FEATURE: The Musician As a Brand: Should There Be a Limit?

FEATURE:

 

The Musician As a Brand

 PHOTO CREDIT: Unsplash

Should There Be a Limit?

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FROM time to time…

IMAGE CREDIT: Getty Images

I scour the online pages of The Guardian for inspiration - I saw an interesting feature that was published there recently. The horrifying news stared out at me: George Ezra has his own podcast! I won’t bore you with the details – I am sure he will do that on his own – but there are some worrying facts coming out. It is called, in a nod to Shakespeare and Kafka I am sure, George Ezra & Friends; it features contributions from such heavyweights as Ed Sheeran and Rag ‘n’ Bone Man. It is understandable one young songwriter would talk to similar musicians in order to get their perspective on the industry: guidance to those who want to emulate their idols and see what they went through. Shocking revelations from the series include Ed Sheeran busking and dodging showers; Rag ‘n’ Bone Man struggling to get musician friends to return his calls and strangling a Doberman in a Tesco carpark for peeing on his Subaru (the is a lie: it would have added much-needed spice to the podcast). I am sure things will get spicier regards George Ezra & Friends – but I am not holding my breath. I wouldn’t object to the idea of a musician podcast were there anything different and interesting. One might not expect George Ezra to match knuckles with Liam Gallagher or get Lady Gaga a little pissed. It is a rather vanilla and forgettable series that interviews musicians whose stories and anecdotes have already been expressed in millions of ways on countless radio shows.

IMAGE CREDIT: Getty Images

Jessie Ware had a successful podcast in 2017: Will Young’s podcast, Homo Sapiens, is still going. There are those who argue (these podcasts) provide relief and detachment from the pre-planned scripts of the record labels. The artist is not bound by a radio show and a certain way of speaking – they get to be a normal person and add a new dimension to their bow. Podcasts are becoming ever-popular and it seems you are not somebody until you have one. I can only imagine it is a matter of time before Rihanna has her own; maybe a warts-and-all symposium from James Blake? I have mentioned one name, Liam Gallagher, who would actually bring something good to the podcast! You couldn’t broadcast it live – anyone sharp enough to bleep the expletives that fast should have their fingers insured! – but a one-off podcast from Gallagher, where he shares his taste in music and interviews a guest, would be appealing. It is the one-off notion that appeals more to me. If the idea of George Ezra chatting to hirsute and unwashed musicians is enough to peel the skin from your testicles – avoidance, luckily, is easier than commitment! I like Ezra’s music and feel he offers something interesting to the music industry. It is the bland and ready-for-Starbucks nature of music that irks me.

Turning musicians into a ‘star’ is nothing new. Everyone from Britney Spears and J. Lo have launched their own perfumes (and advertised other perfume brands(: Madonna, Kanye West and Rihanna (among others) have their own clothing lines. Throw in the number of artists who have promoted various headphones (Pharrell Williams and will.i.am) – the list goes on and on. There is a difference between commercials and other brands and the artist setting up their own lines. It is a tricky argument to settle. On the one hand; artists can influence people and raise money for causes; get their music out there in different forms and create their own identity. I feel a lot of musicians want that freedom from the label and a chance to be who they really are. I have mentioned will.i.am: he is hugely into technology and has innovated and invented breakthrough products. I guess he sees himself more a businessman and inventor – among other things. The thing I have an issue with is musicians feeling they need to spread themselves thinly and get involved in every avenue possible. Hollywood and the film industry is different but that is different: I expect commercialism and endless product placements there. Music is turning more and more into an advertising channel! How long before the aforementioned Rag ‘n’ Bone Man brings us the unique scent of wet cat?! A special aftershave, Scratch!, is not as far-fetched as you’d think.

IN THIS PHOTO: Rag 'n' Bone Man (the new face of Scratch!, perhaps?)/PHOTO CREDIT: Getty Images

I wonder why artists need to sell products and cheapen themselves. I’m sure the money is good but I find myself annoyed by artists who sell products. If you believe in something then you can say it on social media: why go on T.V. and film and create a nauseating advert?! Podcasts are different but, again; do musicians add anything special and worthwhile? I feel it is a move towards celebrity and creating a ‘brand’. There might be some good podcasts from musicians but I feel, if you are going that way; it is important adding something inspiring and challenging. There is a lot of scope for a musician to create something great and progressive in a podcast: the fact most do not is a wasted opportunity. Maybe combining interviews and live performances with personal insight; some charity angle or discussion about deeper issues – a varied show that would genuinely bring people in. The latest step from George Ezra leaves me wondering what his motives and objectives are. I cannot imagine too many will tune in to hear what Ed Sheeran has to say about his early life and touring – he has done Desert Island Discs and numerous interviews. Whilst podcasts are more successful in the hands of other people: I feel the musician can do a lot of good if they look beyond being famous and creating their own brand.

Selling headphones, technology and aftershave is not going to do a lot of good for anyone – except for the wallets of the artists involved. I get fed up seeing any celebrity advertising anything: having a musician linking their name with anything unconnected with their own music is egregious. It is hard earning money in the business - but I wonder whether cheapening yourself is the best way of solving the issue. Musicians have an important voice and, in these times, that is best served tackling issues and conflicts that are evident. Rather than link with brands and get your face everywhere possible: create a podcast or show that puts issues at the forefront; promote and back a product/service that is worthwhile and important. Streaming and the Internet makes it easier than ever to get your music and words anywhere you want. I hope things change so there is less of a lure regards advertising and needless podcasts. I have never been a fan of musicians establishing their own fashion labels and anything unconnected with music. Some would argue this entrepreneurial spirit is inspiring for youngsters: they will see their favourite star being successful in the business world and that will compel them to do likewise. I see that but raise you this: it means nothing if the music itself is not strong.

