INTERVIEW: For Esmé

INTERVIEW:

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For Esmé

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IT has been awesome speaking…

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with For Esmé’s front-person, Martha Meredith. She has been talking about the new single, Doubtmouth, and what comes next in terms of material. I ask about her tastes and what we can expect in terms of gigs; whether she will bring the band over to the U.K. (she is based in Canada) – and how she manages to unwind away from music.

Martha talks more about sexism in the industry and how she fights against it; why it is important to create parity; some new artists we need to look out for - and what it was like studying at Queen’s University.

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Hi, how are you? How has your week been?

Hi. My last week was a little nuts since I shot two music videos and released a single, but hey: busy is good.

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

I’m Martha Meredith; front-person and creative director of For Esmé; writing to you from Parkdale in Toronto.

Doubtmouth is your new single. Can you reveal the story behind the song?

Absolutely. I’ve worked on a few all-male teams in the last few years and I kept running into this problem where, when I was passionate about my opinions on things and confident in my knowledge, people seemed to get annoyed. I noticed, in contrast, that the exact same attitude was totally acceptable when expressed by men.

I got to work on these projects because of my opinions and knowledge but, then; these dudes would be mad when I expressed them in a way that was inconvenient to them. I found I had to word things in this certain, careful way to be taken seriously and they didn’t - and I got really frustrated by that.

It is taken from the upcoming album, Righteous Woman. Are there certain themes and stories that inspired the songwriting?

Totally. I’ve always identified as a feminist but, in reality, I’m really trying to dig into what that means in my own life - I ran into a lot of difficult questions. In trying to find my own voice and raise it, I was self-conscious of taking up space as a white woman who has had a ton of privilege in life. I was also in the midst of planning my wedding to my longtime partner and found I was terrified. Not about being with him, but about the attitudes I felt people were projecting onto me about what it means to be a wife.

I realized that, even as an outspoken feminist, I still was applying all this pressure on myself to fit into a certain role of what a woman is ‘supposed’ to be like - and the record is about confronting those expectations in myself.

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I get the feeling there is a frustration that stems from years of working for and around men and remaining silent – seen as ‘too confident’ and bold! Do you feel you have been silenced and judged because you are confident?!

In my experience, a lot of men who say they love strong women don’t actually love it so much when that strength is directed at them: when she tells them they’re wrong, really sticks up for herself or knows more about something than they do. I think an equally important part of this conversation, though, is the role women play in this. The pressure women feel to be really accommodating and nurturing gets internalized. I know I have not always stood up for myself with the emotion I felt because I was scared to be labeled. The threat of being called a ‘bitch’ or being told you’re too emotional is real.

While I have certainly experienced being silenced, my biggest hurdle is learning not to silence myself; to stop caring so much about being some perfect (and fictional) example of womanhood. Our culture is screaming toxic gendered ideas at us 24/7 from billboards, magazines; T.V. - and it’s a lot of hard work to shut that out and listen to yourself (and speak your own truth).

There is sexism in music and the world at large. How important is it for female artists to stand up and ensure they are not overlooked?!

I think it’s important to stand up against sexism for sure - and it can be a pretty thankless task. I think too, though, that there is a beautiful movement happening right now. When women really support each other’s initiatives we can change the landscape of the industry and the culture at large. I’ve been really fortunate to be a part of founding the Toronto Womxn in Music community - which we call TWIM. We’re a grassroots organization connecting woman in the industry here in Toronto…and it’s been such a rewarding experience.

Maybe we didn’t have the channels before that: we needed to lift each other up and help each other be heard - and I am seeing that change. The key thing is that the work is never done. We have to keep fighting hard; not just for women’s voices but for all marginalized voices to be heard and celebrated. The homogeneity of the music scene is boring! It’s so much more interesting and exciting when it’s vast and inclusive.

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How important was your time studying at Queen’s University? Did study there provoke you to explore feminine anger/roles and channel that through songwriting?

It did and it didn’t.

I studied Psychology and Politics and learned a lot about sexism and feminism that way - but sexism in academia is just as big a problem as anywhere else. My time in university was early-days in my feminist awakening and I think that even though I was working on my feminist ideas, my scope was so limited. I had a lot of blind-spots. I mentioned internalizing things before and I think my time in university involved a lot of discord: on the one hand, I was this confident and outspoken woman; on the other, I still had all this internalized misogyny that I hadn’t confronted yet. I was still trying to be a ‘chill girl’ back then. I wasn’t great at calling people out; maybe because I hadn’t quite learned how to call myself out yet either.

That emotional discord, though, IS why I started writing music - and continues to be my driving force. Writing songs about conflicting feelings is, for me, the best way to get to the bottom of them

What is it like recording and playing in Toronto? Is the city a pretty open and exciting place to be?

Toronto has so much to offer. Sometimes, it saddens me because I think there is so much brilliance here but it always feels like the city has a bit of an identity crisis. We want to be this major international player but we don’t have our sh*t sorted, you know?! All the D.I.Y. music venues keep shutting down and it’s getting too expensive for artists to even live here. That being said; Toronto is home to so many of my favourite artists and the arts community is very enriching. It’s a beautiful scene; full of so much potential and so much great work.

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

Lyrically, I’ve been heavily influenced by Fiona Apple, Emily Haines and Karen O. I love the boldness with which these women show their feelings so unabashedly. Musically, the most played records in my house are Todd Terje’s It’s Album Time and Kate Bush’s Hounds of Love.

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

We have lots of things coming up in Canada in the next few months. It’s Canadian Music Week in May and then we’re having a big album launch and what we call ‘the 401 tour’ - the highway that connects all the major cities in Ontario to one another.

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

I want to come to the U.K. so bad…and tour Europe more extensively. We’ve had so much support from the U.K., online, and never had the chance yet to come play there. Honestly; I sometimes feel like Europe ‘gets’ For Esmé more than Canada - so it’s definitely one of my ambitions to get over there and play for you!

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IN THIS PHOTO: The Highest Order

Which new artists do you recommend we check out?

My favourite Toronto band is The Highest Order - it’s psychedelic Country music and the best thing going. Front-person Simone Schmidt also has an incredible solo endeavour called Fiver. In both projects, Simone shines as the ultimate lyrical craftsperson - insanely intricate, poetic and political. My friends Saxsyndrum (from Montreal) make the best experimental Dance music (sax and drum-based) that makes me want to move so much. I had them play my wedding as a special late-night performance...

