TRACK REVIEW: Equals - Letter to Leave (What Can I Say?)

TRACK REVIEW:

 

Equals

Letter to Leave (What Can I Say?)

9.6/10

Letter to Leave (What Can I Say?) is available via:

https://soundcloud.com/theequals/equals-letter-to-leave-what-can-i-say

GENRES:

Soul; R&B

ORIGIN:

London, U.K.

RELEASE DATE:

5th March, 2018

The album, 1997, will be available from 27th April, 2018

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THERE are few artists…

who have created an album as busy and relevant as Equals. I will look at the themes and ideas that go into 1997 soon but, before then, a look at James Low and Ade Omotayo’s work, progress and dynamics. I wanted to look at artists who influence a record; working your way through the ranks; having guest artists feature on an album; studio meticulousness and putting your all into it; standing aside in a busy city like London – ending with a bit about album themes and what we need to discuss these days. I am writing a piece, later, about London violence and how it is going to impact the lives of musicians there. It is hard, therefore, for any musician who is based in the capital. Naturally, there will be fear and nerves: in the case of Equals; their upcoming album touches on the changes in society and how things are developing. They look at the media and communication; the way the city is altering and harder times for us all. In many cases, London is providing optimism and rushing inspiration. The communities and busy neighbourhoods cannot help compel songwriters eager to put pen to paper and represent something different. It is impossible living in a busy city and not being affected by what is happening around you. Equals do look at passion and connection but, for the most part, they are looking around them and what is happening where they live. I have written pieces recently that compel my mind away from London. There is a lot of musical attention flowing the way of the city – the desire to get people’s minds further north is an ambition of mine. That said; you cannot overlook how impactful and variegated London is. In the case of Low and Omotayo; they live in the East and are creating Electronic Soul music with heart and depth. I will look at artists who have influenced their sound but, right now, a nod to East London and how its people can inspire creation and betterment.

My mind is trained to the northern areas of the U.K. I am looking to move up that way but, inevitably, London is always in my mind. I love East London and how vivacious and varied it is. I live in an area where there are few different races and nationalities: East London is a bustling and multinational area that promises heady scents, trendiness and opportunities. I have been in East London from time to time and always get the same impression: there is a magic and energy you do not get anywhere else. It is understandable the Equals boys would take from the streets and the people; look around them and find some guidance. Even though their album addresses societal changes and the need for betterment; there is a strand of music and production that puts my mind on the streets of East London. I know there is a big Electronic and Soul vibe around those parts. The capital still plays a huge role in modern music. You cannot avoid all the musicians and developments happening in London. I will move on in a bit but I get the sense, when listening to Equals’ music, they are reflecting all the complexities and discussions one might experience. I am excited to see where Equals go and what sort of London gigs they can get this year. When 1997 is out (on 27th April); there will be demand and attention thrown their way. My mind is back in London and with a duo who have created something very much suited to the times we live in – much more inspiring and thought-provoking than any other album I have heard this year (from new musicians). We can never figure London out and assume we have it all nailed. There are so many different sounds and artists playing right now. I hate how it gets all of the attention and few media sources are unable to cast their mind away. What does bring me back in acts like Equals; guys who can create something wonderfully rich and busy.

I will talk about the duo as a whole but, when thinking about Omotayo; he has had quite a productive and impressive rise to prominence. I am interesting in artists who start from humble backgrounds and work their way through the ranks. Although Omotayo did had to start from modest starts; there are few who can claim to have sung backing for Amy Winehouse! Most artists do solo work and perform at open mics. Not many have the chance to perform alongside one of the biggest artists in the world. Even though Winehouse is gone; what she taught Omotayo is priceless. The Equals member was a backing singer for Winehouse through her entire career. That sort of relationship and experience must have been something special! Not only would he have learnt from one of the best Soul voices of our age; the gigs and experience of being on stage go straight into Equals’ work. It would have been amazing being a fly on the wall of Amy Winehouse’s dressing room. Those conversations and pre/post-gig chats; the sort of sensation she projected from the stage – the resonance and reaction from the crowd. The young Omotayo would have been agog at her power and prowess. That is not to say the young backing singer was overshadowed by Winehouse. His contribution was essential and pivotal in regards her success. What interests me is how many other artists he performed alongside. He has featured on records by Mark Ronson, Kindness and Quincy Jones. Recently, he toured with Gorillaz and has been a busy man! Those sorts of experiences have led him to where he is now. That high-profile experience cannot be underestimated at all. You can hear the confidence and sense of exploration in the work of Equals. Low, instead, had a slightly different path through the musical ranks. He has grafted hard and played with bands – including Submotion Orchestra (more on them later). The two members have combined their memories and attributes and, in Equals, crafted something sublime and affecting.

I am interesting charting the progress of artists and how they get to where they are. There is something about the way artists progress and grow that really compels me. In terms of solo artists and duos; the path might be very different to that of bands. If you are lucky enough to tour with other artists and get experience of working with them on the road; that is invaluable education you can bring to your own music. As I say; not many have been lucky enough to tour with someone as big as Amy Winehouse. In any case; you cannot discount the way those touring and performance experiences add to your own music. Looking at Equals and their members have taken what they learnt on the road; they have brought that into their own music and combined it with the artists they grew up around. I will talk about influences and artists one can hear in their sounds but, right now, a little more on working alongside other artists. Many artists, who create their own music, are inspired by their upbringing and music they grew up around. Those sounds can influence what you write and how you come across. I feel collaborating with others can add something special and original to your work. I am not saying artists who do not combine with others lack any difference and depth; those who have the extra layer and luck of performing alongside others are given some different ammunition and direction. Not only that, but there is that element of performance and seeing how an audience reacts. Equals’ members have combined their skills and collected times and added to the music we hear now. Because of that; 1997 is an album that bursts with life, different angles and colours. It is a rich and rewarding work that strikes the mind, heart and body. So much is happening in every line and song. That richness and sense of attraction come from artists and sounds who have influenced the duo.

The boys have said Solange’s A Seat at the Table and Kendrick Lamar’s To Pimp a Butterfly influenced their own album. Those might seem like lofty names to throw into the pot – the guys work with the bones of those records and create their own version of them. What they mean is both records combine skits/segues with raw and inspiring music. I love both albums but am especially fond of Lamar’s masterpiece. That mixes Jazz and Soul with essential Rap and Hip-Hop power. The album brims with political and social commentary; some superb spits and sublime couplets – all levied and guided by the singer’s incredible voice and command. Solange’s album is a more passionate, but no less raw, collection that reflects the world she lives in and the struggle of women and the black community. Both are albums from U.S. artists, recorded and released into a world where discrimination and discontent are at an all-time high. Here; we do not have the same prolific Soul and Hip-Hop artists as America. We do have masters in other genres but, when it comes to comparisons to Solange and Kendrick Lamar, we are a little bit light on the ground. It is rewarding, therefore, to see Equals emerge and create an album that puts one in mind of those U.S. leaders. The Equals guys concede they are not equal to the merits of those two titanic albums – they are doing themselves down a bit! – but they have confessed the way various styles and genres are united in a record; the fact there are spaces to create little spoken word things and skits; an open and broad canvas where they can explore the world around them – that is what they are talking about. It is fascinating looking at 1997 in the context of, say, To Pimp a Butterfly. I know we have social commentators in music, here, such as Shame and IDLES. They are bands who work more in the Punk realm. I have been looking around for something with the same urgency and impact – that has a more soulful and inventive edge.

