INTERVIEW: Bessie Turner

INTERVIEW:

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 ALL PHOTOS: Chris Driver Photography 

Bessie Turner

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I have been learning more about…

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Bessie Turner and her debut E.P., 22:22. It is out on 20th April and is a sign she is primed for big things! I talk to her about her upbringing and musical tastes; how she feels about touring with Baxter Dury; the artists she connects with most; what it felt like playing for Steve Lamacq – what tour dates she has coming up in the diary.

Turner talks about how she has progressed in the past year; which new artists we need to check out; the three albums that mean the most to her; if songwriting has been a cathartic and emotional release – she provides some helpful advice for new artists.

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

Heyyyy! I’m writing this on a Monday afternoon after work, but last week was just swell…and the week before - and the one before and on, and on, and on...

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

My name is Bessie Turner. I’m twenty-four and I’m a singer-songwriter from Suffolk.

Your debut E.P., 22:22, is out soon. What are the main themes and ideas you explore on the E.P.? I believe your sister is the ‘inspiration’ behind the title?

22:22 was a really obvious name for me to choose: I didn’t even think about it, really.

My sister Ruby and I are two years and two weeks apart. She was born at 22:22 hours; being the age of twenty-two was incredibly significant to whatever version of myself I am now. I look at the time, when it’s 22:22, about five days a week; lots of significant things in my life are associated with that number.

I could babble on about it for ages…

I guess the main themes are all very personal ones: feelings of being low, feeling brave; feeling nothing, feeling love; feeling rage…

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What was it like recording with George Perks at The Crypt Studios?

A joy; what a guy. An instant friend to anyone he meets and a spot-on-wonderful producer. He really gets to know the vibe and feel you want to something before any sound even comes into it. I would urge anybody to record with George if you ever get the opportunity. I was petrified and had never been in a studio before and he made it the most fun thing in the world. It’s a beautiful studio.

It seems like you explore several genres and styles. Does that reflect a broad music taste? Which artists, current or past, are your main idols?

My music taste is really long and far and wide. I love Classic FM when I’m driving in the dark and screamy Punk madness when I’m trying to chill out. I will always love Joni Mitchell, Lou Reed; the first album by Jose Gonzales - I paid a weird old man from the estate £3 to burn for me. At the moment, I have Kala by M.I.A. in my car - and I get most of my new music loves from having BBC Radio 6 Music on, whenever I have an internet connection.

I get the impression the songs explore mortality and personal fears. How cathartic and revealing was it putting the material together?

The songs are all very confessional. To a listener observing the lyrics, you might not know what’s going on but every sentence has an indirect reference to something for me, personally. It’s great to have them recorded; kind of lets me move on.

2017 was when you released your debut single, Big Sleep. You have come a long way in a short time! Can you believe everything you have achieved since then?!

Not at all: It’s wild. Sometimes, I’m sat in my pants, worrying about money and work - and then a wave of reality washes over me and I realise life is fu*king wicked.

You have played for the likes of Steve Lamacq; your music is a regular fixture on BBC Radio 1 and 6 Music. Are there any other ambitions and goals you want to tick off and accomplish?

I’ve always dreamed of being on Jools Holland but that’s a really big one. That would make me feel insane, I’d probably pass out. Glastonbury is an obvious one but I bet that feels incredible…I just want to have a nice and full life; make opportunities to travel and, maybe, have a whippet and babies one day. I like growing vegetables and going to gigs…

I have no expectation of life, really: I just want to make sure it’s all as good as it possibly can be.

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What dates do you have coming up? Are there particular gigs you are really looking forward to?

I’m really looking forward to the shows we (Don’t Try Records) are putting on ourselves in London at the Servant Jazz Quarters on 16th April and the Manor Social Club in Ipswich on 27th April. I find it really exciting being more of a part of it and promoting and organising events. The Ipswich show sold out six weeks before it was due, so we’ve moved to a bigger room. It will be full of friends and the supports I’ve booked are really wicked. I can’t wait to have a boogie.

You will be supporting Baxter Dury. Are you looking forward to that? What did you think of his album, Prince of Tears?

I AM SO PUMPED; I CAN’T BELIEVE IT.

I’m usually really chilled out before gigs but I think I’ll be all jittery and weird. My old housemate showed me Baxter Dury a few years ago and I’ve been a fan ever since. I was so happy to be invited to play a couple of shows with him.

