommend we check out?

Octavian, our mate from London and Brighton, is killing the Grime scene at the moment. Definitely, he's one to watch! Stemming off from our love for Courtney Barnett; TRAAMS are a personal favourite when it comes to guitar music. They’ve been making some substantial, sensational; unforgiving Noise-Rock in the recent years. Love watching them play when they come to town.

Lastly; Noname from Chicago is also definitely one to watch that we really like. Very different from our music but, if you like a bit of smooth Rap mixed with jazzy vibes and poetic lyrics with great depth, then go check her out!

IN THIS PHOTO: Noname

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

Our next gig is in Brighton on Friday 23rd at The Richmond alongside some great acts - under the prolific Brighton promoters, QM Records. Check our socials for further info. It's always a great event with QM Records! As for touring, keep an eye out on our socials as well for this festival season. We've already got a couple ones we're excited to announce soon...

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

Playing at Sofar Sounds a few times now has to go up there with the finest memories - simply because it’s different. You won’t see anything like it in the live music scene. That’s why it’s so special! Especially, when Peggy is your host! (Smiles).

Also; recording the video to our first single, Funfair, was a blast.

What advice would you give to new artists coming through?

Stick at it; don’t give it a rest. If you’re anything like us, then you ain’t got much choice anyway! Ahah. But, honestly: enjoy what you’ve been graced with and drive it out of the skyline with no limitations. 

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

The music is us chilling pretty much! Otherwise, we play a lot of cards and make questionable jokes. 

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).

Bob Dylan - The Man in Me (Dion)

The Replacements - Take Me Down to the Hospital (Kieran)

Kendrick Lamar - FEAR. (Ryan)

Steely Dan – Do It Again (Erwin)

Glenn Miller - Moonlight Sonata (Taran)

 

_______

Follow Just Like Fruit

Facebook:

https://www.facebook.com/Justlikefruit/

Twitter:

https://twitter.com/justlikefruit

SoundCloud:

https://soundcloud.com/just-like-fruit

INTERVIEW: AVEC

INTERVIEW:

PHOTO CREDIT: Ludwig Seidl Captures 

AVEC

_______

THIS is not the first time…

PHOTO CREDIT: Gare de Lion

I have featured AVEC on my pages. She is an Austrian artist whose every move intrigues me. I speak to her about the latest single, Youth, and what the music scene is like in Austria. I ask what we can expect from the forthcoming album, What If We Never Forget, and what it was like hearing it back; how it feels getting respect from magazines and fans – if there is a new artist we should be aware of.

AVEC talks about performing with Sigrid and what touring plans she has; if we can expect to see her in the U.K. this year; some of the artists that compel her – and whether she has learnt anything from the recording process (of her new album and older work).

______

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

I am fine, thanks a lot - my week has been pretty good so far, thanks!

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

My name is AVEC. I am a singer/songwriter from Austria. I started writing my own songs when I was about fourteen-years-old. In 2015, I released my first E.P, Heartbeats, followed by the debut record, What If We Never Forget, in 2016.

I have been touring in Europe with my band and now I am working on the second record - which will be released in 2018.

Youth is your latest single. What is the background of that song?

The song, Youth, is a very personal song about my childhood; my young years and the struggle of growing up. On the one hand, you’re this innocent kid, staring at the moon and questioning life itself with all the love you could give and all the hate you have to cope with while, on the other hand, there’s a load of responsibility and insecurity to carry.

It is taken from the album, What If We Never Forget. Was putting the album together a good experience? Are there particular stories behind each of the songs?

Well. It was my first ever album production and my first time in a studio, so I really didn’t know what to expect at all. Plus, I was pretty young when we started the whole record and didn’t know anything about the process of ‘making a record‘. but it was a great experience - I grew a lot with this record and I’m happy with it!

Sure; every song has its own story and so does the whole record. Imagine every song tells a story and, if you put them all together, you can see how the whole record is connected within.

Do you think you learnt anything during the recording process? How did you feel hearing the album back for the first time?

Yes, a lot - I learned what I want and what I really don’t want; how my music should sound and in which direction I wanna go with this whole thing.

Well, it was kinda weird because I actually can’t listen to my own music - but, of course, I did listen to the album once or twice.

Your music has gained a lot of respect from big sources and labels. Is it humbling knowing your music connects with so many people?