Not only were Low and Omotayo worked through music and had a busy time of thing; they have managed to pull together some incredible collaborators and musicians for their album. 1997 has a very distinct set of guide notes – I shall come to in a bit – but the songs are brought richly off the page and into people’s minds. That is, for the most part, because of the duo and what they bring. There is another strands working away: the power and diversity of the guests that appear. Members of Submotion Orchestra and the Bonobo band bring in their sounds; Ghosttown and Loxe (producers) add something different – there are fascinating little diversions and rare sounds that come in when you least expect. It is understandable the guys would look to others to get their album together. The boys worked hard in the studio but, given the themes being explored and the intensity and passion one hears throughout; having other voices and ears in the album elevates the material and helps bring the songs to life. That is not to suggest Equals lose identity and are in the background. They are very much in the forefront and use their collaborators effectively and economically. I love how Equals have come from their different paths and joined together. Now, when creating 1997, they have brought in other artist and taken another big step. The boys are on peak form right now and created an album the modern world needs to experience. I will talk about their latest single and a song that has some very personal relevance to it but, before then; it is worth investigating and exposing the sort of ideas that go into their L.P.

What one notices, first, is that title. 1997 is an album that takes me back to a time when Labour came in and things seemed to be on the way up. I remember Radiohead brought out OK Computer and seemed to reflect that uncertainty of the current age; the hope of a new government and the need for improvement and change. Tony Blair came into government and promised big changes and progress in the country. The people needed it and, looking back, one wonders whether he made good on his promises. Now, in 2018, we are in the grip of a Tory government and a P.M., Theresa May, who seems to absent and ignorant. That shows my political colours (Labour) but she seems to represent the voices of the white middle-class. That is the way politics have developed since 1997. Our leaders are less concerned with the needs of the common citizen and representing everyone. I am not saying Blair’s government were more inclusive but there was not the same ignorance and sense of passiveness we see with the Tory incumbent. There was great hope and the sense of sea change when Blair swept in over twenty years ago. We wanted a seismic shift and a leader who could articulate the needs of the average member of the community. Government should be able to listening to everyone’s voice and fixing big problems we see. Instead, over the past twenty years, we have been in a quagmire and not being listened to. Blair delivered on some of his promises but his impact was not as strong and lasting as we could have hoped. A slew of Tory mistakes and selfish decisions have plunged us deeper into a quandary. Equals claim the scolding and fundamental basis for their album was the writing and teachings from Mark Fisher’s text, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. I am not familiar with it but know there are sage words and eye-opening truths that compelled the guys to create 1997.

The songs on the record, conversely, look at youth and modern energy with the fatigue and repeated blandness one sees on the high-street. Psalm for the Shadows looks at the way identikit streets are happening around us. One could say that is gentrification or the way people are becoming boring and samey. East London has more vibrancy and colour than most parts. We all know the provincial and bland areas of the country where you see the same shops and bars coming into view. There is no identity and sense of purpose and character at all. These demands, one feels, is because of the sort of people who move into these areas. People are becoming more gentrified and middle-class; the working-class population are not getting much of a say and, if anything, the young generation is becoming numb and accepting the boredom around them. Maybe that is the way the Internet and social media have gripped our lives; the fact we are communicating less and not as involved in political change and local development as we should be. There are endless T.V. remakes and cover versions of cover versions – both are reflected by Equals on the album. We are repeating things and getting stuck in this conveyer belt-like way of living. Instead of doing something new and ensuring our streets and cultural experiences are fresh, all-inclusive and interesting; it is a lot easy to toss off something lazy, quick and unambitious. Equals see this carbon copy society but know, ironically, we are never bored because we are always trying to better ourselves and stay active. All we have to show for this is exhaustion and depression. Maybe that is the way social media offers this synthetic reality and chance to ‘connect’ with people. Few of us are getting out into the world and refuting the lure of computers and the Internet. Modern life, more and more, is getting less physical and human.

We are remaking T.V. shows and music but are a youth-obsessed society. Perhaps we listen to older music and remake older T.V. programmes because we are harking back to a different time. Things were a little simpler and seemed less fraught and damaging twenty years ago. The Internet was around then but pre-dated streaming sites and the rise of social media. I look back at older music and prefer listening to it. That is not necessarily down to nostalgia and wanting to live in the past. Ironically, I feel older music sounds fresher and has that durable and incredible sound. We have great artists now but the fact we are remarking and repeating so much, inevitably, brings my (and many) mind back to the past. The guys have created an album that looks at British streets and the need for political change – casting its net to the wider world and changes we all need to see. These hard-hitting and eye-opening themes are wrapped up with quick beats and smooth vocals; some intense moments and interesting fusions. The guys have this studio meticulousness that reminds me of the likes of Steely Dan. I am not sure whether Equals listen to Steely Dan but the same way Walter Becker and Donald Fagen slaved and spent hours on songs make me think of the London duo. Even though the guys have worked tirelessly and spent a lot of time crafting the songs; nothing feels forced, exhausted and too polished. 1997 needs to get under the skin and provoke discussion. It is a record that, like the best of this year, goes beyond the personal and talks about something real and meaningful. I am all for love songs and that sort of thing but they are quite restrictive – it is not always easy to find sympathy with the writer. The guys have crafted something that is based in 2018 but looks back over the past twenty years. How far have we come? Are we are a stronger nation?! What has happened to the promises and sense of hope we were offered back in 1997?!

I mentioned how Letter to Leave (What Can I Say?) holds sway and personal weight for Equals. Low is a vociferous opponent to Brexit and avowedly against the separation from the E.U. Omotayo, with his Nigerian roots, has faced displacement and problems with immigration. One would think, therefore, their latest single attacks those who want us away from Europe. Instead of casting blame and going for the throats; the song is conciliatory and looks at reconciling divisions. The people who voted to leave the E.U. have more in common with the people who voted Remain – we all have more in common than the politicians who initiated the process. That is the heart of the song: the public is more connected and in-tune than those who make our decisions. Can one, therefore, blame the politicians for making an unwise decision; for dividing the nation and propagating lies and false promises?! Equals’ latest cut opens with woozy electronics and a warped and spacey blast. You get that head-spinning sense of what-if and possibility; it is a mix of sensual and physical with a more spiritual spirit. When Omotayo stepping to the microphone; he asks questions about what has happened and where we are heading. Everything we had before – a connection and community; a sense of purpose and future – seems to have been dissipated and crapped on. The frontman says we cannot go back and reclaim what we had. There is that aghast realisation and shock. The beats get heavier and the electronics vibrate. Our man was telling people they’d be okay and the country would be fine – before Brexit and when the result came in. Now, with the vote cast and that exit a year away; we are in a poor space and more fragmented than any time in recent memory. There is a real passion and upset in the lead’s voice; a sense of dizzy and trying to piece things together. Low adds a sonic backdrop that provokes memories of better days and how we have been attuned to this so-called ‘better’ state and stronger Britain.

