FEATURE: Kindle 33 1/3: Do Modern Lyricists Possess a Poetic, Literary Edge?

FEATURE:

 

Kindle 33 1/3

ALL PHOTOS (unless credited otherwise): Unsplash

Do Modern Lyricists Possess a Poetic, Literary Edge?

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A few sites are spending this weekend…

looking at lyricists from all sides of the track. I have been checking out Pitchfork and a feature they ran regarding Hip-Hop scribblers from the past. The piece charts the development of Hip-Hop from the early-1990s through to the present time. It included Lauryn Hill and Tupac, through to De La Soul. Another feature, on BBC, looks at underrated lyricists and those who do not get the credit they deserve. I guess, if we all had to name the best lyricists of all time; we look at obvious names: Bob Dylan, Lennon and McCartney; Joni Mitchell and Leonard Cohen. They are great writers but, when I think of them; they are populist and well-known. I have huge admiration for all the writers but, when I think of music that goes beyond the established and celebrated – who are those pioneers that have helped shift music forward and added their own spin? Pitchfork looked at artists like De La Soul and the watch they mirrored the (New York) streets in the 1980s – and before then. The band amazed critics with the album, 3 Feet High and Rising. That 1989 breakthrough was released around the time Beastie Boys changed Rap/Hip-Hop with Paul’s Boutique. Both records created unique environments and took storytelling in new directions. Humour, confidence and depth were brought into genres that were relatively fresh and unexpanded.

PHOTO CREDIT: Getty Images

De La Soul mixed humour and skits alongside flower-power Hip-Hop motions; vivid and colourful compositions with some of the finest production notes of the decade. Beastie Boys displayed their sizzling, street-poetic lyrics to the fore: an explosion of full-on, hardcore rhymes and dazzling skills. Look at the Pitchfork article - and they give you a better guide and look into the Hip-Hop scene. Break away from what was happening in the U.S. and here, in the U.K., we were spawning incredible writers breaking the mould and adding something fresh to music. I have admiration for heavyweight writers like John Lennon and Paul McCartney: to me, northern penmanship from Mark E. Smith and Paul Heaton stood out more. Smith’s writing for The Fall brought a slice of real life and the peculiar into a (comparatively) samey scene. The recently-departed icon consistently ripped up the rule-book and brought a stunning, spiked voice to the world. The way Smith played with phrases and elevated the average really was not the expected normal. No other writer has managed to match the scope and intelligence of The Fall’s leader. Paul Heaton, of The Beautiful South, had his own approach: another intellectual and humourous writer who strayed from mainstream tropes and delivery biting, sardonic quips and standout couplets. One listens to songs like Song for Whoever and A Little Time and you can hear a man, not only write about real life and things other writers were avoiding – he wrote great lines for women and, in A Little Time, broke from the conventional and created a brilliant two-hander.

Fall songs like Totally Wired and Mr. Pharmacist still sound bizarre and from another planet – over thirty years after their release. I can rattle off other artists but, looking back, I notice a definite shift and transformation. Those great, poetic Hip-Hop writers have gone: in their place are more commercial and ‘safe’ writers. Eminem is, perhaps, the last great Hip-Hop writer who took risks and blew minds. Modern artists like Kendrick Lamar and Jay-Z, alongside newcomers SZA and Princess Nokia, are the last of a dying breed. There has always been a culture of bragging and excess in Rap and Hip-Hop: there is still a lot of it happening but very few artists who take their minds away and pen decades-lasting lines. Maybe music is too full-on and digital: I have not heard a song, for years, that stays in my mind when it comes to lyrics – that goes for most genres. Other areas of music, such as Pop and Rock, are producing fewer geniuses and pioneers. We have sharp writers at the current time: from Courtney Barnett and Field Music’s Brewis Brothers; Janelle Monáe and Laura Marling to Arctic Monkeys. That last name, ironically, has inspired a new breed of Rock and Alternative bands. One cannot think of Arctic Monkeys and not be drawn to the pen of Alex Turner.

IN THIS PHOTO: Princess Nokia/PHOTO CREDIT: Roger Kisby

The Yorkshire scribe encapsulated the desires of frustrated commuters, lovers and dreamers with his wit-filled, super-smart songs. From Fake Tales of San Francisco and A Certain Romance to Cornerstone and Piledriver Waltz – so many incredible, evocative songs. I think a lot of great modern writers are being overlooked because lyrics are not at the forefront of people’s minds: maybe lyrics have never been demanded and desired. People, now, prefer something catchy, easy and urgent: the patience to sit down and study a song is not really there, is it?! I know there are a lot of great writers in modern music; most genres sport leaders who are breaking out and showing what is possible. I think there is a noticeable shift from the poetic and socially-angled to introverted and diary-entry. Pop has seen the biggest turnaround in terms of thematic styles and tastes: moving from commercial, love-filled/themed songs to a more personal account. Hip-Hop and Rap have some sharp masters/mistresses; Rock and Punk bands are spotlighting modern-day ills and the struggle of the masses – looking out at the political world and how it impinges on all of us. I love modern music and think we have a really strong set of artists in our midst. I am lyrics-minded and pine to discover those underrated heroes and heroines.

I feel the market places less importance on what comes from the pens/laptops of modern writers. There is that desire to embrace huge sounds and strange concoctions: how often do critics and listeners highlight a great set of words as opposed a banging tune or fantastic vocal turn? Maybe artists are turning in on themselves and writing something more heartfelt, if gloomy. Whilst I argue there is a simplicity and less edgy/evocative scene right now; that does not mean we lack brilliant writers and impassioned minds. It is still a case of the underrated vs. the commercial. The fact people like the BBC have been polling people – regarding underrated writers – is a push against the ‘obvious’ writers who we all know and love. The biggest and most-famed writers in modern music, I feel, do not go as deep as some of the newcomers emerging. I look for writers who, either through personal confession or imaginative flurry, take the listener somewhere different and safe. I long for the literary-minded writers who challenged the sheep and does something truly special. From De La Soul and Arctic Monkeys to modern acts like Princess Nokia; I wonder how many artists follow their lead instead of fitting into preconceived, ‘accepted’ moulds. Perhaps music holds little patience for those who dig deep and pen story-like songs; observe modern life with unique bent and rare shades.

IN THIS PHOTO: Kate Tempest/PHOTO CREDIT: Getty Images

The fact artists like De La Soul and Beastie Boys pushed Hip-Hop to the masses is the fact they stayed true to who they were – rather than succumb to the needs of the charts/hit-makers. I shall leave this piece by throwing it open and asking people whether, they feel, lyrics have changed and songwriters are being noted for their compositions and sense of familiarity – rather than original thought and spellbinding scope. I have mentioned a lot of male writers: there are so many great female songwriters, from Sigrid and Kate Tempest to Billie Marten and Cardi B who are adding their own stamp on the industry. I am a poet at heart and have that affiliation with words. I love discovering a song that brims with literary desire and possesses poetic flair, fresh narrative and dream-like entrance. Perhaps technology has influenced music in a way that has pushed lyrics to the background. Maybe there are lots of future-legends who are being overlooked in favour of the more sprite, catchy and familiar. Whatever your opinions; it is a good reason to think of the great lyricists who never gained the credit they warranted. Those huddled and always-inspired artists did not care about cool and following the pack: they were in music to present something far more meaningful and inspiring than cliché and routine. Whilst they did not acquire the same wealth and popularity as their bigger brothers/sisters they did, in their own, special way…

BRING something magical to music!

FEATURE: Human Sushi: Is Music a Safer Industry Than Past Decades?

FEATURE:

 

Human Sushi

ALL PHOTOS (unless credited otherwise): Unsplash

Is Music a Safer Industry Than Past Decades?

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TOMORROW will see me…

look at, among other things, female-made music from years gone by – and the comparative lack of spritzing, energised anthems today – and why, I feel, Canadian artists should be watched closely (for good reasons). I was struck by a piece in The Guardian that looked at the notion of a ‘Rock groupie’ and whether they exist anymore. I really hope not: there is a part of me that feels, somewhere, the practice is still happening. The notion of the group-stalking groupie is something that has been romanticised and played down to an extent. From Rock legends like Led Zeppelin and The Rolling Stones to, well…pretty much any big male artist of the past God-knows-how-many-decades – it seems, so long as nobody was getting hurt, it was all part of the music business. That vision of ingénue, naive female females finding their way into their idol’s bed – or something less comfortable – drew many into music. The vision is the female being ‘dominated’ or seduced by the male: there are few incidents, one hears, of male fans as groupies to female artists. Maybe that has happened in the past: I could not possibly imagine that happening in today’s climate. One of the interesting points the article raised was whether record contracts had a stipulation regards sexual misconduct and interaction with fans. Morals were very loose and unpoliced back in the 1960s and 1970s.

IN THIS PHOTO: Led Zeppelin in the early-1970s/PHOTO CREDIT: Rex

At a time where there was a certain lack of outcry and vigilance regarding sexual assault and abuse; bands and groupies came together frequently and naturally. One can imagine there were sworded and unwanted encounters – how long before these come to light? I always associate the groupie with the big bands of the charts, normally Rock groups. Movements like #MeToo have brought the issue of sexual abuse to the forefront – is it still happening and occurring away from the mainstream? Bands like Moose Blood and Brand New have been accused of inappropriateness and sexual misconduct; Ben Hopkins, of the New York duo PWR BTTM, has been in the news – another artist shamed and disgraced. That notion of being an inspiration and guidance has always been flawed. Fans assume, if they are bedded by their favourite musicians, they, in turn, will compel their next song. I am not sure where that notion stemmed from but it is rather troubling. I have not heard any songs about great groupies and how they changed lives. Maybe one should not wag the finger at Rock bands like Led Zeppelin and Guns N’ Roses – or any other major act who had to fight women/girls from their dressing room after every gig. Thinking about male bands and female fans together sours the musical experience. I think of it like human sushi: a conveyor belt of objects being inspected and tasted; moved onto the next person and dispensed at the end – raw, hip and casual.

IN THIS PHOTO: PWR BTTM (dropped from their label following allegations made against their lead singer, Ben Hopkins)/PHOTO CREDIT: Daniel Seung Lee

Even if that girl wanted the encounter to happen; she would have been tossed aside and forgotten about when the ecstasy and drugs wore off – and the soberness of the new day meant a fresh conquest for the band. Maybe there are band members who have entered relationships with groupies. That idea of male musicians taking advantage and getting their rocks off feeds into that vision of the Rockstar and what it is all about. That still happens today: it is all booze, drugs and sex. No matter whether both parties consent and want things to happen; you look back and wonder whether greater policing should have happened? There would be an outcry if, say, IDLES and Royal Blood publicised their sexual encounters with fans. If they took the approach of older bands and what happened in decades past; the media would string them up and their contracts would be terminated. Even though that headiness and sexual excess is not promoted and part of the musician’s rider; there are cases where artists are taking advantage and hoping they’ll get away with things. It does seem to be an entirely male issue: I cannot imagine why a female musician having sex with a fan after a gig. Maybe that did happen, now and then, in the past – can you think of a modern female musician who courts groupies and preys on fans?! Katy Perry, rather ludicrously, was in the news for kissing a male contestant on a reality T.V. show...

IN THIS PHOTO: Katy Perry/PHOTO CREDIT: Rony Alwin

She was meant to kiss him on the cheek: the fact she turned his face and planted one on the lips led some papers and sources to cry out and label her a pest and disgrace. The name of the young man escapes me – I could look it up but I am comfy here – but Perry’s kiss was his very first. I can imagine he was taken aback but it is hard to imagine why he would be shocked and offended. If a male artist kissed a female contestant; that would get headlines and be wrong. If that were me, I would be flattered. Being kissed by Katy Perry is not something to turn down or get upset about – it was meant as a kind gesture and compassionate moment (having her as your first kiss is a pretty big brag). She is not out to seduce young men and use her celebrity to bed vulnerable fans. Whilst, on paper, it might seem like a contradiction and ironic statement; one cannot put Perry in the same camp as a male musician who gropes fans and abuses them – their intentions are nefarious and they are trying to get their end away. Incidents like the one involving Perry are harmless and minor: band members and solo artists assaulting their fans/other women is incredibly serious. I think things are changing and improvements are coming through: there are still cases of male artists being accused and exposed.

