INTERVIEW: Max Restaino

INTERVIEW:

1.jpg

Max Restaino

_______

THE music scene has a lot of choice…

2.jpg

but not that many original artists. I have been speaking with the promising, multi-talented songwriter Max Restaino about his current track, Sugar Rush, and what comes next; whether there are any tour dates approaching; touring and performing with Steps and Shane Filan – and how important his home of Sheffield is.

I learn more about Restaino’s influences and how he came into music; what it feels like being on the stage; what advice he would give to similar, new artists; how he spends his time away from music – and the musicians he grew up on.

__________

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

I'm Max Restaino. I'm a songwriter, producer and a singer. I play the saxophone, piano; accordion and guitar. 

Sugar Rush is your current track. It has done really well in the clubs! What is the story and inspiration behind that track?

I was really inspired when writing Sugar Rush.

I was hoping to sound a little Maroon 5. I'm really happy with it because I worked on the chorus for weeks and didn't settle for any old melody. 

Do you think they’ll be more material coming very soon? What are you working on right now?

I’m working on a new single at the moment called Angels Cry which I have written - and is being produced by the legendary music producer, Steve Levine (who produced for Culture Club and The Beach Boys).

7.jpg

You have supported Steps and are about to go on tour with Shane Filan. How does it feel securing these high-profile support slots? Did you learn a lot performing alongside Steps?

It’s a great experience supporting major artists: there is always something you learn with every show. The difference between the Rebecca Ferguson tour and the Steps (tour) was the fact Rebecca’s tour was in theatres and Steps’ was at arenas. In order to get the crowd going in the bigger venues, you have to you have to become a bigger performer and fill the stage.

Take me back to the start. How did music come into your life? When did you decide you wanted to be a songwriter?

My Italian grandparents brought back a buttoned accordion from Italy. I picked it up at five and was able to play it. From there, I went on to the piano, guitar and the saxophone. The songwriting part of it eventually surfaced and I started writing music at the age of eleven. I started producing music for myself as an artist. 

3.jpg

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

My favourite music growing up, apart from Italian accordion Folk songs, were, usually, older bands such as E.L.O., Chris de Burgh and Michael Jackson. My favourite album has always been Breakfast In America by Supertramp - which is why I wanted to learn the saxophone. 

Sheffield is your home. Do you think the city gets the credit it deserves?! How does the vibe in Sheffield differ to, say, London?

Not many people know, but Sheffield has quite a rich musical history with bands like The Human League, Def Leppard; Joe Cocker and Arctic Monkeys.

I think there are, possibly, more opportunities for upcoming artists in London.

What other gigs do you have coming up? Where can we catch you play later this year?

I have my own solo gig at the O2 Academy in Islington (in London) on 19th April. I’m also going on tour in late-April to May with Shane Filan. I’m looking forward to them. They should all be really fun. All the information will be on my website.

4.jpg

Can you describe the feeling you get when you’re on that stage?! Do you prefer the rush of the stage or the studiousness of the studio?

I love anything involving music...

The studio side is fun as you can be creative and come up with great ideas: the performing side is more exciting. It’s really nice getting the crowd going and transferring emotion with the songs you have written and worked on so hard. 

What do you hope to achieve in 2018?

In 2018, I would like to get my new single played on international radio and, possibly, be signed to a label with the right contract. 

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

There are one or two achievements that I’m proud of. One for the bucket-list was having my album, The Time It Takes, available on the shelves of HMV...playing accordion on the Gary Barlow track, Let Me Go, and, also, performing at the 02 Arena. 

5.jpg

What advice would you give to new artists coming through?

I would say to any artists coming through: give it your all, always keep going and enjoy the process. 

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

I like to hang out with friends. I have a table tennis table downstairs from my studio, so I look playing in breaks or after work. Ironically, my main getaway from working is listening to music. 

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 favourite saxophone solo on one of my favourite songs, from my favourite album by one of my favourite bands: Supertramp – The Logical Song

_______

Follow Max Restaino

6.jpg

INTERVIEW: Schultz & Forever

INTERVIEW:

1 (3).jpg

 PHOTO CREDIT: Magnus Bach  

Schultz & Forever

_______

I always love speaking with Danish…

2.jpg

PHOTO CREDIT: Theis Alstrup

artists, as one gets a different sensation and vantage. I have been learning more about Schultz & Forever and his (Jonathan) new video, Backwards. I learn more about his debut album, Grand Guignol, and what sort of ideas are expressed – and what the future holds for the Copenhagen-based artist.

I ask whether Schultz & Forever will come to the U.K. this year; what it was like growing up in a Christian family;  the musicians that inspired the songwriter; what advice he would give to new songwriters – and how early music came into his life.

__________

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

Hi. I’m fine, thanks! It’s been busy, but alright.

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

Sure! My name is Jonathan and I’ve had my little project Schultz & Forever for, approximately, seven years now. I started the project when I was sixteen so, obviously, there’s been musical changes and songwriting improvements since then.

I’m about to release my debut album, Grand Guignol, which I have spent the past two years making. It’s definitely my best work - but I could never have done it without the amazing contributing musicians and producers that have helped me make it.

I can’t wait to release it!

Grand Guignol is your debut album. What were the themes and stories that inspired the record?

The songs were all written in periods of time where I was reflecting on my own personal life, basically, and how I saw the world around me at the time of writing. There are biblical themes, which relate to my upbringing as a Christian - and which also relate to the point in my life where I had a natural turn against my idea and faith in the idea of God.

I was very inspired by the idea of creating characters in songs and expressing exaggerated feelings and thoughts, which added a kind of theatrical way of expressing my own feelings such as anxiety and anger, but also, love and hope. Most of the songs are actually a few years old - but they were totally redone and rearranged in the studio.

 

The video for Backwards is out. What is it about that song that marked it as a single? What was it like putting the video together?

To be honest; it’s just the most radio-friendly song on the record.

It’s two of my best friends, Glen Bay Grant and Ejner Seidelin, who directed the video for the song so, obviously, it was a lot of fun shooting and rehearsing the croquet choreography with them! They knew this guy named Gordon who teaches croquet; so the week following the shoot I was rehearsing it in my apartment naked in front of my two friends - together with Gordon, whom I had never met before.

It was a blast! 

Each of your three E.P.s displayed creative leaps. You have taken another step forward with Grand Guignol. Do you think it’s important to keep moving and exploring?

Definitely. Just like how I change personally, I will always change musically and creatively. It keeps it interesting to keep exploring by making the ceilings higher in the creative process of writing and recording!

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

I got hooked on it because my big brother and my cousins were all musicians and making music. So, as the youngest in my family, I looked up to them a lot. They would give me little yellow Post-its with bands and musicians I needed to check out. I immediately became obsessed with Nick Drake and Neil Young, who inspired me to write and play music. It’s the only thing I think I’m good at; so I’m gonna keep embracing it till I die. 

POSE.jpg

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

I think the first album I ever bought was The Smiths’ Hatful of Hollow. I wasn’t entirely happy about The Smiths at the time but I had just heard some songs from the record that I liked. Eventually, the record grew on me - and now I love it! 

I understand you grew up in a religious environment and raised as a Free Church Christian. Was that something you felt comfortable with?

I’ve always had the love, attention and comfort in my upbringing as every child should have…and I have never been a victim of any sort. My parents are the warmest and kindest people I’ve ever met and they have always put me and my siblings at first. They gave us the belief in God because they saw it as the only option - as they have had great enhancement in their life because of their faith. It was only when my own personal disconnection with God occurred that I felt like life had no meaning anymore. I started in high-school, which was the first time in my life I was surrounded by atheists - and the first time I read a school book that talked about the Big Bang and evolution.

I’m never gonna tell my children that there is or is no God: they can believe whatever they want and I think it’s important to give a child that option. 

Is faith, positively or negatively, something you bring into music? Was it hard disconnecting with a very religious life and breaking away?

It was hard to go from being a kid believing that life is a gift from God and my earthly existence was just a stairway to Heaven - and believe that my life would always be in God’s hands and protection - to finally understanding life's meaninglessness. I had to find meaning elsewhere...and music was kind of like a safe-spot and a way to distance myself from an existential crisis...

I would say now, though, that it’s been positive in the way that it has inspired me to write about it - and given me a lot of themes and feelings that I can write about and put into records.

3 (2).jpg

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

Only shows in Denmark booked right now. We’re playing Hotel Cecil, in Copenhagen, on 14th March. There’s definitely gonna be some shows outside of Denmark, but nothing in the calendar right now.

What do you hope to achieve in 2018?

I hope to be able to write and record a new record - and it would be amazing to release it at the end of 2018. It’s very important to me that I release music more frequently now!

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

I remember playing in a Punk band called Pink Roses when I was eleven-twelve-years-old. It was terrible music and we were, basically, just playing cover songs of The Strokes - but we told people we had written it ourselves. I remember the feeling of knowing that music would always be a huge part of my life - and that it was the only thing I would wanna do.

jesus.jpg

 PHOTO CREDIT: Magnus Bach  

What advice would you give to new artists coming through?

To stay true to who you are - and don’t make music about your Xanax habits! 

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

Yes, I do! I’ve just starred in a short film which will premiere in Empire Cinema in Copenhagen in April. I’ve recently started acting and I love it! It’s also a great way for me to distance myself from music - so that I can go back to music with new energy to write and record! 

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).

Haha! Thanks! Well. I’d recommend you play Karen Dalton - In a Station from the record, In My Own Time. The whole record is amazing!

_______

Follow Schultz & Forever

end.jpg

INTERVIEW: Goldkey

INTERVIEW:

1.jpg

Goldkey

_______

THE first interview of the week…

3.jpg

sees me ‘jet’ to New York and speak with Goldkey – the alias of singer-songwriter, Mike Horn. He discusses the awesome new single, Faster, and the story behind it. I ask him about influences and the musicians who have guided his ideology; what New York is like in terms of fostering new music; how Faster compares to early work – and whether a trip to the U.K. is on the cards.

Goldkey chats about musical memories and new artists to check out; why Jeff Buckley is such a pivotal and entrancing force; how he relaxes and chills away from music – the interview concludes with a rather lovely song!

___________

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

My week has been awesome, thanks for asking. Coming down from the new single release on 2nd March, which has been holding steady at number-one on Hype Machine's Popular Songs on Twitter rankings the past few days...

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

Sure. My name is Mike Horn and I've been performing in several projects for years. Goldkey is a newer project I started at the beginning of 2017, after tracking an entire album worth of tunes - of which I eventually scrapped. Only one of those songs stood out to me as something I wanted to put out to my listeners - that song was Mountain (it can be heard here).

I've released and/or have been involved in several projects over the past couple of years. This one was more about exploration…

Faster is your new song. What is the story behind your latest work?

Faster is a song about something, mostly, everyone can relate to – trial and error but, also, finding your rhythm and wanting to slow down your pace of life.

You worked with Ben Rice on the track. How did you two meet and come to collaborate?

Ben Rice is a brilliant producer at Degraw Sound in Brooklyn, N.Y. Ben and I met years ago after one of my older Alt-Rock bands recorded at his old studio in a basement. He's the only producer I've worked with for Goldkey tunes - and is a major component of how well these songs came out.

How does Faster differ from What Am I Supposed to Do? and Mountain? Do you think you are growing in confidence and scope?

Faster is a song that I think combines all of the elements I enjoy most about music - bringing the listeners along for a wave of emotions and incorporating build-up to send a clear and concise message. With this one, I feel the songwriting is getting stronger and more personal. With every song, I'm shaping my sound even more than the track before.

That's always the goal.

2.PNG

Will there be more material coming later this year?

I anticipate I will release another song or two this year - and possibly even an E.P.!

New York is your base. What is the state like in terms of new music? Do you think it is the best place in the world to be?

As I mention in my song, Mountain: “New York's the only place that I've known/and I'm sure that I belong here". For all its quirks and the stress of living and breathing N.Y.C. air, it's the only place I want to do what I'm doing.

Tell me about the artists you grew up with. Which musicians do you count as idols?

Michael Jackson is always my go-to, because I've listened to him since the moment I was born (until now). I was two-years-old when Bad was released - and I've been a fanboy ever since. Around my college years, I got into Jeff Buckley's Grace and have been diving into his catalogue headfirst ever since.

You and I are both big fans of Jeff Buckley! How did you discover his work – what is it about his music that speaks to you?

I don't think there's anyone else who has been able to replicate his sound. That's the dream of every musician, isn't it? To create a sound only you can have. His songwriting and song arrangement was extremely unorthodox and questionable at times - but that voice of his could fix almost any average song and turn it into a masterpiece.

4.jpg

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

You sure can! I'll be at The Delancey in N.Y.C. on April 27th for the glamglare showcase. I have some other shows in the works that I will be announcing soon.

Do you think you’ll head to the U.K. and play? Do you like British music?

I would love to - but might need some help getting there. Haha. My first concert ever was Oasis' Morning Glory Tour in 1995. To say I'm a fan of British music is an understatement.

ph.jpg

IN THIS PHOTO: Phoebe Bridgers

Which new artists do you recommend we check out?

At the moment, I'm listening to a ton of Phoebe Bridgers as well as the new Jonathan Wilson record, Rare Birds. Highly recommend. 

Jon.jpg

IN THIS PHOTO: Jonathan Wilson/PHOTO CREDIT: Andrea Nakhla

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

I want to keep making great music and sharing it with the world.

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

Back in 2005, I performed a couple of shows at CBGB's 313 Gallery. I was one of the last to play there before it shut its doors. I've played to packed out rooms there a few times.

What advice would you give to new artists coming through?

Be persistent, be patient and don't lose confidence. A lot of people will turn your music away - and that's always going to be the case, since music is subjective.

Hang in there!

6.jpg

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

I unwind by listening to records - so not much time ‘away’ from music. Haha

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

I'd go with Belle & Sebastian's new song, Poor Boy. It's a funky Indie tune. Enjoy!

_______

Follow Goldkey

5.jpg

FEATURE: “A Music Journalist Is, Simply, a Failed Musician…Right?!” Confessions of a Content Writer

FEATURE:

 

“A Music Journalist Is, Simply, a Failed Musician…Right?!”

sit.jpg

ALL PHOTOS (unless credited otherwise): Unsplash 

Confessions of a Conten Writer

_________

ONE assumes those who spend their professional time…

rites.jpg

slagging off other artists are failed musicians who never fulfilled their dreams. Many, bitter people, fail to distinguish between those who fall into those categories and those who have a genuine desire to succeed in a particular field. It all harks back to that maxim/saying: “Those who can’t, teach”. It is an idiom, actually, and it is a truncated version of a phrase from George Bernard Shaw’s Man and Superman. I know a lot of music teachers and singing coaches who get that accusation. Many assume they have taken that job because their aims of being a professional singer burned out. In fact; the most-common occurrence of that flawed assumption is aimed at music critics. If Mr./Mrs. So-and-So gives an album a two-star review and pours scorn on its ideology – there is that pack mentality to attack and disparage those who dare degrade a terrific musician! They have it in their heads she/he wanted to be a musician but couldn’t quite hack it: they fell into writing and can be all smarmy hiding behind their keyboards! As I type this; I am listening to Oasis’ Be Here Now – and the track, D’You Know What I Mean? That is a classic case of fans heaping negativity on reviewers who dared to snub the third album from the Manchester icons. At the time, the album was received with pomp and celebration, mind. It was Oasis during their heyday and many assumed, before they even heard the record, it would be a masterclass – as their previous two albums were...