It is still crazy and sort of unreal for me to accept the fact that there are people listening to my music and diggin’ it. You know, I never ever thought that this is going to happen because for me music was a hobby and nothing more. I started writing lyrics and music just for me and myself - to get those words out of my head and now I can share it with so many other people! I am so damn grateful that I got the chance to do this; to make music, to get my stuff out into this world and to move and catch people with my music.

This is the best feeling ever!

You have just performed alongside Sigrid at Eurosonic Noordeslag Festival. It seems there is an appetite for Scandinavian artists at the moment. Why do you think that is?

Well, let’s be honest: their music is just amazing. I don’t know who, but that doesn’t really matter, I guess. The Tallest Man on Earth, Kaleo; Asgeir, Hozier, Soak and many more… - they are all absolutely stunning!

Is there an exciting scene in Austria at the moment?

I’d say so, yes. We do have a really good music scene at the moment.

Do you recall the artists you grew up on? What music were you into as a kid?

I do. I grew up with a ton of great music: Michael Jackson, Sting; Phil Collins, Falco; Prince, Radiohead…and a lot of Blues and Country music - I still love it!

IN THIS PHOTO: Rosie Carney/PHOTO CREDIT: Deborah Sheedy

Who are the new artists you recommend we check out?

Rosie Carney.

Can we see you tour soon? What gigs do you have coming up? Do you think you’ll come to the U.K. this year?

Yes. Me and the band; we’ll play a couple of gigs during the summer and then we’ll be back on the road in autumn for a whole tour!

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

Well. To release my second album; to play a ton of gigs and to have a great tour with my band.

What advice would you give to new artists coming through?

Be yourself, stay yourself - and enjoy what you’re doing

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).

Counting Sheep - Shakey Graves

_______

Follow AVEC

Official:

http://officialavec.com/

Facebook:

https://www.facebook.com/officialAVEC

Twitter:

https://twitter.com/avec_music

Instagram:

https://www.instagram.com/officialavec/

Spotify:

https://open.spotify.com/artist/6N8vbhxZ0CYJHd8WGJ9Snf

SoundCloud:

https://soundcloud.com/avec_official

YouTube:

https://www.youtube.com/channel/UC4vbbYmRRVuXGPlagPGIS6g

INTERVIEW: Winter Wilson

INTERVIEW:

Winter Wilson

_______

I have followed many duos through the world of music…

but few who have the same chemistry as Winter Wilson’s Kip and Dave. The fact they are married might account for that but, listen closely, and it is the simpatico and understanding they have when entranced in the throes of sound. I ask them about their celebrated album, Far Off on the Horizon, and how it feels knowing it connects with critics and fans; what they can reveal about the new single, Ghost – and what they are planning next.

The duo talk about supporting Fairport Convention and musicians they count as guides; what other gigs are coming up; if they have goals and ambitions to tick off before the end of the year; how they transitioned from Kip and Dave to ‘Winter Wilson ‘ – they end the interview with a couple of fine and soothing tunes.

______

Hi, Kip and Dave. How are you? How has your week been?

We're both fine, thanks. Very busy - but that isn’t a complaint.

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

We’re a married couple based out of Sleaford, Lincolnshire - which is where Dave was born and raised. Kip is Scottish but raised in Holland, Scotland and England. We met through music and have been playing together for over twenty-five years.

As for the music...that’s a more difficult question. In the main, it’s based around acoustic instruments, but we dip in and out of the Folk/Country/Blues genre. We both share lead vocals and harmonies - as it comes naturally to us. One of the best compliments we get from live gigs is that our set has a lot of variation.

Can I ask where that name, ‘Winter Wilson’, came from? Is there a story behind that?

‘Kip Winter’ and ‘Dave Wilson’: it's that simple. We used to go to a pub that had regular live music and Mike the landlord asked us to do a gig one night. When we turned up, he'd advertised us as ‘Kip & Dave’ - which was a little too close to Chas & Dave for our liking; so we went with the surnames from then on.

Ghost is your new track. Can you talk a moment about its origins and how it came together?

Dave wrote it after reading a story in The Big Issue (a wonderful magazine that does a lot of good) about how changes that the Government made to housing benefit had caused some youngsters to fall through the net and finish up homeless. Ghost is one girl's story - but there are, literally, thousands.

I like the way the video is shot. There is a lot of emotion conveyed throughout. What was it like filming the video?