Recently, I was super-impressed with Vivek Shraya’s new project called Too Attached and their E.P. called Angry. It is brave and bold and super-badass. The new FRIGS record is amazing, too — Bria Selmena is so raw and real...and it’s super-powerful. Oh, and Land of Talk - Life After Youth!

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PHOTO CREDIT: Too Attached/PHOTO CREDIT: Nick Wong

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

Honestly, to release myself from the shackles of my own perfectionism! I know that sounds intense but I am my own biggest obstacle most of the time.

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

It’s hard to pick one!

I get a lot of joy from performing and a different and equally important sense of fulfilment from writing something new that I am obsessed with. Those ‘aha’ moments are what I live for. But, a pretty magical night for me was when we played the WayHome festival here and we did a surprise late-night show that started just after Neil Young performed. There was a pretty serious dance party from this huge crowd that just sort of appeared in the darkness. Neil and his wife cruised past our trailer on a double bicycle earlier in the day and I was like: ‘Is this real life?!’.

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What advice would you give to new artists coming through?

Listen to yourself: not to what everyone else is doing.

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

I read a lotttt. I love to escape to the wilderness and get out of the city whenever I can. I spend a lot of time on an island on Georgian Bay (when it’s not winter).

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).

My pick would be Land of Talk’s This Time. I think it’s so beautiful - it makes me cry, but in, like, a hopeful way, if that makes sense.

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INTERVIEW: Nuela Charles

INTERVIEW:

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Nuela Charles

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WE shall make this three…

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for Canadian artists of the day! I have been chatting with Edmonton-based Nuela Charles about her latest gem, Do It Right. She tells me about her musical growth and upbringing; being influenced by the Soul greets; working with Rob Kleiner on her latest track – and seeing her album, The Grand Hustle, pick up honours and awards.

Charles talks about the way she disconnects from music; if we will see her in the U.K.; what she aims to achieve later this year; some worthy advice for new artists – some new talent worth a bit of our attention and time.

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

Hello! I’m great, thank you! My week has definitely been exciting for sure.

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

My name is Nuela (new-ella) Charles. I am a singer-songwriter based in Edmonton, Canada - and I like to say that my music could be the soundtrack to a James Bond movie (smiles).

Do It Right is your latest single. Can you tell me about the inspiration behind that song?

Do It Right was written in Los Angeles while I was on a two-week writing trip to London (England) and L.A. We wanted to make something upbeat and catchy and, when we got the title, it kind of just wrote itself after. The title perfectly sums it up: If you’re gonna do it, better do it right! It’s kinda cheeky.

But; I wanted to talk about instances in my life when I’ve had people approach me and totally miss the mark.

You worked with Rob Kleiner on the song. What was it like working with him?

Working with Rob was great.

It was my first time meeting him and I’m so happy we were able to come out of our first session together with an amazing song!

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Do It Right has a powerful, soulful sound! It sounds like music stirs passion in you! How important is music in everything you do?

I literally cannot go through a day without music in my life...

If I’m not creating it, I have to be listening to it. I love discovering new sounds and powerful vocals – it’s (just) really inspiring for me.

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The Grand Hustle, your sophomore album, was nominated for Adult Contemporary Album of the Year for 2018’s JUNO Awards. What was it like receiving that news?

Finding out I was nominated was an amazing feeling! I actually overslept - so I missed the actual announcement in the morning because of the time difference between Toronto and Edmonton. But, a colleague of mine was there and sent me a video clip of the announcement - so it was super-rad!

Does an honour like that change how you approach future music? Are you already thinking of new ideas?

I’m currently wrapping up my next project and the nomination is definitely an added bonus! I think it helps in how people perceive what one does - when you’re associated with something like a JUNO; or a BRIT or a Grammy - but I don’t think it has changed my approach. My goal is always to create something better than the last time.

It seems like the greats of Soul are idols of yours. Which musicians did you grow up around? Were you raised in a musical household?

As a kid, my parents would play classic Whitney Houston, Marvin Gaye and Stevie Wonder all the time. As I grew up, it was all about the vocal delivery. Alanis Morissette was a huge one for me in my teens – stylistically different, but vocally super-powerful.

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What gigs do you have coming up? Where can we see you play?

I’ll be performing as part of the JUNO Festival in Vancouver in March and then festivals starting in June - mainly in Canada and my first in Seattle, U.S.; all of which haven’t been announced yet - so, I, technically, have to wait to give specifics (smiles).

Do you think you’ll visit the U.K. at all?

That is one of the next steps for me. I love most everything musical that comes out of there and, although I’ve been to London a few times for writing, I haven’t the opportunity to play there yet.

Looking to change that with the new music coming out later this year!

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What do you hope to achieve in 2018?

More music. Definitely more music…and a lot more live shows.

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

A few years ago, I was asked to open up for Ziggy Marley in a wonderful seated theatre and it was an amazing experience! We play two totally different styles - but his audience totally took me in and we had a blast!

What advice would you give to new artists coming through?

The one thing I tell everyone is 'know the business and don’t quit'. Because, once you stop, it’s over…and you’ll always ask yourself ‘what if’. My parents gave me two years to pursue music - and that was nine years ago.

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IN THIS PHOTO: Tom Misch

Are there any new artists you recommend we check out?

To be honest; I’m super-late on new artists. I just discovered Tom Misch - his latest collab. with De La Soul is amazing. Rationale has (also) recently caught my attention.

Sam Fender is also a new fave!

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IN THIS PHOTO: Sam Fender

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

When I need a break, I like to watch movies. It still keeps me in a creative space but it’s a different kind of creativity and it takes me, albeit for a brief moment, to another place. When I REALLY need a break, I usually take a trip somewhere.

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).

Ooooo; I like this game. I have to, then say: Tom Misch and De La Soul – It Runs Through Me. It’s all about the music!

Thanks so much!

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INTERVIEW: Deanna Petcoff

INTERVIEW:

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 Deanna Petcoff

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I am staying in Toronto…

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as I have been investigating Terribly True – the latest single from Canadian star, Deanna Petcoff. She talks about the song’s origins and what comes next; which artists/sounds inspire her drive; how all the elements (to her latest song) came together – and whether it was hard departing from her band, Pins & Needles.

I learn more about her touring plans and whether she is coming to the U.K.; if she has a favourite memory(ies) from music so far; new artists we should give more time to – if there is any chance to detach from a busy music career and relax.

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

Hi! My week has been wonderful. I just put my song out into the world - so I am very happy.

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

Sure! I am a Canadian musician based out of Toronto and I’ve been playing music for six years professionally. I started this solo project about a year ago with my friend and collaborator, Alex Stavropoulos-Laurie - who really helped shape my sound and vision.

