INTERVIEW: The Great Dictators

INTERVIEW:

The Great Dictators

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MY recent interviewing has taken me…

all over the world. Although I have travelled a lot and featured artists from various parts; it has been a while since I included a Danish act. The Great Dictators are a fantastic band who discuss their latest single, Killing Fields, and how it came to be. I was interested knowing how the group formed and what the scene is like in Denmark right now – and whether the guys are coming to the U.K. to play.

I ask how the music has moved on since When I Waltz (their debut E.P.) and what their musical tastes are; how all the disparate sounds and genres formulate into something cohesive; if they get time away from music to reflect – what they would say to any new artists emerging.

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

Great, thanks. Our week’s been pretty hectic with the release of our single and working on new music but, all in all, very good.

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

Well. We’re The Great Dictator; we’re from Denmark and we love beer. We also love to explore as many genres as possible - as long as the end result is something that will subtly rock our worlds. The overall genre is definitely some kind of melancholic Rock, though.

Killing Fields is your new song. Can you tell me what the inspiration behind it is?

Killing Fields, first of all, marks a step in a new direction for us; both genre-wise and as a band. We’ve been listening to a lot of, mostly, Electronic acts lately: Porches, Blanck Mass; Zola Jesus etc. Then, Dragut bought a drum machine - and, then, the rest is history.

The song, itself, is about the difficulties we as humans can have communicating with each other. The world is a dark but, also, a beautiful mess. There’s a lot of crap going on but hope tends to pop up; even though it’s only through small glimpses.

It is cinematic and dark; it mixes different shades together. Did the song come together naturally? How does a (The) Great Dictators song come together?

Dragut wrote the song and played around with it at his flat. Later on, we all brought our ideas; played around with it in our studio and made it sound like it does. That’s, basically, the standard procedure for every song.

Is there going to be more material arriving? What are you working on?

There sure is.

As of now, we have the groundwork for an E.P. - that is set to be released late-2018. Killing Fields is the only finished track, but we’re working our butts off with the rest of the songs. We also hope to have one or two more singles ready before the E.P.-release.

How do you think you have changed since your debut E.P., When I Waltz?

We’ve definitely grown more as musicians - and the band constellation has changed a lot. All in all, we’ve grown more secure in what we do and stopped minding all the B.S. that tags along with being an underground act – that, sometimes, tickle the surface of local fame. We’re also more open to constantly exploring new musical directions and, hopefully, keeping our melancholic vibe intact.

How did The Great Dictators come to be? When did you meet one another?

Dragut started the project in 2011 as a musical collective, where Jakob was one of the first band members. Chris joined later on - and then it all made sense being a trio.

I hear shades of Country and Folk; some Metal and Indie strands. Which artists inspire you all? Did you all grow up around music?

None of us grew up with musicians in the family, so it probably has more to do with our own discoveries and equally-music-interested people around us. We’re all (just) passionate music lovers with different backgrounds. Chris’ favorite genre is probably Math Rock; Jakob is into Electronic music and Dragut is a complete sucker for all genres.

Denmark is where you are based. What is the scene like there now? How does it differ to the likes of the U.S. and U.K.?

The scene, right now, is pretty standard and ordinary. It’s not necessarily a bad thing...

It seems like it’s imitating what’s going on in the rest of the world; also the U.S. and U.K. Streaming services, Pop singles and short attention-spans seem like they’re dominating, but still, there’s a cool and vivid underground scene of great acts. But, they don’t get the attention, support and money they deserve.

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

We’re planning on (playing) gigs sometime after the summer; plus, a grand release show and a tour in early-2019.

Will you play the U.K. at all? Do you get out this way a lot?

No promises, but we’d love to have some gigs in the U.K. We have it in mind so, hopefully, next year.

Any ideas?

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

We’d like to drink more wine instead of beer. We still love beer but wine seems more sophisticated. Adult fluids, you know.

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

We supported Daniel Lanois when he played in Denmark a couple of years ago. He was an extremely cool dude and, fortunately, he was up for a really awkward selfie. But, in general, the band is about friendship, constantly meeting and working with new people and delivering new tunes that resonate with our fans. We’ll continue the journey and we’re up for more adventures.

What advice would you give to new artists coming through?

Write some good songs, make some good music: it might take a while, perhaps a whole fuc*ing lot of years, but keep on working on your own voice and then all the hard work  suddenly begins - with all the boring mail-writing and mingling; spending money you won’t see again but, hey: believe in yourself and then all the rest is quite unimportant.

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

We really dig movies, so that’s a common panic room. We also like the soothing voice of Sir David Attenborough. But, music is our biggest passion - so almost everything has something to do with music…

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).

Christoffer: G Is for Jaile by Gallops

Jakob: Emerald Rush by Jon Hopkins

Dragut: Metal Gods by Judas Priest

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Follow The Great Dictators

Official:

http://www.thegreatdictators.com/

Facebook:

https://www.facebook.com/thegreatdictators

Instagram:

https://www.instagram.com/thegreatdictators/

YouTube:

https://www.youtube.com/user/TheGreatDictators/videos

SoundCloud:

https://soundcloud.com/the-great-dictators

FEATURE: Still Waters Run Shallow: Where Has the ‘Fizz’ Gone?!

FEATURE:

 

Still Waters Run Shallow

ALL PHOTOS: Unsplash 

Where Has the ‘Fizz’ Gone?!

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I realise I spent a lot of my…

music-listening existence harking to the past and what I grew up around. I love looking back and seeing where music has come from. It would be a fool’s bet thinking music is not going to get any better: there is a world of sound out there; who knows what possibilities and breakthroughs will happen?! Whilst I am open-minded to the possibility of reinvention and development – will we ever get the same quality and genius as years gone by? One can argue the toss regards quality and how the new stuff stacks against the older material. I am in the camp that suggests, although music is more open and variegated than when I was growing up; we have seen fewer world-class, genre-lasting records released. I do not know what the reason behind the split is. Maybe we have seen all the major developments and accomplishments: it is harder to achieve new wonder and break ground. I am not disappointed with new music because there is a wonderful spread of artists available. Anyone can get into the industry and there are sub-genres and little cultures all over the place. Why one can quibble about quality and legacy; there is one thing, I feel, is beyond doubt: music has lost a lot of its pop and punch. There is a certain irony given the fact Pop music is, well, supposed pop.

I yearn for those big R&B anthems and the classic Pop anthems. I only need to go back to the 1990s – or the early part of the last decade – to see where things changed. If you look at the way, say, girl groups have developed and died – that is a glaring sign things are changing for the worse. There have been some half-arsed girl groups through time but we must consider the great ones. All Saints, En Vogue and Destiny’s Child, between them, produced some sensational music in the 1990s. I listen to belters like Free Your Mind (En Vogue) and Bills, Bills, Bills (Destiny’s Child); a stunner such as Black Coffee (All Saints) and Overload (Sugarbabes). We have girl groups like Little Mix – but they are in the minority. We lack the great black girl groups (En Vogue, Destiny’s Child and Salt-N-Pepa) of the 1990s and the pioneers such as Diana Ross and the Supremes. Sister Sledge are gone and, well, look at modern Pop and things have become so predictable. There are explosive cuts but I wonder whether we can ever get back that excitement that arrived a couple of decades back. From Disco and Pop to R&B and Soul – genres, at their best, have created timeless and enduring songs. I have named female artists who, during their time, showed they were as powerful and potent as the boys. Aaliyah can be added to the list; go back to bands like Garbage and Republica.