IN THIS PHOTO: Moose Blood/PHOTO CREDIT: Press

In the case of Moose Blood; they have been accused of exploiting fans and preying on young women – using their stature and clout to get their way and do whatever they please. We are hearing of cases and women speaking out against their abusers. I wonder how many cases are still unsolved and collecting dust; fear of being doubted means many women are not coming forward. Looking at that Guardian article got me thinking about the way music has evolved and how we have seen a diminishment of the groupie. There are cases of women and men wilfully exposing their bodies and getting close to artists. They want that thrill and the brag: being able to get a musician to touch them or get them into bed. Back in the 1970s; artists like David Bowie and Jimmy Page had sex with fans who were underage. We all celebrate these artists but forget, actually, they have committed sexual offences as part of their everyday lives. Maybe they were unaware of the true age of their conquest: one suspects they knew and, as there was consent from the female (or not), then that was okay. If people were not looking and the girl did not come forward; what is the harm in giving her what she wants?! That icky and flagrant disregard for morals and law has subsided in the present time. I am hearing women speak out against artists who have misread a situation or taking an innocent request as fuel for abuse and sexual explicitness.

The rise in technology and social media has a mixed sense of blessing. We can ostracise and villainise an accused a lot quicker and more effectively. Labels, venues and fellow artists can be tagged and included in the discussion – meaning that artist/band are brought to task and gigs removed (or contracts severed). The fact there are so many Smartphones out there means male artists are photographing women without their consent or sharing private snaps. They are videoing their incongruous motions and sharing them with mates. Some women have asked to be on a guest-list – not in a pushy way; a calm and reasoned request – and a musician has, instead, used that to initiate a sexual encounter – leverage and privacy whilst he/they let their hands and penises wander. Whilst there is not the same level of debauched sexuality behind the scenes of music: we are seeing it happen in seedy corners and, one assumes, unaware of the ramifications and seriousness. One could argue there is was a naivety, back then, regarding female fans. They had false hopes and thought they’d get a boyfriend out of it - a famous musician who could take them around the world and give them wealth. It would be odd to think, say, a fan of Ed Sheeran or Taylor Swift would wait after a gig and have that same dream: get them into bed and hope they are their ‘muse’.

If anything; the business of sexual misadventure and lacking consent has moved from the mainstream – when that sex-drugs-and-rock mantra was something to aspire to – to the underground. The artists being accused right now are not your big names and celebrated bands – like Queens of the Stone Age, Shame and IDLES, for instance. I may be naïve myself but I HOPE none of these acts has, for a minute, have given into weakness: I think about bands like The Rolling Stones, Mötley Crüe and know that rotation of orgies, drug-taking and molestation was all part of the lifestyle. Things are cleaner and less vile than they were back in those times. It is odd how movements like #MeToo have made us revaluate that viewpoint. How many of us, until recently, looked at Rock artists, back then, as laddish heroes who had girls/women lined up to pleasure them; living the dream and embracing that hedonistic pleasure?! I, myself, have looked at those classic bands and wondered how easy their lives were. They had everything on a plate and did not have to worry about any ramifications or questioning. That is what I was taught growing up: the biggest and best bands lived music and sex all the time; post-gig rituals included signing girls’ breasts and getting a few of them into the tour bus.

I am not suggesting there can ever be a purification of music: the fact the last of the demeaning and idiotic abusers need to be outlawed and banned is urgent and vital. In some ways, we are a more united and proactive society than the 1960s and 1970s. Social media means millions can share their stories and bring musicians to task. We can all get involved and ensure those culpable do not get away with things. There is still that issue of doubt and credibility – some women do not think their truth will be believed and given credit – but we are seeing action and change happening. Given what has happened in Hollywood lately: can the music industry afford to sit back and assume there is nothing to worry about?! There are enough issues in music without having to deal with a barrage of sexual abuse claims. Musicians, now, need to be aware actions like that will not be tolerated. Even if a fan wants to have sex and expose themselves – it should be down to the artist to rebuke that and not take advantage. It might have been desirable and promoted decades go: in an age where gender equality is on everyone’s radar; music needs to clean up and learn from mistakes of the past. Cases are coming to light of musicians abusing fans and assuming they could act the same way as their forefathers did: getting their rocks off with fans and doing whatever they want to. The music industry is much safer and less salacious than it was back in the 1960s. There is not the same rampant groupie culture; there are far fewer cases of big stars having their way with young fans – many of them below the age of consent. Doing the minimum is not acceptable: any musicians found wandering off the path of morality need to have more than their knuckles rapped. We need to make sure music is an open environment and does not create fear; musicians do not abuse their powers and infractions are dealt with in an expeditious and effective manner. In essence; we need to ensure music is a…

SAFE space for everyone.

INTERVIEW: Eleven Past One

INTERVIEW:

 Eleven Past One

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THERE is no doubting the chops…

of Eleven Past One! The Canadian group are on the rise and collecting fans like President Trump accrues dissatisfied and bewildered opponents. Hailing from Bowmanville; I have been speaking with the Pop group about their lauded new single, Closer, and the story behind the song; whether there is more material in the pipeline; how they, and their music, has developed and grown – and whether a tour is on the cards.

They talk to me about writing and recording in L.A.; whether they ever get time away from the hectic music industry; what they want to achieve before this year is through; advice they’d offer to new artists – and why the 1980s is a special/inspiration period for them.

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

Hey! It’s been pretty good, pretty good.

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

We’re Eleven Past One. My name’s Daniel (singer), Stephen on guitar; Steve on drums and Justin on bass.

Closer is your latest single. What is the story behind that track?

Well. We went to L.A. to meet up for some writing sessions with several different writers/producers. We were with Cimo Fränkel and Rik Annema in one of those sessions. We began to write with them and came up with our song, Wrong Way Home, but they also approached us with Closer. Immediately, when we heard the first note, we knew it was something we had to be a part of.

Is it true you went out to L.A. to work on/record the song? Was that a cool experience?!

Yes; it was an amazing experience. We’ve done plenty of writing, recording and touring in L.A. There’s something magical about it. The feeling of working in the world-mecca of entertainment is always cool.

You are based in Canada normally. Is it a lot different compared to the U.S. – in terms of the music and vibe?

Well. It definitely can feel different. Radio, for example, is different. It’s hard to put your finger on it, but the U.S. has more of an international/universal sound when it comes to music, in my opinion.

How did Eleven Past One get form? What brought the band together?

Well. After I had finished university (Daniel), my brother (Stephen); Steve and I formed the band back in 2009. Stephen and Steve had met in high-school, bonding through a fire alarm that went off at their school. Stephen went to Steve’s house that day, shared that they were both musicians and Stephen explained that his brother was a singer…

The band was formed!

You have done sterling business on YouTube and Spotify – your music is connecting with people. Is it quite touching realising so many people are reacting?

It truly is touching. It’s an incredible feeling to be able to have the access to share our music worldwide through the Internet. When people write to us about how our music has touched them in specific ways - we really treasure that.

Is there more material coming later this year? What can you reveal regarding more music?

Well. There will be more music released this year. We’re brainstorming right now as to what song we should release next.

It seems there is a fondness for the 1980s and that period. Did you guys grow up around 1980s music? What attracts you to the decade?

I think it’s cool to experiment with music in different ways. I guess we’ve taken some 1980s elements of music and mixed them into a more current sound.

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

We would love to tour soon. Trying to put something together…

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

That’s the goal!

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

Well, personally, there’s a lot going on in our lives. One of us is getting married this year; one of us is having a baby; some of us are moving into new homes. It’s quite exciting.

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

Daniel: Well, that’s a pretty hard question because there are PLENTY of favourite memories. One that sticks out in my mind at the moment is the time we played a sold out Molsen Amphitheatre in Toronto, Canada. It’s one of the most famous places to play around here.

Stephen: Hearing our song on radio for the first time.

Steve: For me, it was probably the time we spent living in Cocoa Beach Florida in the trailer park. Everything about those times are memorable for me. (Or, going to Gene Simmons’ house in L.A. for the first time).

Justin: Recording in a professional studio for the first time.

What advice would you give to new artists coming through?

KEEP GOING. No matter how hard it is, never give up on your dreams because, if you have the perseverance, you can accomplish anything really.

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

Daniel: Yea; we do get time to chill and just hang with family and friends. I’m a homebody during most of my down time. I love to watch countless hours of T.V. when I have the chance. Haha

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).

Daniel: Pray for Me by The Weeknd and Kendrick Lamar

Justin: Wolves by Marshmello and Selena Gomez

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Follow Eleven Past One

Official:

http://www.elevenpastoneofficial.com/

Twitter:

https://twitter.com/elevenpastone

Facebook:

https://www.facebook.com/elevenpastone/

Instagram:

https://www.instagram.com/elevenpastone/

SoundCloud:

https://soundcloud.com/elevenpastone111

Spotify:

https://open.spotify.com/artist/3nkE7E51pOn9kif5cyC2eb

YouTube:

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

FEATURE: Live Music! A Homonym We Should Take to Heart

FEATURE:

 

Live Music!

ALL PHOTOS (unless credited otherwise): Unsplash 

A Homonym We Should Take to Heart

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A recent Facebook post from a talented musician…

raised questions as to whether live music is still a divisive issue. Later today; I will look at sexualisation and a side of music we, luckily, are seeing less of. The post in question came about when an older – or middle-aged – gentlemen turned his nose up at the mere suggestion of paying a tenner to see a great duo play. The insinuation was, I assume, he should be getting it for free – why would he bother shelling out all that money for something he could see on the Internet?! The trouble is this: live performances are part of an artist’s life and, as they are giving you something quality and passionate; you should pay for the pleasure. Fortunately, the duo in question killed the gig and silenced the nagging and obnoxious dubious. (I am not surprised hearing people balk against paying for music). We have come to a point in life where everyone expects something for nothing. I am of the opposite assumption: there should be a cost involved with every piece of music we listen to. That might seem harsh but, considering musicians work hard and have little money to show for it – isn’t it only right we compensate them for their time?! Those who feel live music should be a costless right need to realise the realities of music...

Paying ten quid to see a duo tear up the place and playing a blinding set is hardly anything! People pay six or seven times that to see a bigger act somewhere less atmospheric and connected than a small venue. Those artists can command big prices: why can smaller artists not get something for playing?! I understand there is a small group who object to paying for any form of music – feeling that, if they are in a pub/venue and want an enjoyable evening; why do they have to pay anything?! Live music is a lifestyle for many. It is a tribal call and a way of being with like-minded people. We all work hard and it can be exhausting even contemplating seeing an artist play. Music is available online and so, for many, that is the way they digest it. Going out involves time and transport; paying for food/drink and getting home quite late. The same reality is true of musicians. They have to pay for fuel and get to gigs; they have to eat and often struggle to turn a profit when they play. Many are playing for free so they can get exposure and a chance to get their music heard. A recent Guardian article highlighted the problem:

“The UK’s first live music census has found that a third of Britain’s small venues outside of London are fighting to survive in the face of high business rates and noise restrictions.

Of almost 200 small music venues (with a capacity of up to 350 people) surveyed, 33% reported that increases in business rates had an “extreme, strong or moderate” impact on their existence in the past 12 months. One medium-sized venue (351 – 650 capacity) reported their rateable value quadrupling from £17,500 to £72,000.

Some 29% of small venues, and 27% of all venues, reported experiencing problems with property development around their premises, which can provoke complaints from nearby residents. In response, the researchers recommended that the government continue to develop at a national level a legally binding “agent of change” principle, which would put the onus on developers to soundproof new-build properties, rather than placing restrictions on existing venues. Last month, ministers including housing secretary Sajid Javid committed to strengthening planning rules to protect grassroots venues…

The report also highlighted the difficulty of making a living as a musician in Britain: 68% said stagnating pay made it difficult to earn a viable income, with the figure rising to 80% for those identifying as professional musicians; 66% reported working unpaid for “exposure” that they believe had no positive effect on their career”.