The song moves on strongly and gets into the grove. That mantra (“What can I say?”) comes through and seems to represent the feelings of many people – shocked at what is happening and unable to get their minds around the concept and reality we have before us. The hero looks at those who have let us down and wondered if they are truly understanding of what we want and how we need to progress as a country. The accusations and anger are levied more at politicians and those who have messed up the transition – rather than the majority who want us to be free of the E.U. Burning eyes are on our man and it seems he is an alien in the community. The smooth tones and passionate delivery hides a sense of fear and isolation. He was once part of the neighbourhood and nation. Now, as a migrant and black man in the country; is his place secure? One gets impressions of Frank Ocean, James Blake and classic Soul voices when you hear Letter to Leave (What Can I Say?). It is a song that has a sense of bliss and sexuality (the vocals) but packs a powerful punch. The messages are stark and urgent; our man is looking around and curious whether he is part of a country he dreamed of living in – whose parents struggled and tried to make a better life for him. Now, this U.K., is not as united and great as it could be. Those people that are “going to let you down”, I guess, are those who make political decisions and the ones we voted for. We are all groping for betterment and a sense of preservation. Rather than living in a nation moving together and working for each other; there is a split that means the future is very unclear and fractured. The hero holds the line and does not want to attack the Leave voters too much – there is a sense of handing an olive branch to them. Those voters and migrants have more in common than they would imagine. The racist attacks we saw following the Brexit result is being highlighted and judged. Through everything is that need to bring people together and work – now we are leaving Europe – for a brighter future. In less than a year; things will change and the nation removes itself from the E.U. The hero wants people to get together and stop attacking one another. The vocals are sublime and potent whilst the compositional support drives the song and inspires visions and immense reaction. It is a wonderful partnership and conspiracy that brings the song to life. Letter to Leave (What Can I Say?) is a fantastic song that is as relevant and timely as it is sumptuous and passionate.

Following the release of the album; Equals are going to be busy touring and getting their music out there. The boys have already played some gigs around the country and have at least one more date before 27th of this month. They are excited about the album’s release and hope 1997 gets into the public psyche. I know they will get a big reaction and a lot of focus. I mentioned earlier how the social and political albums we have heard this year have been crafted by Punk and Rock bands. They bring a certain style and angle to the table. Now, with Equals, there is a new agenda and fresh angle. There is more depth and inventiveness; greater soul and an anger I have not heard in other albums. I think the duo were a little modest when they said the two albums that particularly inspired 1997 – A Seat at the Table and To Pimp a Butterfly – were far superior to their own work. I understand it is hard reaching the same heights as Solange and Kendrick Lamar but, if anything, the guys have created a British equivalent. One finds the same rich inventive spirit and openness we got with those records. 2018 has been hankering for something that speaks about issues and concerns we all have. James Low and Ade Omotayo have managed to do this and, in the process, singled themselves out as one of the finest forces in British music. I cannot wait to see where they go and how far they head. It is only a matter of time before they get U.S. gigs and their music is an international sensation! Lots of respect to the guys for 1997 and its fantastic (second) single, Letter to Leave (What Can I Say?). These are hard times for us all but, with Equals penning an album that provides as many answers as it raised questions; we have leaders who actually…

SPEAK for everyone.  

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Follow Equals

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http://equalsband.com/

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https://www.facebook.com/equalsband/

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https://twitter.com/theequals

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

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https://open.spotify.com/artist/7HGyw7kzatTmJvZCATGWf9

FEATURE: In Order to Succeed: Is It Possible to Create a ‘Perfect’ Playlist?!

FEATURE:

 

In Order to Succeed

ALL PHOTOS (unless credited otherwise): Unsplash

Is It Possible to Create a ‘Perfect’ Playlist?!

__________

EVERY music obsessive has that same dream…

IN THIS PHOTO: St. Vincent/PHOTO CREDIT: Renata Raksha

the chance to create their own playlist for radio! One might counter with an obvious suggestion: become a D.J. A lot D.J.s, in fact, do not get as much say in the running order and musical inclusions as the producer of the show. Unless you are playing as a club/pub D.J.; chances are, someone else will be directing what is played on your show. I know one can have a podcast and run a radio broadcast themselves. My point – getting away from semantics and digressions – is this: could one ever create a ‘perfect’ playlist?! Among my musical dreams would be the chance to appear on Desert Island Discs. I realise that is never going to happen – as I have not achieved anything that would warrant an appearance on the show – but each ‘castaway’ has to choose eight records. The fact I would struggle to select eight songs from The Beatles shows what an unenviable task it would be! I would also love to do a bespoke, one-off show for a station: compile a selection of music and introduce each song. Even then, one would suspect there would be around about two hours of music. If I got that call; my mind would instantly explode with joy and energy. After that, considering the task ahead; that sense of discipline and dread would come in...

Even if I was given free rein to choose, maybe, fifteen songs; I would still wonder whether it was possible to distil my vast tastes down that far – coming up with a playlist that covered genres, decades and tastes. Would I, by the end of the broadcast, be able to satisfy everyone out there and throw down an unbelievable gauntlet? I know there is no real competition when it comes to assembling music and having your own show. What I mean is, when you have the chance to showcase your musical favourites and impressive library; you do not want any weak spots and obvious inclusions. You’d want to get the running order right so you’d start with an immediate track that gets people up and invested; maybe keep the pressure high on the second song – end with something that has similar energy and desire! My opener, as above, would be Beyoncé’s Ring the Alarm. That might sound like an unusual choice and left-turn for someone like me. To me; there is no finer way to open a broadcast. There are two reasons why. Not only is it a fantastic and popular song; it is from a black female artist. That might sound like a controversial thing to say. Many people assume a male D.J./journalist would choose a male artist to open a show – any decent playlist would ensure ethnicity and gender was part of the mix.

My balance would see an equal weight of male/female; go as early as the 1960s – I am tempted to include some older Jazz from Miles Davis, mind – and go right up to the current time. I would not feature too much music from the first five years: including brand-new unsigned artists is a smart suggestion. It would be impossible to cover ALL genres in a single show. I would not have any Country, Dubstep or mainstream Pop; I would be reluctant to include much Heavy Metal into the show. That being said – and, with vast and varied preferences – I would go from Kate Bush/Eva Cassidy calm to the rush and rawness of Metallica and Queens of the Stone Age. If Beyoncé opens the show; the choice of closer would be a two-horse race – between The White Stripes and Tears for Fears. The latter would be there because Everybody Wants to Rule the World is my first memory of life/music – and, therefore, holds a very important place. I am a massive fan of The White Stripes and love rarer songs such as Hand Springs (a B-side not many people have heard). In fact, no; I have changed my mind: Nirvana’s Negative Creep would be my swansong. You can see how hard it is to whittle a playlist down to a rather focused and cohesive group – imagine what a nightmare it would be if I had a regular, daily radio show!

I have outlined all the negatives and horrors of assembling a one-off playlist/show: there are infinitely more pleasures and joys. This feature is not a chance to indulge my desires and aimlessly prattle about my musical tastes. Every time I listen to a show on BBC Radio 6 Music (or another station); I listen to the array of music played. There are older songs I have not heard of before; cuts from brand-new acts that get into my head – more obvious songs that sound perfect and right for the moment. There is a lot to be said for one’s musical tastes and song choices. They say the eyes are the window into the soul: I would argue a proper-cultivated and balanced playlist is even more revealing and alluring. I have, so far, mentioned more American artists than British. Among other artists I would include – in a two/three-hour show – would be Björk, Eels; King Gizzard & the Lizard Wizard, Kate Bush; Nick Drake, The Beatles, St. Vincent; Deee-Lite, The Smiths; Paul Simon, Madonna; Radiohead, Jeff Buckley; Carole King, Billie Holiday – I guess it is still straying into the U.S. side of the spectrum. The sheer pleasure of scowling through vinyl and digging through digital crates would obsess my mind. I’d have to throw in The Avalanches and Beastie Boys; lob in Steely Dan and Basement Jaxx. I guess, even if I thought I had a brilliant playlist ready for broadcast, I’d ask myself the same thing: is it as good as it could be?!