I have been listening back to songs from Sugarbabes and En Vogue and wondering why we no longer put panache and passion at the forefront. Maybe there is that missing carbonation but, if anything, it has changed forms and become more gentrified. Girl groups are gone and Pop places more emphasis on artists who channel personal concerns and deliver accessible messages – rather than look outwards and produce more complicated numbers. Rock and Alternative have produced heroes through the years: bands who provided mass-celebration anthems and peerless songs. I think about Oasis, Pulp and Blur. I know I keep returning to this well – older music and what it has done to the world – but my angle here is around fun and energy. One cannot be too harsh at the Pop world and the best R&B acts of the moment. Whilst Pop giants like Lady Gaga and Rihanna can still pack them in; Electronic artists such as M83 are capable of giving us some bliss; Dutch Uncles and Field Music capable of firing on all cylinders – they are in the minority. Not only have past wonders given the music world fireworks and body-slamming stunners; the artists providing that material have inspired others and delivered strong messages. It is not only women of the past who I miss and feel left a big gap: some great male-made music remains in my mind and obsesses me soon.

A lot of that comes from the Dance music that was being produced from the late-1980s to the early-2000s. From Basement Jaxx and The Avalanches to Spiller and Arrested Development (not Dance-based, I know) – we have been spoiled. That is not to mention icons like Madonna and Kylie Minogue. Things are not bleak but I do not feel there is the same motivation there was years ago. Call it ‘fun’ or ‘fizz’: whatever you label it, you cannot argue against the fact it is somewhat lacking nowadays. I have been diving into the past because there is that guarantee of release and substance. I love music now but my attention has focused inwards. Rather than look for that demented Dance wizard and Trance fizzer; the Pop injection and the sunshine high – now, something more emotional and level-headed comes to the fore. I admire artists who try to bring optimism and catchiness into music but, a lot of the time, it can come off as overly-processed and generic. I wonder why music has lost a lot of its fun and positivity. You might argue some of those older anthems – from girl groups, Dance music and Rock – have carried some heaviness or were part of a scene that demanded that type of music. The world is darker and more endangered than it was back in the 1990s – even as recently as last decade.

We all need to find some hope and discover music that puts us in a better mood. Maybe artists are truthfully reflecting the feelings of the people and the strain we all feel. Rather than fight against this and create something scintillating; artists are taking a different approach. Perhaps the fact we don’t have girl groups and the same Pop configuration has done its damage. Club music and Dance has changed formats and become less popular – not as memorable as it was back in my day. I would like to think there is a way we can revise that bliss and, even for a short time, capture the fizz. I know there has never been a time where the majority of songs coming out write positive: the glorious songs and catchy anthems have been spread out for the past two or three decades, say – take it back to the 1960s if you want. There is no suggestion music has completely lost its edge and become too serious. The fact so many artists have come along means it is harder filtering those big tunes and bubbling tracks – maybe we have plenty out there being obscured by everything else. My point is, besides being a bit nostalgic, is for new artists to remember why certain artists/songs have survived this long. We are more likely to remember and connect with songs that have urgency, hooks and uplifted spirits. I do not mind looking back for that release and relief – I would like to stay in the current time and get that fulfilment from the modern breed. I am a huge fan of what is happening now but once in a while, more often than I hear now, I’d love to discover a song/band that…

GETS every part of my involved and engaged.

FEATURE: Don’t Blame Canada: How Musicians from the Great White North Are Changing the Game

FEATURE:

 

Don’t Blame Canada

ALL PHOTOS (unless credited otherwise): Unsplash 

How Musicians from the Great White North Are Changing the Game

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MANY people assume I am a Canadian journalist…

IN THIS PHOTO: A shot of Vancouver

because so many of my interviews focus on artists from there. I have been doing this gig for over six years and, over the past few months, I have noticed an influx of requests coming from Canada. I am not sure why so many Canadian artists flock my way. I am aware I am on the radar of popular Canadian P.R. sites and record labels – things shared by one artist is then seen by another; that leads to a chain of requests. The national stereotype seems to hold true: they are awfully nice people. It would be too long naming all the Canadian artists worth recommending – and my memory is pretty lousy! – but there is a general vibe that is very pleasing. I have reviewed a lot of artists who are taking music back to its roots. There are artists everywhere who record and release their material to cassette. We see fewer and fewer tape-released material at this time. Here, it is seen as retro and nostalgic: in Canada, it is part of many artists’ process. I have seen bands that put out a double-cassette release: one song on each side of the tape. Once or twice; I have seen bands collaborate on a double-release – where they would take lead on one song each and backing on the other. Emails and requests I get from artists are friendly, warm and informative.

There is less work involved when it comes to Canadian acts. They produce great photos and the information I need; they get their answers back in a timely manner – always producing full and interesting responses. That might sound like general administration stuff and genial insignificance: to me, it is a great reason to feature an artist and follow like-minded sorts. I find, with Canadian artists, they have a more ambitious approach and direction. Maybe it is their political landscape – more secure and settled than the U.S. and U.K. – or a natural way of life. There are loads of great artists coming from Canada but, to me, Ontario is providing the best music. So much of my time is spent looking at musicians from Toronto. It is a big city, yes, but I wonder how so many great artists from a place that isn’t the size of a small planet. I have noticed great music from Vancouver and Quebec but this is true: there is something extra-special about Ontario. You have Vancouver in B.C. and Toronto to the south of Ontario; there’s Red Deer in Alberta and Charlottetown on Prince Edward Island. It is interesting seeing all the different music coming from various areas. I have mentioned Ontario but there are so many productive areas of the nation. What I find is, unlike some smaller nations, there is not a reliance on one genre.

IN THIS PHOTO: BadBadNotGood/PHOTO CREDIT: Getty Images

Here in the U.K., we have musicians representing everything music has to offer. To me, Canada is more reliable right across the board. The nation is flying when it comes to Alternative and Indie; they produce fantastic Pop artists and some incredible Soul. Maybe they are not as prolific when it comes to Rap and Urban avenues – perhaps the U.S. does that better. Established Toronto bands like Broken Social Scene, Weaves and Alvvays are putting the nation on the map; same goes for city-mates Crystal Castles and BadBadNotGood. We all, whether we know it or not, listen to new Canadian artists. I will bring in another article soon – and conclude with my thoughts – but, to me, the best of Canada always has one part of their mind in the past. They appreciate physical formats and are keen to see them continue; they have that passion for older technologies and fuse it with the modern and new. I know other nations love where music has come from: few have the same fondness and intensity as Canada. Published last year; a great article explored Canadian record labels and how music got made:

“The making of a Canadian music star is no small feat – beyond talent and luck, there are multiple organizations, players and stakeholders. In this unstable mix of fans and audiences, live music venues, multinational music corporations, local radio stations and key taste-making DJs on both the club and radio circuits, there are innumerable variables”.