PHOTO CREDIT: Unsplash

I am not against musicians being varied and ambitious. My problems arise when their endeavours contribute very little to the world. If the motive is indulgence and money then it sends out a bad message to fans and others. There are so many causes that need voices; nations and communities that could benefit from the voice and image of a musician. Podcasts are an avenue that would benefit from something more fun, intelligent and original. I am sure there is a lot of fun to be had listening to your favourite musician chatting with other artists about their upbringing and rise to success. We are in a year where musicians can genuinely change things and use their status to affect some real improvement. Hearing boring podcasts and watching artists flog tacky brands is not what we need now – or have ever needed. The notion of ‘the musician as a brand’ is one that divides opinion and creates some interesting arguments. Commercialism and musician-endorsed activities have been happening for decades now: it has not necessarily increased with the advent of the Internet. There is a lot of good to be done out there: our best artists have the opportunity to inspire future generations in areas unrelated to…whatever modern artists feel they are doing. It is okay if you have a fashion label or perfume – we do not need to see generations idolise that! Scarp the dull chin-wags between musicians and limit those who lend their faces to all manner of terrible products. Instead; create a fantastic brand that sees musicians, new and established, support change and kickstart innovation – and create podcasts/broadcasts that challenge the mind in addition to entertaining it. The latest nightmare podcast, George Ezra & Friends, is fluffy and disposal – a throwaway contribution that adds nothing of much value. It should be a lesson to artists that they should use their power and position to add something positive to the world…

RATHER than waste a lot of time.

INTERVIEW: Soho Radio

INTERVIEW:

Soho Radio

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IT has been interesting speaking with Rachael Bird…

the Station Manager of Soho Radio. She talks to me about the station’s ethos and why it continues to grow; why she joined the station and some of the best aspects of working where she does – and the reasons so many independent radio stations are forming around the capital.

Rachael tells me about the Jäger Soho collaboration: Soho Radio working with Jägermeister and the initiatives that are taking place right now; why the two parties have a close and productive working relationship – and why this will continue for a long time to come.

I learn more about The Vinyl Sessions and unique aspect to that project; festivals and outdoor events that Soho Radio and Jägermeister are involved with; some memorable performances that have happened as part of The Vinyl Sessions – why the new follower/discover should keep their eyes peeled to the goings-on of Soho Radio and Jägermeister.

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Hi. Who am I speaking to? How are you? How has your week been?

Hi! I’m Rachael; the Station Manager of Soho Radio. I am very well, thanks - hope you are too! Typical week at Soho Radio: mental!

I am a fan of Soho Radio and the work done on the station. What, to you, defines Soho Radio and what it is all about?

Soho Radio is a platform for hugely talented artists, D.J.s and producers; with a community vibe and a family spirit. Our eclectic roster is made up of shows from the likes of music journalist Pete Paphides, Dub maestro Dennis Bovell; Hacienda legend Mike Pickering and Primal Scream bassist Simone Marie. Inspired by Soho’s diverse culture, Soho Radio draws together musicians, artists; filmmakers, poets and the generally curious from across the globe.

We love that our presenters can play anything and say anything.

When did you join Soho Radio and what, to you, is the biggest benefit of working for the station?

I’ve been here since the first day of broadcasting and I absolutely love it.

The benefit for me is being amongst a bunch of hugely creative people who all love radio just as much as I do - and are all supporting the work we are doing.

There are quite a few independent, rising London stations offering a great choice of music and talent for music lovers. Why do you feel radio is enjoying constant success and appreciation?

Online radio stations provide a platform for creative talents to spread their passion for music, culture; art, food and more. People don’t want to hear the same five songs from the commercial stations: they want fresh, exciting and engaging radio, which the online platforms are delivering, through their freedom of having no set playlists or guidelines. The online radio station market is thriving with the likes of Radar, NTS; Balamii (and more) all offering something slightly different, yet sharing the same ethos...

Tell me about the work Soho Radio is doing with Jägermeister. How did the collaboration come about?

Our collaboration on Jäger Soho consists of Vinyl Sessions, Jäger Music radio shows; events and live broadcasts from festivals around the country. We also host pop-up residencies at the Jäger Soho space in Soho Radio - we’ve had Goldie’s yoga company, Yogangsters; Notion Magazine, the AIM Label Lodge takeover and more.

The collaboration came about from a shared love of music between Soho Radio and Jägermeister - which helps solidify our partnership on Jäger Soho.

The Vinyl Session is something that intrigues me. It involves a band/artist coming in and playing a song or two. Tell me about the bespoke lathe and the recording straight to vinyl. That sounds like a tough thing to perfect! What was the reason behind that idea?!

The radio station incorporates a designated performance area with a bespoke vinyl lathe, hand-crafted explicitly for the sessions. Instead of just a normal radio session; here at Soho Radio, we cut each intimate live performance directly to vinyl and film it in 360-Virtual Reality to create an exclusive package; producing a unique physical and virtual representation of the live session.

The vinyl renaissance is truly underway and the Soho Radio Vinyl Sessions are an integral part of the revival: bringing exclusivity to the art through the incorporation of a radio station and vinyl-pressing facilities in one place. The project showcases technologies a century apart through the one-off nature of the vinyl recording; to the immersive experience of a virtual reality film.

What has been the most memorable performance in the series so far, would you say?

