INTERVIEW: Marty Zylstra

INTERVIEW:

Marty Zylstra

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IT is always difficult channelling emotional and personal experiences…

into a cohesive, original and impressive work. Marty Zylstra tells me about his mini-album, The Dragonfly and the Spider, and the personal loss he experienced around the time of creation/recording. I ask the Canadian musician if he has standout cuts from The Dragonfly and the Spider; whether, he feels, the heaviness and intensity of the music creates a positivity and sense of hope; what it was like growing up in rural Canada – and, in terms of gigs, he has plans to come to the U.K.

Zylstra discusses musical influence and upbringing; some new artists worth a look; what he has planned for the remainder of the year – completing the interview with a rather fine song selection!

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

I'm great! I've been busy working on rehearsing for my launch party on March 31st at Blue Light Studios in Vancouver and, also, doing some podcasting and talking to awesome bloggers like yourself – and, also, attempting to juggle family life (my wife and I have a toddler!) and work etc. etc.!

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

My name is Marty Zylstra. I am an independent recording artist from Vancouver B.C.! My new music sounds like Elliott Smith, Harry Nilsson; John Lennon, and Gord Downie, with a bit of Beach Boys influence. Mom Rock with dad vibes...

The Dragonfly and the Spider is your mini-album. What sort of themes and ideas compelled its creation?

Originally, I had been releasing a song at a time kind of building up a catalogue and carving out my solo career starting, in about, 2013. I played some shows and stuff and was kind of ‘getting there’ if you will - and then found out my mom had cancer. It halted the whole process and stopped me in my tracks. Her and my dad lived with us for about six-eight weeks as she was going through treatment in Vancouver. 

Then, about nine months later, my sister died also of cancer. This was all within a short, crazy period of time. The last thing on my mind was music, but I had been writing a lot and some of the ideas were developed into songs on this record.  

I know you experienced devastating loss in a short time – losing several relatives. Did that shock force you to write and put your emotions into music?!

Yeah. The theme of grief may or not be all over this record - but I think there is a light in the dark. I would hope that how you feel after listening to the E.P. in its entirety is how I felt through the journey of grief. 

What was it like working with JP Maurice at Blue Light Studios?

He's a great producer for me because he is a songwriter first.

He was definitely able to bring out the best in each song and willing to try new sound experiments. He also speaks ‘Beatle-ese’ which makes it easy to discuss sound ideas based on music that we both love (The Beatles).

Is there a cut from The Dragonfly and the Spider that stands out? Which one do you bond with the hardest?

Moon stands out because it was such a simple idea at the beginning: just acoustic guitar and some weird whimsical lyrics about space. That being said, it has deep meaning for me talking about escaping the situation you are in and finding Heaven. Themes of God and Heaven from a childlike point-of-view. 

Wild Ones was the one that took the most time to figure out. It was the oldest song of the group of tunes and the arrangement is so simple - but, I think it's the ‘least like the others’.

Do you think the heaviness and emotional outpouring, in a way, is designed to get the listener thinking about positivity and change?!

Yes. I know that even more now after going through personal therapy for my own grief. When I listen back to the album, there is a sense of hope at the end. I would want people to feel like there is a light at the end of the tunnel after the loss of loved ones or going through difficult challenges.

You grew up in a rural area of Canada. Was music a big part of your early life? How did the scenery and setting shape your desire to be a musician?

My first-ever musical instrument was my dad's Thorens TD160 record player (for all you vinyl aficionados). I was about (a) one-year-old when I learned how to put on records by The Carpenters. I've seen a lot of the country, having travelled as a kid. It was less common to fly from, say, Vancouver to Toronto in the 1980s, and so, we used to pile in the family wagon and tent across the country to visit my aunt and uncle and stuff. (B.T.W., my wonderful cousin Aaron sings on my song, How Could I, and he sounds beautiful). 

Music has kind of always been there. Seeing the country and having different experiences definitely allowed me to be able to have an open mind about creativity

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

As mentioned above; I’m playing at Blue Light Studios for one of their amazing and intimate Blue Light Sessions events on March 31st. There will be other gigs announced soon, so stay posted!

Will you come and play the U.K. sometime this year?

Ideally, the answer is ‘yes’. My good pal Finn McConnell is from the U.K. (he played cello and keyboards on the E.P.) and he is always attempting to twist my arm to get over the pond.

What do you hope to achieve in 2018?

I start work on E.P. number-two in June. I hope it gets finished! I'm also hoping to put an acoustic covers E.P. out soon too. Stay tuned.

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

Many. I love writing songs and, when track-two was written, it flowed out of me and I wrote it in the time it took to play it. So quick. Creating music is amazing because, one minute there isn't a song and then, the next minute, it's there. 

What advice would you give to new artists coming through?

Continue to learn songs and listen to music out of your comfort zone. 

IN THIS PHOTO: Bend Sinister

Are there any new artists you recommend we check out?

Dom Fricot, Bend Sinister; JP Maurice; ACTORS; Ultrviolence and Wazonek (all from Vancouver/Canada!).

IN THIS PHOTO: JP Maurice/PHOTO CREDIT: Jen van Houten

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

I like to run/exercise and spend time with my family the most. But, in cliché fashion, I'm an avid hockey lover and follow the sport really closely.

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).

You should play a song from ACTORS’ new L.P. called We Don't Have to Dance - it's in my current playlist!

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Follow Marty Zylstra

Official:

http://www.martyzylstra.com/

Facebook:

https://www.facebook.com/martyzylstramusic

Twitter:

https://twitter.com/martyzylstra

Instagram:

https://www.instagram.com/martyzylstramusic/

BandCamp:

https://martyzylstra.bandcamp.com/

YouTube:

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

Spotify:

https://open.spotify.com/artist/3lEf39jTDgGfRqathS0iZ9

INTERVIEW: Fight for Friday

INTERVIEW:

Fight for Friday

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A tremendous band with a new E.P. on the horizon…

it was a great reason to speak with Fight for Friday. Released on 11th May; the band’s sophomore E.P., Someone You Could Trust, promises to be a pretty epic affair. I ask them about the E.P. and the story behind the latest single, Headache. The guys talk about borrowing from The Wonder Years; how Fight for Friday came together; what gigs they have booked – which artists they all grew up on.

I ask what one could expect, were they to attend a Fight for Friday gig; if they get chance to chill away from music; the advice they would give to new artists; whether the North of England gets the credit it deserves – they end the interview by selecting some fantastic songs.

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

Sol: Pretty good. It's been super-hectic since we announced the E.P. - but we're just about keeping up.

Matt: Not bad. We’re all feeling pretty snowed-under at the moment but, having just shot a music video, we’re really stoked to show everyone what’s next!

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

We're Fight for Friday and we're a Pop-Punk band from the Lake District; we've been making music together for the best part of five years and we're currently in the process of releasing our second E.P., Someone You Could Trust (out on 11th May).

Members:

Matt (A.K.A. ‘Gee’) - Drums

Lloyd - Lead Guitar

Seb - Vox

Sol – Bass

Someone You Could Trust is your new E.P. How do you think it differs from your debut – in terms of sound and ambition?

Sol: I think all of our earlier releases, so far, were kinda leading up to this one in terms of our sound - and we've really found something we're happy with on this one.

Thematically, it's really representative of the last year or so of our lives, as a band and as individuals.

Matt: We’ve definitely done a lot of growing up for this record. The past few years have been one huge learning curve, not only musically but personally, too; becoming adults and realising that you can’t wait for things to be handed to you on a plate.

We’ve finally reached a point where we really know where we want to go as a band - and you can definitely hear that on the record.

What sort of themes and ideas compelled the songwriting on your latest work?

We definitely looked deeper into the songwriting this time around. Instead of chucking into a song whatever comes into our heads first; we looked back on personal experiences, how we dealt with certain situations; the desire to be something and, in more than one song, the feeling of being used - alongside taking things as they come.

How important is the Wonder Years’ song, where the title comes from, to you and the direction of the E.P.?

Sol: The name was, mostly, a last-minute decision. We were about to start the release campaign for the E.P. and we desperately needed to think of one. I’ve been listening to TWY (The Wonder Years) all winter, so I decided to put on one of their albums for inspiration - and it just kinda came together. It definitely fits the themes of the E.P. - and we think it’s a cool homage to one of our favourite bands.

Do you have a standout song from the E.P.? Which song, to you, defines Someone You Could Trust?

Matt: Honestly, I’m split between Headache and Target Practice. If you want to predict what our future sound is going to be, expect something along these lines! We wanted to take fans on a journey through this E.P., start to finish, and come out of listening to it with a sense of fulfilment. It’s a rollercoaster of emotions through and through but, for me, I think the two tracks I named allow the E.P. to be called 'Someone You Could Trust'. Without them, the record would feel a whole lot different...

If I had to make my mind up; I’d go with Target Practice, as I’ve been psyched about that song from the day we wrote it.

 

Headache is the lead single. What is the story behind it?

We took heavy inspiration from Chester Bennington's death for this track and used that as a reach into the mental-health aspect of how, when nobody is around, that can seriously affect your positivity and mental-state and, even though you’re not in a good way; there's always someone there for you if you need help. It’s not always a case of you asking for help: more, for someone else to see if you’re alright.

How did Fight for Friday find one another? Can I ask where that name comes from, too?

Lloyd: Gee and I were in a band back in year-seven/eight (2009/2010) at school, which later reformed with Sol and Jake in 2014 (who, later dropped out and doesn't play with us anymore) and, because I didn’t want to sing, I got my friend, Seb, from drama club to join as the singer/frontman - almost a year after the band had started jamming together.

The name came from a conversation at a practice - as we always practised on a Friday night after school. At the time, we said we would “fight through the week for Friday”. But the name, more or less, just happened - and it’s stuck ever since.

You hail from Cumbia and Manchester. Do you think the North, and its music, gets the respect it deserves?

Matt: It’s definitely fair to say that we feel trapped where we come from. Obviously, that’s a cliché in our genre, but there’s literally one road in and the same road out of our town; with it also being forty-five minutes away from the motorway. As you can tell - it isn’t the combo one would hope for. There isn’t a scene for our music round here, which is why we are moving into Manchester the best we can. With Lloyd going to BIMM university; it’s opened a few doors for us to get a following down there.

That said, there's plenty of hidden gems up here waiting to be found; some of which don’t deserve the minimal attention that we get being locked away in our corner.  

Which artists did you all grow up around? Who would you count as idols?

Sol: I’ve been into Punk-Rock pretty much since I could choose what I wanted to listen to - bands such as Rancid and The Clash. Then, I got older stuff like No Cash and Choking Victim. I only really got super-into Pop-Punk in my mid-teens when I saw other local acts (and the scene that was growing at the time).

Lloyd: Bands I grew up with are Bon Jovi, McFly, Guns N’ Roses, Whitesnake; Foo Fighters, Metallica; AC/DC…bands that let guitarists express themselves, musically, and inspired generations of guitarists.

Matt: I’ve been into Pop-Punk my entire life - without realising it until I got older. My dad set me up with an iPod and bought me Dookie when I was about five or six, and I couldn’t get enough. Only when I turned sixteen, though, was when I really got into it; starting with Blink-182 as a gateway, then diving into the genre and finding the likes of Neck Deep, ROAM; A Day to Remember, Sum 41 and countless more. Ironically, (these bands are) all of which I have been to see live, aside Green Day - the first Pop-Punk band I ever listened to.

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

Sol: We have some plans for a tour in the works for July. We also have a bunch of dates coming up - including a show at the Bobbin in Lancaster and one with Coast to Coast and Catch Fire at Satan's Hollow in Manchester, which we're super-excited about.

If anyone wants to know more, they can check out our Facebook page or Instagram for dates we have coming up. There’s a lot of behind-the-scenes stuff; so make sure you keep an eye out. We have some big gigs T.B.A.! 

27th March - Atomic, Wrexham

26th April - Satan’s Hollow, Manchester

1st June - the Salty Dog, Northwich

13th July - The Bobbin, Lancaster

If someone wanted to come and see you play – what could they expect? Does the band have an outrageous rider at all?!

Matt: We like to put on a show.

When we were first starting out, that’s was, easily, one of the things we always worked on as a group - and we love having a high-energy, pumped atmosphere between members. But, we love it when the crowd gets involved, too, and that’s what we always work towards at every show.

Sol: I don't think we've ever been in a position to demand an outrageous rider: free beers and bottled water are always nice.

What do you all hope to achieve in 2018?

It would be nice to have some people listening to and enjoying the music we made. We’ve worked really hard on this E.P., so it would be nice to know that other people like it as much as we do.

Matt: 2018, already, is off to an overwhelming start. The response to Headache has been insane - and it’s only the tip of the iceberg. I’d really like to see people enjoying our music and telling us what it’s done for them. A personal goal would be to get on bigger support slots/tours and, maybe, get a European date?!

Promoters, if you’re out there...you know where to find us!

What advice would you give to new artists coming through?

Keep your chin up high. It’s a very competitive market, so don’t think anything of it when you get rejected for something you wanted...because it literally happens to everyone. Just make sure you’re working the hardest you can and you’ll soon get going in no time.

There’s always another opportunity waiting...

IN THIS IMAGE: The artwork for Wolfpeake's Strings/ART CREDIT: Lucy Ball

Are there any new artists you recommend we check out?

Sol: Our friends in Wolfpeake are doing some really cool stuff right now. They're defo worth checking out.

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

I think playing music is how I unwind. Hopefully, that won’t change if things start getting a bit more serious for us.

Matt: Holding up a full-time job alongside this is, honestly, the hard part; so I have to agree with Sol and say this is how I unwind. There's something about playing live shows that you can’t get from anything else - which keeps me on my toes…

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).

Sol: The Wonder Years - When Keeping It Real Goes Wrong

Matt: ROAM - Over Your Head

Lloyd: Guns N’ Roses – Mr. Brownstone

Seb: Neck Deep - Staircase Wit

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Follow Fight for Friday

Facebook:

https://www.facebook.com/fightforfriday/

Twitter:

https://twitter.com/Fight_ForFriday

BandCamp:

https://fightforfridaymusic.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCBToW6X_VUPfl4maj_GinxQ

Spotify:

https://open.spotify.com/artist/19pGz5zDDUtfh7jjzJWVhH

INTERVIEW: Mica Millar

INTERVIEW:

Mica Millar

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FEW artists dedicate their songwriting time…

to recognising heroes in society. Mica Millar’s The Defender points the spotlight towards the stalwarts out there. She talks to me about the song and the project she has underway; what it was like working with Goldie on the recording; whether there is new material coming later this year – why her current song has a very personal and revelatory quality.

Millar recommends a new artist and reveals what she does away from music; what she hopes to achieve in the remainder of this year; how important Soul music is to her – she tells me when music came into her life.

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

It's been a very busy week with lots of ups and downs, to be honest – but, overall, it's been productive!

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

My name’s Mica Millar. I'm a songwriter and vocalist from Manchester. 

The Defender is your new track. What is the background of the track? 

I wrote the song around ten years ago. It's been performed and produced in quite a few different versions, but I started developing it in the last two years for my forthcoming album. It's one of the songs I've always wanted to release. I worked on the recording, production and arrangement and then sent it to Goldie and James Davidson (together, known as Subjective), who loved it and said they would work on some additional production and mixing for me.

I believe Goldie was part of the recording! Was it pretty cool working alongside him?

Goldie is an amazing artist and it was a real privilege to have him work on the track with his engineer James. He really helped take the track to another level.

The Defender has another aim: to raise awareness for societal heroes. What was the reason for spotlighting this area? Have you had an experience where you have helped a stranger – or being aided by one?

This song was, to some degree, about me doubting humanity and questioning why people weren't more empathetic. Ten years after writing it, I now know that when people seem to show a lack of empathy, the reasons are very complex - it's not as simple and good and bad. I wanted the campaign to explore those complexities and tell stories of empathy.

When people help or save someone they don't even know; to me, this is one of the best examples of empathy - despite any ideas about self-preservation, not wanting to ‘get involved’. Some people in the world will act selflessly to help others. 

I'm going to be releasing my own story about being saved by strangers in a video online soon - so you'll have to wait for that one, I'm afraid.

The music video for The Defender seems like a very personal and important collaboration. Tell me more about it…

I decided I wanted the music video to incorporate people who had experienced saving or being saved by a stranger - to talk about empathy and discuss how social, cultural; political and psychological factors impact human behaviour. I think it's both a fascinating and very important topic. I collaborated with director Simon Brooks on the music video - and with an amazing team who are working on the documentary with me.

Is there going to be more material coming before the end of the year?

I'm recording my album in May and I hope to release it soon! There will be more another single later this year, though, which I'm really excited about.

Do you feel you have entered a new creative phase as an artist? Are there any similarities between who you are now and who you were at the start of your career? 

I think, as an artist, you're always developing. At the core of my music is me, because I've always written honest songs. My view of the world has of course developed - but I'm the same person.

When did music enter your life? Which artists did you grow up around? 

My dad is a musician - so there's always been music in my life. When I was about seven, my auntie gave me her old record player. I remember my mum and dad discussing which three records I should have. They choose Stevie Wonder, The Beatles and The Beach Boys.

I can't remember which albums they were but they were absolutely the foundation of my introduction to music.

How important is Soul music, past and present, and the heroes/heroines of the genre?

To me, Soul and Gospel music is at the root of all music, so it's fundamental above any other genre. Since I started listening to Stevie Wonder at seven-years-old, I think I became attuned to that kind of spiritual, soulful music and, even as a child with Hits ‘95 or whatever, the songs that were influenced by Gospel and Soul were my favourites. When I hear old Motown records, it just doesn't get any better than that for me.

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

I'm doing three single launches for The Defender: 4th April at Band on the Wall in Manchester; 8th April at Leaf on Bold Street in Liverpool and 10th April at The Wardrobe in Leeds. I'll be performing with my ten-piece band, which I'm really excited about. For the first time, I've added violin, cello and guitar to the line-up - so it's going to be a much bigger show this time!

What do you hope to achieve in 2018?