IN THIS PHOTO: Union Station, Toronto

There is great success and profitability in Canada right now. The music landscape is bustling but, compared to wealthier, more popular nations; I wonder whether they are being overlooked. We know most people look at U.S. and U.K.-made music. We have big labels here; the U.S. has the most commercial and wealthy acts. Although there is incredible music all around Canada, I wonder whether we are doing enough to promote it. Maybe I should put out a list of the best Canadian acts. Look at my blog and scan through the interviews there. You will see a whole host of Canadian artists who have huge strengths and compelling stories. We all know about the strong American and British stars – huge acts like Drake and The Weeknd are scoring massively on streaming sites. Another part of the article highlights some concerns and ironies:

“The paradox in Canadian music is that we have so many superstars and very few developmental channels to build future superstars. We cannot expect to continue to have globally relevant Canadian pop stars without examining (or creating) the mechanisms needed to sustain pop chart ascension. In the music industry, technological disruption came early, and solutions such as streaming and 360 record deals – in which labels take a cut of an artist's other money-making activities, such as touring – have temporarily plugged the hemorrhaging of profits. Superstars such as Justin Bieber, Alessia Cara, the Weeknd and Drake keep Canada in the global spotlight, even if we haven't perfected a star-making formula”.

IN THIS PHOTO: Alessia Cara/PHOTO CREDIT: Getty Images

I know there are so many wonderful Canadian musicians working hard and trying to get their stuff out there. The native followers are supportive and kind: Canada needs the support of the wider world and those bigger musical nations. The final point I will bring in from the article looks at music venues in Toronto and dangers facing some of its artists:

“Two panels focused on some of Toronto's local infrastructure promise to be informative and important to the evolution of the city's music strategy. With the threat earlier this year of disappearing live music venues across Toronto, there is much to discuss, especially with the city's condo-filled skyline affecting the affordability of those venues. And cultural spaces such as the former site of the 416 Graffiti Expo, at Queen and Portland Streets, are the reasons why local hip-hop artists of two generations ago could imagine Toronto as a hip-hop city, a place to affectionately name and represent as the T-dot-O-dot in the mid-1990s”.

It seems the same issues facing Britain’s music scene afflicts Canada. Despite the warnings and the musical snow; Canadian artists are fighting and, free from the pressures of international eyes and expectation; they are providing more original and special music. I have mentioned the cassettes and hardware artists record to. Platforms such as BandCamp are more popular in Canada than anywhere else. It is interesting discovering new Canadian music because, with every offering, I learn something I did not know before.

Going forward; I feel Canada, alongside the U.S. and U.K., should be part of your regular rotation. Nations like Sweden, Australia and Germany are housing terrific musicians and burgeoning scenes. I feel Canada mixes the best aspects of British and American music – diverse and genre-spanning; able to mix commercial and unique – and has its own dynamic. The warm and fascinating personalities of the musicians, added to the work mentality and inventiveness of their releases, stands Canada out. It is a nation that deserves more funding and attention. From recent inclusions such as Mute Choir and old favourites like Emily Mac – there is something for everyone. I cannot fit all the great Canadian music onto a single playlist. I am not surprised so many Canadian artists come my way: I am less surprised I am hooked by the country and what is coming from there. I know there are so many Canadian artists who want to perform over here. It can be hard enough getting dates in the U.K. – a lack of finance and the country preferring its own artists – so we need to find a way of putting more Canadian artists into the fore. It is a growing and amazing nation that does not get the same credit and exposure as America – despite the fact there is a richer scene and friendlier, more engaged artists. One of my hopes is the world opens its eyes and realises what fantastic sounds are coming…

IN THIS PHOTO: A shot of Chilliwack, British Columbia

FROM Canada.

INTERVIEW: Statue

INTERVIEW:

Statue

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FROM the working-class neighbourhoods of Brooklyn…

it is to Belgium – where I get to discuss music with Statue. The band has released the video for the track, E. I was interested knowing more about them and the inspirations that go into their L.P., Kasper. They talk about their formation and fond memories from music; whether there are any dates in the dairy – and whether they are coming to the U.K.

The band talk about the scene in Belgium; the artists who inspired them to get into music; what they all hope to achieve throughout this year – I learn how a typical Statue song comes together.

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

Bart: Had a good dinner on Monday with some friends.

Emiel/Toni: Crazy-awesome! Just played our first shows of this year. Feels very good to play again.

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

Bart: Think Matrix fight scene music played by guitars not sounding anything like a guitar...

Lennart: ...oh...and please leave those vocals out.

E is out now. What is the story behind the single?

Antoni: It started out as a jam with a nice melody, wide-loud guitars and Rock-kinda drums. But, in the studio, we completely destroyed it...

Made it a bit more dumpster-Rock.

The video is quite quirky and fun! How was it putting it together?

While working on the song in the studio, we realised it would become a very nervous song. We couldn’t stop dancing and talked about fast cars and sports.The guys of Visual Internationals - who’ve worked out the video - came up with a crazy ping pong video-clip idea - and we immediately jumped on it.

Lennart: The recording of the video we’re pretty crazy. We rented the sports hall for a night. So, we had nine hours, a great crew and 480 ping pong balls to put it all together. Afterwards, we went to the swimming pool for two underwater shots. Pretty exhausting but loads of fun. We started at 11 P.M. and we’ve ended at 10.30 A.M. So, we were pretty fuc*ed - but we had to celebrate with some rum and red wine.

Kasper is your new album. What can you reveal about the themes and ideas that inspired its creation?

Bart: The tracks on the album started off, originally, in the likes of our previous album - Calexico Point - and originated naturally in our rehearsal space. Once in the studio, the great interaction with producer Micha Volders and Micha’s take on song structure and sound, triggered us to the more aggressive, robot-like danceable tracks you can hear on the album.

How do songs come together for you? Do you write songs together - or does one person write the songs?

Every song started with one of the guys trying some riff, beat; a groove or whatever you want to name it. Then, the band picks in and start adding where others start toning down again; until the main theme of a song has grown. We start playing it regularly at rehearsals; from there it grows into a song that kept evolving - only taking a final form from the moment it’s recorded for the album (it will appear on).

Jan: Hours and hours of jams. For Kasper, we’ve selected ten ideas out of a-hundred-plus-hours of jams. Then, we come together; go completely insane listening to these crazy jams. Once we’ve selected the most interesting ideas, we start jamming and working on these songs for hours and hours.

Lennart: Every song is a team effort.

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

Bart: I can only speak for myself, but it didn’t come that early. As with many kids of my age, my interest was triggered at the age of sixteen; because I liked ‘guitar’ music - mostly Rage Against the Machine and Nirvana. For me, the reason picking up the bass instead of the guitar - like any sixteen-year-old would do - was that Lennart (yes, the same guy I’m still in with Statue) played in a Nirvana cover band and didn’t have a bass player.

Antoni: As far as I can remember, I’ve always wanted to play music and it never changed. So; I’m not sure what hooked me up. It’s just the most fun thing to do in the world!