Seun Kuti & Egypt 80 was pretty special – we had fifteen musicians in the Jäger Soho space; all filmed in 360-V.R. It was our first dip into the vinyl-cutting process - definitely a good one to start with! Another one I will remember for a while was vocal musician Reeps One, who was joined by the London Contemporary Voices.

A mix of beatboxing and a choir – it sounded amazing!

In addition; there are outdoor festivals and events where Soho Radio and Jägermeister work together. What do you have planned for this year?

Jägermeister have an incredible experiential venue called the JägerHaus which they bring to selected festivals each summer. It’s made up of a number of different performance, entertainment and socialising spaces but, at its core, is a constant stream of incredible live music. This year’s festivals and line-ups are top-secret at the moment - but we definitely hope to bring our listeners some live broadcasts and exclusive band interviews from the JägerHaus this summer…so watch this space!

I know there are a few other brands and companies that have shown their support. Are these collaborations important in terms of exposure and spreading the message?

The support we get from brands and companies is great: it really helps to increase the Soho Radio exposure and spread the word. We want to continue to grow and develop our listener base and (just) play good music to the people. The advantage of being an online station is that our listeners are placed all over the world - not just Soho.

What else can you tell us about the partnership? Why should I, as a music lover, follow it closely?

Our Vinyl Sessions are one-of-a-kind – a showcase of technologies decades apart – and the array of reputable artists who are on-board to cut a session direct to vinyl is very exciting. Keep watch over the next year to hear the latest instalment of the sessions.

Finally, and for being a good sport; I’ll let you choose a song and I’ll play it here.

The Greater Experience – Don’t Forget to Remember

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Follow Soho Radio

Twitter:

https://twitter.com/sohoradio

Instagram:

https://www.instagram.com/sohoradio/

Facebook:

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INTERVIEW: Ellie Occleston

INTERVIEW:

Ellie Occleston

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I have been speaking with teenager Ellie Occleston…

as she discusses her new single, Splinters. I ask what comes next in terms of gigs and material; relocating to Spain from Merseyside; some of her treasured memories from music – and some great new artists we should all be more aware of.

Occleston talks about Michael Kiwanuka and Sir Elton John; how important London is regarding her music and ambition; whether she takes time away from music to relax; advice she would give to new artists emerging; whether Splinters, her debut single, is a nervous move – whether it was hard convincing her parents to come back to the U.K. and let her pursue a career in music.

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

With the release of Splinters alongside my studies (I am still at school doing A-levels); it´s been complete madness but a lot of fun…

To be honest; the feedback and support I have had, and the love that´s been shown for Splinters, has taken my breath away - and it feels a bit like it`s happening to somebody else!

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

Okey dokey. I would say I am somewhere between Indie-Pop and Indie-Folk with occasional undertones of Jazz and Soul – so not really a specific genre. I have really strong acoustic roots but recently started to experiment and arrange my music in a full-band setting…which has helped me further develop my overall sound in terms of both my songwriting and performance – and it also gives me versatility and scalability when I perform in different venues.

Splinters is your debut single. What is the story behind the song?

When I write songs, I try to use my personal view and experience to create something that people can relate to from different angles: whereas Splinters comes from what was a tough situation for me. I wrote it from a broader view of those situations we have all been in that eat away at you and, if you don't have a sense of perspective and positivity, it will end up being all-consuming.

Is it quite daunting putting out that first song?! How do you feel knowing it is going out to the world?

I am so excited to release this track and hope that Splinters resonates with people and they are able to find a connection with my lyrics and music. I am equally as nervous, however, but, as my grandad always used to tell me: "It´s better to be looked over than overlooked"

So here´s hoping...

How was it working with Jon Moon on the track? What do you think he brought to the song?

In a word: EPIC.

Jon has worked with a huge list of incredible people including Amy Winehouse, Florence + The Machine; Paolo Nutini, Two Door Cinema Club etc. - so I feel really humbled to have worked with him. He is so talented, experienced and such a nice guy - and he really listened to what I wanted in terms of creative ideas for the track and helped me capture them perfectly.

You started like in Merseyside and relocated to Spain. Was it hard acclimatising to a new culture and living there? Did you write a lot of music when you were in Spain?

Yes. At first; it was really hard in terms of culture and language - particularly as I attended a Spanish school. So, during that initial period, songwriting and music were my escape and rapidly became my obsession. Once I became bilingual, things were easier - but my love for songwriting and music, thankfully, persisted. I also think it was a great experience and opened my mind completely; giving me the freedom to feel comfortable with who I am and to put that authenticity into my music.

How did you end back up in the U.K.? Was it hard convincing your parents?

Obviously; the lifestyle and the weather are vastly different in Madrid compared to London, so you would think it was a hard sell. However, my family are really supportive, and so, when I explained what I wanted to do; why and how I could make it happen they relented – plus, about a year of me continuously asking probably helped!  

How important is London and the U.K. regarding your growth and music?

Super-important.

Since being back in the U.K., and London specifically, I have realised that it is one huge melting-pot of every kind of music you could imagine. Being exposed to a wide variety of new and different genres really made me think about the type of music I was making; being able to blur the boundaries that lie between ‘genres’ - and to combine their relevant appealing elements to create something unique and authentic to me.

Do you think they’ll be more music soon? What are you working on?

Yes. I recorded Splinters alongside some other new tracks at Sensible Studios in North London and, depending on how things go with Splinters (fingers crossed…); I plan to release a follow-up single soon. Whilst it´s just me and the piano on Splinters, I was lucky enough to have some stellar people on these other tracks - including Dale Davis on Bass (he was Amy Winehouse´s bassist and musical director); Jon Moody on Keys (who is part of the emerging and totally stunning band, FrancMoody), and Andy Mapp (Katrina and the Waves) on Drums. Sensible Studios is such an amazing place with a stunning music history: just so inspiring.