Not only are musicians struggling to get paid: smaller venues, outside of London, are closing and discovering it hard to remain open. It is shocking seeing those figures and what they represent! I am sad to see the decline in venues and how factors – such as noise and lack of funding – means more and more doors are closing. Whilst there is little we can do to stem the flow of closures; I wonder why anyone would object to paying to see live music of any form. Few people are that hard up: most of us can stump up a few quid now and then to support musicians.

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty Images

As I said earlier...live music is something we live and grow up on. Those who are serious about their sounds will go around the country/world and pay any money to see their favourite new acts. There is a huge discrepancy between underground artists trying to make a living and those established and famous. A couple of years ago; an article came out that highlighted how much we are paying to see big artists:

“For Beyoncé’s Formation tour, it was in excess of £100. For Björk's recently announced Royal Albert Hall show in London, it's £99. At Radiohead’s three night run at north London’s Roundhouse, it was £70. As fans continue to count – and question – the cost of top level tickets to see their favourite artists live, it begs the question: are gigs getting too expensive?

“I think it’s fair to say inflation for ticket prices has been running above that of other things, especially other sectors of the industry,” says Mark Sutherland, editor of industry magazine Music Week. Statistics bear that out: between 1982 and 2012 the average cost of a gig ticket increased by 400 per cent, and according to Statista the worldwide average cost of a concert ticket now stands at $78.77 (£59.94)”.

Another article, a year later, showed how much money is being brought in because of live music:

“More people than ever are flocking to watch live music, with attendance at concerts and festivals at an all-time high.

A new report found that there has been a 12% rise in audiences at live music events over the past 12 months, bringing £4bn in to the UK economy and providing a welcome boost for the music industry.

UK Music’s study, Wish You Were Here, found that audience numbers had hit 30.9 million, up from 27.7 million in 2015, with 4 million people attending the ever-growing number of British music festivals in 2016. It is further evidence that the live sector is one of the most vibrant and profitable parts of the music industry, and it is through ticket sales and merchandise that most musicians generate the majority of their revenue.

The research found that people were increasingly willing to travel from other parts of the UK, and even from abroad, to attend live music events. Music tourism rose by 20% in 2016, and almost 1 million people travelled to the UK from abroad specifically to attend concerts and festivals, spending an average of £850”.

It is clear there is an appetite for live music and going to festivals/venues! I wonder whether most people prefer to attend festivals – so they get to see more artists and enjoy the benefits of great sites and the (hopefully) good weather?

If it is a once/twice-a-year thing; the relative cost spreads out and is easier to manage. The past few months have shone a light on the split between smaller venues and bigger artists/festivals. We pay steep prices for bigger gigs because the artist has a larger set and more ambitious backdrop. I have paid a rich sum to see Queens of the Stone Age but I know, when I booked, they would have a lot of musicians on stage with them – and commanded those fees because, well…they could. There are articles advising how one can start their own music venue. It is easy to get the wheels turning – but how easy is it to keep them turning years from now?! There is never going to be an end to live music and venues: we will always get a fix and be able to see someone play somewhere. We all know the cracks are forming in the spine of live music right now. Until a remedy is formulated; those who have a justifiable reason to charge punters should be paid without grumbling and people questioning their motives. Too many are playing for little/no money and, when other costs are extracted, they are left with very little. The fact so many streaming sites offer music for nothing makes it even harder to turn music into a viable career.

PHOTO CREDIT: Getty Images/Rews

I do not earn a lot – below the natural average, for sure – and have to make allowances and cuts here and there. My bank balance is in the black but I am still struggling to save a lot. The duo I was alluding to earlier is Rews. They have commanded air-time on BBC Radio 1 and played, among other festivals, Glastonbury. The pairing of Collette Williams and Shauna Tohill are being talked-up in impassioned tones. The duo is tipped to go all the way and make it in the business. Each new single brings buzz and electricity; it gets onto the radio and it shows they grow stronger with every movement. They are the archetype that highlights the issue: a great act who will make it big, starting their careers and trying to get their music out there. Even though they are making a little bit from online streaming/merchandise: there is not a lot of money coming in the Rews camp. They will continue to make music and tour, regardless of a few ignorant people and obstacles. The fact of the matter is, they shouldn’t have to! If we do not support new artists and smaller gigs; they will not get to the mainstream and play larger gigs – threatening the rigidity and lifespan of live music. The only reason we have big stars playing these awesome gigs is (the fact) they played smaller gigs – and got paid for it whilst they were at it!

It is shelling out money to see artists every week/month. Most of us, who love music, want to see as much as we can – often held back by demanding lives and a lack of energy. The cost has never really been an issue. Most new artists are not charging more than ten or twenty quid to see a full, expansive set. That is cheaper than seeing a film – in most parts of the world; for two people, perhaps – and a lot less expensive than seeing a big star miles away. The value for money one gets is exceptional. So many venues are platforming artists without charging any fee at all – finance is raised by promoters and labels paying the venue; extra food and drink takings add to the coffers. Let’s hope this ‘rough’ period for venues subsides and there is some form of stability and long-term prospect. Like it or not - to the doubters - there is an inherent truth: the only way live music will continue is if there is money to keep venues going. Music cannot exist, full-stop, if artists are unable to get their music out to people. Spotify and YouTube only do no much; radio can only reach a certain audience – live music is where you can see artists close and get a sensation like no other! So, the next time you see an artist advertised with an entry price next to their name…rather than have a hissy-fit and vomit in the toilet – the sheer audacity of a musician charging human beings to hear songs an artist paid money to make in the first place! – get your head out of the bowl, and your arse, and get some perspective! Music does not need those too tight and stupid to complain at everything in the world: it relies on the bloodstream of loyal gig-goers who want to ensure the forum of live music is not something, very soon…

WE will put to bed for good.

INTERVIEW: Maja Francis

INTERVIEW:

Maja Francis

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I am always keen getting interesting and original…

female artists onto my pages. I have had a run of boys lately: it is good to have Maja Francis here talking about her song, Saved by the Summer, and the Shura Remix. She discusses her life in Sweden and music that has inspired her; whether there are gig dates coming up – and whether there is any more material coming along.

I find out whether Francis gets chance to relax outside of music; how emotions connect with her music; what she would say to new artists coming through; how she felt when her current E.P., Come Companion, garnered huge reception – ending the interview with a great song!

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

I’m having an emotional day, but I’m ok - just cried a little bit in my bathtub while listening to Dolly Parton, so I feel better now. 

My week has been really nice. I had a show in Stockholm and I loved every minute of it. Also; I’ve been having lots of me-time looking, at cute baby animals on Instagram and taking long baths. 

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

I’m a Cry Baby from the south of Sweden that loves glitter.

Saved by the Summer is new. It has that feel-good vibe and harks back to the classic summer songs. What was the inspiration behind it?

It's about having your heart broken but, when summer comes, it feels a little bit easier to handle it...summer is there to lay you down on the grass telling you: 'Everything will be ok'...

It certainly adds sunshine and warmth to the world! What was your reaction when hearing it back for the first time?

I'm glad you feel that way! I started writing this song with some friends in springtime...you know; when those first sun rays come peeking out, reassuring you that brighter days will come? We finished it late summer and, when I heard the finished version, I just smiled.

It is something about this tune that makes me playful and careless.

The version we have out is Shura’s remix. What was the reason for drafting in Shura? How did you come to discover her music?

My drummer showed me her music on our way to a show last summer and I loved it. Somehow, a year later, my manager got in contact with hers and asked if she would like to do her take on Saved by the Summer...and she did! I'm super-excited about it! 

Your E.P., Come Companion, did very well! Were you surprised by its success and popularity?

I’m really happy for all the love it got! But, at the time, I was so thankful for even getting the E.P. out there. It was a long journey with lots of obstacles and setbacks. I learned a lot in that process that I’ve got real use for now that I’m releasing my new E.P.

Do you think they’ll be more material coming later this year?

I'm releasing an E.P. series called Cry Baby Pt. 1 & Pt. 2 this spring and summer! The first one is released March 23rd - so I'm counting the days now! The next one is due by early-June. By releasing Cry Baby, I’m celebrating the beauty of feelings...and of being emotional. It's like a tribute to feelings, really.

About how I think we should start wearing them like a tiara and never apologize for them.  I think the most interesting people and things in the world are the ones who have a crack or a tear somewhere. I guess Cry Baby is a place where glitter and tears can live together in symbiosis...

Without one taking out the other. 

It seems like music, for you, is a way of putting emotions out there and finding some form of clarity. How important is it to get songs out and express yourself through music?

Music is definitely a channel for my never-ending rollercoasters…and for my emotional cycle. I even turned this ‘feelings cycle’ to tracks on my upcoming E.P.s. They’re called Feel, Break; Grow and Shine - and they’re a reminder that everything is temporary. If you let yourself feel and break down, you will be able to grow and then shine. 

What is the music scene like in Sweden? Is it quite a blossoming and diverse musical landscape?

Sweden has many amazing artists, songwriters and producers. New flowers pop up every day! But, I do miss smaller venues for Pop or Alternative music - at least where I live in Stockholm. When I lived in Nashville; I could just go down the street any day of the week finding a new act to fall in love with.

Stockholm is more of a behind-the-scenes music town.

Which artists did you grow up listening to? Did music arrive in your life early?

Mariah Carey was my first female crush; then came Joni Mitchell and Tori Amos, Cyndi Lauper and many more. I love unique and weird voices.

My dad owned a record store where I hung out all the time as a little girl. Also, my grandmother was a singer in Sweden in the 1950s and my grandfather was a songwriter – so, I guess music has been with me since I was a baby!

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

I have some shows planned in Sweden this summer, but I would love to come play outside of Sweden! Will definitely work on making that happen (smiles).

What do you hope to achieve in 2018?

I hope to make a Cry Baby army that will take over the world with emotions and glitter!

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

When I got to sing my song, Last Days of Dancing, with my friends Seinabo Sey & Amanda Bergman at one of the biggest arenas in Stockholm, with thousands of people to collect money for refugees coming to Sweden. I was, maybe, the most nervous I've ever been but Seinabo & Amanda took my hand and I felt like we became the Powerpuff girls and I could walk out there without any trouble.

Also, those babes have two of my favorite voices ever; so it was really a dream singing with them

What advice would you give to new artists coming through?

Stay in your own creative bubble! It's so easy to look at others and compare. But, in the end; the only thing that matters is you. Your music. Your art. That’s where the beauty lies…

Even if people don't get it. 

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

I try to go down south to my parents’ house a lot where I have my cat, Pony, the ocean and its quiet. Also; I make sure to get alone time with myself a few times a week so I can recover from all the buzz, take a bath and a glass of wine. Read poetry and put sequins on clothes or things in my apartment. 

Also, I like to dance in my living-room.

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).

Kate Bush - This Woman’s Work 

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Follow Maja Francis

Official:

http://wearecove.bigcartel.com/

Twitter:

https://twitter.com/majafrancis

Facebook:

https://www.facebook.com/majafrancismusic/

Instagram:

https://www.instagram.com/wherearetheunicorns/

SoundCloud:

https://soundcloud.com/majafrancis

Spotify:

https://open.spotify.com/artist/0RxWnw4aoWwxXsC2cdCj4c

YouTube:

https://www.youtube.com/channel/UC7GhjGow_SFic5eKy8B42ag

FEATURE: The March Playlist: Vol.3: Bridges Plays His Hand; Sigrid Bluffs Raw – Then a Swift Burke and Some Eels Slip in and Take the Pot

FEATURE:

 

The March Playlist

IN THIS PHOTO: Sigrid

Vol.3: Bridges Plays His Hand; Sigrid Bluffs Raw – Then a Swift Burke and Some Eels Slip in and Take the Pot

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THERE is no beating around the bush…

IN THIS PHOTO: Leon Bridges

with this week’s selection of new songs! Not only are there fresh offerings from Pearl Jam, Leon Bridges; Kate Nash, Eels and Alexandra Burke – Sigrid has a new track out! Courtney Barnett, GIRLI; Taylor Swift and Halsey are also out there doing the music world proud – quite a spread and banquet (of) of-the-moment offerings!