Which musicians did you all grow up around? Can you each remember the first album you ever bought?

We listen to very different kinds of music. But, living in Belgium; I think we all listened to bands like dEUS, Millionaire; Evil Superstars…

Emiel: I can’t remember the first album I bought. But; I think it should be something like Rammstein, Papa Roach; Slipknot, Sum 41; Metallica...

When I was fourteen, I started listening to Sonic Youth, Q.O.T.S.A.; Hüsker Du, Radiohead and Dinosaur Jr.

Bart: I didn’t grow up on a certain musician. I have been discovering new music from the moment I started consciously listening to music. The first album I ever bought was Blood on the Dancefloor - Michael Jackson.

Lennart: The first album I ever bought was By the Way – Red Hot Chili Peppers. It got me into guitar-playing. I liked the way John Frusciante approached the guitar. Afterwards, I really got into Tom Verlaine (Television), David Byrne (Talking Heads) and Feist. Oh, Feist...

She has an extraordinary way of playing the guitar. She wants to comfort you and cut your throat at the same time.

Joos: The first album I bought was Purple Pills by D12.

Jan: The Mars Volta - Frances the Mute.

You are based out of Belgium. Is the country quite active in terms of new music?!

Emiel: I believe Belgium is becoming very active in terms of new music. The last five years, the bands have been tripled. So much new music, new bands. Quite interesting but...

Lennart: ...there is a great underground scene with lots of bands with their own sound and vibe. More importantly, some of these bands find their way into the more popular circuits giving the edge to mainstream music (it’s craving for).

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

Emiel: We’ll be playing most of the time in Belgium and the Netherlands. We’re slowly working on a team throughout Europe, so we can start playing other countries.

Will you come to the U.K. and play? What do you think of the music here?

Jezusfacory Records will distribute our album in the U.K. I think there are a lot more pubs, venues and bands in the U.K. This increases the creativity and level of the musicians.

Bart: Book us: we will tear down your club.

Antoni: We will come and visit you guys, but your E.U. exit doesn’t make it easy, though.

What do you hope to achieve in 2018?

Emiel: Play nice venues, go on tour; play a lot, play cool audiences; make a lot of fun with the band and the people we get to know on our way!

Jan: Start working on next year’s album!

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

Emiel: I think we have a lot of fantastic memories. But, there is one I still remember it was like yesterday. One time, we played and we stayed at the venue all night partying our heads off. When the morning came, we were all too drunk to drive. Only one of us could, so we all had to get in one little van with all the instruments. Someone got pressed in the trunk and another one had to sit on the roof of the car. Luckily, it was only a ten-minute drive.

Antoni: Playing at Pukkelpop was definitely one of the highlights. But, just playing the music I like with my friends just turns a big smile on my face.

What advice would you give to new artists coming through?

Antoni: Play as much with as many people as you can and do whatever you like.

Bart: You’re the musician: make the music you want to make. Don’t do it for anybody but yourself. Don’t give up.

Joos: Get out there and try to construct a sound of your own.

Lennart: Try. Fail. Fail again. Win.

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

Antoni: I don’t have much time to chill away or unwind. I don’t think any of us. If we’re not playing with Statue we’re playing in our other bands.

Lennart: As Antoni mentions, we don’t have much time left to listen to music. But, I truly enjoy listening to music on our way to a gig. In the best case; I’d love to dream away to some new albums on my couch with my headphones on...

But that’s pretty rare.

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).

Bart Weyens (Bass): The Fall - The Classical

Emiel Van Den Abbeele (Guitar): Hüsker Dü - Don’t Want to Know If You Are Lonely

Joos Houwen (Guitar): Serge Gainsbourg - En Melody

Antoni Foscez (Drums): Holy Fuck - Tom Tom

Jan Viggria (Guitar): Fu Manchu - Evil Eye

Lennart Janssen (Guitar): Ought - Habit

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Follow Statue

Facebook:

https://www.facebook.com/Statuemusic/

Instagram:

https://www.instagram.com/statue_music/

YouTube:

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

STUDIO PICS:

 Anton Coene

ALBUM ARTWORK:

Jasper Dufraing and Philip Vermeesen

INTERVIEW: Madelin

INTERVIEW:

Madelin

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THERE aren’t many artists who arrest…

the senses the same way as Madelin does. I have been speaking with the Brooklyn-based artist about the forthcoming E.P., The Peachmixes (officially released on 13th April). Madelin discusses the video for the High School Boys remix and featuring celebrated drag artists; what comes next in terms of gigs and material; if we can see Madelin in the U.K. – some of the artists who have inspired the music we hear on Madelin (the debut E.P.).

Madelin explains the reaction to her previous E.P. and why the material being put out now is more personal and pleasing; some advice new artists can adhere to – and whether sexual identity and gender equality are issues we need to tackle and explore in music.

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

I’m good, but I’m really tired. I’m going on my third week without a day off - so I feel like a zombie.

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

My name is Madelin. I grew up in Venice Beach California but I live in Brooklyn now. I call myself an experimental Pop artist. My music style is a cross between Björk, St. Vincent; Regina Spektor and Tove Lo. I like mixing different genres to the point of being uncategorizable. I’m inspired by intuitive melodies, found sounds and phat synths.

The High School Boys remix video is out. The video draws together Brooklyn drag performers. How did the concept come together? How important was it ensuring the visuals and messages were right?

When my collaborator, Jose Dao, and I first started conceptualizing the video we knew we wanted to work with the Brooklyn drag performers that we know and admire - and showcase them in the video. Since the song talks about a “high school boy” - whose name I can’t remember - we wanted to play with gender expectations and offer a full spectrum of gender expression. In that way; we honed in on the message of the video - which is that our memories of our experiences are fluid and always changing. We worked incredibly hard at nailing down the details of every single shot in the video.

Representing the Brooklyn artist scene properly was monumentally important to us.

It features ten-year-old, Desmond Is Amazing. Was it a lot of fun putting it all together?

Desmond was so much fun to have on set. He completely lit up the room with his fabulous energy and made everybody laugh. The experience of being on set and seeing it all come together was so rewarding. It felt like one of those cosmic moments when you’re surrounded by everyone you love and it’s like the universe is telling you you’re moving in the right direction.

The track is from the E.P., The Peachmixes. What can you reveal about the remixes that will appear? What was the reason for releasing a remix E.P.?

You can expect a very dynamic exciting E.P. with expertly-produced songs by some of my best friends who I went to college with. It spans genres, from Hip-Hop and Pop to Dancehall and Indie, but still has a cohesiveness to it. I wanted to put out this E.P. as a way to claim my power and independence as an artist. In 2017, I detached myself from my publishing company - because I felt like I was being manipulated and lead in the wrong direction musically.

As much as I love my previous Madelin E.P.; it was too influenced by people who were trying to change who I was to try and make me more marketable. The Peachmixes is all me: no one else’s advice was taken. It’s more of a redo E.P. than a remix E.P. to me. This is the start of the rest of my life in music - and it’s something I’m really proud of.

The Madelin E.P. featured stunning cuts like High School Boys. What sort of themes and stories were influencing you around the time you wrote the E.P.?