I’m now working on an E.P. and playing shows!

What is the story behind your single, Terribly True?

Terribly True is about the feeling of realizing you’re not really in love with someone you’re seeing and having to come to terms with the fact that you’ll have to hurt them. It’s hard to feel like you’re the antagonist of your own life, but standing by what you really believe rather than what you want to believe is vital in order to be happy. 

There are a lot of elements and sounds working away in the song. Did it take a while to get it together?! Do you think you were vibing particular artists when recording and writing it?

My producer Alex and I spoke a lot about influences and inspiration before we did the demo - including Angel Olsen, Alabama Shakes, and mainly, David Bowie - as he’s one of my major influences in general. Alex knows that my favourite vocalists are 1960s Soul singers and we thought a lot about that vintage quality in the tones and arrangement decisions.

Will there be more material soon? What are you working on?

We are working on an E.P.; still planning out arrangements with my band and Alex. We want the record to reflect my style and have the emotional honesty that I strive for in delivery and production.

Your solo career stemmed from the disbandment of Pins & Needles. Was it hard seeing the band break? Was it difficult transitioning to life as a solo artist?

I think, because the band broke up amicably, it has been an easy transition for me. It will always be strange playing without my girls: they’re my best friends and playing shows with them for five years was the best thing anyone could ask for. Having the support of my bandmates has made everything better – and, similarly, I support all of them in their endeavours.

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It seems you have eclectic tastes! Which artists did you grow up around? When did music come into your life?

I definitely do have broad tastes: everything from Billie Holiday to Brockhampton influences me. For me; if I can feel authenticity or true honesty in the music, any element of the music, I’m drawn to it. I grew up around a lot of Classic Rock from my dad: major influences like Queen, Prince and The Rolling Stones; as well as music that’s important to my mom like Frank Sinatra, Todd Rundgren and Carole King.

Music was around me for my entire childhood: it felt like a natural progression into creating it myself.

What gigs do you have coming up? Where can we see you play?

I am playing April 2 at The Smiling Buddha in Toronto and there again May 27th. I’m currently solidifying more dates for in between there - and as well for the summer.

Do you think you’ll visit the U.K. at all? Have you ever been over here before?

I have never played in the U.K. but I am itching to! I hope to make it over there in the next year or so!

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What do you hope to achieve in 2018?

My goal for 2018 is to put out my E.P. and play as many shows as I can - to make sure the set and the record are everything they can be. With the help of my band-mates Callum Maudsley, Julian Psihogios and Dylan Burett, as well as my producer Alex; we’re hoping to push this project as far as we can go in the next year.

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

Probably one of the best experiences of my life was playing the Canadian festival Field Trip three years ago with my band, Pins & Needles. It really felt like a life goal completed and I hope to play more festivals as time goes on. Honestly, though; all of my experiences with Pins & Needles were memorable - and that time of my life is something I cherish dearly.

What advice would you give to new artists coming through?

Get connected with local artists through going to shows and joining a collective! Keep working with people that can challenge you and help you become a better artist. Working unopposed is unproductive and, especially when you have a community of artists, it’s so important to stay together and help each other.

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IN THIS PHOTO: Luna Li/PHOTO CREDIT: August Kay Photography 

Are there any new artists you recommend we check out?

Yes! Check out Luna Li, The Beaches; Hex, Casper Skulls; Weaves and Language Arts! These are all Canadian superstars!

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IN THIS PHOTO: The Beaches/PHOTO CREDIT: Maya Fuhr

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

I love hanging out with my friends and my family when I’m not making music. My roommate and I host a lot of parties at our house - and we like to surround ourselves with people we love and admire as much as humanly possible.

Toronto seems to be one of the fastest-growing centres for new music. Do you think there is a reason the Canadian city is so popular and productive?

I think there are some really good collectives and labels making huge efforts in Toronto right now to bring young people into the music scene. Places like Girls Rock Camp Toronto are really trying to inspire the younger generation of women and female-identifying youth to play music and get their voices out there…as well as record labels like Buzz Records and Royal Mountain; as well as Fried Records - who actively cultivate local artists.

The sense of community is really strong here - and it’s only going to get bigger.

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).

Breaking Glass by David Bowie! One of my favourite tracks of all time

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INTERVIEW: Cubs Refrain

INTERVIEW:

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Cubs Refrain

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I have not been to Canada too much the past couple of weeks…

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so it is about time I made a return! I have been listening to and chatting with Cubs Refrain. Jordan and Erin discuss their new single, When It Started, and their forthcoming album, Tell Me You Love Me; how they got started and whether there are tour dates planned – and whether a visit to the U.K. is a possibility.

I was keen to know what the scene is like in Canada and why Toronto is so up-and-coming; if they get time to chill away from music; whether they had eclectic musical childhoods; how important it is to gig and keep musically active in Canada – what Cubs Refrain hope to achieve as we head further into this year.

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

We’re great, thanks. It’s been a crazy week of work and exams, mixed in with the release of When It Started and then, to top it off; we played our first show on Saturday. We feel like it’s been pretty productive, though.

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

We are an indie Synth-Pop duo from Toronto that plays a mix of sounds - kind of like a mash-up between CHVRCHES, M83 and Oh Wonder. 

When It Started is your new single. What is the story behind that track?

Erin: The song came together when we decided to write a concept album, which centres on two young characters navigating their first romantic relationship. I wanted to write a song that would describe their first experiences together; when exhilaration and adventure are at a high. I channeled many personal memories from my adolescence into the song; experiences shared with friends and from early relationships that involved anything that would get us into trouble - as well as feelings of insecurity I held on my own.

I really wanted to make the song about the characters learning to share parts of themselves, mixed with the wild sense of urgency and false confidence that youth tend to hold.

It is taken from the forthcoming album, Tell Me You Love Me. Is there a narrative and story that runs through the album?

Yes. Tell Me You Love Me is a concept album and story that we developed over the past two years. We wanted to play off of the nostalgia of young love - which is a theme that some of our favourite albums revolve around. It follows these two teenagers who fall in and out of love, experiencing the highs and the depths of their emotions as they learn about themselves and about each other.

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We made the decision around the time the album was mastered to only distribute physical copies in 12” vinyl. We wrote an album that was meant to be heard from top-to-bottom and we felt that the only format to do that justice was vinyl. There’s also a real nostalgia and romanticism to vinyl - and we felt that it was a great parallel to those themes we played off of when writing the album.