It is a big week for big music: titans and promising newcomers rubbing shoulders and providing the eager listeners something essential, compelling and hugely exciting!

ALL PHOTOS (unless credited otherwise): Getty Images

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Sigrid – Raw

Pearl Jam – Can’t Deny Me

Leon Bridges - Bet Ain't Worth the Hand

Kate Nash – Life in Pink

Courtney Barnett - Need a Little Time

George Ezra (ft. First Aid Kit) – Saviour

Taylor Swift - Delicate

The Magic Gang – Take Care

Nimmo - Too Late

The Tallest Man on Earth – “An Ocean”: When the Bird Sees the Solid Ground

Frank Turner - Blackout

The Chainsmokers – Everybody Hates Me

Eels – Premonition

PHOTO CREDIT: Lauren Maccabee

Emily Burns – Girlfriend at the Time

GIRLI – Play It Cool

Q-Tip and Demi Lovato - Don’t Go Breaking My Heart

Sunflower Bean – Human For

Fickle Friends – Bite

Tom Rosenthal – Was It You Who I Saw?

The Vaccines – Surfing in the Sky

Yungen (ft. Jess Glynne) – Mind on It

Banfi – Future

Alexandra Burke – Summer

Halsey (ft. Big Sean, Stefflon Don) - Alone

Dana Vaughns – Underneath

PHOTO CREDIT: Holly Andres

The Decembrists – Cutting Stone

The Fratellis – Told You So

SOHN – Nil

Hayley Kiyoko – Let It Be

Amy Shark – Sink In

Imagine Dragons - Next to Me

Emma Blackery - Dirt

Leif Vollebekk - Into the Ether

Troye Sivan – Strawberries & Cigarettes

Fangclub – All Fall Down

Little Boots and Lauren Flax – Picture

Yazmin Lacey – 90 Degrees

Anna Lunoe – Blaze of Glory

TRACK REVIEW: Bull Funk Zoo - She Looks So Fine

TRACK REVIEW:

 

Bull Funk Zoo

She Looks So Fine

9.6/10

She Looks So Fine will be available soon

GENRES:

Rock; Indie; Alternative

ORIGIN:

Dubai, U.A.E.

The album, Down and Dirty, will be released in May

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NOT often do I get to travel...

to somewhere like Dubai for my music reviews. I will talk about the area more but, when thinking of Bull Funk Zoo; there are some topics that spring to mind. Their music has a humour and originality that is lacking in the western scene; I am compelled to chat about song subject and adding something different into the mix; the way Rock will mutate through the years; bands/artists who will do very well this year; putting politics and social observation into music; getting the social media profile picture-heavy – finishing by looking at why mainstream music needs to take a broader approach to things. I hear a lot of heavier sounds but, among the anger, there is little in the way of humour and relief. I am not expecting a full-on comedy song but one gets the sense of a very serious writer. This week, on British radio, there are observations regarding lyrics and the best out there – those who are under-celebrated and have their own edge. In my mind, songwriters like Paul Heaton (The Beautiful South) are stronger than some of the ‘classic’ writers. His words transcended tastes and expectations and provided a fresh and intriguing observation. There is a live band when one encounters Bull Funk Zoo on the road - it is, essentially, Assaad Lakkis who writes and performs the songs (so you do not get confused by changing tenses in the review). There is something different about Bull Funk Zoo. The band goes out of their way to deliver music that makes you smile – whilst thinking hard at the same time. I am looking forward to seeing the return of Arctic Monkeys. The Sheffield band are teasing new material and, in 2018, they are a band we really need to see right now. Like Bull Funk Zoo; the boys mix in social viewpoints with a keen wit. A lot of new bands are coming through and, whilst there are some great tunes in the pack; one gets little in the way of escape and pleasure. The messages are sharp and determined but I want to discover something more rounded and deep.

Lakkis' Bull Funk Zoo crafted their music through the years and have that strong connection in the ranks. If you take our best and brightest young bands out there – Shame and IDLES among the pack – you can see some humour and wit in the music. I love the way those bands detach from the mainstream and concentrate on something real and meaningful. The listener is nourished with a substantial message and fulfilling song but, above it all, the taste of a proper band who can mix pathos with humour. Bull Funk Zoo are a similar outfit. They are/Lakkis is able to take a look at the world around them and, rather than make everything po-faced and overly-angry; you experience wider feelings and true personality. I listen to the vocals and rousing compositions and get an impression of Captain Beefheart. That might lead people to the well of the eccentric but, the more you listen, the more familiar and accessible it becomes. That rather strange edge does the band favours. There is that mystical and alluring growl; a barking madness at the back – at the forefront is a familiar sound that brings the people together. It is tough competing in music right now. More artists are coming through so those who want to get ahead need to go beyond what is already there and add their own take. It is hard being unique but, owing to their situation and location; there is nobody out there like Bull Funk Zoo. Lakkis produces songs that get the body moving and the senses engaged. It is a thrilling brew and one that comes to the fore in their new album, Down & Dirty. I will leave this point – but my point relates to original Rock and why it is so precious. Not many artists out there can blend in a humour and casualness with a motivated and intelligent viewpoint.

Western music is very stubborn in many ways. I worry whether Rock and Alternative bands will ever get the credit and legacy they deserve. Part of the problem is that few actually attack and remain in the imagination. It is easy creating some good riffs but, if you do not go further than the predictable, that means your music will be overlooked. There is still the proliferation of solo artists and what they have to offer. Maybe it is the lack of credible working-class bands. I have mentioned a couple but, the more you look, the fewer there are out there. Maybe the likes of Cabbage and PINS will rise to prominence but they still have to fight hard to get credit. I am curious what it will take to galvanise the scene and ensure we have that wave of socially-aware and exciting Rock. I hanker after bands that remind me of the glory days of Rock and update the sound. Bull Funk Zoo has a definite zing and there is a lot to talk about. When their album is released, in May, it will be released into a world that needs their kind of ability. I look for originality and music that stays in the mind and makes me want to go further. I have been following Bull Funk Zoo for a while and have seen the music evolve and expand. Their new work is their most fierce and compelling so far. Maybe that is compelled by the state of the world and the political machinations unfolding. The guys do not only look at politics and divisions in the world: they look at media propaganda and toxic people; inequality and imbalance in the world. It is the subject of a song that gets into my head first of all. So many of our bands are writing about love or, if they step beyond the ordinary; it is all rather stale and samey. Bull Funk Zoo can address common concerns but do things in their own way. They perfect a difficult trick and, in doing so, make one think beyond music itself.

I will move to other things but, before then, I want to look at the Rock profile and how we can celebrate artists who want to change the world. There is anger and the need for improvement and conflict. Bands see what is happening in the world and how people are reacting. Rather than remain passive and uninvolved; they are striking away and urging people to take action. It is not on the same level as a full-blown revolution: the musical initiative is a call-to-arms and a way of engaging the masses. If you only talk about relationships and stuff like that; it is not going to linger in the imagination and provoke any change. The world needs to change. We are at a point where leaders are guiding their people into the jaws of Hell. We are all less happy than previous years and unsure how things will work out. I am not hopeful, with the regimes we have in place, there are going to be positive steps. I am not sure what it is like in the UAE – Bull Funk Zoo are in a different nation but still affected by politicians from around the world. Their country might be safer and more secure but they are under threat from leaders in the U.S., U.K. and North Korea. Nobody is safe in the world: the provocative and beguiling music of Bull Funk Zoo is a way of getting people involved and taking steps forward. Rock will change and things will get stronger in the scene. I am interested seeing Pop take a stand and the best artists emerge – a great, young breed who have imagination and step away from the boring chart-bound artists. I am interested in what Bull Funk Zoo are doing and hope their music spreads across the world and gets them on the road.

When they hit the stage, and get the music into different nations - that is an effective way of spreading the message and reaching the people directly. I know they will have shows in Dubai but, when the songs start to pick up heat; many other countries will want to see the band come their way. The guys have a reputation and base so far: this can increase and stretch when their new album is released. I will talk about a song from the album in a bit – a possible single – but, before then, a look at Dubai and the UAE. It is not a part of the world many of us know too much about. We think about Dubai and get visions of riches and extraordinary wealth. Sheikh Mohammed bin Rashid Al Maktoum is the Prime Minister of the UAE and stern leader – respected by the people but tough of character. I think of Dubai and get impressions of skyscrapers and hyper-cars; shiny, bling buildings and luxury. I know there is a music scene there but not on the same level as the U.S. and U.K. I am interested what is happening there and whether Bull Funk Zoo/Lakkis will stay where they are. Dubai is a huge and expansive area of the world but not somewhere that has the same musical investment as Britain. I am excited seeing whether other bands come out of there. We all get the impression somewhere like the UAE is going to be all-western and not have their own artists. Jay Abo, Jamil Jabbour and Millie Page are making waves in the UAE. Rony Sarkis and Michelle Wong have either made music in Dubai/UAE or grew up there. There is diversity and rich musical seam coming from this part of the planet. I am not sure what the music venues are like but there must be opportunities for artists to play. A lot of international artists playing in the UAE and it is home to some influential people.

I get the impression places like Dubai will come to prominence in the coming years. The likes of Bull Funk Zoo are putting their home on the map and making sure people look their way. One will hear Arab-sung music on their upcoming album – the guys do not betray where they are from and what is in their blood. I am excited seeing what comes from the record: a combination of familiar Rock and national strands will work alongside one another. It is great getting the chance to view a part of the world not many focus on. We all get hung up on the predictable and seen: the opportunity to explore and study a new culture is always a treat. The UAE is a great place to make music and does not mean artists are disconnected from the rest of the world. Bull Funk Zoo have played in the U.K. and I look forward to seeing them come over here soon. We all need to find a band who can articulate the needs of the masses and where music needs to head. In my mind; that is a brew of political and social lyrics; strong songs that stay in the mind and a sense of the fun. Bull Funk Zoo provide this and take the listener somewhere special. It is a fantastic sound and one we need to proffer and promote as much as possible. I will finish up this topic but am interested in UAE and the sounds coming from there. I am curious to go there and see whether there is something in the air. I have not encountered anything like Bull Funk Zoo over here – leading me to believe there is a way of life there that promotes bands like them. I know the guys will do very well this year and, with artists like Jack White and Arctic Monkeys releasing new material – Shame have already released – there is a need for impetus and strength.

Bull Funk Zoo have an arsenal available but, if anything, it would be good to see the guys/Lakkis get their faces on the page a bit more. I have a few images peppered through this review but, like a lot of my assessments; there is a photographic concern that leads me to point in the direction of professional snappers. The band/Lakkis has a tight bond and a look about them that compels more investigation and visibility. It would be nice to see more images when their album comes out. What they have now is fine but some new shoots would add to that. They are in a part of the world where there are great sights and plenty of fantastic shots. I know they will expand their social media pages in the coming months but, right now, they are gearing to release a new album. With that; there will be gig demands and requests coming through. Not only is it important to get the music out there: having some fine images and shots will add to that attraction and appeal. I would like to see the band release a dozen images of them/him larking around in Dubai. Maybe they could do some conceptual shots and have that included. There is plenty of scope and potential for fine photos. That might be coming up but, in a world where music consumes every waking hour – is there enough time to get photos taken and concentrate on that side of things? The war for attention and promotion is down, partly, to good social media promotion and stock. I wonder whether people are looking more at an artist’s looks and pages – as opposed to their music and what they are producing. I feel a blend of the two is the perfect combination. I feel there is an urge for artists to deliver something explosive, exceptional and wonderful. One can discover this kind of music out there – will we all hear about it if the music is not being promoted on social media? It is a vital instrument and part of the modern machine. Bull Funk Zoo get the word out there but, the way of increasing their base would be to get some more images to the fore. I am excited seeing what their album cover looks like and whether they release any special photoshoots around a certain idea.