I think Prince of Tears is a marvellous creation. I haven’t listened to it as much as some of his previous albums but I love the way he writes. I think it comes from his darkest and most opaque places, blotted with a bit of colloquial London pitter-patter. I really relate to it. Loads of people write happy lyrics about love or thongs or other beige things. I can only write when I’m feeling a bit crazy. Maybe he’s a bit the same…maybe I’m mad and overthinking it, as it’s the first time I’ve ever been asked….

Soz, guyz...

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If you had to select three albums that stand out to you; which would they be and why?

Blue by Joni Mitchell

It’s just perfect, night or day; happy or sad. I struggle to comprehend why people worship Rihanna or Little Mix (who are all probably really brilliant people) while her music is around. It’s totally timeless and totally moving.

Moon Safari by Air

Was played loads and loads by my mumma when I was a child. I remember it really moving me from a tiny one - me and my friends still pop it on now when we’re chilling out or fighting over who controls Spotify.

Ooohhh…this is really hard…erm…

Parquet Courts - Light Up Gold

Really fun start-of-the-day bouncy music. Kind of moody and all-round-great.

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

Playing at Latitude for BBC Introducing was really special. The crowd was nuts and my best people in the world were all there supporting me and helping me kill it. I’d been attending for many years and always secretly dreamt of getting to play.

What advice would you give to new artists coming through?

Be as brave as you can mentally and physically muster up. I have the confidence of a shrivelled-up prune sometimes, but I’ve learnt that you just have to give things a good go. Accept any help, skills and love that is offered your way. The small team around me keep me going 100%: friends, boyfriends; creative friends…I owe them so much.

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Are there any new artists you recommend we check out?

I heard a band called Sorry on the radio a few months ago and I really, really love them loads. I came across a band called Omni, too, that are super-rad. Dingus Khan will always be one of my all-time favourite bands.

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IN THIS PHOTO: Omni/PHOTO CREDIT: Kayla Thornton

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

Not as much time as I used to…

Being this present version of myself, there’s always something to do or complete or reply to - and I can get really overwhelmed by that. I try and spend as much time as I can with friends: I think it’s really important to talk and laugh and cry to stay grounded. I’m really lucky to have such a good bunch.

To unwind, I love going for massive walks, putting a bottle of wine and some marmite sandwiches into a backpack and just setting off. Music is my downtime - listening to other people, though, not my own…or watching bands too…

I was watching a duo called Sealion Woman the other week in a tiny venue called The Smokehouse in Ipswich and I just started crying. I had no idea where it came from but it was so real and honest. The music just really touched me. So; I took a deep breath and went to find some more whiskey…

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).

Ahh thanks; errmmmm…

I played a song called No Destination by The Garden three times in a row yesterday while I was getting ready to go out. I love the synthy vibes, the drums; the melody. Really spacy and fun

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INTERVIEW: You Want Fox

INTERVIEW:

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You Want Fox

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THE Nottingham-based duo…

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You Want Fox have been talking about their development and what goes into their new album, Reverse the Curse. Natalie and Colette discuss being compared with some modern Rock greats; whether they have made leaps since their debut in 2016 – if there are any new artists worth a shout.

I ask whether they have tour dates cemented and what the scene is like in Nottingham; if they feel female duos/acts are on the rise; whether they have a golden memory of music – they end the interview with a couple of great tracks.

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Hi, You Want Fox. How are you? How has your week been?

Hi! We’re very well, thanks. It’s been an awesome Bank Holiday weekend. 

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

We are Natalie (Bass/Vocals) and Colette (Drums/Vocals) and we are from Nottingham. 

 

Reverse the Curse is your latest album. What is the story behind the record? What themes do you address?

When we first started out, lots of things kept going wrong. Once we started to look more closely, we realised what was happening and since addressing it: it’s no longer been a problem. So, we ‘reversed the curse’. It’s kind of superstitious, I guess. 

The songs are about all kinds of things, from calling people out for being underhand right through to the odd cheeky love song - and everything in between. 

The debut, You Can’t Sit With Us, was released in 2016. Have you noticed big differences between the albums?

Definitely. We have been more uniform in recording this release. We have our sound nailed now. We’ve spent a lot of time honing our sound and finding what works for us. 

The reaction to your music has been impressive. How important is it getting kudos form big names?

It’s always awesome to get recognition from big names as it helps to project your name out there a little bit further. It can be hard to get noticed when you’re a D.I.Y. band. 