B.jpg

IN THIS PHOTO: The cover of Oasis' album, Be Here Now/PHOTO CREDIT: Getty Images

Many reviews, through fear or without listening to the album, give it big reviews and threw hyperbole and superlatives at every song. Crowds queued around the blocks to pick up the record – a time, in 1997, when we flocked to record shops, hot in anticipation and fever! The album had some boss tunes – the aforementioned opener, Stand By Me and All Around the World do the job! – but it was re-reviewed in retrospect. It was/is too cocaine-laden and confident: a collection of over-long boasts from boys full of braggadocio and ego – not as honed and appealing as an album like Definitely Maybe. The first two records from Oasis were full of anthems and urged people to get together and celebrate life: their third record was crammed with chest-pumping songs that had little substance and inspiration. I saw a few reviewers criticise the band’s motives and, as you’d expect, people went for the throat. It seems to be the same in the modern day: if a critic expresses their opinions, they are open to judgement and offensive spit. There are some critics, granted, who are cloth-eared c*nts. They will not be named but, when genuine excellence is presented to them; they scowl their faces as if they had been offered a night of sex with Piers Morgan!

anger.jpg

Most music journalists get into the profession through music – many of them have been in bands and had their time in the sun. I am sure there are some, like me, who are jealous of those who get on the stage and feel the adulation from sweaty and delirious audiences – feeling that love spread through their bones; the confidence and sense of validation they get cannot be easily quantified. Music, in general, is a tough profession and one cannot say why people do what they do. I am sure there are some writers who are a bit regretful they never had the chance to be in big bands or own the stage. The response to that is not to go into journalism and jab at every artist out there. For me; music journalism was a way of filling a hole. I started songwriting at sixteen and could never get it together in that sense. I still have a bit of stage fright and do not have the confidence to get into a studio and belt a tune out. I know my limitations and are not repressing rage through the medium of sarcastic one-star reviews. I would love to get into music and record – maybe down the line someday... – but it would be in the form of an Electronic/samples album…something that didn’t need me to sing or tour.

artist.jpg

I feel like I have taken a shot at music and have no lasting regrets. Journalism is my chance to get involved with the music world and have my say – even if it is a bit back-seat and passive. I love discovering new acts and keeping busy. I can be a little less angered because my role involves being positive and reviewing great music. I write reviews for Too Many Blogs and have had to dish out one or two less-than-polite reviews. For the most part; I am free to choose my workload and, if I criticise an act, it is always constructive. I am never full-on-mean or hold any form of spite. I am seeing a lot of colleagues – professional and unpaid alike – who are still exposed to the social media-driven scapegoating. They (critics) are accused of being failed musicians and not knowing what they’re talking about. It makes me wonder whether people value the minds and words of music journalisms, We are seeing a dwindling sphere of printed journalism and a lot of websites come up – they vary in quality and relevance. At a time when albums are readier and more available than ever; can we truly say critics and journalists are a spent force?! It is good to browse and make our own minds up but I am always keen to do research before buying an album.

mgas.jpg

I may not agree with the evaluation (of the journalist) but it is good to have differing opinions and see if there is a consensus. I am not bothered by any accusation of sour grapes and failed career plans. If anything, this is true: music journalism is less stressful and more fulfilling than recording music. I do not have to worry about raising money to fund my career – although, being unpaid is a little annoying – and have the luxury of turning down requests. I can take days off (but never do) and am not exposed to the worst anxieties and pressures of music. Instead, I get to interact with musicians around the world and have greater freedom and range. My life consists of sitting at a laptop which denies me the chance to get out into the open and connect with people: at the same time, I am not trudging up the country and spending a lot of time on the road. On balance, I feel I have the best of both worlds. I get to go to gigs and hear the best new music around. The real reward is helping a new artist see their music reach new artists and get exposure. Some of my proudest moments come when I review/interview an act and they are overwhelmed by the words and assessment. That may sound arrogant - but it makes me feel a lot better and drives me forward. One cannot underestimate the pleasure you get when interacting with a musician.

lap.jpg

Keeping active by promoting brilliant artists is one of the best decisions I have made – even if there are downsides. The constant screen-time can foster fatigue and isolation but I make sure I balance out the work with some time outside. Having done this for over six years; I am in a position where I am looking to build my blog and take it in new directions. Music journalism is, unfortunately, an endangered beast and requires conservation, funding and compassion. We need all the good and ambitious writers we can get right now! I can understand those who hold a certain cynicism for journalists who criticise everything and seem to doubt everything that comes from the music world – there is no real reason being a journalist if you approach everything with negativity and anger. I did not get into journalism to piss on musicians and rally against those who are doing what I cannot. Most journalists are in the game for the right reasons: they want to add their voice and do something genuinely good. We are at a time where there are divisions and debates forming. Rather than questions journalists for being tough on certain acts; we need to urge focus when it comes to tackling the issues in the industry – everything from sexism and mental-health issues to racial disparity and the security of live venues. Music is a community and we all need to be supportive of one another. Music journalism is something we should be encouraging young writers to go into; emphasising the good points and how much good it can do. I am, hopefully, proof you can help others and help a lot of good artists out. Those who claim music journalists are failed musicians – and filled with bitterness and regret – need to turn that negativi energy and realise people like me are here, not because our music careers have flamed out, but because this is the only…

music.jpg

THING we want to do!

FEATURE: What ‘Sophomore Slump’?! Second Albums That Amazed the Critics

FEATURE:

 

What ‘Sophomore Slump’?!

records.jpg

PHOTO CREDIT: Unsplash 

Second Albums That Amazed the Critics

_________

THERE is an actual phenomenon…

em.jpg

PHOTO CREDIT: Unsplash

known as the ‘sophomore slump’. In musical terms; it states those who produce exceptional debuts and get critics hot with that first-time brilliance will slow and disappoint when it comes to the follow-up. Maybe that is a sign of too much pressure and expectation; getting lucky right out the gates – or people building unrealistic visions of the artist. The years have been littered with artists who failed to live up to the brilliance of their debuts...

We had The Stones Roses’ awkward Second Coming. There was The Strokes’ Room on Fire – and the fact it transposed Is This It (their debut) in terms of appropriate critical summary. Guillemots’ Red (2008) was a shadow of 2006’s Through the Windowpane. There are some albums that come along and, either maintain the genius of the debut or goes that one step further: defies all of the odds and show that early flash of brilliance was no fluke!

I have assembled a collection of the best second albums: those that kept the public hooked and, with it, brought in new fans…

ALL ALBUM COVERS:

Getty Images

____________

Beastie Boys – Paul’s Boutique

paul.jpg

Release Date: 25th July, 1989

Label: Capitol

Genres: Alternative; Hip-Hop

Debut: Licenced to Ill (1986)

Bruce Springsteen - The Wild, the Innocent & the E Street Shuffle

bruce.jpg

Release Date: 11th September, 1973

Label: Columbia

Genres: Rock ‘n’ Roll; R&B

Debut: Greetings from Asbury Park, N.J. (1973)

Amy Winehouse – Back to Black

amy.jpg

Release Date: 27th October, 2006

Label: Island

Genres: Soul; R&B; Neo-Soul

Debut: Frank (2003)

Radiohead – The Bends

rad.jpg

Release Date: 13th March, 1995

Labels: Capitol; Parlophone

Genres: Alternative-Rock; Indie-Rock

Debut: Pablo Honey (1993)

Elvis Costello – This Year’s Model

elc.jpg

Release Date: 17th March, 1978

Label: Radar

Genres: New-Wave; Power-Pop

Debut: My Aim Is True (1977)

Led Zeppelin – Led Zeppelin II

led.jpg

Release Date: 22nd October, 1969

Label: Atlantic

Genres: Hard-Rock; Blues

Debut: Led Zeppelin (1969)

Public Enemy - It Takes a Nation of Millions to Hold Us Back

pub.jpg

Release Date: 28th June, 1988

Labels: Def Jam; Columbia

Genre: Hip-Hop

Debut: Yo! Bum Rush the Show (1987)

Kanye West – Late Registration

kanye.jpg

Release Date: 30th August, 2005

Labels: Roc-A-Fella; Def Jam

Genre: Hip-Hop

Debut: The College Dropout (2004)

Blur – Modern Life Is Rubbish

blur.jpg

Release Date: 10th May, 1993

Labels: Food (U.K.); SBK (U.S.)

Genre: Britpop

Debut: Leisure (1991)

Carole King – Tapestry

caqr.jpg

Release Date: 10th February, 1971

Label: Ode

Genres: Soft-Rock; Pop

Debut: Writer (1970)

Nirvana – Nevermind

nirv.jpg

Release Date: 24th September, 1991

Label: DSG

Genres: Grunge; Alternative-Rock

Debut: Bleach (1989)

Weezer – Pinkerton

Pink.jpg

Release Date: 24th September, 1996

Label: DGC

Genres: Alternative-Rock; Power-Pop; Emo

Debut: Weezer (1994)

Adele – 21

ad.jpeg

Release Date: 24th September, 2011

Labels: XL; Columbia

Genres: Soul; Pop; R&B

Debut: 19 (2008)

Neutral Milk Hotel – In the Aeroplane Over the Sea

ne.jpg

Release Date: 19th February, 1998

Labels: Merge; Domino

Genres: Indie-Rock; Lo-Fi

Debut: On Avery Island (1996)

Madonna – Like a Virgin

mad.jpg

Release Date: 12th November, 1984

Labels: Sire; Warner Bros.

Genre: Dance-Pop

Debut: Madonna (1983)

Bob Dylan – The Freewheelin’ Bob Dylan

bob.jpg

Release Date: 27th May, 1963

Label: Columbia

Genres: Folk; Blues

Debut: Bob Dylan (1962)

Pavement - Crooked Rain, Crooked Rain

rain.jpg

Release Date: 14th February, 1994

Label: Matador

Genre: Indie-Rock

Debut: Slanted and Enchanted (1992)

FEATURE: 78/52/20/20: How Musicians Can Take Guidance from Psycho’s Famous Shower Scene

FEATURE:

 

78/52/20/20

poster.jpg

PHOTO CREDIT: Getty Images 

How Musicians Can Take Guidance from Psycho’s Famous Shower Scene

_________

LAST night…

AP.jpg

PHOTO CREDIT: AP

78/52, a documentary that focused on Psycho’s legendary shower scene, was broadcast on British T.V. Alfred Hitchcock’s most-famous film was provided with a forensic autopsy: filmmakers and actors assembled to provide their take and views on the starling centrepiece. From those involved in Psycho directly to those who take huge guidance from Hitchcock’s masterpiece – they were keen to provide an analytic, blow-by-blow account of the scene. The documentary’s title refers to the seventy-eight camera set-ups and fifty-two cut-always that went into the grisly overture. It has been years since I last saw the film and couldn’t remember every detail of the shower scene. It was interesting watching 78/52 and seeing experts examine every angle (literally) and the techniques involved. Janet Leigh entered the bathroom following a desperate detour to the Bates Motel. Greeted – rather chillingly – by Norman Bates (Anthony Perkins); Leigh (playing Marion Crane) checks into her room and decides to take a shower. Beforehand, we look at Bates’ creepy interactions and the chilly emptiness of the motel – mentions to his unseen mother build that sense of discomfort. Everything leads to this biblical, multi-angled crescendo. Crane disrobes and steps into the shower; she turns the water on and then there is an empty space in focus – we wonder why the camera decides to rest there. Apart from the sound of the running water, there is no other sound – Bernard Hermann’s chilling, rapturous score does not strike until the appearance of Bates.

shower.jpg

PHOTO CREDIT: AP

The fact we focus on the door is because of what happens next: Bates, dressed as his (dead) mither enters and rips back the curtain. We see Crane’s screaming face in close-up and no real facial details of Bates – instead, there is this mushroom-shaped head and shadow. The sense of terror comes from insinuation and imagination. The blade is seen elevated but it never enters the flesh – there is, actually, one frame where we see the knife penetrate Crane’s stomach. Rather than a sustained, physical attack – producing blood and ripping through flesh – there are flashes of the knife and suggestions…without seeing the knife go into the ill-fated heroine’s body. In 1960; nobody had encountered something as terrifying and awe-inspiring. The scene took seven days to shoot and an immense amount of detail. Hitchcock wanted to get the sound of a knife entering flesh just right. Many melons were tested but only the one had that precise sound. Chocolate syrup as used as blood and, the fact the scene (and film) was shot in black-and-white makes it more frightening. The sight of red blood would have been too gory and would have lacked something. So, then…what does this all have to do with music?! I was watching the documentary and amazed at how revolutionary the scene was in 1960. People were running out of the movie theatres and there was, when it premiered, sustained screams and panic.

al.jpg

IN THIS PHOTO: Alfred Hitchcock/PHOTO CREDIT: Getty Images 

A filmmaker like Alfred Hitchcock does not slack when it comes to directing. Psycho’s best-loved scene took endless perpetration and care – the kind rarely seen in films to that point. One could argue that fastidiousness and invention was needed to make the scene perfect. I wonder whether today, in a fast-paced music industry, composers and writers have the time to write music in the same way. Listen to the way Bernard Hermann’s stabbed strings elevate and add to the shower scene – a masterful combination that only heightened the electricity and terror. The last time we saw anyone expend Hitchcock levels of detail and work into a single piece was, perhaps, The Beatles. Listen to Sgt. Pepper’s Lonely Hearts Club Band and you can see how much effort was expended. The Beatles slaved to get their sounds right and pushed the studio to the limits. They worked day and night and changed the face of music. Tape was cut and taped together; new instruments were spliced and tape slowed down – single songs took multiple sessions and personnel to realise the visions of John Lennon and Paul McCartney. That album was a revolution back in 1967: the fact there has been nothing like it since raises questions. The modern music scene is packed and inspiring but, to my mind, we have not heard a phantasmagoria and epiphany to rival that Beatles masterpiece.

beatles.jpg

IN THIS PHOTO: The Beatles/PHOTO CREDIT: Apple Music/Getty Images

There have been genre-defining albums and works that have challenged convention. I cannot think of an album that has incorporated the level of detail and genius as Psycho’s shower scene. Many might feel it an unfair comparison. That scene was very short - and it would be impossible to give that much attention to a full-length record. I am not expecting musicians to pull a Hitchcock and create a masterpiece eleven or twelve times over – maybe a single song would benefit that sort of time and attention. I would like to think, years from now, music experts will be dissecting a song and studying its bones and formation. Even the most detail-orientated and fulsome songs do not have the same degree of detail as a Hitchcock scene. I know film employs visuals (in addition to sound) so directors need to think about every consideration and aspect. Music is not necessarily simpler and less complicated than film. I wonder whether modern artists have the money and time to put something so enticing and complicated together. The Beatles, back in 1967, moved music on as much as Alfred Hitchcock did with film in 1960. Technology has moved on so much: the modern musician has everything at their disposal. It is easy to create symphonies and mix samples; push boundaries and create huge soundscapes.

st.jpg

PHOTO CREDIT: Unsplash

I wonder whether something big could be created – that takes music back to basics but pushes the limits of what we think possible. Maybe it would involve various microphones being draped and treated (different in terms of make and age) and taking a Beatles-like approach to music – slicing tape and slowing down certain section of a track. I am always looking for music that defies convention and compels songwriters, generations from now. That may be a big ask but I wonder whether it is actually possible. If it could be done fifty years ago; surely we have the capacity now to create something wondrous. There are some brilliant songs/albums arising – nothing that really provokes me to pick it apart and discuss it with like-minded peers. Maybe a full-on documentary about a single film scene is a bit excessive: one cannot argue Hitchcock’s finest single moment is undeserving of such passion. Music warrants someone coming along that wants to make a real change and push the industry forward. Even if it was a single song; having a visionary come along and shake the rules up would be a breath of fresh air. It may not come from Pop or Alternative sides of music: perhaps a Classical artist or Folk songwriter will take up the challenge and do something mind-blowing and inexplicable. I cannot be the only one who wants a musician to pen something that makes the listener sweaty and confused – just how can something like this be explained?! The impact Psycho’s shower scene had on unsuspected audiences in 1960 is still being talked about today: in 2018; there is a desire for something as arresting and stratospheric. I know there are artists out there who could create something huge and industry-changing. The interesting will be seeing…

mic.jpg

PHOTO CREDIT: Unsplash

WHERE this breakthrough comes from.