Also, while recording there, I had the pleasure of meeting Gary Powell (The Libertines) and JP Cooper (who ‘popped in’ for a chat) – it was totally surreal but they were such nice people.

Which artists are most important to you? Who do you count as influences?

I think it´s healthy and fun to listen to a whole range of music: I love everything from Classic Folk, to Hip-Hop; to Jazz and anything Indie. The types of artists I really connect to are those who tell their own experiences, from an angle unique to them but in a way that anyone can interpret it as they please. I think I have many influences, but if I had to name the most influential on me they would be: Palace, Joni Mitchell; David Bowie, Paolo Nutini; Tom Odell and Fleetwood Mac.

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

Currently, no tour planned - but I have some London gigs coming up in the next few weeks including (for the) Coffee Music Project (Soho); The Fix (Fitzrovia), plus a couple of other gigs in the pipeline. I am lining up some potential festival appearances.

IN THIS PHOTO: Rex Orange County

Which new artists do you recommend we check out?

Oh, there are too many to choose from! I’m really loving Rex Orange County at the moment - not sure if he´s emerging or already emerged but I have followed him for over a year or so - and it makes me so excited to see artists I love blow up! Others I´m really into: Crumb, Palace; Yellow Days, Cosmo Pyke…

IN THIS PHOTO: Palace

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

It´s been an interesting and rollercoaster year for me already - and it's only February! A clear focus for me is to complete my schooling/A-levels as well as progressing in my music - and then to then take stock of potential opportunities so I can decide what would be the best way forward for me, in terms of both personal and musical development.

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

Hands-down, it has to be a songwriting masterclass run by Michael Kiwanuka at the Royal Albert Hall. Not only meeting him: he is a stunning musician and person. I got to share Splinters on piano – which just happened to be Sir Elton John´s Red Piano….

I was far more nervous about not damaging the piano than performing to one of my favourite songwriters!

What advice would you give to new artists coming through?

This is a tricky one because it´s different for everyone but, if I had to say one thing (it's only one as you can say it all in one breath!); I´d say perform as much as you can, accept the bad with the good; write as much as you can, listen to and watch as much different music as humanly possible… and just have fun!

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

To be honest; the way I chill away from music is by listening to music! Instrumental music really relaxes me: I love Classical music and am currently really into Lofi Hip-Hop. I also love shopping: it´s very therapeutic! I also just love chilling with my mates and my sister.

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).

Oh, exciting! It´s going to have to be… Live Well by Palace

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Follow Ellie Occleston

Twitter:

https://twitter.com/ellieoccleston

Instagram:

https://www.instagram.com/ellieoccleston/

Facebook:

https://www.facebook.com/ellieocclestonmusic/

SoundCloud:

https://soundcloud.com/ellieoccleston

Spotify:

https://open.spotify.com/artist/51SR0e1bOgf7GnALBp15CT

TRACK REVIEW: Archie Langley - Let It Rain

TRACK REVIEW:

 

Archie Langley

Let It Rain

9.2/10

Let It Rain is available via:

https://soundcloud.com/bernienelson/let-it-rain-archie-langley

GENRE:

Alt-Folk

ORIGIN:

London, U.K.

RELEASE DATE:

28th February, 2018

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THE header of this review looks…

an awful lot like yesterday’s (when I looked at Hollie Haines). That is understandable, I guess – as there are a lot of people making similar music out there. I will skip London – as both artists are based there – but talk about a resolution to get away from the city. I will briefly mention Alt-Folk and acoustic sounds and, until I get to Archie Langley’s new song; I want to investigate new artists and those who have some extra; musicians who are working in a challenging genre; where music is headed and what we need to encourage going forward; building with every track that comes along; needing more exposure/information from artists – ending with a look at the desire to embrace bigger acts and performers. The twenty-one-ear-old Langley is based in London but comes from Hayling Island. It is understandable Langley would move from a smaller part of the country and come to London. The city beckons many out there and it offers all sorts of treats and pleasures. The place is teeming with life and activity but, if anything, the level of competition means there are a lot of people working alongside one another. I have a lot of love for London and think it is one of the most fertile places for music in the world. Langley can see his music explode there and get massive attention. I wonder, through time, whether another move will be on the cards. It is unavoidable I am back in London but, as time goes on, the need to go somewhere else grows. Many artists start in London but they relocate a little further down the line. I feel Manchester is a great fit for Langley. He will do great in London and learn a lot from the people – get some fantastic gigs and see his music promoted. I think northern areas like Manchester are untapped and not exploited as much as they should be. There is the assumption London holds all the answers and is the best place for any musician – there are some downsides.