I'm going to record my first album in May; so that's my main aim for 2018, which will be a huge accomplishment for me. I'm going into the studio with Lewis Hopkin, who I was introduced to by Goldie. His passion for my music and energy is absolutely amazing; so, I feel really positive about how the outcome will be.

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

There are so many - it's always a bit of a rollercoaster. But, from the past year; I think finishing (the year) performing with the BBC Philharmonic Orchestra (to represent BBC Introducing) was a big highlight.

What advice would you give to new artists coming through?

I think authenticity is really important. Be who you are: don't compare yourself to other people. Just focus on what you're doing, support other people and, most importantly, enjoy the journey!

Are there any new artists you recommend we check out?

I played a show at iluvlive in London last week and I saw a very young artist called Tora - who is an incredible vocalist and songwriter. She hasn't released any music yet, but you should watch this space. Some people are just outstanding…and she is one of them.

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

I don't get that much time to chill during a release period because I do everything independently; including releasing my music and putting on my own shows. I've actually just started having hypnotherapy for relaxation and it's amazing.

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).

Aretha Franklin - You Send Me

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Follow Mica Millar

Official:

http://www.micamillar.com/

Facebook:

https://www.facebook.com/MicaMillarMusic/

Twitter:

https://twitter.com/mica_millar

Instagram:

https://www.instagram.com/mica_millar/

Spotify:

https://open.spotify.com/artist/3u7WZTVUhTgjSKrlqzPfs9

SoundCloud:

https://soundcloud.com/micamillar

YouTube:

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

FEATURE: “I Can’t Get No…”: The Wonders of the Musical ‘Release’

FEATURE:

 

“I Can’t Get No…”

ALL PHOTOS (unless credited otherwise): Unsplash 

The Wonders of the Musical ‘Release’

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THE title of this piece might suggest…

something orgasmic and prurient. In fact; I can back that up a bit…there is a sense of the sexual and satisfactory! I have been thinking about music - and why I listen to certain songs. Looking through my daily rotation and those moments I repeat and hold close; there is something common and revealing coming to the fore. One can throw all sorts of psychological interpretations and insults my way: my choice of songs, I guess, reveal a deeper desire. We are all, in our own way, frustrated and longing for something new. Many find that fulfilment and completion in relationships and friends; others have jobs and rewarding careers; some travel and see the world. To me, the way I wrestle with deep emotions and make sense of anger's tangles is to unburden them through music. At the moment, I have classic 1990s Dance music loaded on Spotify; I have Metallica’s eponymous album in the car; my YouTube lists are filled with songs from my childhood – there are some boisterous, stone-cold R&B gems from the 1990s/2000s elsewhere. The casual observer could say this: they are random selections and have no deeper meaning and substance. The songs are fun, memorable or evocative. In any case; they serve a need and have a sentient relevance.

My song choices are not dictated by the cycle of the moon or the mood I am in – something personal and emotion drives my decisions and the sounds I uncover! Right now; I am caught by career unhappiness – that extends to geographical lumber – and, well…’physical’ ‘urges’ (you can fill in the gaps yourself!). Spring is coming and, with it, the potential for sunshine, warmth and a rise in happiness. That last part not might apply to me as easily and fervently as others: I am hopeful the longer days and clement conditions unlock a part of my mind unable to break free from ruts and easy options. In any case; music is filling holes, metaphorical and near-physical (another gap to fill in!), that are causing pain and confusion. There is something to be said for the sensations music provides. I am not necessarily talking about physical explosions and epic choruses: a satisfying piece of string articulation or unexpected chord change gets into the bones and causes unexpected and fantastic reactions. I paraphrased and borrowed a lyric from The Rolling Stones – we all know the song... – because there is something incredibly physical and sense-screwing about music. I have Metallica shaking my car’s electrical components because of the meaty riffs and animalistic vocals. I cannot put into the word the feelings I get when Enter Sandman’s (the opening track from Metallica) introduction plays.

IN THIS PHOTO: Destiny's Child/PHOTO CREDIT: Getty Images

That sound and excitement provokes a de-stressing and fist-pumping alacrity that nothing else in life does. I listen to En Vogue, Destiny’s Child and All Saints because the combination of strong female vocals and hip-swivelling jams loosen my body and gets the voice ringing. I could easily couch these sensations in very simplistic terms and reduce them to their components parts. You could say a big riff and chunky chorus is a sexual release and sublimation of inner tensions. It is true there is a whirlwind of physical contortions not being slaked by companionship and sex. I do not use music to replace a physical relationship – it is not a synthetic substitute and acceptance I cannot find anyone. Instead, and a more healthy viewpoint, is there is an addictive sound that registers inside me and produces a burst of serotonin. Many of us gravitate towards big Rock songs because of the physicality and ferocity in which they are delivered. At gigs; there is that tribal aspect: likeminded souls losing themselves in the sweat-flying divinity of the moshpit. For me; I long for the sort of excitement and brilliance a great Rock song can deliver. A fiery arpeggio or insatiable chorus can dissipate all the troubles around me; a sleazy vocal or Rolling Stones-like classic can, in me, can transpose the furies of the song itself: create immense fulfilment and a warmth that hits all the bases and fulfils the senses.

IMAGE CREDIT: Getty Images

R&B/Pop classics, that I have mentioned, have a brassiness and allure that speaks to me, and many others, in some way. Maybe the lyrics are different and the sounds varies – the effect and purpose remain the same. In any case; I am seeking sounds that take away my troubles and, with it, get me singing and in a finer frame. That word, ‘release’, is a complex and multifarious thing. There is, sure, a sexual and physical component to it. The larger and catchier the sound, the sexier – to me, at least – it is. I have mentioned how music does not need to be inflamed and engorged to provide a chasm of pure emotion and unbridled pleasure. Softer, more melancholic tracks can do the same thing. I have been listening to a lot of Joni Mitchell and Carole King because (their music) soothes and entices the soul. Maybe it is tied to childhood discoveries and the effect this music has on my growing up. Whether it is a Tapestry (Carole King) classic or a brilliant piece of personal pondering from Blue (Joni Mitchell) – it is amazing seeing what that sort of music does to me. The same way a great track from Metallica, The Beatles or Underworld can unshackle my strains with its energy, pulsating beats and peppiness: the aching devotion and velvet nuance of Folk greats dissipates my complex tormentors in its own, paternal way. The Rock and Pop – and R&B – slammers, climb on top of me and take their top off; ride hard and do not stop until the mattress is touching the floor (a bit graphic, but, you know…it has been a ‘while’).

Strangely, Folk and Pop (something more delicate) has that caress and enticing whisper. It holds me by the shoulders and lets me know everything will be okay; providing a cotton-wool-cocoon that swaddles the spikes and offers a comforting blanket. Maybe we have decoded and reprogrammed our brains, from childhood, to associate various artists/sounds with personal needs and objectives. By that; we bond with particular types of music because they provide us with something humans/life cannot. I involved myself with music strongly because there is a sociability and unquestioning loyalty that accompanies me through my days – both bleak and good. As I type this, I am playing Chris Isaak’s Wicked Game. Not only is that one of the sexiest and most seductive tracks ever written; it is delivered in that Elvis-like croon. I could show you my playlists, on Spotify and YouTube, and one could reason and rationalise my selections. Nothing on those lists is frivolous and random: there is a reason why I choose those songs and listen to them devoutly. I am avowedly committed to quelling my stresses and discipline my frustrations through the expansive joys of music. It would be naïve to suggest music alone can act as a psychological guide and medicinal guru. Music has its benefits, I know, but is not a long-term and approved cure for depression, anxiety and loneliness. To me, it is the simplicity and inexplicable reactions that draw me to music. I could not tell you why I close my eyes, drip my head – with headphones – and float away as I listen to, say, Tears for Fears’ Everybody Wants to Rule the World.

I have written about that song before and how, I think, it is my first memory of life. Nor can I qualify why something cheesy and 1980s carpet-bombs misery and eases the body – maybe, an early cut from Kylie Minogue’s career; something from Belinda Carlisle, perhaps. Perhaps it is simple, really: those songs are designed to provoke those responses in the listener. I think there is something unique about music. Even if a person has a similar physiological response to a 1980s Pop piece or a modern-day Grunge anthem; it is fascinating how that same piece of music remains with someone (and disappears in someone else). Like snowflakes, fingerprints and vitriolic outbursts from Piers Morgan: no two, I am afraid, are ever the same. No song, at any volume or in any situation, will resonate with two people quite the same. I find myself hankering, more and more, for the kind of pleasure music provides. There are many reasons why we retain certain bits of music and treasure certain albums. There might be that childhood love; a connection to a personal event or life-changing experience – something random, in some cases. So much of what I listen to regularly unlocks knots and provides guidance. I cannot rationally say I listen to Eminem and Soul II Soul because the music sounds nice and is brilliant: those songs get inside me and tease the senses! The reaction and reason need not be crude and proactive: a sweetly-delivered chorus or frivolous performance can make me smile and melt away.

In the Yorkshire Dales of the musical landscape; there are multiple reasons why certain songs do their thing; endless combinations of sounds, subjects and sensations. At the forefront and coalface of deduction and explanation, there is a common recruitment and woe: that ‘sensation’. Call it ‘fizz’, ‘satisfaction’ or ‘happiness’: whatever word you attach to the phenomenon; it is a wonderful thing to behold. My abiding point- rather than expose and embarrass myself – is to highlight how powerful and beneficial music is. I should have put together a playlist – Sledgehammer (Peter Gabriel), now playing, would be on there – and see if the songs cause the same responses in everyone…but I won’t. I love exploring music and how, in many ways, it can remedy and reason. It can dive deep into the psyche and pull the lint from the filter; it can provide hugs and comfort when needed: there is a magical and mystical power that exists nowhere else in the world. As I listen to The Beatles’ Love Me Do and surrender to the multiple whiplashes and caramel-flavoured tongues of temptation; I am reminded, as I am every day, how powerful, potent and satisfying…

GREAT music is.

FEATURE: The Bulldozer’s Lament: Gentrification and Its Impact on Music

FEATURE:

 

The Bulldozer’s Lament

ALL PHOTOS (unless credited otherwise): Unsplash 

Gentrification and Its Impact on Music

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I wonder what damage the gentrification…

of Britain is doing to the music industry. I walk down various streets and notice a couple of things. More and more shops and bars are closing (is the first). They are being replaced by other businesses which, in a few months, close down for the next thing to arrive. Either that happens or something gaudy forms: older, established buildings are being torn down and regenerated as glamorous and expensive flats. That seems to be the way things go in Britain: any inch of greenery is built on to accommodate families and those who do not really care about anything but themselves. There are enough people struggling to find housing in the country – it seems the wealthier get chances, regardless of what they give back to this nation. The U.K. has shown itself, in referendums and elections, alienated and unwilling to bond with its European nations. Not only are we detaching ourselves from neighbours and other nations: we are determined to replace anything lived-in and older with the brand-new and soulless. Gentrification does not mean demolishing anything that seems ugly and bringing in fashionable and pretty things. The reason gentrification can be good is making somewhere safer to live in; reducing crime and replacing any unsafe/disused buildings with something practical and safe. The latest casualty of the ongoing gentrification and whitewashing of London is the imminent demolition of the Elephant and Castle Shopping Centre. It is a divisive building: some see it as ugly and outdated whereas others find it to be a foundation and bedrock of the community.

IN THIS PHOTO: Elephant and Castle Shopping Cente/PHOTO CREDIT: Getty Images

Whatever you think of it; the erosion and replacement of the Shopping Centre will change the area forever. Applying this to music and we can see it everywhere around us. We all know certain venues have closed over the years: many others are under threat and risk a shaky future. I worry what will happen to the fabric of live music when developers have their ways and new flats come onto the high-street. If we look back to Elephant and Castle and, when the wrecking ball comes in; that will mean small businesses are closing and the people who run them pushed elsewhere. The diverse landscape will become whiter, cleaner and gentrified – established residents marginalised and a wealthier option coming in. It is not only London that is experiencing this widespread and unending rebranding and retooling: every city in the U.K., in some way, is experiencing this. If we replace every building with a crack and tear every characterful object down; what impact is that going to have on the music industry and artists? On a physical basis; venues are always going to be threatened. Most of the ones we have now are smaller, underfunded and ‘distinct’. So many people want to see their streets samey and indistinct. A lot of our venues have a particular look and project noise.

People who move into an area do not want to be distracted by sound or the clientele of a venue. If a venue is struggling or needs a lick of paint; why is it easier knocking it down and building new flats/shops?! Money is not being spent rejuvenating venues and ensuring (venues) are protected. A lot of clubs are being closed in Britain because they are either not pulling in enough money or are starting to peel away. There is a very fungible definition as to what constitutes a ‘problem’. Unless there are structural defects and infestations in the Elephant and Castle Shopping Centre; I wonder what has promoted it demise and demolition. The same can be said of a lot of venues in the country. Sure; many are struggling and going through tough times. The way to get them back on-course is to invest money in them or research what factors are contributing. Rather than spending infinitely more money on gentrifying areas and replacing venues/shops with flashier options – we need to retain these spaces and ensure they do not face the smash of the bulldozer. I love cities but always hate when working-class, decent areas are replaced by middle-class and sanitised buildings. Not only does that replace the skyline and vibe: the inhabitants and local residents, often, are priced-out and forced to move elsewhere.

Music industries rely on surrounding flats and shops to make them a success. If we remove the client base and local residents that means new people come in – those who do not know the area and, as such, do not visit venues. It is not only venues themselves being threatened by gentrification and ‘edification’. The wealthier and more exclusive areas become; that means fewer musicians will be able to afford to move there. I am hearing from peers who had hopes of moving into the city and, instead, are reserved to the boundaries. They have to choose cheaper options which is, in turn, seeing wealthier people move to the cities. The only way we can maintain thriving and interesting scene is keeping the population varied. The closer of smaller clubs in cities – R&B and Rap – means a lot of the young, black population are relocating and moving to other parts. Doors close and, before you know it, flats and restaurants come in instead. The same can be said of pubs. They provide open mic nights and provide a stage for new artists. Take them away and, again, musicians have nowhere to play – it means they have to rely on the Internet or other options. I am all for removing hazardous buildings and closing venues/spaces that are dangerous, beyond revival or impotent.

This is not what is happening in a lot of cases. Developers and councils are not willing to spend money trying to sustain somewhere struggling – the easier option is starting from scratch and building something, they know, brings a lot of money/wealthier people to an area. One of the biggest tragedies of modern London is the way it is becoming stale and wealthy. A lot of vibrant and mixed areas are being blanched and stripped of their purity. I am seeing it in other parts of the U.K., too. It is not only Britain that faces the scourge of gentrification: the U.S. is seeing many of its established and legendary music cities facing threats. Last year; an article in The Guardian looked at the changing fortunes of Austin (Texas) and New Orleans:

“It’s a difficult reality for the city to confront. Austin is one of the three major US “music cities”, alongside New Orleans and Nashville, that have capitalised on this local culture at the risk of ruining the scenes that made them famous in the first place. In Austin, the local live music scene is now paying the price for its success. Brian Block, of the city’s economic development office, says despite an apparent city-wide financial boom, local musicians’ income is “at best stagnating, and possibly declining”.

IN THIS PHOTO: A musician in New Orleans

“…Across the state border in Louisiana, New Orleans is facing similar problems as it develops and gentrifies. There are fears that without local government actively supporting musicians, the scene’s survival could be at risk…How do you keep a [music scene] real and authentic and yet encourage people to get involved? It’s a paradox,” says Jan Ramsey, editor of local magazine OffBeat. “There’s an authenticity to the music and the people who make it, and the integration of black and white culture here – we never want to lose that.”

It is worrying seeing how things are changing in the world and how the music industry is being impacted. So then…what do cities and musicians need to do to ensure their venues and native populations are protected and listened to? This piece explains the realities before us – explaining some solutions and pragmatic movements:

“According to (As Sound Diplomacy Founder and CEO Shain Shapiro) Shapiro, musicians and music industry professionals, who tend to think and operate in the short term, need to start advocating to be included into city zoning and planning strategies that may be looking 5, 10, or 15 years in the future. “Cities write their local plans to reflect how land is going to be used for decades. If we don’t think about our music infrastructure and how we fit into those issues, then we’re constantly going to be the recipients of an end-use model. The building will just be there and then we’ll be inserted into it, rather than us having a responsibility and dialogue before, so we can play a part in how it’s created.”

“…Musicians, says Shapiro, also need to start learning to speak the language of developers. “We can’t just say, give us a music venue. What if that’s not a profitable use of land?” And while much of new development in cities is crowding out the creative industries, there are a growing number of developers who are investing in music venues. Peter Cornforth, who leads retail development for UK-based firm Benson Elliot Capital Management, has been advocating within his company for the ‘positive externality’ that music brings to mixed-use developments; according to him, music should sit in the value and not the cost side of real estate”.

Last year saw a lot of commentators look at gentrification and how our streets are struggling to adapt and maintain their natural good looks. A piece in The Conversation investigated the link between rising business rates and the impact that has in cultural and economic terms:

“The government’s review of business rates could see a rise in the level of rates they will pay of up to 55%. For some music venues, this could easily be the difference between staying operational or going under. This wouldn’t just be a loss to the economy. Local venues are a cultural as well as an economic resource. The social and musical networks they house are not easily replaced and the larger spaces, ultimately, depend on healthy grassroots for tomorrow’s headliners.

The challenges are widespread, and face venues of all kinds. A squeeze on funding has seen local authorities reduce their spending on the arts, and music education also faces an uncertain future”.