Trying to achieve that ‘perfection’ seems like an impossible thing. I guess, in a way, we are trying to show how good our musical tastes are. If one were to have the chance to showcase their music collection to the public; they’d want to please themselves and the people out there. Many argue there is no such thing as a ‘guilty pleasure’. Would you scroll through your song choices and make sure there wasn’t anything too cheesy or tragic? I would love to put some classic ABBA in there: would other people see it as a bit naff and derailing? I think it has a place but, against artists like Nirvana and The White Stripes; is it possible to put an ABBA song among the pack?! We are getting into areas of psychology and perception. Each radio show I listen to – a three-hour broadcast from a range of D.J.s – I am amazed by the way the songs hang together and there is that flawless and natural flow. I envy producers and the skills they have when it comes to programming show. Not only do they have to consider all the music they include in a show; there are jingles and announcements; making sure everything runs smooth and, if you are dealing with the public; they are looked after and organised. It seems, then, something as comparatively simple as thinking about songs is a breeze!

All of this, in essence, is a long-winded audition for a future invite! Every true music lover has two big assets/drawbacks. We all think we have the best musical tastes in the world; all of us, too, think we have a passion for music like nobody else. There are many like me, who do not get a chance to show their musical plumage, who are having this same thought process. What would happen if we got onto the radio and were asked to narrow down our favourite music to a (relatively) short list – you can see why I’d be a nightmare on Desert Island Discs! There would be something simultaneously sorrowful and wonderful about a one-off, golden ticket. I have thought of other acts whilst typing this – Eminem and The Bangles among them – and look at the genre spread. Once you have thought of the list of artists you want to include; there is the matter of arranging the sounds so it is a nice mix without too many sound-alike songs in a row – starting and ending with a big impact. Programming a show is like ordering an album: ensuring the tracks are in the right order and create the best possible listening experience. Returning to my original question: is it possible to create something perfect and universally popular?

I feel music is subjective enough so someone, somewhere will pick up on a ‘bad’ or misplaced track. You cannot quibble with The Beatles and Kate Bush, say: many might not like a bit of Beyoncé or Eminem filing their ears! Music is a way of expressing ourselves and representing our personality and complexities through sound. There is that desire for people to like the music and, as such, bond with the person putting it together. I feel I could curate a playlist that had a good mix of genres and artists; throwing in some curveballs and ensuring all ages were catered for. My mind would always hover to the list and wonder, somewhere, whether there is a substitution I should make. It is a good conundrum to have before you: come and do your own radio station and choose whatever music you like! It, actually, a bit of a dream – the fact there is the nightmare of chasing perfection does not dampen the honour. That opportunity would, ironically, lead to new discoveries and revelations. I will end this now – with my chosen closing song – but compel others to think about their musical tastes and what they would do were they provided with the chance to do their own show. Every little move, machination and mannerism return me to the pressing question and the need for a definitive answer. No matter how good our tastes are; no matter how educated and passionate we are; I wonder whether it is technically possible to produce and compile…

A ‘perfect’ playlist?

FEATURE: Drive with a Chance of Reverb: The Continuing Need for an All-Encompassing Music T.V. Show…

FEATURE:

 

Drive with a Chance of Reverb

 ALL PHOTOS (unless credited otherwise): Unsplash 

The Continuing Need for an All-Encompassing Music T.V. Show…

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I can’t remember how many weeks ago…

it was when I mooted the desire for a return to the days when there were genuinely good music-based T.V. shows on. It might have been around, I guess, the time of the one-off revival of The Old Grey Whistle Test – hosted, on the night, by Bob Harris (in February). I floated an idea out there: getting The Old Grey Whistle Test back on a full-time basis. I have been following the progress and nature of the newest music show on the box: Sounds Like Friday Night is hosted by Radio 1’s Greg James and Dotty. The show has been picking up good reviews and a firm following but, to me, it appeals to a particular demographic. The main artists booked are Pop-based and chart-bound. The presenters have charm and charisma; there is a connection between them that cannot be faked. There are amusing sketches and the whole show has a feel of nostalgia-cum-modernity: recalling some of the aspects of Top of the Pops with the urgency and polish of modern-day music. Whilst it will continue on our screens – I feel it has another few series left in the tank… - there is a gap forming in the market. When The Old Grey Whistle Test returned to the screens; there was a two-fold aftershock that stuck in my brain. Seeing Harris and other contributors look back at the show’s best memories and finest guests. It was great seeing the likes of Bob Marley and Sex Pistols play for the show.

IN THIS PHOTO: Dotty and Greg James/PHOTO CREDIT: BBC/Getty Images

There was a varied catalogue of guests during its long reign. The show ran from 1971 to 1988 and stood out from what was on the T.V. Now, in 2018; we have very few musical options. Look at Jools Holland’s late-night, hugely popular show and Sounds Like Friday Night – that is about it, really! I am not suggesting there is a straight revision of the long-gone music show: more, a guide from its foundation, updated for the modern age. One could argue today, given the access we have to music; there is very little desire for music T.V. YouTube means, essentially, any artist can get their faces on the screen and their music viewed. One can see the biggest mainstream tracks and hidden gems from unsigned acts. There are two rebuttals regarding that assumption. For a start; YouTube is a huge and unfiltered site that has little of the organisation you would hope. So many artists and videos pass you by – even some of the big-league releases slip by; it is hard compartmentalising and organising videos so we get a good and fulsome spread of sounds. The other problem (with YouTube) is the fact it is not the same as seeing a band/artist play live. Reviving The Old Grey Whistle Test, essentially, would be a rather lazy move...

Some would argue why I am floating this notion prolifically and vociferously. To me, modern music needs a T.V.-based tentacle that provides platform for artists, new and established. Sounds Like Friday Night is, for the most part, a pulpit for the best of the mainstream/near-the-mainstream artists to shine and perform. The performances are live but, in terms of genre and age demographic; it is narrower than, say, Jools Holland’s brand. Even if you consider Later… - that is a show that has been on a fair few years and its format has not shifted (critical attention and praise: no need for a retooling, sure?!). If one can argue – wrongly and foolishly – there is room for one talent show, let alone several of the bloody things; you can apply the assumption to a show that promotes genuine, proper musical talent! The concept I would pitch – I am not sure of its name just yet – would use The Old Grey Whistle Test as its muse and mother. The studio would be fairly small and have a smattering of audience members. It would not need a lot of lighting, gloss and glamour: nor would it be a glorified portal toilet in an industrial estate in Coventry (no offense to the makers of portable toilets!). We have Facebook Live and YouTube: neither is an effective and practical substitute for the thrill and physicality of music T.V.