A guy call Graham Wilsoncroft shot the video - and it was good to do. It's not easy to maintain the emotional connection when you're singing the same song over and over whilst looking at a film crew.

(But Graham did a great job and we're delighted with the result).

We wanted the video to have a sort of ‘film noir’ feel, in keeping with the subject matter, and we think Graham achieved that really well.

Far Off on the Horizon is your latest album. A lot of the material addresses redundancy and making music for a living. Was it frightening transitioning from the world of work and embarking on a dream – or did you feel this is what you were always supposed to be doing?

What we do is a dream come true for both of us.

We’re very lucky that it's come at a time in our lives where we have no other major commitments, which has made it a lot less frightening than it could have been. We were both made redundant in our fifties and decided to take a gap year. We've played music, written and recorded albums as semi-pros for years...so we thought we'd work at building up the music for a year and then get part-time jobs to supplement what we make from our gigs and album sales. It's all gone better than we thought it would and, almost six years later, it’s still going from strength to strength...

Best gap year ever!

The record has already garnered positive reviews. Does that give you a lot of faith and drive?!

The reviews have been great and, in general, all of our previous albums have been well-received. As we promote ourselves, we tend to use other people’s words to sell ourselves - so the positive quotes help us a lot. It’s always slightly scary when you send a new album out for review, as you are obviously setting yourself up to be criticised. We make music that we enjoy performing - and it’s a bonus when other people like it too.

The two of you, obviously, have a natural connection. Do you work on songs together – or will one of you work on lyrics/music?

We are a married couple and spend our lives together by choice.

The jokes and jibes on stage are perfectly natural as that’s just how we are with each other all of the time. We're lucky that we are now able to work together as well. Dave writes all of the songs - but many come from ideas and stories that Kip has passed onto him.

Which artists inspired you before you took up music?

Dave: Words have always been important to me. I can remember buying David Bowie and Bob Dylan albums on vinyl and reading all of the lyrics. As a youngster, I was also a big fan of The Beatles, The Rolling Stones; Free and The Who - as well as everything that came out on the Motown label.

Kip: I’m also a lyrics person but I’m also inspired by anybody who can really interpret a song with passion. I adore Bonnie Raitt - but I’m also a big fan of Jacques Brel. We must have one of the most eclectic music collections in existence!

You are going to hit the road with Fairport Convention! How important are they in terms of their music?!

Fairport have had a tremendous influence on the U.K. music scene. You have look at what was there before they came onto the scene and compare it to what came after...

Folk-Rock didn’t exist before Fairport.

IN THIS PHOTO: Jason Isbell

Are there any new artists you recommend we check out?

One of the best writers we've come across in many years is Jason Isbell. He's very much from the U.S. Country/Rock scene but, whether you like that or not, check out his lyrics. Also, there’s a band from New York state called Darlingside. Their harmonies are stunning!

 IN THIS IMAGE: Darlingside

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

At the time of writing this, we are getting toward the end of our tour with Fairport Convention. Once that’s finished, we have a couple of weeks at home to catch up on admin etc. and then we'll be doing our own tour up and down the U.K.; over to Ireland and, then, Germany later in the year - and back to Australia and New Zealand next year.

Full details can be found on our website.

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

2018 is set up nicely for us. We have plenty of gigs and we'll be working on new songs for future albums. If we can stay healthy and carry on as we are we'll be happy. We have no plans to take over the world.

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

The current favourite is from this tour with Fairport. We played the Union Chapel in London - which is a stunning venue with an amazing atmosphere. We'd seen concerts from there on T.V. but never dreamed we play there ourselves. It clearly had an effect on Fairport also: they played a blinder that night and we joined them at the end to sing Meet on the Ledge with the audience joining in.

What a buzz that was.

What advice would you give to new artists coming through?

Make music to please yourself and that you believe in: don’t be swayed.

Give it all you've got and get out there and enjoy it. If you can do that you've succeeded: it's not all about sales figures. Also, if you want to get gigs, get out there and be seen. In the first year after our day-jobs went, we probably did more floor-spots than gigs - and it really paid off in bookings for subsequent years.

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

We like to meet up with family and friends; usually around good food and music. We have nine grandchildren - so there's always something to keep us busy. We also love going to see live music - be it in a pub or on a concert stage.

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

Dave: Jason Isbell - Cover Me Up

Kip: Bonnie Raitt’s take on Dimming of the Day. Can’t be beaten!