It is a hard line to draw between necessary development and change and that which is excessive, selfish and ignorant. Maybe our current Government is to blame (for the gentrification and changing face of our cities) or it is business rates and unreasonable rents – or this is the way things are going to go from now on. What bothers me is a lack of connection between the councils/Government and the music industry. Small shops and businesses closing can impact musicians and venues; rising rents and expensive areas alienates artists and means musicians struggle to find gigs (paid, at least) – do those who make the big decisions realise that?! I would think not. The clatter of the bulldozers and the dizzying dreams of developers is taking away a lot more than bricks and concrete: human lives, livelihoods and businesses are being transplanted and extinguished. Whilst we do need to protect the safety of the streets and ensure any unstable structure is addressed; that does not mean removing areas/buildings that do not ‘fit in’. Elephant and Castle’s dilemma could have devastating effects on the community and wider area. Look around you, walk the streets and see the people around. Things are changing, right?! Are they for the better?! It might not matter to those (wealthier people) who move to an area – the gentrification of a town/city has an impact on the music industry, its patrons and smaller venues. To those who have little regard for an area and the consequences of removing buildings/changing the skyline, I would offer this caution: consider the human cost and those who will lose out when the bulldozers swing in. It (demolition) might not mean a lot to them but, for many people who live and play in these areas, the cost of faceless gentrification is a lot higher…

THAN the financial profit for developers.

FEATURE: With the Beatles: Why Ringo Starr’s Knighthood Should Spark New Interest in the Band

FEATURE:

 

With the Beatles

PHOTO CREDIT: Apple Corps Ltd./ALL OTHER PHOTOS/IMAGES (unless credited otherwise): Getty Images 

Why Ringo Starr’s Knighthood Should Spark New Interest in the Band  

__________

THINKING about music and when it arrived in my life…

IN THIS PHOTO: Ringo Starr receives his knighthood

I have to, inevitably, look at The Beatles and their majestic sounds. My first rush of The Beatles was discovering albums like Abbey Road and Rubber Soul. The latter remains my favourite album from the band. The way Paul McCartney and John Lennon transformed and evolved as songwriters can be heard on that record. L.P.s such as With the Beatles and Beatles for Sale indicated and highlighted what was to come. Rubber Soul, to me, is the masterful songwriting duo hitting their stride and showing they have no peers. I still don’t think there has been a songwriting combination like Lennon and McCartney. The way they wrote together – back in those early days – is hardly done these days. Whether writing at a piano or at one of their houses – two curious minds working on songs and formulating golden anthems. We think of The Beatles and that core of Lennon and McCartney. Lest we forget the band was a quartet: a big part of that magic came from the drumming of Ringo Starr. The legendary Beatle received a knighthood earlier in the week – over fifty years after The Beatles were awarded MBEs. Paul McCartney got his knighthood back in 1997: the fact it took so long to acknowledge the other surviving Beatle (George Harrison was alive in 1997; he has been gone since 2001).

IMAGE CREDIT: ANITA PONNE

Many might wonder why it took so long for the Queen to bestow such an honour on Ringo Starr – and, why George Harrison never got approach regarding a knighthood. Classic Rock- had an explanation:

“Both Harrison and Lennon were more than qualified to be knighted alongside their bandmates during their lifetimes, but the crown didn't start knighting pop stars until 1995, when Cliff Richard was selected for the honor. Bob Geldof was granted an honorary knighthood nearly a decade before, but it was for his charity work, not his musical accomplishments — and both men were acknowledged years after Lennon's death. Since knighthoods aren't granted posthumously, it's always been out of the question for Lennon to be selected — and as fans are well aware, his playfully contentious relationship with the crown might have led to him rejecting the offer anyway, as he did when the Beatles were bestowed with an MBE in 1965.

Rejecting honors from the monarchy was something Lennon and Harrison later had in common. According to correspondence unearthed after Harrison's passing, he also declined to accept an OBE (Officer of the Order of the British Empire) — allegedly because he was insulted by the offer of a station lower than McCartney's knighthood”.

Stepping aside from the logistics and reasoning behind the late recognition of Ringo Starr; his knighthood, surely, has to get people reinvested in The Beatles. It is true to say the band have never lost that focus: the greatest band ever to stalk the planet has been popular and influential since their earliest days. To me, the band represents innovation and rebellion. I think about their debut L.P., Please Please Me and what went into it. A single, thirteen-or-so-hour recording session and you have music history. Back in 1963; the boys were transcending from those German days and starting to get a real foothold in the U.K. and the U.S. The Liverpool band went into the studio armed with some originals and covers; put the tracks down and that was it – a raw and live-sounding record that, surely, goes down as one of the best debut releases ever. Listen to the boisterous and cheeky opener from Paul McCartney (I Saw Her Standing There) to the throat-shredded, blistering Twist and Shout (John Lennon, suffering from a cold, nailed the song in one take – he has no energy and throat left to do a second!) – it is a fantastic album that helped put their music into new hands. Their earliest period – from the debut through to, say, Revolver – was a case of gradual improvements and revelations. In my mind, one of the big reasons for their success was Ringo Starr.

The man’s incredible drumming and unorthodox style can be heard on some of their earliest gems. Listen to songs like She Loves You and you cannot help be amazed by that rollicking, impassioned drumming. Flip forward to songs like The End (Abbey Road) and Tomorrow Never Knows (Revolver); A Day in the Life (Sgt. Pepper’s Lonely Hearts Club Band) and Dear Prudence (The Beatles) and you cannot escape the magical work of Ringo Starr! I have a lot of love for the later work like Abbey Road, The Beatles and Revolver: to me, that early part of their career is the most interesting. I love how the guys changed the face of music and sounded like nothing else – there is still nobody like them in music! One can chart a real growth from their debut – when they were performing covers and not quite as gelled as they would be – to a time when touring demands and chaos meant they had to quit (before they started recording Sgt. Pepper’s Lonely Hearts Club). That period, between 1963-1967, is such an extraordinary and wonderful thing. The Beatles, unlike a lot of bands at the time, were as synonymous with their personalities as the music themselves. All the boys had charm and a witty turn-of-phrase: Starr, to me, had that extra something about him. He seemed (like) that constant backbone and leader of the band; the real star who could keep the guys in-check and ensure every song held together and moved forward.

PHOTO CREDIT: Apple Corps Ltd.

Even though there were tensions around the recording of The Beatles and Abbey Road (the final album they recorded); there was that love and affection that cemented the band. Even now, when Ringo Starr received the knighthood; we saw messages from Paul McCartney and Yoko Ono. The public has a huge love for him and everyone in the music scene is relieved he has been given that long-overdue knighthood – the Monarchy finally came to their senses! What I hope, and think we’ll see, is a new injection of hunger for The Beatles. Although it is likely the two surviving members will get together and record anything (you never know!); there will be more material from Starr. I do worry there will be a day when I’ll approach a young person and mention The Beatles – they will give me a blank stare and, disturbingly, I’ll have to explain who they are through varying degrees of obscurity and annoyance. There are those of us, myself included, who have old Beatles vinyl in their collection. I have at least six or seven of them dotted around the house. There are few greater pleasures than sticking on a record like Please Please Me or Abbey Road and listening to it from the first crackle to the moment the needle rises from the record. I still prefer The Beatles in their truest format: a good, old-fashioned vinyl.

IMAGE CREDIT: Getty Images/Spotify

I know many people do not listen to the band in the same format: streaming sites mean a lot of the new generation are experiencing The Beatles digitally. I do not object to people listening to the group through this method. The world has moved on and I understand it is a lot more time-consuming listening to vinyl (as opposed digital means). It is always great knowing a band like The Beatles are being heard and experienced, over fifty-five years after their debut album was released. Whilst any listening experience of The Beatles is a great thing; I wonder how many uninitiated listeners are going to streaming sites to hear them. The likes of Spotify promotes new and fresh music. They spend less time promoting older musicians and albums. People are talking about Ringo Starr’s knighthood and how it has been a long time coming. People who have listened to The Beatles for years/decades are dusting off records and playing C.D.s; new listeners are getting involved with the band and diving into the warm waters – all generations and ages realising why The Beatles are the greatest band ever. I have met Ringo, Starr, briefly, and was bowled over completely! I think he is one of the most engaging, sensational and inspiring musicians still playing. He still has that ethos of the older days – peace and love to all – and endless energy.

One of the reasons I vociferously gobble every molecule of Beatles material is the fact Ringo Starr and Paul McCartney are around and as striking as they always were. I hope the knighting of Ringo Starr does not cause a brief rush of Beatles interest. So many artists I interview name-check The Beatles as influences. It is a part of everyone’s childhood and the soundtrack to all of our lives. The reason me, and so many people in music, know about the band is that their records were played around the house. Our parents attended their gigs and grew up around them; they passed them onto them – how many of the new generation are passing along The Beatles?! I know there are more and more people finding The Beatles and ensuring their music is played and shared. The Beatles can never die or lose sway: their music will be played and studied to the end of time! My biggest hope is young listeners forgo the shiny and polished Popstars of today and step back in time – discover a band who caused an explosion in music and soon became the biggest band in history. It has been a great week for a titan of the music scene. Sir Ringo Starr – or ‘Sir Richard Starkey’, as it should be – has received his knighthood with humour, humbleness and grace. As we nod to a giant and draw a breath of relief (that he finally has a knighthood!); it is to our vinyl crates, C.D. shelves and laptops; so that we can, all, spin The Beatles and remind ourselves why they are…

SYNONYMOUS with musical genius!

INTERVIEW: Dame Jean

INTERVIEW:

Dame Jean

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SO many things strike the senses…

when approached with Dame Jean. The band have a determination and passion few others do; their music sounds like nothing out like there; there is a clear connection within the ranks. I speak to the guys about their debut single, Wasted Love, and what its story is. The band has no social media presence at the moment – they explain the reason behind that.

I ask what gigs they have coming up and what they have planned regarding new material; some new artists we need to get involved with; why humour is important to them – they end the interview with some great song selections.

__________

Hi, Dame Jean. How are you? How has your week been?

Tired, excited; broody…

We’re thinking of adopting now we’ve released a single.

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

Of course. We are a four-piece sickly, surfy; dysfunctional Rock band from all over the place who writes our own songs and play them to beautiful people.

Wasted Love is your new song. Can you reveal the inspiration behind the song?

Sammy: It was written, cathartically, during a pretty nasty break-up. It’s very spiteful, honest and bitter - but I needed to find a way to purge a lot of bad emotions quickly before they took me to a worse place and this song, for a time, let me do that.

It is the debut cut. Has it been quite exciting releasing that first song? Will there be more material arriving?

Yeah. It’s a really exciting time for us at the moment. We’ve got so much we want to do and show people, though: from crazy stuff we’ve done in the studio that can't be recreated live and messed-up videos. We had our launch-party the other night and shot the video for the next single - which will follow Wasted Love very soon.

How did the band get together? What is the inspiration behind that name, too?

We all went to the same uni, but we were in different years or courses and a strange series of events brought us together.

With regards to the name: it’s a combination of Sammy’s love for James Dean and a comment on the frequent confusion people seem to have with his sexuality and gender.

It seems like you have a love of artists from the 1960s and 1970s. Who did you all grow up listening to?

As a band, we all have a very diverse music taste, but seem to all have an overlapping interest in the more weird and wonderful cult artists of our time.  

I have to ask about the lack of social media pages – that has garnered some raised eyebrows. Is there a reason behind this?

We didn’t feel like we’ve seen much benefit from using things like Facebook in other small bands in the past. Practically every person/new band is on there - which is great, for some reasons. But, when the state of the music industry isn’t too peachy, and the way society communicates is pretty poor, it doesn’t make sense to keep doing the same thing.

It says a lot how surprised people are because a small band like Dame Jean don’t have a Facebook page and can still function. Social media didn’t exist when any of the bands we love were around anyway. That might be a post hoc ergo propter hoc mentality but it’s worth a shot…and so far, is going okay.

Might we see a Facebook or Twitter account forming at some point?!

If we can’t get our music out there, and it’s obviously because of our lack of Facebook/Twitter, then we will find us some edible hats…

Then, we'd get over it like we all did with MySpace (sad-face emoji).  

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

We’re playing The Pig and Fiddle in Bath on 19th; Fiddlers Club (Bristol) on 4th of May with Wayne Hussey (from The Mission). Then, we’ve got Camden Rocks in June. Though, we’re constantly booking shows and will keep everyone updated via our website.

If someone wanted to come and see you play – what could they expect? Does the band have an outrageous rider at all?!

We don’t really get riders…but, if we did, we’d probably just ask for money or emotional stability. Live, we feed off each other and drink wine until one of us gets too excited and/or something stops working. The wine usually makes its way around the crowd, too, and it’s super-gross; so you can probably expect to catch something, too.

What do you all hope to achieve in 2018?

We’re hoping to get around and play to as many people as possible - and we are releasing an E.P.

What advice would you give to new artists coming through?

Honestly, we’re probably at the same stage; so all we could ask for is to (just) support other bands and help make your music scene as healthy as possible; the odds are stacked, so stick together and enjoy it.  

Are there any new artists you recommend we check out?

Swimming Girls, George Glew and Novatines.  

IN THIS PHOTO: George Glew

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

Between working and Dame Jean, our free time is mainly dedicated to sleep - but we all hang out a lot, listen to sad music and cuddle.

Looking at some of your ‘reviews’; it seems like you have a self-deprecating and humorous approach. Is it important, to the band, to keep things light?

We think so: there’s no point in taking yourself too seriously. We take music very seriously and our music means a lot to us, but we’re only doing it because it makes us happy. If you’re too precious, it’s not going to be as enjoyable - and the whole thing loses meaning.

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).

Cigarettes After Sex - Nothing's Gonna Hurt You Baby

Supergrass - Caught By the Fuzz

Courtney Barnett - Nameless, Faceless

Sharon Van Etten - Every Time the Sun Comes Up

____________

Follow Dame Jean 

Official:

https://www.damejean.com/

Instagram:

https://www.instagram.com/dame_jean/

Spotify:

https://open.spotify.com/artist/3jt4nrztXGhdWZ7vOT4JMT

PHOTOS:

Micaela McLucas

INTERVIEW: Goan Dogs

INTERVIEW:

Goan Dogs

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NOT only does their name intrigue me…

that music gets into the head and fascinates the senses! I have been chatting with Goan Dogs about their new single, Passing Through, and what the story behind it is. They tell me about that unique name and what we can expect from their upcoming E.P., Roll the Dice.

I discover the music and inspirations that drive the band; how the band got together; how a typical song comes together for them; what it was like filming the video for Passing Through – they provide helpful guidance for artists coming through.

__________

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

Very good; very cold.

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

We’re five Bristol boys, born and bred, making delicious psych-infused Rock-Pop.

Passing Through is your new single. What is the story behind the song?

It’s about passing through life. The feeling that life is short, even if it doesn’t feel it sometimes - so don’t waste it, you idiot. We can’t all be lucky enough to have a ‘nice life’ but, if you’re able to recognise the things that will make it richer, then you should bloody well make an effort to seize them.

Talk to me about the song’s video. Whose concept/idea was it? Was it interesting shooting it?

We’re lucky enough to have a talented film-maker in Sam Powell. We all contribute ideas but he and Theo Mackie (who directed this one) are the driving force who actually get it done. Then, our friend Adam Stocker comes along with a lush camera and even more great ideas and makes us look like professionals.

We, basically, came up with images that fit the lyrics (literally) and images that fit the vibe and mashed it together as raucously as possible. We wanted to have even more fun than we usually do making videos - so we didn’t choreograph that much this time. A lot of it was on-the-fly; turning up at people’s houses, putting them in fancy dress; shouting ‘action’ and moving on.

The song is taken from the E.P., Roll the Dice. What sort of things do you discuss and cover in the course of the E.P.?

 Throwing phones in the sea, minor misdemeanours; inappropriate thoughts and living.

How did Goan Dogs get together? Was the bond quite an instant one?

We’re a mix of primary school friends, or secondary schools friends or college friends; overlapping in some complex way we can’t quite remember. We love d*cking about together and love playing music – so, it was probably always just going to happen.

PHOTO CREDIT: Alex Rawson Photography

Is there a reason for that name at all?!

Mangy, stray dogs on beaches. In Goa. It’s a thing: they’re everywhere.

Do you all pitch in when it comes to songwriting? How would a typical Goan Dogs song come together?

We’ve settled into a pretty comfortable pattern where Luke comes up with something, brings it to the band; gets torn apart and put back together again. Sometimes, they’re nearly good to go but, usually, they get reworked a lot by all of us. The best feeling is when we’re on all on the same page and just excited to get it out there.

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

I don’t think we all share a single musician growing up, but you can draw your conclusions from our first-ever music purchases with our own money. Beat It by Michael Jackson, Return of the Mac by Mark Morrison; Who Let the Dogs Out? by the Baha Man, The Bends by Radiohead and Praise You by Fatboy Slim.

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

Yeah, you can - and you should! In March, we’re playing the Boileroom in Guildford on 28th; 60 Million Postcards in Bournemouth on 29th; Hoxton Square Bar & Kitchen (London) on 30th and Thekla on 31st.

How important is it to you, as a band, to get your music on the road? Is the stage somewhere you all feel comfortable?

Very important. We’ve all been in love with bands growing up where the show is what it’s all about. We’re also big fans of studio wizardry, so we have a great time during the production process. But we found out, very early on, that we like to dance around on stage, get sweaty and put on D.I.Y. light shows. Give the people what they want.

T-shirt cannon anyone?

What do you all hope to achieve in 2018?

An album under our belt would be the bee’s knees. We’ve got plans for more E.P.s, though, because we keep writing tunes that we’re incredibly proud of (and feel like singles to us). So, maybe just worldwide recognition in 2018. That would be nice.

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

It’s a bit local, but the Cube Cinema in Bristol put on a fundraiser a while back to buy itself - and we joined the line-up at Bristol Old Vic. As a band that has been on our fair share of tiny, grotty stages it was amazing. Also; achieving our major ambition of playing Glastonbury Festival in 2017.

Our next ambition is to play it again.

What advice would you give to new artists coming through?

Make sure you love doing it so you can press on in times of dire financial straits. Also, people in the industry are all-talk but some mean it; so try and figure out who’s genuine and romance them. Lastly, expect totally contradictory advice from industry insiders if you ask what your next steps moving forward should be. Everyone knows everything and nothing.

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

We all like to unwind by going to a nice relaxing day job.

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).