IMAGE CREDIT: Getty Images

I know the game has shifted compared to The Old Grey Whistle Test/MTV days. People have access to musical visuals without having to switch on a T.V. Families do not excitedly hustle around the glow of the box – I am making this sound like a 1950s dystopia! – to see the latest sh*t-hot music video or an interview with the likes of Madonna or Talking Heads. Given the inaccessibility and inconvenient nature of live music – many people cannot afford to travel or have time to watch a great artist play – moving that to television would, you’d think, be a win-win scenario?! The ‘classic’ element would keep that studio setting and sense of minimalism. You would have a single host in the studio – not necessarily someone young and trendy: it is open for debate and discussion – and the music being featured in the studio itself would be a real mix. There would be accommodation for established artists in any genre – so long as the music is great and affords itself to the rawness and nature of the studio. I would like to see established acts like, spit-balling here, Radiohead or Björk performing new songs (if such an eventually was to happen!) and some classics. Newer acts – Goat Girl and IDLES; Hannah Peel and Nils Frahm, for example – could lay down a song or two each?!

IN THIS PHOTO: Goat Girl/PHOTO CREDIT: Getty Images

The way I have described the set-up and backdrop (of the studio) sounds like musical nihilism: it would, in fact, be quite a homely and good space for the artists to pull great performances out the bag. Running alongside the performances would be music news and updates. We would bring in social media aspects and bring live – as close to the show’s broadcast – news updates to the people. Interviews would either be done in the studio or a special location. I have been thinking of artists being interviewed in a cocktail bar – something like Nightjar in London. It is a quirky and cool space; one where the interview and artist can get down to business and chat. They would select a favourite song or album of theirs; talk about their past and new music – a full and unique interview series. There would be multiple features and regular spots – including recommendations of new acts and documentaries that tackled issues/sides musicians and fans alike would be into (mental-health features and the live music scene; the music culture of various cities; highlighting music from a certain decade/year etc.). There would be documentaries that explored classic albums. This is nothing new: stations like VH1 have investigated legendary records and talked to the people involved. From The Beatles’ eponymous record to Fleetwood Mac’s Rumours; the introduction of Elvis Presley and Joni Mitchell’s Blue – a thorough and candid look at the album’s creation, its best moments; its lasting legacy and how it changed music at the time.

IMAGE CREDIT: Getty Images

I would like to see a one-hour, weekly show that helped preserve legendary music and surprise those who are passionate about the prospect of a cover-all music show. It would act, in a way, like a radio show: a selection of genre/decade-hopping songs and great live bits; minimal needless chatter and quality at the absolute top of the list (depends on what station you are tuned into!). The show would not necessarily need a comedic/light feel – I have an idea for a music-based animated short that would be a miniature sitcom. Education and enlightenment are important factors that cannot be overlooked. Whilst the emphasis is going to be on live performance and making sure there is a national platform for the best new acts; it would be naïve to reject the needs of the fully-rounded and cultured music fan. If we just had a show that did live sets and nothing else; its appeal would be one-dimensional. The magazine aspect of the show would be a delicate balance. One would not want something tabloid-like or trashy: neither would it be wise to have a snooty or austere show that had a sense of elitism. It could be on BBC 2 or BBC 4 but, when it gains traction and popularity, a natural shift to BBC 1 would seem the best option. That transition does not have to come at the expense of the show’s identity and ethos. It would retain its gnarliness and ensure its tattoos were being sported boldly – none of this three-washes-and-its-faded henna stuff!

Getting the right host is a crucial consideration. It need not be a single name – maybe a duo (one could be studio-based, in London; the other, perhaps, over in Manchester?!) would do just as well. The aim is to broaden the demographic reach and include every age. There would be some controversy and spit to the show – nothing that alienated younger viewers, though. The desire is to get that much-watch music T.V. show that recalls the days of MTV and Top of the Pops. I know we cannot return to the past and create the same sensations as the 1980s and 1990s, for example. What everyone wants is an accompaniment to the music T.V. shows we have right now. Three shows – unless I am missing an obvious one – is hardly a ‘crowd’. It would be great to have something on the screens that encompassed the best radio stations/shows with older-days music television; link it with the modern pace of life and bring in a mix of technology-advance and classic-nostalgia. Putting the live element up-front and central means those who cannot afford to see a hot new band perform can see them from the comfort of their home. Whilst the experience is not exactly the same as going to a gig; that is, in a good way, a good thing.

Artists who appear on the show would not find that T.V. light too alluring and seductive: the chance to get your music out to home-based audiences and uninitiated ears is a definite bonus! I cannot pitch a show directly to the BBC – they do not take submissions from individuals – but, one suspects, there is a production company out there who could coherently and effectively do so on my/everyone’s behalf. There is that endless desire for a show that nods to the best days of music television and gives it a modern lick of paint. 2018 is a year where music needs to listen to voices that are going unsatisfied and silent. A great T.V. show could, actually, help tackle issues surrounding music right now – venues struggling; sexism and inequality; whether streaming and digital music is better and more important than vinyl and traditional forms. I would love to see it happen. The show would not cost a lot and good work alongside those already on the market. I like Sounds Like Friday Night and fills it does what it needs to perfectly – with two great presenters helming it! If we added a younger brother/sister to the cot; worked with T.V. and radio stations and devised something that would be popular and long-lasting (getting any kinks sorted along the way) then I believe, if all goes well; it – whatever the show is called! – could last as long as…

IN THIS PHOTO: Bob Harris, on the set of The Old Grey Whistle Test/PHOTO CREDIT: BBC/Getty Images

THE Old Grey Whistle Test.

INTERVIEW: BBXO

INTERVIEW:

BBXO

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BASED over in Berlin…

I have been chatting to BBXO about the scene there and why the city has a pulse like nothing else. Krisz and Musa discuss their track, Hard Road to Travel, and what arrives next for them; how they came together and started making music; whether there will be gigs approaching – they talk about artists and sounds that inspire them.

The guys look at their favourite memories and what they hope to achieve this year; Musa reacts to being compared to The Streets; they talk to me about getting kudos from the likes of Kate Tempest – a fascinating window into a close and electric duo.

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

Krisz: Great. Working on a new track/editing our new video for Firestorm.

Musa: Good, thanks. A lot colder and wetter than the one Krisz has had; he has been working in Cancun while I have been stuck in Berlin. But I’m not bitter...honest.

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

Krisz: We call the music we are doing ‘Future Blues’: a blend of poetry, spoken word; Rap, Soul; Dancehall, Trap; Grime and Pop.

Musa: I write and perform (most of) the lyrics, with help on the choruses from Krisz and a couple of other excellent writers. I’m also a journalist writing about politics, society and football - and that comes through in many of my lyrics (we haven’t done a song about football yet, though). Krisz; he makes the beats.

How did you come to form BBXO? Musa. Did you know about Krisz Kreuzer from the Brixtonboogie movement?

I actually got to know his work through listening to a range of projects on his site and I remember thinking: ‘Damn; this guy can produce anything’. He could make any range of sounds and that’s what I first found most appealing about his work - the open-mindedness of his work. To me, that’s a true artist.

I believe Berlin is where the meeting happened? How long were you in Berlin before BBXO sprung to life? What is the ethos and philosophy you both carry?

I had been in Berlin about a year-and-a-half by then and, so, I think I had adjusted to life in Germany and, more particularly, to the city. At the risk of sounding cheesy - I can almost imagine my friends beginning to tease me when they read this - I would say that my ethos is: make the boldest and most passionate work you can and, somehow, just keep going; because your best work and your best moments are still ahead of you…

What is Berlin like to record and work in? How important is the city and its people?

It’s an incredible city.