How did You Want Fox get together? How did you find one another?

We have known each other for years and played in various projects together.  We’d always talked about writing grungy pop songs and one day we just decided to give it a go and see what happened. I’m so glad we did! 

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Your sound has been compared to the likes of Royal Blood. Which artists do you take influence from?

Everything from Skindre, to Deftones to Sleigh Bells...we draw influence from all over though; not just from music. 

Being a female duo; do you think acts like yourself and Rews signal female-based Rock music is on the rise?

I think female-based Rock has been on the rise for a very long time. You don’t have to look very far to find some amazing female acts. REWS are a great example. 

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Nottingham is where you are based. What is the music scene like up there?

It’s great! It’s so diverse and there are a LOT of great bands. The D.I.Y. scene here is amazing, too - lots of great little venues where you can get right in and mosh your heart out. 

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

We do indeed and we are currently booking more for the rest of the year. So, if you are a booking agent, please get in touch with us! 

We have gigs lined up for Derby, Staleybridge; Cheltenham, Bristol and London as well as our album launch-party on 27th April at The Chameleon in Nottingham. 

What do you hope to achieve in 2018?

We’d love to have played Download Festival! But, honestly; we just want our album out there for people to enjoy and to be able to play gigs off the back of the release - and have people singing and dancing along to the new tunes. 

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

We recently had a stage invasion during our last song of a live set whilst we were playing a festival. That was pretty special! 

What advice would you give to new artists coming through?

Keep going! Sometimes it can be frustrating when you get writers block or you feel like you’re struggling to be heard but the rewards far outweigh the struggles. 

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Are there any new artists you recommend we check out?

There are loads of great Nottingham bands. We have Desensitised and Marty, both female bands, who will be supporting us at our album launch. 

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

We don’t get much time but when we play gigs, we make sure to grab a nice meal and try and chill out a bit before we play if we can.  

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).

Ooh! We’d like to hear Led Zeppelin, Immigrant Song and Skindred, Kill the Power please (smiles).

Thanks! 

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INTERVIEW: Johny Dar

INTERVIEW:

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Johny Dar

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I listen to Johny Dar…

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and hear the words he says and, in many ways, he puts me in mind of musical innovators like David Bowie – inventing a new language and taking the listener somewhere intergalactic. Dar reveals the story behind his single, Gigi, and what ‘Alien-Rap’ entails – which musicians have made a big impact on his life.

I learn what we can expect from the album, Dardelica, and when the songwriter will be touring; if he has some favourite albums; why a relocation to L.A. was so pivotal to him; if he has the chance to relax away from music – he ends the interview with a rather stunning track!

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

It’s been great, actually. I’m working on a new body-art campaign and had some shoots in California this week. It’s a very intimate series that I’m photographing myself, in nature; without a crew - highlighting the strength, beauty; fragility and tenderness of the earth, the feminine and their connection to each other.

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

I’m an alien - coming to Earth to deliver a new experience in sound (smiles).

Gigi is your new single. What is the story behind the song?

Gigi is, basically, about that feeling when your body overtakes you and you let go into the sensation of what you are experiencing and lose yourself in it with no inhibitions.

It operates in the ‘Alien-Rap’ realm. Can you talk more about that genre/style and what it entails?

'Alien-Rap' is a new sonic language that I have developed - which I’m now fusing with Electronic Dance music, thanks to my producer, Dan Vinci. It doesn’t really fit into any existing genres except the one we are creating - 'Dardelica'!

Gigi is from the album, Dardelica. What sort of themes and ideas inspired the songs?

I start with the sound - the Alien-Rap – and, from there, the vision for the song unfolds and the theme develops as we write it. I can be quite unpredictable with my process so we don’t have a fixed methodology - that’s how I have learned to create pieces of art that are timeless and not based on any existing formula.

But, Dardelica plays with an alien theme - exploring outer space and journeying into the depths of the universe and parts of the body we don’t usually explore consciously.

You moved to L.A. to study Fashion and then moved into music I believe? Was there an artist/moment that influenced that choice?

I actually moved to L.A. to study Film, but then I got into a motorcycle accident, so I couldn’t go to film-school on my football scholarship - and I ended up going to fashion-school instead. But, now, I am making films anyway! My novel, Darya, is the first part of a trilogy movie that I’m working on...