With regards Langley’s music; starting off in London is a great move. If he spent say, two or three years in the capital; he could migrate further north and settle somewhere like Manchester or Leeds. Archie Langley is among an army of singer-songwriters who are working in Alternative-Folk. In fact; that might be a slight exaggeration: there are a lot of Folk artists but not that many that mix in Alternative sounds. The modern scene is quite urgent and commercial, still. That need for something flavourful and vibrant is dominating a lot of current tastes. I am a big fan of Pop music – the credible side of things – but hanker for something a little more soothing and relaxed. If an artist can mix in the energy and passion of Pop/Rock with the contemplative nature of Folk – that seems like a winning combination. I think London is a great place to get that sort of music promoted and built. It is tricky getting any sort of music out to the masses. The capital is a good area for likeminded artists and venues. Langley has options if he is looking for good gigs. He has a stylish and instant blend of sounds that will see him do good business. I know he has dates coming up – and has played many gigs before – but the east of the city seems like the best part for Langley to explore. Hoxton and Shoreditch are promoting a lot of Folk artists – there are, actually, a lot of great areas in the centre (like Soho) where Langley could explore. I have put out my concerns about remaining in London too long. A hectic city is perfect to get that experience but, once he has learnt a lot and seen his music grow; I would look further away and, at the same time, think about international gigs. His sounds are the sort that warrants wide acclaim and attention. The fact media attention is focused on London means everyone, naturally, heads there. Artists like Langley, once they have seduced London and move away; they can bring eyes further north and ensure artists up there are not overlooked.

I briefly mentioned Folk – it is a genre that seems reserved to the outskirts. It is hard to think of a time when Folk was popular and in the mainstream. Pop, Rock and other genres have always been at the forefront: other genres have tried to get into the centre but been pushed back. Classic Folk artists like Bob Dylan have been in the mainstream but not brought the entire genre with them. Critics and fans are reluctant to embrace and promote Folk heavily. Maybe we all have that perception (Folk) is a rather peace-loving and gentle type of music. It is okay for certain scenarios and days but, when you think about it closely, there is not enough to grip and entertain further down the line. I cannot honestly put hand on heart and say exactly when Archie Langley will hit success and how far he will go. The industry is so rammed and competitive that it is impossible to say, for sure, if anyone will make it. What I do know is the material he is producing now resists the worst traits of popular music and is really strong. I will talk about male artists but, before then, a look at modern Folk. There are a few artists who remain in the ‘traditional’ wheel of Folk – the acoustic-led sounds that have very particular lyrical themes. What Langley does, and many peers, is to fuse softer tones and aching vocals with something more explorative and emphatic. You get emotive music and honest confessions; exceptional vocals and accomplished playing. I wonder how long it will talk before Alternative-Folk gets better recognition. We have artists like Bon Iver and Laura Marling who create fantastic albums all the time. They get a brief rush of acclaim before people go looking elsewhere. It is a shame because, when you spend time with their music; what they are talking about is a lot deeper and more interesting than a lot of stuff out there.

Let It Rain is a song that speaks for itself but there is something else that catches my eye: the curious cover for the single. On it, we have Langley leaning against a lamppost with a cigarette in mouth. One can throw metaphors and similes at the pose and explore it in greater depth. The cigarette and nonchalant pose might suggest rebellion against the elements – the rain might signify the pressures of love and modern life. To me, it is a straightforward image that illustrates the sense of cool, beauty and evocativeness the song possesses. You look at the young Langley and he projects this cool look and appeal. I have argued against focusing on musicians because of their looks and physiques but there is something appealing about Langley. In terms of facial features; he has a bit of Josh Homme (Queens of the Stone Age’s ‘Ginger Elvis’) and other artists. Langley projects a sense of cheekiness and swagger – there is something in there. Focusing on the looks of a female artist would be wrong: drawing the eye to male artists who supplement that with great music is fine. The reason I wanted to bring up this subject is to show there are many sides to the artist. Many musicians are about the music and have nothing appealing about that. Music, in a sense, is as much about style and image as it is the actual songs themselves. Music is streamed and promoted online, and so, many newcomers need to be aware people want to see them get their faces out there. I will look at Langley’s photos and online spread later but, before then, more about artists and image. I feel there is a certain image of Folk that needs to be overridden. Many still have that assumption Folk artists are rather dull and samey. In the past, before the new breed came through; there was a little bit of that.

I have mentioned artists like Bon Iver and Laura Marling – throw in Ben Howard and Matt Corby. These performers not only have great music and original songwriting at their disposal – they have a look and projection that catches the eye. Whether that is their album designs or their gig sets. Every time I see a new release from these artists; I am caught and struck instantly. The vocals from each are alluring, rich and complex; the music takes Folk’s core and takes it in new directions. There are acoustic moments in each artist’s albums but, mostly, there are electronic elements and other instruments coming in. ‘Folk’ is a rather deceptive term and genre when you think about it. We assume it is all about acoustic guitars and nothing else. Archie Langley proves there is plenty of life and adventure in modern Folk. He creates electricity and burning passion; there are intriguing lyrics and vocals that take the heart by surprise. Perhaps there is not the same energy and pomp as Pop: there is more emotion and intelligence, I feel. It is challenging working in any genre but for a male songwriter coming into Folk; that lifestyle is fraught and difficult. This is not to place burdens at the feet of Archie Langley. He will succeed and prosper but, right now, there is a move to see female artists get more acclaim. Folk/Alternative Folk might take a while to get to the mainstream but, with artists like Archie Langley out there, it will come sooner than we’d hope. Langley himself didn’t start pursuing music until the age of twenty. He has achieved a lot in a short time. From open mic. performances and a spot at Victorious Fest; he caught the eye of BBC Introducing and has released a string of singles. Let It Rain is his latest endeavour and will appear on a forthcoming E.P. He has worked with producers like Sam McCarthy (The Kooks) and Benjamin (Royal Blood) and has learnt a lot from them.