_______

Follow Winter Wilson

Official:

https://winterwilson.com/

Facebook:

https://www.facebook.com/winterwilsonmusic/

Twitter:

https://twitter.com/winter_wilson

Spotify:

https://open.spotify.com/artist/2TedaFltDnvB0byPFwIYW4

YouTube:

https://www.youtube.com/channel/UCc3kHHCnah1dI2tuOkZdbFg

INTERVIEW: Nele Needs a Holiday

INTERVIEW:

Nele Needs a Holiday

_______

HER name suggests someone who needs to take a break…

and have a recharge. I speak to Nele Needs a Holiday about the origin of the name – and why, having worked tirelessly recently, the singer-songwriter is ready for some downtime. She talks to me about her new single, We’ll See, and growing up in Belgium. I ask what the music scene is like there and how it differs to London (where she lives now) – and which artists inspire her.

The songwriter discusses her next moves and touring; how she manages to detach and relax away from music; why this week has been a rather productive and busy one; a new(ish) artist we should all get our ears around – Nele Needs Holiday provides some useful advice to songwriters emerging on the scene.

______

Hi, Nele Needs a Holiday. How are you? How has your week been?

I'm good, thanks! I'm working on a musical right now - which is the loneliest thing I've ever done. Staying in with only my piano to talk to, laughing at my own jokes. Can't wait to go gigging again!

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

I write hyper-realistic Pop songs about stuff nobody dares to talk about - songs like I Love You But I Google Other People. Some might call it funny: I call it the truth.

Can I ask where that name came from? Is there a reason for the moniker?

Don't tell anyone...but my real name is Nele Van den Broeck. Catchy, right? Sounds like I'm some kind of German princess, but it's actually a really common name in Belgium. I like the sound of Nele Needs a Holiday because it's both happy and sad…like my music. Also, cause it's true.

That name is starting to become a self-fulfilling prophecy. 

We’ll See is your new single. What is the origin of the track and story behind it?

I've been in so many relationships already where one or both parties are simply unable to commit. The song is about three romantic word that are all-too-often said in the relationships: not ‘I love you', but ‘we will see’ - words that signalise how hard it is to stay with one person, cause you still have the feeling there might be someone else; someone better, just around the corner. You just have to pick up your phone and swipe a few fellows on Tinder. How on earth can you connect to one person if it’s that easy to find the next one?!

I still don’t know...

I like the video! You have a Madonna-cum-Marilyn Monroe look. Do you take inspiration from icons like that? Was it fun shooting the video?!

Thanks! For once in my life, I wanted to know what it feels like to be a blonde bombshell. Quite frankly; it feels exactly the same as being myself. Whatever wig you're wearing, underneath it, it's just the same old brain driving you crazy.

Shooting videos is my favourite thing in the world. There's this whole team working for days on three minutes of beauty. Makes me feel like a princess.

I love it.

It seems you are in great form right now. Will we see some more material later this year?

I'm working on Nele Needs a Holiday: The Musical. It's the story of me moving to London and the many unfortunate encounters I had with the music industry; dating in a big city and austerity - making it impossible to live a life that is more or less that of a grown-up. It will play at Latitude and will have a run in Edinburgh under Big in Belgium. I know I'm not supposed to say I'm nervous: so I'm just saying I'm excited.

Belgium is where you hail from. Is the nation quite a productive one for new music? Was it easy getting your music heard there?

There's some fantastic music happening in Belgium but it never crossed the Channel, because of a little thing called Anglo-Saxon cultural hegemony. I knew that if I wanted to conquer the world, I had to move out of Belgium at a certain point. I think a lot of Belgian artists are too modest. Luckily, I don't have that problem.

Are you based in London full-time? What are the main differences between the music of Belgium and Britain?

I live in a flat share in Greenwich together with Bob - the mushroom in the shower. Totally glamorous. I take the Eurostar (about) every other week to play concerts in Belgium and the Netherlands - and, sometimes, I'm there for longer periods. The concept of ‘home’ is a tough one for me...anywhere I lay my head, I guess...

The music is not that different, I would say. Maybe in Belgium, it's a little bit more built around beats: whereas in Britain it's still cool to play the guitar.

Over a beat, that is.

You have elements of Paloma Faith and Björk in your work. Is there something about these artists that compels you? Which musicians did you grow up listening to?

