INTERVIEW: Alex Lleo

INTERVIEW:

Alex Lleo

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HE is one of those songwriters…

who is pure and determined. Alex Lleo puts his all into the music and follows its every move. I have been speaking with him about touring the South West; what the tale behind the song, No Way Back, is – he provides details about his upcoming E.P.

Lleo tells me about his plans going forward; why he recorded his latest E.P. in a unique way; what he does when he is not recording music; a new artist we need to keep a watch out for – ending the interview with a song I am now a big fan of!

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

Hey! Busy, but good, thanks! Trying to squeeze in some rehearsal time for my tour next week whilst tracking for the next E.P.

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

Well. I guess, fundamentally, I write songs and sing them. Haha!

But; I think a lot of artists are hesitant to put themselves in that ‘singer-songwriter’ bracket. I like to incorporate various sounds and melodies throughout a song’s duration. I’d like to think that the music allows the listener to delve into a deeper state of mind; whether that be a happy or more reflective place. 

No Way Back is your current single. Can you tell me the origin of the song and what inspired it?

Haha. Well I wrote the song with a kinda tongue-in-cheek feel whilst working merch. at Isle of Wight Festival a few years back. At its core; it’s a song about chance encounters and the kinda things people do when their daily routines are on hold for a few days.

It is the second single from your debut E.P., Park Studios, JQ. What was the reason behind recording the music in a single take?! Did you want the music to have that live sound?

Yeah. That was exactly the intention with this project. I knew we’d have to sacrifice a few elements you come to expect with a full production but, I think we made up for it within the charm of spontaneity.

Which artists would you count as influences? Did you experience music a lot when growing up?

Yeah, loads. My parents were never musical but made up for it by having great ears. Dad was big on Motown and all the '70s Folk-Rock stuff such as Paul Simon and Fleetwood Mac: all you’d need to know about great songs construction!

How important are Worcestershire’s Lickey Hills and its diverse scenery to your songwriting? Does that vista give you a closer affection for the natural world?

I think, because I grew up here, I do take it for granted sometimes. It’s only when I think about the years spent exploring as kids that I realise the importance it’s had on my character. Nature, for however cliché it is, will always be a huge influence on me. It’s the biggest grounder to us all.

I know you are playing gigs in the South West. Is that a part of the country you have an affection for? Which dates are you most looking forward to?

I think anyone that’s ever visited the S.W. struggles not to fall in love with the place. What’s not to love about those coastlines?! I’m looking forward to every single one. Tours are usually filled with service station sarnies and rainy drives around the M25.

Let’s just say, I’ve got my wetsuit packed!

You are playing St Pancras Old Church on 2nd May. You looking forward to that one?!

Can’t wait! It’s such an historic venue. Really looking forward to the rare chance of playing with this six-piece!

How did you meet the band you play with? What is it like working on the road with them?

Well. At the core there’s myself, James (Bass) and Tom (drums). James and I go way back to college; he’s my producer and the guy I flesh the sounds out with once the song is there. Tom and I met through a friend on the gigging scene and I’ve known Lydia for many years. The string and horn guys were recommendations from Ali - Park Studios’ owner. 

What do you hope to achieve in 2018?

New songs that, we hope, will be our vehicle to new places; so that we can play to new faces (smiles).

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

I did love the early days. Playing with my high-school mates; we’d offer to play people’s house-parties which, as you can imagine, was a lot of fun. Oh…and waaay loud! Good times.

What advice would you give to new artists coming through?

Don’t rush. It takes a lot of time and dedication to achieve a product that’ll please more than just your gran. (Even if she has an incredible ear!). Seriously, though; if you’re hunting for a career, your attention has to be on material and you need a good understanding of how the industry now discovers new music. Don’t just post to Facebook: learn how to utilise these tools to cut through the noise. 

Are there any new artists you recommend we check out?

If you want something to hit the feels, you can’t go wrong with Leif Vollebekk’s new album, Twin Solitude. It’s a late-nigh-stroll-kinda-album.

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

Anything outdoors-related. The cities are great and they serve a real purpose for the music world but, when I get the chance; it’s so good to get off the beaten track and do something that forces you to focus on the moment. It’s good for the soul.

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).

No Wrong - Bahamas

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Follow Alex Lleo 

Official:

http://alexlleo.com/

Twitter:

https://twitter.com/alexlleomusic/

Instagram:

https://www.instagram.com/alexlleo/

Facebook:

https://www.facebook.com/alexlleomusic/

Spotify:

https://open.spotify.com/artist/6TlDdiCdFHSD3BAA7xKoFN

YouTube:

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

FEATURE: The April Playlist: Vol. 1: Where Does the ‘Goat’ Part Come From?

FEATURE:

 

The April Playlist

 IN THIS PHOTO: Goat Girl/PHOTO CREDIT: Phil Smithies  

Vol. 1: Where Does the ‘Goat’ Part Come From?

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THERE are some pretty interesting…

IN THIS PHOTO: Kylie Minogue

albums out this week! Goat Girl’s eponymous debut is here; there is a new album from the legend that is Kylie Minogue; Sex & Food is the latest from Unknown Mortal Orchestra; En Vogue, rather awesomely, bring us Electric Café; Hinds and Eeels do not disappoint – that is not to overlook the singles…

Manic Street Preachers, The Aces and Plan B have brought us treats; so too has Cardi B (with Kehlani), James; Dua Lipa (and Calvin Harris); Baxter Dury and Lady Leshurr…

ALL PHOTOS (unless credited otherwise): Getty Images

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Ben Howard – A Boat to An Island on the Wall

Manic Street Preachers – Liverpool Revisited

Calvin Harris & Dua Lipa – One Kiss

The Aces – Last One

Friendly Fires – Love Like Waves

James – Better Than That

Sabrina Claudio – All to You

Blackberry Smoke – Medicate My Mind

Cardi B (ft. Kehlani) – Ring

Eels – Bone Dry

En Vogue – Rocket

The Chainsmokers - Everybody Hates Me

Goat Girl – Slowly Reclines

PHOTO CREDIT: @avanstokkum

Hinds – Linda

Baxter Dury – Listen

New Hope Club – Start Over Again

IMAGE CREDIT: Unskilledworker

Florence + the Machine – Tiny Dancer

Alice Merton – Lash Out

Lady Leshurr – Black Panther

Kali Uchis – Flight 22

Kylie Minogue – Love

Lisa Stansfield – Deeper

SG Lewis – Sunsets – Pt. 2

 

Sinead Harnett - Body

Thirty Seconds to Mars (ft. Halsey) – Love Is Madness

Tom Misch – Man Like You

Lethal Bizzle – Flex

Unknown Mortal Orchestra – How Many Zeros

Sofi Tukker – Batshit

The Wonder Years – Raining in Kyoto

Albert Hammond Jr. – Set to Attack

Tove Styrke – On the Low

Johnny Marr – The Tracers

The Shires – Accidentally on Purpose

Plan B – Grateful

Beach House – Dark Spring

Soleima – Pacify Me

PHOTO CREDIT: Hollie Fernando Photography

Fenne Lily – The Hand You Deal

Ross from Friends – March

TRACK REVIEW: Bianca Bazin - White Water

TRACK REVIEW:

 

Bianca Bazin

PHOTO CREDIT: @saskinsss

White Water

9.4/10

White Water is available via:

https://www.biancabazin.com

GENRES:

 Pop; Indie

ORIGIN:

London, U.K.

RELEASE DATE:

April 2018

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WE are entering a phase in music...

PHOTO CREDIT: @georgiabazin

when solo artists are dominating the landscape. I feel the days of bands ruling are long gone. That is not a reason for distress and concern: solo artists are producing some fantastic music right now. I will come to Bianca Bazin and her debut single but, for now, a look at reinvention and songwriters who adapt their sounds. I will come on to look at confident female songwriters and why we need to take more notice; the way a good music video, tied to a fantastic song, can stand in the mind; different influences and creating a fuller sound; training and being educated in music – a bit about adding excitement to a stale industry. I have reviewed and interviewed Bianca Bazin before – under the guise of ‘Bee’. The new song, White Water, is Bazin identifying herself in a different light and changing her sound. That is not to say what came before, as Bee, is to be discounted. What I was interested in is artists who create one name/persona and the reason for a change. In Bazin’s case; she established a Pop sound that captured the imagination and created a fanbase. Now, in 2018, there is a need to enter the next phase and move into a different market. What we have now, under her full name, is a sound that retains some of Bee’s strands but brings in a lot more. There is a more mature sound and a fuller palette. Every song from Bazin, past and present, has her heart and soul poured into it. She is someone who does not rest and will craft every song; dedicate her all to the music and ensure it is the best it can be. What I love about her is the reason she is doing this: to inspire other people and do genuine good. White Water is Bazin embracing something else and representing where she is now. I am/was a big fan of Bee and what she was producing. If anything; the young songwriter has got everything she could from that venture and has set her sights higher.

What I notice, between ‘Bee’ and Bianca Bazin’ is the steps that have come. Bazin has moved from Surrey to London; she has learnt a lot from gigs and seen her music get out into the world. What I have noticed, also, is the strength of the music. Bazin, now, is preparing to release her debut single. There are not many songwriters who can come onto the scene with such confidence and intent. She will resonate with her existing fanbase but, if anything, pick up new ones. Her debut single marks an artist who has cemented her sound and knows exactly where she wants to go. I am, I guess, the first journalist to cover the song – it is not officially released for a few more days/weeks yet. Bazin has filmed her video – I will discuss that soon – and must be thinking ahead. The first notes of White Water let you know, here is a songwriter with a lot ahead of her. Bazin has overcome some personal hurdles and is fighting in a music world packed and competitive. It would have been easy to lie down and take some time away and rest. Instead; she has focused her vision on the horizon and created a stunning song. Many might say it is not a big reinvention – the name has shifted and the look is still the same – but it is a sign the songwriter has desires to be a mainstay in the music industry. What one notices – between names and phases – is a more rounded and full sound. Here, on the debut single, one can notice fresh influences coming to the fore. I will discuss this more but, with any great artist; Bazin has looked at what she’s created and is looking out into music. She has seen the other female songwriters around and reacting to what the public wants. Now, in 2018, there is a move towards music that digs deeper into the artist and lets the listeners in. Pop artists who create something more commercial are still wanted and needed: one looks for something more interesting and nuanced. Bazin has always produced music that goes beyond the ordinary and cliché.

In these times, when controversy rears its head, there is a danger an artist like Bazin could be taken advantage of. The film industry has the same issue: sexual assault and female artists being overlooked. Bazin, on paper, could be taken advantage of because of her age and looks. She is, naturally, stunningly beautiful and, like her peers, could be exposed to the worst instincts of labels and fellow artists – those who take a dim view of morals and feel they can treat women how they want. It is sad to see how the industry is developing and disturbances that are coming to light. I know there is a lot to tackle and problems that cannot be fixed overnight. What I do know is (that) female artists are rebelling by producing some of the most confident and immediate music around. I get the feeling there is that need to be proven and validated. That is not their fault: those who make decisions are still in the narrow mind-set and focusing on male artists. Bazin, like many others, are producing incredible music that will stand the test of time. I wonder whether Bazin, and her colleagues, will be provided the same gig chances and celebration as the men. There is that problem with sexual advantage – men taking advantage of the women – and sexism. The reason I am leaning towards female-made music at the moment is because of the depth and fascination. There is something more enticing and revealing; invention when it comes to mixing genres together; vocals that strike and get right into the heart. Maybe this has always been the way: the past couple of years has upped that impression and really come to light. It seems staggering, given the fact female artists are being overlooked to an extent, there should be any avoidance and naivety. Bazin is among a group of artists who warrant more exposure and bigger gigs. She is releasing her debut single but, with more music, how long will it take her to ascend to the bigger platforms?!

I will move onto new ideas but, right now, I want to stay on the subject and talk about confident songwriters. I have discussed Bazin’s relaunch and new phase. She has discovered a fresh sound and, if anything, there is nothing out there like her. One hears White Water and, from the very first notes, there is that naturalness and charm. You are taken into the song and feel part of the process. The vocal and delivery is oozing with heart and passion. There is subtlety and tenderness that mixes into the agenda. Rather than create something quite modest and settled; you have a musician who wants to get under the skin right away and get success. I know there will be more music coming soon – it is the start of something wonderful for Bazin. It would be easy to compromise and write a song that slotted into the mainstream and would, as such, get onto the radio. She could have crafted a Pop banger that would get plays and be heard by many. If that was true to who she is, then that would be fair enough. I have heard Bazin grow through the years and seen her move through stages. I can see her going on to be a big name in music. In years to come; there will be new chances to grow and succeed. On this first outing; you can hear how much it means to Bazin. She wants to remain in music and see her music compel others and make a difference. There are many people in music for the wrong reasons. They might be in it for commercial gain or to follow another artist. I feel Bazin is in the industry to show where she has come from and use her story as a lead for those who struggle and are looking for a way in. These are exciting times for the songwriter. I know White Water is going to see her transition from the underground and gain a lot more ears. That is, in no small part, down to her spirit and determination.

It is rare we talk about music videos and what they mean. The days of music television are gone and dead. We have streaming sites and can see videos on YouTube. There are so many songs out there right now. How many of us can name a music video, from the past few years, we can class as ‘iconic’?! It has been a fair few years since a video came along that captured the public imagination. Every artist puts out a video at some point in their careers. It can be expensive releasing something ambitious and full. What I love is seeing a video that has simplicity but perfectly bonds with the song. You do not need to create something extravagant and explosive. In the case of White Water; the video shows the heroine walking the city and contemplating things. It might sound basic on paper but, when you watch it alongside the song; it gets into the brain and makes you think. What strikes me is the fact that the video seems quite personal and meaningful. By that; Bazin has filmed something that looks incredible and brings the listener into the story. She does that with her vocals but, when you see the video; an extra layer comes through. There are videos out there, from bigger names, that seem to throw money at the screen and do not really offer anything. Modern artists are limited as to what they can afford and produce. It is not feasible bringing out huge films and casting lots of extras. Instead; you have those brilliantly engaging videos that are filmed on a small budget. In the case of White Water; it is a great promotional that wonderfully joins the song’s narrative with the film world. Bazin has a natural ability and confidence in front of the camera. There is a definite shine and connection and, if you go to her official website and watch it yourself; you notice how the song really comes to life. She seems free and able to conquer anything; engrossed in what she is doing and, as such, that gives the song itself new light and revelation.

I will conclude this topic soon but, going forward, and there are other filming opportunities for Bazin. She has, with her producers and director, created a concept (for White Water) that unveils a reborn, repurposed songwriter. Even as Bee; the videos were striking and strong. Now, a little while on from her previous song; I can see something in Bazin’s eyes. There is that hunger for new challenges and the desire to hook the listener in. Bazin is an artist who wants to keep building her career and get people listening. So many artists, I find, are putting out music for the sake of it. They repeat themselves or provide the public with sounds one can get elsewhere. Bazin has worked hard and crafted music that is true to who she is. The video for her debut single captures her essence and, with it, a wonderful film. That lure and visual style (she has created) is going to be interesting to follow. I wonder what she will come up with on future singles. Based in London; there is the perfect backdrop and setting. I imagine her videos will get more ambitious but retain her identity and vision. There is every reason to suspect, when the video for White Water gets out there, people will flock in and promote her work. It is a shame there is not a bespoke music channel for new musicians. Seeing an MTV-like channel that promotes unsigned artists would be a good move. I am sad we do not place the same importance on videos as we once did. Maybe that is a sign of the way things are going: it is all about the digital and getting all that music out there quickly. Few can deny how the audio has overtaken the visual. Bazin is an artist who still places pride on videos and visuals. Her photos and promotional snaps are striking and engaging. I have mentioned how she is a very striking woman – something that can be seen as a reason for men to take advantage of – but her shots are very classy and mature. Rather than flaunt her body and tease the camera; she has a classy, if sexy, vibe that is good to see. An artist who has her head screwed on and stands aside from her peers – I have high hopes for her as we move through this year.

I can imagine more songs will follow very soon. Bazin is a restless artist who moves through stages and has different influences. I hear bits of Fleetwood Mac in her sounds; there is Carole King and London Grammar – she lists as influences – and modern-day artists like Lorde and Sia. Rather than copy others and create something we have heard a million times; Bazin sprinkles together her heroines and produces something unique. It is the fusion of older and new artists that impresses me. A lot of young artists tend to have a narrow concentration. They will utilise sounds from a particular decade or period. Bazin, one suspects, grew up around great music and was taught to love the feel and purity of the music – rather than love what is deemed ‘popular’ and ‘cool’. You have those touches of King and Fleetwood Mac; the credible sounds of Lorde and modern-day idols. There is never any sense Bazin is trying to follow in their steps and get into their light. Rather than dance to their groove; we have an artist who is compelled by what they stand for and what they do with music. That confidence and independent spirit – one hears with the aforementioned – dominates. There are modern Pop touches in the blend but, largely, Bazin sources from more credible and mature artists. I keep saying ‘mature’ and many might see that as a negative – it is not meant to be. What I am referring to is how Bazin does not use youthfulness as an excuse for immaturity. Too many artists are producing empty music and creating something juvenile. Rather than provide the public something instant and Pop-y; she has an intelligence and depth that means her music takes a bit of time to reveal its colours. It blossoms and grows the more you hear it. I am compelled seeing where Bazin takes her music and what she can achieve.