What was it like recording the record? Did the songs come together quite naturally?

We actually put the entire album together ourselves... 

We wrote quite a lot using soft synths originally (actually, it started to be very e-piano/clav-driven) and then fell in love with the warmth of the analog hardware synths. Once we got a hold of a few good synths, our sound really transformed into what is heard on the album. 

We recorded all of the synths, vocals and other instruments ourselves in Jordan’s apartment in Toronto. He rented a three-bedroom apartment with a buddy and used one room as a studio. That’s also where Jordan did all of the editing and mix for the album.

We worked on the story and the songwriting a lot. Things really started coming together when we began to storyboard our characters and understand them and their emotions. It really helped the music flow in a natural way. Being so narrative-driven; we feel as though we would not have realized the story as well if we had not fleshed out these characters as thoroughly as we did.

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How did Cubs Refrain come together? Is there a story behind that name, too?!

Jordan: We actually started the band unofficially when I was working in British Columbia and Erin was working in Spain. I had a vision for a sort of down-tempo Electro/R&B-type group (basically Oh Wonder, but heavier Electronic) and I really wanted Erin on board to sing. I knew she had a background in keys and a killer voice; so I put together some demos to try out - which we thought had a lot of potential. We both ended up in Toronto around the end of 2015 and started to work on our sound more seriously.

Erin: When I think of how we started; I always think of a festival that we went to with a big group of friends that first summer. We were so inspired by the artistry and atmosphere that we started thinking, ‘maybe we could actually make this work’. I think that’s when we decided to seriously go for it.

In terms of the name, we agreed early on that we’d let others interpret that the way they want to. What we will say is that part of it means something important to each of us.

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What sort of music did you both grow up around? Did you have eclectic backgrounds?

Jordan: I grew up listening to a lot of Classic-Rock, Punk; Blues and Folk. Oddly though, in high-school; I had a pretty big Classical and Metal phase (roughly at the same time). I didn’t ever listen to much Electronic music - so the transition into an (essentially) entirely synth-based genre was quite a shift. I am definitely much more open and listen to many more genres of music than I did when I was young.

Erin: Being the youngest in my family, I’d say I was pretty impressionable - and took recommendations from anywhere. I was exposed mostly to Folk and Rock early on and, later, I got more into Pop-Punk and Alternative Rock. My playlists were always all over the place, though, with random artists from Mozart to Duran Duran; 1980s New Wave synth-pop hits were the best feel-good tunes.

Toronto is thriving in terms of its music. Why is it such an appealing place for musicians, would you say?!

Toronto is incredibly diverse and that’s likely a huge reason why it appeals to musicians. There is a taste or a scene for all types and you can reach a lot of people without actually going too far. It’s a great city to experiment in: probably one of the most forward-thinking cities, musically.

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

We’re hoping to tour a bit in the summer and into the fall throughout Eastern Canada; so, for anyone in the area, look out for those dates!

The big gig we’re focused on right now will be our album release-show - which is tentatively set for early-mid-April.

How important is it to gig and play in Canada? Do your live performances sound very different to studio-recorded music?

It’s huge. So much of your reputation is based on your live show. We’re fortunate to have such supportive friends, family and fans spread out across Ontario. We think it’s important that we establish a strong foothold here. This album has a lot of implicitly-rooted sentiments that we think are felt pretty strongly in Canadian youth - so there’s a lot of potential for it to really resonate here.

As for our live shows; we definitely try to maintain as much of our sound as we have on the record. We have all of these fantastic synths that are so powerful. It’s an incredible thing to hear when they’re all playing together. It’s the type of sound that we’d want to hear live out of bands in the same genre. We remember being absolutely blown away by CHVRCHES’ sound the first time we saw them play: it was the sound we wanted to try and emulate in our own way.

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Do you think a U.K. visit will be on the cards? Have you played here before?

We’ve never played in the U.K., although we’d absolutely love to and hope to in the near-future. The musical climate in the U.K., Canada and Australia seems to be very similar - and has a lot of great Indie artists producing some incredible music. We think the U.K. is a great market for us to try and reach - and a tour would be an awesome way to introduce ourselves.

What do you hope to achieve in 2018?

Right now, our main focus is on releasing the album.

It’s been a long time coming for us and we’re extremely excited for it to finally be heard as a whole. As we mentioned previously, we’re going to continue to gig here in Toronto and, hopefully, line up a tour in the fall. By the end of 2018, we’d really like to have a broader, foundational fanbase and be poised for a big summer of festivals in 2019.

Hopefully, all our vinyl will be sold by then… 

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

Erin: I had the best time in university playing with my band at the time, Sloths in Denim. It was a pretty relaxed group: we did mostly covers but we just had a lot of fun together. We played a few shows and faced off with Jordan's band in a bit of friendly competition. It's exciting to look back on that and compare to where Jordan and I are now with Cubs Refrain.

We've put so much into the front-end of our original music - so we're just getting into gigging again now…and I'm getting pumped...because that's my favourite part.

Jordan: There are too many to count: music has been such a huge part of my life. We (Cubs Refrain) recently played our first show together and I remember actually being startled by the power and ferocity of our synths. It was the first time I heard us play at full-volume through the venue mains and it was actually a bit scary. These synths are crazy-powerful but an absolute dream to pla (It’s kind of what I’d imagine setting off a big explosion would be like).

An awesome thing to behold - but a power to wield very carefully.

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What advice would you give to new artists coming through?

Your work ethic has to be relentless and more than just on your music (which also has to be very good). The more artists we meet, the more we realize that you have to learn to wear all hats at all times. It extends beyond music into marketing, advertising; social media, production; web design, graphic design - the list goes on. Point being; if you can learn these skills and be really effective with them, then you’ll have an easier time building your brand. 

With all that said; patience is key - even if it means working a full-time job and doing music on the side for a while. To give you an idea; Erin is currently working full-time as a civil engineer and, until Jordan left his job (to finish the album and go to school for Audio Production), he was working full-time as a mechanical engineer.

A head-first dive into the life of a working musician is the dream - but it’s not always realistic.

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

Jordan: Essentially, none. Haha. I’m currently at school for Audio Production at a private college in London (Ontario) called OIART (Ontario Institute of Audio Recording Technology); so I’m working on music/sound projects full-time - about six days per week. Any other free time I have, I’m working on stuff with Cubs.

Erin: I’d really love to spend more time on music, actually, but I work nine-five and spend almost every other moment focusing on the band as is. I don’t allow myself much time to chill and I’m trying to change that. Incorporating little things into my routine like meditation and yoga has helped recently.