In terms of influences, I guess you could say that Star Wars is a benchmark for me because I want to bring people the new Star Wars - that is truly futuristic in its conception and production.

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How, do you think, fashion and music integrate? Is there a close association?

For me, they are both mediums through which it’s possible to rediscover the potential of our bodies and our experience as human beings - I aim to create fashion and music that empowers the super-self in everybody.

You have collaborated with a series of great artists. What has that taught you about the music industry and, maybe, your own self?

To stay focused on what I am doing and then, when the collaboration is right, it just feels natural. I was never one to imitate but always one to initiate. Then, the rest of the pieces just fall into place.

Did music come into your life early? Which artists caught your ear at a young age?

I was always a big fan of Michael Jackson...

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

We have some gigs lined up - mainly in London and also in Europe, but those are still to be announced, so I can’t share too many details just now. The main thing is that we are working on a live show that incorporates art; technology, costume design and performance to bring people a new evolution of entertainment and sensory experience.

What do you hope to achieve in 2018?

A lot! I like to aim high...so, in the immediate, to deliver Dardelica live to the people of Earth; to release my new art book, DAR the BOOK 4, and my first novel, Darya.

Those, but there are so many more projects in the pipeline - I had to invent my own time just to keep track!

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

I have a few - I used to go to a lot of festivals in California and all over the world. You can’t beat that sublime feeling of dancing to great music at sunrise. Although, having said that, that’s exactly what I want to do with Dardelica - top my own and everyone else’s previous peak experiences...

What advice would you give to new artists coming through?

Never give up.

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Are there any new artists you recommend we check out?

Other than me? That’s a tough question...can I say Dardelica (smiles)? Honestly, there are a lot of amazing artists out there. But, I try to stay focused on my own thing. That’s the only way to keep breaking through my own limitations to deliver the next groundbreaking expression.

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

Michael Jackson - Thriller

The Jimi Hendrix Experience - Electric Ladyland

The Doors - The Doors

Because they are all timeless, breakthrough albums that introduced people to new ways of being and seeing the world...

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

I like to go to the beach whenever I can - and otherwise - sleeping on the plane!

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).

Nirvana – The Man Who Sold the World

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INTERVIEW: Fuzzwalker

INTERVIEW:

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Fuzzwalker

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THEY are a fun and fiery band…

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who are preparing to release their new single, Energy. I ask the group about the song and the inspiration behind it; how they all got together; whether they have a favourite memory from their time in music – what gigs they have coming up in the coming weeks.

Fuzzwalker reveal the music that inspired them; a new artist we should all get involved with; where that unique name comes from; how songs come together for them; what they all get up to when they are not playing and recording – what they hope to achieve in the remainder of the year.

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

Hello, Sam. Excellent, cheers! We had a big old Easter weekend - ‘Good Fuzzday’ occurred on the Friday with a gig in Staines, which was smashing - barring Matt powering through of a chest infection! Easter Sunday shall now forever be known as ‘Easter Ed’, as our lead guitarist Ed played host to us all and whipped us all up a succulent roasto.

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

We are Fuzzwalker – hard-cut Indie-Rock riffs, Britpop sensibilities; a bit of fuzzy magic. There’s four of us: Matt on vocals and guitar, Ed on lead guitar and backing vocals; Donna on drums and Billy on bass. We love to get Fuzzy with the people of the world.

Can I ask where the name ‘Fuzzwalker’ comes from?!

Nobody really knows for sure - it came from somewhere deep within the workings of Matt’s mind. It was originally a working title for a song and we all liked the sound of it as a word, and it stuck. Not only for the song, which is on our debut E.P., but also for us as a band name...

The single, Energy, is out on 4th May. What can you tell us about the song’s background – and, will there be any cheeky Star Wars nods?!

We are constantly writing new songs and Energy is one that came to us all at once a few months ago now. Matt liked it so much, he insisted we give it the studio recording treatment the very next day. The title makes reference to something people always tell us after a gig (usually along the lines of: “Wow; you guys have so much energy!”).

It got to the point where it was getting a bit weird; people saying that exact line to us every time. I suppose you could also say we are using our energy in much the same way a Jedi would - to move people's body parts in all manner of ways.

Are you guys working on any other material for later in the year?

Absolutely. In fact, Energy is the first single from our second E.P. (which will be out in the summer). There'll be another single before the E.P. - and then, one final single to coincide with its actual release.