Rum and Coca-Cola by The Andrews Sisters

My Best Friend’s Girl by The Cars

Strangers by Sigrid

Lying Has to Stop by Soft Hair

Move On by Charlotte Dos Santos

__________

Follow Goan Dogs

Official:

http://www.goandogs.com/

Facebook:

https://www.facebook.com/goandogsband

Twitter:

https://twitter.com/@goandogs

Instagram:

https://www.instagram.com/goandogs/

SoundCloud:

https://soundcloud.com/goandogs

YouTube:

https://www.youtube.com/channel/UCKWiEnRuUIAXmatYY5APxAg

Spotify:

https://open.spotify.com/artist/0FEe8sSnxDKKbSzOTRcnxq

INTERVIEW: Aleem

INTERVIEW:

Aleem

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FORMERLY based out of Chicago…

it seems things are getting better and better for the L.A. artist, Aleem. I have been speaking with him about the current single, Stranger Things. He talks about his progression and supporting Fifth Harmony; whether he will come to the U.K. and play over here this year; the artists he was raised on – and, whether there is a healthy music market in Chicago.

I was curious to discover what advice he would give to new artists; the three albums that mean the most to him; some new artists worth checking out; what his ambitions are for the rest of the year – he finishes the interview with one of his favourite songs.

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

I’ve been great, thanks!

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

I’m a singer/songwriter from Chicago - and I have just recently toured with Little Mix and Fifth Harmony (these past couple of years).  

 

Stranger Things is your new single. What can you reveal about its story and creation?

Stranger Things is a love song about accepting one’s past.

The story behind the song came from a relationship I was in where I could tell my significant other was hurt and jaded from her past relationships. This was causing her to shut off and build up a wall because she was scared that her past might come up and ruin the present. The song is, basically, me shouting out saying that I accept wherever she is coming from - and that it wouldn't take away from what we have. 

Your previous single, So Damn Good, was well-received and accrued many millions of Spotify streams. Did that give you the confidence to keep pushing?

It’s incredibly humbling to see your hard work to get recognized in that honor. My job is to write stories that people can relate to. I’m extremely ecstatic and honored that so many around the world were able to connect with my songs. 

Will there be more material to come? What are you working on at the moment?

Most definitely! I’m currently in the studio writing and recording new stuff!

You have a mix of sun-kissed tones and R&B sounds. Which artists did you grow up listening to? Were you raised in a musical household?

I’m actually the only one in my entire family that has any sort of musical talent. To this day, my family is confused on where my talent came from. I have three main artists that I am truly inspired by and model my craft around: I’m a huge fan of Bruno Mars, The Script and John Mayer. 

Chicago is where you are based. What is the music scene like there? Is Illinois quite a varied and busy musical state?

Unfortunately, Chicago doesn't have much of a Pop scene: the city is well known for its Jazz and Gospel roots. I was fortunate to get my start in Chicago learning about the industry and working on my craft – but, it wasn’t until I moved to Los Angeles that really helped kick-start my career. 

Previously; you have opened for Fifth Harmony. Was it quite a daunting moment – or did you learn quite a lot from that experience?!

It was an epic experience. Even though it was my first-ever arena run, I’d say the results were incredible! I enjoyed every moment. You learn so much about yourself as an artist when you get an opportunity to play on such huge stages. The game is completely changed and the stakes are much higher.

I loved the challenge of being an unknown act and introducing myself to thousands of new fans! Both the Fifth Harmony and Little Mix tours were absolutely insane!

IN THIS PHOTO: Bazzi

Who are the new artists you recommend we check out?

Bazzi is pretty awesome right now, as well as Marshmellow.

IN THIS PHOTO: Marshmellow

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

They would come from my three favorite artists: 24K Magic - Bruno Mars; Continuum - John Mayer and The Script’s self-titled (first) album. These albums were extremely cutting-edge when they were released in their respective times. Each song on each album has a purpose. It’s not just collections of songs: each album tells a story and takes you on a journey. 

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

I’m pretty excited to be putting some U.K. dates of my own together very soon! 

Do you like performing in the U.K.?

I love performing here. It’s one of the most passionate fan bases I’ve witnessed – I love every single time I’m back. 

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

I hope to continue to be able to share my music around the world. I love being able to get in the studio and work on my craft - and then be able to travel and play my music live and put on a show. 

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

I think, overall, that feeling of when you know you have something good while working in the studio. There’s a certain energy in the room that overcomes you when you know you are recording something that will make a mark out there. I love that feeling.  

What advice would you give to new artists coming through?

Stay rehearsed! You never know when or where your opportunity will come from. Stay hungry and ready to pounce when that door opens up. 

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

Drops of Jupiter - Train. One of my all-time favorite songs! 

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Follow Aleem

Facebook:

https://www.facebook.com/AleemMusic

Twitter:

https://twitter.com/aleemmusic

 Instagram:

https://www.instagram.com/aleemmusic/

YouTube:

https://www.youtube.com/Aleemmusic

BLACK-AND-WHITE PHOTOS:

Doug Seymour

TRACK REVIEW: Louis Antoniou - Lonesomeville

TRACK REVIEW:

 

Louis Antoniou

PHOTO CREDIT: Paul Hammond

Lonesomeville

9.4/10

Lonesomeville is available via:

https://open.spotify.com/album/1wfSpEztICcmqyFFTIWGY8

GENRES:

Alternative-Rock; Blues

ORIGIN:

London/Watford, U.K.

RELEASE DATE:

16th March, 2018

_________

I have a lot to crack on with today...

PHOTO CREDIT: Paul Hammond

so it is best I get to talking about Louis Antoniou and his music. Before I do that, in fact, there are a few themes I want to address. I will talk about double-single releases and new ways of introducing music to the public. Following that, I will investigate songwriters who go deeper and produce original songs; why social relevance and observations are required this year; artists who develop their sound and build through time; sounds that need to be proffered and promoted this year – finishing by looking at the way music needs to evolve and shift this year. Antoniou is one of those artists who goes out of their way to explore new ground and push the limits of music. I am making changes to my blog in the coming weeks where I will go looking for more female artists – the majority of requests I get are from men; I want an equal split on my pages – and progress from the capital. A lot of what I do at the moment involves investigation of male artists from the capital – a lot of the same stuff coming my way. It can get a bit weary having bloke-heavy months where I am shifting and sifting through similar-minded acts. Luckily, and to come to my point, Louis Antoniou adds freshness and a unique edge that gives me something compelling to write about. Aside from the fact he does not have a Twitter account – folly given it is the most effective way to promote music – there is so much to love about him. I will come to my advertised points but, going forward, I would recommend a few things. I can never see any rationale and logic for artists escaping Twitter. Facebook is on its arse and will be a spent force soon enough. Gigs are a good way of spreading the word but, given the competition out there; Twitter is the fastest and most-powerful tool available to musicians. You can get your music out to the people very quickly and efficiently using Twitter. I would be nowhere were it not for the social media site and what it can do. Antoniou has his fans on Facebook, and a local crowd, but, if he wants to get to bigger audiences and get his music played widely – Twitter is a good idea for him. I can understand why some artists would avoid Twitter – if they feel it is a little commercial and obvious.

I have made so many contacts on Twitter through the years: Louis Antoniou would accrue a lot more fans if he floated his music on the site. Another recommendation would be for Antoniou to go a bit further regarding his photography and campaigns. The images used here – unless he comes back and supplies more – are from an interview I conducted with him a little while ago. That interview was for his previous single release. I am not sure whether they are bespoke for that campaign – or general images that can be used at any stage – but, given the nature of his latest release; some themed and unique images would be a great idea. He has a photographic allure that means the camera, it seems, loves him. I will talk about the poetry and desires of Antoniou soon but, for now, maybe some more shoots and campaigns would help get his music out to the people. The final point I wanted to make was promoting music further than the U.K. I know Antoniou wants to play church gigs this year – one of the first Rock acts to tear up a place like that! – but he seems like a natural fit for the U.S. He has gained great praise from U.K. sites since the start of his career. I know American audiences would love his music and back what he does. All of these modifications and tweaks would bring the brilliant music to more people and get Antoniou the credit he warrants. At the moment, the London songwriter has done sterling work and seen multiple sites/sources push his sounds. You Ain’t the Girl, his previous single, showed promise and a keen desire. Antoniou has come back with a brilliant double-release.

PHOTO CREDIT: Paul Hammond

I am not taking on the other side of the coin, I Let the Rain Fall Hard, because I only look at singles – at the moment, anyway. I have heard the song and can attest to its dark, gripping and dramatic tones. It is not as light as Lonesomeville and has different shades. This single is slicker, cheekier and different to his previous release. Whereas that song was a Blues affair that reminded one of the likes of The Doors, The Rolling Stones and Elvis Presley; here, we have something with humour, grizzled and frenetic. I will look at the way some songwriters develop their work quickly and have that restless nature. I get bored with the same sort of campaign and artists who bring out there music the same way. Usually, with an album involved; you get the first single/teaser that comes along. Maybe there will be a few clips and build-up of that introduction song. Before the L.P. arrives, we have seen, maybe, three or four tracks come through. You are familiar with that record but, more than anything, a little weary and keen for something new. It is a strange experience having that much familiarity with three or four songs – it sounds strange against the new tracks you’ll experience on the album. I wonder whether promotional campaigns are too predictable and full-on. Do we need so much material and relentless promotion before an album comes out?! New artists do not really have the same agenda and angle. They do things differently for single release, but still, there is too much of the obvious and weary. Louis Antoniou has taken a different tack and decided to release five singles this year. The double-release we have now shows another couple of sides to the songwriter. I am always looking for artists who do things differently and break with convention. The fact Antoniou wants to release more songs this year means he has a desire and passion to get things done. He wants to succeed an, with every new offering, takes a different approach.

I have seen artists release B-sides and bring their material out on cassette. That may sound a bit vintage and outdated against the modern world: the fact artists are willing to retain the sense of wonder and old makes me hopeful. I am pleased we have the Internet and streaming services but I yearn to retain physical forms and, at the very least, see music remain agile and unpredictable. Having the same artists release the same material, in the same way, gets boring very fast. Antoniou wants to stand out and, as such, has started this year with intensity and meaning. I will come to look at Lonesomeville very soon but, right now, I am interested in that double-release. The public gets two tracks at once and, with it, separate songs and sounds. The two singles do not have the same tones and dynamics. There will be a couple more releases coming before the end of the year – I am interested to see where Antoniou goes and what he produces. I know Antoniou loves music of the past and grew up around the likes of The Rolling Stones. You can hear their mix of Blues and Rock in his music. What I would like to see from a songwriter as appealing as Antoniou is to retain that blend of older and new. The London artist still engages in the motions of modern promotion: teasing material and releasing on streaming sites; building up hype and attention. I hear an old master with one part of his mind set on the glory days. Maybe he would consider releasing to cassette or including covers in his repertoire. Perhaps there will be an album that has a narrative arc based on modern life and ways we need to develop as people. Each new song provides another part of the jigsaw. I feel there is a massive success waiting around the corner for Antoniou. He is always pushing himself to be better and finding ways to distinguish himself from the masses. Lonesomeville is a brilliant way of doing that.

There is a series of BBC Radio 6 Music, presented by Chris Hawkins, that looks at bands involved in politics. The programmes chats to artists who involve themselves in social and political concerns. I think IDLES are one of the acts being featured. The reason the show interests me is seeing how music is changing at the moment. There are artists who remain in the commercial and obvious realm. Against that (commercial aspect) are the musicians going out their way to talk about something more relevant and meaningful. We need artists to take a more conscientious approach to songwriting; look around them and document what is happening – and how the world is being impacted. That is one trend unfolding in music right now: bands and new acts talking about modern life and how the nation is changing. Antoniou is someone who understands this and has the potential to join the elite of music. One of the suggestions I would urge is to turn his powerful and engaging music to areas like social change and politics. He has looked at love and humorous sides: a gaze into the modern world, and the way people are living their lives, is a good shift. Like peers such as Louis Brennan; delving into subjects most songwriters avoid would be a good idea. I can see a soul and conscience in Antoniou that wants to go beyond the similar and boring – a more invested, curious and striking heart. The way he goes about music has impressed and stunned me. Bringing that wit and humour into a politically-charged number would see him join artists like IDLES and Cabbage in the leagues of the aware and divining. Those bands see the way the world is splitting and, alongside tales of everyday life, are striking out. In fact; IDLES do not only look at politics and attacking bad practice. They view the streets around them and all the odd romances, ambitious people and strange scenes.

Antoniou has a great Blues and Rock sound, I feel, could stir the same kind of passion as Punk. He is someone determined to keep his music real and relevant – ensuring it is never grey, common and lacklustre. He provides songs that stay in the memory and stray from the routine. I feel his wit and fantastic music could do wonders when looking at social concerns and divides. I am not saying he needs to go the same way as IDLES and Cabbage: investigating political stresses and anxieties, with his humour laced in, would be a great move. Maybe that sounds too controlling – Antoniou has his own way and motives right now. I feel the songwriter has goals for 2018 and wants to make changes in the music world. I can hear that endless passion and curiosity come through in every note. From interviewing Antoniou; he told me he has a set of poems that look at the Seven Deadly Sins. Maybe a crowd-funding campaign could get them to life. Those songs would look at modern life and bring the listener into something fascinating, strange and wondrous. Antoniou is a big fan of artists like Father John Misty, Arctic Monkeys and Bob Dylan. He loves Shame – all artists who involve social commentary in their music. I am interesting seeing where Antoniou goes and how his music develops. There is the humour of Father John Misty and the Blues chops of The Rolling Stones and Bob Dylan. Engaging with those Punk ideals and shining a light on the changing faces of Britain would seem, in my view, a great step for him. That might get him gigs with the likes of Shame, one would imagine. Maybe he has different objectives but, when interviewing him, that 2018 goal stood out: performing in a space like a church; blowing the roof off and bringing something raw to that setting. It would be, in a way, Antoniou’s version of Bob Dylan going electric (“Judas!”).

PHOTO CREDIT: Paul Hammond

Although love, lost and estranged, is part of his locker right now; I wonder whether the songwriter will tackle fresh topics in his remaining releases. I am not in a rush to see Louis Antoniou rush ahead and change things too much. Recording at The Crypt Studios; the talented songwriter goes beyond the garden-variety songwriters who strum and sing the same stuff! Over the course of a few songs; Antoniou has moved from Blues-out strands and tales of wrong love and misguided affections. Here, on Lonesomeville, there is a different sound and different course. More wit had come in; the song is faster and rawer, in a sense – stepping more into Blues territory, I guess. A lot of new songwriters get a bit tense and feel the best way of getting under the skin of people is to repeat themselves for a while. They will release similar-sounding music to get their ‘sound’ and identity cemented. It is understandable given the way music has changed and how competitive things are now. You can alter your music and take in new influence without alienating people and scaring critics. I have seen artists take big steps between songs and get more people recruited. Antoniou has a common core but, with each single, brings in something amazing and unexpected. Lonesomeville is a track that will register with those who have followed his career so far. Anyone new does not need to go back through his catalogue and familiarise themselves with his work. Basing himself in London; there is a lot happening around and changes in the air. I feel it is only a matter of time before Antoniou is thinking of an album or something bigger. The fact he does not remain rooted and reproduce average music means he is a step above many out there. I would like to see him embrace the full spectrum of music and bring more of his influences in. I can hear the likes of The Rolling Stones and Father John Misty in his sounds. Given his talent and immense drive; who knows what he can achieve before the end of the year?!

There are little nods to Arctic Monkeys and Elvis Presley in the early stages of Lonesomeville. There is an allusion to Heartbreak Hotel and some of the vocal sounds of Alex Turner (Arctic Monkeys). I hear elements of John Lee Hooker, The Beatles; Led Zeppelin and Blues masters in the song. It is a rollicking and explosive track that bursts forth and whips up energy. One can imagine the song being played in a cool bar with some fired-up and dancing patrons. What one experiences is all the strands and colours of Antoniou come through. You have the modern production backing a song whose lyrics investigate love and loneliness in a rather classic, old-fashioned way. You do not get the same clichés and obvious lyrics so many modern songwriters trot out. One hears bits of the 1950s come through in the verse. It is a witty and evocative number that has that physicality and story-like quality. Antoniou introduces story and conversation through the song. The girl, whoever she is, is a stickler for rules and guidelines. Maybe there is strictness and rigid façade that has got our man angry and alone. I am not sure, in the early stages, whether the two are together or not – or, whether this is a sense of pondering from the sidelines. The sweetheart has stamped on Antoniou’s heart – and his balls, in a sense – and left his jaded and spun. I am not sure what has compelled this assault and crush. Maybe she has been too uncaring and cold in the relationship. I feel, in a way, the hero was after a conquest and sense of satisfaction. Like The Rolling Stones and their lust for sex and getting their rocks off – I feel a sense of longing from Antoniou here. Maybe he did not aim for long-term and serious: a chance to get close to the woman and experience the thrill of the chase. That might sound cynical but, given the race and pace of the music; one gets into that mindset and hole. It is an energised and kicking start that gets you invested and thinking.