But, when I can otherwise; I like to unwind by spending time with friends and family - whether it’s at home, at the bar or on some weekend trip out of the city.

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).

Jordan: Daytona/Fever by Roosevelt. Technically two tracks - but they run seamlessly one into another (If you have to choose only one, use Fever).

Erin: Time to Dance by The Jezabels

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Follow Cubs Refrain

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INTERVIEW: BRIDGE

INTERVIEW:

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BRIDGE

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THINGS are really looking up…

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for the super-talented BRIDGE. She has released her sophomore single, Charlie - and I was eager to discover what it is all about. The Sydney native discusses the scene back home; the differences between Sydney and Melbourne (where she has spent a lot of time); whether we can see her arrive in the U.K. – and who she counts as influential musical guides.

I ask whether there is more music coming and why the record for Charlie had some ‘sticky’ moments; if she has any words for new artists emerging; how this week has fared for her – she ends this interview with a cool song!

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

I’m really good, thanks! The track is going super-well - which is exciting. But, in even-more-amazing-news; I managed to find a genuine Ralph Lauren polo hat in an op-shop discount bin in Amsterdam for seven euros.

Summer, here I come!

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

Hey, guys; I’m BRIDGE. My actual name is Brigid. I’m twenty-three-years-old and I’m from Sydney, Australia. Music has always played a huge role in my life. My dad is a music teacher and my mum is a musician too - and my siblings and I were all brought up learning to play Classical music. I started on the violin at five.

But, we were always encouraged to explore what we were capable of as much as we could and to branch out into other styles! I like to think my sound gains influence from all of these experiences, as well from my musical inspirations like Gordi, Meg Mac and, not to mention, James Taylor.

Charlie is your latest track. Can you reveal the origin of that song?

I wrote this song on my last trip to Germany...

It was a pouring rainy day and I was trapped inside; so started writing. I wrote the song with just a guitar - but the driving drum-beat is something I definitely imagined from the start of the writing process.

You have worked with producer Ben McCarthy. What does he add to the recording process?

Ben is truly amazing.

Putting aside the absolute technical proficiency and professionalism that he works with; the most striking thing about the process was how comfortable an environment his studio was. The space he created, as well as his eagerness to harness all the potential of the song, made me feel like he was a real partner in its creation.

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Is it true you had difficulty recording at Sing Sing Studios?! Was that for Charlie ?!

It was certainly difficult at the time that’s for sure!

Sing Sing Studios is, undoubtedly, one of the best studios in Melbourne but, during the recording process, Melbourne was undergoing a downpour of torrential proportion - and the sound of the rain on the studio roof kept on leaking through the sound-gate. After trying our best to work around it; we made the decision to incorporate it into the song - which was a great idea, as it ties back into the day that the song was first made.

Personally…I think it takes the song to a completely new level.

Will there be more material this year? What else are you working on right now?

I’m always writing new stuff and I have a catalogue of new material that I’m hoping to release in the near-future…so stay tuned!

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Melbourne seems like a vibrant and fascinating area of the world! What is the music scene like there?

Well, look; as a native Sydneysider, I feel I’d be betraying my homeland if I was too complimentary! But, honestly; Melbourne definitely deserves its reputation. In terms of small bars and live music venues: it’s truly the cream of the crop.

Although, I still reckon the coffee is better in Sydney…

If you had to sell the city to someone: what would you highlight as the main reasons to come?

Shopping, food; culture, tram: I feel all of the stereotypical reasons to go to Melbourne really are the best selling-points!

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Did music come into your life early? What got you hooked on it?

Yes. As I said; I grew up learning and playing music from a very young age! I think what really got me hooked, though, was when I started branching out and experimenting with other instruments such as piano and guitar - and writing my own stuff.

That’s when music really became less of a chore and more of a hobby for me.

Which musician did you grow up around? Can you remember the first album you ever bought?

I think the first album that I ever bought was Barbie Slumber Party 2002/Barbie Pool Party Mix, Volume 2 (money well spent, if you ask me) - but mum and dad made sure that my music tastes were a touch more diverse. The Beach Boys and Paul Simon are two that definitely stand out as early loves of mine.

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

I’m actually in Europe for the next year and I’m hoping to play a few gigs here and there - but no concrete plans at the moment. Although, if you chuck me a follow on social media then you’ll be the first to know…

Do you get over to the U.K. much? Will we see you play over here?

I actually played a small gig in Chiswick earlier this year - which was an amazing experience - and definitely one that I’d like recreate at some point.

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What do you hope to achieve in 2018?

I guess a top-of-the-charts single would probably be asking too much?!

But, if not that; just being able to create music and, hopefully, play in some cool, off-the-beaten-track venues around Europe.

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

I actually had a pretty unreal experience two weeks ago in Germany...

I’m currently based in this tiny town called Tübingen and I went along to this jam night with some mates at this tiny cellar bar under the castle. I got up and played Charlie on the piano but, by the second verse, I had a whole band of German locals playing along - it was pretty surreal!

What advice would you give to new artists coming through?

Truth be told; I’m still pretty new to the game myself but, if there’s anything I’ve found, it’s that it’s so helpful to connect with other artists - to try and get advice and see how they do it! In actual fact, that’s how I managed to find Ben McCarthy - he’d recorded one of Gordi’s E.P.s (which I really loved) so I managed to get in touch with her and she sent me his name.

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

I sure do!

Music is obviously a massive part of who I am...but I also have a lot of other things I love to do! Travel is a big one - and I love watching a bit of footy.

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).

Mumford & Sons - There Will Be Time

This song is from their Johannesburg E.P. and it’s such a different vibe to their normal stuff! They recorded this E.P. during their tour in South Africa in 2016 - and for this song, they collaborated with a Senegalese singer, Baaba Maal…and the result is unreal.

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Follow BRDGE

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INTERVIEW: Rhys Lewis

INTERVIEW:

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Rhys Lewis

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THE solo songwriter market has many players…

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but few that continue to create progressive and impressive music. Rhys Lewis fits into that exclusive club. I have been speaking with the talented musician about his E.P., Bad Timing, and what inspired the songs; whether he has a favourite moment from it; which artists he counts as idols; how London is suiting his creative and personal flow – what advice he would give to artists.

I ask Lewis whether there are new artists he recommends; how he unwinds away from music; whether there are gigs coming up soon; where he goes from here – how important his fans’ love is.

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

I’m very well, thanks! It’s been cold but great: can’t get my head around this weather! 