I will get to the song in question, She Looks So Fine, but, before then, end by looking at the mainstream and why we need to take a broader approach. I have talked about politics and mixing social observation into the cauldron. I know there are some bands lighting the flame: there are not as many as there should be out there. One thing we need to do is have a look at the mainstream and the artists being proffered. I shall not take to attacking musicians like Ed Sheeran but there is something concerning when people go nuts over something so simple and thread-bare. There is not a lot to recommend in his music past a sense of ease and accessibility. The songs are harmless and do not really challenge the mind. That is okay in small doses but, if we want to see music develop and inspire new generations – do we need to promote artists who produce sounds more essential and rich? I think so and, more than that, wonder if we need to reorganise the mainstream cabinet. There are some great Pop artists coming into the argument; some underground bands who could impregnate the scene in a few years – a chance for adaptation and revitalisation. I would like to see more international artists assimilated into the western scene. We have a lot of U.S. and U.K, artists here: not too many European, African and Asian acts (and Australian, for that matter). There is a rich seam of music anywhere you look. The only way we are going to keep music relevant, fresh and intriguing is diversifying and expanding. If we remain narrow and stubborn then that is going to cause problems. Bull Funk Zoo is a band/project I would like to see play a bigger role in music. Let us carry on and have a sneaky peek – me, not you, I am afraid - and come to a cracking new song: the mighty and imperious, She Looks So Fine.

The heroine is mentioned and emphasised from the first notes of She Looks So Fine. There is something of the temptress and bad influence in this song. The initial lyrics lead me to believe the hero is being hypnotised and struck. He has been affected by this girl and, right away, there is a big impression being made on him. There is a bit of a lead-in – in terms of the story and what the girl is all about – but, before you know it; the song kicks into gear and the composition comes to light. The guitars bite and twirl whilst the percussions slam and pelt. It is a gritty and raw and gets the listener hooked right away – a stunning start to the song! The girl looks incredible and it seems like trouble is afoot. I get the sense the two know one another and there is a bit of a history between the two. There is the insinuation of sex and approaching explosion. Such is the heat and animal intrigue working away – it can only be a matter of time before they get down to things. The sweat bounces off the speakers as the composition looms and slams. I get whiffs of Audioslave and Rage Against the Machine in Bull Funk Zoo’s latest cut. I can hear a bit of Tom Morello (Audioslave and Rage’ guitarist); there are some meaty Chris Connell (Audioslave and Soundgarden) vocals and the sort of sounds one heard back in the 1990s/early-2000s. It is a blast of nostalgia and heady remembrance. Rather than revert to the past and replicate what has already come: the band has their own manor and they put the listener in an arrested and excited state. The girl has luscious lips and crazy eyes – she sounds like a keeper! – and has got the hero all confused and steamed. He is losing his head and, with it, embarking on a rather dangerous path.

I wonder, as speculated, the two have history and this is another chance to rekindle something. The heroine sounds like a bit of a risk and danger. She has a passion and sense of beauty but there is a little bit of unease creeping into things. In fact – going back to artists I am reminded of – and we get a blast of Metallica emerge. That combination of Metal and Alternative gods means the song has natural authority and potency. The girl is getting our man crazy and overwhelmed. The clothing is being ripped and the ecstasy looming. One cannot help imagine the thrall and physicality of the encounter. Whereas other songs in the Bull Funk Zoo album collection will look at political and deeper issues – we have something less worldly and intellectual than one will encounter. It shows Lakkis has different sides and is able to mix the accessible with intelligent. There is plenty of depth and range in She Looks So Fine. The track gets right into the blood and the listener is pumped and moved. It is a song that will do great business on the stage and get people fired. It is a natural anthem and one that gets right into the head. Lakkis has always been intense and evocative. Here, he has stepped up the game and produced one of the strongest cuts yet. The bass and guitars twang and sting; the percussion is studded and swaggering – the song breaks off to indulge the taut and brilliant playing. The band are tight and show how muscular their sound is. The sense of desire and intensity never relents. She Looks So Fine is a powerful and dynamic workout from one of the best Rock acts around. The production is polished but allows rawness to come through. Everything is at the fore and the song continues to fizz and spark long after you have heard it. I have listened to the rest of Down & Dirty and can attest to the fact She Looks So Fine is no fluke: the remainder of the songs are up to the same standard! If you have not involved yourself with the pleasures and layers of Bull Funk Zoo; make sure you get the album when it comes out – it is spilling with anthems and those that will keep the strictest Rock-lovers happy and fulfilled! Few can deny the heady pleasures of She Looks So Fine and what the song does. It is a brilliant jam and moment that will have the listener up and dancing. I wonder whether a video will come and what it will involve. Knowing Bull Funk Zoo; I can imagine it will be full of humour, brilliant scenes and fantastic sights. Lakkis has penned, what I think, is their/his most instant and mesmeric songs. It is one I will continue to listen to and, the more I hear it, the more I pick up. An exceptional performance from a musician whose levels of confidence is at a real high right now. This all means, come May, eyes will be on them and what Down & Dirty will produce – I am among those who will clamber to get my hands on it and see what it all about!

I have talked a lot about music and where it should head this year. I am excited thinking about Rock music and what role it will play this year. We have already been given a good dose of snarling, relevant music this year. I know Jack White and Artic Monkeys will add to that – some great British bands ensuring Rock remains in the mind. I know Bull Funk Zoo/Lakkis have their own take but I would like to see them come over here and deliver their sermons to the people. The songs look at issues that are important at the current time. They look at the media’s role in the world and how we are being brain-washed and fed all sorts of lies. Lakkis addresses love and everyday life but adds his own spin and thoughts. I like the way he takes social and political stands but never gets preachy and too angered. There is always wit and humour working in everything he does. The music bursts with colour and candour; the vocals are engaging and unique; the lyrics demand a repeated investigation – everything you could want from a band/artist. Bull Funk Zoo have gained success and adulation already. A lot of the previous videos have scored big figures; they have performed some great gigs and want to take things to the next stage. Down & Dirty will, among other things, splice in a sample of Dr. Martin Luther King Jr. and see a cover of a Sex Pistols classic; make us think about hurtful people and the way the world is unfolding. It all sounds great and appealing on paper: discovering how that comes to life in the music will be the big thing! I shall end this now but have been thrilled by new Bull Funk Zoo material. People will get to hear it very soon – for now, She Looks So Fine is private and will get an airing soon enough. Keep your eyes on the pages of Bull Funk Zoo for announcements and developments. Look at their past work and study a band who have achieved so much already – they are not stopping and, in their own way, want to…

CHANGE the world of music.    

_______

Follow Bull Funk Zoo

Official:

https://www.bullfunkzoo.com/

Facebook:

https://www.facebook.com/bullfunkzoo/

Instagram:

https://www.instagram.com/bullfunkzoo/

Twitter:

https://twitter.com/bullfunkzoo

YouTube:

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

SoundCloud:

https://soundcloud.com/bullfunkzoo

Spotify:

https://open.spotify.com/artist/3MxWxXwQqT9c266r1voswP

INTERVIEW: COVE

INTERVIEW:

COVE

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PETE from COVE has been chatting…

about the band's latest track, All I Believe. I discover the background to the song and their upcoming E.P., A Conscious Motion. Pete tells me how they got together and what gigs they have approaching; whether the band get time to chill away from the stage – and some new artists worth a watch.

He provides some useful advice for new artists; a favourite memory from music; important influences and idols – finishing the interview by selecting a cracking song.

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

Hey! We're good, thanks. Just enjoying some time being back at home and starting the creative process again!

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

It's hard to describe the band’s sound in a concise way; but, we think of ourselves as primarily a heavy band, with influences from all over. A lot of the music we listen to that we take influence from is some of the earlier Post-Hardcore/Metalcore bands such as Underoath, Norma Jean and The Bled. We fit into that world of music, with other influences creeping in. 

All I Believe is your current single. What is the tale behind the song?

All I Believe is a song about losing everything; not only physically and externally, but, also internally...losing everything you thought you once were - losing yourself. It deals with the idea of that feeling of emptiness and loneliness when in that kind of situation - but trying to get out of it. It's a deeply personal song to, not only our vocalist Ben, but all of us in the band.

We don't like to give too much about songs away so that we don't taint what a listener may interpret it as. But; we feel the message in this song is something everyone can at least relate to in a way or have their own take on what it means to them, which, we think, is awesome. 

It is from your upcoming E.P., A Conscious Motion. Are there specific themes that inspire the songs on the E.P.?

The E.P. deals with a variety of themes from losing yourself, loved ones; inner-turmoil - a lot of the themes are quite dark. Something we've always tried to do with the band, though, is spread positivity, even though the themes are quite dark. If you look into the lyrics, a lot of them are to do with coming out of a dark time.

We don't like being negative for the sake of being negative: we just use our music as a tool to express some of the hardships we've been through that other people may listen to and be like: ‘Hey, I've been through that too, I totally understand how you feel’ – and, so, people also know they are not alone. 

You worked with Oz Craggs on the E.P. Do you think your latest work is the most explorative and ambitious? What changes have come into the band?

Working with Oz at Hidden Track Studios is great.

He's been a friend of the band pretty much since the get-go: recorded our first E.P. with us and really understands where we wanted to go, sonically. We worked really closely with Oz this time and he definitely went above and beyond. We're all super-happy with how it sounds. I believe this is our most explorative and ambitious work to date. We really looked at the parts in songs we had written before that we liked and tried to mould those into the new songs; taking elements we liked and trying to expand on them.

We really thought about post-production on this record, too. That’s something that’s, actually, really exciting that we hadn't done much previously in the band. Laying down the main track and then experimenting with sounds over the top to enhance it with crazy pedals or effects; it's really fun and creative. I think for me, personally, that’s my favourite part of recording - and something we will definitely push even further in future with new material.  

How did Cove get together? When did you realise you had a band on your hands?

The band formed at the end of 2015 - but didn't really become anything too serious until the cycle began for the first E.P. (which was released at the end of 2016). We knew what we wanted to achieve at the beginning and took our time trying to get it right. I feel like, with everything in life, a band is a learning curve: every time you do a cycle, you learn what works well and what, potentially, doesn't. 

What sort of music did you all grow up around? When did you decide music is what you wanted to do?

I think, for all of us; we grew up on Grunge and Punk/Pop-Punk before getting into heavy music. A few of us were proper Metal kids whilst some of the others weren't really…but we all grew up loving bands like Underoath, Taking Back Sunday; Nirvana, Finch; Architects - those bands are the bands that made us want to do music.

I think, for all of us, it's not really something you ever ‘decide’ to do: you just do it. It's like an itch you can never quite scratch. You just have the overwhelming desire to create and perform.

It is addictive.

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

Of course! You can see us on the following dates, with Parting Gift, in April! 

15th: Bournemouth – Anvil

16th: Guildford – Boileroom

17th: Nottingham - Red Rooms

18th: Manchester - Satans Hollow

19th: Huddersfield – Parish

20th: Glasgow - Garage Attic

21st: Edinburgh – Opium

22nd: Sheffield – Corporation

24th: Birmingham – Flapper

25th: Oxford – Cella

26th: Tunbridge Wells - Forum Basement

27th: Bristol - Mothers Ruin

28th: Bridgend – Hobos

30th: London - Thousand Island.

Do you all love being on the road? Is there any mischief when you are touring together?

Playing shows is the most rewarding thing: there is literally nothing better than when you finish the last note of a song and you get a great reaction from the crowd. Seeing people know the words or mosh or head-bang - it’s just a great feeling.

We're not too bad on tour. We try and keep ourselves together and don't get too silly with booze - we just want to be on form as much as possible. We have the standard banter, though, you'd expect from five people crowded into a van. 

IN THIS PHOTO: Sad Cops

Are there any new artists you recommend we check out?

Not a heavy band, but there's this band called Sad Cops from the States. I think they're wicked. They're still teenagers from what I can make out - but their music is super-mature. Check out their album, Liam Murphy Holt.

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

Play a lot of shows, meet a lot of people; have a lot of fun and write some great music! 

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

I think, for us all, the first time we played The Underworld; people knew the words to some of the songs that haven't been out long. It was a great feeling. We had a great reaction at that show.

It's very reaffirming. 

What advice would you give to new artists coming through?

Don't worry if you don't get it right first time: we're all learning as we go. Be relentless.

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

Not really! When we're back from tours, we're all working our jobs and then, when we come home in the evening, we're often writing music; sorting out merch. designs etc. It's just a lifestyle you live!