The Madelin E.P. was written right before a really transformative time in my life. I was feeling kind of lost and like my destiny was out of my control. The feeling of people and things slipping through my fingers was a strong theme of the writing process for that E.P., as well as the feeling of moving away from your youth and being in that middle-ground of not quite knowing who you are yet...

A bit uncomfortable, but necessary for personal growth.

Do you think sexuality and identity are still awkward subjects to raise in music? Do you think there are obstacles for those who want to declare and emancipate?

I think now is the time for freedom of gender identity and sexual orientation to be in the forefront of music and art in general. Everyone should feel free to express themselves in a way that feels right to them. I, personally, consider myself genderless but still feel comfortable with ‘she’/’her’ pronouns. It’s difficult to feel comfortable expressing your gender or sexual identity when you’re still in the midst of exploring it...but I encourage everyone to give themselves the space to find what feels right to them - and to know that it’s ok if what feels right changes over time.

Never put yourself in a box or worry too much about what others will think of you. I truly believe that our souls have masculine energy, feminine energy and everything in-between. It makes sense for us to evolve in how we express our gender throughout our lives.

You are from Bushwick, Brooklyn. It is a working-class neighbourhood. How important is the vibe and people regards your music and approach to songwriting?

I’ve lived in Bushwick for five years. It definitely influences me, musically. I feel a sense of comradery with all the artists who live here. It encourages me to stay on top of my sh*t.

What comes after the E.P.? Do you think you’ll bring any new material out before the end of this year?

Yes indeed. Expect more from me in 2018…

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

I’ve been singing ever since I can remember. I started writing songs at age eight. I never stopped. Music got me hooked on music. I’m inspired by artists I admire. That is as true now for me as it ever was. I’m also addicted to the satisfaction I get from creating a song. It feels like the most authentic way for me to express my inner-world.

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

I grew up listening to Motown, Pop music and classic singer-songwriters like Joni Mitchell and Paul Simon.

The first record I ever received was NSYNC’s first album - which I became obsessed with. The first one I ever bought myself was Return of Saturn by No Doubt. That’s still one of my all-time favorite records.

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

I’m taking a little time off from gigs to focus on recording new music. I’m planning on playing more shows this summer - so keep an eye on my Instagram for updates.

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

I’ve never been to the U.K. but cross your fingers for me - that life leads me there at some point.

What do you hope to achieve in 2018?

I hope to get a ton of music recorded and to start releasing it. I want to build momentum and make a lot of art. I also want to keep enjoying living here in Brooklyn at the heart of the drag-scene here.

There’s nothing better than BK drag.

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

Making my very first E.P. in college, Cloud.  It’s not on Spotify right now but you can find it on SoundCloud and BandCamp under my full name, Madeline Mondrala. The process was so organic. I’m using it as a model for how I want to record music this year.

What advice would you give to new artists coming through?

Work harder than you think you need to, trust your intuition; don’t let anybody try and change you, do it because you love it not because you want money or fame…oh…and don’t take anyone’s advice….except for this advice I’m giving you right now.  

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

Honestly, not a whole lot...

Between working to pay my rent and keeping up with my music hustle, it leaves very little free time. What free time I do have is spent at drag shows and queer parties, if I feel like popping off, or in my bed with my cat watching documentaries and hitting the vape pen if I feel like being a hermit.

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).

Polymorphing by Chairlift

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Follow Madelin

Official:

http://madelinmusic.com/

Twitter:

https://twitter.com/madelinmusic

Facebook:

https://www.facebook.com/mutechoir

Instagram:

https://www.instagram.com/madelinmusic/

SoundCloud:

https://soundcloud.com/madelinofficial

Spotify:

https://open.spotify.com/artist/29PeekWv2MCshuduzn6BRm

YouTube:

https://www.youtube.com/channel/UC6coh0QF0oHiDenJGwRSsmg

INTERVIEW: Mute Choir

INTERVIEW:

Mute Choir

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I am fascinated by Mute Choir…

and what he is all about. Sam Arion is the man behind the moniker – he talks to me about his new music. I discover stories and ideas behind his debut album, Behind the Bars (out soon), and whether he has a standout cut. The Canadian artist talks about his influences and how music came into his life; new artists we should investigate – and whether he is coming to the U.K.

Behind the Bars’ title song is out now. It shows the talented songwriter is one of the most promising new acts around – as we find out in a revealing and personal interview.

_________

Hi, Mute Choir. How are you? How has your week been?

It’s been good. Been keeping very busy in the studio getting the mixing done for this record.

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

Hi. I’m Sam. I have bigger hair than your dad in the 1980s. Hope you like the music…

When Did ‘Mute Choir’ form? Why did you decide to get into music?

Mute Choir has been a relatively new project; only really getting its legs in the past year. But, a lot of this record contains music from a few different time periods in my life - and it kinda feels like years and years of experiencing life and writing songs through all that has led up to this album and project. So, in a way, you could say ‘Mute Choir’ has always been there with me: it simply has been shaped into a more tangible form now.

I was a visual artist as a kid - so art, in general, was always a huge part of my life. Around thirteen, I started getting really heavily into some music that helped me through some really rough times. From there, I started writing poetry and trying to sing the best I could at the time. I wanted to be able to, one day, offer the same consolation to someone going through something as the music I listened to did for me. Then it, basically, just never stopped from there.

Behind the Bars is your upcomimg, debut album. What are the main themes explored through the record?

Behind the Bars deals heavily with themes of entrapment and freedom. That became a recurring theme as I wrote more music. It related, in some way, to every song on the record; whether it’s a love song or a socio-political commentary. It would always find its way back to this universal theme, both in my music and in my life…so it sort of became an accidental concept album.

Was it quite an easy and quick album to put together? What, typically, would comprise an average day in the studio?

I wouldn’t say so, no. Some songs were written, or partially written, years before the completion of the album - and took that time of putting them on the backburner before the finishing touches towards those songs were realized. The actual pre-production of the album comprised of me cooped up in a basement outside of the city, basically, writing and working on the tunes every day for about nine-ten months.

During that time, I was pretty isolated from just about everyone and everything; this gave me the time and peace to really reflect on my life, my emotions and my thoughts. Through that process, most of the album was written and demoed out. From there, we re-tracked all of the live instruments as well as the vocals in the studio; leading to where we are at now, in the mixing stage.

A day at the studio, for me, can be pretty chaotic and a frustrating process. Sometimes it really feels like I need to just get something out, like a splinter boring deeper with each passing minute and, if you don’t pull it out, it will go too far in and it gets lost under your skin. So, I tend to work at a very fast rate, throwing ideas all over the place; usually using about three-per-cent of them overall. But, that’s just kinda how my brain works and, somehow or another, I find a way to organize it and make it one cohesive thought at a certain point.

I never know how long it will take because, sometimes, you start a thought but you don’t have the necessary experience to finish it. Then, one day, something happens in your life that just teaches you exactly what you needed to learn before you could finish that lyric or song.

So; it’s pretty unpredictable and I try to never set a formula or force a song to be something it isn’t meant to be.