FEATURE: Memories of NME: Why the Death of the Print Version Is a Tragic Milestone

FEATURE:

 

Memories of NME

blur.jpg

ALL IMAGE/PHOTOS (unless credited otherwise): Getty Images/NME 

Why the Death of the Print Version Is a Tragic Milestone

_________

LAST Friday has been talked about…

nes.jpg

by all and sundry in the media. For some sixty-six years; the NME has provided the music-hungry public with its fix of news, reviews and features - Friday saw the final printed magazine arrive. I have seen journalists come out and give their reasons for loving NME. I have been reading Mary Anne Hobbs’ piece for The New York Times - and why the end of NME’s print version is a tragedy. She worked at the magazine and recalled some great times. One experience, interviewing Nirvana and trying to put a piece together to impress her editor, found her retreating to a room and slaving over the interview – transcribing the conversation word-by-word and putting the hours in. Cigarettes were smoked and endless cups of coffee consumed. Hobbs painted a picture of the NME office in the early-1990s: meagre wages and people working every hour possible; crammed into the office, looking for that latest scoop. The setting sounds draconian but, as she explained; it was about the love and passion for music. I have been looking at tweets about NME’s R.I.P. From musicians and D.J.s through to producers and music fans – there have been so many sad and regretful expressions on social media. It is sad to see the printed magazine go out of circulation: the online edition will continue to run, well…for a very long time. Maybe the end of NME’s famed hard copy is a sign of the times: music journalism is online and there are few surviving magazines.

shame.jpg

To me, there are childhood memories and good times associated with NME. For me; it came into my life at aged eleven or twelve (around 1995) and the infamous Britpop battle between Oasis and Blur. Seeing the gnarly Gallagher brothers squaring to Damon Albarn and his crew was a giddy delight. This was pre-Internet – well; music websites, anyway – and I would go and buy the magazine at the weekend. It was an essential purchase and, as soon as I was at the newsagents; I would take the magazine to a coffee shop and pour over every page. It was not just the headline news and the cover that fascinated me: every page provided some intriguing and worthy. The magazine was not as advert-heavy back then – it has become more commercial in recent years – and, if there were some, they served a purpose. One could find like-minded people to connect with – those looking for band members – and there were some great stories and titbits. I was always hooked on the reviews: the latest smashes being given a good going-over by the journalists at the time. Writers like Hobbs and Stuart Maconie helped bring the magazine to the masses and add original voices – you could feel their passion and personality coming through on the page. Rather than have a squad of faceless, rank-and-file writers producing anodyne and expressionless words: here, one could discover a haven of sharp minds and driven souls.  

type.jpg

PHOTO CREDIT: Unsplash

I have been hard on NME and how it has changed over the years. I feel it has come to the point where it is about advertising and making things as commercial as possible. There are some good articles/interviews but there is something lacking. Many have voiced their concerns and highlighted a decline in standards and appeal. I am with them, to an extent, but feel NME’s allure and quality come in its printed form – the fact they had to give it away for years signals it was destined for the pile. Maybe it can be revived but it seems unlikely I guess. The reason I am sad to see the end of NME’s ‘traditional’ format is the memories that flood to mind. After the 1995 Britpop heyday; I saw the end of the movement and the directions bands like Oasis, Pulp and Suede were taking. The 1990s, in fact, was a great period for musical discovery and eye-opening moments. I remember the late-1990s and the changes happening in British music. Blur were still going but my favourite period was the embrace of American guitar music and the bands coming out around that time. The Libertines arrived at the turn of the century and there was an exciting British Hip-Hop/Rap movement waiting in the wings. In fact; my memories of NME chart back as far as the early-1990s.

NME.jpg

IN THIS PHOTO: Nirvana/PHOTO CREDIT: Press

I have faint memories of Nirvana gracing the covers. The Grunge overlords were natural stars and inspired a generation of musicians. Seeing something as grand as the U.S. trio staring back at you – with a cheeky grin – remained in the mind and made you want to dig deeper. The interviews had a unique edge and always involved the reader. One did not experience the usual, tired-and-tested questions and formulas. There was genuine wit and intelligence; the questions were original and the artists, justly, responded. The magazine represented a sense of rebellion and exclusivity. There was chatter in the school playground and, if you did not have a copy of NME in your possession, that marked you out for questioning and ridicule. There were those who opted for Pop options and fluffier magazines – Smash Hits was a favoured publication for many. Because of its sense of cool and authority; those who read NME were part of a ‘tribe’. We all stuck together and felt connected. Someone who thinks the same as me and follows the same music – those important realisations got me through school and bonded me closer to those I would have, otherwise, have ignored. It was a perfect ice-breaker and weekly forum. We (me and a selected group) would converge to the playground – or a playing field somewhere – and flick through the pages. There was the Blur and Oasis camps (I was in the former) and those who preferred American Alternative – those who opted for British outsiders.

rad.jpg

One of the thrills NME provided was that narrow and dirty feel. The magazine was not that huge – compared with something like MOJO – and it felt pretty light. Not only was it perfect for swotting school bullies – it was easy to fit under the arm and you didn’t have to spend all day reading it. The pages were thin and there was the illicit feel of flicking through and seeing some in on your fingers. I followed NME through the 2000s and tracked the birth of bands like Arctic Monkeys. Each time a new bunch of heroes were proffered and featured; I would rush down to the shop and get the skinny about their latest work. Even when NME was moved online; I was keen to get the printed version and get that authentic, genuine feel. There is nothing like the build-up and anticipation of the magazine: waiting feverishly so you can grab a copy and scurry away to a safe hiding spot. The fact that has come to an end leaves me feeling emptier and lonelier. I speculated how NME’s decline was only a matter of time. Even if a change of editor and ethos has reshaped NME and offended some of its regulars; the legacy left, and the memories we all have, cannot be overlooked. The fact it lasted nearly seven decades is an impressive achievement, indeed! I am thankful to have been part of the fanbase; to have grown up when British music was coming to the forefront – the fact I found company and that sense of belonging. For someone struggling to adapt to the changes in life and the challenges of school – having NME in my hands was a lifeline and a huge motivation. Rather than bemoan the changing times and declining standards: a passionate and thankful nod to a musical hero…

libs.jpg

FELT much more appropriate.  

INTERVIEW: Sailing Stones

INTERVIEW:

5.jpg

PHOTO CREDIT: Aubrey Simpson 

Sailing Stones

_______

THE songwriters who go out into the musical seas alone…

3.jpg

have a task on their hand. I admire those who do! I have been speaking with Sailing Stones about her music and where that moniker comes from. She talks about her awesome new E.P., She’s a Rose, and what compelled it; what the reaction has been like to – and whether she has a preferred song from the E.P.

I ask which musicians inspired her and what gig dates she has coming up; how her experiences playing in the North of England changed her views of music; how the Bristol-based songwriter will progress later this year - she tells me how she relaxes away from music.

_________

Hi, Sailing Stones. How are you? How has your week been?

Hi! My week has been really good, thank you. It’s nice to be bombing around the country again doing gigs.

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

I am a singer-songwriter who releases self-produced music under the name, Sailing Stones.

Can I ask whether there is any meaning behind that moniker? Where does ‘Sailing Stones’ come from?

‘Sailing stones’ are the name given to rocks that appear to move across Death Valley in California of their own accord. It is something to do with water freezing and melting, pushing the rocks along. They leave eerie trails across the plains. I liked how the words sounded together but it made sense, as I’d been moving and developing at quite a slow pace over a number of years - but slowly things were coming together…

She’s a Rose was released a few months ago. What inspired the E.P. – and what has the reaction been like to it?

I’m seeing all these little crocuses and snowdrops popping up this week through the melting snow. That was where I felt I was at when writing and recording these songs. I read a brilliant quote from Joni Mitchell recently about winter and how it is necessary for blossoming. It was also my first attempt at producing my own music - so it was a lot of fun. The reaction has been really positive and I’m really happy with how it’s been received.

Into Space has been played quite a bit on BBC Radio 6 Music, which took me by surprise.

She’s a Rose sounds very personal and meaningful. It has a fantastic depth and passion to it! Was it an easy work to write and put together?

Thank you! It was actually – and, sometimes, songwriting and production are quite laborious. It popped out quite effortlessly one night in the studio and the song was written, along with the bones of the production, all in one night; seven years to the day since I’d moved to London from Dublin.

Do you have a favourite song from the E.P.? Which one stands out to you?

I don’t really. I’ve lived with them for some time now and you go through phases. I am fond of She’s a Rose, but also, Sit Silent - as they were the most enjoyable and cathartic songs to write.

Is there going to be more material later this year at all?

I am planning to begin recording the next body of work (could be an album; could be an E.P.) from April, which is already in the pre-production phase. The plan is to record them quite quickly and, hopefully, they will be out by the end of the year.

4.jpg

There is a lot of great music coming from further north right now (as opposed to London). Why do you think this is? Do you feel it’s a part of the country that gets ignored?

I love the North of England. When I lived in London, I would breathe a sigh of relief if ever I was up here playing. I love the people: they are warm and funny and know how to have a bit of banter. I think it’s inspiring up here – the buildings, the landscape; the general atmosphere. It’s hard to put into words. It (just) has its own uniquely soulful thing going on. In terms of being ignored; it depends what you mean. Musically, ‘no’. So much of the U.K.’s musical legacy comes from here that it can’t be ignored. Ignored, by the government, ‘yes’. It’s a disgrace, to be honest…

There are roads in Bradford in desperate need of resurfacing; swathes of beautiful buildings in the city centre are boarded-up. It’s sh*t. Here is this incredibly beautiful city with brilliant people - and it has so much to offer. It’s being terribly neglected. It was quite upsetting to see - and I don’t think people living in other parts of the country have a notion.

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

It came into my life so early that I don’t remember what got me hooked on it. My parents’ record collection and record player probably - and their sing-songs with their friends around the kitchen table when they had parties. They had Fleetwood Mac, Neil Young and Patti Smith records… but there was something about the ritual of putting on a record, the feel of the vinyl sleeves and opening up the gatefold. I loved the whole thing. It was like a magical world that I wanted to be a part of.

That happened very young.

Which musicians did you grow up on? Can you remember the first album you ever bought?

I had pretty eclectic taste growing up and listened to everything from AC/DC to The Mamas & the Papas. I loved the girl musicians and was a Bangles super-fan – they were the first band to inspire record collecting geek-ery. I had all of their 7” and 12” singles and their first, rare releases. (I drew the line at Japanese imports, though).

I became obsessed with Neil Young as an adolescent and he was the one who made me want to write my own songs. For some reason, and, in particular, his very melancholic stuff struck a chord with me. I think the first song was Deep, Forbidden Lake.

Hooked me in massively.

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

I am on tour now…

I’m playing London (Servant Jazz Quarters) on March 14th; Eype Church in Dorset on March 23rd and finishing in Bristol (The Grain Barge) on March 25th. Manchester will be a solo gig - and I’ll be accompanied for the rest of them.

7.jpg

What do you hope to achieve in 2018?

I’d like to make a record that I’m really proud of and get it out with a really strong and supportive team around me - and begin doing more gigs in Europe. I’ve set up my own label, Keep Her Lit, and would like to begin building audiences in Sweden (as I am half-Swedish) and Holland; because it’s close to home and apparently a lovely place to do shows. So long as I’m inspired and really enjoying making music and performing, and able to spend much of my time doing it, I’m happy.

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

That’s too hard. I have millions…

It’s everything from rousing singsongs around a table in Ireland to doing a support slot on a swanky tour and waking up to a different city each morning on the tour bus - and everything in-between. Some of the best memories are being alone and immersed in my studio, or writing something you’re really excited about.

I love it all.

What advice would you give to new artists coming through?

Don’t get into this to seek external validation or fame: do it because you love to do it.

Work on your craft and your personal best. If that is bringing you joy every day, then you’re already successful. Work towards building a healthy self-esteem so that you have a strong core and sense of worth. This will help you to attract the right people to work with and shield you from the wrong ones.

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

Walking in nature, watching movies; listening to music, going home to Dublin and walking in the Wicklow mountains.

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).

Eli’s Comin’ by Laura Nyro. She was just twenty-one - and she completely blows my mind.

_______

Follow Sailing Stones

6.jpg

INTERVIEW: LEYYA

INTERVIEW:

main.jpg

 PHOTO CREDIT: Ella K. Photo / Ella Kronberger 

LEYYA

_______

THIS one is a little delayed going up…

sauna.jpg

but it has been great speaking with LEYYA about their new L.P., Sauna. The duo talk about its recording and inception; whether they have a select cut from the record; what the scene is like in Austria (where they are based) – and whether they are coming over to the U.K.

I ask them about influences and how their music has changed; a new artist we need to check out; what tour dates are coming up – Marco and Sophie select a song to end the interview with.

________

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

Hello. We are fine, thank you. We just came back from our album release tour and are pretty tired - but we have to prepare for Mexico and Texas as we are playing there the next week.

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

Hey. We are Marco and Sophie from Vienna, Austria - and we are a duo writing and producing  Pop music in different variations.

Sauna is your new album. What sort of themes and stories inspired its creation?

We have worked very hard the last two years on that.

We exactly knew what we wanted the album to sound like and made hundreds of sketches we deleted afterwards - just to translate the exact ideas we had in our heads into these final songs...

At one point, we decided to not care about any expectations we had and thought one might have about us and just make music. We took inspirations from every kind of genre and countries and didn't limit our output in any way. That kind of making music is quite fun because you don't take yourself that seriously. In the end; you end up with music you never thought you're going to make.

That was the best part.

It will be released through LasVegas Records/+1 Records. How supportive have they been to you guys?

We met Andi from Las Vegas Records at the very first beginning of our career. He has heard our very first, really crappy, demos and still signed us because he saw potential in our music. That's what we appreciate the most. Both Las Vegas Records and +1 Records are very supportive.

I guess that's because they really like our music - and that's nice.

How do you think Sauna differs from your debut L.P.? Do you feel it is a broader, more confident work?

When we started, we merged experimental Electronic with singer/songwriter influences. Now, while working on our second album, we developed a rougher and more playful sound. We now focus on instruments and sounds from all over the world - and combine them with our original, maybe even naive, way to make music.

The vocals and the beat received a spot in the foreground for a more intimate feeling and, what was very important to us in the songwriting process, is to have different layers - so that everyone can find their ‘space’ in that song. You can listen to it as a ‘simple’ Pop song...but you can also dive a little deeper and realise that there is more to that.

It is always important to us that a song doesn‘t lose its magic after hearing it two or three times - and that there is always something to discover every time you hear it.

Is there a track from the album that stands in the mind?

It's hard to only choose one song - because we have worked very hard on every single song to be 100% perfect in our heads. In general; the whole album works as a whole: it is one whole piece from beginning to the end. But, if we really have to choose then probably, In Your Head;  because it is very soft and calm in the beginning and, in the middle of the songs, there is a very hard break...and Sophie also has a strong connection to the lyrics.

How did you guys get together and form Leyya? Is there significance behind that name, too?

Sophie: Marco and I come from the same little town in Upper-Austria where it is quite hard to find someone with the same musical interests. We always made music together and, at one point where we finally found our sound, we decided to convert into a project. The name 'Leyya' was originally the name of my singer-songwriter project that we just kept.

What sort of music were you both raised on? Did you discover music at a very young age?

Sophie: In our village, we have a small music school that we both attended at an early age but, instead of joining traditional marching bands later - which was common in our village - we both concentrated more on 'modern' music. I started writing songs (in English; although I almost didn‘t know a word) when I was eleven - just with an acoustic guitar and my voice. Marco played the drums and started to produce his own 'electronic' tracks. We formed a Rock band together when we were around thirteen/ fourteen and, when we grew older, our music grew with us.

We learned a lot, just by experimenting with recording.

Vienna is where you are based. What is the city like in terms of music and opportunities?

We moved to Vienna a few years ago because, at home, we couldn’t really find an audience or someone to work with  - and that kind of limits your creative output. Although Austria is very small in general, Vienna does have a little community - and it is easier to reach certain people.

But still, most Austrian musicians concentrate on 'expanding' a little bit and try to bring their music out of Austria as well. We have loads of good musicians in Austria - but it seems as if the rest of the world fails to see that.