The guitars grumble, yowl and scratch; the percussion rumbles and the strings twang, guide and dance. The hero rises above the band and lets his voice radiate. His heart has been broken and he has been left alone. I am not sure whether it is a big disappointment in terms of a missed relationship of the denial of satisfaction. It seems my natural scepticism has avoided looking at the song as a break-up and deep thing. Too many love-songs investigate splits and relationships with seriousness and dour countenance. It is all very po-faced and teary. Here; we have a song that has youthful cheekiness and does not take itself too seriously. The script was written with the girl in mind; she has the starring role and our man, he says, will bring her flowers before every show. At once, you get an ideal of classic films and something older. Whether you project the girl as a film-star siren or Muse of the stage – there is something oddly classy about the pursuit. Our boy does not want to slow and is trying everything in his book to get the girl’s focus. She is giving him the cold eyes and not fooling for his pound-store routines. That sounds cruel to the hero: he is putting the effort in and laying his heart on the line. One gets involved in the going-ons and pictures the two exchanging glances and intent looks. They are on different sides and, perhaps, have different ambitions. Antoniou locks his sites on the woman and makes it known he is a solid guy. I guess there is a part of him – no guessing which one! – that wants to get a thrill and find some physical release. The rolling and persuasive clamber of the composition keeps the energy levels high and gets the listener moving from the very off – keeping you here until the final notes. Towards the end stages; the Blues guitars howl and stand aside. There is some soloing that gives the song additional spark and sexuality. It is a fantastic parable that, when fused with bold percussion and disciplined bass; creates something fantastic and raw. By the time the song ends; you are looking for more and, ironically, want that musical orgasm. I am not sure whether the hero got his way and managed to win the girl around. All good songs leave the listener guessing and speculating after it has finished. You write new scenes afterwards and envisage alternative endings. Lonesomeville is a cracking song from Louis Antoniou and shows he is a step above most of his contemporaries. Make sure you get behind his latest work – and I Let the Rain Fall Hard – and see where the London-based artist is heading. It might be early in his career but, if he keeps releasing songs like this; I can see him going very far and playing some big stages. On a very cloudy, unpredictable and grey week – Lonesomeville is the song everyone needs to bring some sunshine, cheer and hope into the landscape.

I recommend you have a listen to Louis Antoniou’s other single, I Let the Rain Fall Hard, as it shows incredible ambition and ability. That double-sided release is something we need to see more of in modern music. I get irritated seeing the same promotional campaigns and familiar promotional circulating the Internet. Putting out a twin-release means the public get two songs at once and, with it, differing stories and sounds. I have mentioned those who release material on cassettes – a great way of keeping the magic and charm in music. It might sound quite ‘cute’ given the fact cassettes are very rare and, well, obsolete. I wonder whether Antoniou will release his work to vinyl or bring in some cassettes releases. Antoniou has some London gigs coming up and, following a memorable past year; he is capitalising on that success and experience. Those gigs are a great way to get new material to the people. Antoniou seems comfortable in London and is taking a lot from the people and streets. The mixed population and constant energy runs through his blood and has compelled his imagination. I can see Antoniou going further and taking his music to other parts of the world. It is still early in his career but, from these early signs, there is every evidence to suggest he will be a big name very soon. I love what I have heard on Lonesomeville and am already looking ahead to see what comes next. Songwriters, now, do not really bring much wit and humour into music. I hope he thinks about a Twitter account – unless there is one and I have missed it completely! – as that will get his music to influential radio stations and sources instantly; ensure artists and labels around the world hear his stuff; gets to a large audience very quickly indeed. It makes sense in the modern times that every artist exploits every option available to them.

PHOTO CREDIT: Paul Hammond

I will end this by talking about where Antoniou heads and why he is a name to watch closely. He looks at love but never does it in a hackneyed and stifled way. He is an expressive and open songwriter who ensures his music has a unique aspect and plenty of interest. I have been a fan of his for a while and seen the changes coming into his music. It is an exciting time for Louis Antoniou and his music. He has won legions of fans – but this is only the start of things. He has options ahead of him and various routes he can take. I know there are more singles coming and there will be gigs approaching. If you have not familiarised yourself with his music; ensure you get behind him and watch his every move. I said I am embracing female artists more and trying to create a sense of parity on my blog. Most of my requests are coming from men; a lot of what I do is about artists from London who produce the same sort of thing. That might sound gloomy considering the fact I am reviewing Louis Antoniou! What I mean is I have been wiped by a familiarity and lack of engagement. What I have found with Antoniou is someone who goes beyond the conventional and ordinary. His music has a spark and candour that is missing in the industry right now. Because of that; I know he will go far and collect plenty of praise. The double-release, Lonesomeville/I Let the Rain Fall Hard, is a wonderful offering from a songwriter who wants to go as far as possible. Get your ears behind Lonesomeville and experience something incredible. Even though these are the first steps from Louis Antoniou; I know his future will be very busy and bright. In a world with a lot of depression, hardship and struggle; we need an artist, like Louis Antoniou, who…

PUTS some cheer back.  

_______

Follow Louis Antoniou

Official:

https://www.louisantoniou.com/

Facebook:

https://www.facebook.com/Louisantonioumusic

Instagram:

https://www.instagram.com/louis_antoniou/

YouTube:

https://www.youtube.com/channel/UCXaimbme5y2S-fWNm7u5QSA

SoundCloud:

https://soundcloud.com/louis_antoniou

Spotify:

https://open.spotify.com/artist/34nd9ZqVVsFUd3ANXsLSw4

FEATURE: The Garden Fence Rituals: Building a More Ambitious Musical Platform

FEATURE:

 

The Garden Fence Rituals

ALL PHOTOS (unless credited otherwise): Unsplash 

Building a More Ambitious Musical Platform

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I am looking at my site and the number of posts…

I put out on a ‘good’ week. Tomorrow, I will write about The Beatles and how their music has impacted me – as a reaction to the (long-overdue) knighthood given to Ringo Starr during the week. I think about the band and images come to mind; flashes of their music and when it first came into my life. I think about the band and they, really, opened my eyes to the possibilities of music. I have written about The Beatles but, as I think about them, something more full, impactful and thorough is warranted. Everything I do is written and textual. It is convenient writing everything down and not having to travel about: I get to put up a lot and it is nice and quick. I guess, in a busy week, I can produce twenty-five pieces, give or take! It is rewarding seeing so much go on my site – I wonder how far my work is going and who it is reaching. That is an understandable nagging, I guess! I want to share my love of music and what it means to me. My hankering for connection and a more visual site has led me to make a deceleration: I will take the blog in a new direction and make it more ‘cosmopolitan’. By that; I want to bring in more filmed interviews and do documentaries. It is exciting thinking about where I can go and what gaps can be filled. One of the things missing from music journalism is the visual/filmed element.

You get video interviews and the odd bit: nothing consistent, broad-minded and expansive. It would be good to put out a regular podcast/series that looked at classic albums and charted the progeny/development of the record. It can bring in other artists and their take on that work. For instance; I could look at Fleetwood Mac’s Rumours – having seen a documentary about them last night. Instead of, how I normally would, write about it and have photos/songs embedded: it would be more judicious putting a video up that explores interview clips (from the band) and plays the tracks; brings the work to life and shows my face – something that has been lacking from my blog. I do not want to abandon the written aspect altogether. What I do want to do is cut back on the written interviews/features and introduce something recorded. Interviews will take the same assortment of artists – recording them in a ten-minute interview; making it more full-bodied and interesting. I will still write some features but, for the most part, turn towards visuals and audio – creating a more physical and personal blog. This is not only about me and my ambitions, mind. I worry music is losing its social edge and sense of connection. I titled the piece as I did – The Garden Fence Rituals – because I want that sense of leaning over the neighbour’s fence to have a gossip about the goings-on in the street.

It sounds like a 1960s soap set in the North – early Coronation Street, perhaps? – but it is a romantic ideal. I worry I have been too insular and detached the past six years. Rather than concentrate on speedy posts and getting content out there quickly: taking time and producing something stylish and striking. I have been thinking about other documentary ideas and investigating various angles of music. Most of the journalism we see out there tends to have written articles - and that is about it. I have written about the subject before: the way journalism lacks visual/filmed aspects and can break ground. I realised, when I had my realisation, is that we are all in a rush and want something digestible and fast. How many of us will sit down and watch a video interview or documentary? One of the best things about music is meeting an artist and discovering more about them. The process of going to a gig and being among like-minded people is an experience you cannot better. It is great being in a  ‘church’ where everyone agrees and there is a genuine truth. Going forward; I am eager to play more of the music I love and mix the older with the new. Radio is, really, one of the only forums where we can get that blend of the brand-new and old. I look on streaming sites and they focus on the fresh – overlooking what has come before and, because of, endangering the preservation of classic sounds.

There are some great radio interviews but, look at music journalism, and we are still dominated by the printed form. Maybe the journalist will go and speak to the artist and record what they are saying. That gets transcribed and the reader views the interaction. I feel much more connected to artists, and music, when it is audio/visually-based. The same goes for features. The journalist writes about a subject – whether it is sexism debate or a look at the best albums of the 1960s – and it is good to see it written down. I can learn a lot but, I feel, the best way of making something stick and reaching a wider audience is providing something in audio. Think about a subject like, say, music videos. It is something explored in music journalism occasionally – I have not seen a piece that vividly and explicatively looks at the declining forum. I worry there are fewer knockout videos and stunning examples. I think back at legends like Chris Cunningham and Michel Gondry – my favourite director – and the work they have created. One can do their own research and see those videos: having a feature that puts them onto the screen and interviews fans/fellow directors would be much more effecting and long-lasting. There are so many other features one can see in music journalism. I know there are podcasts out there – mixed in terms of memorability – but a site like mine could interview musicians, older and new, that talks to a musician and asks them about upbringing and tastes; their path through music and bring in something light-hearted – mixing Desert Island Discs and Room 101 elements with a more traditional interview series.

IN THIS PHOTO: Michel Gondry/PHOTO CREDIT: Getty Images

Music journalism is far less sociable and engaging than music itself. I wonder, actually, whether music itself is human and physical as it could be. Streaming services and the way music is marketed means we rarely get to hear about the making of that music and hearing from the artist. There are videos put out there but that the industry is so fast-paced and busy – how often do we get to bond with that artist or learn more about them?! The reason I want to reinvent and develop my blog is the potential of the audio and visual mediums. Not only can all the possibilities (I have mentioned already) come to the fold: there could be handy guides for people; covering a number of subjects. It might include P.R. tips for musicians and how to get a booking agent; a look inside venues and the best around; a concentration on the music of the North and how it has impacted the popular scene – there are so many other options! I wonder how far I can take my own site and what can become of music journalism. At any rate; I feel like something more interactive and adventurous needs to unfold. Even if we have little time to read pieces – and prefer things on-the-go – the only way we will bond with music, current and past, is to slow things down and provide something much more engaging and ‘human’.

Creating that direct link between the public and the music is paramount. I love promoting the artists I do but feel I can do more. There are so many options available to me. Whether that involves creating my own audio-visual environments - regular features/podcasts and filmed interviews – or connecting with other stations/platforms; I am keen to explore the limits and potential available in journalism. Radio is, still, the most effective and direct way of bonding the people to music: bringing more of that into regular music journalism would not only create greater interest – it would revitalise a flagging field and get more people interested in pursuing it as a career. Of course, being sociable and adventurous takes money and time. It does require a slight overlay: the benefits and advantages of taking that leap is hard to put in terms of currency and profit. That is the realisation I have made. I love my blog and it provides an escape and fulfilment I desperately require. Whilst it is fulfilling seeing artists benefits from my words and time…there is a part of me that wants to get out into the open and actually SEE the people. Being stuck behind a laptop fosters isolation and disconnection that is prolific in journalism. Getting among the people and putting up those conversations; recording features and bringing people more into things – THAT is what we need to see. I will go about my changes and developments: I hope others follow suit and change the way music journalism is presented. If we can, all, create a more vivacious, deep and multi-platform discipline; it will bring music to more people and capture the imagination at the same time. I am not suggesting it is as heartfelt and intriguing as that conversation over the garden fence! It is, however, a great way of making music journalism, and sites like mine, a much more sociable and…

EXCITING medium.

FEATURE: Trollin’: Why Online Abuse Needs Stamping Out

FEATURE:

 

Trollin’

ALL PHOTOS: Unsplash 

Why Online Abuse Needs Stamping Out

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A couple of things happened last week…

that affected me and raised questions regarding the way we interact online. I have been following a couple of bands – who shall remain nameless – who have been indicted for sexually assaulting/abusing a female fan. This is, sadly, something that is becoming more common in music. There are male bands out there – and some solo artists – who feel, because they are adored by their fans, that gives them an all-access pass to their female audience. In their mind, that translates to unwanted suggestions, touching and worse…many have been accused of rape and serious abuse. I am not sure how far the problem extends to music. I am hearing these stories come to light: it may go a lot deeper and affect a lot more people (than are coming through). I am seeing, worrying again, a lot of online abuse and stalking. A lot of female artists have come out and highlighted various people – nameless again – who have approached them with snide insinuations, sexual indecency and vile messages. The issue does not only extend to musicians themselves: members of the public take it upon themselves to send messages/photos to musicians and think they can get away with it. In a week where Cambridge Analytica has been accused of mishandling people’s personal information -  wonder whether data-collecting/analysing companies should use their skills to monitor and police social media...

I am concerned there is too much abuse happening in a space many musicians come to find fans and support. I have already mentioned some of the physical assault and attention female artists are getting. When it comes to online interactions; I feel there needs to be a ruthless code of conduct that punishes those who flagrantly disregard the rules. It is not only female artists/users who are finding themselves being trolled and abused. Why there are male artists getting attacking messages and profane comments; it is the sort of attention women are afforded that troubles me greatly. I have seen YouTube videos where a female artist has received some truly shocking comments. A couple have focused on the looks of that artist. Either, they have been degraded and insulting – glad she sings as her face and body are ugly! – or overtly sexual and perverted. It is hard to think of a time where there has been so much unfiltered and unchallenged material floating around the Internet. It is horrible seeing men – mostly but not always – feel they have the right to throw anything they wish into the open. As I say; there have been comments made about a woman’s physical appearance; I have seen direct and scolding attacks on someone’s voice and songwriting – others that abuse the musician directly or cast them in mental pornography. Is it the case that a female artist should be exposed and degraded because of their gender?!

The Internet, unfortunately, is a space that does not discriminate on the grounds of gender. I am seeing feedback from male artists who have been contacted by strangers – receiving threats and insulting remarks. I have looked at some videos where the comments section has been upsetting or plain cruel. Whilst people are entitled to their opinions: how they go about expressing that freedom is not right or understandable. The Internet is this forum where everyone can contact someone or have their say regarding anything. It is a platform that opens doors, minds and opinions. It can be very helpful for musicians: hearing fans’ views and getting that direct correspondence provides heart, motivation and insight. I like receiving messages/updates from people who see my work and are keen to express their thanks. It is heart-warming and comforting to know people are kind and willing to connect. More and more, to balance every kindness, there is a slew of crap and sewage that threatens to take a toll on the music industry. The nature of abuse is varied but it boils down to sexual/sexist commentary and profanity. I have seen death threats and racism being exchanged on social media/sites – a small number of people who feel they have the right to say the most despicable things. How do we go about challenging this practice and seeing change?!

There is a line to draw when it comes to what is acceptable and what can be considered harmless. It is important to differentiate between ‘banter’ and casual mockery and out-right attack. Music is not like politics: it is a forum that should encourage respect and understanding. I am not saying politicians deserve attack and coruscation; music does not deal with people and issues in the same way. Musicians are here to make things better and offer something good to the world. I can appreciate someone would dislike a song/artist – people are allowed to express disapproval and criticism. There is a limit as to what can be said and shared online. Whilst something constructive can be shared regards a song or artist: abusing them and making them feel uncomfortable is not something we can allow to happen. Nobody should have to go online and have to face the sort of abuse that is available. Moderators need to be stricter with comments and cast their net wider. At the moment, people can be banned and arrested for making threats and posting racist comments. I know this happens on sites such as Twitter and Facebook. I wonder whether we need more vigilance when it comes to the likes of YouTube. Many new artists are putting their music out there and, rather than getting kind feedback and praise: they are receiving vile and upsetting posts from people whose agenda is to destabilise them. People, mainly men, are sending sexual comments or attacking appearance.

Even if the comments are about the music itself; is it right to allow profanity and huge negativity to feed in?! I feel part of expressing dissatisfaction with a song/artist needs to be met with limitation. I am not a fan of Coldplay – I do not go to YouTube and post insults on every one of their videos! Why people feel they need to belittle and humiliate artists is quite beyond me! The toll this sort of thing is taking is immense. There is already an issue with mental-health in the music industry. Allowing abuse to circulate and infiltrate is adding to that burden. As we talk about sexism and the way women are portrayed and addressed in the music world; online comments are highlighting why we need to be strict with those who offer nothing but distaste and rudeness. I am hearing about bands who share explicit images of themselves with fans; others who post photos, sexual in nature, of fans and those they have abused. It is hard to get a grip on the full extent of the problem: the Internet is so wide and busy, one cannot ensure every single thing posted is reviewed and treated in an appropriate manner. Those who do blatantly show no respect for someone should be banned from social media, I think. One cannot see the justification for going after someone and showing such little regard for their feelings.

Anyone who treads into criminal territory needs to be dealt with swiftly and brutally. The Internet needs to be a safer space and, at a time where the security of people’s personal data is being questioned and put under the microscope – do we need to take a look at everything posted and weed those out who are there to cause harm?! It need not be something as elaborate and complicated as thousands of people monitoring every portal of the Internet. My suggestion is simpler: algorithms and programmes that views every comment and detect the abusive from the acceptable. It would not be as swift as someone being blocked and banned after that initial comment. There needs to be a sense of review – to determine the intention and veracity of the remark. That might sound complicated but it would not have to be – if we spent a bit of money and time ensuring people are protected. I am getting annoyed at certain people who bring their brand of insult and cruelty to people. Trolling and explicit comments are not something we want to see associated with music. In fact; nobody wants to see it in any corner of the world. To ensure we do not add to the debt of poor mental-health and degrade musicians; we need to get tough with people who flout the law and think they are above punishment. Setting examples would deter others and show you cannot get away with calmly abusing people. The rise in sexual abuse claims and trolling needs to be tackled and stemmed. If we can do that, and reduce/eliminate disturbing and unwholesome comments, that can lead to a refinement and improvement. People would feel safer and, with it, we can create an environment where musicians do not need to worry and…

FEEL unsafe.

INTERVIEW: WILDFIRES

INTERVIEW:

WILDFIRES

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MANCHESTER is a part of the world…

I am always keen to explore. I have been speaking with WILDFIRES about the city and why there are such strong connections among musicians. They discuss their new track, Mr Solo, and how it came together; what they have planned regards material/touring – what music they are all inspired by.

I ask whether there are new artists we should be aware of; how stunning vocals (from Poppy-Jo) add to their musical beauty; what it was like recording at Medicine Room Studios; how the band got together; if they get any time off from music – the guys all select a song to end the interview.