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

I’m twenty-six. Originally from Oxfordshire but I been living in London for seven years now - and I’m a budding singer-songwriter! 

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Your E.P., Bad Timing, is out. What are the inspirations behind the songs? Any key themes that influenced the songwriting?

I guess, for this E.P., the first two tracks came from the breakdown of my last relationship. It’s all still quite fresh; so it feels weird having songs out there that are so open about it all. Themes of disconnect and loss are at the heart of it - and the sadness that comes with having to sacrifice something you don’t want to give up. 

Do you have a favourite song from the E.P.? Is there one that stands out?

My favourite is Reason to Hate You.

I like that it’s just the song: no production; still quite raw. The lyrics sum up completely how I was feeling - so I’m glad they are still the main focus. I also recorded that one live - so I have quite fond memories of the session. 

The track, Bloodstains, is already out. Has it been good getting the song out there? What has the reaction been like so far?

It’s been amazing seeing the reaction people have had to my music.

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People from all over the world message and say that one of my songs has been the soundtrack to their drive to work or helped them through a break-up; or the song they dance with their kids to in the living room. So it’s crazy to step back and realise that my music is playing in people’s lives.

In just over a year, I’ve had 20,000,000 streams on Spotify…which blows my mind. 

How did you get into music? Did you grow up in a very musical household?

My parents weren’t really that musical but my dad had a guitar - and both my parents listened to lots of great music. But, they were really encouraging (of me) trying music at school and, when I picked up the guitar at ten-years-old, that was it: I was obsessed!

Which artists do you count as idols? 

Blake Mills. He’s a GENIUS. You only need one... 

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You are situated in London. Do you draw any energy and creative guidance from the people? Is it the best place to be for an ambitious musician?

I’ve definitely been affected by living here. One of my songs is about the bittersweet relationship I have with living here. One the one hand, there’s so much going on and it’s a very creative place; on the other, it’s crowded, expensive and creatively draining...! I don’t think it’s essential that you live in London as a musician: there are some great cities in the U.K. that have an equally-exciting musical community.

It’s just important that you find a place that inspires you to do your best work and maybe a place that promotes collaboration and creativity. If you’re making something exciting and shouting about it; the industry heads will find you wherever you are. 

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 IN THIS PHOTO: Jade Bird

Are there any new artists you recommend we check out?

Jade Bird, Lewis Capaldi; Freya Ridings, Jalen N’Gonda; Franc Moody, Dermot Kennedy and Lily Moore. There are so many at the minute: I could go on for ages!

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IN THIS PHOTO: Freya Ridings

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

I’m on tour in Europe in April - and then doing a small U.K. tour at the start of May! 

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

I try not to set too many goals: I (just) aim for each year to be better than the last. So, releasing more music, playing bigger shows; passing my driving test and seeing my family more are all part of the plan for 2018!

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

Playing a sold-out show in Amsterdam to 600 people at the end of my European tour was definitely one of those pinch-yourself-moments. My family and friends were there too - so it was a special gig!

How important is the support of the fans and the love you get online? Do they motivate you to reach high and push on?

You know what; I never thought I’d say this but having that connection with fans really does inspire you and motivate you to do better. Especially when you’ve met a lot of those people on tour after a show: their words of encouragement and support really go a long way - and remind you that there are people out there that enjoy the music you’re making. Sounds cheesy, but you put your heart and soul into creating music and then labels - and whatnot - judge it based on streams and data.

So nice to have a connection with the people that judge it for what it is: music. 

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What advice would you give to new artists coming through?

Write or play or practice or study every single day. Focus on making music that excites you, because if it doesn’t excite you, it won’t excite anyone else. Obviously, social media is important but you can’t truly build a lasting following without good music - so let that be the thing that comes first.

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

I don’t get loads of time but, when I do, I like to play sport and stay active. I recently (just) got into chess, so I’ve been trying to get good at that - I’m still sh*t. Reading is also good. It stops me from staring at a screen - which is the main benefit, I think! 

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Follow Rhys Lewis

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FEATURE: Spotlight: Liv Dawson

FEATURE:

 

Spotlight

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Liv Dawson

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THERE are a lot of promising artists…

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coming through the music industry at the moment. Liv Dawson is an extraordinary talent who is connecting with so many people. Some of her song-titles might put you in mind of other artists – Deep Purple (Hush); Turin Brakes (Painkiller) and Carole King (Tapestry) – but the work is all hers! Hush – released last December – is the latest song from Dawson and a slinky, sexual number.  I am reminded of the 1990s and the great R&B/Pop coming out during that time. The production is liquid-smooth and Dawson’s command and control is clear. I remember when I first encountered Liv Dawson in 2016. I was exposed to songs like Still and Reflection: even then, the talent and promise was clear. Still is smooth and casual; it has a sweetness but, above all, is that sheer ability from Dawson. The song is more Pop-natured than something like Hush: the mutation and development over the past year or so has been incredible. Reflection reminds me of U.S. artists like Christina Aguilera in terms of tone and accent – the mood and vibe reminiscent of the best from Pop music. 2017’s Searching promises those poppy beats and bouncing electronics; the instant hooks and big vocals. Seeing Dawson grow from 2016-2017 is amazing: the songwriter a little bolder and the songs more adventurous. The biggest change has been from the out-and-out Electro-Pop vibe to a young woman exploring Soul and R&B.

It is understandable Dawson came onto the scene with a desire to write Pop and produced energised, fresh songs. That is what many artists do in order to get acclaim and recognition. For her, it was about following her heart and instincts – people reacted and her music was proffered widely. Listening to something more adult and assured like Hush sees Dawson enter a new phase. She sounds sexier and more alluring; able to elicit shivers and intrigue with the simplest of touches. That relatable and familiar core remains: able to strike the listener and write songs they will understand. Each song from Dawson explores the personal and relationships; heartache and anxieties alongside seduction and passion. These are topics we can all understand and find comfort in: Dawson elevates beyond the obvious and brings the listener into her world. That world, I hope, will expand in 2018. She has just come off tour with Khalid and, if the photos and updates are to be believed; it was a blast and treasured time for her. There is a new single out next week: TALK shows the young songwriter is on a role and in love with music. I am not sure what the single is about but I am keen to review her very soon. It has been a while since I last interviewed her (2016) and there have been lots of developments since then.