It is not a surprise to see Bazin captivate and produce such incredible music. She has performed at Italia Conti and learnt to dance and sing there. She picked up a guitar in 2012 – playing the piano at the same time. Bazin started performing live 2014 and has grown as a performer. It is that early attachment to music that means, years down the line, the young artist continues to push. I am seeing fewer and fewer artists get into music at such a young age. Maybe it is the fact music is not part of the mandatory curriculum like it once was. It is an option for many students: one that fewer are choosing to follow. I worry new generations are not going to take up music and will get into it rather late. Bazin is still very young but, as a child, bonded with music and knew that is what she had to do! That passion and intuitiveness, mixed with her influences, has seen her get to where she is now. Bazin’s musical upbringing was rich and rewarding. Those incredible artists she listened to – and the ones she holds dear now – have impacted her direction and inspired her to put her all into music. The fact she has that training and musical education means she is in a better position than a lot of her contemporaries. I know Bazin is doing something different and exciting. The industry is still rather lifeless and not quite as exciting as it could be. Bazin has moved to London and, I’m sure, has gigs lined up. The songwriter is embracing the city and throwing her all into music. It can only be a matter of time before she gets onto the big radio stations and moving up. Bazin has made some big steps and, with every move, improving as an artist and performance. White Water is the sound of a bold and challenging artist who has ammunition to take the music world by storm.

There is a sense of the dramatic and intriguing regarding the opening moments of White Water. There is the sound of, I suspect Big Ben, and the water rushing. Watch the video – directed by Jim Robinson; producers Emma Little and Chris Boorman produce – and one sees Bazin on a bed by the water. The waves are coming in and we see her bed, out in the open. The scene shifts to the river-side and Bazin dressed and looking out around her. There is a concentrated and focused look that signals a woman who has desire and questions on her mind. The opening vocals have that seductive and tender quality. I hear, instantly, elements of London Grammar and, oddly, St. Vincent, right away. The scene is set and one gets into Bazin’s emotional head-space. With minimal accompaniment; Bazin talks about a seemingly care-free life. There are opportunities at her feet and the world is open to her – nothing to complain about. On the outside; there is that sunny façade and a demeanour that suggests everything is okay. Look deeper behind the eyes and there is a pain that lingers. The heroine has faced troubles and changes and is keeping things in. I feel there is that need to fool people and retain an air of happiness and contentment. People, maybe, will walk away if she opens up and reveals what is going on. In the video; that concentrated look and sense of sadness can be heard. We see figures barge past her and, dressed comfortably and elegantly; there is metaphor and visual clues coming through. The heroine is protecting herself and wrapping up warm; people are walking past and not looking at her. Rather than stop and talk; there are those who run past and do not care. Bazin is walking alone and trying to keep things together. The edges are fraying and, like the water, she ebbs and flows. There are good and bad times (like we all experience) but that transition is clear.

Looking at the lyrics and the way they produce metaphor; it seems like Bazin is the water and tide. She is changing and wants to move. Rather than remain turbulent but overlooked; she wants that calm and sense of wonder – people to look at her and take notice. Right now, she is stuck and wants someone (or something) to take her away. Perhaps the song refers to a geographical quandary: stuck somewhere inspiring that is not fulfilling her. I feel there is more of a romantic and personal desire. She has had her heart broken and lost people along the way. Maybe a man has let her down; others have taken her for granted and, it seems, she has been left to take stock and make sense of this all. Bazin is keen to explore new ground and have her heart lifted. Right now, there is a shadow in her soul that is taking a lot from her. One hears the piano in the background: the spotlight is on Bazin’s voice and the mention coming from it. The heroine is flesh and bones; she is feeling the lash of the wind and needs to take some time out and relax. Maybe, where she is now, there are too many cruel minds and it is hard for her to be heard. Packing her bags – literally, in the video – the heroine has reached a point where she needs to find who she is and some balance. Maybe there is that need to find a loving soul; surround herself with good friends and like-minded people. Strings ache and the vocals are layered as the heroine looks back at her past – things getting on top of her and things spiraling out of control. This transition and relocation is a new phase of her life. Maybe, looking closely, one might see this rebirth as a move between her previous music incarnation and her new, more personal, sounds. Bianca Bazin is a woman who does not want to be buried and hurt. There is a hunger and intensity coming through – things have to change.

The song subtlety moves and brings in new contours. Strings come through and the romantic elegance of the background works with the soulfulness and beauty of Bazin’s voice. The heroine, in the video, is on a train and being squashed; she is looking out the window and wondering where she is headed. One heats notations of 1970s Folk and classic songwriters of the past. Bazin has her mind set on new ventures and places. White Water is a very revealing and open song that shows how hard things are right now. Maybe Bazin has bottled up her emotions or felt she has to keep things inside. Treading water and stuck in the same place; that desire to break thorough and do what she needs to do – that will connect with many people out there. So many of us – myself include – are in a rut and want to move on. It can be depressing being in the same place and going through the motions. I have seen many others move on (Bazin would have) and seeing how happy they are. Bazin has worked hard and made compromises for other people. Maybe others have not been looking out for her. Now; there is this peak and rise in tension that needs to be released. It can be difficult changing things and making that big step. Bazin has been unhappy but is making strides and changes. The time is now and this is the moment to be who she wants to be. The final moments of the song follow Bazin’s trip and where she is moving to. Come “Hell or high water”, she will be standing strong and coming home. Maybe there is the need to overcome personal limitations and face things with a stern spirit. We see, in the video, Bazin by the water with bare feet. She has been reading motivational text and, now, stands proud and looks out to the waves. It is not as intimidating and hard as it once was. The video comes round in a circle. She was, in the first shots, asleep and resigned as the waves lapped in. We have followed her progress and movements. Now, at the very end, she is in the same spot and, instead, looking happier and calmer. It is a fantastic ending and realisation that, if you push yourself and make that decision; you can improve and find satisfaction. White Water, in a sense, is Bazin sending out a declaration and proving she is here for the long-run. Things might have been hard but, with her debut single; the songwriter is where she wants to be and ready for the challenges put before her.

Bianca Bazin is an artist we all need to watch out for. I know I have spoken a lot about her transition from ‘Bee’ to ‘Bianca Bazin’. She might not want it laboured or see it as a big deal. It is a natural change and progression from a young woman who has big plans. I wonder whether Bazin has an E.P. in mind. It is going to be a great year for her. She has, already, got under the radar of websites and radio stations – expect this to rise and expand as we head through 2018. What amazes me is how Bazin manages to tackle everything herself. There are others helping her out but, look at her social media and you can see how much she wants this. She promotes her work and is tirelessly getting her name to the people. When White Water is officially out there in the world; it will be a chance for Bazin to prove what she is about and look forward. I would love to see her get loads of gigs and put her single out on the stage. Her stunning voice and engaging personality mean she will be a heroine to many out there. London is a big and varied city that means doors will be open for her. I am curious seeing what sort of dates she gets after the release of her debut single. Festivals are coming up and it will be a chance for Bazin to get out there and captivate the crowds. I feel White Water is part of a narrative that will reveal more in time. By that, I mean she is exploring herself more and creating music that reflects where she is in life – and where she wants to hear. A four-track release would be a great way of getting the music out into the world and hinting where she will head. I can imagine, in time, an album will come and headline sets will come. That might be a little way away: for now, Bazin is focusing on her debut and ensuring people get behind it. Make sure you go buy her single from the official website (see the link at the bottom of this review) and support a songwriter who has big and exciting times ahead. White Water is a song, very much, about the here and now. It is a fresh and grand creation from a songwriter who…

HAS only just begun.  

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Follow Bianca Bazin

PHOTO CREDIT: @georgiabazi 

Official:

https://www.biancabazin.com

Facebook:

https://www.facebook.com/biancabazin

Twitter:

https://twitter.com/biancabazin

Instagram:

https://www.instagram.com/bianca_bazin/

YouTube:

https://www.youtube.com/channel/UCfsi4hX0aXZXNWH56f_BCxQ

INTERVIEW: Bumpus

INTERVIEW:

Bumpus

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THIS seems like a great day…

to push Bumpus out into the world! With their awesome E.P., Way Down Deep, unshackled; I have been talking with the Chicago-based band about the songs and how it came together; if there is a cut from the E.P. that stands out – I wondered how the band got together.

I ask the guys about Chicago’s music scene and what they have planned regarding touring; if they will shoot over to the U.K.; which new artists they recommend we check out; what music they grew up around – they provide useful advice to new songwriters coming through.

__________

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

Great. Shooting music videos in an old church with a secret bowling alley in the basement.

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

We’re Bumpus. Nine people. One with accompanying tiny humans. Some with dogs. Lots of Funk.

Way Down Deep, your new E.P., is out. Can you reveal the themes/inspirations that go into the songs?

We started writing work for this album as a side project called Dance Floor Plans. But, in the middle of the writing process, James (bandleader and lead singer at the time) got nodes and the band took a break. When we got back together, we started shifting the focus to Tina and things just took off from there.

What was it like recording the songs? Is the studio somewhere you all like being?

It was pretty spread out, time-wise. Half of the songs were done in a studio that specializes in vintage recording techniques so, for those; everything was done live with no overdubs and no studio magic. The sounds we heard recording is exactly what we heard at the mix.

We spent more time on the other half of the songs in a more traditional studio situation. I think our favourite time in the studio is the editing phase. Pulling things in and out. Trying something in a tiny section of a song.

Is there a cut from the E.P. that, you think, stands out from the pack?

We really like Anything (which Tina wrote).

Tina: I taught myself how to play guitar. I am not great, yet, but I have a great ear. I was teaching myself to play Dear Mr. Fantasy by Traffic and I had one too many notes (laughs). I wound up writing this hypnotic little ditty which is about a woman's affirmation after looking back on her life at that point and realizing that she didn’t have to be like everyone else - that being herself is just fine.

How did Bumpus get together? How has the band changed over time?

Bumpus has really been three bands, but our origins are as early as the mid-nineties. We had a seven-year run with our original line-up, which featured singer-songwriter, Rachael Yamagata. We were all completely self-taught, but that worked out because we played about four shows a week for five years straight.

At that time, we had three singers, including an M.C. The music was super-diverse, but you probably wouldn’t know it was the same band from one song to the next. Our middle period kept most of our original members, but added a keyboardist, three horns and a cavalcade of backup singers.

The end result was our most ‘studio’ (studio) album, All the People. Probably 500-1000 shows played in that era. Our current group features extremely talented musicians from DePaul and Berkley and, of course, Ms. Tina Howell.

Chicago plays an important role in your music. How much of the city and its history do you bring to your material?!

I think we just bring the history of our experiences more than the city. There’s a grit to Chicago that comes through in our music. However, I think we have a love/hate relationship with Chicago...

It’s an amazing city, but it’s not generally supportive of artists. Gentrification is a huge thing. The clubs are fewer than they used to be. Most of the neighbourhood festivals have moved away from original music in favor of cover bands.

What sort of music did you all grow up around?

We all grew up around tons of music, of course…

James: My dad was a D.J. and program director for WBBM FM in the '70s, when they played Joni Mitchell next to James Brown next to Led Zeppelin. As a result, we had stacks and stacks of promo records - and my dad was smart enough to put them right down on the ground where I could discover them.

Do you have any gigs lined up? Where are you heading?

All over the Midwest for now. Maybe a little farther in the fall.

Can we expect to see you guys play over in the U.K. this year?

Possibly the fall. Working on it!

What do you hope to achieve in 2018?

More awareness for our group and really just bringing good times to people through our performances. We set our shows up for people to dance.

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

Favorite memory…

Being on stage with Maceo Parker (James Brown’s sax player) singing Gimmie Some More and Shake Everything You Got.

What advice would you give to new artists coming through?

Practice, practice, practice your craft. All the time. Your bands and situations may change, but you must always rely on your core skills. Luck favors the prepared.

IN THIS PHOTO: Bonzo Squad

Are there any new artists you recommend we check out?

Well. Bonzo Squad, PJ Morton; Naughty Professor...

and Anderson .Paak - if you don’t know him already.

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).

PJ Morton – Sticking to My Guns

Vulfpeck – Daddy, He Got a Tesla

Am I Wrong – Anderson.Paak (ft. ScHoolboy)

Warrior – Chloe x Halle

My Song 5 – HAIM

Woman’s Gotta Have It – Bobby Womack

One Mo’ Gin – D’Angelo

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Follow Bumpus

Official:

https://www.bumpusweb.com/

Twitter:

https://twitter.com/bumpusmusic

Instagram:

https://www.instagram.com/bumpusmusic/

Facebook:

https://www.facebook.com/bumpusmusic/

Spotify:

https://open.spotify.com/artist/4e1og7UROxzSrxTgyQPR4l

SoundCloud:

https://soundcloud.com/bumpus-music

INTERVIEW: Hildur

INTERVIEW:

Hildur

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THOSE who truly love their music…

like to go deeper and seek out artists who do things differently. Hildur talks about her home of Iceland and her latest track, Water (FAMILY_TIME Remix). I ask her whether there is more music; the artists who have inspired her – and, whether the talented songwriter is coming over to the U.K. to perform.

I was curious to learn about Hildur’s path into music and how her career has developed; what she does away from music; what she hopes to get out of the rest of this year; a new artist we need to keep our eyes open for – completing the interview with a rather good song choice...

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

Hey there! I'm super. I'm actually sitting on a plane back to Iceland. I just spent the last five days in Norway writing and recording new music - so life feels good right now.

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

Yeah, so. I'm Hildur. I’m a songwriter, singer and a producer from Iceland. I started out as a cellist doing Classical stuff, but singing and songwriting have always been a big part of me - and I am fascinated with Pop music in general and what makes a melody catchy, so, I started making pop a few years ago. I do Electronic-Pop with quirky vibes. I have a bit of an Icelandic accent, maybe; I don't know. But; my songs are, mostly, pure fun or sad.

Because; that's how life is.

Water (FAMILY_TIME Remix) is your latest track. What can you tell me about the song? How did that remix come about?

Yeah. So. I have a special connection to this song. It's one of my favorite songs (that I have written) so I thought it deserved a little special something. So, I teamed up with this cool Swedish producer, FAMILY_TIME, and got him to do his spin on it. It's a totally different vibe: more upbeat but it's like double the fun now. So, you can basically listen to either a happy version of this song or the melancholic original. No need to change your mood!

Is there going to be a video or promotional event for the song?

Yes. I'm releasing an acoustic, live version for Water that we filmed for this. It's a special and emotional performance and it's got a cello. Everyone loves cellos.

The original version if from the E.P., Heart to Heart. What was the reason for singling the song for treatment? Have you been pleased by the album’s reception?

I feel like it was like a hidden gem on the E.P. - as it was the last song and I thought it deserved something extra. People really react to that song when I perform it live. I've often had people shed tears and come tell me how this song touched them. That's the most powerful feedback a musician can get. It makes you humble to know your art can affect people in that way.

I'm very happy with the E.P. as a whole and the feedback has been great - so, that makes me even more eager to release new songs. 

What have you got planned in terms of future material? Are you working on other stuff at the moment?

Yeah. The last few weeks have been all about new stuff. I'm still figuring out if there will be an E.P. or an L.P. or bunch of singles - but they are coming soon, no matter which form it will be.

Which musicians influenced you to take up music? Who are your childhood heroes?

My fellow Icelander, Björk, has to be the biggest one.

She is such a great role model as a powerful female force that is ‘everything’ in her own music and artistic direction. She was the musical hero in our country and I just remember being so intrigued by her songs. I think I was around eight when I heard Homogenic - and Jóga was a song that immediately grabbed me.

I remember being so struck with how many feelings music could have - and, then, I tried to create my own emotional dance to it. It involved a lot of rolling around on the floor. Must have been a sight!

You are an Icelandic artist. Is there a big music scene in Iceland right now?! What is the country like in terms of styles and promising artists?

I absolutely love the Icelandic music scene. It's unreal how much amazing music we've got coming out of our small country. Right now, Icelandic Hip-Hop is all the rage there and, though I do love it, I think we also have a lot of great artists in many different genres. People are not afraid to stand out. If you are an Icelandic person, you are used to standing out because we are so few and everywhere we go people are interested in our country and think we are ‘different’.