5K.jpg

IN THIS PHOTO: 5K HD/PHOTO CREDIT: Ingo Pertramer 

Who are the new artists you recommend we check out?

There’s an Austrian band, 5K HD, who have just released an amazing album.

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

Marco: I‘d probably choose Dark Side of the Moon by Pink Floyd because my parents used to play the album in the house, back then, when I was a child. Actually, there is no  'best album' - but there‘s just a lot of memories attached to that specific record.

Sophie: Alabama Shakes‘ - Sound and Colour. This record has such a feeling to it without getting cheesy. Every instrument is on-point and Brittany‘s vocals always drive through my spine. It has inspired me a lot the last few years.

What advice would you give to artists coming through right now?

I think it is very important to focus and stick to the music you believe in...

There will always be people trying to change your sound or the way you make music just to fit in a certain scheme -  or people who say you can‘t have success because you‘re not mainstream enough. It‘s important to believe in what you‘re doing and to withstand the pressure others give you - and you, maybe, even give yourself.

What tour dates do you have approaching? Where can we see you play?

We did a small tour around Europe in February – Germany, Austria; Netherlands, Belgium etc. In March, we‘re playing in North America, Texas and Mexico.

We‘ll continue touring in April and May with some more dates in Europe that we‘ll announce on our website.

2.jpg

PHOTO CREDIT: Meyrem Bulucek

Do you think you will come and perform in the U.K.? What do you think of the music we make over here?

We have already played a few times in the U.K. - only a month ago, actually. But; we‘re coming back, for sure.

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

We don‘t really plan into the future; especially in that kind of business; it is hard and almost impossible to do so. That‘s why we only know what‘s about to happen in a few weeks or months and,  at the moment, everything is built around the release of our new album, Sauna. We're touring in and outside of Europe - and are excited to see what the rest of 2018 has to say.

Finally, and for being good sports; you can each name a song and I’ll play it here (not one of yours as I’ll do that).

Marco: Curtis Mayfield – Hard Times

Sophie: 5K HD – Gimme

_______

Follow LEYYA

LEYYA.jpg

TRACK REVIEW: Tiger Lion - Prayers Against the Sun

TRACK REVIEW:

 

Tiger Lion

Meg Lavender shot.jpg

PHOTO CREDIT: Meg Lavender 

Prayers Against the Sun

 

9.6/10

 

 

Prayers Against the Sun is available via:

https://www.youtube.com/watch?v=dBiN8hBVJSQ

GENRES:

Ambient; Alternative

ORIGIN:

London, U.K.

RELEASE DATE:

7th March, 2018

The E.P., Beyond the Mountains, is available from 6th April via L'Aurore and Republic of Music. Pre-order the E.P. via:

https://itunes.apple.com/us/album/beyond-the-mountains-ep/1331495705

_________

THIS one will be interesting as…

Katrina_Stamatopoulos.jpg

PHOTO CREDIT: Katrina Stamatopoulos

there are a lot of new angles to cover. I will look at the three-piece, Tiger Lion, soon – led by Clémentine Blue – but, right now, there are some other topics to cover. I will look at embracing nature and the physical world for music; feeling pressured by busy cities – and having that contrast of a more idyllic and simplistic lifestyle. I will then look at artists who absorb pieces of their life into music; creating a wonderfully full and eclectic sound together; taking the listeners somewhere strange and special; artists who will stand out as we head through this year – where Tiger Lion could head, in terms of touring. There are not many acts out there who look to nature when writing music. I have been looking at Tiger Blue’s music and biography and picking up on some little details. They, especially Blue, has been compelled by the lack of stress one gets from far-off places. She has been inspired by the thin air above the mountains – compelling the title of the trio’s upcoming E.P. – and other elements have come into the fore. Waterfalls, bells and natural sounds: aspects that define a certain peace and tranquillity. One gets these sonics in the music: the beauty and gracefulness of the natural world come through in every note. Artists such as Björk have brought the natural world into her music since the beginning. She is one of few musicians who take from the planet and brings the listener much closer to nature. One can say artists like M.I.A., through sampling, have included bird-song and calls: others have integrated the sound of whales (Kate Bush) and the ocean. There are not many, now, who channel something organic and pure. Artists are concerned with electronics and machinery to heighten their music. Whilst there is some of that in Tiger Lion’s music – one gets the sense of a group unwilling to surrender to the power of organic sounds and inspiration-points.

top.jpg

When looking at modern music; I wonder whether there are too many synthetic elements being brought in. One hears acts like Tune-Yards bring foreign beats and international sensations into the music – how long has it been since we had a modern scene defined by something honest and unfettered? One hears various acts bringing odd instruments and aspects of nature into music: Tiger Lion fuse the modern-day urgency with something free-flowing and calming. That is a brew they should patent and retain. Prayers Against the Sun, as the title implies, is not a song about late-night drinking and broken love. There is an ethereal and divine flow running through that connects with the planet and looks at another place. The video was clipped in Gambia and, when listening to the song, you get sensations of Africa and the sounds coming from there. The visuals beautifully melt with the lyrics: a harmonious relationship is formed and you get a wonderful little film. Listening to the song; I detect dance and ceremony. This direction was compelled by Tiger Lion, and Clémentine Blue, visiting Africa and getting away from the city. Absorbing a very different way of life was the tonic needed – able to detach from the city and finding something more substantial and ‘zen’. There are other artists – such as Vampire Weekend and Paul Simon – who have brought in African shades and nods to the natural world in their music. If one can successfully combine that with the rawness and accessibility of modern music – some Electro and Pop layers – then that is the best combination. Tiger Lion do this successfully and, if anything, add their own personality into the blend. I will move on from this area but, before then, I wonder whether Tiger Lion will continue to take inspiration from Africa in their future work. The E.P., Beyond the Mountains, explores the area in more detail – it will be interesting seeing where they go from here.

alps.jpg

There is a lot of nature and other cultures running through Prayers Against the Sun. I get blasts of Paul Simon’s Graceland with artists such as M.I.A. and FKA twigs. There are so many different elements working away: that sort of training really only comes from the city. The trio is based in North London and, as such, have had access to the hectic rush of the place; the multicultural people and the general pace. The reason Tiger Lion evolved their sound the way they have is down to the city: the need to get away from the bustle and find a contrast. The city was magical and beautiful: the strain and endless stress were enough to see a retreat occur. Many of us, exposed to the city, needed to get away and go somewhere that offers a new way of life. In an odd way; the city is a muse that can give artists influence and new life – even if it is ironically done. Tiger Lion have embedded themselves in London but, after a time, the rawness and grip of the population meant alternatives were needed. I have been looking at parts of the world that could provide influence to artists looking for new impetus. It seems Africa is the perfect place to do that. I have never been to Gambia and the area – it is definitely somewhere worth exploration and thought. One cannot depart from somewhere like London and live in Africa – the poorer areas – full-time. I have been looking at busy cities and whether they are the best places for new artists. Sure, there are opportunities and success available there: the pressure and endless strain can create a toll and damaging effect. It is all very well being secure in London and having the sociability at your feet. The more time goes on; the greater the pressure gets. It is, therefore, desirable to get away and recharge the batteries. I am not sure whether Tiger Lion are going to return to Africa or, after this experience, they are going to remain in North London.

land.jpg

There is something to be said of simplicity and getting away from everything pressurised and full-on. Clémentine Blue, when speaking about the inspiration behind Tiger Lion’s new song, had this to say:

"'Prayers Against The Sun' is about suffering from being in London. It can be so heavy that it’s almost like the city becomes a strange character in your life. Everyone is praying for a sun that never comes. But there is the weird satisfaction of going through it all even if the city is so dirty, so free, so grey, so fascinating, so ugly, so beautiful all at once. This contradiction of staying there even if you never felt so alive than naked in the burning sun of Gambia, having a cold shower from a bucket as I did last summer."

It is clear a busy city, even if dirty and smoky, can produce beauty and brilliance. I have been in London for a while and know how brilliant the people are. There is a sense of community in various areas: it is not always detached and cold. I go there to find something fulfilling and encouraging; getting some spirit back and having a smile put on the face. There is an argument against the city: when things get bad; many will want to go somewhere with a gentler pace of life and something simpler. The fact Tiger Lion’s lead found so much solace and heart in Gambia meant new material would have a different vibe. It is hard to explain the feeling of taking a shower in Africa from a bucket – just cold water and the expanse of the land. You bring that alongside a flat in London – with traffic running outside – and they are two different worlds. It is interesting exploring more the way a new nation/people can impact a band/artist when it comes to new material. Not only have Tiger Lion managed to relieve stress and escape from the swell of the city; they have taken compositional instruction from their surroundings and injected that into their core sound.

rocks.jpg

The eclectic and fulsome sound is something that really gets under my skin. I mentioned how a lot of modern acts are too focused on electronics and sounding a certain way. They are concerned with fitting into the mainstream and having that urgent, big sound. It is great discovering music that resonates and sounds familiar right off the bat – where you can bond with that song and take it to heart. I find that is good in small doses: having that endlessly put before you can be a bit tiring and boring. I long to find music that goes deeper and takes its visions from other areas. Tiger Lion’s story and development intrigue me. Tiger Lion bring in elements of St. Vincent (melodic flourishes) with the asymmetrical tones of Tame Impala; Throwing Muses’ intensity and burn; little bits of other artists. I have been looking for new artists who go beyond the ordinary and remain in the mind. I love a lot of new artists but feel they do not linger for long. You might listen to a song (or two) and that will be nice – and then it slips away and you do not feel compelled to go back. Tiger Lion goes further and bring the listener something much more rounded and original. You get the modernity and Western sounds one would expect: there is another layer of unique and colourful fabrics one was not expecting. This combination is a potent force to be reckoned with. Looking forward; I wonder whether there is going to be any more African guidance; if the band will look to their roots. The trio are (mainly) French and, as such, would have been exposed to natural, native sounds from a young age. Music is much more than the sound and effect one gets. I want to discover something much more physical and deep. If a band/artist can make you think harder and compel you to look at the world in a different way; surely that should be encouraged and brought to the forefront – much more meaningful and special than a lot of what is happening in music right now.

Guitar.jpg

Before coming to the song itself; I will take a couple of other points to mind. Those artists who dare to dream should be given a safer and sturdier platform. I am not too fond of those who come into music and want to replicate everything already out there. The lyrics might be personal but the music sounds samey and formulaic. There is a danger if an artist takes the listener too far away from their comfort zone: it can be hard connecting with something so new and unusual. I have mentioned artists who incorporate African sounds, like Paul Simon, and how delightful that is – Graceland remains one of the finest albums ever. I am surprised more artists have not followed that led and taken soul from the album. There are some artists who have been compelled – including Vampire Weekend – but it seems not that many have taken the mantle and run with it. Tiger Lion has kept a flicker alive. They have mixed that with traditional Electronic music and Alternative; some nods to France and the bustle of London. The cocktail they have created keeps one part of your brain in the present/U.K./West: the other part goes somewhere quiet, gorgeous and mystical. The clash of the two worlds comes alive in the wonderful single, Prayers Against the Sun. I am keen to promote music that explores new lands and strays away from the clichéd. Tiger Lion are a fantastic force with many more years ahead of them. I wonder whether London will remain their base. It is clear their experiences in Africa have provided a new lease and objective. I wonder whether that beauty and transcendent experience has provided new perspective and focus. The city of London remains and does not change too much – it gets busier, but that is about it. I wonder whether Tiger Lion’s touring plans will alter and be affected by the impact of Africa.

gig.jpg

Touring is something they will think of and be involved in. They have an E.P. release part on 9th April – that will happen at London’s Servant Jazz Quarters. It will be exciting to see the trio on stage, putting that music out to the people. There will be other opportunities coming but I wonder, given the global nature of the music; that will take them further afield and see their ambitions expand. I can see Tiger Lion going to the U.S. and bringing their music there. I know the people there would take the music to heart and bring chances the way of the trio. It might be worth thinking about that going forward. They could do great business in the U.S. and get tour dates right across the country. The U.K. is welcoming Tiger Lion – and there will be more London gigs – and there will be many other chances to play around the nation. One has to look at Tiger Lion and how far they can take their music. I think there is going to be a lot of heat coming from around the world. If they can keep the pressure up and spread the music through the Internet; that will lead to many chances to get to the people and see new lands. I am not sure whether Africa is part of their agenda. I guess there are spaces they could play over there. Maybe Australia is somewhere they could get some gigs and love. It is exciting times for the trio and, the reason I bring this point up, is the fact their music has such a physical and exciting quality. It is best heard on stage and up-close. I will try and come see them; I am interested seeing where they can travel and how many people they will reach. Make sure, if you can, you go see the intrepid force.

Dark.jpg

Tribal beats and haunting vocals come to the fore at the start of the song. Prayers Against the Sun projects something mystical and strange; people going out into the open and prostrating before the sun. The song moves seductively and snakes through the grass. There is taboo and voodoo cackle as the hollow beats produce all manner of visions and hallucinations. One hears a nice mix of the inexplicable and traditional. It is a ghostly and transcendent song that gets the imagination firing and all manner of visions working away. I am not sure the name of the instruments – excuse my ignorance… - but the percussion is fantastically exciting and physical. You are compelled to follow the beat and go wherever it leads. Tiger Lion do not throw everything into the mix right off: the song builds slowly and keeps that subtle and sparse aspect. There is a shaker and those extraordinary vocals. Blue’s tones echo and quiver. It is a spectral presence that perfectly mixes with the beats. It is hard to listen to the song with eyes open. You need them closed to imagine what is happening and take everything in. The brew is heady and the effect quite stunning. I was bowled by the sheer power and grip the vocals have. They are wordless but have such resonance and primal urges. You are sucked into the song and transported to the mountains. I imagine paen and prayer; the sun going down as people gather to offer thanks to the sun. Few can deny the spiritual nature of the song. It is a wonderfully pure and graceful song that calms the spirits but, as it moves along; new aspects come to play. The heroine comes in and feels it too – there is an instant connection in her heart. Some of the words do get tripped and lost in the composition – the production means the instruments are firm but the vocals are a little blanched. What I did pick up on, early, was the importance of the sun and giving everything to it.

stage.jpg

Blue is immersed and entranced by the power and healing glow of the sun; the mountains and the atmosphere are swimming in her soul. That soul needs smoke and fire; it needs comfort and protection – it needs a spark and sense of fulfilment. What one experiences is a lead artist who has taken so much from her time in Africa. It has been a revealing experience and one that has changed her life. Backed by those insistent beats and the encroaching mood; the listener is helpless to channel the experience and colours. It is an endlessly evocative song that makes one think. The heroine talks about the strangers in the city; the endless prayers against the sun. I was thinking about the meaning of that metropolis-prayer. The people’s sun might not be a hot ball of gas. Their sun is polluted and obscured by smog. Maybe their prayer is more speculative and metaphorical. In the case of Clémentine Blue; she has lived in London and been impacted by the energy and busy nature. Part of the commuter lifestyle; the anxiety one experiences living in the city. I can relate, in a sense. You can get buried in the people and things can get a bit too much. Blue has been there a while and vibes from the people and rush. It is not all bad for her but, at a certain point, there was the need to get away and find something else. Africa has provided a more natural and calm landscape. The people and religions; the smaller communities and the way things are done there – a contrast that has affected her blood and made a big difference. Able to compare those disparate settings has led to a fantastic song. If one watches the video for Prayers Against the Sun and you can see dancing and celebrating; cooking and cleaning – a snapshot into the life of Gambian people.