Do you have a favoured song off the album? Which one means the most to you?

A lot of the tunes on the record mean a lot to me in different ways, but Election Season is my jam. I don’t think I’ve felt a stronger sense of accomplishment and pride in my work with anything else I’ve done before that.

Which musicians did you grow up on? Were you raised in an eclectic household?

I grew up on just about every style of music you could imagine. I think the first thing that really caught my attention as a kid was The Beatles as well as Punk music. From there, my taste progressed to pretty much every style and variety of music you could imagine.

Both my parents were very talented painters and visual artists - so that was definitely a big influence on me as an artist. However, I’m the only musician in my family and no one was huge on music really. My father did show me some awesome musicians as a kid like The Beatles, Terry Jacks; David Bowie and a lot of really killer legendary classic bands - and that, definitely, had a pretty huge impact on me.

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

As we’re finishing up the record, we haven’t been doing too much in the way of shows but we have a gig coming up in May…and I’m really looking forward to getting back into the live swing of things in the next couple months. Definitely going to hit the road once the record is out.

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

I plan on it: It’s just a matter of time. I haven’t been before but I’ve been yearning to go for quite some time now. So many of my biggest influences and absolutely brilliant artists have come out of the U.K. - and I’d really like to come and play and take all of it in.

What do you hope to achieve in 2018?

I just want to share my music with people and hope they can take something away from it. If I can do that, it’ll be a good year.

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

I saw LCD Soundsystem on once headlining a festival over here and that was probably the closest thing to a religious experience I’ve ever had. It changed my life; it inspired me and gave me a new kind of confidence that helped me, at the time, to take the leap into pursuing what is now Mute Choir.

What is Toronto like for new music? Is it a great city to play and perform in?

It’s cool. There’s a lot going on and there’s always kinda something for everyone here. The music scene is really diverse, but the scene is always very welcoming and I rarely feel a sense of competition amongst artists: more of a comradery than anything.

It’s a chill spot.

What advice would you give to new artists coming through?

As cliché as this sounds: just do 'you'.

I spent so long thinking about what kind of artist I should be and where I fit. Honestly, you don’t need to decide that stuff. If you just make music as honestly as you possibly can, it will find you. Don’t worry about your ‘brand’ or your identity: it’s nearly impossible to see from a first-person perspective before you get out there.

For me, I only really discovered the music that felt like ‘me’ and felt like ‘my sound’ when I stopped caring, or trying hard to find it. I just made stuff that sounded good to my ears, without too much of a filter. Albeit, I did this for years to no avail until it finally felt right but, work at it; work as hard as you can until you find something that feels like you.

But; also give yourself time to live a little: you’re probably not going to write a good song if you don’t have any time in your life to experience anything to write about.

Are there any new artists you recommend we check out?

Rubéhill and Deanna Petcoff have put out a couple unbelievable tunes recently. I’d definitely check them out - if you know what’s good for your eardrums…

IN THIS PHOTO: Deanna Petcoff/PHOTO CREDIT: Sabrina Carrizo Sztainbok 

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

Lately; not much, no. It’s been pretty busy and hectic over the past few months.

How do I unwind? I don’t know. I don’t imagine it would be vastly different than anyone else…I’ve never really thought about it; I don’t exactly have an ‘unwinding’ routine…I just live my life day-to-day and take it as it comes.

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)

Apartment by Rubéhill (it’s a jam)

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Follow Mute Choir

Twitter:

https://twitter.com/mutechoirmusic

Facebook:

https://www.facebook.com/mutechoir

Instagram:

https://www.instagram.com/mutechoirmusic/

SoundCloud:

https://soundcloud.com/mutechoir

Spotify:

https://open.spotify.com/artist/3gpigA0gozgJpoFVyhVUPu

YouTube:

https://www.youtube.com/channel/UCs1F7nQu0arWz3lIOH_mHRA

TRACK REVIEW: Sasha Brown - Fix of You

TRACK REVIEW:

 

Sasha Brown

Fix of You

9.3/10

Fix of You is available via:

https://open.spotify.com/album/3Bab53aHYFHiCFJmQodOzR

GENRES:

Pop; Alternative; House; Electronic

ORIGIN:

London, U.K.

RELEASE DATE:

16th March, 2018

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THIS time around…

I am dealing with an artist I have investigated before. I shall talk about Sasha Brown and her latest track soon enough but, right now; I wanted to look at a few different things. I will look at House music and how that has developed through the years; Pop and the way that has integrated other sensations and sounds into it; artists who are passionate about their careers and promoting hard; the issue of love and relationships; London’s changing vibes and the difference between the music coming from here and other parts of the U.K. – looking at female solo artists and why we need to promote them heavily. There are few who have the same determination and drive as Sasha Brown. Modern artists need to be across every aspect of their careers. It is not good enough sitting back and watching the songs go out to the world: artists need to be involved and driven to make a difference and ensure the music is out there and spreading. That means keeping an eye on stats and who is sharing the music. I am one of those people who has to keep working and can never really sit back. Day and night; it is all about getting work out there and making sure people are reading it. Brown is the same with her music. I have been following her since the debut cut. I am fascinated seeing the way her sound evolves and what she provides with every new release. This time around, there is something special and unusual. It follows songs Model Behaviour and Parallel but, if anything, is the most ambitious and confident. I am always interested charting artists and whether they move their music along through time. Previous Sasha Brown songs have done well: there might have been that need to stick with a winning formula and not alter things that much Instead of go for an easy option; we have an artist restless and looking for the next fix. She has looked around music and seen what is out there – adding fresh layers to the music and ensuring she remains unpredictable and ever-moving.

I am interested looking at different genres and how they have changed over time. Pop is interesting in the sense it modernises and comes forward but seems to have that mobility and flexibility – retaining older strands and flavours. I am looking at House and Dance embers. House music is something I grew up on. The old-skool bangers from the crafters of House remain in the memory and have compelled my every move. I still listen to classic Dance and House music and am transported back to childhood. Whether it is Frankie Knuckles or Olive; a track like Dirty Cash and Move Your Body – we all have those songs that recall great memories and times. There is that darker, more inventive aspect of House that is a bit dirtier and raw. A lot of my favourite House tracks have brought in Pop elements and been successful in the mainstream. Those 1990s anthems have served me well but I realise, as I investigate the genre; there is that other side some of us overlook. I feel the 1980s and 1990s was the peak time for the genre: when breakthroughs were being made and Clubs were transforming. I think back to the 1980s and think about the changing face of music. There was a definite point when Pop music was ruling and House music was reserved to the underground. It never really broke through and became ubiquitous but there was a point where it gained more acclaim and respect. That increased into the 1990s and, in fact, continues into the next decade. I feel now, as opposed past decades, House is not quite as popular and iconic as it was. It is still being played and made but, if anything, Dance music is integrated into other genres: House itself is not as sterling a standalone as it was. Sasha Brown, I can imagine, grew up around the modern House legends and dipped back to the classics. Many of her peers, when thinking about changing sounds; they look at their peers and follow what they are doing – or choose a simple and familiar option.