Also, to some extent, it's fairly easier to get heard in Iceland and get chances to play and share your music. I guess that gives more people the confidence to just try. So: do an hour of listening to Icelandic music on Spotify.

You will be surprised.

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

I haven't planned a tour yet as I'm pretty busy with writing these days, but next gig is in Tallinn Music Week in Estonia and then Secret Solstice Festival in Iceland.

Do you get to play in the U.K. at all? Are you a fan of the artists over here?

It's still on my bucket list! I have a huge crush on Brighton, so I want to play there!

Yeah. James Blake and London Grammar are two of my favorite artists. I do love strong Pop ladies like Dua Lipa and Anne-Marie and I'm also really into Stormzy and Years & Years. I do love some of the Pop prince songs from Ed Sheeran.

What do you hope to achieve in 2018?

Release some of my new songs that I'm dying to share with the world. Music is already taking me to so many cool places and I hope there will be more of them in 2018. I hope for some good surprises. I love surprises.

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

I have a lot, but one thing that always sticks to me is when I met a couple (from Germany, I think) who told me they had decided to listen to my music when she was giving birth to their baby. That was a surreal compliment.

What advice would you give to new artists coming through?

Be yourself, like – really yourself! Trust your gut feeling. It took me quite some time to figure out what kind of music I wanted to make, but I'm happy I waited with releasing stuff until I had found my sound and knew how to portray it. Then, have fun. This experience is too precious to spend on stressing and worrying…

IN THIS PHOTO: Lxandra/PHOTO CREDIT: Iiris Heikka/COVER ART: Fredrika Lindeberg

Are there any new artists you recommend we check out?

Yeah. Powerhouse and cool-cat Lxandra from Finland. We met in Hamburg at a writing camp and I was amazed by her voice. She just released a bangin’ single called Dig Deep.

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

Depends on the days. I'm trying to have at least one ‘music-free’ day a week just to keep my head straight. I go to the swimming pools. Icelandic swimming pools are something else - and a long soak in the hot tub, sauna and cold bath just regenerates you.

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).

Jon Hopkins' new song, Emerald Rush. Recommend blasting this. Feels heavenly

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Follow Hildur

Official:

http://hihildur.com/

Twitter:

https://twitter.com/hihildur

Instagram:

https://www.instagram.com/hihildur/

Facebook:

https://www.facebook.com/hihildur/

Spotify:

https://open.spotify.com/artist/6ySCnJCaqVYSeZSELbdx7k

SoundCloud:

https://soundcloud.com/hihildur

YouTube:

https://www.youtube.com/channel/UCIIeswF530FjU0kytkrvUrA

INTERVIEW: Alex Highton

INTERVIEW:

Alex Highton

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HIS third album is out…

and already picking up acclaim and attention! Alex Highton talks about his new L.P. and the song, Love Is Enough. I ask the Liverpudlian songwriter what the city is like right now; how important its legacy is to him; what he has coming up in terms of gig dates – the artists and sounds that have inspired him as a musician and person.

Highton tells me how the changing world impacts him as a songwriter; if there is a treasured memory from music; if there are any new artists we should be investigating – he ends the interview with a rare and brilliant song.

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

I'm great, thanks. I've been writing and making demos in my little studio - that's where I'm happiest. So, all in all, it's been a good week. 

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

I'm a Liverpudlian singer-songwriter with a soft spot for Harry Nilsson.

Love Is Enough is a track that interests me. What, would you say, is the inspiration behind the song?

Well. I was sitting there, staring out the window with a guitar in my hands not thinking about anything much when the words "It's a sea lion, it's the sea..." came into my head. I liked the way the words sounded, but I thought: 'they don't mean anything'...which started me off on this train of thought about how we give our lives meaning.

This all made my head spin a bit; so, I went away, had a cup of tea and then, when I went back into the studio, the words all just tumbled out.

I believe there is footage from Darkest Hour by director Thomas Ralph. The video, in a way, seems to offer guidance and strength in a post-Brexit Britain. Do you think now, more than ever, we need to hold on to one another and find unity?

Yeah. You're probably right. Brexit is the stupidest thing we've done in a long time – and, as a country, we've done some stupid things...

PHOTO CREDIT: Graeme Wilmot

How do you feel the way the world is changing impacts you as a songwriter? Do these uncertain times make you more insular – or do they compel strength and defiance?!

Everything impacts in some way or another. I'm not sure I'm fully conscious of it. I just write what I want; talk about what I want to talk about and see what comes out. On different days, I feel different ways. 

The way the world is going, though; it does feel like everything is turning to sh*t a bit...

Welcome to Happiness, your third album, is out. What sort of themes provoked the songs? How do you think it differs from your previous records?

The album, as a whole, is about searching for happiness I suppose. Years ago, just before I got together with my wife, I remember sitting alone in my flat and wondering whether I was happy. (I wasn't). I decided I was going to stop making stupid decisions and allow myself to be happy. (I am now).

But, in the end, you know; they're just songs. Hopefully, people will enjoy them. This record is different to the others. There's acoustic guitar for a start. I just got bored of writing on it. I could easily have made the same record again but really what would be the point.

The sound is more expansive and, even if, at times, it seems simple; it was proper-complicated to put together. There's a hell of a lot of work gone into it - from me, Jonners Czerwik (who produced it and played on all the tracks); Bear (who had to mix songs that sometimes had one-hundred-plus tracks on them); all the players who gave up their skills and time...it was a massive collaboration really. Much more so than the other albums. 

Woodditton Wives Club was recorded in two weeks, Nobody Knows Anything took two months: this album took TWO YEARS...

​​​​​​​

It seems like you have grown in confidence as a songwriter. Would that be a fair assumption?

Yeah. I think so, maybe. I don't know really. Some days, I think we've made something great and then, the next day, I think it's the worst song ever written and I may as well give up. To be honest; I like being in a place where I don't feel 100% confident about what I'm doing. It's more interesting.

(I just listened to the album for the first time in ages, though, and I'm really happy with the way it turned out...).

I love being in the studio and that feeling of creating something. I just love that. Once it's done, I'm onto the next thing.

Tell me about the artists you count as idols. Which musicians were you raised on?

My dad moved to Italy when I was little and I used to and visit him over the holidays. He had (still has) this incredible collection of vinyl and I would pore over that, finding all kinds of weird and wonderful stuff. On any given day, I could be listening to Talking Heads, The Stooges; Steely Dan, Jimi Hendrix; David Ackles, Laurie Anderson; Penguin Cafe Orchestra, The Police; Chuck Berry, David Bowie, Pink Floyd; The Incredible String Band, Mahavishnu Orchestra; Getz/Gilberto, Stevie Wonder... It was quite a musical education.

As for my idols...well, there's an awful lot. You can't escape your heritage; so, I'd have to say The Beatles. But, if I think about the stuff that's always on my turntable, I'd have to say Steely Dan, Randy Newman and Harry Nilsson too.

How important is your home of Liverpool? Is the scene as active there as it has ever been? What is it like working and being there?

It is important. There's something in the water I think...

Only the other day, I went to a family party and, after a few drinks, a guitar appeared and everyone was singing. I actually did my first live performance at St Peter's Church in Woolton (where I was born), which is where John Lennon and Paul McCartney met for the first time. I was five, it was a school choir but, you know; you take what you can.

I don't live there anymore - but it's a big part of who I am.

What do you hope to achieve in 2018?

If I'm able to continue making music, I'm happy. I'd also like Everton to win the Premier League. There’s a good chance of the former - and no chance of the latter.

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

There was a gig I played at Norderzon Festival in the Netherlands. I'd decided I wasn't playing live anymore and this was to be my last show. The stage was way off to the side and I was the only act playing on it that night. Two minutes before I got onstage, there were about three people in the audience.

I looked over at my wife and said "Let's get this over with" but, as I got on the stage, all these people starting appearing. I ended up playing to a few hundred and they were singing along to the songs. That was nice.  

What advice would you give to new artists coming through?

Do it because you love it - and don't worry about what anyone thinks.

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

Probably nowhere...unless someone offers me an insane amount of money.

IN THIS PHOTO: The Last Dinosaur/PHOTO CREDIT: Jeff Goldberg

Are there any new artists you recommend we check out?

Yeah. The Last Dinosaur who has just brought out a very highly acclaimed album called The Nothing; Mattis Nikolai Myrland, who is a fantastic songwriter from Norway, and Tall Tree 6ft Man (Jonathan Czerwik, who produced my album) has an album coming out that I've heard some of and it's incredible.

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

Football (what I lack in ability, I make up for in enthusiasm) and alcohol. Mainly, though, it's music, music, music...

PHOTO CREDIT: Richard Lahuis

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).

How about Rotifer's I Just Couldn't Eat As Much (As I'd Like To Throw Up). He's one of the best lyricists writing in English today (and he's Austrian!)......

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Follow Alex Highton

Official:

https://bbislandmusic.com/alex-highton

Twitter:

https://twitter.com/alexhighton

Instagram:

https://www.instagram.com/alexhightonmusic/

Facebook:

https://www.facebook.com/alexhightonmusic/

Spotify:

https://open.spotify.com/artist/7dWMj3ujp1Y7bg2tTb7nNq

SoundCloud:

https://soundcloud.com/alexhightonmusic

YouTube:

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

INTERVIEW: Emma Taylor

INTERVIEW:

Emma Taylor

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I have been getting to know…

Emma Taylor and what influenced her current track, My Dear. The New York-based songwriter discusses her plans for new music and why she labels her sounds as ‘sad girl music’; how she has developed in her career; what tour dates are coming up – whether she will come to the U.K.

Taylor talks about her influences and the music she grew up around; how she spends time away from music; what advice she would give to new songwriters – Taylor recommends a great new artist we should know more about.

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

Hey! I’m great, thanks. My week has been pretty good - just been praying for some sunshine here in N.Y.C.

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

I’m Emma Taylor. I’m a twenty-year-old singer-songwriter from L.A., currently living in N.Y. I write sad songs that make people feel things - and I try to create a blend of melodic and lyrical unification to create a musical journey - while paying homage to the great singer-songwriters of the '70s and '80s. I hope you’ll take this journey with me!

My Dear is your new track. What is the story behind it?

I was in London this past year for a few months and was in a very transitional period in all aspects of my life, particularly in my relationship. It led me to become very vulnerable and put me in quite an emotional state, which is perfect for songwriting. The song’s written from the perspective of someone wanting, so badly, for the relationship to work out even though promises had been constantly broken before. It’s about hoping that, maybe, this time things would be different and that, maybe, this would be the time that things change for the better.

I think most people can relate to the topic that love can be greater than struggles if you can find a way to make it work. However, there’s always that worry that things might not ever change, which is discussed throughout the song. I like to call it a heartbreak, motivational song because it really does touch on both pushing through and pulling back. My Dear helped me push past the tough times to get to the great times in my relationship; so I think it has the power to show others that things can turn around.

You label your music ‘sad girl music’. What is the reason behind that?

For a long time, I never knew how to really describe what kind of music I make. I didn’t want to put a label on it - but I also knew I had to give people some sense of my musical identification. I had heard someone use the term ‘sad girl’ and it really stuck with me. I’m not a sad person during my day-to-day life, but writing and playing sad girl music is a deep form of self-expression and acknowledgement of emotions, good or bad.

Do you think there is ignorance and offence aimed at women regards emotion – that they are too emotional, perhaps?!

Totally. I think that, more often than not, women are scrutinized for being overly-emotional or dramatic about feelings, which is not okay. By flipping the coin and making 'sad girl' a positive, empowering thing, I think, is very beautiful and can show everyone that it’s okay to be expressive and honest - and can show the power of music that is universally relatable.

Your E.P., Hazy, and track, New Found Sound, gained huge streaming figures. How did that make you feel?

When I first found out, I hadn’t checked my streams for over a month because I started to go a little crazy constantly checking and wanting more reactions. I got a text congratulating me on the play count and I was so confused - until I checked my streams and saw the massive increase! It was unreal. It’s still so crazy to me waking up every morning and seeing that there’s still so much growth daily on the song.

Having the song do so well overnight was validation more than anything else; that, what I’m doing is attractive to people worldwide and that my music can resonate with a larger audience than what I had expected. It’s been so incredible, especially because I’m an Indie, completely independent artist - and it has given me even more confidence to continue to create the music that moves me the most.

You have an original sound, but I am curious whether there are particular songwriters you take inspiration from...

Thanks! My biggest musical inspiration is, first and foremost, Joni Mitchell.

Growing up; my parents had this singer-songwriter playlist that they played on-repeat, and so, many of her songs from Blue were on that rotation. She’s everything I aspire to be as a songwriter and as an artist: vulnerable, unique with her melodies; a brilliant poet and storyteller. Her talent is unlike anyone else’s I’ve ever heard. Her, along with fellow Laurel Canyon songwriters James Taylor and Carole King, have been inspirational to me because of their exceptional talent in both songwriting and vocals.

There’s a certain sound and writing ability that those '70s singer-songwriters had that made them stand out amongst the crowd. It’s one of my missions to bring that style back and pay homage to those who paved the way for the current singer-songwriter genre.

You are based in New York. How much do you take from the people and sights around you? Why did you relocate from L.A.?

My experiences and surroundings are a huge source of inspiration for me when I’m writing. I’m a pretty observant person, so I like to focus in on aspects of my environment and the people around me - to help me learn more about the area that I’m in. Because of this, moving to New York was a very crucial step in my artistic discovery, because I learned so much about how to handle myself and become more independent. What made me move to New York in the first place was because I began college at NYU. I knew that I was, eventually, going to end up in L.A. - but wanted to experience New York living before I settled into L.A. for good.

Do you have any gigs lined up? Where are you heading?

I do! I’m playing doing a short set for Vans at their Soho store in New York on April 17. I get back to L.A. in May and am working on setting up some shows there. Keep updated by following my socials and checking my website.

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

I just got back from the U.K. and it was amazing!

The music culture is incredible and I would love to come back and play. I don’t have any plans quite yet - but it’s something I will definitely work on.

What do you hope to achieve in 2018?

I plan on releasing new music, for sure. I’m working on a few singles and will probably just stagger some single releases throughout the year. I’m also exploring music video options and ideas to explore the visual aspect of my music which, I think, could be a very great outlet for further self-expression.

On top of that; I want to gig way more and hopefully tour! Just keep checking back for updates!

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

My favorite moment to date is definitely my E.P. release-party last year. I created the E.P. with my producer and did everything completely independent while entirely funding the whole project; so, spending over a year working on it was a wild experience. The release-show was just the culmination of all the time and effort that I and everyone else who worked on it had put in. It was at a really cool bar in L.A. the night of the actual release date and I filled the space with friends and family. There was, honestly, nothing but love and amazing energy in the room - and I felt completely overjoyed and at peace.

It was kind of like my inauguration into the public music scene, which was exhilarating. I played the entire E.P. live with a band and it was so incredible to have all those who I cared about most hear the songs for the first time. It’s a night for the books and it will always stick in my mind.

What advice would you give to new artists coming through?

My best advice would be to, just, be your best self and focus on you! It takes time to feel confident in your artistry and you’ll always be building who you are and will constantly be getting better; so, it’s important to follow your path and not let anyone or anything tear you down. It’s so easy to compare yourself or focus on the wrong things but, at the end of the day, if the music’s good and you believe in yourself, everything will fall into place.

IN THIS PHOTO: YEBBA

Are there any new artists you recommend we check out?

I’m obsessed with YEBBA - and I’ve listened to her for so long. She was just featured on the new Sam Smith record and I’m so happy to see her get the recognition she deserves. I saw her live and she is truly magical.

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

I really try to find a good balance between music and time to unwind.

It’s so crucial to not let the music overpower my thoughts and life - so that I can still appreciate it and let it have a positive effect on me. I try to take at least one day a week to walk around the city or binge Netflix and just have normal ‘me’ time. I’ve also gotten into photography recently, which I find to be a very incredible form of self-expression.

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).

Joni Mitchell - Both Sides Now (the original version, not the remake)

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Follow Emma Taylor

Official:

https://www.emmataylormusic.com/

Twitter:

https://twitter.com/emmataylor

Instagram:

https://www.instagram.com/emmataylormusic/

Facebook:

https://www.facebook.com/emmataylormusic

Spotify:

https://open.spotify.com/artist/4XmOQJ18YO669d9S7jxPP0?si=eiXjm63GQ0KPjUPXC5DacA

PHOTOS:

Tia Elisabeth Glista

INTERVIEW: Tamtam

INTERVIEW:

Tamtam

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IT has been really interesting…

discovering the details behind Tamtam’s new single, Blue. The Saudi Arabia-raised songwriter talks about moving to the U.S. and how her life changed; whether she has plans to release more material; whether she has some tour plans booked – if the U.K. is going to be part of the agenda.