Other.jpg

Towards the late stages of the song; you take in new guidance and thought. The instruments get stronger and the entire song gets heavier. Things rise and swell; you are drawn into the strange and fantastic thing. The heroine is back on the microphone and talking about her experiences. She feels that allure and connection with Africa. She feels the energy of the city and how, even when it is bleak, there is inspiration to be found. She hopes we can feel her – she’s sending her messages out and trying to connect with the listener. I wonder whether her talk of being understood and felt relates to those listening to her music. Maybe there is a compatriot or sweetheart that has been estranged and needed that guidance. The fact Clémentine Blue has gone away and discovered fresh life has provided a new lease. Maybe there is someone else that needs that lift and push. They have been disconnected and lost in the city, perhaps. It might not be practical to go to another continent and spend time in a smaller place. Blue has managed to evaluate her life and get a new perspective. It has been hard for her lately: not able to effortlessly live among the London people and keep going as normal. The fact she managed to find some good in the city – it is always compelling – is to commendable. Africa is in her heart and the sight of the mountains/sun have fed into her psyche. It all comes together in an exceptional song that goes through stages and produces something unique. You cannot escape the potent smells and arresting sites presented throughout. By the end of Prayers Against the Sun; one is in a better frame of mind and things about their life in more detail. It is an inspirational thing that signals fantastic times for Tiger Lion. I cannot wait to hear their E.P. and whether the remaining songs have the same flavour as this.

sm.jpg

The trio have already released two thematic E.P.s: Outremer and The Moon Inside Me. The former was more concerned with spectral, oceanic songs: the latter, a darker and ritualistic collection. They have covered Heart of Glass – giving it a sadder twist – and now, come April, they bring a fresh E.P. to the world. Beyond the Mountains retains that natural spirit and curiosity of the world. Rather than take us to the heavens and under the ocean: now, we have songs that lead us to Africa and incorporate fresh ideas. Tiger Lion were never going to be conventional and look at ordinary, traditional themes. The trio are always concerned with the natural world and parts of the planet few treads. This wanderlust and innovation put them in good stead. They have a critical ear and have accrued a healthy fanbase. The song-cycle of their upcoming E.P. takes us to the thinner air of the mountains and a haven that provides introspection and reflection. Landscapes and the open are used as templates to discuss childhood experiences, love and ambitions. Clémentine Blue collated waterfalls and natural sounds; she gathered those free and pure sounds to bring to the E.P. It was a scary and unusual experience for her. She was in the vastness of the land and in a town with new people – a way of life that was nothing like her London existence. I know the trio launch the E.P. in April and, before then, one can get their ears around Prayers Against the Sun. It is a fantastic song and one that will recruit new fans. I am keen to push the track as far as possible: others will share the magic and take guidance from the words/music. There are few acts out there that genuinely take leaps and challenge conventions. When they do come along; you need to embrace them with both arms and keep it tight. I know this year will provide fresh opportunities for Tiger Lion. They are moving forward and exploring new spaces; they are bringing in fresh inspiration and, with it, creating…

tiger.jpg

THEIR finest music to date.  

_______

Follow Tiger Lion

Meg Lavender.jpg

FEATURE: The Mother’s Day Playlist

FEATURE:

Mum.jpg

ALL PHOTOS: Unsplash

The Mother’s Day Playlist

_________

TOMORROW is the day we…

roses.jpg

celebrate the mothers in our lives and, with it, reflect on the past. All of us have our own plans and ideas for tomorrow – and how the day will be spent. As we look ahead – I am sure there are some who have forgotten tomorrow is Mothering Sunday (in the U.K., at least) – I have been thinking about appropriate music for the day...the songs that provoke images of motherhood/mums; appropriately-named/themes songs that fit perfectly alongside one another (one or two that are a bit spicy). There might be songs I have missed out (I am sure there are!) but here, for casual delectation, is a Mother’s Day-themed/inspired playlist that…

mums.jpg

CONTAINS something for everyone!

FEATURE: Women in Radio: Why the Male-Heavy Industry Needs Challenging

FEATURE:

 

Women in Radio

mary.jpg

 IN THIS PHOTO: BBC Radio 6 Music's Mary Anne Hobbs/PHOTO CREDIT: Getty Images

Why the Male-Heavy Industry Needs Challenging

_________

I was looking online at The Pool…

look.jpg

 PHOTO CREDIT: Unsplash

and came across an article that suggests we, as a nation, are getting a bit tired of equality and gender-parity! Around two-thirds of the public, here, feel feminism has gone ‘too far’ – and we should cool down a bit. It is worrying when you look at that stat: there will be many women in that sixty-six-and-a-bit-percent majority. This week; we saw International Women’s Day arrive and, with it, the chance to oxidise and expose discussion and debate. There is no pantheism and simple answer regarding feminism/equality: the only way to nourish improvement and compel evolution is to highlight the disparities and formulate constructive architecture. We have been battling through a tundra of ignorance for decades (or centuries, more likely) and unable to find true progression. There are small changes occurring, but, as The Pool’s article outlines; some worrying (ignorant) statistics should shock all of us into action:

“…Actually, hold up, we don’t need to imagine a hellish future in which feminism has gone too far; we are, according to most British people, living in it. Yes, according to a new survey carried out by Sky News for International Women’s Day, 67 per cent of British people think feminism has either gone too far (40 per cent) or gone as far it should go (27 per cent).

rad.jpg

 PHOTO CREDIT: Unsplash

So, here we are: the gender pay gap, when part-time and full-time workers are considered, stands at 18.4 per cent. Each week, two women are murdered by a current or former partner in England and Wales. Half of British women have been sexually harassed at work. But feminism has gone too far”.

The final six words of this extract should be delivered with a certain inflexion – think an L.A. teen upping the sarcasm-o-meter to a full-blown eleven. Maybe there is fatigue and weariness from some factions – given the fact feminism and gender issues have been thrust into the limelight this past week – but a beleaguered apathy is akin to severe ignorance and acceptance. The ferromagnetic material of the apathetic is exactly what the debate does not need. I am lifted by small transformations occurring in the music industry. I can see, yes, there are more women being recognised in the mainstream. The new wave of Pop queens – Sigrid and Billie Eilish among them – are joining contemporary favourites like Lorde. There is a malingering and fetid racial bias – I shall cover that in a future piece – but, of course, that is not going far enough. There is a pledge – it seems like a loose-tongued drunken promise; holding no weight and proof – that, by 2020, festivals will have a fifty-fifty gender balance. That year seems strangely ironic and prone to scrutiny: will there be proper hindsight and clear vision only two years from now?!

ead.jpg

 PHOTO CREDIT: Unsplash

I am wandering from the busy city streets of focus and straying too far onto country paths, alas. My point remains: I am not buying the fact people – festival organisers and the bodies who wield power – will make good their promise. I have talked about gender equality a lot and will continue until music is a level playing field where moronic preferences and the male obsession takes a hike – I am aware my fingers might bleed before that actually happens! I have discussed women in music before but, compelled by women in the industry discussing the percentage imbalance; I felt reinvestigation was prudent and sage. I will come to look at a crew of BBC Radio 6 Music talent that gets me angry (in a good way) – a female army that proves why the male-dominated radio industry needs T.L.C. I have addressed other angles of music – from festival line-ups and playlists through to award nominees and the fight women have in music – but radio is an area that is still fostering discrimination and rogue practice -  the fact one cannot see the faces of the women being (near) marginalised does not make it fair or acceptable. There are some phenomenal female D.J.s working away from the major – i.e. BBC – stations.

goldi.png

IN THIS PHOTO: Goldierocks/PHOTO CREDIT: Getty Images

Emma Conybeare works for Capital XTRA and is an infectious and passionate talent. I will not present the showreels and resumes of all the women I am naming: my point is you can look them up and hear what I mean; I can attest to the fact they are stunning and worthy of great focus. Conybeare has been in the industry a short while but is one of the most engaging and talented young D.J.s in the business. Gemma Atkinson co-hosts Key 103’s (Manchester) breakfast slot – and brings her classic voice (a smoky and gravelled allure mixed with a warmth and accessible humour) and knowledge of popular music to those lucky enough to listen in. Atkinson, alongside her acting work, has a glittering career in radio – and could progress to a mainstream station before too long. Come to London and the likes of Goldierocks and Iko Cherie are responsible for wonderful moments and incredible shows. Vick Hope works on the Capital FM breakfast broadcast and, look at smaller, boutique stations and there are some great female names – Hoxton Radio has Charlotte de Carle, Elspeth Pierce and Laura Fraser on its team. Kate Lawler is on Virgin Radio; Sarah Champion, Leona Graham and Emily Dean can be heard on Absolute Radio. Articles from 2013 and 2014 (and again) - show things were pretty bad a few years ago: they have not really improved as we head through 2018...

DXrDH7OXkAEULFR.jpg

IN THIS PHOTO: Emma Conybeare/PHOTO CREDIT: @EmmaCB_

Look at this article from last year and, when looking at how many women-helmed (last year) the biggest weekday shows on BBC Radio 2 (zero) – it makes me wonder why that is. Of course; it is not only a gender divide that has garnered headlines: the disparity in pay has come into focus. This article highlights some shocking statistics. A few male D.J.s agreed to take pay-cuts (to bring their salary more in line with their female peers) but it seems those (noble) gestures are few and far between. It is a faulty syllogism to suggest because things look okay on the surface – if radio has a visible physical manifestation, in that sense – then the on-air talent is okay. The BBC provides the biggest and most-popular stations in the U.K. I am not well-versed in the law and lore of BBC Radio 3 and 4 but I know there is a gender gap there. One has wonderful shows like Woman’s Hour – and presenters like Elizabeth Alker on BBC Radio 3 – but there is still the proliferation of male-led shows. The music industry, even in radio, is still a boys’ club. There is festination and a lot of ear-plugging: those who have a say and propensity to turn away are not redeeming their morals in any noticeable way.

claud.jpg

IN THIS PHOTO: Claudia Winkleman/PHOTO CREDIT: Getty Images

BBC Radio 2 and BBC Radio 1 have differences in terms of their music and style but they have a similarity: there are few female D.J.s on the networks. Aside from the fact there are few black faces on either station – again; I shall not get into that now – one notices an absence of female D.J.s BBC Radio 2 has the exceptional Zoe Ball, Claudia Winkleman; Liza Tarbuck and Ana Matronic – another few female D.J.s but, compared to the men; they are still in the minority. Many of the producers on the station, and BBC Radio 1, are men – the female producers are, in my mind, the finest but are still part of the minority. BBC Radio 1 boasts Annie Mac, Adele Roberts and Clara Amfo – Annie Nightingale makes occasional appearances. I look away from the BBC at stations like Radio X and, aside from being a white majority; you get the men staring back at you – that is no different with the BBC. I listen to Annie Mac and Sara Cox (forgot to mention her earlier) and am amazed by their talent, draw and knowledge – I find myself more impressed by their shows than anything their male colleagues come up. The same is true of my favourite station: BBC Radio 6 Music.

clara.jpg

IN THIS PHOTO: Clara Amfo/PHOTO CREDIT: Getty Images

This piece has been compelled by the likes of Mary Anne Hobbs and Lauren Laverne. The former, the ‘cover star’, is among the finest voices on radio. Those smooth, alluring and caramel tones are matched with a serious love of music and a professionalism few rival. Listening to her is nearing the summit of what music should be: those who are endlessly passionate and ensure music is their life. I can apply this maxim to every female D.J. I have mentioned: their indomitable spirit and pride is being overlooked (and under-paid). Hobbs’ eclectic music tastes extends to Nils Frahm and Kendrick Lamar; Hard-Rock, Alternative and anything else one can throw into the mix. She is among the hardest-working and popular D.J.s on the station – part of a female minority that, one suspects, has a lighter pay-cheque than her colleagues. A reason BBC Radio 6 Music is my station of choice is (the fact) there are more women in the ranks. I will mention Amy Lamé, Cerys Matthews and Nemone – alongside their producers – but the likes of Lauren Laverne are outweighed by a majority of men. Laverne has spoken about radio, in essence, still being dominated by the boys. The stations (BBC Radio 6 Music) is a tight-knit and familial station but one cannot overlook the facts: the majority of talent on the station are men.

loz.jpg

IN THIS PHOTO: Lauren Laverne/PHOTO CREDIT: BBC Pictures

One can argue a majority is not, necessarily, a bad thing – the fact it is a healthy majority calls into question general recruitment and factual blindness. Laverne’s show is one of the (main) reasons I make ‘6’ my daily ear-accompaniment. She is endlessly cheery warm and bright; keen to uncover the best new music and throw her arms around the extensive bosom of the industry. Not only does she host a weekday morning show: away from the station, she helms the aforementioned (The) Pool and speaks at events – works for other stations and hardly takes time to rest. All of this energy-expending and extra-curricular work could cause burn-out and jaded shows: the fact she produces first-class shows every week means radio, regardless of statistics and pay, means everything to her. Like Hobbs and her BBC Radio 6 Music peers; the job and all the benefits of the station keep them where they are. I love the station - and, actually, have them tattooed on my arm – and every D.J. there is crucial! Bold, wonderful and captivating D.J.s like Hobbs and Laverne make it what is it – one would like to see more of them. I am a big fan of Nemone and Amy Lamé: two of the best D.J.s on the station. Both provide a unique spin and are essential personalities on the station.

amY.jpg

IN THIS PHOTO: Amy Lamé/PHOTO CREDIT: Getty Images

I have a lot of love for the boys on BBC Radio 6 Music (including the scamp Shaun Keaveny) but find myself drawn more to Lauren Laverne and Mary Anne Hobbs – in terms of their depth of knowledge and the way they can captivate the listeners. The same can be said of Cerys Matthews, Nemone and Liz Kershaw. Tomorrow marks BBC Radio 6 Music’s sixteenth birthday – Kershaw will broadcast a musical party from 1 P.M. – and, as the prodigious teenager reaches the age of consent – one hopes its youthful energy and curiosity side-steps prurient interest and focuses on balancing the books and bringing more women to the station. Behind-the-scenes is music news presenters like Claire Crane, Elizabeth Alker and Georgie Rogers; producers such as Jenny Smith (Chris Hawkins) and Helen Weatherhead (Mary Anne Hobbs) - fantastic people who help make the station what it is (Rogers’ recent piece for International Women’s Day was one of the finest I have heard on the station). I am not sure what the 2017/2018 statistics are – total number of women on radio as D.J.s and producers – but there is not a marked step-up from the bleak findings of 2013/2014. Maybe it all stems back to the problem: the white, middle-aged man still owns music and is, therefore, less likely to buck trends and instigate revolution. Gender inequality starts at school - and the fact it is rooted in childhood days means, in a way, we are expected to accept it from our earliest times...

Liz.jpg

IN THIS PHOTO: Liz Kershaw/ PHOTO CREDIT: Getty Images

Things need to change and those at the top need to change their recruitment and ensure more women are brought to radio. I can see no justifiable reason why men are favoured above women: if anything, there is greater nuance and pleasure listening to a female D.J.; they have more about them and are more engaging on the mind and ear. Music has gender-imbalance in every crevice and, the fact so many are getting ‘bored’ of feminism, does not fix the problems we have. If we are going to make changes and ensure there is a level playing-field for men and women; something as simple as reversing hiring policies needs to happen. Men are no more profitable and attractive to the listener than the women – even if shaky stats and research show otherwise – and there is a demand for more women on the radio. If small steps were made then that could make a big difference. It takes voices and protest to get things rolling: constant monitoring and reviews to ensure things do not lapse and slack. If we can do that then, I think, the industry will be a stronger beast – if it is only correcting the gender misalignment in radio. I, as would many, expect this to happen very soon; we all need to make an effort to see change happen. If that will happen, I am not sure: if it does not, then we need to as why and challenge those who block betterment. Even if some are weary of the ongoing debates around sexism: few can deny areas like radio need to see more women included and…

fight.jpg

PHOTO CREDIT: Unsplash

REAL progress happen.

INTERVIEW: Ina Reni

INTERVIEW:

ina6.jpeg

Ina Reni

_______

I always love catching up with Ina Reni…

ep.jpeg

because she brings her personality to the page. This time; I have been speaking with her about the debut E.P., Down to Mars, and the ideas that inspired it. She discusses her early life and musical tastes; why London is so important to her creativity and style; whether she has a favoured cut from her E.P. – whether she was affected by the recent snow.

I ask whether there will be any future singles from Down to Mars and what she hopes to achieve this year; how she manages to spend time away from music – a couple of new artists we should all be aware of.