How do songs come together? Will one/two of you work on one part and bring it into the room? Give me an insight…

We tend to write songs together mainly.

One of us will bring an idea to a rehearsal, and we'll jam on it; see where that takes us. Usually, once a song is fleshed out, then Matt will develop a melody for it and get some lyrics together. Sometimes he already has an idea.

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What sort of artists did you all grow up around? It seems like 1970s Punk and 1990s’ best feature highly!

There are loads of various influences between us. Matt traversed his adolescence during the height of '00s Indie and, as a result, is a massive fan of bands like Hard-Fi, but also took to '90s Britpop - bands like Oasis, Blur etc. and their influences like The Stone Roses. Similarly, Billy grew up listening to bands like the Arctic Monkeys, Bloc Party and the Foo Fighters, whilst also having an encyclopaedic knowledge of all things Led Zeppelin.

Ed is a huge fan of bands like Guns N’ Roses and Halestorm - which is probably how he got the nickname ‘Shred-win’. Donna is a Bon Jovi and Thunder nut and even has the nickname ‘Don Bonham’ - in reference to Zeppelin’s drummer.

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Take me back to the very start. How did Fuzzwalker get started?

It was a bit of a chance meeting - Donna and Billy were looking to get something new off the ground, having played together as a rhythm section for a few years in a previous band. After putting an advert out to find a guitarist/singer, Matt answered the call by proxy of a different man called Matt who found our Matt on a different website. Eventually, after a few meetings and chats here and there, the Donna, Matt and Billy combo that exists today got together and formed Fuzzwalker.

For the first year, we were joined by Carlos on lead guitar, who held the position brilliantly until he could no longer. It was at this point Ed joined our ranks - and our current lineup was solidified.

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

We sure do!

Thur, 12th April – The Facebar, Reading

Sat, 14th April – Nambucca, London

Sat, 21st April – York Uni

Fri, 27th April – The Star, Staines

Fri, 4th May – Boileroom, Guildford

If you had to choose a ‘dream line-up’ – three acts to play with – and any rider you could get; what would that entail?

The dream line-up would be Fuzzwalker, Hard-Fi; Arctic Monkeys and Muse. On our rider, we would demand only yellow and green Skittles, as well as plenty of beer and toast (with Marmite).

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What do you all hope to achieve in 2018?

We're ready to reach more people's ears and faces this year with our music, building our fanbase and bringing the fuzz. All of our releases are available to stream on Spotify and for download from our Bandcamp.

Just striving to put on the fuzziest show possible with each and every gig we do.

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

There are so many weird and wonderful Fuzzwalker moments; the fuzziest being a time when we busked in Guildford - an incredibly drunk man decided to tell us he was fifty-three and “full of sh*t” whilst clutching a bottle of stolen red wine. He proceeded to dance in a slightly intimidating way whilst we busked on the high-street. He was also keen for us to play anything by The Doors.

What advice would you give to new artists coming through?

Take your music seriously - but never take yourself too seriously (smiles).

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IN THIS PHOTO: Rews

Are there any new artists you recommend we check out?

Definitely worth checking out Rews! They're an awesome duo we've all discovered independently, and absolutely love. We've even had the pleasure of supporting them recently!

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

Music is, essentially, our lives; our way to unwind from the stresses of the real world. When Billy's not music-ing, he likes to chain-cook roasts. Ed drives his van in circles around Milford when he can. Donna's been learning Spanish and Russian recently and Matt wanders around different ASDA stores to look at all the things.

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).

Rews – Shake Shake

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INTERVIEW: The New Division

INTERVIEW:

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The New Division

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I have been speaking with The New Division…

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about the incredible new track, Jealous. The project is the moniker of L.A. songwriter John Kunkel – he reveals his path into music and what inspires him. With an impressive body of work under his belt; I ask what comes next and how his latest work differs from his previous stuff – he talks about touring and his start.

I was curious to discover what we can expect from the upcoming E.P., FADER, and what the scene is like in L.A.; how Kunkel met the band he plays with on the road; how he spends any time away from music – he ends the interview with a great song choice.

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

Great. Thanks for asking!

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

Sure thing. I’m John Kunkel and I’m the lead singer, songwriter and producer for The New Division.

 

Jealous is your new track. Can you tell me how it all came together? Is there a story behind it?