I discover how important gender-equality is to her and whether more needs to be done in the industry; if Tamtam has a choice memory from her time in music; a few new artists we need to study closely – she ends the interview with a classic Jacko track!

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

I’m great! My week has been really exciting with the release of my new single, Blue, and I was also invited to perform at a music festival in Kuwait called Kuwait Rising. I can’t wait!

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

I’m a singer and songwriter; born and raised in Saudi Arabia. I moved to California for boarding-school when I was fifteen because my parents wanted me to see the world through a different lens, and learn about other people’s ways of life so that I could understand that respecting other beliefs and perspectives of the world is so important.

I’m thankful to have learned that lesson at an early age - and I really love to write about acceptance and humanity in my music.

Tell me more about the song, Blue. What is the tale behind it?

My song, Blue, is about wallowing in the blues of a dissolved relationship, while the other person seems so ‘cool’ about it. I wrote it at a time when I was in a sad place and I felt alone in that place.

I know expression, equality and gender empowerment are important to you and your music. Do you think movements like Me Too and Time’s Up signal a reversal and hopeful future?

Definitely! It’s so important for people to come together to spread positive messages in the world and shed light on the darkness that exists so that they don’t happen again - and so that people are more aware and cautious. It’s an amazing example for others to follow and to see that we can come together for good. I do hope that we always stand up for each other in the good times as well - and that we don’t take those times for granted.

How much of that passion to tackle societal injustices stemmed from your time growing up in Saudi Arabia? What was it like living in the country?

I definitely would not be talking about gender equality and identity if I didn’t experience living on two opposite sides of the world with completely different cultures. Growing up in Saudi Arabia was my ‘normal’ and, if I had grown up in California, that would’ve been my ‘normal’ too.

I would say that is, what I learned the most, that everyone has a different ‘normal’; so we are not here to judge other people’s way of life: we are here to embrace our own way of life and respect the different opinions that exist in the world around us, so that we can co-exist…because we can.

What compelled the move to the U.S.? Was it hard getting a platform and spotlight in Saudi Arabia?!

I came to the U.S. to finish high-school; then I stayed for college, and then, to pursue my music. Actually, a lot of my fan base is from Saudi and the Middle East. I get a lot of comments on my YouTube videos: of girls thanking me for showing them that they can follow their dreams too. That is the biggest gift I can give. If I’m making a difference to one person in the world, then I’m doing my job here - and I’m so thankful and humbled for this opportunity.

Will there be more material coming later this year?

Yes! This year I am focusing on singles - and I’m excited to put out my other tracks soon!

Do you have any gigs lined up? Where are you heading?

Yes! I am heading to Kuwait on April 27 to perform at Kuwait Rising music festival! Then, I’m heading to London to do a couple of shows at the beginning of May.

Will you come and play the U.K.? Have you ever been over here?

I love London! I want to visit the rest of the U.K. (smiles).

What do you hope to achieve in 2018?

I want my music to reach more people so that I can go on a world tour soon! I want to keep collaborating with amazing artists and keep recording more tunes - because it’s my favorite thing to do.

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

Yes! I will never forget the first time I ever performed with a microphone in front of an audience. I was thirteen-years-old and I sang Thriller by Michael Jackson. It was a school talent show and I had the best time performing. That night, I decided I was going to pursue music no matter what.

What advice would you give to new artists coming through?

Be positive, keep creating no matter what and listen to your gut...ALWAYS!

IN THIS PHOTO: grandson/PHOTO CREDIT: @ashleyosborn 

Are there any new artists you recommend we check out?

Yes. Some of my favourite new artists are: grandson, Goody Grace; Makk Mikkael, MorMor - and I’m sure, many more that I can’t remember off the top of my head!

IN THIS PHOTO: MorMor

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

Michael Jackson - Bad

Because it was the first time I ever really felt music - and I got chills listening to the lyrics, the melodies; the production. Everything about this album is amazing.

Britney Spears - …Baby One More Time

Because it was my first cassette tape! I think I was ten-years-old (smiles).

Red Hot Chili Peppers – Californication

Because I can listen to the whole album over and over. I never get bored!

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

Yes. I love going to the movies when I have the time! I love eating yummy food too (smiles). It’s nice to treat yourself to some good sushi from time to time, and finally, I love being outdoors and going on long hikes.

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

I choose: They Don’t Care About Us by Michael Jackson. One of my faves forever!

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Follow Tamtam

Official:

http://tamtamsound.com/

Twitter:

https://twitter.com/tamtam_sound

Instagram:

https://www.instagram.com/tamtamsound/

Facebook:

https://www.facebook.com/tamtammusic

SoundCloud:

https://soundcloud.com/tamtamsound

YouTube:

https://www.youtube.com/channel/UCoMxi0h7K5WQIVRyxh2TZXg

Spotify:

https://open.spotify.com/artist/0L8dLj3QGxHctqkzapPfio

INTERVIEW: Mauro

INTERVIEW:

Mauro

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ON the interviewing block today…

is the talented songwriter Mauro. He chats with me about his current track, Dubstep Heart, and why it holds personal weight – and can be appreciated by everyone who listens. The U.S. star discusses his plans for new music and whether we will catch him in the U.K.

I learn how Mauro came into music and how important it is connecting with fans; Mauro tells me how he spends time away from music; whether he takes a lot of inspiration from mainstream arbutus – and, exactly when music came into his life.

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

Sam! I’m excited! I’ve been traveling, composing new music and enjoying life!

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

World! I’m Mauro; the proud owner of the most colorful guitar on the planet, where heartbreaking and hip-shaking songs were born. I’ve had the delight of performing in a tuxedo with sneakers, lying down; in a white bow tie, like an animal, under the rain and, maybe, in a dream you had - all for over sixteen years (so far) and in front of the biggest stars I know: the people.

Dubstep Heart is out. What inspired the song? Is there a story behind it?

The legend tells the story of a broken heart that keeps beating during the darkest times. It’s one of my homages to resilience dedicated to all the survivors of adversity. I had produced different records at that time which were going to be released instead but, suddenly, an interesting series of events took place that deserved an anthem.

I started writing the chorus on a plane after promoting my previous work. Here, we have a heart that is strong yet miserable, poetically embodied in the syncopated beat of Dubstep. Hidden messages are painted within the song as well.

Is there more material coming up? Can you reveal what is coming next?

I recently finished two-hundred new songs. I’m working on this serious selecting because releasing new music is obviously in my plans. So…there’s a lot of music going on and a couple surprises to look forward to. Stay tuned!

Your music has gained support from sources all over the U.S. How important is that backing and kudos?

Fundamental. It’s gratifying to be appreciated by people who value your work objectively. To me, music is a connection and, by connecting with others, I fulfil my purpose in this life.

Do you take a lot of inspiration from the modern mainstream? Which artists strike a chord?

I inspire myself according to my inner revolutions. Last night, I wrote an R&B song all of a sudden and, last week, I started an Alternative composition which ended up as a Rock explosion (and that’s just me). Music comes to me naturally - without having to be influenced by it.

How did music come into your life? Did you grow up around music?

Destiny-meets-work. Music was love at first sight. I’ve been an artist my whole life, permanently creating. At the age of four, I started working in fields such as painting, drawing; acting and writing - and it was a matter of time that I began creating my own music. I wrote my first album when I was ten - and have been performing ever since.

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

Actually, I’m back from tour. I had a wild time! I even had a sick photoshoot at the beach and all. Upcoming dates will be posted soon. I’m happy on the road.

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

I’m crossing my fingers; it would be such a pleasure. I love the U.K.! Shout-out to my U.K. fans!

How important is it connecting with an audience and getting on stage? Is it somewhere you feel ‘free’ and uninhibited?

Essential. I work to tell a story on stage wherever the circumstance may be - and that’s one of the keys towards connecting with people. In my case, it’s a whole mind-soul-body experience to convey the collective of memories attached to the song that live through me. I’m only myself when I’m performing. To me, it’s like being born again. Someone once told me I transform when I’m on stage…I agree.

What do you hope to achieve in 2018?

In 2018, I’m celebrating sixteen years of music - and this is a year of transition for me. I hope the message in Dubstep Heart continues to resonate within more people. All is leading towards a new era in my career…so; we will definitely meet again at the end of the rainbow!

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

Wow. I’ve got a list! Part of me is stuck in my childhood years where I started my music career. It is fascinating for me to realize I was hired at that age to perform music that I wrote and loved. If I had a time machine, I’d go back and perform with that kid.

He seems cooler than me.

What advice would you give to new artists coming through?

Be fearless. If your love of music is the reason leading your journey, then nothing and nobody will stop you from doing what you love.

Are there any new artists you recommend we check out?

Not at the moment...

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

I’m married to my music; in sickness and in health and till death do us part. I do get caught up in writing poetry, painting/drawing; photography and any other artistic activity that reinforces, amplifies or refreshes my view of music from a multitude of innovative perspectives.

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).

Barbra Streisand - Where Is It Written?

____________

Follow Mauro

 Official:

http://www.mauromuzik.com/

Twitter:

https://twitter.com/MAUROMUZIK

Facebook:

https://www.facebook.com/MAUROMUZIC/

SoundCloud:

https://soundcloud.com/mauro-mu-sic

YouTube:

https://www.youtube.com/c/MAUROMUZIC

INTERVIEW: Cable Street Collective

INTERVIEW:

 PHOTO CREDIT: Samuel McMahon 

Cable Street Collective

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I love it when an artist puts their everything…

into an interview! Cable Street Collective give me an authoritative and comprehensive look into their world and past; where they plan on heading – I discover the story behind their latest song, Wonderland.

The band talks to me about their upcoming (out on 4th May) E.P., Where Now from Here?, and how they have changed since their inception; the sort of music the members all enjoy; why African sounds are so important; what the choice memories from their careers are – they end the interview with some cracking song selections!

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

Great! We just finished shooting the music video for the second single off the upcoming E.P., So We Go (song). It involved having industrial-strength leaf-blowers fired at our faces, so that they get all distorted and pulled out of shape - and filming the results in slow motion.

Watching your cheeks ripple in the wind at 240-frames-per-second is quite a surreal experience...

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

We’re a London-based Indie band who plays upbeat music with a strong African influence. Tristan (Guitar, Keys) spent his childhood in Swaziland and Malawi and Aaron (Bass) is the son of Greg Kofi Brown - who played bass for the legendary Afrobeat band, Osibisa. So; they both grew up surrounded by those sounds. The rest of the band are big fans of Congolese Soukous and African music more generally; so, that’s one of the biggest influences that creep in when we write.

What can you reveal about Wonderland? What is the song all about?

The song is about relationships and how they can make you feel like you’ve lost control of yourself or your emotions. Not just during that initial honeymoon period but, also, after the relationship fails - when the dream turns nightmarish. It’s quite a bouncy, upbeat tune but Fiona’s lyrics are actually pretty sad; channelling that weary resignation you feel looking back after it’s over.

It is from your upcoming E.P., Where Now from Here? Have the songs – that will appear on the E.P. – been in your minds for a while? Are there common themes that link the songs?

We were playing a version of one of them, Anyway, as early as 2015 but the version we now play sounds quite different. The others are all more recent. They were written between the end of 2016 and last August, when we started recording them. They weren’t necessarily written to be a collection of songs but, when we listened back to them all together, we realised there are definitely common themes.

They deal with the stresses of modern life, the pressures that come with getting older and the ways in which people deal with the increasing realisation that the world isn’t as shiny and wonderful as it might once have seemed.

Despite the fact that the music is generally pretty upbeat, the lyrics touch on some pretty dark topics - emotional breakdowns, the ways in which people self-medicate and the strains that social media puts on people and relationships…

Hence the title, Where Now from Here?

 PHOTO CREDIT: Samuel McMahon

How do you think you have grown and developed since your debut E.P.?

Despite the last answer, we’re not actually old and embittered. Haha. We’d like to think our songwriting has matured, though, and our sound has definitely evolved. The first E.P. was recorded with live drums and more live instruments generally.

Where Now from Here? features programmed beats (admittedly, augmented with live percussion) and far more synths. This is partly as a result of line-up changes, but also, as a result of changing tastes. We were listening to stuff like Sinkane, Rostam Batmanglij and William Onyeabor when recording this - and some of that definitely snuck into the songwriting.

When did Cable Street Collective come together? Did you all have that instant spark when you met?

Ash and Tristan went to secondary-school together and first started making music there (although ‘making music’ is, perhaps, generous - there were some pretty terrible Punk-Rock covers). They met Fiona at university and the three of them used to play open mics – although, she didn’t join the band until later, after a stint living in Australia.

The first iteration of Cable Street Collective featured Tristan’s brother on bass (who helped push the African sounds they had grown up with) and a different vocalist. But, when Fi moved back to the U.K., it was obvious that we’d ask her to join.

Dan Cat (responsible for the drum programming) was a long-standing friend who’d actually produced our first demos. He, Sam and Aaron (both friends-of-friends who we’d met through open mic nights) all came on board in 2016 when we decided to change-up the sound after the departure of our drummer and bassist.

I know your numbers have increased since the start. Why did you decide to expand the ranks?!

We had previously played as a six-piece - but, with live drums rather than electronic beats. The line-up changes were because of changing priorities, really - the bassist and drummer, who we’re still very good mates with, weren’t as up for it as they once were.

Rather than try and replace them in a straight swap; we saw it as an opportunity to switch things up a bit sonically and experiment with new ways of making and playing music.

Do you share musical tastes? Which artists have inspired the music you make?

There are, obviously, a lot of shared musical reference points but everyone has their own influences that they bring to the mix as well. We definitely don’t agree on everything all of the time and sometimes we definitely disagree. Haha.

I guess, inspirations we share, are things like a love of 1970s and 1980s Soukous guitar (Diblo Diabala, who played with Kanda Bongo Man and Loketo, in particular), bands like The Very Best (a Malawian-Swedish duo) and artists like Songhoy Blues and Mbongwana Star.

Then there are points where we differ a bit. Fi’s into Funk and Soul; Sam (who grew up on Shetland and played the fiddle as a kid) likes Celtic Trad-Folk, Ash is a far too into Radiohead; Tristan loves Rancid (who, Ash thinks are rubbish); Dan Cat mixes questionable Disco and Aaron loves Metal and Post-Rock. That’s not to say any of those are bad things but, yeah; we all enjoy an impassioned discussion of different artists’ musical merits.

Thankfully, when we disagree, it never gets too heated.

How important is African music to the band? Do you take a lot of guidance from the sounds of Africa?!

It’s definitely a touchstone and an influence we all share. But, as much as we borrow sounds from that part of the world (the tinkly guitars, an emphasis on rhythm; driving basslines and the love of beats and percussion); we’re still an Indie band channelling those influences into western-style songs. We are (we’d like to think) far too aware of the inappropriateness of cultural appropriation to ever claim to be something that we’re not.

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

We’ll be doing a big E.P. launch-show in London on 18th May, followed by a couple of shows in Sheffield and Leeds - details of which are on our website. We’ll, then, be hitting the festival circuit again this summer. So, yes; we hope to see you in a sunny field or a sweaty venue very soon!

What do you hope to achieve in 2018?

This release is our main focus for now...

Beyond that, we’d love to spend some time writing new music and just jamming the ideas that have been kicking around, half-formed, for the past few months while we’ve focused on this.

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

Tristan: There’s loads...but one of my favourites was turning up to this little festival in East Anglia, only to find the backline didn’t include a drum kit. It was a proper hippy-fest; the kind where half the campsite is vans, everyone has a dog on a rope - and the Psytrance Stage and the Main Stage were the same thing...

The sound-man told us to go out the back of the stage, knock on a caravan door and ask for a ‘Dr. Damage’ who, apparently, had a home-made kit he could lend us. Turns out the drums weren’t up to much - but he did have a flask of mushroom tea which he insisted we partake in...

Fiona: It’s either Dave, our old drummer, realising about five minutes before our first set at Secret Garden Party that he’d left his cymbal case propping open a door in London, or me realising about thirty minutes before another set at S.G.P. that we’d left all my gig outfits in Ash’s flat. In both cases, so many people helped out; arriving mid-gig with a borrowed cymbal stand, or piling into my tent with all their festival gear and dressing me far better than I could dress myself!

Ash: We have had some belting gigs at Secret Garden Party. Arguably, my favourite was on an incredibly wet weekend a few years ago. The whole festival was a total mud bath and our bassist (at the time) was on crutches, so dropped out of the gig. Our mate, Alex, was playing a kind of multi-instrumentalist vibe for us at the time, but happens to be more than a little handy on the bass. So, the show went on! We had to practice the songs in half an hour backstage - and on we went.