Thanks! I like those comparisons, they are cool.

I don't know how I would have gotten puberty without music Eels - all the times I've sung Beautiful Freak for myself, alone in my bedroom (I can't count them).

I like music by beautiful freaks.

Are there any new artists you recommend we check out?

There is a seventies songwriter called Dory Previn. Hardly anyone has ever heard of her and I wonder why: she's fantastic. To me, she's right up there with Bob Dylan and Joni Mitchell. She's one of the best lyricists I've ever heard.

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

Come to Latitude! It will be ace!

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

I hope I don't get pregnant...

Apart from that: I hope I write the best musical I've got in me.

What advice would you give to new artists coming through?

Work on your banter. Honestly...so many musicians are so bad at it. If you're half-decent, you'll stick out.

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

I'm a bit of a science nerd. I love to watch documentaries about the universe, black holes and stuff. Helps me to put everything in perspective.

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).

Anything?

Bridge Over Troubled Water by Simon & Garfunkel, please.

_______

Follow Nele Needs a Holiday

Official:

http://www.neleneedsaholiday.com/

Facebook:

https://www.facebook.com/NeleNeedsAHoliday/

Instagram:

https://www.instagram.com/neleneedsaholiday/

Twitter:

https://twitter.com/NNAHoliday

Spotify:

https://open.spotify.com/artist/1BCRY2szkW4oM4aOFSRDLQ

YouTube:

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

SoundCloud:

https://soundcloud.com/neleneedsaholiday

INTERVIEW: Greta Jaime

INTERVIEW:

Greta Jaime

_______

MY heart goes out to artists who tackle music…

at such a young age. Greta Jaime is only seventeen and has, already, made a name for herself – as a unique songwriter and extraordinary live performer. She talks to me about her route into music and the inspiration behind the new track, Static (Exchanges). She discusses her passion for Jimi Hendrix and what music she was exposed to as a child; whether there are any gigs coming up – and how she has improved/changed since her debut single, Lost in Mexico.

Greta Jaime tells me how she relaxes away from music; how it feels to get recognition from fans; whether there is any advice she would offer songwriters coming through the ranks – whether we will see her play some Hendrix-like flaming solos on stage anytime soon!

______

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

I’m great, thanks! It’s been a very busy, exciting week.

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

I’m a musician and songwriter from North London.

Static (Exchanges) is your new single. What is the tale behind it?

The story behind that song is kind of a unique one: it actually stemmed from a poem I had written called Stones. A few days later; I was working on an instrumental on my laptop and I had made this sort of brooding drum beat. Then, I kept singing part of the poem over it - which was the line “I’m still throwing stones to safety”.

From there, the song came together super-quickly because I realised I wanted to write about indifference and the growing distance that I was experiencing with someone at the time.

The single has already garnered acclaim and attention from radio and streaming sites. Is that quite pleasing to see?

Yes. It’s amazing! When releasing this song, I definitely didn’t expect it to get the response it has had.

Will there be more material to follow? What are you working on?

Yes. I have the next single that will be released in a few months – and I have an E.P. in-the-works, too!

Do you think you have taken steps since your debut song, Lost in Mexico? Have you grown in confidence, would you say?

I definitely think, since releasing that song, I’ve been able to evolve, musically, and have just had a chance to write a lot more. When I wrote Lost in Mexico; it felt like a song that sort of (just) fell out of me and, at the time, it was so different to anything else I had written. After releasing something so honest; it makes it easier for me to be open and to write about anything I like.

You are only seventeen. Is it quite daunting stepping into music so young?! Does the fact you’re a teenager give you a unique perspective on life?

I think it is daunting, in the sense that you’re trying to figure out how you can translate the way you hear the song in your head to the finished product. I got started in music production and recording demos because I couldn’t figure out how to explain what I wanted the song to sound like - but I could play the different parts and piece it together that way. I think, as you’re growing up, you experience so many new things in a short space of time.

Writing songs can be a good outlet to capture the sentiments that come with that - and give them their own space to live.

I know you developed a passion for Jimi Hendrix when growing up in North London. How did you first come to hear his music? What is about him that provokes a reaction?

I think, the first time I heard about him, was through my parents (who were big fans). I remember them watching a documentary about his music and just being drawn to his playing. I think, also, the way he was able to express himself so fluidly with the instrument was so appealing for me - because he made all of his playing look really intuitive. 