The young man has leapt into music and capitalised on early promise. Let It Rain is him at his most confident and assured. More material will come – and the gigs will roll in – but it is pleasing to see Langley tackle a situation that is quite tricky. Male artists will see be proffered but, in my mind, female artists are producing finer work and should be lent more attention. This is true of Folk where female voices and acts are producing stronger work than their male peers. Parity will come about in the music industry: 2018 is a year where more attention needs to go the way of female artists. That might seem negative and hard for any male artist trying to get their names known. It will all come together for Archie Langley before too long. He is new to the game and mixing it with some great local talent. I feel he will get to the big leagues and play alongside some of the biggest names in Folk. I am not sure what route he wants to explore regards material and tours. I am sure most gigs will come when the E.P. is out but, in the future; Langley should dream big. He has a sound that could score bigger stages and, against dull and aimless artists like Ed Sheeran – here is a male solo artist who warrants headline stages and awards. It is what Langley puts onto the page and how he delivers his music that gets into the mind. He has been compared with other artists but he is his own man. There is nothing stopping him achieving a lot and making big waves – even though it might take some time. I am keen for female artists to get their say and have a bigger role in music. This does not mean male artists will struggle and be overlooked: a balance and fairer industry need to come in.

Langley builds with every track but, if anything, there are some things I would like to see from him. He has some great images out there but a few more would be good. Every artist will struggle for finance and time but it is easy getting snaps together and putting them online. I am sure more will arrive with the E.P. but, for someone who has a great look and projection; it would be nice to see Langley get some more photos together. A couple of great shoots could give him options and a decent set of photos. If he put those online then it would draw more interviewers in and catch the eye of journalists. I am very image-focused and refuse a lot of requests because artists do not have adequate images online. Even if you are a new artist; one cannot blame money and time for lacking that consideration. Professional photographer charge but they do not bleed you dry. Every musician needs to be aware of sacrifices and putting money aside for things like photographs. You can produce high-resolution shots on tablets and phones, and so, it is easy enough to put something together. Many artists have different images put online for various campaigns. This is something I do not like about modern music: having various shots for each single/release; not allowing journalists access to older photographs because they do not tie in with what they are doing now. It is annoying but a (sad) sign of the industry. Archie Langley has some fantastic photos out there at the moment – I would like to see some more appear come the summer. He will look to get festivals dates and must consider every angle and aspect when appealing to bookers and organisers.

In addition to images and getting the visuals together; there is that need for information and more biography. I feel Langley has an interesting past and it would be nice to see more information from him. Maybe bits about his tastes and artists that mean a lot to him; some details regarding his move into music and when music came into his life. Putting some lines together regarding ambitions and targets for the year; talking about what inspires his sounds and where he wants to head would be nice. There are some details out there but for people like me – who want to do detailed reviews – it would be good to have some other angles and ideas to work with. He is new to the game, so one can excuse a certain lack of heft and detail. As he gets bigger and more successful; I can see his pages becoming fuller and more authoritative. Langley is someone I feel could exploit all social media and music-streaming sites. Getting some great videos shots and ensuring all his singles are on SoundCloud, YouTube; Spotify and iTunes – making sure it is accessible to all and has great coverage. Many artists are looking towards crowd-funding sites when it comes to albums and getting money generated. Maybe that is something Langley will look at when he thinks about L.P.s. I know there is more material coming but, as we head into spring, the young artist should think big and getting more out on his social media channels. This may sound negative and harsh but I would not expend time and recommendations on artists I did not feel worthy. What strikes me about Archie Langley is he has all the ingredients to make a success of his career and achieve some great things. It is only a matter of time before he gets under the microscope of a big festival or gets his music played on a national station.

Before I look at the new song from Archie Langley; I will address bigger artists and why Archie Langley could join them. The bigger my blog gets; the more I am looking at larger artists and those in a better position. It is a natural reaction but it does not mean I will be abandoning newer musicians. Archie Langley will dream big and have ambitions to make it in the industry. I feel he can get a long way and do great things. He is working in a busy industry but there is something about him that stands out. The voice is strong and the personality shines through; the songs are deep and seem to connect with the listener. You hear a song from him and it stays in the mind: so many mainstream artists produce music that does not remain and only provides brief pleasure. I hope Langley continues to explore Alternative-Folk and does not feel the need to move into Pop or Rock. Maybe splicing those genres in would be good: stepping away from what he does and trying to gain some commercial respect would be a mistake. It is exciting seeing the songs come together and how Langley improves and strengthens with each one. The reception he gets from the press and fans gives him motivation and drive to keep going. I can see his confidence rise and the music get stronger and more alluring. The production values are fantastic and the nuance one gets from the songs is brilliant. That all bodes well for someone who has aims and goals for the year ahead. There will be more music and I am sure Langley will look at bigger venues and festivals – hoping he can get his music to larger crowds. Let It Rain is a cut that suggests that sort of achievement is not too far away. It is a fantastic song from a young artist who has few likeminded equals.

“Rain is my only friend” the songwriter intones in the opening moments. Let It Rain starts with the sound of rain and an evocative scene. It is sparse but dramatic: the weather turning hostile and listener imagining the scene unfolding. I looked at the hero who was walking through the rain and getting soaked for the hell of it. The fact he seems connected with the rain signals someone going through a tough time. The voice quivers and has an original bent. It is hard to compare Langley with anyone – which is a good thing – but there is an almost Jazz-like projection to the words. The words echo and resonate; they are carefully deployed and almost narrated. Langley talks of greens and red – red like blood pouring – and that image of the rain beating down persists and dominates. The song does not feel the need to throw instruments and needless elements into the mix. It is all about Archie Langley and his mind. The songwriter, accompanied by acoustic guitar, keeps things calm and ensures every word is provided detailed and passionate treatment. One hears little bits of Matt Corby as the song gets hotter and heavier. The vocal lingers and strengthens as the hero wants the rain to cover him and remain. There is that sense of being cleansed and made new; maybe being punished for something he has done. Perhaps the young man has lost love and screwing things up. He has taken to the streets and is pondering life. The rain is that reliable companion that makes him think and offers some form of perspective. The chorus sees the dynamic and pace change. The song gets hotter and faster and the energy levels rise – the listener is given warning and it does not come as a huge surprise. I feel like that rise and explosion was only a matter of time. The chorus is the storm brewing and the rain getting more intense. The cold keeps him in his shell and it is interesting digging into the words and what they mean.