It was heaving down with rain outside and the Rhumba Rum Bar was packed to the rafters. The place went off and everyone was having a blast. To cap it all off, a guy who had played trumpet with us a couple of times previously turned up (off his bonce I might add) and jammed a track.

There was a kind of spontaneity to the thing. From the ashes of adversity grew one of my favourite-ever gigs.

PHOTO CREDIT: Samuel McMahon

Dan Cat: While I was touring in the Cheshire Catz D.J. duo, we were flown to Avignon in France to play in club carved out of the bottom of a quarry called ‘Le Prive’; which is where Daft Punk first played outside of Paris. A truly humbling experience. After rocking the club, feeling like superstars and storming the decks at the after-party; we were kicked off after fifteen minutes for playing minimal Techno. The after-party crowd wanted Disco. We would have gotten away with if a journalist from DJ Mag hadn’t been with us covering the tour.

Sam: Playing the Royal Concert Hall with Nordic Tone in 2010 was very special. It was a big group project spread across five countries and the near-impossible logistics of getting us all together meant that we knew it would probably be our last gig. It felt as though we really rose to the occasion on the night - and a five-star review in the Scotsman was the perfect end to the story.

Aaron: I’ve got a couple: both relating to Osibisa, actually. As a kid in the early-nineties, I was playing percussion on-stage with Osibisa at an event that that was live on T.V. and Pat Cash (the tennis player) joined in on guitar. Then, later in that decade, Finlay Quaye became good mates with the band. I was always the little kid he'd kick the ball around with. Then, many moons later, he called me up to come play guitar for him.

What advice would you give to new artists coming through?

I’m not sure we’re really in the position to be doling out advice to anyone but I guess, if there’s one thing we’d suggest, it’s to make sure you’re doing it because you enjoy it – ‘it’, being writing, playing live; even the promotional stuff that goes with being in a band. Unless you’re a massive act, the financial rewards aren’t great; so, it’s all about making the experience its own reward.

Are there any new artists you recommend we check out?

Too many to mention really, but there’s one band we’ve played alongside since fairly early days that we reckon are always worth checking out, especially live. They’re called Tankus the Henge and they sound very different to us - but they’re great craic. If you ever see them on a festival bill, go watch them. You won’t regret it.

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

Oh, yep. Aside from Aaron, who’s written for Big Narstie and played with Finlay Quaye and Rita Ora (and a whole bunch of others); none of us are full-time musicians. Ash and Dan both work in tech; Fi is an English tutor (who’s also just co-written her first play - one of the Evening Standard’s ‘must-see shows’ at VAULT Festival no less!); Sam plays in a couple of other originals bands and tutors undergraduate maths and physics on the side (as well as being a s*it-hot percussionist, he’s also a Cambridge-educated astrophysicist!) and Tristan is a journalist at Vice Media.

The good thing about working other jobs is it removes a bit of financial pressure from the band. It also means that, while we work hard at it, music and making it is part of unwinding for all of us. If this turned into a full-time job, I guess we’d probably have to turn to astrophysics, tech; play-writing and journalism to unwind? Haha.

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

Tristan: I’m loving Rostam’s Bike Dream at the minute. I love the way he’s taken a really poppy melody and subverted it with jarringly loud drums, wonky production and a weird vocal effect.

Ash: My jam of the week has been Sorceress by Jordan Rakei - my favourite album of 2017 and a tune I recently came back to!

Fiona: I still have Hey Now (When I Give You All My Lovin’) by Romare on-repeat. I love it when the brass kicks in.

Dan Cat: I’m digging Soft Hair’s A Goood Sign at the moment - and I found Soft Hair via LA Priest. LA Priest is the Prince of Electronica.

Sam: I Asked by Snarky Puppy (feat. Becca Stevens & Väsen). It’s a live collaboration between three of my all-time favourite acts: Becca Stevens’ unmistakable vocal is perfectly framed by Michael League’s incredible arrangement and touches of otherworldly class from Swedish Folk kings Väsen; culminating with André Ferrari’s towering percussion breakdown over a fifteen-beat cycle.

Aaron: I’ve been listening to Express My Mind by Sharna Bass a lot.

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Follow Cable Street Collective

PHOTO CREDIT: Samuel McMahon 

Official:

http://www.cablestreetcollective.co.uk/

Twitter:

https://twitter.com/cscollective

Facebook:

https://www.facebook.com/cablestreetcollective

Instagram:

https://www.instagram.com/cablestreetcollective/

SoundCloud:

https://soundcloud.com/cablestreetcollective/

YouTube:

https://www.youtube.com/channel/UCddQIVCW7fyvxT2Ww4KHe3g

Spotify:

https://open.spotify.com/artist/5UUEHDzvnBUFJgIzR7maTp

INTERVIEW: Mike Watson

INTERVIEW:

Mike Watson

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2017 must rank pretty high…

in the mind of songwriter Mike Watson. His debut single, Lying for Love, made a huge impact and he embarked on a tour of the U.K. – a whirlwind year that, by the looks of things, he is going to top! Watson chats about his current track, On Fire, and what comes next for him. The Manchester-born artist talks about the music of the city and its influence – how important the people are to his success and drive.

I ask whether we can see Watson tour later this year; the music that matters most to him; whether he gets time to relax away from music; what it was like supporting Maroon 5 – he recommends a great new artist to watch.

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

Hey! It’s been busy with the new single coming out, but the reaction’s been great - so; all is good!

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

Sure. Well. I’m a British singer and songwriter, started out in a band before going solo and here I am now! I grew up in the U.K., the U.S.; Singapore and Thailand, but have finally now settled in London.

 

On Fire is your new single. Is there a story behind the song?

The song is about admitting you’ve found someone and they have a hold over you…and you're not afraid to say it. I'm sure most people can say they've felt that way about someone at some point (not every). 

It is a confident and impassioned song! What was it like putting it together in the studio? Did it go through a lot of changes?

This song, unlike Lying for Love, was more of a journey. Lying for Love took no time at all whereas, with this one, I actually changed melodies and lyrics several times, which is unusual. But, for that reason, I feel a strong sense of ownership towards it and am proud of how it turned out! 

How do you view the success your debut single, Lying for Love? It did fantastic business on Spotify. Does it seem a dream looking back?!

You never know how to predict how a track will be received - especially as it was my debut single. I was confident in the fact I thought we had a strong track that could hopefully strike a chord with people, but I never imagined to get the streaming numbers we have today! It passed 750k on Spotify, which is great…

We just have to follow that success up with On Fire!

Do you feel like you have made leaps in a short time? Are you more confident than when you first started out?

I started out in music young and have learnt a lot from every experience I had; whether it be from good situations or bad. I’ve always been quietly confident, but know how hard I have to work in order to be a success in such a difficult and competitive industry. People may just think I started out in music when Lying for Love came out but, in reality, it’s been years in the making to get me ready.

Manchester is where you were born. Is the city a bit of a hotbed for great music? How important are the people regarding your success?

Being from Manchester, I’m a massive Oasis fan! I think most people are…

The city constantly produces great artists and definitely is a hotbed for music! I’ve a lot of family up there and they’d never let me get too ahead of myself. 

How did music come into your life? Did you grow up around music?

I grew up in a musical family. Both of my grandmas sang in choirs and my dad plays the guitar. I remember him giving me this mini-sized guitar when I was just old enough to hold it and, from there, my musical journey started! Both my parents are massive music fans so, growing up, there was a lot of music in the house…anything from the Eagles to Paul Simon to Santana would be constantly blaring out which, no doubt, wormed its way into my head.

I’m VERY thankful for that!

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

Plans are in the making right now: you’ll have to keep your eyes on my socials for updates (smiles).

Does the fact you have supported the likes of Maroon 5 give you a lot of confidence to get out there and perform your music?!

Definitely. Playing such amazing venues like Wembley and the Manchester Arena etc. to crowds like I did on the Maroon 5 tour gave me huge confidence. You get such a buzz playing to that amount of people. I’ve always said, if you could bottle that feeling up and sell it, you’d make a fortune! To be honest; I much prefer the big venues and actually would say the smaller venues keep me on my toes more! 

What do you hope to achieve in 2018?

I hope On Fire does as well as the last single online; then the follow-up E.P. (which is all but done) does just as well too! I can’t wait to get back playing live again, so that’s something I’m looking forward to. Especially as I have two new singles to play!  

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

Definitely playing the Manchester Arena. I took my younger sister to see Justin Bieber there about five years ago and said, one day, she’d see me there…so; it was nice, a few years on, for me to keep my promise and have her there to see it! 

What advice would you give to new artists coming through?

Practice; don’t take criticism too much to heart and don’t have any regrets. Any time you get the opportunity to showcase your skills, whether in the studio or on stage, DO IT! 

IN THIS PHOTO: Khalid

Are there any new artists you recommend we check out?

I’m really into Khalid at the moment. He’s really taken off this last year and I’m really excited to see where he goes! 

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

I’m very sporty. My other love, away from music, is sport...

Not only is my family musical, but my grandad is a football nut; so that’s rubbed off on me over the years. Whether watching or playing, I’m hooked! When I was born; the first thing in my cot was a football. That says it all really. I play football three times a week and get to the gym pretty much every day. If I miss a few days, I get notoriously grumpy. Haha. 

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

A track I’m really digging at the moment is Say Something by Justin Timberlake
(ft. Chris Stapleton)! The way their voices blend is genius…it’s not often you get two male artists collaborating together! 

____________

 Follow Mike Watson

Twitter:

https://twitter.com/mikewatsonmusic

Facebook:

https://www.facebook.com/mikewatsonofficial/

Instagram:

https://www.instagram.com/mikewatsonmusic/

YouTube:

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

Spotify:

https://open.spotify.com/artist/6z3jjAAUEnLbp5M83p0bVV

INTERVIEW: Jared Lee

INTERVIEW:

Jared Lee

___________

HE grew up in Boston…

and has risen through the ranks to become one of the most intriguing songwriters and performers in music. Jared Lee tells me about collaborating with other artists and what compelled his track, Professional Lovers; what comes next for him; whether he will come to the U.K. this year – Lee talks about producing and working with some of the world’s biggest D.J.s.

I ask Jared Lee what music he grew up around and what advice he would give to new artists; how his music has developed in the past few years; what it feels like hearing his music played on T.V. shows – the U.S. artist ends the song with a pretty cool song!

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

Things are good. Thanks for asking! I live in L.A. and am spoiled with the best weather most of the time - so, no complaints.

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

Of course. So; my name is Jared Lee. I grew up in Boston and I am a recording artist and, also, I write and produce for many other artists. I love performing but I really enjoy collaborating with other people on their projects as well. I am told I have a decent personality – but, maybe that’s just people being nice…

What can you tell me about the song, Professional Lovers?

I really love the song and am excited for people to hear it. I think it’s a sexy, honest and visual record that describes a really intense physical relationship and unrivalled passion. I was fortunate to work on the song with Mick Schultz (Rihanna, Kelly Clarkson and Jeremih), Mati Moon and Dirk Pate. Right now; my goal is to (just) get people’s ears on it and introduce them to some of my new music.

Will this lead to more material? Might we expect an E.P. later this year?

Definitely. I have a chunk of songs done and also have some features coming out with some of the world’s best D.J.s that I am excited about. To be honest, I am not quite sure if we will keep rolling out singles or package an E.P. – but I am definitely looking forward to releasing more. I’m also going to release an acoustic version of Professional Lovers - just me and the piano.

You have produced and written for some great D.J.s. Do you notice a big difference working with them – as opposed writing/producing your own stuff?

I have really enjoyed getting the opportunity to work in the EDM/D.J. space, as it has challenged me, creatively, and opened me up to a world which I wasn’t really familiar with a few years ago. I have become such a fan of what they do and the art they create. Seeing some of their shows and the way audiences respond to them (particularly Coachella and last year’s EDC) literally blew my mind. In any collaboration, I think it’s important that each artist bring a unique energy and flavor to the record that can result in something fresh and original. 

With my own stuff; I’m selfishly only thinking about how I will sing it, how I will perform it; does it communicate the message the right way etc.? With a D.J. collab; I, of course, have to take the other party into account and work with them to create something that, mutually, satisfies us creatively. There are times that I will just send them a song and they end up recreating the music; other times where they send me a track.

I write the lyrics and melodies to and, in the best cases, we get to be in the room together- that’s my fave.

How did you get into music? When did it all start for you?

I was always performing from a very young age in school groups. My sister and I sang a lot in the car with my parents and I was fortunate to be able to grasp melodies and harmonies at an early age (probably, largely because of that). I was a bad music student because I never listened to instruction. Ha. I did what I felt. 

Not saying that’s the right way to approach it or not. It’s just what worked for me.

What sort of thing were you raised on? Did you listen to a lot of mainstream music – or was it more club/Dance-based music?

I was really into Boyz II Men, Brian Mcknight; James Taylor, Sting, Peabo Bryson and U2 - tried to sing along note-for-note to everything. My parents didn’t push their own musical tastes on me: they let me find the music that moved me.

How, do you think, your music has developed since, say, 2011’s Falling Through Holes? Do you think you are more confident?

I think any artist just wants to evolve and get better. 

I love those songs and am proud of them - but I am in a different mindset. Life happens, relationships come and go; tragedy occurs, amazing things develop - and this all affects the art you create. I think, now, the sound of the music I will release leans a bit less Pop-Rock than my first E.P. and. Maybe a bit more Pop/R&B/Electronic – and, of course, there are Dance records coming out. So, I am excited to perform some of the new records and see where things go next.

Your music has been featured on T.V. shows – and reached a new audience. How important is hearing your music on the screen? How does it make you feel?

It’s an incredible feeling and I'm hoping for more of it. It makes you feel proud and in, I guess, a superficial way a bit validated. But, I just get turned on by the idea that a person far, far away can be watching something you created and it can contribute (hopefully positively) to the overall experience for them. I also really love the way music (my own or not) can affect or enhance a story on screen.

It can evoke very intense emotions and, so, I have so much respect for the supervisors that put this all together and find the right songs for the right films or shows.

Hollywood, California is where you are based. What is the music scene like there right now?

It’s a great place for music and I think, for Pop music, it’s probably the best place you could be in terms of the creative community. That being said; I think there is something here for every genre because it’s the entertainment capital of the world - and people want to be here to be close to that. Almost everyone here has musical needs, and so, the possibility of collaboration is quite high - which is exciting. 

You just have to then find what works for you. There are many great live venues and the city is, of course, oozing with talent - so you never know what you may hear or who you may hear it from. The downtown scene has been expanding a lot as well and many new live music venues have been opening up.

Do you have any gigs lined up? Where are you heading?

Right now, I'm mostly promoting the single - so it’s just a few songs here and there. 

Mostly L.A. and N.Y. but, hopefully, that expands soon.

Can we see you in the U.K. this year at all?

I hope so! I love it there. My mom grew up in London, so I have been many times and love the culture and history. I recently did a quick performance in London but am looking forward to the possibility of some more time there. I think the U.K. breeds some of the best musical talent in the world without question.

What do you hope to achieve in 2018?

I am really excited about Professional Lovers and some of the new songs that will come out as well some of the songs I have been writing for other artists. I am hoping for many more performances and, to honestly, just get better as an artist, performer; writer, producer and person. I’m willing to put in the work and hope I can music makes people feel good...or feel something. 

I also want to learn guitar.

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

One is playing a show in Hollywood where Brian Mcknight was eating dinner. I was so nervous but had to try to make an impression. I did a couple originals and a cover of Prince’s Purple Rain and he came up to me after - an incredible moment as he was someone I had listened to endlessly and admired musically growing up. He was very complimentary and, a few months later, I opened a holiday Xmas show for him on the Santa Monica Promenade. He even let me use his keyboard!

I had gone from listening to this guy in my room, trying to sing like him, to using his keyboard and opening his show. It was a cool moment.

What advice would you give to new artists coming through?

Well. I think it’s similar to the advice I try to give myself every day: keep going, keep pushing; don’t stop, don’t stop, don’t stop if you believe in your art. I know that’s cliché, but it’s incredibly easy to be discouraged. Most people won’t respond to you. It’s very hard to get a large audience, but try each day to build it - even if it’s one or two people. Also, surround yourself with people you like to be around; that support you but also challenge you. 

People that are great will make your life better; not only professionally but personally. Do the things that make you happy often. Take creative breaks.

IN THIS PHOTO: Dermot Kennedy

Are there any new artists you recommend we check out?

I love some of the new discovery playlists that the digital platforms like Spotify and Apple have because I get to hear all these new songs I have never heard and end up loving. I have lists of new artists I dig. I get very taken by emotive voices and there is so much great talent out there to be heard. Check out the guy I mention at the bottom but there are, honestly, so many - and in different genres.