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).

It's got to be our boys in Bad Sign! Bad Sign - Square One

_______

Follow COVE

Official:

http://wearecove.bigcartel.com/

Twitter:

https://twitter.com/WEARECOVE

Facebook:

https://www.facebook.com/WeAreCove/

Instagram:

https://www.instagram.com/wearecoveuk/

SoundCloud:

https://soundcloud.com/wearecove

Spotify:

https://open.spotify.com/artist/0BvGDLspy9X8uIOBLZ5WR7?si=zKKALnEITOKId8eKeIq8yQ

INTERVIEW: White Room

INTERVIEW:

 PHOTO CREDIT: Lottie Turner 

White Room

_________

ONE hears the music of White Room…

and gets an instant blast of urgency and nostalgia. There is a great combination and fusion of ideas that make their songs a cut above the rest. I have been speaking with the Brighton-based band about their latest single, Twisted Celebration, and what inspired their E.P., Eight.

The band – Jake leads the questions – tell me about their formation and future gigs; artists that have inspired their music; how important touring and being on stage is; new artists we should check out – and why Brighton is a great place to inspire music.

_________

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

Jake: It’s been good, thanks, yeah. Just had pre-production rehearsals for our shows coming up at the end of the week – so, pretty busy (but that’s never a bad thing).

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

Hey there people of the Interweb. We’re White Room; made up of Jake (Vocals, Keys), Tristan (Guitar, Keys); Jacob (Guitar, Vocals), Josie (Bass, Vocals) and Hen (Drums).

Twisted Celebration is your new song. Is there a story behind the song?

Well, to me, it’s really a song about isolation and how, the further you allow yourself to sink into it, the harder it is to crawl out again.

The video is interesting! What was it like putting it together?!

A lot of the filming actually took place syncing over a half-speed version of the track so, when sped back up to full-speed, you’d get the effect that we’re actually spinning twice as fast as the carousel can go. So, there was a lot of awkward shots hanging off horses singing along in slow-motion while attempting to keep as still as possible. Much easier said than done.

The carousel is actually an original from Brighton in 1888 and has been run by the same family for generations. Each horse is named after a different family member through the years.

Twisted Celebration is from the double-E.P., Eight. What was the reason for releasing a double-E.P.? What sort of themes and ideas inspires the music?

Well. The concepts originated around the number-eight, so it only seemed fitting we had eight tracks - and that didn’t feel long enough to call an album, so it took its form as a double-E.P., which we drip-fed over the course of a few months.

The tracks interlock around themes such as escapism, positivity and togetherness.

How did White Room get together? Was it quite a quick bond?

We all knew each other when we were young and just always had that musical connection with each other. So, yes; it was a quick bond - but a bond that has developed since we were young.

Is Brighton a perfect place to create music? Would you recommend other artists base themselves there to get inspired?

Brighton is a great city to live and create in, yes. There’s always a lot happening within the arts world down here which, of course, will be a catalyst for inspiration. It’s got that relaxed vibe - but it’s still very much a happening city with lots to sink your teeth into. 

What sort of music did you all grow up around? When did you decide music is what you wanted to do?

We all grew up with music in our lives and, as I said, most of us knew each other from a young age – so, we shared a lot of what we’d hear at home with each other and probably formed a lot of our tastes these days together back then.

For me, music was always the obvious route really; ever since I was a little’un, really. Although, when I was a young, I was pretty dreadful at every instrument I tried. Haha. But music has just always been in my bones, you know? It’s all I really want to do and I know how to do.

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

We have our two biggest headline shows to date coming up this week in Brighton (15th) and London (16th) at Patterns and Moth Club. After that we have a string of city festivals coming up in the spring.

How does your music differ from the studio to the stage? Does the reaction from the crowd affect you?

Of course, yeah. Live, you work from the fans almost entirely. You feed off them...

Sonically-speaking; our recordings inevitably have a larger production element than we can produce in a live situation…but isn’t that part of the beauty of watching a live performance?! If you heard the same as the record you’d almost feel cheated. We’ve just recorded a few new tracks that will feature in these next shows - and arranging them into a live performance has been one of the most enjoyable parts of putting the show together.

IN THIS PHOTO: Ralph TV

Are there any new artists you recommend we check out?

I just came across a Brighton band called Ralph TV who I liked the sound of. Also, BARBUDO; who supported us for the Brighton and London shows on the Eight tour last year. They’re brilliant.

 IN THIS PHOTO: BARBUDO

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

I’d like to become a more prolific writer and question my train of thought less often while I do so. 

Tristan: To be able to play synth, organ and guitar simultaneously while reciting Churchill’s classic speech without making a mistake. 

Jacob: To increase my grasp of alternate tunings...

Josie: To articulate myself better in what I create...

Hen: Learn how to sing like Jake and Josie. 

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

Jake: Holding the 12” of Eight and flipping our own record for the first time.

Tristan: Watching Josie curling Jake’s hair on the drive up to a show in Sheffield sticks in my mind. Oh, the burns. So many, many burns.

Josie: FestEvol 2017.

Jacob: Telling Jack White I loved his new record - and him insulting my nationality in return.

Hen: Y Not Festival 2017.

I guess being tipped and backed by Paul Weller stands as a highlight! How did that make you all feel?!

Jake: When I found out he wanted to meet us and had invited us to record at his, I cried. I think that was the moment we all decided to really get our heads down and work.

What advice would you give to new artists coming through?

Just to write as much as you can and go out and play as much as you can. We’re still trying to figure it out for ourselves. Haha.

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

People often don’t see the other side of music and how much work you have to put into it. With any passion, you have to give it your complete all and then some. It’s strenuous but the reward is always greater.

No one wants to sit in a room running a set over and over again but, when you then play the show of your life, all the work instantly becomes a joyous memory. Everyone in the band has their way of unwinding. 

I personally love to cook and to fish.

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).

Jake - Mellow Custard by BARBUDO

Tristan: Dust on Trial by Shame

Jacob: Tslamp by MGMT

Josie: Exit Only by Warehouse

Hen: The Rabies Are Back by The Moonlandingz

_______

Follow White Room

Twitter:

https://twitter.com/whiteroomhq

Facebook:

https://www.facebook.com/whiteroomhq

Instagram:

https://www.instagram.com/whiteroomhq/

SoundCloud:

https://soundcloud.com/whiteroomhq

INTERVIEW: Cimo Fränkel

INTERVIEW:

Cimo Fränkel

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THERE are not many artists out there…

who have the same ingredients and sounds as Cimo Fränkel. He discusses his latest track, I’m Alright, and where it might lead; what it is like being based in Amsterdam; if he has any other material in the locker; what his musical tastes and influences are – and why a rendition of a Michael Jackson classic got some rather ‘moody’ stares from Quincy Jones!

Fränkel talks about future gigs and what he does away from music; some artists we should all check out; what message he would give to his loyal fans – providing some advice for like-minded songwriters emerging.

_________

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

Pretty good. I am out in L.A. for writing sessions - and it is going good so far.

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

I am a singer, songwriter and producer from Amsterdam. I have done a lot of work for other acts such as Cheat Codes, James Arthur; Armin van Buuren and more. Now, I am self-releasing my own material that is closer to me as an artist.

This is my third official solo release - and I am stoked to see the reactions to it.

I’m Alright is your new cut. What is the story behind the song?

Me and my co-writer, Rik, were not thinking of writing a song that day but ended up finishing most of this song that night. For some reason, this song just happened to us and it felt good.

It’s about the simple question in a relationship. Do you care enough for somebody to sense when something is wrong? Do you care enough to act on that feeling? Perhaps (you can), by letting them know you’re thinking of them. Sometimes, you need that late-night confirmation.

Overall, I guess I felt a bit Drake-y.

It is summer-ready and vibrant! Did you write it with one mind on festivals and summer crowds?

I actually did not. I did not consider this a summer track until other people started telling me it is. Now I am in L.A. - where it is sunny - and I’m like: ‘okay, I get it’. It’s funny how perspective can change. The song felt somewhat dark and moody to us when we wrote and produced it.

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

I am working on a lot of songs and a lot are finished (or at least ninety-five-percent). The 1980s-feel this track has will definitely be heard in some of the upcoming songs. Yet, some might add that they have a 1990s' feel as well.

There’s moodier material and there’s Pop-ier material.

Did you grow up around music? Who were the artists you admired when you were young?

My father used to be in a band and would always take me to rehearsals and such. So, yes; I grew up around music. Early in my life, I got introduced to music from artists such as Michael Jackson, Stevie Wonder; Prince and so on…

My brother and I fell in love with Michael Jackson - and that is something that never changed. You can hear very well in my music that I am a Michael Jackson fan - while I am definitely not trying to mimic him. Later, I also got inspired by a lot of different 1980s and 1990s Popstars.

You are based in Amsterdam. Is there a diverse music scene there?

I guess there is, yes. There are loads of bands including (bands) that have international reach. Then there’s all the Dutch D.J.s, Dutch Hip-Hop and R&B (and way more). So, I guess you can call the music scene diverse…

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

I promised myself that, if I am doing a tour, it would be super-duper dope! I do not want to disappoint my audience. I had the pleasure to spend a lot of time on stage with Armin van Buuren for a year - and I wanna take what I have learned and create something great for myself and my audience (to enjoy). Before that time, I will do promo performances for my singles here and there.

Do you spend much time in the U.K.? Will you perform over here?

I used to go to London a lot and I miss it - so I decided to go back A.S.A.P. Hopefully, I’ll do performances. But there is nothing scheduled yet.

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

Ideally, I would want to have people waiting for my new song to drop. That would be the best feeling ever. To know that there are people that appreciate your music so much they can’t wait to hear the next…

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

It is hard to think of an absolute favourite memory…

I do know that I ended up at a party in L.A. once, celebrities everywhere (Childish Gambino, Jay-Z; Russel Simmons and Wesley Snipes) and people were performing. At some point, I was too - don’t ask me how it happened but it did. While I am singing Off the Wall by the legend Michael Jackson; I look up and see Quincy Jones looking right at me with a pretty unbothered expression.

I dropped an octave….

What advice would you give to new artists coming through?

Don’t let anybody tell you anything unless you believe someone should tell you something. In other words; if you NEED advice, take it. If you strongly feel something should be a certain way, don’t let anybody take that away from you.

IN THIS PHOTO: Kiana Ledé

Are there any new artists you recommend we check out?

Kiana Ledé, The Millennial Club; Mk.Gee, August Greene and Gia Koka.

IN THIS PHOTO: Gia Koka/PHOTO CREDIT: Daniel J. Ashes

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

The best way to unwind for me is to go on a vacation; or watch a couple of movies with my life partner. It can take a few days, sometimes, to fully recover from making music.

You have a lot of loyal fans out there. What message would you give to them?

Dear loyal fans: I love you and your support means, literally, the world to me. You are my future...

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).

Mk.Gee - I Know How You Get

_______

Follow Cimo Fränkel

Official:

http://www.cimofrankel.com/

Twitter:

https://twitter.com/cimofrankel

Facebook:

https://www.facebook.com/cimofrankelofficial/

Instagram:

https://www.instagram.com/cimofrankel/

SoundCloud:

https://soundcloud.com/cimofrankel

YouTube:

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

Spotify:

https://open.spotify.com/artist/76ftqv1cm1EkrgWiC1pUUV

INTERVIEW: Archi Deep

INTERVIEW:

Archi Deep

_________

FRANCE is a nation I do not get…

to go to that often! It is always great when I have a genuine excuse to interview a great artist from there. That brings me to the awesome force of Archi Deep – this is not the first time I have encountered the terrific duo (formally, a band). I talk to them about their upcoming, eponymous album/mini-album; what we can expect from its lead single, I’m Just a Man (out on 15th April) – and what comes next for them.

They discuss their formation and influences; whether there are any tour dates confirmed; how their music has evolved through time; whether there is a good music scene in their part of France – and whether we will see them come to the U.K. this year.

_________

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

Feeling pretty good! Road-trippin’ in California - so, not too bad! 