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

How’s it going!? We’re amazing! Our week has been pretty mega. We got played on BBC Radio 6 Music on Saturday and again yesterday on the BBC Introducing Mixtape - so it’s very hard not to be smiling!

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

We’re a four-piece Manchester band consisting of Poppy-Jo on Vocals, Ste Darling on Guitar; Nath on Bass and Si James on Drums. We like to think that we’re a bit new, a bit different and, maybe, bring a sound that people haven’t really heard before. We mix twangy guitar sounds with electronic synths to create a sort-of ‘Indie-Electro’ vibe.

Mr Solo is your latest song. Is there a story behind the song?

Everyone that has heard it has interpreted Mr Solo in so many different ways. A lot of people characterise Mr Solo and, for them, the song’s about this lonely guy that shuts himself off from the world. It actually has a bit of a deeper meaning and kind of says that we are all ‘Mr Solo’ in our own ways – so we’re all in it together.

The vocal beauty and strong production makes it an instant, yet deep, song. It mixes dirty and refined. Was that a conscious decision?

Absolutely. We’re aware of Poppy-Jo’s husky vocals - and we love to use that to our advantage by contrasting it against all the other stuff we have going on. We, originally, wrote the track all on synth but, to make it sound more ‘us’ and less dancey; we developed the chords on our instruments. It’s so fun to play for us - and we can imagine how much bigger it will be live!

What was it like working at Medicine Room Studios?

Medicine Room Studios is so cool. It’s a former elderly people’s home and the room we record in used to be the old medicine room – hence the name!  It’s obviously very creepy but it all adds to the ambience - and it’s a great story to tell…

Dom, who produced our track, is an absolute legend, too. He was so honest; contributed loads and really knew his stuff.  The man’s a genius!

Is there going to be new material coming later in the year?

Very soon, actually! We’re recording two new singles and, hopefully, will have an album by the end of this year. The next thing we have in line, though, is Mr Solo’s music video! We’ve just started the filming and there’s definitely going to be some surprises in store with that one – think Prodigy’s Smack My Bitch Up mixed with OK Go…we can’t wait to release it.

How did you all get together? When did WILDFIRES come to be?

We have the wonders of the Internet to thank for bringing us together. We met on a kind of dating website for musicians: Natural Music Selection, we say. Hahaha. The modern-day world, eh!

I hear everything from Nina Persson and Bombay Bicycle Club in your music. Which artists are you influenced by?

We actually all have very different music tastes in the band, which is amazing for influences (but a nightmare for the aux in the car. Haha!) We feel particularly influenced by bands like LCD Soundsystem, The xx and, in lyrical ways, Guy Garvey and Amy Winehouse. We’re all so passionate about music, that elements from our songs can be heard from all different genres...from Electronic/Dance, right through to heavy Rock!

Manchester must be a great place to create music! What is the city like for artists?

It’s definitely competitive, but the atmosphere is unreal on the music scene: Manchester’s never lost that. Every time we gig we make new friends or networks; whether it’s other bands or (just) the people that get chatting to you after you’ve played. Manchester has so much history, especially in music, so we can’t even express how proud we are not only to be to be born here, but to be creating our music here too

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

We actually have nothing set in stone yet - as we’re focussing on writing and perfecting our set-list. The idea of people being familiar with our songs when they come to watch us is really important to us - but we’re also in a hurry to get back out there, so keep your eyes peeled very soon!

What do you hope to achieve in 2018?

We just want to get our name out there a bit more, you know!? We work so hard at this like so many other bands, and to gain recognition from it would be so fulfilling. Every new person that listens to our music (and enjoys it) is a massive achievement for us.

Anything after that is (just) a bonus!

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

Our favourite memory is probably when we played a tiny pub in Stockport called The Blossoms - where the band got their name. It was a tiny gig but felt massive because of how packed this little room was! We accidentally went too Rock and Roll for our own good and got a bit merry on stage so, by the end, we were just going mental with all these people dancing in this tiny pub – it was like a rave that just played our own music. Hahaha

What advice would you give to new artists coming through?

Stick to your guns and believe in yourself. Very cliché, but it’s something we live by! By all mean, take on criticism and listen to those that know their stuff – but, instinct and confidence is the key.

Don’t let anyone stop you from doing what you love...

IN THIS PHOTO: Freeda

Are there any new artists you recommend we check out?

A fellow Manchester band (sorry, we back our own round ‘ere!) called Freeda (from Mossley). Really up-and-coming sound - and some proper bangers to have a dance to!

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

Truthfully? No! hahaha. We never stop! We all work full-time as well, as a band so, whenever we’re not at work, we’re writing/jamming/blogging. It’s like having a business: keeping the website, the social media up to date - it’s all very important to keep us fresh in people’s minds while we write!  On the rare occasion that we do get some time to wind-down; it’s always at the pub with a crisp cold pint of Guinness. Standard.

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).

Poppy-Jo: Take a Slice - Glass Animals

Ste: Rip It Up - Orange Juice

Nathan: Chateau - Angus & Julia Stone

Si: Gravity - John Mayer

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Follow WILDFIRES 

Official:

https://www.wildfires.band/

Facebook:

https://www.facebook.com/wildfiresmanchester/

Twitter:

https://twitter.com/WildfiresMCR

 Instagram:

https://www.instagram.com/wildfiresofficial/

SoundCloud:

https://soundcloud.com/wildfiresofficial

Spotify:

https://open.spotify.com/artist/4S4mc0oedPFeb8ULyudijY

INTERVIEW: Towers and Trees

INTERVIEW:

 PHOTO CREDIT: Foxx Foto 

Towers and Trees

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ADRIAN of Tower and Trees…

has been telling me about the band’s new single, Head Down/Heart Up. I ask how they got together and why they went on a hiatus. Adrian discusses their tastes and a fond, recent memory; what gigs they have coming up; if there is going to be more material coming this year – if the U.K. is going to be part of their touring plans.

I was curious to know why the band got back together (after their break) and, if they could choose any artists to support, which would that be – the guys each pick a song to end the interview with.

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Hi, Towers and Trees. How are you? How has your week been?

Great! Any week you release new music is a good week - and the response from our fans, and others, to Head Down/Heart Up has been really inspiring.

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

Towers and Trees is an Indie Pop-Rock band from Victoria, British Columbia on Canada’s Pacific Coast. We are Adrian Chalifour (Lead Singer-Songwriter), Dave ‘Shredlinsky’ Zellinsky (Lead Guitar); Dave Arter (Bass) and Jesse Boland (Drums).

...This is Adrian answering the questions today…

T&T started in 2013 as a solo, home-recording project but quickly ‘grew up’ into a full-band when our first single, Montreal, became a surprise local radio hit and we played our first live shows. Those early performances were electric with raw energy and chemistry - and we all quickly realized there was magic in the collective.

Head Down/Heart Up is your new single. Can you reveal the background of the song?

That phrase, ‘head down, heart up’, started as my mantra of sorts during a time of change and uncertainty: we had just decided as a band to go on indefinite hiatus; Jesse (our drummer) announced he was moving across the country; literally, days later; my girlfriend and I found out we were expecting our first baby and, meanwhile, the entire world seemed to be going a little bonkers with Brexit, the refugee-crisis; the Trump presidency, etc.

It was a lot to process at once - and my head became a very unpleasant place for a while. Head Down/Heart Up was my reminder to turn the damn volume knob in my head down and trust my heart to take the wheel. I hope in these noisy, uncertain times; that's a message that resonates with a lot of people.

It seems like the band was not going to return – a hiatus compelled by life events and changes. It seems like you were all in different places. Did you all feel there was no option but put things on-hold?

Putting the project on-hiatus was the best decision we could have made. For a number of reasons, we were all burning out: constant line-up changes in the band, the rollercoaster of making a deeply personal album and watching it fail to gain industry or commercial traction; all the simple, practical challenges of being a professional band on the far West Coast of Canada.

When you start taking out the frustration on each other, at some point, you have to ask: ‘Is this worth it? Is there a vision here?’. The short answer was ‘no’, but there was a sense that, if we put it down now before the damage was permanent, maybe we’d find a reason to pick it up again...

PHOTO CREDIT: Steve Leung

What provoked the decision to come back together? Do you feel renewed and repurposed now?

The hiatus was like releasing a valve - and a lot of those big life changes came bursting out right after the decision. Jesse moved to Toronto, Shred started his side project, MIND, and launched a sex app called BedBeats (seriously); Dave went back to school - and I became a father. Quite quickly, after that initial release, the creative chemistry just drew us together again. I started sharing demos from Germany to Jesse in Toronto (and the Daves in Victoria) and, eventually, there was enough there that it was like: ‘Okay…do we do this?’.

The break was important, but the piece that really makes a next chapter possible is a renewed vision. Vision is what can keep you on course when it gets hard or crazy or messy, which it will and fast.

Is there more material coming along? May we see an E.P. soon?

We’ve recorded three songs with producer Ryan Worsley that we’re very excited about. Our hope is to use those three to find a label, grant funding: whatever we need to finish making the record. We decided to release H.D.H.U. now to give our fans a sense of what this next chapter is about and make some new fans along the way - but we may sit on the others for a little while until some of those other pieces land.

Do you remember when music came into your lives? What made you all realise music was where you wanted to be?

Each of us will have a different answer but, for me, I remember hearing U2’s Joshua Tree album for the first time at twelve and thinking: ‘This is what music can be’. I realize U2 is quite a polarizing influence to cite but the fact that they could create songs that felt so big, and yet so earnest and close to the chest, felt very important and vital to me.

Every T&T song starts from the heart and, if it can inspire people to lower their guard and connect in a meaningful way, even just for a moment; I feel like it’s done its job.

Can we see you tour soon? What gigs do you have coming up? Will you come and play over in the U.K. at all? Do you like British music?

We have tour dates here on our home turf of Western Canada and a fly-out to Canadian Music Week in Toronto - but nothing on the International map quite yet. Touring Western Europe and the U.K. is an explicit high-priority for us…so we’re casting a lot of lines across the pond right now and hopeful one will catch soon.

If you had the chance to support any artist, and have any rider, who and what would that entail?

I think we’d have to go with Peter Gabriel.

Our guitar player, Shred, is responsible for properly introducing me to his genius and, while we represent a wide and disparate range of musical influences in this band, I think Peter Gabriel is one we could all land on musically, creatively and as a songwriter. Our rider would contractually obligate Peter and Tony Levin to have beers and jam with us every off-day of the tour.

PHOTO CREDIT: Adam Lee

While it may not be obvious on H.D.H.U.; a lot of the new music we’re working on is, actually, heavily influenced by mid-late-1980s Peter Gabriel.

What do you all hope to achieve in 2018?

If we can keep our heads down, hearts up - and keep working hard to get our music in front of people - we’ll be happy (smiles).

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

There was this great moment on day one of this latest recording session. We’re back in the band van together for the first time since going on hiatus; it’s five-thirty in the morning and we’re heading to catch the ferry boat from Vancouver Island, where we live, to the recording studio in Vancouver. Our guitarist, Shred, pulls out a Go-Pro; mounts it on the dashboard and declares, with gravitas, to the group: “Guys, I’ve decided to shoot footage of this entire weekend for a mini-documentary I’m working on…”

Suddenly, the Go-Pro beeps loudly and the light turns red and, without missing a beat, he adds: “At least I was until the battery died just now.” We all started laughing that uncontrollable, sleep-deprived bell-laughter - and I realized I hadn’t laughed this hard since the last time we were together in our van. It was a simple, yet brilliant, affirmation that we’d made the right choice to do this.   

What advice would you give to new artists coming through?

As under-qualified as an obscure, fully-independent Indie band from the far corner of Canada is to give advice… (Smiles).

I suppose I’d encourage new artists to define and own the ‘why’ of their music; define and own the parameters of your success. In the absence of that, you can become like straw in the wind in this business.

I’ve watched a number of peers contort their art to fit some industry mould-of-the-day; get no further ahead (by it) and lose their identity in the process. We may not have ‘made it’ - but, every time we pick up our instruments, we know exactly why we’re doing what we do.

IN THIS PHOTO: Luca Fogale

Are there any new artists you recommend we check out?

Luca Fogale is an artist from Vancouver B.C. who we participated/competed in a big radio contest a few years ago. Luca’s another artist who puts his heart at the very forefront of his music - and it’s lovely to experience. We occupy very different spaces, musically, but I feel like our hearts speak the same language.

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

We’re lucky to live in one of the most beautiful places on the planet on Vancouver Island; so, you’re never more than fifteen minutes away from a hike in the woods, a jog along the ocean or even a swim (if you’re brave). Our last album was called The West Coast - and draws heavily from this place.

That said; we could probably stand to ‘chill’ a little more than we do right now.

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).

Shred (Lead Guitarist): The Man by The Killers

I can attest to this, definitely, being Shred’s jam lately

​​​​​​​

Dave Arter (Bass): Want You Back by HAIM

This album will get played a LOT in our tour van (starting next week).

Jesse (Drums): Knocking at the Door by Arkells

Arkells are, probably, the best live band in Canada right now - and have worked hard to earn every bit of that title

Adrian: Okay; so, everyone went with party jams but, since I pumped his tires earlier, I’m sticking with Luca Fogale and his latest: I Don’t Want to Lose You

Thanks!

__________

Follow Towers and Trees

 PHOTO CREDIT: Foxx Foto  

Official:

http://towersandtreesmusic.com/

Facebook:

https://www.facebook.com/towersandtrees

Twitter:

https://twitter.com/towersandtrees

 Instagram:

https://www.instagram.com/towersandtrees/

YouTube:

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

Spotify:

https://open.spotify.com/artist/3zdjzc65ABpa19hemstNC6

INTERVIEW: OYLS

INTERVIEW:

OYLS

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THE sensational duo of…

OYLS have been talking about their eponymous E.P. – and the video for the single, In the Light. I ask how they got together and whether David and Michael have a favourite cut from the E.P. They look ahead at gigs and a possible trip to the U.K.; some of the new artists we need to listen to – and, what they hope to accomplish this year.

I ask whether OYLS get chance to unwind away from music; what the scene in L.A. is like right now; whether they have favourite memories from music – providing useful and constructive advice for new artists coming through.

__________

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

Pretty good: like, a seven-out-of-ten. Maybe a little better, but I don’t want to bring decimals into this interview…kind of in a weird mood. I don’t have the words to explain it, but I hope we don’t come off as d*cks or as disinterested. Just feeling a little preoccupied - that’s all. We’re mostly very nice people...

Mostly.

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

We are David and Michael. We’ve been best friends since high-school and we started making OYLS music together about five years ago. We’re both really neurotic/anal people; so it took us a really long time to make this E.P.

We’re gonna try to be faster next time...

In the Light is your recent single. What is the story behind the song?

Hmm…there isn’t really a story behind the song: there’s no real narrative there. The verses are a bunch of reflections on being detached and heady - and then a chorus that reflects moments of clarity and joy.

The video interests me. Whose concept was it? What do you think of it?

Haha. We’re glad you found it interesting.

One of our best friends is a really talented filmmaker (Alex Median). The concept was his. We really love it. We can say that because we didn't make it. It’s a really incredible feeling to have made something that inspired someone else to make something.

Your eponymous E.P. just came out. Are there stories and themes that in inspired the songwriting?

There’s a lot of coming-of-age stuff in there. We were recently out of college when we started making it (five years ago). It has a lot to do with uncertainty - and the self-talk that gets you through such uncharted waters of new adulthood.

The debut track, Maps, was a huge success. Did that surprise you?! Why do you think so many responded to it?

Oooof. Don’t know about huge success, but it’s definitely been our biggest track so far. It totally surprised us. We went from having under one-thousand streams to 40,000 in one night. It was out of the blue, about a month after the track was released. So; we’re not totally sure why this song connects the way it has. It’s really hard to have perspective on our own songs.

But, we do have memories of first writing it and feeling like we had struck something really special.

Do you each have a standout track from OYLS? Which one stands out for each of you?

Michael: I come back to 10th Song the most.

David: Ghosts is a favorite of mine, in a kinda self-indulgent way.  We make music we love but, at the same time, we always do our best to remain aware that, ultimately, the music we make is for everyone else to, hopefully, enjoy. Ghosts is where we just let loose. We have a chaotic guitar solo, weird harmonies; heavy percussion and a pervasive angst that we just rolled with. I still hope everyone likes it though!

Take me back to the start. How did you meet and form the duo? What were you each doing before you found one another?

We first met at the end of high-school through mutual friends. I was getting ready to leave for my freshman year of college and David had one more year of high-school. We really clicked, both as friends and as musicians. It took another four years before we would start making OYLS music, though.

L.A. seems like a great place to make music. Is the city constantly compelling and influential?

Definitely, definitely, definitely.

Well; we live in pretty opposite parts of L.A. (We’re about an hour from each other on a good day). David lives out in the West Valley surrounded by rolling hills and a lot of untouched nature. It’s quiet and suburban. I’m in Koreatown, which is close to downtown Los Angeles - and is the most densely-populated part of the city. Developers are currently building three-hundred units next door. So; we get two very different versions of L.A.

The city offers a lot creatively - and takes a lot, too. There’s an incredible amount of art and creativity everywhere. So much to be inspired by. But; there’s also a manic energy to the place that can be overstimulating.

Do you share the same tastes in music? Which artists did you grow up on?

Michael: Nope. Hahaha. There’s some overlap. But, I grew up on Funk/Motown/R&B/Jazz.

David: Jazz is definitely an overlap. (Charles) Mingus is a personal favorite. My mom introduced me to (David) Bowie, and my dad, the Ramones, The Clash etc. I listened (and still do) to a lot of Cursive, of Montreal; Wilco, Deerhoof and The Mars Volta. They balance chaos with moving melodies and that’s always impressed me.

Then, there’s Dr. Dre - who’s just an incredible producer and a huge inspiration.

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

We’re currently focused on writing our next E.P.; so the live shows are on a little pause. We’ll be back at it soon though.

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

Oh, hell yeah. That would be a dream.