Berlin isn’t like New York or Shanghai: those cities are immediately overwhelming. Berlin creeps up on you. It goes from slow and sleepy to full-on hedonism in a split-second. That’s what makes Berlin unique, I think: it has a change in tempo unlike anywhere else. That’s great for an artist, because it means you have both the peacefulness in which to create and the endless nights into which you can escape.

Berliners are a tough people - and proudly so. But, if you can get past their initial wariness; you’ll find them to be among the most loyal and open-hearted people you’ve ever met. That’s if you meet the nice ones. Haha.

Hard Road to Travel is your new release. Can you reveal the story behind the song?

Musa: The song is about two things, really. First; it’s about persevering through struggle, which is something to which we can all relate. Secondly; it’s the story of my family, who fled Uganda in the 1970s and 1980s when the country was in a state of conflict. It’s a song that might seem topical now, with the exodus of refugees from places like Syria and Myanmar; but, in truth and tragically, the story of refugees is as old as time - so, the song tries to put that journey in a positive light.

Is there going to be more material later in the year? What are you guys working on?

Krisz: First; we are aiming to get our E.P. done and released by end of May, with an album ready at end of this year. Secondly; we will work with a live promoter to play live.

Continuing writing and producing more tracks.

Musa: Right now, I am working on the lyrics for two new songs, which are both about half-done, and thinking of ideas for a couple of others. Looking at the world at the moment, we are not exactly short of topics.

Kate Tempest and Ed Sheeran are among the artists who have shown love for Musa and BBXO. What is it like having that sort of kudos and backing?!

It means a huge amount because the respect of your fellow artists is something really special.

We actually came through the poetry and music scenes at a similar time and, even then, the work they were doing was astonishing. I have seen Ed perform a cappella and without a mic to Madison Square Garden - and his voice travelled all the way to the back of the arena. I have seen Kate reduce huge crowds to a state of silent awe with the power of her words.

For people like that to tell you that you are on the right track is very affirming.

Which artists did you both grow up listening to? How early did music arrive in your lives?

Krisz:  I grew up with Blues, Reggae and Dub; Hip-Hop and Electro. To name a few from all genres:

- Blues artists like John Lee Hooker, the Chess artists like Muddy Waters or Howlin` Wolf.

- Reggae: Roots artists from Studio One; Burning Spear, Lee Perry and, of course, Bob Marley.

- Dancehall: Shabba Ranks, Capleton; Bounty Killer and Super Cat.

- Hip-Hop artists from the beginning like Curtis Blow or Grandmaster Flash; EPMD, Eric B. & Rakim; Beastie Boys, Common; Jay-Z, Kanye West and Kendrick Lamar,

Musa: Confession...when Prince died, I burst into tears and then I realised why: because my aunt had played Sign O’ the Times whenever I was at her house out of her incredible Bang and Olufsen sound-system (this was in the early-to-mid-eighties and she still has it, in great condition). Then, I got into Young MC, Positive K; Tracy Chapman and Arrested Development in my early-teens; then, it was Wu-Tang, Curtis Mayfield; Nirvana, U2; Outkast, The Fugees; Jay-Z, Biggie; Lauryn Hill, Daft Punk and The Roots; along with some Eminem (eek, given some of the stuff he said) and, from my early-twenties onwards; I have been listening to everything. I mean…everything...

Björk, Bloc Party; Metronomy, The Kooks; The Strokes, Arctic Monkeys; Seu Jorge, Janis Joplin; Mount Kimbie, Martyn; NoLay, Kendrick Lamar; JME, Flying Lotus; Aretha Franklin, Daedelus; Janelle Monáe; Ryuichi Sakamoto; Eska, Tawiah; Skrillex, Herbie Hancock...I mean, I could go on for hours…I love music; all of it.

PHOTO CREDIT: Eduardo Mattos

Musa. You have been compared to the likes of The Streets. The world needs a street-poet like that! Do you think there is a big gap in the market for poets who can reflect the needs of the people – and articulate the sounds of the streets?!

Ha, well; it’s to know people think there’s a need for more poets: we often divide opinion. (Maybe that’s our job.) I think that poets, whoever they are - be that Salena Godden or Kendrick Lamar, Inua Ellams; Saul Williams, Bridget Minamore or Awate - have a particular skill, if they are good enough: they can distil a range of emotions into just a few words.

I think that has tremendous power - just look at the amazing advocacy that young people are doing for Black Lives Matter and after the Parkland shootings. I think there is always, always room for people like that - and I want to make my own contribution to social progress too. I would love to be able to look back and say: “We captured the mood for some people, and we did it in an uplifting way”.

What do you hope to achieve in 2018?

Krisz: To reach a good coverage of people who like what we are doing; to play more live. I’m looking forward to collaborating with an artist we'd like to work with.

Musa: To do some incredible gigs in different parts of Europe, to have people write to us and say that we made work that moved them and inspired them.

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

Krisz: A mind-blowing event was the Love Parade in Berlin beginning of the ‘90s when 500k people were dancing in the streets to Electro and Techno music. This music was new at that time.

Musa: Playing a gig at CAMP in 2011, with a previous group of mine. We performed a song called Love Against Homophobia at a time when the Ugandan government was being especially hateful towards gay people - and the response to the tune when we finished it was amazing. We sent the live recording to John Kennedy, who was guest-hosting Mary Anne Hobbs’ show that week and he played it and made it his tune of the day.

What advice would you give to new artists coming through?

Krisz: You mean, us? (Smiles). Ok - just kidding. I would say just do what you want. No boundaries. Doesn’t matter what people might say and think. Give a f**k. Just do it.

Musa: What Krisz said, a thousand times…

IN THIS PHOTO: Otis Mensah

Are there any new artists you recommend we check out?

Musa: Otis Mensah. Imagine a rapper who is half-Speech from Arrested Development, half-Homeboy Sandman and that’s Otis.

Krisz: Neo-Classical pianist by the name of Gunnarsson.

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

We do get away from music doing other things. If not doing our own music, we produce music for ads and films.

Chilling away from music with football/travelling/being in nature/enjoying good food.

Musa: Ha. I’m pretty much the same as Krisz: watching football, making my way slowly through the restaurants in Berlin; travelling through Europe (Lisbon and Brussels were great recently and, Copenhagen, we have unfinished business).

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).

Krisz: Young Fathers - In My View

Musa: Sir Spyro x Ghetts x London Grammar x Jaykae - Hell to the Liars

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Follow BBXO

Twitter:

https://twitter.com/bbxoofficial

Instagram:

https://www.instagram.com/bbxoofficial/

Facebook:

https://www.facebook.com/BBXOofficial/

Spotify:

https://open.spotify.com/artist/4pFqpGmsePkCsOjhuDvRa7?si=7zc-Kg5HTqq08fKyCqfieg

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https://www.youtube.com/channel/UCXu3tIA75flXZKpk3Htckog

FEATURE: Figure It Out: Why Industry Leaders Need to Stop Reducing Women to Image and the Physical

FEATURE:

 

Figure It Out

ALL PHOTOS (unless credited otherwise): Unsplash 

Why Industry Leaders Need to Stop Reducing Women to Image and the Physical

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THIS piece has been compelled…

IN THIS PHOTO: Jameela Jamil/PHOTO COURTESY OF @jameelajamil

by an initiative launched by Jameela Jamil. She has introduced an Instagram account that gets women to think beyond what they weigh. Her inspiration came from an unlikely source: an Instagram post where the Kardashian sisters (I don’t know if any male members of the family were included) compared their weights. Jamil’s goal is to get women talking, openly, about their lives and its full spectrum. There is, I guess, a crudeness that still runs through advertising. The perceived notion of a ‘perfect’ woman is a slender and toned physique. That woman is usually very beautiful and has barely an ounce of fat on her – often, the image behind idolised is underweight and close to being unhealthy. Many women obsess over weight and see that as the most important thing about them – making sure they do not offend the eye and fit into the guidelines advertisers and billboards put out. A woman’s personality and worth is not binary and limited. Sexuality, personality and professional desires are more important and under-covered: the ongoing conflict regarding image and pre-conceived models of ‘sexy’ and ‘beautiful’ are causing many women’s’ anxiety levels to rise beyond control. Jamil’s desire is to reappropriate the notion of womanhood and desirability. By urging women to think widely and uncritically; it has led to revelation and improvement. Many women have contacted her and given their thanks.