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

Luckily; I’m now in a climate where I can be outside all of the time comfortably. I ‘try’ to work out every day; go hiking or out to the beach (which is near me). I’m a total foodie, so I care a lot about eating - and often. I occasionally knock out a full Netflix series without stopping…just because we all need that sometimes (smiles).

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

I heard this guy the other day I thought was great. Really expressive voice; Dermot Kennedy - Moments Passed

____________

Follow Jared Lee

Official:

https://www.jaredleemusic.com/

Twitter:

https://twitter.com/jaredleemusic

Facebook:

https://www.facebook.com/jaredleemusic/

Instagram:

https://www.instagram.com/jaredleemusic/

SoundCloud:

https://soundcloud.com/jaredleemusic

YouTube:

https://www.youtube.com/channel/UCRWmV9jInq3T47lFlZUYkuw

Spotify:

https://open.spotify.com/artist/7cBPcPEdhDWIoFX6BDvw1b

FEATURE: Of Songs’ Praise: The Best Albums of 2018: January-April

FEATURE:

 

Of Songs’ Praise

 IN THIS PHOTO: Shame/PHOTO CREDIT: Pinterest

The Best Albums of 2018: January-April

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I am in the mood to write a lot…

IN THIS PHOTO: tUnE-yArDs/PHOTO CREDIT: Getty Images

of ‘best of’ features that look at contemporary and older music. Seeing as we are in April, and have enjoyed a busy three months of music; it felt like a good juncture to consider the best albums of 2018 so far. I have been excited seeing new bands and established masters produce some exceptional work. Field Music’s Open Here, so far, is the top of my list. Other critics have their own views: the subjective nature of music makes it interesting trying to decipher the true champions of the year. Here are the albums, I feel, have made the biggest impression on this year…

ALL IMAGES: Getty Images

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Shame – Songs of Praise

Label: Dead Oceans

Release Date: 12th January

Critical Snapshot:

“This is a band with a real sense of showmanship, as those who have witnessed Shame’s sweat-slicked live shows will know. It’s this that makes ‘Songs Of Praise’ utterly invigorating” – NME

Standout Track: One Rizla

Nils Frahm – All Melody

Label: Erased Tapes Records

Release Date: 26th January

Critical Snapshot:

“It’s a wonderfully imaginative process. ‘Human Range’ uses wind instruments like the horn to give it this kind of airy quality, while the notation is more stuttered, bringing in also that premier wind instrument – the voice. ‘All Melody’ is a masterpiece of texture. Incessant overlapping rhythms which swoop down from on high, peeling off into the subsequent track ‘#2’ which just wallops you with rhythm. It’s continuously changing, perfectly timed, evenly spaced - an impeccable album” – Drowned in Sound

Standout Track: All Melody

tUnE-yArDs – I Can Feel You Creep Into My Private Life

Label: 4AD

Release Date: 19th January

Critical Snapshot:

“Merrill Garbus must now be recognised as one of the most exquisitely playful and inventive voices of our generation. “I came to get down,” she says on “Home”, “but you’re not telling my story, man.” More than ever, it’s time we started listening better – to other voices, certainly, but also the way we use our own” – The Line of Best Fit

Standout Track: ABC 123

Kacey Musgraves – Golden Hour

Label: Mercury Records

Release Date: 30th March

Critical Snapshot:

“The result is Musgraves’ most accessible record and her most ambitious, a magnetic, comfortable culmination of her pop and country instincts. While dynamic enough to house both the stirring, alone-at-the-piano fragment “Mother” and a full-on country-disco kiss-off in “High Horse,” Golden Hour is alluringly cohesive, both lyrically and musically. In “Wonder Woman,” she confronts a partner’s unrealistic expectations and gives a simple counter: “All I need’s a place to land.” Throughout these songs, she finds one” - Pitchfork

Standout Track: Space Cowboy

Lucy Dacus – Historian

Label: Matador

Release Date: 2nd March

Critical Snapshot:

“It's music that bears the weight of the critical accolades heaped on her upstart 2017 debut No Burden rather beautifully. Dacus and her band sound emboldened, confident, like kids who are thrilled they still have something to prove” – Rolling Stone

Standout Track: Night Shift

Young Fathers – Cocoa Sugar

Label: Ninja Tune

Release Date: 9th March

Critical Snapshot:

“Cocoa Sugar bursts with the weird warmth of an ice burn, a sizzling stew of Tricky-covers-the-Fall garage rap. Each song is nasty, brutish and short, bristling with imagination. Wow shackles its motorik angst to a dead-eyed drawl, seasoned with abattoir squeals. In My View is a slugabed’s vision of anthemic pop, while Toy is the most conventionally vicious rap here, every word a wound. The trio reckon this is their most “linear” album, which seems a stretch. It feels just as estranged of pop’s traditional structures and strictures as they’ve always been. It feels exhilarating; it feels like freedom” – The Guardian

Standout Track: In My View

Field Music – Open Here

Label: Memphis Industries

Release Date: 2nd February

Critical Snapshot:

“In the years to come we might turn to Plumb or Measure before Open Here to remind ourselves of the essential Field Music, yet this, their seventh record, is nevertheless a thing of immense songwriting charm and ideological strength, defined by its sardonic judgement of various seismic social shifts” – The Quietus

Standout Track: Count It Up

CupcakKe - Ephorize

Label: CupCaKKe

Release Date: 5th January

Critical Snapshot:

“CupcakKe's confidence and complete lack of a filter remain her greatest allies on Ephorize, with the album feeling like an arrival. Queen Elizabeth may have made some noise, but here, she drowns out the competition. Her position has become undeniable, leaving room for only one thought: what's next. She's sure to be eating on the couch for a while” - The 405

Standout Track: Single While Taken

Hookworms – Microshift

Label: Domino Recording Company

Release Date: 2nd February

Critical Snapshot:

“It's the beginning of the 2018 and talk of albums of the year right now is obviously churlish, but on Microshift we're hearing a band hitting their sweet spot with such an effortless swagger that we're sure this is a contender” – The Line of Best Fit

Standout Track: Negative Space

Anna von Hausswolff – Dead Magic

Label: City Slang

Release Date: 2nd March

Critical Snapshot:

“Dead Magic is a brilliant artistic statement, Anna von Hausswolff’s best self-definition to date. She still finds inspiration in the areas others fear to tread and is able to transform it into compelling pieces of work. It will be fascinating to see how deep and dark she can eventually go” - musicOMH

Standout Track: Ugly and Vengeful

Rolo Tomassi – Time Will Die and Love Will Bury It

Label: Holy Roar Records

Release Date: 2nd March

Critical Snapshot:

“Time Will Die… is a hugely satisfying listen, with the longer songs in particular allowing the band free rein to indulge every experimental urge. Contretemps pits Eva Spence’s frenzied vocals against twinkly post-rock guitars and a delightful organ pattern, but ends up a delicate ballad. Alma Mater and Whispers Among Us juxtapose hardcore fury and tech-metal shredding with lush melodic sections. And with many of the songs flowing into one another, this album sounds like a multi-part epic made up entirely of multi-part epics. And also, undoubtedly, like a career high” – Kerrang!

Standout Track: The Hollow Hour

FEATURE: The First Amendment: Why Jesse Hughes’ Comments Regarding the Student-Led Gun Protests in the U.S. Is a Warning Shot Against Free Speech

FEATURE:

 

The First Amendment

 IN THIS PHOTO: Eagles of Death Metal's Jesse Hughes/PHOTO CREDIT: Gustav Maartensson/AFP/Getty Images  

Why Jesse Hughes’ Comments Regarding the Student-Led Gun Protests in the U.S. Is a Warning Shot Against Free Speech

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THERE is something rather annoying…

IN THIS PHOTO: Nikolas Cruz appears in court for a status hearing before Broward Circuit Judge Elizabeth Scherer. He faces seventeen charges of premeditated murder in the mass shooting at Marjory Stoneman Douglas High School in Parkland, Florida/PHOTO CREDIT: Mike Stocker/Pool/Getty Images

about giving certain people a voice and means of spouting their words into the world. Following the Parkland (Florida) massacre, where seventeen students were killed in the U.S.; the always-controversial Jesse Hughes called the student-initiated protests “pathetic and disgusting”. The man is not exactly a stranger when it comes to letting his gob overtake his brain. Eagles of Death Metal's frontman, following the attacks at The Bataclan in 2015, mooted they were an inside job by security at the venue – or they simply allowed it to happen. One is hardly in any doubt when it comes to Hughes and his views on the Second Amendment – the right of any American citizen to bear arms. He should look just above that Amendment and keep his opinions to himself once in a while. The right to free speech is only valid when you are not deliberately trying to denigrate the memory of deceased gun-violence victims. To call angry and distraught students ‘pathetic’ when their motives are pure and honourable is incredibly callous. Rallying against them and, in essence, accusing them of being posers and ignorant is as bad as anything Donald Trump has come out with. Looking back at Jesse Hughes’ rap-sheet and the man spends a lot of time with his foot firmly wedged in his mouth!

PHOTO CREDIT: Getty Images

Eagles of Death Metal are hardly a world-class and mega-popular band: they are in the public and, as such, there is a faction out there who will agree with what Hughes has said. Of course, there is, naturally, many more who disagree with his views – the fact many Republicans attacked his views proved the Rock musician was, pretty much, pissing into the wind. Hughes should know better than to promulgate hatred and insulting opinions. He was on stage when terrorists opened fire at The Bataclan back in 2015. The remnants and after-effects of the attacks are still being felt. Back in November last year; Guillaume Valette took his own life – two years after surviving the attacks. There are many others suffering mental-health issues. The same is true of the recent massacre in the U.S. The student protests are not a response to this isolated event: they are the response to the years, decades and centuries of gun-violence in the U.S. Many us have lost count of the number of news reports that have come through with images of dead students – members of the community and scores of innocent people wiped out. From attacks at churches to the police shooting black ‘criminals’ – their annoyance and need for change are understandable. I was reading a piece in Paste Magazine, where they reacted to the ‘apology’ Hughes issued following his ill-thought-out comments:

“As mea culpas go, this one is paper thin. Hughes apologized not for what he did—namely, attack in the grossest terms the effort by these survivors to take action in the wake of the unspeakable tragedy they witnessed—but for what “it seems” like he did. Worse, he framed it in his own undeniably traumatic experience as a survivor of terrorism, despite an unfortunate history of lashing out at other victims”.

Looking like strung-out mime, Hughes insisted in Saturday’s Instagram video: “What I had intended to be a statement about the hijacking by any side of the aisle of the beautiful agenda of the movement of our nation’s youth came off seeming like a mean-spirited personal attack and slight of the youth themselves and even a personal attack of its leadership, and I want to be clear, I never intended for that to happen. I was not attempting to impugn the youth of America and this beautiful thing they’ve accomplished. I am truly sorry.”

This is not the first time I have written about a Jesse Hughes comment: sadly; I do not think it will be the last time. Whether the man is constantly strung-out or a radical gun-nut; there is never any excuse for such degraded and insensitive remarks like his. Saying students – who protest against gun deaths – are pathetic, in many ways, supports those who carry out these vile acts. It is the insincerity of Hughes’ apology – promoted more by backlash than morals and regrets – that adds an extra sting. He is like a bully who is forced to issue an apology to the students he tormented. He has been screamed at and threatened but, when all is said and done, it is lip service.

PHOTO CREDIT: Unsplash

Politicians like Donald Trump, with his equally ignorant and gross views on gun control, are setting examples to musicians and public figures whose small minds and right-wing views are doing more damage than they realise. We have already seen enough controversy and disrepute in the acting profession over the past few months – as more and more revelations come to light in regards sexual abuse. Music is not immune to controversy and disreputable figures. The last thing music, and any industry, needs is the sort of comments Hughes made. Some can say his remarks were not too stark and he wasn’t, technically, supporting the perpetrators of the recent attacks. The fact Hughes has ‘form’ and has already had to issue a similar apology, you’d think, would have made him think twice. We cannot beat around the facts: he is a supporter of gun ownership and does not have any problem with what the attacker did – and, it seems, what happened in 2015. If he felt aggrieved at the attacks then he would have come out and lambasted the attackers – rather than looking at conspiracies and questioning those who want an end to gun-violence. I worry Jess Hughes’ stance is going to inspire other artists to let their inhibitions slip when the next tragedy unfolds. I wonder whether there should be stricter punishments following Hughes’ most-recent remarks.

PHOTO CREDIT: Unsplash

The fact he received such a backlash and condemnation (not for the first time!) should be enough for those in a position of power to take action. I am not saying the Eagles of Death Metal man should be banned from music or forced to pay compensation. What I do think is more needs to be done to ensure anyone who has the same views as Hughes keeps them private. The Second Amendment does not really apply outside of American: in the U.S., it does not mean you can run your mouth off and not think of the consequences when you harbour such deplorable politics. Gun-related deaths are not on the decline and it seems, with the current President, we are no closer to solving the quandary. Trump will never repeal the Second Amendment and, so long as the Republicans hold sway in the White House; there will never be dialogue and discourse aimed at compromise and moral advancement. I will leave things there but, before departing, wanted to look at music and how its male members are tarnishing its good name. There have been reports of sexual abuse by members of popular bands – ranging from inappropriate touching to rape. We are trying to clean that sorry mess up and not slide into the same murky pit as Hollywood. Fat-mouthed musicians like Jesse Hughes should think about what they are saying and show greater respect to those who want to see an end to gun-violence – even if their protests are not, in the short-term, going to make a huge difference.

IMAGE CREDIT: Getty Images

Those students (who protested) mourned and felt the effects of the attack – some claimed they seem pretty well-adjusted and upbeat considering the violence; their motives were cynical and aimed at creating publicity – and were not doing it to get on the news and be celebrities. In any case; we all should work together to see fewer guns in society; fewer deaths and an end to the blood-filled images we have been seeing on the news. This applies to the entire world: not only U.S. high-schools. Jesse Hughes, regardless of his opinions about gun legislation-tightening, should work towards improving the situation in his country. At the very least, if he can’t think of anything sympathetic and understanding; he should keep his misguided and hate-fanning comments…

PHOTO CREDIT: Unsplash

TO himself.

FEATURE: Teenage Kicks: Debut Singles That Hit the Spot

FEATURE:

 

Teenage Kicks

 PHOTO CREDIT: Unsplash 

Debut Singles That Hit the Spot

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A recent poll/battle on BBC Radio 6 Music…

 PHOTO CREDIT: Unsplash

asked listeners to cast their vote regarding the best debut single from music. The final pitched The Undertones’ Teenage Kicks against Kate Bush’s Wuthering Heights. I won’t spoil the result but those two, disparate, introductions show what a truly great artist can do from the off. I have collated the best debut singles from all-time; from The Beatles’ 1962 gem to more-recent efforts. Here is a list of the finest opening salvos ever…

ALL OTHER IMAGES: Getty Images

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The Beatles – Love Me Do

Album: Please Please Me

Year of Release: 1962 (Album Released in 1963)

Kate Bush – Wuthering Heights

Album: The Kick Inside

Year of Release: 1978

The Undertones – Teenage Kicks

Year of Release: 1978 (Single, Non-Album Release)

Lauryn Hill – Doo Wop (That Thing)

Album: The Miseducation of Lauryn Hill

Year of Release: 1998

The Jimi Hendrix Experience – Hey Joe

Album: Are You Experienced?

Year of Release: 1966 (Single Release From the North American L.P. release)

Lorde – Royals

Album: Pure Heroine

Year of Release: 2013

Ramones – Blitzkrieg Bop

Album: Ramones

Year of Release: 1976

Blur – She’s So High

Album: Leisure

Year of Release: 1990 (Album Released in 1991)

Nirvana – Love Buzz

Album: Bleach

Year of Release: 1988 (Album Released in 1989)

Suede – The Drowners

Album: Suede

Year of Release: 1992 (Album Released in 1993)

Arctic Monkeys - I Bet You Look Good on the Dancefloor

Album: Whatever People Say I Am, That’s What I’m Not

Year of Release: 2005 (Album Released in 2006)

Lily Allen - Smile

Album: Alright, Still

Year of Release: 2006

FEATURE: Illuminati, Fake Bumps and Dorian Gray: Why the Rumours and Conspiracies Surrounding Beyoncé Cannot Hide the Fact: We Need Her to Guide Music Right Now

FEATURE:

 

Illuminati, Fake Bumps and Dorian Gray

 ALL PHOTOS (unless credited otherwise): Getty Images 

Why the Rumours and Conspiracies Surrounding Beyoncé Cannot Hide the Fact: We Need Her to Guide Music Right Now

__________

WHETHER you consider yourself a big fan…

PHOTO CREDIT: Kevin Mazur (Getty Images for TIDAL)

of Beyoncé or a casual observer; you are probably aware of the ridiculous rumours that surround her. These (rumours) include the nature of age – exactly how old is she?! – and she is part of the Illuminati. Some think her recent pregnancy was a fake – a child would disprove that theory! – and that, Solange Knowles, is actually Bey’s daughter! The fact Beyoncé is in her thirties and, unless she popped out Solange when she was in school; that assumption holds little water – and, why would anyone think Solange would lie about being Bey’s sibling?! Others have speculated Beyoncé killed Joan Rivers and held Sia captive in a lair years ago. I never had Beyoncé pegged as a killer and dictator: going after random celebrates and getting a criminal record is not the best way to shift records! Other sources have linked her to former President Barack Obama; other absurd and wild theories have come to light. Bey actually hit back at those Illuminati rumours in her song, Formation (from her 2016 album, Lemonade). Whether you have enough patience to scotch those rumours and give credence to any turn of the gossip wheel – Beyoncé is not the first musician who has had many theories attached to their name. From the rumours surrounding Paul McCartney’s death back in the 1960s to, well…you can do your own research!