Will we see any Jimi Hendrix-like flaming guitar solos and histrionics in the future, do you think?

I may have a few tricks up my sleeve for the future…but, I mean; if you have any spare guitars you want me to burn - please send them my way! I love evolving the live show and adding new elements to keep it exciting. Having free reign over the set is part of what I love about playing live - because I can change and develop things over time depending on the reaction from an audience.

Which other artists did you respond to when you were younger? Do you tend to prefer older, classic artists – or do you have a fondness for modern acts, too?

When I was younger, I listened to anything I could get my hands on really. I played guitar for a while before I started writing; so I was introduced to a lot of classic artists like Eric Clapton and David Bowie through that. At the moment, I listen to a lot of modern acts, too, because I think there are so many exciting artists pushing boundaries and merging genres in a unique way.  

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

I would love to do a tour. I’m actually finishing my A-levels at the moment so gigs are temporarily on hold. But, if everything goes to plan; there should be some more shows in the summer!

What do you hope to achieve in 2018?

Lots! Hopefully, I can collaborate more with other musicians and producers.

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

I only recently started playing shows but, last year, I was lucky enough to play Camden Assembly - and that was definitely a huge highlight for me. Living in North London, I’ve passed the venue so many times - so being able to play there meant a lot.

What advice would you give to new artists coming through?

I’m not sure if I should really be giving advice yet but, if I had to; I would say it’s important to constantly create and work on your craft. I think, if you’re able to keep your head down and constantly work to improve, it’s much easier to create opportunities for yourself and keep up with an industry that is evolving so quickly.

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

Not really! If I’m not making music, I’m most probably consuming it but I like that. My sister gets paranoid my earphones will get tangled around my neck when I fall asleep - so I should probably stop doing that…

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

Only one is so hard to pick - but a song I’ve been loving recently is Pills by St. Vincent. I got to catch her set at Green Man Festival in 2015 and she is incredible (also, yes; I am biased because she plays guitar.)

_______

Follow Greta Jaime

Facebook:

https://www.facebook.com/GretaJaimeMusic/

Instagram:

https://www.instagram.com/gretajaime/

Twitter:

https://twitter.com/Greta_Jaime

Spotify:

https://open.spotify.com/track/1DiuOn7SEOz9p3cjGCURDx?si=6H6Sey16TueI726ufml6mA

YouTube:

https://www.youtube.com/channel/UC1fmfR-08lyef_DOzzs_-3A?view_as=subscriber

SoundCloud:

https://soundcloud.com/gretajaime

INTERVIEW: Cloud

INTERVIEW:

Cloud

_______

HE debuted with the incredible L.P., Comfort Songs…

and has made steps and leaps since then. That is not to indicate Cloud lacked in early promise: his latest album, Plays with Fire, is a tight and evocative collection of songs that deal with nostalgia, optimism and naïveté. Cloud discusses his early life in Long Island and relocating; ideas and stories that go into his latest work; how Plays with Fire differs from Comfort Songs - what ambitions Cloud has for the rest of the year.

I learn about his musical tastes and which new artists he recommends; whether there is a central theme/mantra that defines Plays with Fire; if he is planning on playing in the U.K. soon – providing some helpful advice for upcoming artists.

______

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

Hello. I am well. My week has been a bit non-stop: sixteen-hour days and whatnot - but with great momentum. Finally settling down for the weekend where I plan to watch a lot of movies and, maybe, go to the park and read. 

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

Certainly. My name is Tyler Taormina and I make music as an exploration. My profession is in film-directing and my films are quite musical. I’ve been making songs with my L.I.-born collective, Practice Room Records, since 2009. With different collaborations, I’ve made over ten records with that gang of genuinely amazing people. 

I hope that my music finds those who share a similar experience and can be a tool for them as well; to explore and manage the pain and joy of growing. 

Plays with Fire, your upcoming album, is out on 9th March. What kind of stories and themes inspired the songs?

This record tracks the movement into what is called the ‘real world’; where institutional structures become less obvious and accountability runs high. I wanted to focus on this crossing-over, so to speak, from a spiritual perspective: how does the purity of youth remain with the friction of the ’real world’?

It is a tight, nine-song album that draws upon diverse influences. Which bands and sounds influenced the music? Are there any acts that you take guidance from?