That spirited and inspiring movement has made me look more closely at the way women are being perceived in the industry. Sexism is, of course, still ongoing and untamed. Every female artist I speak with has the same impression: they are not being perceived the same way as male acts. We are living through one of the most disconnected and detached eras of human existence. We have technology and endless resources available at our figures. Rather than use this to better the human race: there is greater stress, self-criticism and lacking confidence than ever before. I have written about sexism and sexualisation in the music industry a few times before. What troubles me is an ill that has spilt from other industry into music. Hollywood has improved in some ways: in other ways, it has crawled back into the swamp. There was a time, decades ago, when a fuller-figured woman was seen as ideal. Not to focus too cheaply on the physical; there wasn’t quite the same pressure to have actresses being thin and looking a certain way. Now; we look out into the world and see adverts everywhere. Women, often, are dressed in swimsuits and lingerie. If they are more modest; the model you see looking back at you is very striking, beautiful and thin. Music, unfortunately, is struggling with some of the same issues.

If men are used to advertise a product or service; they are not told to look a certain way or be a particular weight. There are so few adverts that, A) feature a woman on them and, B) when they do, go beyond looks and the physical. I have seen adverts for headphones and music-streaming sites and the artists being used to push the product are ostensibly sexy, slender and covered in make-up. Many might argue this has always been the way: in every industry, for many decades, women have been portrayed this way. I wonder what effect that is having on artists who already have a hard time of things. We all know there are fewer women in headline slots and on the drive-time radio shows we all listen to. There are gaps and issues that need to be patched and reversed. What gets me is how many record labels and avenues of music are either pushing sex too much into the forefront – if not, they want their artists to be a certain way and have a particular ‘look’. Perhaps this is not something that impacts underground music as much as the mainstream. Aside from a wave of tough, spirited and intelligent young performers coming through – from Sigrid and Cardi B to St. Vincent and Stefflon Don – I am still seeing popular artists proffered because of their looks. The situation has improved slightly but there are still big problems.

There are fuller-figured female artists on the scene but, when you see female artists being promoted and highlighted; there is still that optimal weight/look/age. The vast majority of the mainstream Pop artists are young, thin and beautiful; too many interviews and putting artists in provocative poses and reducing them to skin and bones. If a female artist wants to push their sexuality and looks – as a way to be more empowered and confident – then that is a different thing. We are not quibbling with semantics. New female artists coming through are looking out at the mainstream and seeing artists look a certain way. I am naming nobody but I could rattle off a list of names that, to me, symbolise what labels and music industry bosses are looking for. I wonder how much of the imbalance and sexism we see in music is down to look and sexuality. If an artist is not thin, stunning and sexy then they are overlooked. I know female artists are determined to fight back and gain merit on their own terms but, when they are working in an industry where cracks are starting to show – does it signify a slippery slope?! I still get the impression the biggest labels around the world are recruiting and spotlighting female artists who look a certain way – rather than what is coming from their minds and mouths.

Attractiveness and sexual appeal have nothing to do with music. I can understand professions where a woman’s looks and bodies would be seen as an advantage. Music is about songs and sounds: expecting female artists to look a certain way in order to succeed is a rather unsettling and unpleasant thing to digest. If there is not quite the same blatant discrimination and looks-obsessed push as we see in advertising; we need to address music and wonder why many female artists are being promoted because of their looks and sexual appeal. Aside from considerations of looks and sexualisation; I am hearing from many other women who have self-doubt issues and obsession with body image – exactly what Jameela Jamil is trying to override. There have been articles and impressions (from artists) that outline the industry’s obsession with musical idealism – a body looking a particular way and the women being cute and submissive. A few years ago; U.S. songwriter, Ke$ha blamed her eating disorder on the music business’ expectations:

“The music industry has set unrealistic expectations for what a body is supposed to look like, and I started becoming overly critical of my own body because of that,” she wrote. “I felt like people were always lurking, trying to take pictures of me with the intention of putting them up opine or printing them in magazines and making me look terrible”.

Another article explored the idea of ‘sex sells’ and how female artists are consciously dressed in designer clothing and turned into accessories:

“That is why we always see music artists dressed in something impeccable from the "hot" new designers with fancy cars and jewelry. They too have meet this standard of meeting society's expectations to be commercially successful. From them, society, specifically women, learn that you have to be rich and should envy their lifestyles. As for the bystanders and video girls found in the videos, society, specifically women, learn that you have to be "made up", have an amazing body with matching assets (big breasts and voluptuous behind), fair skinned, natural beauty is not widely accepted, and imperfections should be covered up. All of these unrealistic expectations lead to body dissatisfaction and lowered self-esteem”.

Many could state the problem has lessened since, say, 2014 – when a lot of articles arrived that explored the way female stars are being marketed. We see big female stars in music videos cavorting and pouting; teasing their curves and being turned into the ‘ideal’ woman. Another article,  2013, looked at music and how women are being made to look/act a certain way:

“ It’s rare to come across a song these days that does not discuss the anatomy of the female body. Musical lyrics put so much emphasis on the butt and breast size, that it’s no wonder women are never really satisfied with their body images. Fox news posted an article this morning about a woman who had to undergo quadruple amputation because of an illegal silicone she had injected in her butt. She was approached by a woman who claimed the silicone injection would plump up her butt to her desired size”.

Things are slowly starting to improve. There has been a range of songs that explore positive images and going beyond the physical. They have urged women – songs written by female artists – to celebrate their flaws and human sides; to look inside themselves and not be defined by weight ranges looks and fitting into what society deems as ‘acceptable’. I wonder how much of the pressure has come from women themselves: compared to the control and hand of male music executives. There are artists who put pressure on themselves and feel the only way they can succeed is by being slender/curvy and/or stunning. They might wear low-cut dresses and write songs that augment sexuality and the physical. Even if there are cracks of lights twinkling through the mist; there are fetid realities that are not being tackled. Right now; more allegations are coming through about sexual abuse and female artists being taken advantage of. Alongside this is the industry’s pressure to have their big stars looking good and behaving a certain way. If unsigned artists look into the charts and see big stars bring told what to wear and what to do with their bodies – that sends out a rather cold and troubling message! New artists are free to look and behave however they want but there is still something common occurring.