The hero seems reserved to a certain circumstance and is using the rain as protection. Maybe he needs this wake-up and realisation to get his life back on track. The only reason he is alive and keeping going is the fact he is walking the streets and feeling the rain. I wonder whether it is all a metaphor for a talk or realisation inside. By that; I mean it could all be an emotional rain that has opened his eyes and forced him to change his ways. He does not reveal whether it is a relationship split or something else that has caused this turmoil. One of the minor criticisms regarding the production is the fact the percussion and drums drown the vocals out a bit at times. Maybe that is a deliberate effort but it would be nice to hear the vocal more in the chorus – and in the latter stages. Langley’s passion and energy keep the song interesting and deep until the end. No two lines are the same and you put images and scenes together in your mind. I was following Langley through the rain as he searched for answers and meaning. The composition never settles and moves through different stages. In a way, oddly, it reminds me of some of the numbers on Paul Simon’s Graceland. Groaning guitars and tribal drums transform into striking codas and inventive little detours. There is a lot of wordlessness towards the end which might signify a sense of comfort or settlement. Maybe the hero is short of answers and lacking new insight. I am not usually a fan of wordless vocals but, in the context of Let It Rain, it works and adds something to the mix. Langley brings the song down and gets the listener thinking about outcomes and conclusions. I wonder whether the hero made his way to safer ground and figures things out. Did it all work out okay? Those are questions only the author himself knows the answer to. It is a fantastic and engaging song from one of the most promising new songwriters in Folk.

I have spoken a lot about Archie Langley and various aspects to his game. Langley has played Ronnie Scott’s and been spun by the BBC. He has his new single on streaming sites and social media; he has been featured by websites and marked as one to watch – everything is heading in the right direction. I would be uncomfortable predicting too much when it comes to the songwriter. I know he will do some wonderful things and it is clear Langley will achieve success this year. When one races ahead and make bold predictions; that can often be a kiss of death for artists. Let It Rain shows what all the fuss is about: a stunning songwriter who has an original ear and the ambition to go a long way. That success will come and things will get bigger and better for Langley. The London-based songwriter is looking to spring and summer and what is coming next. When the E.P. rocks up; that will provide ammunition and ensure the young talent gets under the radar of festival organisers. I can see Langley playing some good festivals and great dates in London. He could aim bigger and take his music to the North. There are fans out there waiting and many other venues that would love to see the songwriter play. The fact he has only been making music a short time makes the achievements gained so far impressive. It all bodes well for Archie Langley and his fabulous music. If you are new to his sounds then remedy that and get behind his work. He is an artist with a lot more to say and territory to carve up. I am excited to see how far he can go and what he can accomplish. Let It Rain is a bold and memorable declaration from a young songwriter…

TURNING many heads.

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FEATURE: Remixologists: Taking a Great Song and Making It Better

FEATURE:

 

Remixologists

 ALL PHOTOS (unless credited otherwise): Unsplash 

Taking a Great Song and Making It Better

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I have been getting involved with music from the 1980s/1990s…

and bonding with artists I first encountered when I was younger. I was thinking about Arrested Development and the song, People Everyday. The ‘original’ – their cut of it – appeared on their debut album, 3 Years, 5 Months and 2 Days in the Life Of… and was a huge smash. The version on the album is different to the one I remember fondly: the Metamorphosis Mix. That version is slicker, faster and more thrilling! It is catchier and more enduring: completely reinterpreting the one that appears on the 1992 album – the version, I feel, people prefer. One can argue a remix is only good because of the original material: the same way a cover version cannot succeed were it not for the source from which it was inspired. I take that but my argument remains true: a great remix can elevate a song and endure it succeed decades later. That song is one example of a great reimagining. Black Box’s Ride on Time is another classic song from the 1980s. We remember that big, bold version that features the version of Heather Small. That is the ‘U.K. Mix’ - and replaces the Loleatta Holloway vocal. Remixing has been a part of music for a long time and, when done right, can add a new spin to a song. It was more common in the underground in 1980s and 1990s – there were chart songs remixed; not quite as prolific as later years – but it is interesting seeing how the artform has evolved and the best examples out there.

D.J.s and producers like Norman Cook (Fatboy Slim) have taken songs like King of Snake (Underworld) and added his own say on the song. It is Cook’s input on Brimful of Asha that stands in my mind. The Cornershop original is on their album, When I Was Born for the 7th Time, and was a minor success. It was a slower and more ‘traditional – from an Asian band – cut of the song. By the time Norman Cook got to it; it became a huge hit in 1998. Cook’s techniques and expertise gave the song a crozier, energetic quality the original lacked. One can see that remix as one of the best of the lot. It helped bring that song to the masses and, with it, renewed interest in the album. Norman Cook is a prolific remixer – someone who knows how to take a great song and make it world-class. Some epic remixes of 2017 include Chromeo’s take on Green Light (Lorde); Kendrick Lamar's talents on Mask Off (Future); Soulwax’s take on Charlotte Gainsbourg’s Deadly Valentine – the list goes on. Throw in some classics like Armand’s Dark Garage Mix (1996) of Sneaker Pimps’ Spin Spin Sugar; Ben Liebrand Rough ‘N Ready Mix of Ram Jam’s Black Betty (1989); Eric B & Rakim’s Paid in Full (Seven Minutes of Madness – The Coldcut Remix) and the Andrew Weatherall Mix of My Blood Valentine’s Soon. Toss in the Professional Widow remix from Armand’s Star Trunk Funkin’ and The xx’s take on Florence + The Machine’s (cover of) You’ve Got the Love – so many to choose from!