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

We’re a guitar-and-drums band from Oleron Island in France; giving our guts on stage and feelings in our songs. Oh, and, by the way...we’re called Archi Deep. 

It has been pretty cold and snowy recently over here! What is it like where you are?

It’s has been here too. Just before we left, it was minus-twelve-degrees-Celsius (so cold) and we landed in L.A. - it was twenty-five!

I’ll call that a big jump!

The eponymous mini-album is out soon. What was it like recording it? Was it quite a fun recording?

Yes. It was a long journey to get to the end of it: dealing with schedules, music business appointments; but, at last, it’s here. It’s been finished for a year now - and we’re currently working on the first full-length!  

As usual, the recording was amazing. It’s always good to play your songs and to hear them come alive; blowin’ out by the speakers in the control room! We can’t thank enough the ones that helped us arranged and produce it: Dominique Ledudal, Lucas Thiefaine and Frederic Scamps (thank you, guys).

Are there general themes that inspired the songwriting on the album?

I think it’s always the story of a man who can’t accept it: schizophrenic on the edge, lover on the other side; a boy who wants to keep growing but still refuses to inside! 

I’m Just a Man is out on 15th April – the first single from the L.P. What is the story behind that one?

It’s about things you don’t wanna deal with when you’re supposed to be an adult. So, it’s a take-it-or-leave-it-here song... 

How did Archi Deep come together? What attracted you to one another?

Archi Deep was a solo band, then a trio…and now a duo. We say that pair is stable, so here we are! The music is what got us together and will keep us rocking as long as we get it burning inside.

It seems like classic Rock and 1950s music is a draw for you guys. Which artists and genres are you influenced by? 

Some obvious ones like The Beatles, Nirvana; Led Zeppelin, but also, artists like White Denim, Tingsek …Rap, Soul; Classical and, mainly, us. We’re trying to get truer with what’s inside us so, I’ll say, the main influence is Archi Deep.

 

You are based on Oleron Island. Is there a music scene there? Is it easy getting gigs?

There’s quite a lot of bands - but not much of a music scene…

It comes (a bit more) alive in the summer; so, you can easily get pub gigs or acoustic gigs around - but we’re mainly playing outside everywhere people ask us to!

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

Keep checking www.archideep.com or our Facebook to get the latest news about that. A part of it should be revealed soon!

Do you think the U.K. will be among your gig plans?

Hopefully, it will! For those reading this, feel free to give us a shot and we’ll come your way as soon as we can.

What do you hope to achieve in 2018?

Tour a lot, get the new C.D. done; expand our gig-reach to include a lot more places, meet you guys on the road – and keep kicking it again and again!

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

When people come at the end of the show and say: “Thank you, you were my first real Rock gig“…

What advice would you give to new artists coming through?

Don’t give up, keep it focused: they'll always be a place for you! 

IN THIS PHOTO: Mama's Gun

Are there any new artists you recommend we check out?

You could check out our friends from Gold Phoenix (just got back from a tour); Mama's Gun (a power trio, a la Zeppelin); Lysistrata - that are killing it all over the place right now - Krazolta who released an all analogic album with Clive Martin on board - and MAMA (a French Psych. band that are getting really good at it!). 

IN THIS PHOTO: Lysistrata/PHOTO CREDIT: Max Chill Photography

There are many more, many more. I’ll just say: keep an eye out there and don’t be afraid to discover! 

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

Not much. Julien (the drummer) is on tour doing replacements and studio recording pretty much all-year-long and, on my side, I’m doing recording work and all the ‘dark work’ of getting the album seen; the tour, etc… 

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).

Tingsek - Gas Station Gus (Live at Ljupet)

White Denim - At Night in Dreams

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Follow Archi Deep

Official:

http://www.archideep.com/

Twitter:

https://twitter.com/archideep

Facebook:

https://www.facebook.com/archideep

Instagram:

https://www.instagram.com/archideep/

SoundCloud:

https://soundcloud.com/archideep

YouTube:

https://www.youtube.com/channel/UCfHhYpgoc_9T3BBcxM0TUug

INTERVIEW: Little Brother Eli

INTERVIEW:

Little Brother Eli

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IT has been fun talking with…

the guys of Little Brother Eli. I ask about that name and whether there’s a story behind it. They discuss their new single, TOOTH, and whether there is more material coming; what their home of Oxford is like for music/gigs – the artists they all grew up around.

I was curious as to whether there were gigs coming up; if they get time to chill away from music; what they would tell new artists coming through; how they get that unique blend of Disco and Rock together; new talent worth seeking out – they end the interview with a great song choice.

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

Splendid, thanks! We’re still on a high from our single launch at The Wheatsheaf in Oxford - it was a sell-out.

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

We’re a four-piece band from Oxford and we play Disco-Rock! We pride ourselves on our energetic live show - and we’ve just released our new single, TOOTH.

Can I ask where the band’s name, ‘Little Brother Eli,’ stems from?!

It comes from the Daniel Day Lewis film, There Will Be Blood – spoiler alert! Eli is one of the characters in the film, who meets a sad demise.

TOOTH is your latest single. What is the background of the song?

We haven’t released anything since our debut album in 2016 – we went back to the drawing board, creatively, and came out with TOOTH. It’s a pretty angry song with a sort of 16-bit computer game sound! It’s about anyone who is really grated by another human being.

Go check it out on Spotify.

Will there be more material later this year? Maybe an E.P.?

Absolutely. Two new singles are in the pipeline and we’re back in the studio at the end of March to record another song. We’re hoping to keep a steady stream of new music coming out over 2018.

Your style is stomping and danceable – a mix of Disco and Rock. Does this reflect the artists you grew up around? Who do you count as influences?

I think, when we started the band, we were mostly influenced by artists like Jack White, The Raconteurs and Led Zeppelin. However, we’ve really mixed it up with a lot of this time around.  Everyone in the band has different tastes - from Rock to Hip-Hop to Beyoncé. We put our heads together to see what we could create.

Do you take a lot of inspiration from the modern climate? How do you think new music stacks up against the classics?

Definitely. Often, people look at the past with rose-tinted glasses: they forget about all the crap and remember the good stuff. There are tons of great artists out there at the moment - you just have to know where to look. Recently, we’ve been listening to a lot of Khrangbin in the car – go check ‘em out!

Oxford is your base. How busy is the city in terms of great new music? Are there opportunities for young bands?

I think Oxford is, probably, one of the best places to start out in music. We’ve got a heap of good venues like the Jericho Tavern and The Wheatsheaf, as well as open mic nights like Catweazle - where you can start out and develop.

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

Lots of gigs in the diary; so head over to littlebrothereli.com to check them out – most notably, Truck Festival.

Is the stage the environment you all prefer? Is it easy to describe the sensation and feeling you get when the crowd responds?

It’s just a real buzz playing live.

We’ve been doing it since 2013 and every gig is always a fun challenge. You’re either battling with yourself or the sound or the room, but it’s what we live for, really. However, we have been spending more and more time writing of late; so we’ve backed off a little with the gigging schedule.

IN THIS PHOTO: BIG TOOTH

Which new artists do you recommend we check out?

BIG TOOTH played one of our ‘Eli Nights’ at The Monarch in Camden recently. We loved their Prince-inspired funky riffs!

On 20th March, Waiting for Smith will be gracing the same stage with us – a much mellower Indie affair, but just as interesting.

IN THIS PHOTO: Waiting for Smith

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

To release loads of great-quality music, basically! We’ve got lots in the bag and we’re excited to share it.

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

We played Common People Festival a couple of years ago. That was a real buzz. We’d been doing a lot of touring of our first album, Cold Tales, and were super-confident on stage. We went on to a full tent and nailed it - a great feeling!

What advice would you give to new artists coming through?

I guess, just listen to advice and work really bloody hard. No one is going to put in the legwork for you; so really graft and don’t expect it to happen all at once.

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

Urm…not a lot of unwinding time. If we’re not doing the day-job, we’re often gigging, writing music or creating artwork. It’s hard when your hobby is also your career…

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).

Check out Back Pocket by VULFPECK!

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Follow Little Brother Eli

Official:

https://littlebrothereli.com/

Twitter:

https://soundcloud.com/littlebrothereli

Facebook:

https://www.facebook.com/LittleBrotherEli

Instagram:

https://www.instagram.com/littlebrothereli/

Spotify:

https://open.spotify.com/artist/6mR0AE5tqc21zPebAe2lE8

SoundCloud:

https://soundcloud.com/littlebrothereli

YouTube:

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

INTERVIEW: Brooke Law

INTERVIEW:

Brooke Law

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STRONG female artists are underrated…

in the industry - but they definitely warrant serious acclaim and spotlight. It has been great finding out about Brooke Law and her music. She discusses the story behind the single, Hidden, and donating the proceeds to London Black Women’s Project. I ask her what comes next and the musicians who have compelled her to take up music; whether there is new material in mind – and when music came into her life.

Law discusses her family and their support; a favourite memory from her time in music; the advice she would give to other artists coming through; what she wants to achieve this year – ending the interview with a legendary song.

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

I’m great, thanks. Hope you are too! I’ve been working at an event at London Excel.

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

I’ve been writing for about six years, working with some incredible producers and other artists. I generally write about love, disappointment and standing up for what I believe in.

Hidden is your new single. What is the tale behind the song?

The song was inspired by the film, Hidden Figures: based on a true story of three African-American women in 1960s. Despite facing significant racism and sexism, they managed to make a significant contribution to the NASA space programme - and their work continues to make an impact today.

Women are struggling all over the world for their right to have equal opportunities and continue to make significant contributions to the world we live in today.

I would like to use this song to say thank you and recognise women of yesterday, today and tomorrow.

The proceeds from the song are going to the London Black Women’s Project. What was the reason for choosing this cause?

Through visiting The London Black Women’s Project on Barking Street, I got to learn about how much ground-work they do to help women who have struggled. Their mission is to provide advice, guidance; support, advocacy and accommodation under a framework of empowerment and self-sustainability by influencing and affecting change in government policy and, by providing a safe environment.

L.B.W.P. has seven refuges with fifty-one bed spaces spread across East and North London.

Hidden was released to celebrate International Women’s Day. It is an important day to raise arguments and start a debate. Do you think female artists have to struggle harder to get their voices heard?!

I think women definitely have it harder in the music industry: there is so much pressure on what we wear, what we don’t wear. I’ve definitely turned up to sessions where a male producer has assumed I’m just a pretty face with little experience - and then he has been surprised.

Is there a video coming for the song? What can you tell us about the story and themes?

There is a video for the song, which I’m super-proud of. I have all the women in my family in the video and flashbacks to old family tapes. It, basically, represents mothers, daughters; grandmothers and the love and care women provide in the world. It includes women who have challenged social norms and fought for equality. The video features the Million Women Rise march - which protests to end male violence towards women.

I believe music came into your life when you were a teenager. What was it about music that connected with you?

I’m a very emotional person.

I find writing a song allows you to dig deep into how you’re feeling and let it out in a way that is really empowering - because you’ve just got a song out of it. Ha!

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

Which artists did you grow up listening to? Who do you count as idols?

I really love gutsy, emotional singers. I was obsessed with the Christina Aguilera Stripped album when I was younger. I’d say my idols are Janis Joplin, Joan Armatrading; Jeff Buckley, Tina Turner and Annie Lennox. There are, obviously, sooo many incredible musicians...I could go on forever.

How important are your family roots and parents regarding your musical tastes and ethics? Are they important role models and guides?

I have a really close family...

We have gatherings nearly every weekend where my nan cooks Indian food for the army and then we always tell her off. My dad’s Jewish culture has definitely influenced my emotional and open personality. My parents are really cool. My dad used to be a hippy and my mum was a punk; so they definitely have an influence on my music.

What is coming up for you in terms of material? Might we see an E.P. later this year?

I’m hoping to start releasing my music in June. I won’t explain the sound too much, but it’s gutsy Pop with an Indian influence.

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

More experiences and, of course, a successful debut later this year. I’m looking forward to working with London’s Black Women’s Project. 

PHOTO CREDIT: Paul Clarke

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

I performed at TEDxHousesofParliament.

What advice would you give to new artists coming through?

Sing and write from the heart...and love every minute.