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2018 has already kicked off and, for Liv Dawson, there have been some great times already. I wonder whether there will be E.P. later in the year. It seems, a couple of years into her career, an album might be right. She has some great songs under her belt and the desire for an album would see her mind create new songs – match four or five new ones with the singles she has already released. You listen to Dawson and she mixes mainstream-ready Pop – with more credibility and talent – with sensuous, rich R&B. She bridges the girl-groups and icons of the 1990s with the best of the modern day. I have been following modern-day idols like Dua Lipa and seeing why they are being celebrated. Dua Lipa, to me, is a bit too moody – it seems to be her persona – and the songwriter too samey and mass-produced. She has just scooped a couple of BRIT Awards: a bigger talent like Liv Dawson deserves more acclaim and exposure. One of the reasons Dawson will have to work harder is the fact she is real and human. That might sound like a shot at Pop artists like Dua Lipa – who are all about commercialism and do not reveal much of themselves – but it is a bigger compliment to Dawson. In an age where fake and plastic artists still have too much say: Dawson is a proper woman who connects with her fans and wants to remain grounded.

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She is obviously stunning, but her natural looks and appeal are second to her immense talent as a songwriter/performer. Her fans follow her because she lets them in and ensures there are no lies. A lot of stars are shrouded in mystery or controlled by the record label. They have to carefully think about everything they post on social media and are incredibly measured. Dawson is someone who values honesty and wants to come across as a natural and unspoiled musician. This year will be the biggest one for the London-based artist. She has to entertain the fact there will be festival dates and the hot summer will welcome her in – loads of gigs and chances to get the people dancing! London is hospitable when it comes to artists and, because of that, Dawson will have ample chance to get her new music out there. I feel international dates are the next step. She has come off the support slot with Khalid: going solo and having her own international tour is only a matter of time. Not only is Liv Dawson a talented artist who creates a mix of mystery and appreciation: her personality captivates and welcomes you in. One can imagine going for a drink with her and slopping out by the T.V. watching a box-set. She would make a perfect travel companion and one would easily open up and chat about music for hours.

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She is very striking but not too intimidating; ever-friendly and warm and, at a time when we need strong artists to lead the way; an empowered and gutsy female artist who will headline a festival before long. There is sexism rife and rampant in the industry right now. The best female artists are being overlooked and treated unequally. Liv Dawson and her peers are fighting back and create incredible music. The door is open for her and, in a short time, she has managed to create a huge fanbase and capture the critics. That will all get better and bigger as we move through the year. I know Pop music is changing its course and nature. The best artists are producing a more rounded and adult sound; the songwriting is deeper and richer – the overall sound is, perhaps, more introverted and personal. Liv Dawson is keen to put her soul onto the page but never wants to drag the listener down. Her goal is to win as many people as possible and get her music as far and wide – inspire other people and compel them to take up music. It is amazing how far Dawson has come since her earliest day. She gets more confident and passionate by the month, it seems. If this trajectory continues then there is every possibility Liv Dawson will be a mainstream success…

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BEFORE you know it.

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Follow Liv Dawson

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INTERVIEW: Hero Fisher

INTERVIEW:

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Hero Fisher

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A new track from Hero Fisher is always…

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reason for interest and celebration. The London-based songwriter talks about Lonely and whether there will be more material. I ask her how her music has changed and whether she has stepped up her game; whether, she feels, the stage is somewhere she feels free and connected; if we can see her tour this year – what sort of music she was raised on.

Fisher reveals what it is like getting acclaim from big names (including Blur’s Dave Rowntree) and what she hopes to achieve this year; how she spends any free time away from music; a favourite memory from her time in music – she ends the interview with a rather cracking song selection.

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

Hi! I’m good, thanks. I’ve been walking around snowy London. It’s looking magical out there!

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

My name is Hero Fisher. I grew up in France with Australian parents and am now living in London. I’ll be releasing my second album, Glue Moon, before the summer. I’m really proud of it and can’t wait to share it with you!

Lonely is your new track. Can you talk about the story and inspiration for it?

I think the song is about warped perceptions - and how our individual perceptions are the only reality we actually have.

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Do you think they’ll be a video for the song? You create great and unique videos! Do you have an idea in mind for Lonely?

Thank you! I have made a video for this one. I, visually, wanted something meditative rather than narrative (for Lonely). The viewer just follows me along a drive; seemingly never-ending. It looks a bit like dream and is entirely open to interpretation:

Will there be more material this year? What are you working on?

Yes! We will be releasing a new single soon called Life Through Closed Eyes - along with a video directed by the wonderful Julian Broad.

Last year was a busy one for you. It seems like Lonely brings in new shades and ideas. Was it a conscious decision - to change things up a bit?

I initially wrote it as a kind of songwriting exercise - thinking someone other than me would sing it. But, it sort of just got darker and darker and it ended up fitting nicely in the album. I like to let songs happen organically: songs tend to take a shape of their own. I suppose I consciously make the decision to let the song lead the way.

I just decide whether to release it or not!

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It seems you and music and perfect partners. What was the reason for taking up music? Did you feel like it was the best way to express yourself – in a way you couldn’t have done otherwise?

Thank you. Yes, I definitely feel like that! I struggle to talk about my music because I make music to describe what feels indescribable.

Which artists do you count as idols? Did you grow up around a lot of different music?

Yes. My folks played all sorts of sounds around the house as I was growing up. I fell hard for Bob Dylan pretty young - and Leonard Cohen, Billie Holiday; PJ Harvey, Radiohead; Edith Piaf, Nick Cave...

You have courted some praise from some big names. Blur’s Dave Rowntree has expressed his fondness! Is it encouraging realising receiving applause from high-profile names/sources?  

Yes. It’s a wonderful thing to be appreciated by artists I admire so much. I work hard to make the best music I can - so it’s always good to get the nod from anyone really!

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

We’ll be playing new songs from the upcoming album on the 15th March at St. Pancras Old Church and at The Great Escape on the 19th May. I hope we see you there!

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PHOTO CREDIT: Brett Walker

I have seen you perform and can attest to your skills on stage. Is it somewhere you feel able to communicate fully and honestly with your listeners?

Thank you for coming to a show! I’d be lying if I said I didn’t get stage fright. It’s a real challenge for me - which is why I do it, I think! I’m still learning how to perform and probably always will be. But, when you’ve managed to channel what you’d hoped to and hold an audience’s attention…and made them feel something strong; it’s a magical moment.

I don’t know any other feeling like it.

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

I very much hope the album will be loved - and that we’ll be able to tour Glue Moon for a while.

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

I would say recording the album in Monnow Valley Studio is a really happy time in my mind. It’s in the middle of nowhere with nothing but lambs and chickens; fields and trees, a little river running by. The night was so quiet and the air felt so clean.