I don’t remember the exact moment of when I wrote it, but I recall wanting to write a Pop-driven song and had sketched out some early ideas for it around 2016. Over the course of the past year or so, I worked on it gradually and had my co-producer, F.J. DeSanto, come in and help with the arrangement. As with all the songs on this record, he was pivotal in bringing them to life!

It is taken from the upcoming E.P., FADER. What sort of themes and songs can we expect from it?

FADER touches on several experiences - but also deals with some more narrative-driven topics. I like to write my songs as stories, meaning they’re a mix of the personal and fictional.

You have released several E.P.s so far. How do you think you have evolved as a songwriter through those releases?

I feel like I’ve evolved into a more self-conscious songwriter, for better or worse. When I started New Division all those years back, it was a lot easier to write whatever I felt as there was no ‘standard’ - and it was almost natural in a way.

Nowadays, everything feels overly-calculated. In some sense, it’s not as fun as it once was - which is a sign I might need to take a break and work on some other projects. That’s not to say however I don’t like writing songs as The New Division; it just means there’s more pressure to write better songs and that pressure isn’t necessarily conducive towards that goal.

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L.A. is where you are based. Is it the best place in the world to make and release music, do you feel?

I think it’s a great place for both.

I’ve, personally, never really recorded much in L.A.-based studios; I do everything from home. As far as releasing music, unless you’re signed to a label based out of L.A.; I don’t see there being much of a difference where you’re located. Since I self-release everything, it doesn’t affect what I do either way. However; L.A. is very inspirational and the weather beats anywhere I've been.

Give me an impression regarding the artists you hold dear. What sort of music do you listen to away from your own? 

Depeche Mode has always been the Holy Grail of lyrics and songwriting for me, while New Order has been what I’ve strived for as far as musical energy, rawness and Pop-songwriting goes. Their arrangements are (really) unique and their care-free attitude translate incredibly into their body of work...

As far as music I listen to outside of my own, I spend a lot of time playing ambient and down-tempo stuff such as Billow Observatory, Steve Hauschildt; Emeralds, Tangerine Dream; Terry Riley, Leandro Fresco; The KLF, The Orb and loads more. I also really have a love for Trance, House, and Techno when it comes to Dance music.

Vaporwave has also been a huge inspiration for me as of the past couple of years. As far as a few honorable mentions: Com Truise, Jon Hopkins; Brian Reitzell, Disasterpiece; Underworld, Vangelis; Massive Attack, Gus Gus; The Jesus & Mary Chain, Röyksopp, Air; Future Unlimited, Gustavo Cerati; Oasis, The Chameleons; Black Swan Lake…and the list goes on and on.

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

We’re planning an East Coast tour and a couple of dates in Germany this year, which I’m excited about.

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

We’d love to come to the U.K. It’s on our bucket-list for sure so, hopefully, we can make it out soon. I’m a huge fan of the U.K., so it’s a must.

I believe you have a band you play with on the road. How did you come to meet them?

I met everyone at different times, but Janzie (Keys/Synths), I met in college back in 2005 and have remained friends ever since. Alex (Drums) came to one of our shows in Santa Monica probably in 2012 and, at the time, we didn’t have a drummer, so he joined right away.

Danny (Bass) grew up with Alex and had played in bands together before ours. He joined shortly after Alex. James (Guitars) and I met through his solo project, Missing Words. I produced his first E.P. and we became friends during that whole process.

What do you hope to achieve in 2018?

On an artistic level, I hope to write more and complete more tunes. It’s been hard finishing songs lately due to a hectic schedule. I want to be more focused, creatively, which can be hard when you’re working on several productions for any number of people or companies. So, yeah; I just want to write better songs and feel like I’m contributing something to the wider Indie/Electronic community.

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

We played a show back in Houston, TX a few years back. We played on my birthday and I got to celebrate that during the show with our fans who were there. That was a really special moment for me. One I’ll never forget.

What advice would you give to new artists coming through?

I’ve given this advice to a lot of people but no one seems to take it (for whatever reason)…but, I think it’s pretty important when you’re starting out: if you can write, produce and sing your own music, then don’t involve others into that project until you are ready to finalize it.

I think collaboration is great when you’re working on a ‘collaborative’ project where everyone’s involved from day one but, when it's your own, be the sole creator of it from start to finish.