Brown has seen how her music has charted and, rather than remain rigid; what you get now is an artist moving onto the next plain. Fix of You is not an out-and-out House song: there are distillations of Alternative and Pop thrown in. I listen to the song and there is that blend of classic and modern. There are Electronic passages and distorted vocals; a nod to the 1990s and 2000s House inventors – it all brews and blends into the pot. You have a song that is fit for modern clubs and goes away from the commercial and aimless. I feel a lot of modern House music – that integrates Pop and other genres – is either too full-bodied and fast-paced or it lacks any real passion and depth. Sasha Brown has taken an idea and matched the music to the lyrics. You get spikier, swelling tones that fuse with sexier, calmer threads. Little touches of Reggae sit inside Pop jams; it moves into Electronic and House – taking in some elements of Dance and Future-Beats. One of the things that interests me is the way Brown treats her vocals. She has a strong, soulful voice that I would like to see take more impetus and a stand. I listen to the female-scored House songs of old and notice one thing: the sheer power and panache of the vocal. I can appreciate the need, here, to produce something calmer and more seductive. In future tracks, as she takes in new themes; I would urge her to break the seal and produce something that has that sense of intensity. It is interesting seeing how modern artists inject House music into their own sounds. There is a split between 1980s and 1990s House where anthems were, perhaps, a little bolder: the modern equivalent that tends to err on the side of tease. Maybe that is oversimplified but I feel there is a lot of untapped gold waiting when it comes to House. I shall nod back to the genre in the song review – I wanted to move on and explore other aspects.

I alluded to the way Brown promoted her career and the energy she expends. I am not sure whether she has a P.R. company backing her but, in terms of her music and the way it is promoted; she does a lot of the work and never rests. There is no label doing the lifting and ensuring it gets into people’s hands. That is a good thing in many ways. Artists have that autonomy and can guide their career any way they see fit. Whilst it does mean it takes longer to get that success and popularity; it is more rewarding as you have got there the way you planned. I know how hard it is getting music into people’s ears and how many hours it takes. Unsigned artists have that responsibility and have to do so much. A modern career in music is about endless work and never resting. The benefit of taking care of your own music is you can produce a song true to you; have that personal direction and not be affected by marketing forces and the needs of the label. Sasha Brown knows where she wants to head and you can tell, with every release, what she wants to achieve and where the song needs to go. There are some good promotional shots out there – although, a bespoke shoot for each release (eight or nine images) – would give her social media portfolio an extra layer of intrigue and appeal. Away from emailing blogs and journalists; there is that social media sharing and radio tapping – linking her song to the stations and making sure they play it. Fix of You has been popping around social media and getting far and wide. She never wants to sit back and assume other people will share her music: the desire to have it trending and getting buzz is at the top of her thoughts. I know, given her determination and energy, she will be a big proposition in years to come.

The industry is hard and I am aware there are other artists like Sasha Brown out there. Brown plays around with Pop and House but, look further, and it is inevitable other artists like her will be working away. By that, I mean there will be similar sounds and sonic ideas. It is hard to be unique and stand alone. Given the mass of artists playing and working away; no new artists is immune from a sense of company and familiarity. This does not mean Sasha Brown follows others and is trying to fit into the mainstream. The way she separates herself from others is what amazes me. Few artists manage to produce such a fulsome and changeable sound. I listen to her latest single and it moves through stages and takes in new colours. The production sounds is slightly different – compared to previous songs – and the vocal is less treated and more natural. That can only come from someone reacting to feedback and keen not to be lumped in with other artists. The familiar comes when listening to the themes being explored. Artists who focus on love and relationships always run the risk of being easily figured and guessed. People who look at other subjects are less prone to comparisons and easy prediction. It is understandable a young and energetic songwriter would look at passion and love. It has a commercialism to it but, more than that, it is personal and different. Brown does not talk about attraction and sex the same as other artists. There are few clichés and plodding lines: lyrics come from her mind and there is a new spin on an old subject. It is fascinating the way the vocals, sounds and lyrics all melt and produce something fresh and evolved. So much modern Pop/House seems borrowed and has a staleness to it. Brown has moved in her own way and ensuring people remember her music – by producing something that means more to her; it does not fit into a comfy and easy hole.

Talking about love and relations is quite difficult in this day and age. By that, I mean artists have seen what has come before and realise there is little room for manoeuvre. One of the reasons I am listening to songs like Fix of You is the need to get answers and directions. Unless you are in a contented relationship – even if you are – you are looking for some input from music. I am in the position of being attracted to someone but unable to realise that desire. It can be frustrated standing outside and figuring ways to make something happen. Songs that explore love and attraction come from a songwriter’s heart but are intended to mean something to other people. That is what you can find in Sasha Brown’s catalogue. Fix of You might be more involved and comfortable – in the throes of a relationship – but there are lessons and words that I can take away. Having attraction and wanting someone can be as frustrating as it is inspiring. You are never quite sure how to initiate the first encounter and make that breakthrough. I listen to songs like Fix of You and there is something in it that provides that clarity and focus. It might sound strange but artists can, somehow, understand common frustrations and translate that into music. I am not sure what Brown’s relationship status is but I am sure she’s been in the position where she has pined for someone or felt alone. Maybe she has addressed that situation in a different way; overcome doubts and make that impression – or had to stand back and not say what she wanted to. In any sense; she has managed to take her experiences and channel that into great music. I wonder how much of her music is autobiographical. Fix of You seems to look at a current relation and someone who means a lot to Brown. Maybe it is a temporary thing: I sense something deeper and more meaningful. I can hear more confidence (in Brown) compared to Parallel – her debut single. Things have moved on and new inspirations have come to mind. I wonder how Brown’s music will move on and what her next single entails?

Whilst I try not to focus on the same artist more than once – or leave a long gap between reviews – there is something about Brown’s music that compelled me, for now, to return. It is the area of the world she is in, and the lifestyle she has, that attracts me. I have tried to move away from London and not get too hooked in the city. A lot of my reviews and interviews are based in London. That can get a bit frustrating and make me want to look at other areas. Right now, thinking of Brown, she is based in a very cool area and has a definite style and sense of confidence about her. Around the Hoxton area – she works for Hoxton Radio – you have the ultra-trendy and fashionable of the capital. Whilst her music does not mirror a sense of emptiness and ‘fashion’; her movements outside of music appeal to me. She keeps abreast of all the trends coming from the capital and the best new artists. I have listened to her radio work and she is always keen to support the finest talent out there. I can imagine she spends a lot of her spare time engaged in the cool and youthful energies of the city. It is hard not to be drawn to that sort of lifestyle. From hip bars and eateries to the stylish streets and multicultural avenues – it is a bit of a dream for any artist! Those aspects feed into her music. You listen to one of her songs and are transported into the city. Even when she is talking about romance and personal passions; there is something about the music itself that drags me into London and involved with what is happening at the moment. I feel many people overlook areas further north and what is coming from there right now. It can be hard moving from London and what is coming from here.