There’s a wide range of musical acts that I take from here. From Fleetwood Mac to My Bloody Valentine, Leonard Cohen; Yo La Tengo, Bedhead; Mazzy Star, Neil Young…the list is quite long. This is the first Cloud record that doesn’t have a seamless sort of narrative-like quality to it. Instead, I’d like for it to read as a collection of songs; a mixtape of stylings I’ve really appreciated over the years. 

Happer’s Laugh, the opening track, opens with the words “True strength needs love…”. Do you think that is a bit of a band mantra?

Absolutely. I like to think of that track (as though) being on rowboat in the dark, rowing steadily into a complete unknown - a darkness. The lyrics to this song are guidelines to meditate and not be forgotten - which will prove, throughout the record, to be a difficult task. 

Two Hands Bound and Wildfire have already been released. Will there be more singles out before the album’s release?

Well. There are two leading singles and one following the album. But, also, plenty of treats as well along the way. 

How do you feel Plays with Fire differs from your 2013-debut, Comfort Songs?

My ideology has formed many iterations since those younger years. I’ve almost become a real person since then. Less naïveté, for sure. As I mentioned earlier; I wanted this record to be a sort of collection of songs: a mixtape rather than a cinematic-type album like Comfort Songs. Lastly; I find that Comfort Songs has themes that many people can latch onto, understand and relate to - whereas Plays with Fire and, even, Zen Summer - from a few years back - are a little more specific in the subject matter. 

It seems you have made an effort to do something different from your previous work. Is it hard pushing in different directions?!

Well. It’s not a very intentional or conscientious process. I’m in love with so many different types of music: that when a different chapter of my life begins; I can always attribute it to different stylings that have influenced me. A breakup album can bring out the Emo-Revival and Jazz influences in me. A spiritual ‘awakening,’ so to speak, can invoke the Dream-Pop and Krautrock side of me. Ha.

I guess, being thrust into the real world and wrestling with how to keep it cool in that context brought me to a range of new artists and sounds. 

You are based in Long Island. In the U.K.; one of our big radio stations, BBC Radio 6 Music, has recently celebrated New York music. Is Long Island a busy and active area for great music?

I don’t live there anymore, actually: I’m in Los Angeles and have been for a little while... 

It’s a strange generational question and sort of harkens back to the movie, The Big Chill. Most of the people I know who were really killing it in L.I. years ago have moved away. In N.Y.C.; a lot of them are still making great music which you should check here. But, many of those bands have slowly been putting down their instruments for new adventures. 

Who are the new artists you recommend we check out?

The Needs just released their new album called Not That Fun - which is incredible. Also; Male Unbonding has this album called Gratuitous that will really rock your world. 

Lastly; Oren Pine put out his first album called Sad Tiger - which shows a lot of promise for a great artist to emerge in this world. 

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

One album…I could never…

But; one album I love is Victorialand by Cocteau Twins. It keeps me in touch with my imagination in a beautiful way. 

Can we see you tour soon? What gigs do you have coming up? Will you come to the U.K. this year?

We’ll see. I think I’ll have a few gigs in the L.A. area with the release of the album. I’m not sure if I’ll be heading to the U.K. - but it seems unlikely, unfortunately. 

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

I hope to finish my first feature-length film, Ham on Rye, and see it get accepted to an exciting festival so I can continue on to make the next one - which may be a Christmas movie about family and transgression. 

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

All the best memories conflate together as one - where I’m playing a show with my friends in the band and in the audience as well. Everyone sings along with much excitement for all that is and all to come. 

What advice would you give to new artists coming through?

Value art, not capitalism. Realize that they are antithetical and realize capitalism’s presence in the ‘art world’ - and especially the music industry. 

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, thank you so much. I appreciate this interview...

Play the song Trem de Farro (Trenzinho) by João Gilberto. That song is magic. 

_______

Follow Cloud

 Facebook:

https://www.facebook.com/musicbycloud

Instagram:

https://www.instagram.com/musicbycloud/

Twitter:

https://twitter.com/musicbycloud

Spotify:

https://open.spotify.com/artist/3XOlyTGO24ZaP1psAZ4g8K

BandCamp:

https://musicbycloud.bandcamp.com/

PRESS PHOTOS OF CLOUD:

 Carson Lund  

INTERVIEW: MURDAH SRVC

INTERVIEW:

MURDAH SRVC

_______

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.

______

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

_______

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

_________

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

_________

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

_________

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

_________

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.