If I hadn’t done that when I started New Division, the project would’ve likely died out very fast and I wouldn’t have been able to make a living off of the songs I’d written. Just imagine trying to split a record five or six ways with your bandmates when your total royalties are under $800 a month. Good luck trying to make rent…

That’s not to say you shouldn’t get advice, feedback or have a producer work on your record. It just means, if you’re going to put all of your time into a project and you can do it all on your own, why involve anyone else? If you want to collaborate with your buddies, set up a side-project where everyone does their fair share of work.

Just my two cents on the matters...

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IN THIS PHOTO: George Clanton/PHOTO CREDIT: Brian Hamelman 

Are there any new artists you recommend we check out?

Yes. I’d highly recommend George Clanton, Dark Dark Dark; I love Parallels, MUNA - and there’s a few more I can’t remember but, yes, there’s loads of good music coming out this year!

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IN THIS PHOTO: MUNA

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

Oasis – (What’s the Story) Morning Glory?

This record propelled me to form my first band at thirteen; so that one’s easy.

Lost in Translation (O.S.T.)

If it weren’t for this film, I would’ve never discovered The Jesus & Mary Chain, My Bloody Valentine; Sébastien Tellier and Death in Vegas.

New Order – International

This was my first introduction to New Order; a greatest-hits collection. Without this compilation, I probably would’ve gotten a bad introduction to them.

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

When at home, I have to make a concerted effort but, when I do, I like to play Fallout 4 (or any other similar game). As far as traveling goes, camping is a great way to unwind. It’s relaxing and one of the best ways to disconnect from the outer world.

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).

Sure thing. This song has been on-repeat for years now, so figured I’d share it with you: Arnej - People Come People Go (Original Mix)

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INTERVIEW: Bahari

INTERVIEW:

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Bahari

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A fantastic song that ranks…

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among my absolute favourites; I have been looking to speak with Bahari about their cover of Buffalo Springfield’s For What It’s Worth. They bring a special and personal take to the song. I have been asking the American group about their foundations and what they have planned; whether they are playing the U.K. later this year – what sort of music drives and moulds them.

I ask about their advocacy of gun control and whether, they feel, the U.S. is in a state of trouble. They discuss their formation and give advice for new artists – recommending a song to end the interview with!

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

Amazing! Thank you

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

Hi. We a Bahari. I’m Sidney; I play guitar and sing. I’m Natalia; I play bass and sing. I’m Ruby; I play keys and sing as well.

I am interested why you chose to cover the Buffalo Springfield classic, For What It’s Worth. Is this a song you all grew up around?

We grew up listening to this song because all of our parents were into Classic-Rock. We definitely think the world could use it right now.

Your version is touching but powerful. Did it take a while to get the studio version down? What do you think of the final mix?

Making the track took a bit of time to perfect but singing it came so natural to us. We LOVE how it came out.

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

YES! We have been in the process of writing an E.P. We have almost all of the songs done and we can’t wait to share!

How did you all find one another? Take me back to the start…

We all had our own connections with our producers, Rock Mafia. We met each other there and immediately clicked. We started writing together and the rest is historyyyyyy.

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You are advocates of gun control and non-profits such as March for our Lives. Do you think now, more than ever, America needs to tighten its gun control?

Absolutely.

How do you feel Trump and his people are dealing with gun-related atrocities?! Is it quite worrying living in America right now?!

It’s disappointing that children and peoples lives have been taken and affected so greatly by gun violence - and things are yet to change.

I feel music brings people together. Do you feel you can make sense of the world, and bad situations, through performance and songwriting?

Yes. Music is universal and so important in bringing people together.

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

We hope to be touring once the E.P. is out! As of now, we are going to be playing around in L.A. We have a show scheduled for April 24 at The Moroccan Lounge.

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

If you’ll have us! Haha!

What do you each hope to achieve in 2018?

To get our music out and to play as much as possible! We can’t wait!

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

All of our favorite moments were playing live on tour.

What advice would you give to new artists coming through?

Don’t be afraid to stand up for what you believe in and use your music to touch people - because it really makes a difference in the world.

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IN THIS PHOTO: Elohim

Are there any new artists you recommend we check out?

Yoshi Flower and Elohim!

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

Our chill time is music! We all live together, so we basically always are playing or listening to music.