_________

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

My week has been good. I just came from holidays and, to be honest, wasn’t as productive as I usually am - but I guess, sometimes, it takes a few days to get back into your normal routine.

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

I am a half-German, half-Bulgarian singer-songwriter who makes Pop music with some Alternative influences.

ina3.jpeg

Were you affected by the snow we have been having? As a musician; was it quite an inconvenience?!

Coming from Germany; I found it astonishing how many problems a few centimetres of snow can cause in this country! Half of my meetings for that week were rescheduled and public transport was really badly affected. But, of course; I understand it’s very rare here in the U.K. - so the systems to deal with it are not in place. But, that aside; I enjoyed the snow a lot.

Snow is one of my favourite things in the world!

Your E.P., Down to Mars, is out. What themes and ideas inspired the E.P.?

The E.P. is, actually, quite reflective of the sort of topics I was dealing during the last few years. Tiffany and All That Ice are about certain phenomena you find in relationships, like being taken for granted or (also) the tendency to stop spending quality time with each other - assuming extrinsic factors will make up for it. Peachy is about living in the moment and cutting out unnecessary negativity and stress from your life. I’m super-bad at that, so I wanted to make a song that always reminds me to chill a little when stress takes the upper-hand.

Finally; Down To Mars is about my decision to pursue goals and dreams that other people deem unrealistic and ultimately disapprove of - simply because music as a profession doesn’t seem lucrative enough. There is also a remix of my first single, I Thought You Were Gay, on the E.P. - which is super-different to the original version! Music-wise; it’s a Pop record with influences of Ska, Dancehall - and even some Blues.

Down to Mars is your debut E.P. Was it exciting putting it all together? Do you have a favourite song from the E.P.?

Yeah, it was very exciting. The whole process took place in Inglewood, L.A. and, for two weeks, I was, literary, in the studio twenty-four-seve; writing and recording one song a day with the producers. My favourite song is Down to Mars - because the topic is so close to my heart. 

Will we see any new singles? Are you working on a single-release/video right now?

No. I have done it rather the other way around: I released two singles from the E.P. prior to the Down to Mars (E.P.) release. First of all, there was Tiffany, for which I have also shot a music video. Then, there was Peachy - which was just an audio release. 

You are based in London but have German roots. Do you get chance to play back in Berlin?

I did play a festival in Berlin last year: this year, I haven’t planned anything yet. But; I will be going to the studio in Berlin at the end of March to work with a German producer (who is really great). In general, I love Berlin. I grew up there and it’s where I feel most at home.

When did music come into your life? Did you grow up around a lot of music? 

Music has been the most important thing in my life since I can think...

I started playing accordion at a young age and then moved over to piano; singing and writing at the age of fourteen. But; I remember that, even before I started writing properly, I would always make up songs in the shower - terrible ones, actually. My family members are still traumatised!

ina2.jpeg

How important is London to you? Do you get inspired a lot by the people and neighbourhoods?

London is important to me because most of my friends and music contacts are based here. Other than that, to be entirely honest, the city has drained me a little with its fast-paced, rather anonymous vibe. Most times, I get inspired by experiences happening outside London. For instance; I often get super-inspired when I’m back in Berlin or after I come back from a holiday.

What do you hope to achieve in 2018?

In 2018; I want to put out lots of music and, hopefully, some of it will do well! Other than that; I want to write more songs for other artists; attend more exciting professional writing camps and grow my YouTube following.

ina5.jpeg

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

During one of the many times that I went busking on Portobello Road, I once accumulated an especially big crowd and, by the end of my set, the whole street was dancing to my rendition of Bitch Better Have My Money (it was a request). I love that feeling of being really connected with my audience. One moment we are all strangers and the next moment we all share this really special experience with each other - and it becomes a little temporary community! 

What advice would you give to new artists coming through?

Think outside the box - and don’t take ‘no’ for an answer.

CYN.jpg

IN THIS PHOTO: CYN

Are there any new artists you recommend we check out?

There is an artist called CYN that you should check out - she has a really fresh sound and good lyrics.

Another interesting new artist that I recently discovered is Sabrina Claudio. She is a beautiful woman that does some sort of sensual R’n’B.

sab.jpg

IN THIS PHOTO: Sabrina Claudio

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

For me, the best way to relax is through sports. I love skiing and playing golf or tennis - or, if I have the chance, snorkelling. Other than that; I find playing Classical piano or drawing pencil portraits super-relaxing.

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).

CYN – Alright

_______

Follow Ina Reni

ina4.jpeg

INTERVIEW: Until the Ribbon Breaks

INTERVIEW:

1.jpeg

Until the Ribbon Breaks

_______

WITH an eponymous album out in the world…

alb.png

it was a good time to speak with Until the Ribbon Breaks. Pete and Elliot discuss the album and the themes behind it; how they connect visuals/cinema to their music; why personal struggles and addiction played a role in the music – and created a challenge for the guys.

They talk to me about getting exposure and what tour dates they have coming up; a new act we should keep our eyes out for; the music they were both raised on; a fond musical memory that sticks in the mind – we get a top-notch track to end the interview.

_________

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

Hi, hello; hi. Very well, thank you. We’ve just come off the back of playing KCRW, which was a wonderful experience. If you don’t know it; KCRW is L.A.’s best radio station…and, yes, I am biased.

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

Indeed. We are a band of two - once three – and we are Pete and myself, Elliot.  Pete is the singer and I am the drummer. We work together in the studio - but mainly Pete is the visionary for the amazing ideas we come out with.

2.jpeg

How did Until the Ribbon Breaks get together? Were you all friends from way back?

Until the Ribbon Breaks was born out of many failed attempts at bands. Pete and I have been working in bands together since high-school. We had an amazing music department that we spent the majority of our time at. (Props to Mrs Richards who always had my back; even when I was badly-behaved).  Pete and I first met over my first MP3 player - I think it could hold around three songs. 

Anyway; I had Mos Def's Ms. Fat Booty on it  -and the rest is history. 

Your eponymous album is dusted and out. What are the themes and ideas that influenced the songwriting?

Pete here; hello! In retrospect, almost entirely the record seems to be about finding a way out; overcoming through adversity and strength. It was never written to have an overarching theme – but it certainly ended up that way.  

Pete. I believe addiction and personal struggles played a part. Was it hard putting that sort of honesty onto the page?

No. I find it harder to write songs that are not honest. Writing seems to be my only real way of expressing how I really feel. Again, it is never intended - and often I learn things about what has been troubling me sub-consciously, through putting my thoughts onto paper.  

3.jpeg

You have also released a statement online. Tell us more about that…

The last thing I wanted was to use my experience as some kind of marketing tool…

However, it seemed disingenuous to not address the reason that we had been away for so long. Also, if that statement and our story identifies, and can potentially even help one person, then I'm glad it is out there.

It seems, as a band, you have a cinematic and visual mind – that goes into your videos. Do you think images/visuals and music are closely linked?

To me, inseparable. Some of my earliest memories of music are of watching my father’s copy of Pink Floyd’s visual interpretation/movie of The Wall. I have always listened to and loved film scores - and it is inevitably what I would like to end up doing.  

Give me a window into your musical tastes. Which artists inspire you as musicians?

Unlike Pete; I don’t really have much of a musical family: I think my mum was playing M people to me as a kid which, if you haven’t heard them…you probably don’t need to. I found my way to Michael Jackson’s Bad and I was on my way. I spent many a trip drumming on the dash of the car to it. Also, there was a Welsh band called Stereophonics who kind of paved the way for me wanting to play music to people.

These days, I’m playing Kendrick (Lamar) a lot - probably too much. 

11.jpeg

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

Yes, please! I don’t think Pete will mind me saying…we went into this album campaign kind of cautious about the live thing; both of us wanting to play again but also aware of his recovery and what a big challenge the live would be. After playing a couple of small shows at the end of last year, and us both really loving being back up there; I think I’m going to say yes, for sure.

Watch this space...

How important is the stage to you? Is being there where you all feel at your very best?

For me, the stage is the most important part: playing live is where my heart is at.

There were many years where I didn’t enjoy the studio and detached myself from that process – but, during our time between records, I’ve found myself working on production. I find the process of working out how we’ll play the complicated productions live a stressful but exciting process. It can take weeks of programming and figuring out who’s playing what - but the payoff is great.  I do sometimes wonder what it would be like if we were a guitar band…

Lo.jpg

IN THIS PHOTO: Lo Moon

Which new artists do you recommend we check out?

I’m loving Lo Moon at the moment. I think they released their record the same day as us. Go check them out...

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

I’m getting married in April - don’t they say it’s all downhill from there?

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

Definitely; (I) will always remember a show supporting our friends London Grammar in Montreal. I’ve never heard an audience make so much noise (good noise; not the throwing rotten fruit type of noise). They made so much noise we couldn’t start the last song of the set. It brought us all to tears - and something I will certainly never forget.

5.jpeg

What advice would you give to new artists coming through?

Work hard as fu*k and expect not get paid for it. BUT, keep going: there’s nothing more fulfilling than following your passion. 

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

Time spent away from music usually consists of something dog-related. My wife-to-be runs a dog-walking and boarding company, Wolfpack LA, so there’s, quite often, pups everywhere - and probably some poop to clean up.

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

Well. Seeing as I mentioned them earlier, let’s get on Lo Moon - Loveless

_______

Follow Until the Ribbon Breaks

4.jpeg

INTERVIEW: Kylypso

INTERVIEW:

top.jpeg

Kylypso

_______

THERE are a few three-pieces running around…

2.jpeg

in music but none, so far as I can tell, who have the same ideals and sound as Kylypso. I speak to the London trio about their new single, Deep Blue, and how it differs to their previous effort, Blame Love. They talk about their formation and future plans; what music they were influenced by growing up – and how their sounds come together.

I was eager to learn whether there were dates in the diary; whether they had some advice for new artists of the moment; if they each have a favourite memory from their time in music – and whether there was a bit of a trouble-maker in the ranks…

_________

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

Hiya! Very good, thanks. We have been rehearsing all week learning our own songs and also playing live with a drummer for the first time - so it has been fun.

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

We are three-piece, Kylypso, from London; we play Psychedelic Indie...we are comprised of Rudi (Guitar/Vocals), Tom (Bass, Vocals) and Hugh (Keys).

Hi.

It has been pretty cold and snowy recently! Have you been affected by it? Does it provide you more time to stay in and make music?

It has been freezing! My (Rudi’s) room is where we do a lot of our writing. We have a small set-up in there. It gets particularly cold; so we have been working wearing coats and hats.

Lots of coffee keeps us warm...

Deep Blue is your new song. What is the inspiration behind that?

We loved the idea of the colour deep-blue to represent the ‘ideal’ you hold someone to at the beginning of a relationship. The song sits in a moment where reality is eroding this image, but it is a beautiful thing to fight for. We also wanted to bring in some ideas of living in the moment and diving into things fully - even with a risk of being hurt. Musically, we took this idea to try to write parts of the instrumental to a ‘blue sky’ or ‘deep-sea’ theme - almost approaching the song visually. We love the idea of approaching a song at these kinds of angles.

How do you think Deep Blue follows from tracks like Blame Love? Have you grown in confidence as songwriters?

For sure.

Blame Love was written when we were still settling on the sound - that has become more defined as KYLYPSO. As we were able to set up the boundaries of what we could call the ’KYLYPSO Sound’; we then knew what boundaries to push and explore. Having complete freedom is quite destructive when writing music: the more you can define a direction, the more so you can focus in on pushing the envelope – it’s kind of a weird paradox you would guess wouldn’t happen until it is experienced.

Is there an E.P. on its way? What are you guys working on?

For now, we like the idea of just releasing singles this year. We are packing each song with a printed zine and digital edition via a website; so we are making more of each release and delving deeper into each song - rather than going for the E.P.

Our plan may well change by the summer though!

3.jpeg

How did Kylypso get together? Was there an instant spark between you?

Tom needed a keyboard player for his old band: Rudi jumped in and, soon, started writing some songs. Hugh had mixed some songs for Rudi’s old band - so was brought in for some production work on KYLYPSO songs...

But, we were finding that the three-way collaboration was working; we were on the same wavelength…so Hugh jumped in.

Which musicians did you all grow up around? Were you all raised in musical households?

Rudi: My dad loves The Beatles; so I grew up with loads of their albums. They are very multifaceted; so you can grab lots of different bits of musicality from their different albums. As a teenager, I moved towards guitar sounds I liked: Nirvana, Rage Against the Machine and The Mars Volta.

Tom: Exactly the same with my dad and The Beatles. I grew up in a house with a piano and a Beatles book. I actually ended up learning loads of Beatles songs before I heard them on the record.

Hugh: I grew up on a diet of great songwriters like Paul Simon, Cat Stevens and Pink Floyd etc. - all thanks to my parents. My dad played guitar so, naturally, I started to learn too; albeit upside-down, being left-handed. I was heavily inspired by Blues/Folk guitarists - and didn’t move onto keys until much later in life.

5.jpeg

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

We have one London show coming up. We are looking to get together a tour soon - most likely, in the U.K. We love the idea of collaborating on some live performance; in terms of people we are working with (to produce zines and videos). We are putting together a skateboarding video - so are looking into playing in a skate-park or something like that.

Is touring something you all love? How important is it to get up on stage and perform?

For sure. Since KYLYPSO is a relatively new planet in our musical universe, we haven't had the chance to tour yet. We have all been playing live shows as sessions for other people and in previous bands - it really brings the songs to life and gives them a new dimension.

We can’t wait to play them to real-life people.

What do you all hope to achieve in 2018?

Align KYLYPSO to record an album...we have lots of songs for our singles plan...

We would love to create one concise body of work. We need the space, time and space-time to combine it into one thing.

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

Rudi: I have a memory from my old band...

We had recorded a song in our drummer’s house, creating a vocal booth with his mattress and bed-sheets; recording drums in a practice room. It was eventually played on Zane Lowe’s Radio 1 show and we were all listening in the room shouting at the radio and laughing about how our weird song about a mountain - recorded between bedrooms and cupboards - was being played on national radio.

Hugh: There are so many great moments in creating music. For me, it is that great feeling when you are working on a song and everything just clicks and falls into place. I haven’t found anything that comes close to that feeling yet. But, one specific moment that stands out was the first recording I did at Abbey Road. I remember stopping and thinking ‘how the fu*k have I ended up here!?’ -  knowing all the great albums that have been recorded there…

4.jpeg

What advice would you give to new artists coming through?

Don’t tell anyone your band name or put any music online…

Ok; really, I would say that it is important to synchronise your efforts. Think about your live shows syncing up with your song releases - which can sync up with promoting towards a goal. This will help build momentum in one direction; rather than playing random shows dotted around and throwing songs out into the digital wind.

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

We don’t get much time: it is all-engulfing but we do love tennis and find it is an amazing way to unwind. Hopefully, we will be making a tennis video for one of our songs in the summer!

7.jpeg

Which band member, would you say, is the biggest trouble-maker or ‘character’? Is there one member you need to keep your eye on?!

Definitely, Hugh…

He pretends he is from the North of England and has an accent all the time: no one really knows where he is from, but it’s not there. Also, we suspect he is a part-time archaeologist - but won’t admit it.

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

YESSSSS. Could you please play The Sun by Myd.

THANKS!

_______

Follow Kylypso

end.jpeg

FEATURE: The March Playlist: Vol.2: A Sadboy in the Club

FEATURE:

 

The March Playlist

hinds.jpg

 IN THIS IMAGE: Hinds 

Vol.2: A Sadboy in the Club

_______

THERE is a nice mixture of…

al.jpg

IN THIS PHOTO: Lily Allen

bigger tunes and some lesser-known ones this week. Manic Street Preachers and Lily Allen introduce new material; there are fresh slices from Hinds and Beach House; a cool video from Wolf Alice - and songs from Dream Wife, The Shires and Plan B.

In addition; you can sample numbers from Young Fathers; Albert Hammond Jr.; Anderson.Paak, Kylie Minogue and Editors – with many more in there to choose from!