I have not even mentioned Portishead remixing Paul Weller’s Wild Wood; DFA taking in M.I.A.’s Paper Planes; the Dave Angel Nightmare Mix of Eurythmics’ Sweet Dreams; Todd Terry owning Everything But the Girl’s Missing…and so forth. I am seeing a lot of new artists have their songs remixed by a range of producers and D.J.s. Some will release an E.P. of remixes – taking from their catalogue and having others rework their music. It can be fascinating seeing what others do and what direction they take songs in. Not only might one hear a Folk song given Jazz or Latin edges; a Pop song made to sound grittier and more dangerous – it can get the music to a larger audience and a new crowd. Clubs are open to pretty much anything and it is a great chance for D.J.s to spin something to catch club-goers out. I have heard about modern artists make their way to clubs through the medium of the remix. It is not only modern songs being remixed and making their way into new settings. Stone-cold epics like Marvin Gaye’s Sexual Healing (by Kygo) have been remixed; The Doors’ Riders on the Storm (Infected Mushroom Remix) have been redone; Aerosmith’s Dream On has been remixed by GRiz – The Rolling Stones’ Gimme Shelter has been remixed by Zeds Dead.

There is endless scope for talented producers, artists and D.J.s to take something older and make it sound new. Whether that is a song from The Beatles or Toni Braxton’s You’re Makin’ Me High – there is so much to work with! One of the reasons I love a remix is because it is almost like a new song. Most of the ones I encounter are Electronic/Club versions of tracks: something a little more intense or, perhaps, moodier than the original. You forget about the original song, for a minute, and it is a completely new experience. As we have seen with remixes of Brimful of Asha and People Everyday – it takes a well-known song from the basement and turns into a huge hit! Those who dislike music from the 1980s, for instance, might learn to love it if songs were given a remix. That might sound like cheating but adding a modern spin on older sounds can ensure it survives and inspires. Many are reluctant to dip further back into the annals of music: the assumption is it’s a bit crusty and irrelevant. If a hotshot sees a new perspective and potential then, before you know it, they have added shine and new direction to that song. That updating and reimagining gets people interested and looking at the music in a new light. There is no denying you can make a song worse by remixing it. I shall not mention failed attempts but they are there – it is not that easy taking a fantastic song, adding your own voice and ensuring it remains appealing.

PHOTO CREDIT: Getty Images

Getting music to as many people as possible is vital – remixing is a way of doing this. I feel there is a lot happening in the current time: so many artists have their tracks reworked and love the results. To my mind, there is a gap in the market: going back and reworking older songs. Maybe there is not enough currency in that; people feel there is a lack of appeal and need right now – maybe, a wasted venture and commercial gamble. I know there are bands are artists whose music either sounds dated or ignored. If someone were to come along and spend time on that work…perhaps it could gain a new lease and be a big hit. There are ample ventures and possibilities for any song. I listen to classic club songs like Back to Life (Soul II Soul and Caron Wheeler) and can hear a mix of old and new. That song came out in the late-1980s but, in a way, it sounds right up-to-date and fresh. Perhaps we could witness a similarly behemoth song come along now: take a promising song from yesteryear and give it a modern spit. It is exciting to think what could happen if busy and curious minds dipped back into music’s past. I love a remix and know it can take a song somewhere really special. It happens a lot in the current climate but, perhaps, not as often as one would hope! I guess artists are nervous seeing their song put in other people’s hands; maybe they want to keep it pure and straight. I am not sure but my advice would be this: take a gamble and you will be amazed! As we have seen, looking back at music’s past; a wonderful remix can take a good or great song and make it…

SOMETHING beyond the realms of simple imagination.

FEATURE: Reach Out… Bringing Music to a Wider Demographic

FEATURE:

 

Reach Out…

 ALL PHOTOS: Unsplash 

Bringing Music to a Wider Demographic

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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?

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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

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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

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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

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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!

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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.

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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

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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.

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 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

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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

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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

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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

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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.

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 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

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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

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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.

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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

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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

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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)

 

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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

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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

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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!

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Follow Winter Wilson

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https://winterwilson.com/

Facebook:

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

Twitter:

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Spotify:

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INTERVIEW: Nele Needs a Holiday

INTERVIEW:

Nele Needs a Holiday

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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.

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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.

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Follow Nele Needs a Holiday

Official:

http://www.neleneedsaholiday.com/

Facebook:

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

Instagram:

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Twitter:

https://twitter.com/NNAHoliday

Spotify:

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

YouTube:

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SoundCloud:

https://soundcloud.com/neleneedsaholiday

INTERVIEW: Greta Jaime

INTERVIEW:

Greta Jaime

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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!

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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.)

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Follow Greta Jaime

Facebook:

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

Instagram:

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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

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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.

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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. 

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Follow Cloud

 Facebook:

https://www.facebook.com/musicbycloud

Instagram:

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Twitter:

https://twitter.com/musicbycloud

Spotify:

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BandCamp:

https://musicbycloud.bandcamp.com/

PRESS PHOTOS OF CLOUD:

 Carson Lund