What do you hope to achieve in 2018?

We’d be really happy if we could finish another E.P. and do some touring. Would also be really nice to make some fat $$$$.

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

Michael: When our computer fried mid-show and the audience sang the words through the end of Maps…

David: Every time we’re provided a parking spot at the venue we’re performing at. After five years, it’s the little things.

What advice would you give to new artists coming through?

I don’t think we’re quite qualified to give advice. Can we touch base in a couple years?!

IN THIS PHOTO: The Marias

Are there any new artists you recommend we check out?

Loving The Marias and Disco Shrine - both out of Los Angeles. Also super-impressed by Ezra Furman and Gus Dapperton.

IN THIS PHOTO: Disco Shrine

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

Michael: Definitely. I just got a puppy - so I’m spending a lot of time with him. Also, I just got engaged; so I’m spending some time planning wedding stuff. Not sure if that counts as unwinding, though...

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).

Parliament - P-Funk (Wants to Get Funked Up)

David: Paranoiac Intervals/Body Dysmorphia by of Montreal is my jam right now. So fun.

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Follow OYLS

Official:

http://oylsband.com/

Facebook:

https://www.facebook.com/oylsband

Twitter:

https://twitter.com/oylsband

 Instagram:

https://www.instagram.com/oylsband/

YouTube:

https://www.youtube.com/channel/UCpS2OkE30PLrslKyJ1J1RLw

SoundCloud:

https://soundcloud.com/oylsband

Spotify:

https://open.spotify.com/artist/6Y6otYolYU5dUV798fTmgj

FEATURE: The March Playlist: Vol.4: I Am Not Sure Who That ‘Someone’ Is

FEATURE:

 

The March Playlist

IN THIS PHOTO: Rae Morris 

 Vol.4: I Am Not Sure Who That ‘Someone’ Is

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SOME big albums are out this week…

but that shouldn’t distract from the terrific singles in our midst. Rae Morris and Two Door Cinema Club provide new music; Queens of the Stone Age and Sigrid have brand-spanking videos out; Noga Erez and AJ Tracy have some treats out in the ether – Sunflower Bean and Jack White have produced exceptional and packed albums!

As the days get longer – and warmer! – it is a good time to delve into the heady and calming waters of music. Settle down, open your ears and prepare yourself for an assault of fantastic sounds...

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

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IMAGE CREDIT: Jim Mazza 

Queens of the Stone Age – Head Like a Haunted House

Isaac Gracie – Last Words

Two Door Cinema Club – New Houses

Rae Morris – Someone Out There

Pale Waves – Heavenly

PHOTO CREDIT: @shaifranco, @chumipolak

Noga Erez – Sunshine

AJ Tracey – Mimi

Gaz Coombes – Walk the Walk

 

Joan Armatrading – I Like It When We’re Together

Panic! At the Disco – Say Amen (Saturday Night)

The Vaccines – Your Love Is My Favourite Band

Picture This – This Morning

Snow Patrol – Don’t Give In

PHOTO CREDIT: Laura E. Partain

Courtney Marie Andrews – Border

George Ezra – Sugarcoat

ISLAND – Horizon

Lissie – Crazy Girl

Sunflower Bean – Memoria

Post Malone (ft. Ty Dolla $ign) - Psycho

Kacey Musgraves – High Horse

Blue Americans – Free Champagne

Toni Braxton – Deadwood

Nadine Coyle – Something in Your Bones

Jack White - Ice Station Zebra

Thirty Seconds to Mars – One Track Mind

Hinds – The Club

The Go! Team - The Only Thing New Is U Finding Out About It 

Amber Mark – Love Me Right

Shawn Mendes - In My Blood

Let’s Eat Grandma – Falling Into Me

Alexis Taylor - Oh Baby 

Sigrid - Raw (Live)

Okkervil River - Pulled Up the Ribbon

PHOTO CREDIT: @jonnyrowley

Beth Rowley – Forest Fire

Kelly Clarkson - I Don't Think About You 

Lily Moore – 17

Luke Sital-Singh – Afterneath

Kodaline – Follow Your Fire

TRACK REVIEW: Titus Makin - Suicide

TRACK REVIEW:

 

Titus Makin

Suicide

9.5/10

Suicide is available via:

https://www.youtube.com/watch?v=tZW5J2kpSnY&feature=youtu.be

GENRES:

Pop; Soul

ORIGIN:

Los Angeles, U.S.A.

RELEASE DATE:

31st January, 2018

_________

THIS time around…

I am looking at an artist who has made big impressions in the music industry already – despite the fact he is pretty young himself. Titus Makin is a hot name in L.A. - and one of new music’s most interesting artists. I will talk about his latest song, Suicide, in a minute but, before then, a few sides of his persona that warrant conversation. I wanted to talk about black artists in the music industry – and the fact they have to fight harder than their peers. I will move on to look at songs that tackle addiction, concerning love and affection; how that can come alive and get inside the head. I’ll also look at actors-turned-musicians and how the disciplines interlock; from there, a chat about L.A. and its always-fantastic scene; artists who are growing in confidence and can make changes in the music industry. I have featured Makin before and was drawn, last time, to his infectious music and gripping personality. He is a bold and arresting artist who can command the listener’s attention and get his music into the brain. His songs, Rope and So Good are his previous cuts, get right where they should: lodged in the heart, mind and soul. It is an effective and physical sensation one gets. I am excited seeing where the American can head and how his E.P., I’ll talk about that at the end, will get him onto the world map. I wanted to look at race in music because I feel, like gender, there is imbalance and division happening in music. Some will argue racial disparity is nothing new: there has always been a bigger platform offered to white artists. I am noticing, as movements come through and voices ring; people are noticing the splits and compelled to d something about it. Maybe Makin does not feel a musical segregation in L.A. – perhaps he has been afforded the same chances his white colleagues have. I feel, still, we are living in a world where the colour of one’s skin is an issue. Music is fairer than some issues: there are still problems regarding certain genres and how black artists are promoted. For instance; mainstream Pop still had that very clean, white and commercial sound.

We have genres like Hip-Hop, Rap and Soul where, for the most part, black artists get a chance to shine. The problem with that is (those genres) rarely assimilate fully into the mainstream. The most popular forms of music – Pop, Rock and Alternative – are largely composed of white artists. I feel there is a lack of respect for black artists that should be tackled and purged at this time. We are seeing gender play a role in music right now: campaigners and artists speaking out against injustice and abuse. One cannot help look around music and, not only notice there are fewer black artists on our screens and promoted in music; their music, I feel, has extra depth and quality. Titus Makin has made a success of his career and not had to battle too much discrimination. I wonder, though, whether his race will be an issue as he attempts to move into the forefront of music. It is conceivable he will be in a position to transcend into the mainstream and make a difference – will he be delayed, slightly, because of his race?! It is interesting to consider but, in many ways, Makin’s success and progression is hugely inspirational for fellow black artists. I wonder whether real change and equality will happen in my lifetime. We are making steps towards gender-equality and some form of improvement. When it comes to race, we can feel and see problems. Award shows are nominating fewer black acts; artists of colour are overlooked in favour of white artists. With big new names like SZA, Cardi B and Chance the Rapper providing exceptional music and fire – things really do need to change in the industry. Titus Makin is a fantastic artist whose songs transcend genre and racial barriers and have struck the collective consciousness. Let’s hope, as music looks inwards and ways it can change, the L.A.-based artist is elevated to the spotlight. There are other aspects of Makin’s music that catch my eye.

Love is a topic explored thoroughly in music. I have seen a trend happening in music. Artists are looking inwards more and concentrating on personal confessions. Solo artists of Pop are taking a more introverted and emotional approach to songwriting. Many songwriters, still, look at love and its various sides. It is a hard subject to get right, mind. I am hearing so many clichés and tropes when it comes to relationships. How many songs, that look at love, have remained in the mind lately? It is impossible adding anything genuinely new to love. You can explore similar lines but, in the case of Titus Makin, he takes a unique approach and, with it, draws the listener in. Suicide takes a rather physical and unsettled approach to relationships. I will talk about the song soon but, for now, a look at the downsides of relationships. The track explores the toxic nature of bonds and how a bad bond can make an impression on a person. I am not sure how many relationships (of this kind) Makin has been involved with. We have all been in the situation where a relationship, we thought was good, has gone sour and taken its toll. It is brave talking about love and putting that negative spin on it. Most of us want to explore something positive and hopeful. We want to look at love and know it is going to be okay for us. If we are to make improvements and become stronger; music needs to give us that drive and impetus. What Makin does, in his latest song, is to explore a dangerous love and how that can take all rationale away. He has been, I assume, in a position where he’s been out of control and guided by a vixen. That poisonous bond has turned his mind inwards – he is looking at himself and how he can climb out of things.

The reason, I feel, the song is addictive and necessary is it looks at the way we can learn from situations like this. Many songwriters revel in love and paint positivity all over the place. It is all well and good talking about the fine aspects of relationships and how good it can be. As I said; we need to have that hope and find something constructive in music. The reality of love is, at times, it can go wrong and mislead us. It is challenging and risky putting a song out there tackling the spiked and harsh elements of relationships. Titus Makin has been through a bad love and changed as a person. Rather than spit hatred and accusation on the page; he has turned his experience into something forward-looking. He does not want to change as a person and become harder. He has had a tough time, sure, but wants other people to learn from his experience. I know many people have been in ruinous relationships and been hooked by that seemingly perfect taste. They get engrossed and invested and, before you know it, the truth comes to light. Songs such as Suicide, on paper, sound bleak and hopeless. The fact remains: one can hear the song and find sympathy for the songwriter. You are braced by the urgency and emotion of the song. Rather than come away from the song feeling drained and suffocated; the listener, instead, is guided and enriched. That may sound odd – you have to hear the song to understand, I suppose. I am looking for artists who stand out and can talk about things like love in a fresh and exciting way. Makin knows the value of relationships and discussing something we can all relate to. If you provide stereotype and common themes; people will get bored and wander off. To grab the mind and remain in the memory; artists need to go further and project something original. Titus Makin is an artist who understands this and provides something fantastic and nuanced.

Many people might recognise Titus Makin already. If you have seen Glee or Star-Crossed (on CW); you might have come across him. He has been in Pretty Little Liars and NCIS. He is currently appearing in Hulu’s The Path – a successful and busy actor who has covered a lot of ground and is making a name for himself. There is more acting to come but, in that Hulu show, he has a chance to learn disciplines he is bringing to music. I have often said how acting and music have a very close association. We watch great dramas and comedies and there is a sense of theatre and performance that we hear in music. The finest songwriters and singers have that acting discipline: the ability to project with verve and conviction; getting under the skin and ensuing your sounds remain in the mind. That is one of the hardest things in music: ensuring listeners remember your music and come back to your stall. In a time when people are less attentive and looking for that new thing – keeping people coming back is very hard indeed. I have heard a few songwriters, today, that have the ability to remain and endure: there are far too many who slip by and do not linger too much. Titus Makin has been in some great shows and learnt a lot as an actor. He has performed in some big scenes and performed in some epic set-ups. He has used his talent as an actor and brought that to the people of music. Listen to a song like Suicide and the fact it is so packed and addicting is the fact Makin has learnt a lot from acting. You hear the song and are immersed in a performance. It is like being in a dramatic encounter where a lover is manipulating the hero. The two are embraced and involved in something deceptive and fraudulent. Makin does not rattle the words off and ignore the bigger picture. He ensures every line registers and the listener is taking every step of the way. It is difficult keeping people focused and involved with a song.

I will move onto other areas soon but, before then, a last look at acting and how that integrates with music. L.A., especially, is a huge market where there are many hopeful actors – all trying to ‘make it’ and get their faces onto the big screen. I know Titus Makin will get there but, rather than put all his eggs in the acting basket; he is a great artist who uses his skills to get ahead of his peers. I know he has trained hard and been in some great productions. We have seen some actors step into music – with shaky results – but the very best balance the different forms. The reason I feel actors can make great musicians – or the other way around – is the fact the best music, in my view, is a performance. Even if a song is subtle and careful – you listen to it and feel a degree of drama, excitement and physicality. There is something in the notes that filter into the senses and remain long in the memory. Makin wants listeners to take his songs to heart and share them; to learn something from them that enriches their lives. As an actor, Makin aims for the same things. He wants every performance to stand out and make an impact. There is a close relationship between his acting work and what he does in music. The danger of working in both fields is the risk of burn-out and fatigue. It is stressful enough making a career in music and trying to be successful. It is wonderful watching someone like Titus Makin making a surge and find success in acting and music. We see him on the screen and revel in his skills and authority. We listen to Titus Makin’s music and feel the same things. He has learnt a lot from both areas and, if anything, has learnt a lot from music and brings that into his acting roles.

It is interesting seeing how L.A. has shaped and changed over the decades. I am based in London and can see how the scene has evolved through time. It is wonderful seeing great bands and Pop artists come to the capital. Rock bands are playing here but there are far fewer decent ones than, say, the 1990s. Rap and Hip-Hop are making a stand; Soul and R&B is fairly strong – Electro-Pop is, perhaps, the fastest-growing sector. The same, to an extent, is true of L.A. The Californian city is burgeoning and overflowing with fantastic music. I have not scratched the surface but there is so much life and activity coming from the city. Pop is still a big market and, over the years, it has grown and changed. We think of L.A. and associate it with constant sunshine and light. Because of that; we have a very limited scope of the place and assumption. Titus Makin is part of a group of people who challenge conventions and take Pop in new directions. Makin brings Soul in and R&B; he integrates various genres and decades of music. One gets that modern blast – but there are aspects of classic Soul and some vintage undertows. I am wary of the impressions we have regarding cities and the type of music they provide. L.A. is such a vast and dominating landscape. I have seen a move happening and a fresh breed taking to the stage. The city is alive and moving; it is bustling and engaging. I hear a lot of great Rock bands coming out of L.A. but, for the most part, it is the Pop sector taking the most ground. Rather than commercial and predictable stuff; artists like Titus Makin and pushing boundaries and creating something fuller and more rewarding. It is not surprising we think of L.A. and think of acting. Hollywood is one of the first things that comes to mind when we think of L.A. If anything; the music coming from Los Angeles is more dramatic, full and fantastical than ever.

I am not saying musicians have tried to create something filmic and ‘Hollywood’. My point is (music of L.A.) is more rounded, colourful and substantial than previous times. I feel the city is more competitive and challenging than it ever has been, too. More and more people are located there and, because of that, it is harder to stand out. I feel that is another reason why the music is so good. Musicians know they need to step their game up and provide something extraordinary – if they want to stand aside and get some success. Like London; L.A. is a wonderful area with an incredible music scene. Titus Makin is making big steps and creating a blossoming fanbase. His acting work – and the fact we recognise his face – has helped bring his work to new audiences. I will end the piece by talking about gigs and whether he will come to the U.K. Although Suicide has been out a while – I meant to come to the song earlier; a bit buried in other stuff – but his E.P., Lean, is out later this year. I know it will gain a huge amount of respect and mark him as a name to watch. It is interesting, given he is an actor, seeing Titus Makin in music videos. The one for Suicide was directed by seventeen-year-old filmmaker, Jake Williams. The head-spinning shots and colour-saturated visions create this dizzying and spellbinding look. Makin pulls out a great performance and brings his skills to the screen. The strong video has drawn people in and seen the song gain fresh kudos and appeal. I wonder whether L.A.’s musicians are so strong and varied is because of the close links with Hollywood. It is easier, I guess, making your music bolder and more electric, if you are surrounded by filmmakers and actors. I am excited seeing how far Titus Makin can take his music – and, whether he will get to the door of the mainstream very soon.

One notices the smoothness and seductiveness of the voice. I have mentioned how Titus Makin, and Suicide, is a Pop affair. If anything; the opening moments portray a Soul king with a heart of silk. The delivery is fine and flowing; the richness and chocolate-like nature of his voice bring the words to life. The tears are running down his face and his heart is stopping. He has to hold on and find strength in a bad situation. The hero wants to remain in the game – even if the sweetheart is messing him around and taking him for granted. Maybe it is the drug-like aspect of the love; perhaps there is a draw and allure that is hard to walk away from. Whatever it is; Makin cannot quit and forget what he is involved with. I wonder whether this hard love, and its damaging candour, is too deep and important to relegate and delete. Makin’s love is worth “its weight in gold” and, although his lover will never realise that; he is not stepping aside and letting it melt. Makin delivers his words with such flow and seduce. The lines race and rise; the voice goes high and the composition remains light. There are beats and electronics but, for the most part, the voice is framed and in the centre. The video sees Makin against a wall with his hands held high. He is almost in a prayer as he pleads for a new chance and appreciation. The colours strike and the visuals portray a confusion, drunken realisation and sobering thought. This relationship is causing strain and creating scars. It has turned and, rather than this wonderful thing; he is being let down and overlooked. Our man has a pure heart and his intentions are good. Rather than value this and keep him safe; his lover is manipulative, cold and calculated. This has caused all sorts of pains but, rather than cut loose and get out – we see the hero stay around and try and see a brighter side. Makin has given everything since the start – his heart has almost committed suicide, as it were – and that counts for nothing, it seems.