IN THIS PHOTO: Lorde/PHOTO CREDIT: Getty Images

Women are tying their self-worth and validation in terms of pounds, ounces and ‘hits’. There is a world of anxiety and self-pressure around their image and whether they are ‘enough’. Music needs to send out the message that it will support female artists and give them the same rights/opportunities as men. Those in positions of power need to tell women they will succeed and be promoted because of their minds and complete personalities. Men have never been in a position where they have had to flaunt their bodies to get attention and popularity. Things are taking a while to change and, as I look out at music; I wonder whether lessons are being learned and enough is being done. Women themselves are sending out positive messages but it is hard to change perceptions and minds when we see so many images and videos of these inch-perfect women looking incredible; reaching huge streaming figures, seemingly, because of their looks. The BBC ran a piece that drew together a few artists who suffered from bulimia/eating disorders and anxiety – felt they had to look a certain way to fit into music. Lorde was one of those who spoke out:

"I remember being made aware of my looks and my body in a way that I had never been," she recently told the NME, recalling the early days of her career. "I remember all these kids online were like, 'F*ck her, she's got really far-apart eyes,'" she said. "Just weird sh*t like that...It rocked my foundations and could have f*cked me, you know?"

Luckily, Lorde has able to find safe spaces to develop her peace of mind. "I was able to return to my family and shelter against that and get to where I am now," she said. "I feel so comfortable in myself".

We do not want to send out the message that there is this ideal look/figure every female artist needs to conform with. The messages from names like Lorde should get into the heads of an industry, male-dominated and ruled, that still asks its popular stars to think about their sexuality and size – rather than the music and their soul! If female artists are told body image and sexiness are not as important as what they have to say and do; we can help reduce psychological disorders and women putting so much pressure on themselves. Not only will show music in a better light; it will encourage female artists to come through, stand tall and be unafraid to…

STEP into the limelight.

INTERVIEW: Katie Coleman

INTERVIEW:

Katie Coleman

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HER debut single…

looks at sexism and the way women are perceived in modern society. Katie Coleman discusses her new track, Not Your Pin Up Girl, and what we can expect from her next. I learn when music came into her life and an album that is especially important; what dates she has coming up – what it was like shooting her new music video in the streets of Manchester.

Coleman discusses her hometown of Darlington; what advice she would give to new artists; what she hopes to achieve this year; whether she gets time to relax away from the music industry – she ends the piece with a rather good song suggestion.

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

Hey! I’ve been great, thank you! 

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

In-your-face, energetic and honest...

Tell me about Not Your Pin Up Girl and the story behind the song… 

The idea sprung to mind after I saw a silly quote or a meme on Instagram, actually. I was on my way to a writing session and, for some reason, it stuck with me. It was along the lines of: ‘When someone asks you what are you getting so dressed up for…’. Like; do I need a reason?! I’ve had that said to me many times! As if I’m doing it for anyone else. I just needed to write how that made me feel - and tha represented me and other girls like me. It just stands up to that way of thinking.

You should be able to dress, act and be whoever you want to be without anyone judging you! Man or woman.

Given the rise of sexism and the campaigns battling it – was it vital, for the debut single, to come in with something meaningful and urgent?!

Honestly; it all kind of came at the right time - and I couldn’t be happier. I’m all for the women’s rights movements and the campaigns. 2018 is women’s year, and so, why not get in on that! It’s all for the right cause and, I think, Not Your Pin Up Girl really represents exactly what us girls should be standing up for. 

Have you faced any hurdles and sexism so far in music? What do you think of the situation out there?

No question about it, of course.

I’m a young woman in an absolutely male-dominated industry. I would think all women have faced some situations they just deal with. It’s a huge shame, but the best way to tackle is as women to pull each other up together. Literally, us girls should have each other in sessions, plus it would be so much more fun!

I’ve, literally, only worked with less than a handful of female producers and that’s the worst thing - is that there are so many women doing what the men are doing; its just they are not getting heard. 

The song also addresses expectations placed on young women. I know a lot of people will relate to the song and take strength from it. Does that possibility give you heart?

Yes, because it’s about time young women feel encouraged and they should feel strong in this day and age! Hopefully, they can relate and take away whatever they need to get through the daily struggles. 

I believe the video was shot in the streets surrounded by Manchester’s G.A.Y. What was that like to shoot?!

It was, honestly, one of the best days! I worked with the amazing Sitcom Soldiers. They really just got it straight away what I was going for. Strong and simple. So, when they suggested we shoot in Manchester, I was so down for that (being a northerner myself). I had my friends involved and my mum was there - and I just wanted it to be fun and for everyone to feel included.

I’d like for everyone who sees the video to get the feelgood vibes. That’s, essentially, what inspired the video: my friends, family and my gay friends; young girls and guys to feel like they can relate and be fearless after watching it too!

It was a great day - and ended with lots of Prosecco!

Will there be more material coming soon?

Yes, of course. But, honestly; I just want to get back to writing some more, brand-new material…and work with some new writers and producers! 

Darlington is where you were raised. What is the area like for music and new sounds? 

Darlington is only a small town, so there’s not a massive variety of genres. But, it does have a great live scene: you can always count on a great live music night!

How important is the area to you rereads your songwriting? 

It’s where I grew up and it’s my hometown. It’s what you would call a ‘typical northern town’. You know; a close community, and I think that makes you more down-to-earth - not big egos - and that relatable attitude is what I take to my writing. 

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

I grew up listening to a lot of my dad’s old collection of Northern Soul, Blues and stuff. So; I loved the big female singers like Aretha Franklin and Gladys Knight. But, the album I got into as a young girl was actually Stripped by Christina Aguilera I loved it. All of this started when I first realised I wanted to sing. I was seven when I performed in front of my school and, from that, I knew that’s all I wanted to do. I even joined the orchestra playing the flute! Ha. Then the guitar came and that was it. I wrote my first song at nine. It’s cringe-worthy now.

At fourteen, I was already gigging around little pubs and clubs around the North East and, even from that, I knew I’d do this for a very long time! 

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

Eventually, yes! Can’t wait to go on a tour. But, right now, my next gig will be The Great Escape festival. 

What do you hope to achieve in 2018?

I’d love for a lot more people to hear my music and to enjoy it - and, really just be happy and live in every single moment of the day!

PHOTO CREDIT: @gwardxo

What advice would you give to new artists coming through?

Always be honest with yourself when working on the music. Work out exactly what it is you’re going for and run with it! Don’t hold back. I have to say to myself all the time!

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

Yes. I might not be amazing at it but, I love dancing! I know it’s not the usual way to unwind but I love to go to Brazilian Samba classes! It’s so fun and you think about nothing else…just the beat and the dance and, then after that, a cheeky glass of red wine!  

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).

Hurtin’ Me - Stefflon Don (ft. French Montana)! Still can’t get enough of this. I love her at the moment! 

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Follow Katie Coleman

 Official:

http://www.katiecolemanofficial.com/

Twitter:

https://twitter.com/Katie_Coleman

Instagram:

https://www.instagram.com/KatieColemanOfficial/

Facebook:

https://www.facebook.com/KatieColemanOfficial/

Spotify:

https://open.spotify.com/artist/55oQc2N7Exqb9w9Ya0HhIT

YouTube:

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

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!

__________

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

_________

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.

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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!)......

____________

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?

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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.

____________

Follow Cable Street Collective

PHOTO CREDIT: Samuel McMahon 

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INTERVIEW: Mike Watson

INTERVIEW:

Mike Watson

___________

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.

__________

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:

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YouTube:

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

Spotify:

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

INTERVIEW: Jared Lee

INTERVIEW:

Jared Lee

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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!

__________

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/

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SoundCloud:

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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

__________

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

__________

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

__________

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.