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images

________

alice.jpg

Wolf Alice – Sadboy

shshshsjskskdkfdkfkfkgkf.jpg

Hinds – The Club

man.jpg

Manic Street Preachers - Dylan & Caitlin

lil.jpg

Lily Allen - Higher

new.jpg
news.png

James Bay – Pink Lemonade

simian.jpg

PHOTO CREDIT: James Pearson-Howes

Simian Mobile Disco – Hey Sister (Short Version)

JOHN.jpg

John Newman – Fire in Me

stop.jpg

Kylie Minogue – Stop Me from Falling

shires.jpg

The Shires – Guilty

gen.jpg

PHOTO CREDIT: Hollie Fernando

Gengahr – Is This How You Love?

ge.jpg

George Ezra - Hold My Girl 

vin.jpg

Vince Staples – Get the F*** Off My D***

wil.jpg

Wiley – Remember Me

years.jpg

Years & Years – Sanctify

ady.jpg

Ady Suleiman – Loving Arms

planb.jpg

Plan B – Guess Again

LIV.jpg

Liv Dawson - Talk

never.jpg

Camila Cabello - Never Be the Same

alb.jpg

Albert Hammond Jr. – Tea for Two

koj.jpg

Kojey Radical – If Only

dav.jpg

David Byrne – Dog’s Mind

edi.jpg

Editors – Darkness at the Door

jessie.jpg

Lewis Capaldi (ft. Jessie Reyez) - Rush

flyte.jpg

Flyte – Moon Unit

matt.jpg

PHOTO CREDIT: Scarlett Carlos Clarke

Matt Maltese – Greatest Comedian

MOOSE.jpg

Moose Blood – Such a Shame

you.jpg

Young Fathers – Border Girl

dream.jpg

Dream Wife (ft. Fever Dream) – FUU

diz.jpg

Dizzee Rascal – Ghost

sam.jpg

Samantha Harvey – When It Comes Down

and.jpg

Anderson.Paak – Til It’s Over

ocean.jpg

Ocean China – Chinese Assassin

swa.jpg

PHOTO CREDIT: http://www.patrickgunning.com/

Sea Girls – Eat Me Whole

JBJ.jpg

Bon Jovi - When We Were Us

island.jpg

Island Club – Sober

cait.jpg

Caitlyn Scarlett – Ornaments

TRACK REVIEW: Mïrändä - GLOW  

TRACK REVIEW:

 

Mïrändä

2.jpg

GLOW

 

 

9.5/10

 

3.jpg

GLOW is available via:

https://open.spotify.com/album/5VyLAu6a5fJMepIO3FJl7o

GENRE:

Electronic

ORIGIN:

New York, U.S.A.

RELEASE DATE:

2nd March, 2018

_________

THIS review provides me the chance…

1.jpg

to look at a variety of different things. I want to explore female talent and why, this week, it is especially important we throw a light on them. I will look at N.Y.C. and why the area continues to produce fantastic music; how geography and diverse landscape inspires music; transcending limitations and going beyond simple boundaries; gaining kudos and getting the backing of other artists; artists who stand out on their own and do not follow the pack; creating sound textures and collages – ending with a bit about music’s future and why we need to make some changes. This week has seen International Women’s Day and, with it, a host of blogs, features and interviews springing up – all celebrating women in music and what an impact they have made. I think about Mïrändä and the fight she has on her hands. That is not to say her music lacks killer conviction: she is a stunning act but, in an industry that is still imbalanced; there are so many obstacles in the way. Female artists, and women in the world, have to fight to get the same recognition as the men. It is worrying seeing so many fantastic musicians overlooked because of their gender. Mïrändä is fighting and producing some great music but, as we move through 2018; I wonder whether we need to take decisive action and intervene. To me; female artists are providing some of the best most attractive music around. I am pleased there is that range and originality available to the consumer. It is good to see artists away from the mainstream go beyond what we expect and create wonder. The N.Y.C.-based artist has made some big steps and is one of the most innovative and stirring acts I have heard. I do find it stupid many overlook female talent because of their gender. If there was an issue of quality – they were lacking any clout and ability – then there would (I guess) be an argument for this kind of slight. As it is, we are seeing a disparity and gulf based on nothing at all.

4.jpg

The only way there is going to be evasive and fast action is elevating the finest female artists around. The trouble is this: there are so many musicians to choose from; it is dizzying and challenging. Mïrändä is one of those people who will not let things rest and will continue to forge her way through music. She is getting a lot of respect and making waves in her native area. The imbalance in terms of gender is one of the biggest curses we have in modern music. If we continue to let this practice continue then we risk marginalising some of the finest artists around. I will move onto other areas soon but, before then, another reason why we need to embrace female artists and everything they do. I have mentioned innovation – and will continue to do so later – but fee there is an extra layer of magic inherent in the music of female musicians. Maybe it is their natural passion and curiosity but, when I hear female-made music; I get something lacking from the men – a spark and touch that goes beyond the ordinary. One can argue this is bias and personal preference but the story is the same with many people. I hear of others who have the same feelings when it comes to female acts. In the case of Mïrändä; she combines an immense beauty and physicality with an intelligence and soulfulness. There is something endlessly fantastic about her sounds and what she does to the listener. Once you hear a snippet of her music; there is pull and effect. You get taken in and immersed in a safe and comfortable place. It is impossible to detach yourself from Mïrändä’s great music and sound. That makes the argument about gender in music completely stupid. There are incredible artists out there, like Mïrändä, who provide music that goes beyond anything you can imagine. The fact she, and others like her, are given fewer opportunities than men makes me wonder what has happened to music.

5.jpg

I have stepped away from New York a while so, with the arrival of a new artist; it is time to get back there and investigate the area. The state is so vast that it is impossible to get a good grip on things and a proper understanding. The five boroughs have a very different flair and flavour: depending on where you go; there is something that suits your needs. I have never been over there myself – I plan on doing it – but have been invested in New York since I was young. There is the rush and energy of the place; the different people and cultures. I am excited seeing the state burgeon and influence. That has always been the way but, now more than ever, I feel New York will play a huge role. London is fantastic and continuingly broad; there are other wonderful cities that get into the head – none that have the same impact as New York.  I am not sure what part Mïrändä is from but she vibes from the sounds and sensations of the streets. What gets me about her music is the way it encapsulates all the colours around her but has an accessible quality. It is important musicians make sounds that are different but manage to strike a relatable chord with the listener. I am stunned by the eclectic and wide-ranging nature of the New York music scene. Every neighbourhood and corner projects its own flair and inspiration. It is a bustling and kinetic part of the world that has majesty like no other. I can imagine it is a perfect place for Mïrändä to create and find material. Many will argue there are a lot of people around and it can be hard finding space here: there are plenty of parts to retreat in; quieter and more relaxed areas of New York. Nobody can deny the allure and strength of New York – and why its musicians are among the most promising in the world.

6.jpg

Before I come to look at Mïrändä’s rise and style of music; I will stay in New York and why it is somewhere more people should think about. Many musicians I know are heading over to New York and excited to get gigs. It has that intrigue that nowhere else in the world does. Whether you are compelled by the multicultural angles and the mixture of races; the fantastic sites and landmarks available; the bustling streets and the way you can get swept away. It is the music and arts of New York that stands out. You have decades (and centuries) of music that stands the test of time; inventiveness of the modern breed who continue to uphold the proud name and add their name to the history books. It is fantastic watching the modern clan borrow from the past and inject something unique and personal. Mïrändä is a curious writer and, as she progresses in her career; I wonder whether she will remain in New York – relocate somewhere else and start a new life. There is no real reason to depart from New York. The area is vast and opportunity-laden; there are plenty of chances for musicians to get their stuff heard and promoted; all manner of people there to keep the imagination nurtured. To me, it is symbolic of a free and balanced community that does not push people away and continues to support those who live there. Maybe I am being naïve but, for a musician, there is a sense of belonging and connection. You can find like-minded individuals who will share your vision and support your drive. New York has some of the best venues in the world and, as you shift between boroughs; you get a new sensation and take-away. So many artists from the U.K. are either moving to New York or playing there. There is the issue of cost – not that much different to places like London – but there are more chances available. It is a more competitive place to be but, in terms of rewards; it is well worth the risk. I would suggest Mïrändä remain there because, the bigger her career gets; the more relevant and important New York becomes.

1.jpg

I have spoken a lot about areas separate from the music itself. Mïrändä is a modern musician who has the same sort of aspects and ideas as many out there – she transcends the simple and strays away from the commercial. One of the most noticeable aspects of the modern machine is the ‘single campaign’. Artists have distinct visuals for each campaign which means there are some limits to journalists. It is fine to be restricted to a few snaps but, in terms of scope and mobility; I wonder whether more flexibility should be granted. I guess, now, music is about marketable structure and rigid planning. In order to get a single out there and trending; the musician needs to address all angles of promotion and creating a very precise and measured attack. Although there are fewer images available than many artists; one gets an impression of what Mïrändä is about and her style. The music is an important guide – cannot get too hung up about photos – but, with the images you can see here; one gets an impression of a unique soul and alluring talent. That might be because of the area she is based in and how the complexities of New York feed into her blood. I see some slyness and vulnerability in Mïrändä; there is a softness and shyness that mixes with boldness, rush and panache. That is a fantastic and heady brew that means the music has a lot of depth and sustain. Maybe the streets of New York provide the sort of direction many do not have access to. London is a vast landscape but, compared to New York; it is a small fish against a mighty shark. We do not have the same vastness and variety at our feet. Mïrändä is living in a part of the world that has geography like no other. It is impossible to live somewhere like New York and not take something away from the place.

2.jpg

Maybe there is that physical effect and resonance. I feel Mïrändä is someone who takes from her past and present, personally, as she does anything else. You listen to her music and get the impression of a very special and rare soul. Her personality comes to the fore and one feels a real understanding and connection. I know a lot of artists who give their all to the music and pour their personalities out. There are few who have the same openness and revelation as Mïrändä. She provides music that digs deep into the soul and makes the heart skip a beat. Few humans are as striking and stirring as she is. That means the music goes a lot further and remains in the mind for longer. One can say that is a symptom of a New York musician but that, to me, is the result of someone who has grown up a certain way. I can only imagine the kind of music Mïrändä holds dear and was raised on. I can hear a lot of classic Pop and Soul artists in her own sound – the way her voice sounds and the threads she weaves together. One gets impressions of modern New York artists and the most innovative around. I hear so many different ideas and expressions working in her own music. Mïrändä is an innovative mind and someone who holds music dear. She loves to project her personality onto the page but, on GLOW; there is something extra and unexpected. It is hard to put into words but one hears GLOW and so many different ideas working alongside one another. You get blasts from the past and some classic sounds; the urgent pace of the modern streets and what is happening around her – some elements unique to Mïrändä and what she is about. I am always drawn to artists who depart from the predictable and have something special about them.

4.jpg

I shall move onto the song itself in time but, before then; I wanted to investigate artists who have achieved a lot and why they get the respect they do. Dancing Astronaut, The Deli Magazine; Pancakes and Whiskey and DIY Magazine have already supported her music. YouTube stars, including Julien Solomita and Jason Nash, have used her songs in numerous Vlogs – it has been a successful and important time for Mïrändä. Many might say this is nothing special: so many artists get under the radar of big publications and get a level of fame. There are few who get under the skin of such big names so early. It takes a while for most artists to accrue the sort of attention Mïrändä has got in her career. You need to have something engaging and original in your locker to get into the head of any magazine/critic. It is not good enough turning up with something samey and expecting people to be all over you. There are so many artists who still have that approach. It means you get a faction who is unwilling to engage beyond the plodding and commercial. Mïrändä is a musician who knows you need to mix the understandable and familiar with something personal. I hear shades of commercial music in her own sounds – it is not too pressing and precise. It means one can easily bond with her sounds but it is not too chart-bound and depressing. You get fizz and wild imagination; there is a seductive quality and beauty that brews and percolates in every note. It is a captivating concoction that easily translates into music - but it has a special edge. I am always looking out for artists who can perfect this chemistry and sustain it. I will end the review by looking at Mïrändä’s future but, right now, she is on fire and in peak form. There is nobody out in the music world that does the same thing as she does. People are responding to her music and getting behind every offering.

5.jpg

Before I look at GLOW; I want to look at Mïrändä’s soundscapes and how she fuses elements together. There are Electronic strands but Pop ideas and harder slices. I am still finding musicians who repeat what is out there and do not go far beyond the expected. It can be hard departing from the normal and straying from the commercial. Artists that do go beyond the familiar are to be commended. There is something risky about it but, when you listen to the music, it has that additional grace and power. Mïrändä defies genre and is hard to classify. There is Dream-Pop there but, when you look closer; is it easy to label her?! I do not think so. The style she has tailored is her own – going further than most other new artists around. All the elements and ideas she has assimilated into her music hit the senses and compels you to follow her. I have heard few artists who are as passionate and committed to music as Mïrändä. She is a dedicated and hard-working talent who puts her everything into, well…everything. It is humbling hearing a musician who expends that much energy, commitment and love into each song. GLOW is another big step from the stunning and multi-talented songwriter. I wonder where Mïrändä will go from here – in terms of her musicianship and style. She has crafted something that has flexibility and promise. She can take it in other directions and find more room. I wonder whether Mïrändä will assimilate other strands into her music as she moves through the year. Everything about Mïrändä hits the heart and urges you to remain with her. GLOW has been getting a lot of love and affection from people out there. Websites and reviewers are lending their praise: the public is behind it and it seems few are immune to the wonders of the song.

6.jpg

GLOW gets straight down to business and bubbles off the speakers. The electronics and beats crackle and there is a youthful, fulsome dynamic to the song. Although the earliest words are hard to decipher – too breathy and mixed-down against the bold composition – it is the sensation and sigh you get from Mïrändä that connects. There is that allure and sensuality brimming and touching the listener. The beginning of the song is such a physical and sexual thing. You are hooked into the song and compelled to surrender to its lustre. The heroine talks about a realisation and not having a heartbeat – until the hero came along and changed things. One instantly understands where Mïrändä is coming from and where her mind is heading. There is that relatability but, in the way she sings, something unique and personal. Mïrändä is not keen to mimic other sings and create tropes. GLOW sees her explore this new-found love and having her life reinvented. The energy and colours that burst from the speakers get into the heart; the vocal is raw and impassioned. One gets views of the dancefloor and clubs – as the composition gets sterner and a little more sexual – and the heroine’s eyes wide and alive. Blood is rushing to the head and one can get a real sense of what is happening. People are milling around and there is fascinating on the floor. People are hooking up and the attraction of the music swims in the blood. Mïrändä is looking across and finding someone who instantly connects with her. It is a very evocative sentiment that is never crude and uncomplicated: the heroine keeps things back and builds momentum and mood. She cannot find “this glow” and fascination. The composition rises and falls; it echoes and bounces with pride. One can hear the composition bounce and mirror the lyrics. You start to move and connect with the music; caught in the tide and starting to project images. Although Mïrändä has her own style and sound; one can detect elements of modern Pop idols and elements of her voice. One can hear some familiar vocals but Mïrändä manages to fuse so much of herself that it does not dampen the song and make you think of anyone else too readily. The heroine is caught in the moment and curious where it will head. The beats and electronics continue to change course and it is such a physical and unexpected song. The pace and energy never relent and the listener is powerless to refute the pull and prowess of GLOW. I wonder whether the heroine is looking at her past and making the same mistakes – embracing a new relationship and something that could be more positive.