IN THIS PHOTO: Jay-Z and Beyoncé

I am not sure why so many idle and non-seneschal theories surround Beyoncé. I guess, when an artist seems normal and well-adjusted; the press get it into their heads they are hiding something. It is not possible, we are told, for a big name to be an ordinary person – albeit, someone blessed with enormous talent! Beyoncé has hit back at these slights and has, with her husband Jay-Z, added more dates to their On the Run II tour. They will head to the London Stadium on 16th June and, assuming there are no other conspiracy theories thrown at her before then; she will be free to kick some arse in the U.K. I guess, in a way, it is flattering to have people take an interest in your life that does not revolve around fidelity and relationships – even though claiming she is a murderer is a bit much! One of the reasons I wanted to write about Beyoncé is because, right now, she has a role to fulfil in music. She has recently given birth to Rumi and Sir. Having twins can put a career on the back-burner for a bit: the fact she is embarking on tour dates means there is not a lot of time to ponder and relax! Lemonade, two years ago, was the last album we heard from Bey.

That record tackled reports around Jay-Z: many felt her husband was having an affair; one can detect a lot of anger and marital tension in the songs. She came out and claimed Lemonade’s most fired-up tracks were fictional – not related to the suspected cheating of Jay-Z. However you view that statement – maybe there is some truth in it – the sheer anger and confidence put into the music took many by surprise. Other songs, looking at political tension and the role of women in society, got under the skin – Lemonade is her best-reviewed album to date. Aside from Sanaa Lathan being revealed as the actor who bit Beyoncé – the woman can’t catch a break – we have not heard too much from Beyoncé since 2016. I am still listening to Lemonade and feel, back during the Obama administration; there was less reason to be riled and furious than the current (Trump) incarnation. Now, with gun violence and racial tensions; sexism and bigotry acting as White House wallpaper – surely, now, is a time for music’s foremost voice to come forward and attack?! The thirty-six-year-old Texan superstar has enjoyed a long and varied career. Lemonade, to many, is the peak of Beyoncé’s career. Although there were a fair few writers and producers in the musical kitchen: it is Beyoncé’s voice and power that strides through. The tracks run right through R&B, Rock; Soul, Hip-Hop and Blues. There are Country touches and nods to traditional Pop – although, like any Beyoncé album, there is nothing sugary and empty. Anger and betrayal played a big role; anger, political and personal, were evident – that was mixed with lighter tones and reasons for celebration.

Standouts like Don’t Hurt Yourself, Formation; Freedom and Hold Up are as good as any Beyoncé track. Few artists have the same potency and ability to grab the listener by the throat. Look back at her career and you can hear the evolution. I have been a fan of hers since the Destiny’s Child days. In my view; Beyoncé started coming into her own as a leader and performer during Destiny’s Child’s second album, The Writing’s on the Wall. In 1999, with singles like Bills, Bills, Bills; Bug a Boo and Say My Name out in the ether – we could hear Beyoncé stand as the unofficial band lead and bring these songs to life. 2001’s Survivor found the band, and Beyoncé, turn from songs about faithfulness and love to womanhood and independence (although, sexual liberation and equality were part of the band’s make-up from the debut). The title cut is as emphatic and anthemic as they come; Independent Women Part I is a huge banger; Bootylicious and Dangerously in Love are, perhaps, two of the best-known Destiny’s Child songs. During this time, Bey stood out as the group’s lead writer and took more control of the music. Prior to 2004’s Destiny Fulfilled coming out; it was announced each member of the group would release a solo album – to heighten interest in Destiny’s Child and get them more attention. Some felt this move was a mistake: reviews for their final album were not as good as expected.

More writers and producers came back into the folder; there were fewer anthems and ready hits as earlier records – band members Kelly Rowlands and Michelle Williams were more involved as producers. None of this was bad or an error of judgement: the group’s time had run and, despite a couple of gold tracks (Lose My Breath and Soldier), it was time for a change: a time for Beyoncé to stand out alone. A year before Destiny’s Child’s last studio album; Beyoncé released her debut solo album, Dangerously in Love. Its opener, Crazy in Love (featuring Jay-Z) hit number-one in the U.S. and demonstrated how strong Bey was when stepping out of the ‘shadows’. Not that her then-band were causing restrictions: it was about each member and, as such, harder for each member to put their stamp on songs that were, quite often, written by committees. Beyoncé’s solo debut allowed her to help master, produce and write the songs she would go on to perform. She hit her first peak, in my view, on the sophomore album, B’Day. Released on 1st September, 2006 – to coincide with Beyoncé’s twenty-five birthday – the album’s cover sees the star in a sexy and sultry mood. That is not to say the songs on the album had any intention of being submissive and predictable. Among the tracks are some of the most personal and emphatic slices of Bey’s career to that date.

She was in a productive mood and, with good teams around her, free to conspire, create and expand. Working with her husband, Jay-Z; the album was recorded at four different studios with a range of names/producers. It is not a shock B’Day won the award for Best Contemporary R&B Album at the 2007 Grammy Awards. Get Me Bodied and Ring the Alarm are as good an example of Beyoncé’s magic as you will get –  the latter, a song that suggested what the heroine would do if she caught her man walking around town with another woman! Songs on the album hinted at what she would create a decade later: a strong and proud woman who was taught to take vengeance on men who wronged her. Although there are enough names on B’Day – like every Beyoncé solo album – it was designed to give her range and diversity…rather than show a lack of talent and confidence. I Am… Sasha Fierce was a two-sided release. The first, ‘I Am…’ was composed, largely, on slower songs and ballads: the latter, employing her new persona, was a more pumped and sexual offering. Although the 2008 album did not get universally hot reviews upon its release; singles like Halo and If I Were a Boy (from the first side) impressed and showed a sensitive, mature side to Bey. Nine singles were released from the album: Single Ladies (Put a Ring on It), from the second-half, stands as the highlight cut. Some felt the album failed to reconcile its disparate and unique halves; others expressed doubts regarding the number of singles released and the hype the album received – never able to live up to such expectation.

2011’s 4 and 2013’s Beyoncé got the wheels back on the tracks, as it were. 2011’s swansong, Run the World (Girls) and Beyoncé’s XO showed she had lost none of her ability and talent. 4 showed sensitivity and Beyoncé’s ability to shine as a torch singer. Beyoncé was, at that point, the best-reviewed album of her career. That upward trajectory was no shock: with each release, she was growing in stature and acquiring new skills as a songwriter. Maybe changes in her life – the security of love and motherhood – she gave birth to Blue Ivy Carter in 2012 following a miscarriage the year before – was responsible. However you view her career and quality up until that point; there is no denying the reliability and determination. Live performances were heralded and proffered; her fanbase swelled and, prior to Lemonade, Beyoncé was the most sought-after and influential female solo artist on the planet. Her 2016-released masterpiece prefaced her brief hiatus – with new life in her came new responsibilities. Lemonade blew the doors open and showed, at that point, there was nobody quite like her. In summing-up; the reason I feel we need a Beyoncé charge ties to everything she has achieved – and what we need in music right now. The fact she has overcome marriage difficulties – if you feel Lemonade was autobiographical – and achieved a lot since then means, surely, there is the inspiration for something heartfelt and passionate.

It is the potential righteousness and aggression that excites me. Trump is now in office and there is the Time’s Up and Me Too movements. Women’s rights are at the forefront and there is the fetid sleaze of Harvey Weinstein hanging in the air like an insistent fart. More revelations and accusations are coming out; racism and aggression against the black population are unabated; gun violence is still a huge issue – so many troubles, not only in the U.S., but the wider political stage. In a world divided and struggling; the sort of sermons and spirit Bey brings to the music world is now, surely, needed more than ever?! I look out at music and, aside from Kendrick Lamar and Jay-Z; there aren’t that many big artists able to adequately articulate the frustrations we all face. Sure; there are Punk and Rock bands who make a good stab at it – I feel U.S. artists, sadly, are more impressive when it comes to that much-needed fire and leadership. Eminem, sadly, produced a weak album with Revival. I felt, when it was announced, it would be a modern (albeit, older) version of The Marshall Mathers LP – a collection of songs that reminded us why he is one of the best rappers ever. A lack of focus and too much collaboration (Ed Sheeran, for Christ’s sake!) meant it failed to register and impress – signalling an end to his best days; perhaps, it seems, his last album?!

I feel Beyoncé is the person to step forward and provide the album we all need right now: one that would show it political colours and, at the same time, provide personal and passionate songs (a mix of maternal ponderings and sexual, sensual hip-swivelers!). A new album could stray along the same lines of Lemonade: it would not be bad hearing the second part of that record. What I feel is best – and what she could do – is update its political mandates and bring in some of the inspirations we heard in her earlier career – a 2018 version of Ring the Alarm of Lose My Breath, perhaps? She is in her mid-thirties now; the inspirational palette has taken in new colours. In any case; there is a definite spotlight waiting to be filled. I have been impressed by recent albums by St. Vincent and Phoebe Bridgers. There are so many great female artists providing exceptional, nuanced music. At a time when there is gender-inequality and discrimination; ‘Queen Bey’, it seems, need to sit back on the throne and deliver a devastating message to the world. Whether that will come post-tour – there is chatter she is working on music right now – I hope there is plenty of anger in her heart. An all-ballads record would be understandable: it is not what the public, and her fans, want right now. I am excited to see what could come and, in a year where we need a strong and defiant voice to show us the way; it seems Beyoncé’s talents and powers are required now…

MORE than ever.

INTERVIEW: IAKO

INTERVIEW:

 IAKO

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EACH time I experience a musician…

who hails from a different part of the world; I am keen to ask how the scene differs there – compared with here in the U.K. Venice-born IAKO has moved to London but tells me how the cities differ; whether there are any performances coming up; how it feels putting out the debut single, Queen of Balance – and, what the story behind it is.

I learn what we can expect from the forthcoming Queen of Balance E.P. and when IAKO decided music is what he was supposed to be doing; if there is a new artist we need to keep our eyes out for; what he has planned for the remainder of this year – the songwriter selects a contemporary banger to end the interview with.

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

It’s been fantastic, thank you! I played a great gig on Monday night; quite a good crowd and it went well, as we were trying out a couple new songs for the first time. Also, the feedback for Queen of Balance has been incredible so far, so I’m super-excited.

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

I’m a twenty-two-year-old singer-songwriter, originally from Venice. I moved to London three years ago to make music and here I am today, trying to get my first record out into the world. I’ve just released my debut single, Queen of Balance; I’ve got another single coming out on the 20th April and an E.P., set out for release at the end of May.

It’s a very exciting time for me because it’s my first release ever.

Queen of Balance is your debut single. What is the tale behind the song? Is it exciting getting that first song out there?!

I went through a terrible period at this time last year which forced me to put music and all projects aside for quite a long time. Towards June, when I was finally getting better; I sat down and decided that I really wanted to express those moments and personal experiences in my music. Queen of Balance is the first song that came out. It’s about a relationship of course, but it’s mainly a reflection on my personality, role and perception of that relationship.

It’s incredibly scary to put out such an intimate song as your first single but, as I said; it’s been well-received by the media so far - so I’m quite excited.

I believe the E.P. of the same name is out soon. How much does transition and the idea of movement and relocation play a role?

I’m a very rational and observant person and I’m constantly striving towards something new and different. This means that, often, I can’t quite relax and enjoy what I’ve achieved because I’m already worrying about the next challenge. In that sense, the idea of movement as a constant drive to adapt to different situations is one of the main themes of the record.

Will there be more singles from the E.P.? Is there a particular song, from the collection, that stands out as being especially personal and striking?

It’s funny, because the next single, Paint, is one of the oldest songs I’ve ever written. I wasn’t really comfortable talking about myself back then, so I used to write little stories which I would then turn into a song. Paint tells the story of a couple who lives in a dystopian future where all the colours are gone; although, it’s not about a personal experience: it’s a very important song to me, as it reminds me of my very early stages in music.

You have Venetian background – based in London now. How do those different worlds and people influence you as a songwriter? Is it very different being in London?

A lot of my writing revolves around the contrast between the two cities. Venice is a very safe and dangerous environment at the same time. You’re surrounded by people you’ve known since you were born, which is really comfortable - but you can easily get stuck into one common mentality and give up your passions because you’re afraid of judgement.

On the other hand; London is incredibly chaotic and lonely but it really allows you to push your artistic vision to the limit. I’ve changed a lot since I moved here and I think London has had a huge impact on me. I’ve grown to be a big fan of such a fast-paced lifestyle; although I come from a completely different background.

Surrounded by history and beauty; was there much time for music living in Venice? Which artists do you remember listening to as a child?

I never really thought music was gonna be my career, despite always being really passionate about it. There’s not much of a music scene in Venice; so I never really thought of being a professional musician/artist in Italy.

My dad is all about the old Blues, so I grew up with B.B. King, John Lee Hooker; Albert King etc. But, he was also into Funk and Disco music. Quite far away from the songs on this record, I know! I can hear more of those influences in some new stuff I’ve been writing recently.

Was there a moment where you knew music was what you were supposed to do? Was it quite scary making that leap?

I went to uni for a while back in Venice. I was studying literature, which is what I thought I would do for my whole life - but the course was not challenging at all. I was studying the same things that I knew since I was fifteen. I remember being so unmotivated and feeling low cause I had no creative ground to experiment with. So that only lasted for a few months.

I was never really scared about the choice in itself; it was way scarier once I actually got to London, cause I was only eighteen and completely on my own.

Are there any tour dates coming up? Where can we see you play?

I’m playing a full band gig on 15th April at Notting Hill Arts Club and then, on 24th May, at The Finsbury. I’m gonna be adding new dates very soon, so keep an eye on my social.

How important is the stage for you? Can you articulate the feeling of being up there, performing to the people?

Because of the intimate nature of my music, I always try to be as genuine as possible on stage. I talk quite a lot in between the songs and I try not to take myself seriously as the songs are already quite intense. This record is all about the atmosphere flow, so you need to be willing to get into a certain mindset to enjoy it. The other night, a guy walked up to me and described my show as ‘educational’.

That made me so proud!

What do you hope to achieve in 2018?

2018, for me, is the year to really get my name out there as much as possible. I’m building a small team and I’m hoping more and more people are going to get involved. I’m also experimenting with completely new music genres. I don’t want to get stuck or too comfortable on one thing - so, you can expect very different projects coming up in the future.

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

I remember playing a house gig back in Venice - it was a tiny living room and too many people turned up; so there was no space left for performing. I ended up sitting down on the floor and holding the piano on my legs, which made the whole atmosphere even more magical as we were all incredibly close to each other.

What advice would you give to new artists coming through?

For all I can see at this point in my career; you need your own thing. It needs to be genuine. There’s so much music out there right now, that being similar to anyone else will destroy your career in the long-run; although, it may boost your self-esteem temporarily.

I think audiences need personalities to follow rather than just nice and familiar songs. Having said that; I’m a very new artist, too, so I’ll happily listen to any good advice!

IN THIS PHOTO: Sakura/PHOTO CREDIT: Richard Taylor

Are there any new artists you recommend we check out?

My friend, Sakura, is doing quite a good job at the moment. She’s had two singles out already - and I think you will hear from her in the future.

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

I don’t really have much time away from music at the moment. I’ve been working for over a year on this record and I’m still promoting it - so that’s quite a lot of work to do. I also teach piano to kids in a music school; so I, literally, spend most of my days doing music, one way or another.

I do read as much as I can when I have time. That’s what helps me turn my brain off when I need to. I’m really into non-fiction at the moment.

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

I’ve had this song on repeat for the whole day: Young Fathers – In My View.

I love how the production flows together with the song - and I think some of the rhythmical and melodic motifs in the song are absolutely genius...