I love the recording process. When we’ve brought together a solid and inspiring team of people and once we’re on a roll; it feels like a real achievement to have made it to that point!

What advice would you give to new artists coming through?

I would say don’t try to be anyone else. What will make you stand out is only you; your perception and the way you describe it. Don’t do anything you don’t want to do. Be flexible. Be kind. Be ruthless…

Don’t smash a burger just before a show or you’ll get sleepy.

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PHOTO CREDIT: @sonyajasinskiphotograph

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

I don’t really listen to music all that much: I like the quiet. I love to read. I’m really into Shirley Jackson’s writing at the moment. I recommend We Have Always Lived in the Castle.

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).

Joan As Police Woman – Warning Bell

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Follow Hero Fisher

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FEATURE: The Best Original Song Playlist: An Oscars Special

FEATURE:

 

The Best Original Song Playlist

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 IMAGE CREDIT: @90AcademyAwards 

An Oscars Special

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TONIGHT is a night when Hollywood’s very best…

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PHOTO CREDIT: Unsplash

get out their frocks and tuxedos and take to the red carpet. All eyes will be on the nominations for Best Picture and Lead Actress – which can be discussed on non-music blogs – and which stars defy the odds and scoop the biggest awards. The Best Original Song category is one of the lesser awards that, doubtless, deserve kudos and attention. Over the years, there have been some unwise choices and undeserved winners: Sam Smith’s Writing’s on the Wall (Spectre) and Phil Collins’ You’ll Be in My Heart (Tarzan). In the Original Score/Best Original Score category; there is hot competition indeed! Hans Zimmer’s Dunkirk sits with Jonny Greenwood’s Phantom Thread; John Williams and Carter Burwell are also nominated – for Star Wars: The Last Jedi and Three Billboards Outside Ebbing, Missouri. This year’s Best Original Song finds Mighty River (Mary J. Blige) take on Sufjan Stevens’ Mystery of Love; Remember Me, Stand Up for Something and This Is Me makes up the remain nominees.

Each song is wonderful and adds something incredible to the film. Mary J. Blige’s contribution to Mudbound resonated – the same goes for the other artists listed in the category. Whilst eyes are on all the major categories and hotly-tipped films; spare a thought for those minor categories and the wonderful artists and composers who will not win the same acclaim and attention on the night. In honour of a rather varied and exciting Best Original Song list; I have collated some of the best winners from the glittering and exhilarating…

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ACADEMY Awards.

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

FEATURE:

 

The Musician As a Brand

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 PHOTO CREDIT: Unsplash

Should There Be a Limit?

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FROM time to time…

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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.

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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.

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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.

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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:

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Soho Radio

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IT has been interesting speaking with Rachael Bird…

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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.

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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...

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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.

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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.

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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

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INTERVIEW: Ellie Occleston

INTERVIEW:

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Ellie Occleston

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I have been speaking with teenager Ellie Occleston…

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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.

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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!  

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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.

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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…

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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

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TRACK REVIEW: Archie Langley - Let It Rain

TRACK REVIEW:

 

Archie Langley

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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…

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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“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.

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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.

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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…

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TURNING many heads.

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Follow Archie Langley

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

FEATURE:

 

Remixologists

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 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.

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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…

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SOMETHING beyond the realms of simple imagination.

FEATURE: Reach Out… Bringing Music to a Wider Demographic

FEATURE:

 

Reach Out…

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 ALL PHOTOS: Unsplash 

Bringing Music to a Wider Demographic

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THE infamous Storm Emma has brought…

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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?

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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!

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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.

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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.

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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.

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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.

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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…

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MISS out on such treats!

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

FEATURE:

 

Regular Einstein

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 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…

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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.

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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.

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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.

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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.

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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.

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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…

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MAKE a huge impression that will last for years.

INTERVIEW: Three Kings High

INTERVIEW:

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Three Kings High

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

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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.

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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.

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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.

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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.

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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!

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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.

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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.

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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.

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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.

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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.

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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.

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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

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

FEATURE:

 

The March Playlist

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 IN THIS PHOTO: Jack White 

Vol.1: Black and White Town

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THE singles are rolling in from Jack White…

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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

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

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

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Alma – Legend

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Blossoms – I Can’t Stand It

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Cabbage – Preach to the Converted

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The Hunna – Y.D.W.I.W.M.

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Soccer Mommy – Last Girl

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Chris Cornell – You Never Knew My Mind

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Tracey Thorn, Shura - Air

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Chvrches (ft. Matt Berninger) – My Enemy

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Dinosaur Jr. – Hold Unknown

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Everything Everything – The Mariana

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George Ezra – Pretty Shining People

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Moss Kena – You Don’t Know

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Little Dragon – Best Friends

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Dave – Hangman

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PHOTO CREDIT: Pooneh Ghana

Lucy Dacus – Nonbeliever

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Meghan Trainor – No Excuses

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Findlay Brown – When the Lights Go Out

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MNEK – Tongue

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The Vaccines – Put It on a T-Shirt

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Ellie Goulding – Vincent

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Andrew W.K. – The Party Never Dies

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Young Fathers – Toy

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Aisha Badru – Fossil Fuels

 
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PHOTO CREDIT: Daniel Alexander Harris

Fickle Friends – Wake Me Up

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Anna Von Hausswolff – The Marble Eye

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The Breeders – All Nerve

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PHOTO CREDIT: J. Konrad Schmidt

Sam Vance-Law – Wanted To

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Gorgon City – Motorola

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Flo Rida – Dancer

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Gwenno – Hunros

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IMAGE CREDIT: John Laux 

Superorganism – The Prawn Song

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Blakey, JONES – Prism of Love

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Etherwood - Climbing

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Little Comets – M62

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Samantha Harvey – Never Dance Again

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Moby – The Tired and the Hurt

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PHOTO CREDIT: Kanya

Amber Mark – Love Me Right

TRACK REVIEW: Hollie Haines - Keep Moving On

TRACK REVIEW:

 

Hollie Haines

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Keep Moving On

 

9.4/10

 

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Keep Moving On is available via:

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

GENRE:

Alt-Folk

ORIGIN:

London, U.K.

RELEASE DATE:

23rd February, 2018

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THERE are some important things…

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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!

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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…

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WITH emphatic resolve and desire.

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Follow Hollie Haines

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INTERVIEW: Findlay Brown

INTERVIEW:

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Findlay Brown

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THE intriguing Findlay Brown was once labelled…

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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.

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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.

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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.

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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.

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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!

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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!

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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

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