1.jpg

She is going around and around and cannot pull away from the magic. This attraction is strong and it is causing Mïrändä to wonder and imagine. I was thinking about men who have treated her badly and let her down. Maybe this boy is the same and it means the same errors will come in. I was caught between someone who was excited by a fresh challenge and affection but fighting against the temptation to repeat past bonds. That light and glow is hard to fight and is endlessly attractive. The more the song goes on; I was looking at the positive and how this feeling should not be questioned. I have been looking at GLOW from different angles and wondering whether it is about that single night or the start of a longer relationship. To me; there is this new experience that Mïrändä wants to retain and foster. The music pops and one feels involved and connected with the visions. You transpose yourself into the song and follow this flirtation. The cheeks of the heroine are crimson and you can feel the two coming together. There is electricity in the air and the sweat drips from the walls. That does not mean GLOW is overtly sexual and salacious. She talks about attraction and that desire: the song goes deeper and is more emotional than one might expect. By the latter stages; the song gets more playful and the heroine’s voice skips and teases. The composition continues to exert images and possibilities – the heroine dreams of tripping and not feeling the fall. There are so many different sounds and layers in the song – the head always spins and the imagination is working over-time. I wonder whether that ‘trip’ is her falling for the man: perhaps the sensation has, literally, knocked her off the feet and taken its toll. Whatever your impressions of GLOW; it signals a vital talent in the industry making moves few others can dream of. I am curious where Mïrändä will go and what her next move will be. It is hard to ignore the passion and intensity that comes from GLOW. It gets right into the head but has so many layers working away – you will come back and discover something fresh every single time. Kudos to a hungry and stunning artist who is subverting expectations and providing some of the most engaging and thrilling music around. I am in no doubt Mïrändä will ascend to the giddy heights of the mainstream in years to come – adding her own style and able to inspire many other artists when she is there. Make sure you investigate her music and get your ears around GLOW. The New York-based heroine is on the rise right now. It is wonderful seeing a singular artist hit the soul and produce such a fantastic song.

2.jpg

Mïrändä attended NYU Tisch School of the Arts for both Acting and Songwriting and was a 2013/2014 YoungArts winner. She has performed her original material at Lincoln Center, The Kennedy Center and at TD Garden alongside Josh Groban. She has achieved a lot and saw her debut E.P., Empire, featuring on big blogs. Her following is strong but I wonder whether she can go further. Her Twitter numbers are growing but I listen to GLOW and realise there is a whole world of followers out there. I wonder whether there will be more material coming and where Mïrändä heads. A lot of people in the U.K. will want to see her and see her perform live. I hope London is part of her plans later in the year. Right now; Mïrändä is working on the promotion for GLOW and ensuring it gets far and wide. Once the dust has settled and she is thinking of new moves; it will be interesting seeing what that entails and what direction she takes. I think Mïrändä has hit on a very appealing sound and concocted her own world. There are few who have the same reach and nuance as she does. I am excited to think what comes and, the more songs she puts out; the more people will latch onto her. There is a following for her music in New York but I would like to see more people here get behind her. It is still early for Mïrändä and her music: the more time she puts in; the greater the rewards will be. So far, she has done a lot and seen her songs get out to the people. I can only imagine what it is like for a New York-based artist. You only need listen to GLOW and realise what it all means to Mïrändä. She is dedicated and putting her all into music. There is no time to relax and lessen the pace. For that – and because she is a rare and original artist – we should all put our weight behind…

4.jpg

A very special human.   

_______

Follow Mïrändä

5.jpg

INTERVIEW: Cat Turner

INTERVIEW:

top.jpg

Cat Turner

_______

YOU have a pretty varied choice…

single.jpg

when it comes to solo artists! Whatever your tastes, persuasions and preferences: somewhere, anywhere, there is an artist to fulfil demand. I have been speaking with an artist who stands on her own feet. Cat Turner tells me about her new single, Waster, and her E.P., Contrast; what we can expect in terms of gigs – how visuals and images link to her music.

Turner chats about her home in Galway; whether we will see her in the U.K. soon; the sounds she is influenced by; if there are any new artists worth keeping an eye out for; what she hopes to achieve before the end of the year – how she chills away from music.

_________

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

I'm super-tired but very hyped from the excitement of the week. How are you?

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

Sure thing! Well. I'm Cat Turner. I started producing and releasing my own music over the past year. I guess I'd describe it as an angsty Alt-Pop!

It has been pretty cold and snowy recently! Have you been affected by it?! Does it provide you more time to stay in and make music?

Yeah, it's been so cold! I'm always cold, anyway; so this week it’s been lots of hot water bottles and four pairs of socks! Ha. Other than that; I was lucky to not really be affected. I did stay inside for those couple of days but I was finishing mastering the E.P. - so may not have left anyway, if I'm honest.

Waster is your new track. What is the story behind the song?

Waster is an internal battle with myself. Sometimes, I'm pretty harsh on myself and think I hold myself back - and other times, I can see how hard I work and can appreciate that. Waster is those two sides facing each other…

It is taken from the E.P., Contrast. What sort of ideas inspired the songwriting? Was it fun recording it?

I think I'd find it really hard to find one thing that inspired me - because I try and take inspiration from everything that happens around me. Listening to as much music as I could was super-important, though. The recording process, for sure, had its highs and lows: I really challenged myself with this, as I did absolutely everything myself from start to release. It, maybe, made it more stressful - but incredibly rewarding.

I can proudly say the Contrast E.P. is me.

Your music is best described as Goth-Pop. Are there particular artists that influence your own sound?

Goth-Pop! I love that so much…

Very much me as a person, too! When it comes to writing, I try not to be too influenced by any one artist’s sound. But, what really influences and helps me is other artists’ attitudes. I love someone polarising that still keeps doing what they're doing. Very into Tove Lo, Halsey; Grimes and Post Malone at the moment.

2.jpg

It seems like you have increased in confidence and power. Do you feel you have grown as an artist? What, would you say, is the reason for that?

100%! It comes from actually believing in what I do, I guess.

I use to just play keyboard and I hated it. It wasn't what I wanted. But, since learning to produce and changing my stage set-up; I feel like I'm where I'm supposed to be with music.

Your music incorporates visual style and sense. It seems image and visuals are linked to your music. Do you feel it is important to project a sense of theatre and cinema?

I think it's so important! When you deal with everyday emotions and interactions using art; I think that, in itself, is so theatrical. The visuals feel like a natural accompaniment to the music. I like to also make my visuals myself. I have some things ready to be released at the moment that are visually odd (but very me).

Galway is where you are based. Is there a music scene over there? How easy is it getting gigs and attention?

Yeah! The vibe in Galway is the best. Almost any night of the week, you can discover some new music by (just) leaving your house. I've played a couple of gigs here and they've been so great. The audience, here, really wants to listen.

Hoping to play more soon…

1.jpg

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

Well. The E.P. comes out this week and, after that I'll, for sure, be playing. Keep an eye on my socials for updates on that!

What do you hope to achieve in 2018?

Hmm. Take over the world? Ha. Well; this E.P. was a huge achievement - although I do hope to have some more releases this year. I want to live on the road really!

That's the dream.

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

One that sticks out in my mind was a couple (actually, they weren't a couple - which kinda made it) dramatically kissing and realising the mistake they'd made while I was playing a super-sad song. I love the idea of people having real moments to my music.

What advice would you give to new artists coming through?

There are no rules!

People will tell you there's a right way to do things, but it's only right if it's what you wanna be doing. Make sure you're who you want to be first - and don't think you have to be like any other artist.

6.jpg

Are there any new artists you recommend we check out?

Yas! One of my best mates, HOST, is just about to release her first single and it's soo good! She also makes her own stuff - and I can promise you there's so much more good music to come.

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

I think I'll have a little more breathing room now, but I generally like to spend all the time I can on music. I like to keep busy as much as I can, but unwind time is generally T.V., drinks or (just) chatting with my mates.

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).

Ah! So hard to just pick one song...but I'm gonna go with MGMT's new song, Me and Michael. Currently obsessed!

_______

Follow Cat Turner

5.jpg

INTERVIEW: Seán McGowan

INTERVIEW:

6.jpeg

Seán McGowan

_______

WITH a song like Off the Rails in the ether…

10.jpeg

it was about time I had a talk with Seán McGowan about things in general! He chats about his music tastes; the inspiration behind his new song; what we can expect from the upcoming album, Son of the Smith – what advice he would provide new artists.

McGowan discusses working with Sam Duckworth (Get Cape. Wear Cape. Fly); which new artist we should check out; what he did when bad weather struck recently – ending the interview with a great song choice!

________

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

Hello! Not too bad, thanks. It's been cold and snowy but very lovely. 

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

I'm Seán...

It has been pretty cold and snowy recently! Have you been affected by it? Does it provide you more time to stay in and make music?

Yeah - I got the night off work! I mean; I should definitely have been doing that. But, really, I was playing FIFA and watching Godless on Netflix! 

Off the Rails is your new track. Can you talk about its story and background?

Off the Rails is about a house party from a few years ago. It's a shout-out to my pals who I love dearly - and how they keep me grounded and sane! 

It is a raw and urgent track. What was it like recording the song? Did you get it down pretty quickly?

Yeah - it was the easiest of the album to track.

It was never gonna be on the record, originally - then it ended up being the first single. But, yeah, we tracked it live; overdubbed a few parts - then I shouted me head off for three mins! 

Son of the Smith is out on 11th May. What themes inspired your debut album?

Everything around me, really. The same stuff that influences and inspires everyone, I would have thought.

Calling it how I see it and telling stories... 

2.jpeg

Do you have a favourite song from the album? Which one made the biggest impact on you?

There's a song called Sprinhill which took me six years to write. That one's special to me. 

Sam Duckworth (Get Cape. Wear Cape. Fly) is part of your band. How did you meet him? How did your band come together?

Sam's not in me band - but he did produce my album.

Sam slid into my D.M.s on Twitter many years ago to ask me to do some backing vocals for one of his albums. I've considered him a best friend ever since, to be honest. My band is made up of my pals. My drummer, Mike, works in the same gaff as me. Deano, on guitar, has been a best bud and played with me for years. Jay, on bass, engineers our records and was definitely the missing component.

We're four very different people - but I think that's why we have such a laugh. 

Which musicians did you grow up around? Were you raised in a musical household?

Billy Bragg, The Clash; The Jam, The Pogues; The Specials - all of those bands. My folks aren't musical themselves, but they've got good taste! Also, every family party in Ireland ends up in a sing-song.

So; I reckon that would have influenced me a lot! 

top.jpeg

You have a busy gig schedule coming up. Which dates are you most looking forward to?

I'm looking forward to them all, genuinely. I love this job. In Dublin, I'll be catching up with cousins, which will be great. I love Berlin, too, in particular. 

Do you love being on stage? How important is it getting that instant reaction from the crowd?

Yeah, it's the best bit. Everything outside of performing has the capacity to be stressful. But, when you're up there you're in control of everything - and having a laugh whilst ya do it! 

What do you hope to achieve in 2018?

Just more touring, really. I try not to set too many targets to avoid disappointment. Haha. 

7.jpeg

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

Singing A New England with Billy Bragg! 

What advice would you give to new artists coming through?

TOUR - it's where you learn everything…and always be nice to everyone. 

Anna's.jpg

IN THIS PHOTO: Anna's Anchor

Are there any new artists you recommend we check out?

Anna's Anchor! He's supporting me on my Irish and U.K. run! 

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

It's a twenty-four-hour-a-day job, for sure. You're always thinking about something music-related. I like FIFA and Netflix - and pub with pals is always a giggle! 

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).

Tom Waits – Rosie, please! 

_______

Follow Seán McGowan

1.jpeg

INTERVIEW: 10 o’Clock Chemical

INTERVIEW:

MAIN.jpg

PHOTO CREDIT: Will Hutchinson

10 o’Clock Chemical

_______

ONE of the questions I was super-keen to learn…

single.jpg

the answer for concerned the story behind 10 o’Clock Chemical’s name – whether there was a special reason they chose it. I find out about the band’s debut single, Babylon Is Fallen, and whether there is a political edge; what the scene is like around Stoke-on-Trent (where they are based) – and what tour dates they have approaching.

I discover what sounds/artists drive the boys; the new artists they suggest we keep an eye out for; whether the members get time to recharge away from music; what the band hopes to achieve before the end of the year – and whether there is more material coming.

_________

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

Busy but on-track and buzzing - having some great responses from our debut single.

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

We are a band called 10 o’Clock Chemical: a four-piece based in Stoke and Derbyshire - and we play Synth-Pop, Dance and Rock.

Babylon Is Fallen is your debut cut. What is the story of the song?

It's about letting go of old habits, unveiling truths and the drive for new information. I wrote it a couple of years ago when I was obsessed with George Orwell's 1984 and what it would be like to live in a nightmare Big Brother state - but now, it's naturally become a call to revolt against an increasing control on our activities and words we're not too unfamiliar with in 2018.

I believe you spend fifteen months squirrelled away! Was it quite a relief to get the song out after all that time?!

Yeah, so long. We should have maybe renamed the band 'The Mole Rats!' Relief, yes, but necessary...

lean.jpeg

PHOTO CREDIT: Mark Vyse

Babylon Is Fallen was produced by Matt Johnson. Do you think his input helped add something special to the song?

We've been working with Matt on a lot of tracks now - and the guy is a wizard. He really brought Babylon' up to date from being a bedroom demo...and taught us a lot about sonic consistency.

Do you get ‘motivated’ and angered by what is happening in the country? What are your feelings regards the U.K. and our Government?

Well. We are four different people with four different views politically (The E.U. debate is a good one at parties!) but I think the main feeling at the moment is, perhaps, confusion. Straight answers are short: everything seems uncertain and the anxiety is causing a lot of friction. It's more saddening when it significantly affects families and relationships - so, I think it's important, as a band, we use our music to bring people together rather than get too caught up in the crossfire.

We are a small island with challenges to come - and we can still be courteous without compromising our individual truths.

otjer.jpeg

PHOTO CREDIT: Mark Vyse

How did the band come together? Is there a story behind the name, ’10 o’Clock Chemical’?

I think a lot of interviewers have avoided this question - in fear of it being an acid reference or something. It's actually much nerdier...

I got the name during a rough patch with insomnia and started studying the process of the circadian rhythm-cycle - at least in the U.K., the latest time for the sun to set on the horizon is approximately 10 P.M...a time, naturally, our brain releases the chemical melatonin which basically signals darkness and, in turn, gets us off to sleep at night. Without this darkness on the surface, we are unable to rest or dream; so it brings a real nice yin-and-yang feeling to the concept.

10 o'Clock Chemical is just another term for melatonin - or n-acetyl-5-methoxytryptamine to the chemists...

I believe there is an E.P. coming in June? Can you reveal any of the stories that go into the E.P.?!

Indeed. Every track is pretty much centred on modern social challenges and potential consequences of everything from endless consumerism to entertainment and social media.

It's going to be a conspiracy theorist's wet dream.

front.jpg

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

Muse and Gorillaz are the big boys; Twenty One Pilots are also cool A.F.; then, the later material of The Sunshine Underground. Steel Pulse is one of Danny's Hardcore influences - so there's a growing Dub/Reggae pulse brewing in some of our contemporary material - which could start seeing the light of day soon also.

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

Tour dates to be released soon!

bish.jpg

IN THIS PHOTO: Bishop Briggs

Which new artists do you recommend we check out?

One girl I can't keep off at the moment is Bishop Briggs. Her voice is soaring I believe she supported Coldplay on their last tour. Another cool dude we know is Youngr: truly a multi-talented genius in Electronica at the minute.

yo.jpg

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

Recognition and to grow our fanbase bigger; accumulated by a big bunch of live shows outside of our Northern domain.

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

Our bassist, Josh, never seems to shut up about the time he danced to a full crowd on stage pissed-up with a pumpkin - but I'm sure he's going to do better than that with the year to come!

Ours, collectively, was probably when we won Best New Artist at the Staffordshire and Cheshire Music Awards last year. Champagne ahoy - and we partied right through the night with that one.

up.jpg

What advice would you give to new artists coming through?

Practice, patience; strategy. Network!

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

We're part of a tightly-knitted community around the Stoke music scene so, if we're not making music; we're more than likely out socialising at other gigs and events. Otherwise, skateboarding/BMX; fast bikes and plotting world domination in our favourite fast food joint, Chunky Chicken.

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).

Rone – Gravity

Dennis Ferrer – Hey Hey

Beastie Boys – Make Some Noise

Sam & Dave – Hold on I'm Coming

_______

Follow 10 O’Clock Chemical

boys.jpeg