____________

 Follow IAKO

 Twitter:

https://twitter.com/iakomusic

Facebook:

https://www.facebook.com/iakomusic

Instagram:

https://www.instagram.com/iakomusic/

SoundCloud:

https://soundcloud.com/iakomusic

YouTube:

https://www.youtube.com/channel/UC7sbF86JjQDv5GXy5zaY15w

Spotify:

https://open.spotify.com/artist/5vb5OxjAG4MT01pnXSzOoX

INTERVIEW: MOLLYANNA

INTERVIEW:

MOLLYANNA

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THERE are many terrific artists…

based in Yorkshire right now. I feel the area does not get the respect and attention it warrants. I asked the Sheffield-based band, MOLLYANNA, whether they agree with that statement. They tell me about the new single, Thief, and what inspired its creation; how the nostalgic look of its video came together; who the new artists are we should be keeping an eye out for – whether the band have any tour dates coming up.

I discover how MOLLYANNA has changed since its inception and when we can expect more material. The guys share their favourite albums and memories from music; what advice they would give to new artists emerging – and, given their busy schedule, they have any time to relax and wind down.

____________

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

Hey, Sam. We're pretty good. It's been a busy week, getting ready for our single launch on 31st March. It's been all-go with rehearsals!

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

We're MOLLYANNA; a four-piece Alternative-Rock band from Sheffield. We write gritty, melodic tunes about what goes on in our heads...

We are Bernadette (Vocals), Mike (Guitar); Josh (Bass) and Laura (Drums).

Thief is your new song. What is the story behind it?

Bernadette: This song took ages to write. Mike presented me with this amazing riff and, for months, I couldn't come up with anything to do it justice. Then, I stayed at my parents’ house in some sh*t village for two weeks cat-sitting for them. It was really lonely and I was surrounded by all these photos of me and my siblings growing up.

I wrote Thief feeling nostalgic about summertime and all the mistakes I've made; what I'd do differently if I could…

The music video was shot entirely on VHS. Was that an instant decision? What was the reason behind that?

That was a decision made by Adam Fitch (Director), really. We'd been chatting for a while, trying to decide how best to get that nostalgia across on screen, and he had the idea to do it on a camcorder from 1987. It was so much fun to film! I like the fact everyone has their own room and I travel between them - it's like I'm visiting different memories.

Is there going to be more material coming? Might we see an E.P. later this year?

We're working on some new material, and it'll hopefully result in an E.P. coming out next year. I'm really excited to get stuck into writing again.

How did MOLLYANNA get together? When did you meet one another?

Mike is one of my oldest friends and we've been making music together, one way or another, for almost eight years now. He's a technical genius and can really focus on tiny details to make sure something is perfect. I'm more ‘big picture’ and deal with melodies and structures. We work really well together.

We formed MOLLYANNA in 2016 as a duo and then recruited three other people to play live with us. Those three left last summer but we gained Josh and Laura - who are both incredibly talented and the most fun to perform and work with!

You are based out of Sheffield. Is the scene quite healthy at the moment? Do you think the area gets the credit it deserves?

Josh: I would say the scene in Sheffield is thriving at the moment. A lot of it in the past up until, maybe, mid-last year was very Indie-based - and still is to some extent. But, there are plenty of great bands coming through all genres now and it really feels like everyone involved in music around Sheffield is out to help and support one another.

It's amazing to be a part of…so, yeah; I think it does get the credit it deserves!

Who are the artists you all grew up listening to?

Bernadette: I grew up listening to Nirvana, Green Day; The Offspring, NOFX; System of a Down, Machine Head but, also, Alanis Morissette, Cyndi Lauper and Savage Garden, because, why not.

Josh: I grew up with a lot of my stepdad's music taste; so there was a lot of The Beatles, The Who; David Bowie, Talking Heads and New Order to name a few. From there, I found my own tastes and people like Jeff Buckley, John Mayer and Red Hot Chili Peppers inspired me a lot.

Mike: Sum 41, Blink-182 and System of a Down. Then, through the Red Hot Chili Peppers, I got into Soul, Jazz, and Hip-Hop - and then it just spiralled a bit.

Laura: I grew up listening to a lot of Green Day, Nirvana; Radiohead: pretty much all of the 1990s Rock bands!

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

Josh: For me, it would have to be Grace by Jeff Buckley. It continues to inspire me to make music every time I listen to it, and I will always come back to it. For me, it's (just) perfection.

Bernadette: This is so hard! It'd have to be between By the Way (Red Hot Chili Peppers) and Dookie (Green Day). Teenage loner vibes.

Laura: Tough question...I guess Jagged Little Pill by Alanis Morissette. It was the first album growing up I felt I could really relate to.

Mike: Anything by The Smiths. Because it reminds me of the positive power of pure hatred.

What do you hope to achieve in 2018?

We want to write an E.P. and take this show on the road (tour).

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

Laura: Too many! My best memory has to be when I and eight-hundred other drummers got together in 2012 to break the world record for the number of drummers in the same room playing in time with each other! That was mad! We also raised over £150k for the MS Society UK.

Bernadette: I put a lot of myself into our songs, so performing them live and seeing people respond to them always feels amazing. I played a sold-out gig last year where we'd squeezed one-hundred-and-thirty people into a one-hundred-capacity venue - it was so warm but the atmosphere was insane.

Mike: Probably just small breakthrough moments with songwriting - which are few and far between. Sometimes, you have to really grind to make something happen…but there have been a few moments where I’ve sat down to write something and had a full song thirty mins later. This happened once while writing Thief - and that’s probably top for now.

Josh: It’s so hard to choose one moment. I’ve played a lot of really cool gigs with a couple of bands; so I’m like Bernadette in that I love performing. But, what’s great about having joined MOLLYANNA is that it's pushed me to be a better musician - and that is something that's going to stay with me!

What advice would you give to new artists coming through?

Bernadette: work hard to perfect your music; work to your strengths and invest wisely if you need to use outside agencies for anything. Do your research!

Josh: Make sure you don't lose sight of why you got into playing music in the first place. It can be easy to get bogged down with lots of planning and admin but, if you still love the music you play and get excited about what you play, then you’ll love it.

IN THIS PHOTO: ENGINE

Are there any new artists you recommend we check out?

Josh: Ten Eighty Trees (Newcastle/Sheffield) are amazing, as well as The Sky Moguls (Sheffield) and ENGINE (Leeds). I'd also say Kid Conventional (Sheffield) and Weekend Recovery (Leeds), who are both supporting us at our launch this month.

Bernadette: We played with some incredible guys from Nottingham called A Hundred Crowns - absolutely worth checking out. I'd also recommend Steal the City, from Sheffield, who are ace and so lovely.

 IN THIS PHOTO: A Hundred Crowns

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

We have our single launch-party on 31st March in Sheffield, which we're super-excited about. We also have some local festivals (Tramlines and Heaven & Hell Fest). We're currently booking some dates further afield for summer…so stay in touch to find out more!

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

Bernadette: I like to drink gin and go bouldering…separately.

Josh: I also like drinking gin. I'm training to be a journalist and I find that helps - to be able to get to the pub!

Mike: Putting on a stupid podcast and trying to learn to draw. That does it for me right now.

Laura: I'm not sure I ever unwind completely from music: I’m constantly tapping away.

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).

Josh: Ol’ '55 by Tom Waits - it’s beautiful

Bernadette: I'll Make a Man Out of You by Donny Osmond (Mulan Original Soundtrack). For like, no reason…

Laura: Cherub Rock - Smashing Pumpkins

Mike: Walk Like an Egyptian by The Bangles

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Follow MOLLYANNA

Official:

http://mollyannaband.com/

Facebook:

https://www.facebook.com/mollyannaband/

Instagram:

https://www.instagram.com/mollyannaband/

SoundCloud:

https://soundcloud.com/mollyannaband

YouTube:

https://www.youtube.com/channel/UCPu-pyDWaTucmkplcZvW6AQ

Spotify:

https://open.spotify.com/artist/4tRh6321uWB87qxIqS1YDO

FEATURE: Are People Strange? How the Industry Benefits From Artists Who Are a Bit ‘Out There’

FEATURE:

 

Are People Strange?

ALL PHOTOS: Unsplash

How the Industry Benefits From Artists Who Are a Bit ‘Out There’

__________

IF you are the kind of person who licks windows…

and eats dog food for its taste; you’d probably be a bit short-changed looking out at the music landscape - hoping to find something that strikes the ear and makes sense. What bugs me is, among all the progression and evolution in music, there are few artists working on the fringes; those who push the envelope and provide some proper-odd music. I am not saying they need to be as peculiar as, say Captain Beefheart, or some wigged-out Psychedelic band. What I mean is, when you are faced with a blank page and the prospect of an album – what is the harm in doing something a little unusual and adding some strange spice to the pot?! I feel there is too much ordinary music and predictable steps being made right now. The reason I have written this piece is because of two current artists/albums – from Let’s Eat Grandma and Jack White – show what can happen when you tease a bit of acid into the cuisine. White’s latest album, Boarding House Reach, has been receiving some good reviews. There are some that have been a little lukewarm regarding his latest effort. One of the biggest concerns – regarding his latest album – is the lack of real punch and epic riffs…the kind we are used to hearing from the former White Stripes lead. What has made an impact is how he has strayed far from the ordinary and produced an album with weird tics, movements and sounds.

Like some weird loner holed up in a woodland shack; Jack White took his four-track and box-set of Keeping Up Appearances and started the wood carvings of Boarding House Reach. Among the howling wolves and blowing wind was a stream of consciousness that led to some brilliant recordings. Why Walk Like a Dog? has spacey organs and electronics; its muted vocals and shadowy tones show the U.S. musician has lost none of his mystique and eccentricity. Abulia and Akrasia features a rousing speech set against cascading piano notes and aching strings; Hypermisophoniac and Get in the Mind Shaft definitely depart from your normal Rock/Alternative album. There are some softer, more conventional offerings on the record – the fact the album is taking a while to capture all critics is the way White has gone a bit bananas. I have listened to him in interviews lately and the man is his usual warm, funny and fascinating self. Going against the more restrained – for him, anyway – offerings; he has released an album that takes you by the knackers and trips the mind. The album is not an out-and-out weirdo: it has some odd edges and subverts any expectations we had. I wonder whether, in a time like this, we need to be a bit more open-minded and supportive of those artists who go beyond the obvious and take music in new directions.

There are other modern artists, like King Gizzard & the Lizard Wizard who produce music that definitely does not look at sell-by dates and your ‘best before’ labels. They drink from the toilet and juggle beer cans in the park. Whilst those images might provoke a lunatic or derelict; modern inventors and provocative artists show where music can head. Maybe Jack White’s third solo outing has some loose flaps and unfocused numbers. It is when he opens the taps and lets his imagination fly that we get the biggest and boldest sensations. Even though critics have been ambivalent towards his new effort; those who have praised it highly signal out his weirdness and experimentation as a major bonus! Another act doing something different is Let’s Eat Grandma. They have very little common with the American icon. Instead; here are two British friends, Rosa Walton and Jenny Hollingworth. Their 2016 album, I, Gemini, impressed critics and launched the teenage songwriter to the world. Let’s Eat Grandma’s newest track, Falling Into Me, shows what we can expect from their forthcoming album, I’m All Ears (out on 29th June). The song, for them, is more controlled and safe: the previous single, Hot Pink, is a right-out-there barker that, happily, recalls their debut album. The duo match fizzing, violent and eerie tracks with something more accessible and digestible.

One can argue an artist like Kate Bush or Björk – when they arrived in the 1970s and 1990s, respectively – were the equivalents of Let’s Eat Grandma and King Gizzard’. Jack White, although he has been releasing music since the 1990s has increased his cosmic horizons and is exploring sound and texture in new ways. Let’s Eat Grandma are not an art project or something you might expect to see on a John Lennon and Yoko Ono album – weird effects, tape sounds and random howling. Let’s Eat Grandma are a wonderful act who might face a challenge: getting widespread acceptance and appreciation. They have a lot of fans already: getting further out there and resonating with wider markets might take a bit more time. I feel one of the reasons there are not more artists out there like the aforementioned is because music is still, in 2018, too tame and limited. There are innovative and brash artists but, even at their most outrageous and daring; I still find myself wandering off half-way through things. The reason the innovators and legendary ‘kooks’ like Kate Bush created such a stir is that they were not the same as everyone else. I am not suggesting artists need to lose their minds and provide an acid trip to the listeners. The reason I am so captivated by those who do not colour between the lines is (because it) is the antithesis of the bland and formulaic mainstream act. I have a lot of time for popular music but it is nice to get out of the routine and discover something a little unusual.

One-off songs like Frontier Psychiatrist (The Avalanches) have dropped in the world and stunned people. We did not know what to make of that song and yet, years after its release (it was part of the 2000 album, Since I Left You); it is a song people gravitate towards and love. I wonder whether we need to stop being so restrictive with music and push boundaries more. There are more artists – than I have mentioned – who splice genres and take gambles; subsume predictions and take the brain somewhere else. Whether an artist rewinds a tape and splices in a spoken word piece; they distort the voice or create a multi-part suite – I long to hear something that thumbs its nose at the three-minute, suitable-for-radio jam. You do not have to alienate people to be seen as alien. By that; I mean you can create wonder and curiosity by slightly tweaking the ordinary. Jack White’s current album is relatable and resonates with those who have followed its career. What it does do is add a little bit of oddity to his palette and is definitely not, in any sense, boring. A complete overhaul and redefinition of modern music is not the answer to the problem. Having everyone doing the same thing – a little strangeness to the agenda – would create a similar issue. Freakier, unusual artists might, on paper, seem like a hard prospect to love.

I would object to huge waves of out-there artists coming into music and washing over what is already here. What I DO want is more of the artists working in the underground – that have those peculiar embers and inventive songs – get more focus and embrace. Maybe it is a case of the odd kid in school being isolated in the playground. I don’t think modern music is that clique-obsessed and ignorant: there are plenty of mainstream and popular acts capable of enticing with a sense of the strange. What I have noticed is a scene where there are too many same-sounding and restricted ambitions. It is nice having artists who do not care about fitting in with the rules and following the pack. Maybe there are some sound-pushing, wild artists ready to add a dose of the zonked into a more palatable and acceptable concoction. Most of those artists, from what I hear, are reserved to specialist radio shows or are working in the underground. Perhaps artists like King Gizzard & the Lizard Wizard and Let’s Eat Grandma are temporary flashes and rare specimens. I think there is something oddly captivating and attractive about an artist who takes those sort of gambles. I am not in the minority: many people are connecting with songs/musicians who approach things from odd angles. To answer the question posed at the top of this feature, ‘Are People Strange?’; I would say, on the evidence around us, the answer is…

NOT as strange as they should be!

FEATURE: After Ten Minutes of Silence… The Best Hidden Tracks in Music

FEATURE:

 

After Ten Minutes of Silence…

 PHOTO CREDIT: Unsplash 

The Best Hidden Tracks in Music

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MAYBE it is hard to represent this feature…

PHOTO CREDIT: Unsplash

with as much purity and effect as I had hoped. What I mean is that some of these songs, the hidden tracks, occur after a long silence – you don’t get the same suspense and surprise with them out of context (the feature’s title is a nod to how long it takes for the Nirvana song, Endless, Nameless, to arrive after Something in the Way). I have looked at the best hidden tracks from music. Some of them are obvious and much-heard – Her Majesty on Abbey Road, for example – whereas some, I’d imagine, are fairly new to the senses (a certain Oasis track might have slipped many by...). I have collected the tastiest hidden tracks from popular music – and listed the albums/E.P. they can be heard or (or were issued on re-releases or vinyl versions).

ALL OTHER IMAGES/PHOTOS: Getty Images

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Her Majesty – The Beatles

Album: Abbey Road

Release Date: 1969

Can’t Take My Eyes Off You – Lauryn Hill

Album: The Miseducation of Lauryn Hill

Release Date: 1998

Endless, Nameless - Nirvana

Album: Nevermind

Release Date: 1991

Citizens Band – Super Furry Animals

Album: Guerrilla

Release Date: 1991

Milk - The 1975

E.P.: Sex

Release Date: 2012

Late - Kanye West

Album: Late Registration

Release Date: 2005

Encore for the Fans/Listen/Get Me Bodied (Extended Mix) - Beyoncé

Album: B’Day

Release Date: 2006

Alas, I Cannot Swim - Laura Marling

Album: Alas, I Cannot Swim

Release Date: 2008

Bonehead’s Bank Holiday - Oasis  

Album: (What’s the Story) Morning Glory?

Release Date: 1995

All By Myself - Green Day

Album: Dookie

Release Date: 1994

Intense Thing - Ash  

Album: Trailer

Release Date: 1994

France - The Libertines

Album: The Libertines

Release Date: 2004

Poor Song - Yeah Yeah Yeahs

Album: Fever to Tell

Release Date: 2003