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

I have a part-time job working in events. I wouldn’t say it’s unwinding - but I meet great people.

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).

Tracy Chapman - Talkin' 'bout a Revolution

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Follow Brooke Law

Official:

https://www.brookelaw.co.uk/

Twitter:

https://twitter.com/BR00KELAW

Facebook:

https://www.facebook.com/BR00KELAW/

Instagram:

https://www.instagram.com/br00kelaw/

Spotify:

https://open.spotify.com/artist/0mDLTE0tzaN3lPl91t550q

YouTube:

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

INTERVIEW: Kadija Kamara

INTERVIEW:

Kadija Kamara

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SOME musicians do what they need to do…

to get by and survive – without much extra effort and innovation. Kadija Kamara goes out of her way to make the music world better and shine a light on those deserving. I speak to her about her project, LADY, and details of her new E.P., Nothing Left to Lose; what themes/stories go into the music; whether there are any tour dates coming up – and whether the variegated moods of the E.P. come from an eclectic musical upbringing.

Kamara discusses her upbringing and whether (being unsigned) she is looking for a deal; whether she has fond memories from her time in music; some new artists we should get out ears around; three albums that mean a lot to her – she provides some advice to upcoming artists.

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

I’m great, thanks. Just recovering from a cold - but as right as rain again (smiles).

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

Hi there, new readers and listeners...

My name is Kadija Kamara; that girl-next-door who love music, singing, writing songs and performing them.  I’m quite funny at times (so my friends say) and, overall, quite easy-going to be around.

I have a love, in particular, for old Soul music but love modern music, too. I work to reflect these sounds through my music, which I call ‘Alternative-Soul’.

Nothing Left to Lose is your new E.P. What themes and ideas inspired the songs on the E.P.?

Each song follows a different mood and emotion. They were all written at different times and for different reasons. 

Nothing Left to Lose is about the struggles of life and finding the light at the end of the tunnel. It’s not based on anyone in particular - but based on two different scenarios.

Running in the Name of the Game is about keeping up with the rat-race.

Eyes on You is about spotting someone you fancy when out and the thoughts that pulsate through your head. This was written with the bass line and the mood just felt sexy at the time. L.o.L.

Like You is more delicate and intimate. It’s about trusting to love again when you meet someone worthy: putting all bad experiences behind and having that conversation with that someone about how you feel. I just felt like I needed to express this emotion in a song.

There is a range of sounds and moods on Nothing Left to Lose. Does that reflect your upbringing and musical tastes?

Oh, yes, certainly. I’m very big on grand music arrangements and instruments; I feel it brings a great deal of energy, which I generally have a lot of.  I love guitar riffs and have a love for Soul-Rock. I wrote this song whilst listening to a lot of Jimi Hendrix (who I adore). You just feel the emotion in his songs through his guitars; the dynamics are great. 

Is there a track for you that stands out? To me, Eyes on You stands out and it seems the most instant song...

I like all of the songs, for different reasons, as they show different emotions. Eyes on You is very playful and, I guess, I haven’t shown that side of my music before. It would be hard to pick one of the four. 

I know you are unsigned at the moment. Do you think label/management backing would bring your music to a wider audience? Is that a goal for this year?

Support and backing from other areas always help, but this really depends on the type of team you have around you. If they understand your music and creative journey, I think it’s very important.

I welcome all opportunities with open arms.

You recently curated a music showcase, LADY. What was the reason for setting that up? What was the reaction like from the audience?

I woke up one morning and thought I’d love to put on a show of my own…start something fresh and original. I thought about the amount of work I do to push my music career forward and a lot of it people don’t really see. I then thought about other female musicians I know who go through the same struggle - and thought I’d love to showcase our talents under one roof; to invite our own audiences/fans to the event and introduce new music to each other.

I didn’t realise the amount of interest in female-led events and groups already out there: the response has been great. Just over a year later, LADY has had some amazing artists perform at my events - including the first LADY Festival in Oct 2017. That was very special.

Do you think it is harder to shine in the music industry as a woman? Do you think it is harder as a black woman, too?! Does the music industry need to take a closer look at inequality – make changes and help improve things?

Most definitely as a woman and a black woman of a darker hue. We see the same type of women championed in most creative industries - and not just the music industry. If you look at the type of females who pass a certain level of success, you’ll notice some correlation. I believe colourism is a major topic at the moment. It’s something that has been happening for a long time - and I don’t see it fading fast in our lifetime. I do think it’s important to talk about it make each other aware, so we can work on creating a greater balance.

From the perspective of a woman, it is definitely extremely difficult to reach certain levels in business and any Industry. Take a look at most business hierarchies and tell me if there is an equal balance. We, as humans, still have a lot of work to do (smiles).

Your music has gained applause and respect from radio and online sources. How does it feel gaining that sort of coverage? Does it give you fresh energy and ambition?

I am always very appreciative of any support received. It’s great, even if a small group of people acknowledged my work. It is liberating just releasing it to the world. You never know who will like it and what they will like.

I am an ambitious individual in general so I’ll always create, try new things and push myself to do more – and, yes, the positive response is always encouraging; adding fuel to the fire. 

IN THIS PHOTO: Joan Thiele 

Who are the new artists you recommend we check out?

So. There’s a very talented lady who has become a great friend called Joan Thiele (from Milan). I did some writing with her last year and a track we wrote called Polite was recently featured in Fendi’s online Valentine’s campaign. She has a lot of great things coming. You should keep an eye open. The single is out now - you can listen to it here.

Another artist is Jodie Abacus, who I feel is a very talented songwriter and artist. He has a new E.P. out call Mild Cartoon Violence - and some great previous releases.

Another lady is Vivienne Chi, who is another great writer and artist. I love her latest song, Blood Brothers.

IN THIS PHOTO: Ibibio Sound Machine

Michael Jablonka; a very talented artist and insane guitar player. His own music is quite exceptional:

Ibibio Sound Machine; they have two great albums that are worth checking out. A very great band, LIVE, also!

IN THIS PHOTO: Vivienne Chi

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

Ummmmmmm (pauses for a long while).

Just three; really? Ok…I might change my mind tomorrow but here goes:

Marvin Gaye - What’s Going On (still relevant to this day...Inner City Blues and the title-track, especially).

The Jimi Hendrix Experience - Electric Ladyland

Because it has songs like Crosstown Traffic, All Along the Watchtower and Voodoo Chile. He (just) really made me want to play the guitar.

Aretha Franklin - Lady Soul

Because it has so many wonderful songs like Groovin’, Chain of Fools; Natural Woman and Good to Me As I Am to You. Some of these songs made me want to sing so much when I was younger; testing my vocal range…

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

I just had an E.P. launch event at the end of February but will be back at my residency at The Finsbury on 27th March: LADY vs. Lost in the Manor. Other dates currently being confirmed but there will be a mini-tour in the coming months. Details to follow.

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

Release more music, continue reaching a wider audience and kick down doors and barriers (smiles).

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

I guess I would be the first time I released some music into the world. It’s really difficult letting go but, once I did that for the first time, I became less and less afraid.

What advice would you give to new artists coming through?

Be you, create the music you believe in that you feel really represents you as a person and your creative direction. Don’t be afraid to be different, even when people say: “That’s not the way it’s should be done”…

Always trust your gut.

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 would say any of the artists I mentioned above (smiles). Ok…I would say Vivienne Chi – Junk

_______

Follow Kadija Kamara

Official:

https://www.kadijakamara.co.uk/

Twitter:

https://twitter.com/kadijakamara

Facebook:

https://www.facebook.com/kadijakamaramusic

Instagram:

https://www.instagram.com/kadijakamara/

SoundCloud:

https://soundcloud.com/kadija-kamara

Spotify:

https://open.spotify.com/artist/7vI8VvLrvPt0YrcdU3aU6K

YouTube:

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

PHOTOS:

Garry Carbon

INTERVIEW: Max Restaino

INTERVIEW:

Max Restaino

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THE music scene has a lot of choice…

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).

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. 

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.

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. 

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

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Follow Max Restaino

Official:

http://max-music.co.uk/

Twitter:

https://twitter.com/MaxRestaino

Facebook:

https://www.facebook.com/maxrestainomusic/

Instagram:

https://www.instagram.com/max_restaino/

SoundCloud:

https://soundcloud.com/maxrestaino

Spotify:

https://open.spotify.com/artist/7FOzloBoqarxp9qgDfDTQm

YouTube:

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

INTERVIEW: Schultz & Forever

INTERVIEW:

 PHOTO CREDIT: Magnus Bach  

Schultz & Forever

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I always love speaking with Danish…

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. 

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.

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.

 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

 PHOTO CREDIT: Magnus Bach   

Facebook:

https://www.facebook.com/SchultzandForever

SoundCloud:

https://soundcloud.com/schultz-and-forever/

Spotify:

https://open.spotify.com/artist/06tBD6k0iP0JIc2BHJicYx

YouTube:

https://www.youtube.com/channel/UCnBPS0TVTivuvBfnXvq0cUg

INTERVIEW: Goldkey

INTERVIEW:

Goldkey

_______

THE first interview of the week…

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.

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.

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.

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. 

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!

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

Twitter:

https://twitter.com/goldkeysounds

Facebook:

https://www.facebook.com/goldkeysounds/

Instagram:

https://www.instagram.com/goldkeysounds/

SoundCloud:

https://soundcloud.com/goldkey

Spotify:

https://open.spotify.com/artist/0BkcJcAJOXOebWiW6C4AC0

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?!”

ALL PHOTOS (unless credited otherwise): Unsplash 

Confessions of a Conten Writer

_________

ONE assumes those who spend their professional time…

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...

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!

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.

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.

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.

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…

THING we want to do!

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

FEATURE:

 

What ‘Sophomore Slump’?!

PHOTO CREDIT: Unsplash 

Second Albums That Amazed the Critics

_________

THERE is an actual phenomenon…

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

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

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

Release Date: 27th October, 2006

Label: Island

Genres: Soul; R&B; Neo-Soul

Debut: Frank (2003)

Radiohead – The Bends

Release Date: 13th March, 1995

Labels: Capitol; Parlophone

Genres: Alternative-Rock; Indie-Rock

Debut: Pablo Honey (1993)

Elvis Costello – This Year’s Model

Release Date: 17th March, 1978

Label: Radar

Genres: New-Wave; Power-Pop

Debut: My Aim Is True (1977)

Led Zeppelin – Led Zeppelin II

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

Release Date: 28th June, 1988

Labels: Def Jam; Columbia

Genre: Hip-Hop

Debut: Yo! Bum Rush the Show (1987)

Kanye West – Late Registration

Release Date: 30th August, 2005

Labels: Roc-A-Fella; Def Jam

Genre: Hip-Hop

Debut: The College Dropout (2004)

Blur – Modern Life Is Rubbish

Release Date: 10th May, 1993

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

Genre: Britpop

Debut: Leisure (1991)

Carole King – Tapestry

Release Date: 10th February, 1971

Label: Ode

Genres: Soft-Rock; Pop

Debut: Writer (1970)

Nirvana – Nevermind

Release Date: 24th September, 1991

Label: DSG

Genres: Grunge; Alternative-Rock

Debut: Bleach (1989)

Weezer – Pinkerton

Release Date: 24th September, 1996

Label: DGC

Genres: Alternative-Rock; Power-Pop; Emo

Debut: Weezer (1994)

Adele – 21

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

Release Date: 19th February, 1998

Labels: Merge; Domino

Genres: Indie-Rock; Lo-Fi

Debut: On Avery Island (1996)

Madonna – Like a Virgin

Release Date: 12th November, 1984

Labels: Sire; Warner Bros.

Genre: Dance-Pop

Debut: Madonna (1983)

Bob Dylan – The Freewheelin’ Bob Dylan

Release Date: 27th May, 1963

Label: Columbia

Genres: Folk; Blues

Debut: Bob Dylan (1962)

Pavement - Crooked Rain, Crooked Rain

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

PHOTO CREDIT: Getty Images 

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

_________

LAST night…

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.

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.

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.

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.

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…

PHOTO CREDIT: Unsplash

WHERE this breakthrough comes from.