Makin is pleading and imploring the gods for some sort of clarity and strength. I am surprised someone would cause Makin any stress and concerns. The reason why the relationship is breaking is not explained right from the start. The listener is free to imagine and wonder what has caused this rift. The chorus sees the voice skip and strike; the beats tighten and it gets bold and invigorating. That blend of Soul and Pop comes to the fore as Makin’s voice is, at once, silken and strident. He rides the beats but pours sugar and spice onto the speakers. I was caught by the waves and the way the song transforms. It kicks up a gear and we wonder whether the duo is going to be reconciled. The chorus is a fantastically ripe and wonderful thing to behold. The voice is so beautiful and soothing; the music alive and alert – it all gets into the heart and causes it to beat faster! The hero is unwilling to depart and wants to know why things are not working. He is a good man and has a kind spirit. It seems like this is the first time that has been ignored and questioned. In a way; Suicide is a rare blow to a human who has given his everything to people. Maybe it is a bad one-off that will never be repeated. I have looked at the song from different directions and wonder why Makin wants to remain with someone who seems so callous. I guess that is part of his nature: never willingly submissive and cold enough to walk off. There is something deeper that means, against sense in a way, the hero clings and stays with his love. They have been through a lot and there is an aspect/ingredient he cannot get anywhere else. It is that stirring and memorable chorus that draws me in. I love the delivery and its juddering, catchy sound! The way the song goes from that fiery and burnishing chorus to the smoother, soulful verses keeps the listener guessing, engaged and hooked. You are involved in the song and feel empathy towards Makin. He has been through the mill and, rather than cast blame and accuse; he is willing to stay true and give his all. It would be easy to walk away and find someone new. Rather than forget everything he has been through and erase it from the mind; he wants to give the relationship another shot and gain some perspective. I wonder, by the end, whether they worked things out or, as I fear, there was no way to heal the cracks evident. Suicide is a terrific song that shows, even this early in his career, Titus Makin is like nobody else. His previous couple of singles have shown what he is truly capable of. Suicide is a wondrous offering from a young man who will go a long way in the industry.

I have mentioned how his E.P., Lean, is out later in the year. Makin has made strides and established himself as one of the brightest young musicians out there. Suicide tackles something tough – toxic love and its effects – and makes it accessible and embracing. You are never put off by the song: one is involved with Suicide and follows it every step of the way. I am excited about the E.P. and will make sure I get involved with it. Titus Makin is busy with acting but, as his music career takes off; he will be looking around the world and getting his music to the people. I wonder whether he will come to the U.K. and play for us here. I would love to see him perform, for sure. There are few out there, like him, who provide such intense and deep music. I have been engrossed in his latest work and questioning my initial thoughts – whether I was right about its origins and qualities. The song has been explained by its writer but, when you listen, you’ll have your own views and interpretations. I have chatted about race in music and how it can be harder, as a black artist, getting respect. Titus Makin might have faced those barriers – in acting and music – but, if anything, he acts as a role model and guide. I want to see changes in the music industry. We have too much racism and sexism in an industry that should promote equality, love and togetherness. It is hard seeing some artists overlooked because of their gender and race. Titus Makin is a stunning and evocative songwriter who is going to do big things in the industry. Suicide is proof he is one of the best young talents around. A captivating voice that ensures every word pops off the page – you listen to his music and are helpless to resist its power. I will leave the review here but want to recommend people get involved and follow Makin. He is making steps and has big plans right now. Whether it takes a few years – or is sooner than that – you know, one day, he will be rubbing shoulders among the biggest names in music. Every new release shows he is growing and building in stature. Suicide is a typically solid offering from an American artist who wants to put his music to as many people…

AS possible.     

_______

Follow Titus Makin

Official:

http://www.titusmakinmusic.com/

Facebook:

https://www.facebook.com/titusmakinmusic/

Instagram:

https://www.instagram.com/titusmakin/

Twitter:

https://twitter.com/titusmakin

YouTube:

https://www.youtube.com/channel/UCNdmJYe4jqvRX7oUX5_G7ug

SoundCloud:

https://soundcloud.com/titusmakinmusic

Spotify:

https://open.spotify.com/artist/45IRcapz9TBzNbgHwRIZSN

INTERVIEW: FRANKIIE

INTERVIEW:

FRANKIIE

___________

ONE can sense a real closeness…

and intuition in the camp of FRANKIIE. The Vancouver quartet talks to me about their current song, Glory Me, and what it was like putting it together. They tell me what comes next, material-wise, and what it was like working with Jason Corbett on their latest cut; if they have any touring dates cemented – if the U.K. is part of that...

They reveal how they came back from a possible break-up and why, now, they feel stronger than ever; why Vancouver is producing lots of great music; whether, they feel, there needs to be a greater focus on female artists – they take me back to the first days of FRANKIIE….

__________

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

It’s been a great week! Lots of good band hangs. We’ve been in the studio finishing off the last tracks for our upcoming album.a

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

We are a four-piece Dream-Rock band from Vancouver who has been at it for four years. We’ve got Francesca on Vocals and Guitar; Nashlyn on Vocals and Keys, Samantha on Bass and Zoe on Drums.

Glory Me is your new track. What is the background/story of the song?

That song was written by Fran after she got home late one night - and the words just kind of came flowing out. It’s really (just) a contemplation between being present and anticipating the afterlife.

The album of the same name is completed. Are there certain themes that tie the album together?

The album is actually not quite completed…

We are in the final stages of recording and mixing the last tracks. All the songs tend to centre on the feelings of a loss in direction, or contemplating meaning and purpose.

Is it true you worked alongside Jason Corbett on the record? What did he bring to the record?

He really brought a lot of laughter and fun-lovin’ times. Haha. He’s also got a really great ear and very awesome intuition about what to add or take away from each song. He also has a great sense of how we want to sound.

He can capture our true vibe while also pushing us to get it to the next level.

How did FRANKIIE get together? When did you all meet?

We came together as a band two weeks before our first show. Fran had a solo show booked and did a jam with Zoe. They realized it would be more fun to have keys and bass as well - and brought in Nash and Sam.

I understand you drifted apart and, after several E.P.s, wondered whether the group would survive. Was that a particularly tough time? What brought you all back together?!

After we put out our E.P.; we played a lot of shows around our hometown and did a bunch of D.I.Y. tours. It was really fun but, after a while, it got tough to keep the momentum up. We all had other things we wanted to explore as well and took some time to travel without each other. It turned out to be a very valuable time for our individual lives and, ultimately, re-energized us when we did start going for it again.

We never really stopped playing together entirely: we, mostly, (just) had a lull in momentum. Looking back at that time; it is probably a natural part of band life - though it was confusing at times.

You must be all looking ahead now. Do you feel you are stronger than you have ever been?

Yes, definitely! Working with Jason Corbett has really given us some fresh energy - as well as our new managers at Tiny Kingdom. Realizing that our team is building and that our songs are sounding better than they ever have before…we are really looking forward to getting back into playing again.

There is loads of great music coming from Vancouver. What is it about the city that produces so many great artists?!

Vancouver has a small community of artists but the ones that are in it seem to be really dedicated.

Our scene could probably, still, use some more collaborative energy - but it is definitely, slowly developing. More and more people are coming out to each other’s show and co-writing or co-producing. It’s really great. Plus; we also have the best mountains and ocean. If we ever need inspiration, it’s not hard to find it out in nature…

It was, recently, International Women’s Day. How important is it to raise awareness of female artists? Do you think there are changes coming into the industry?

It’s definitely an interesting time for women in the entertainment industry, overall. We haven’t really had a lot of issues so far being women in the music industry - and have actually found that people generally treat us as equals.

But; it is nice to have open conversations about some of the awkward things that do happen from time to time. It’s just a nicer environment for everyone when people are able to talk openly about what’s cool and what’s not cool.

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

We are not planning extensive touring until we put out the full album in the late-summer/early-fall. Though out the summer, we will be playing shows and festivals around our home province and planning out the album release.

Will you come to the U.K. and tour here soon?

I really hope so! If any bookers out there are into some Dream-Rock vibes, please get in touch (smiles).

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

Mostly, we all seem to want to find balance and presence in both our individual lives and in our band lives. Sometimes things can seem overwhelming when we are working on both band life and on our own individual projects. For example, Zoe is recording drums this weekend and opening a new clothing store next week. We have to remember to stay in the moment when good things are happening (and not get ahead of ourselves).

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

It was pretty fun playing at the Todos Santos Music Festival in the Southern Baja of Mexico. We stayed for a week and rented out a place by the beach - did some surfing, sun tanning and drank a bunch of margaritas! The bands at the festival were so great. It was a rare opportunity to meet great bands from Mexico City as well. We hope we can get back down there someday!

What advice would you give to new artists coming through?

Our advice would be (just) jump in and start doing it! We definitely were not perfect when we first started - and we still aren’t. The only way to have fun playing music is to forget about perfection and go for it.

IN THIS PHOTO: Art d'Ecco

Are there any new artists you recommend we check out?

Art d’Ecco, Peach Pit and LEATHERS!

IN THIS PHOTO: Peach Pit/PHOTO CREDIT: Lester Lyons-Hookham

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

We still all have day jobs or business to run right now. Haha. So, between that and music; there is not much time left over. We’re really hoping, at some point, we can take some time away from jobs and make music our full-time thing. Seems like we are getting closer to that reality…

At least for a while...

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).

Glory Me is the only one out so far! We have a new single coming out the last week of April as well, so stay tuned!

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Follow FRANKIIE 

Facebook:

https://www.facebook.com/frankiietheband

Twitter:

https://twitter.com/frankiietheband

 Instagram:

https://www.instagram.com/frankiietheband/

YouTube:

https://www.youtube.com/channel/UCqt-mCLKKMpkrl9Sp2MFa-A

SoundCloud:

https://soundcloud.com/frankiietheband

Spotify:

https://open.spotify.com/artist/0iZJ9pd8Ld6jzdPYEXegYD

INTERVIEW: Lauren Ruth Ward

INTERVIEW:

PHOTO CREDIT: Mara Stusser  

Lauren Ruth Ward

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THERE is a train of thought that suggests…

PHOTO CREDIT: Victoria Craven

solo artists, for the most part, try to fit into crowds and handy boxes. Whilst that might be true for many out there; songwriters like Lauren Ruth Ward defy convention and predictability – offering something truly special and spirited. I have been speaking to her about the video for Blue Collar Sex Kitten – a song that has garnered a lot of praise and focus. She talks about her debut album, Well, Hell – and, with tour dates forming, she plans on coming to the U.K.

Ward talks about the scene in L.A. – where she is based – and how it feels being compared to artists like Janis Joplin; what she has planned for the rest of this year; new artists worth a shout – ending the interview with a great song choice.

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

I am Lauren Ruth Ward; a musician from Baltimore, MD; currently residing in Los Angeles.

Blue Collar Sex Kitten is your new track. I like the video a lot! It mixes black-and-white vintage with a modern urgency. What is the background of the song?

We actually released (the track) Blue Collar Sex Kitten on May 1, 2017 - we recently released the music video. This song was very stream-of-consciousness for me. Its meaning is about who I am and how I see the world, mixed with some lighter lines. Everything came thru while allowing myself to just write and not think (too hard).

Well, Hell is your recent album. Were there particular events that influenced your songwriting? Is there a song from the album that stands out above the rest?

Well, Hell is our debut album. No particular events triggered the songs: my life, in general, fed the stories. All the songs play a part in the finished product. If I had to single out one song: Staff Only; because it's, currently, my favorite to perform/opening with - I love my band's harmonies in the intro.

Really gets me into it.

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

I grew up predominantly listening to music from the ’60s and ’70s; Classic-Rock, Motown; Disco etc. The first C.D. I bought was Hanson - Middle of Nowhere.

PHOTO CREDIT: Hattie Watson

I hear tones of Janis Joplin and Florence Welch! It seems you are compelled by strong female voices. What is it about artists like Joplin that speak to you?

Being compared to Janis is an honor. I don't necessarily pull inspiration from her or one person (or woman). I've always loved to perform. As a child, I danced, cheer-leaded; sang/played guitar in talent shows. My live show is still me loving performance. When I have people’s attention, I feel I need to give them all of me. (I often hear it’s my live performance that makes them think of Janis).

You are based in America. What is the scene like where you are? Are you mostly based in L.A. at the moment?

I live in L.A. The music scene is alive and thriving. I go to two-seven shows a week. The energy is palpable. It’s very special.

PHOTO CREDIT: Lexi Bonin

Will you come to the U.K. and perform this year? Are you a fan of British music?

I WOULD LOVE TO! I am a huge fan of British music (The Beatles - hello!) (Smiles).

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

Many. Opening for my partner (LP) in Italy and France, April of 2017. The crowds were massive and loving. Though it was only four shows, I imagined how great life would be to tour together - doing what I love and being able to be with her.

What advice would you give to new artists coming through?

Believe in yourself. Create something that is true to you. You will never have to ‘reinvent’ or (decide) ‘what to do next’. Just do you.

IN THIS PHOTO: Jen Cloher/PHOTO CREDIT: Tajette O'Halloran

Are there any new acts you advise we check out?

Jen Cloher, The Blank Tapes and Vista Kicks.

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

No.

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).

Jen Cloher - Forgot Myself

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Follow Lauren Ruth Ward

PHOTO CREDIT: Mara Stusser   

Official:

https://www.laurenruthwardmusic.com/

Facebook:

https://www.facebook.com/laurenruthwardmusic

Twitter:

https://twitter.com/laurenruthward

 Instagram:

https://www.instagram.com/laurenruthward/

YouTube:

https://www.youtube.com/channel/UC8dfUJJ-3op3B5wF5uono0w

SoundCloud:

https://soundcloud.com/laurenruthward

Spotify:

https://open.spotify.com/artist/6RFGwX2bAZqXSeXfdqzXUY

INTERVIEW: Of Good Nature

INTERVIEW:

Of Good Nature

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BASED out of North Carolina…

Of Good Nature are an incredible band that deserve more acclaim. The U.S. group discuss their single, Take Me Anywhere, and its story of frustrated love. The guys give me a glimpse into their upcoming plans and what music they were raised on – and how Reggae has moved on over the years.

The Reggae-Rock-Funk band reveal whether they’ll play the U.K. soon; what it was like working with producer Danny Kalb on their latest track; what the scene is like in North Carolina – they share their best memories from music so far.

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

Great! Just got off the Sail Across the Sun cruise - which was completely insane.

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

Sure! Hi. We are Of Good Nature. It’s hard to pin us down, musically, but we have great influence from Rock to Jazz/Funk to Reggae. In the studio, we try to wrap that into a good radio edit – but, live, you might catch us extending the song into a high-energy jam. We like it all!

Take Me Anywhere is your new single. What is the tale behind the song?

The lyrics speak about a female who is looking for more in life - but, the story can be relatable to anyone striving for more in life and feeling stuck in their passion (ourselves included).

It was recorded at White Star Sound with legendary producer Danny Kalb. How important was the studio space and Kalb to the overall sound?

Danny was a great leader in the whole process. He recommended White Star because of the comfort and space out there. Everyone in the band was relaxed and pushing out their best performance. 

Is there going to be more music coming? Will there be an album out before the end of this year?

Yes! We have three more singles finished and dropping in the upcoming months. This leads us into another recording session with Danny in the summer.

Expect a lot of content coming from us in 2018...

How do you feel you have changed since your debut album, Just Add Water?

We’ve matured as writers and players, for sure. We’ve put in a lot of time on the road, on stage and (with) writing and recording. Also, we are a different larger lineup than the debut album. It’s awesome to feel we are hitting a real stride in the recording and touring processes. 

You guys are based out of North Carolina. Is there quite a big and varied scene there? How did Of Good Nature come together?

North Carolina, and our hometown of Charlotte, has built quite the scene the past years. Bands like Simplified and Sun-Dried Vibes are based in the area - and we have a cool community that is great to be in when off the road. Of Good Nature began (just) playing around in different parts of the town and then just grew from there.

We’ve learned a lot along the way - from working alongside, and looking up to, our friends and bands from the area.

Your music fits with the new wave of East Coast style of Reggae – drawing in other genres and styles. Do you have a close connection with like-minded bands in the area? Is there quite a tight-knight community regarding the type of music you play?

The community of our scene is the best. We have met so many friends - and continue to do so.  Surrounded by the Sound Music Festival is a total capture of the East Coast Reggae scene. (It’s Labor Day weekend in Long Creek, S.C.).

How do you think Reggae has changed and evolved over the past few decades?

Just like all music; Reggae has shaped, shifted and taken many different forms. It has popularized the genre, which is great. I think it’s also very important to recognize the real Roots-Reggae bands and groups who keep true to the Jamaican sound. We are not one of those, nor claim to be, but it’s been great to play alongside bands like The Expanders, Steel Pulse and many others.

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

Most of us grew up in this transition from radio to the digital age. I think that really shows in our music. I remember buying Offspring (Americana) and Eminem (The Slim Shady LP) at CD Warehouse as my first personal purchases.

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

Were currently touring all over the U.S. We'll visit the East Coast through spring - and play across the country in the fall.

Will the U.K. be part of your plans? What do you think of the music out this way?

The U.K. is definitely on our wish-list. We would love to get a festival or something out that way. Music out in the U.K. has deep influences - which we relate to.

What do you each hope to achieve in 2018?

We want to get our music to more and more people, all over the world. Our new and upcoming releases are songs that, we believe, are attainable for all types of humans. The Internet is a beautiful way to connect. Through spins and streams, we can reach listeners and get them out to a live show - which is what we love the most.

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

The two Sail Across the Sun cruises we’ve done are, probably, the most memorable for us. It’s a five-day music festival packed onto a cruise ship. Train, Robert Randolph; Michael Franti and Gym Class Heroes were there, to name a few. The fans and energy on the boat are unforgettable. We hope to get on many more - and highly recommend any kind of cruise festival Sixthman puts on. 

What advice would you give to new artists coming through?

Learn to manage time for all parts of the business. Put out good content and figure out how to be unique. Talk with your friends, A.K.A. other artists, and do cool stuff!

IN THIS PHOTO: The Ries Brothers

Who are the new artists we should keep our eyes on? Give us some recommendations...

The Ries Brothers are some young talent. They're a two-piece band that consists of a lead guitarist and a drummer/key bass/lead singer.

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

Cooking and spending time with family and friends is a good way to unwind. Music is always around, though.

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).

Passafire - Growing Up

Trombone Shorty - Here Come the Girls

Bootsy Collins - I’d Rather Be With You

VULFPECK – Dean Town

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Follow Of Good Nature

Official:

http://ofgoodnature.com/

Facebook:

https://www.facebook.com/ofgoodnature/

Twitter:

https://twitter.com/ofgoodnature

 Instagram:

https://www.instagram.com/ofgoodnature/

YouTube:

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

SoundCloud:

https://soundcloud.com/ofgoodnature

Spotify:

https://open.spotify.com/album/7qag5M43hzLYzqHk5vnwGx