What I notice is the way different genres are being represented. There are Pop and House artists in the North but, to my ear, far more in London and the South. What one gets in the North is more Alternative, Rock and Indie sounds. The best music at the moment seems to stem from artists who are reflecting real life and doing something different. I am amazed by new artists like The Orielles and PINS – representing the North and providing music with something fresh and exciting. There are, I guess, Pop elements in their music: what I find is great Rock and Alternative depth. A lot of my London-based reviews are with artists working with Pop and Electro sounds. Maybe there is a reason for the split but, to me, London is all about Electronic sounds and mixing that with other genres. We do have Rock artists here but there is greater success the further up the country you get. Sasha Brown is part of a movement that really interests me. You do get artists who sound very similar to one another – it is inevitable in modern music. What Sasha Brown does is incorporates some of her contemporaries’ music and goes in her own direction. She reflects the beat of London but takes from other genres and areas of the U.K. She wants her music to appeal and compel people all around the world. Because of that, she is more adventurous and open-minded regarding sound, production and promotion. I wonder if she has plans to gig further north and take her music across the waters. That is down to her but, right now, she is accruing fans and making a big impact in music. That can only get bigger and better and she releases more material and grows more ambitious. Before I look at Fix of You; I want to talk about female artists and why we need to feature them more.

What inspires me about modern music is how female artists are taking a stand and demanding quality. We are seeing too much unbalance and unfairness come into music. Rather than provide equal festival billing and promote women the same as men; we find there is sexism and a need for change. I wonder whether that will happen soon – or whether we have to wait years for that to occur. I am not going to go into this too much but wanted to highlight the great music being made by female artists. I am not sure why there is such sexism and imbalance in the industry. You cannot claim the promotion of men – over women – is down to lacking quality (from female artists). In fact, I feel, the best music coming from new music is being made by women. Sasha Brown is an example of someone making strides and producing stunning music. In terms of quality; she exceeds that of her male peers and shows what she is made of. On that basis, one would hope she’d be given a golden pass to festivals and bigger gigs. The fact remains: being a woman means, regardless of her talents, she has to fight harder and wait longer for those chances. It is a sad sign of the times we live in. Maybe things have always been that way: the sexism we see now is growing and seeping into other areas of the industry. I hope things change soon and we ensure every artist is giving equal billing. Sasha Brown will continue to press regardless of sexism and opportunities. I know her endless passion for music will help break barriers and create parity in the industry.

Scrambled vocals and electronic tangle open Fix of You. The song starts with that head-spinning, drunken parable that gets the listener ready and, I guess, represents the head spinning and the thoughts whirring. After that brief moment; we get to the truth and the heart of the song. The beats are electronic and firm; there is a subtlety working in the back that supports Brown’s full and heartfelt vocals. She talks about being caught in the moment and, essentially, having this drug inside her. The hero and heroine have forgotten how to love in a conventional manner. Her heart us fictional and functioning; things are moving fast but, I guess, there is not a lot of conversation, commitment and mutual understanding. The duo is embracing and caught in the fire but, when there is that desire for some support and arms – maybe things are not as steady as they should be?! That is my impression hearing those early words. When things go on – and Brown reveals back-stabbing and ‘friends’ talking about them – another aspect comes through. The vocals become more processed and the song gets more urgent. Those House nods sit with Pop and Electronic and provide a busy and intoxicating cocktail. It seems the match is not approved and people doubt the compatibility. I wonder whether it is the man’s friends who have the problems. Maybe Brown is not someone they envisage would be right for the guy. Perhaps the opposite is true. The production is slick and polished and means notes and vocals and heard and understood. There is a crisp and clean sound yet one that allows a bit of dirt and sweat to come through. Brown produces a commanding vocal that looks at the ill-received passion and what people are saying. Maybe the duo is not as same-minded when it comes to their personality. What they do have is a physical attraction and burning desire – one that the heroine is unable to step away from.

I suppose that heat and intensity is something many people have been involved with. Rationale and common sense seem to lack when you have this desire and attraction. The heroine needs her ‘fix’ and rush of adrenaline. Having that ready source supersedes the voices of others. Maybe Brown has listened to others and has concerned. When the chorus hits, and the song reaches its peak; you sense she is willing to take the risk and stay in the moment. The man might not be bad, per se. He is someone who seems faithful but, perhaps, is not quite right for her. The chorus itself is a soothing and seductive delivery that has catchiness and kick underneath. Brown is masterful when it comes to penning hooks and singalong choruses. That is not to say the verses lack bite and substance: her choruses are fulsome and seriously heady. I hear the influence of U.S. R&B/Soul in Brown’s vocals. One can imagine artists like Beyoncé and Rihanna are draws – maybe a little bit of Country lingering in there? I say that because there is soulfulness about her voice. She growls and has a rawness that seems to fuse Country heartbreak and the sassy confidence of leaders like Beyoncé. That U.S. vocal sound mixes with British House and Electro. It is an interesting combination and one that succeeds. I would like to see, in future songs, that voice really rise and break out. I get the impression, through Fix of You, there is an explosion waiting to happen. Whether that is a sexual burst or a need to shout and have her voice heard – getting that intensity onto the page would give the music and extra element. The lovers are irrational and going around in circles. As the song moves through stages; you are involved in the story and what is happening. The chorus returns and seems to gain traction and new elements. I am hooked by the beats and changeable electronics; the way the song flows and constantly gets into the brain. The listener gets something edgier and darker in the verses (in terms of sound) and lighter, sunnier vibes in the chorus. It is another fantastic and assured cut from an artist who proves she is one of the most promising acts coming from London right now.

It is an exciting time for Sasha Brown. I am not sure where she goes next but I feel there must be an E.P. or album in her mind. She has released a few singles and, with every release, her stature is increasing. Maybe it is time to translate her popularity in an E.P. I know there will be London gigs cropping up as we move into spring: perhaps some performances in other parts of the country will arrive. I guess international gigs will come when more material is out in the ether. It is something Brown should consider and plan for, perhaps, next year at some point. We are considering spring and planning festivals. I know Brown will want to capitalise on her rise and play as much as she can. There are gigs out there for her but, in a competitive city, it is harder getting regular slots and standing out. Great songs like Fix of You will get her name out there and ensure people are listening to her. It is another bold and impressive move from a young artist who wants to go as far as she possibly can. I know she will get huge acclaim and success before too long. Fix of You is a song that warms the spirits and projects sunshine – at a time when there is snow and cold everywhere! Take some time out of your day and discover a great young artist who wants to add her mark to the music world. One gets nostalgic hits and modern urgency in Fix of You; long-lasting impressions and standout moments. Sasha Brown is a hungry artist with a lot…

MORE to say.    

_______

Follow Sasha Brown

Official:

https://sashabrownmusicofficial.com/

Facebook:

https://www.facebook.com/sashabrownmusicofficial/

Instagram:

https://www.instagram.com/sashajadebrown/

Twitter:

https://twitter.com/thesashabrown

YouTube:

https://www.youtube.com/sashajadebrown

SoundCloud:

https://soundcloud.com/sashabrownmusicofficial

Spotify:

https://open.spotify.com/artist/4LdMKTBLuBijq987h2KfOY

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?

_________

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?

_________

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

_________

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.

_________

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

_______

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.    

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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

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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

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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.

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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

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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

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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.

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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