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

Natalia: Gone by Harry Hudson

Sidney: Saviour by George Ezra (ft. First Aid Kit)

Ruby: Panic Attacks by Elohim (ft. Yoshi Flower)

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Follow Bahari

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INTERVIEW: Bokito

INTERVIEW:

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Bokito

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THE lads are always up for a laugh…

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and give a great interview! I have been speaking with Bokito about their latest smash, Love Gotten, and whether any more material is brewing. They discuss how their music has evolved and all the sounds they put together; if they have a treasured memory from their time in music; what they do to unwind – if there are some new artists we need to spend time with.

The guys tell me about their plans regarding gigs; whether they feel the mainstream, and big festivals, is getting a bit too predictable; what they hope to achieve before the end of the year – some of the artists and sounds they all grew up on.

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

Moses: How’ya! It’s been a busy-mad week!  

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

Moses Moorhouse: We are Bokito. We’ve been described as 'Tropical-Indie' or 'Alternative-Pop'. Both, I can reluctantly agree with! We are best known for our lively gigs. I’m Moses, the vocalist.

Tom Houghton: I’m Tom. I play drums.

Sam Cahilan: Hello. I’m Sam. I play keys (I’m the DJ Lethal of the group).

Joe Mashitter: I’m Joe - guitarist.

Jody Lahart: I’m Jody - bassist.

Love Gotten is your new offering. Tell us the story behind this song…

Moses: It’s a song about a big ol’ bout of selfishness and desperation; how leaving one relationship and then diving straight into another, without really learning lessons or spending the time to grow, can leave a world of hurt around…

Bar that, musically, it’s our most fun song yet!

It mixes Afrobeat and Irish sounds together. That seems like a rare concoction in music. Does that reflect your heritage and musical tastes?

I don’t know if that is that rare back home! Irish music (specifically modern) to me isn’t so much ‘diddly-di-di’ and Lord of the Dance as much as it is what the Irish do best, which is to bastardise. You have bands like Republic of Loose or Messiah J and The Expert – or, even more popularly, U2 - who have taken all these influences and meshed them together to create their own sound, mainly because we don’t have the influences and music scenes to grow up around initially. I think that's why we are drawn to a lot of African music so much, because their interpretation of Funk, Disco and Blues is just so charming and distinct from American.

So; I do think it reflects our heritage, but not necessarily in the traditional way.

I get the impression you have a blast in the studio! Is there an infectious mood when a song like Love Gotten is being laid down?!

Joe: Definitely. We’ve been getting more and more comfortable in the studio and now we feel very much at home there. We really feed off each other’s energy and, as soon as the drum and bass tracks are down, the groove grabs us and the ideas flow. Our producer, Ben, is a calming influence and seems to know how to harness that energy into the track – so, we have a nice working relationship there.

Moses: There’s never a boring moment in the studio, which is surprising when you listen to the same song about 300 times in one sitting! But; we all are on the same wave creatively and it’s an addictive feeling.

Will there be more material from Bokito this year?

Oh lord, yes.

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IMAGE CREDIT: Julie Moorhouse

Do you think you have made leaps since your first couple of songs? How do you think you have evolved as a band?

I feel so. We have developed, essentially, a whole new set since recording the first song, Better At Getting Worse, and the biggest difference is that we have all made these songs together and not just myself having something written before coming in. The evolution seems to be the defining style, but the diversity of the lads’ individual sounds working in each song.

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

Agh. We get this the whole time! No tour yet but it’s coming, I promise! Once we have a couple more tracks released, we can justify visiting a few cities around the U.K. and Ireland.

In the meantime, we do have a few gigs coming up...

Most likely the one you’ll be able to see by the time this is released is in Strongroom Bar & Kitchen on 27th May.

What can one expect from a typical Bokito gig? I can imagine it is quite a riot!

Joe: Our gigs very much depend on where in the line-up we play. If we are the support, then it tends to be a mostly listening audience, with a few people moving a bit (they’re still sober at this point!).

If we headline or go on later, then we are determined to get the whole crowd bouncing and, by the time we play our closer (Hoochie), it can be outright carnage on the dancefloor - which is fun for us, especially when they try to imitate Mo’s dance moves!

Moses: Oh, you betcha! Expect swinging hips, lively music; lots of ginger-haired men and a (usually) drunk audience. If there is one thing we can brag, is that we are a lot of craic live.

Is it quite hard, given the styles of music you fuse, to get gig attention from mainstream events?! Do you think mainstream festivals need to open their ears and minds when it comes to the headliners they book?!

Jody: We're still in our infancy as a band and aren't really on major festivals radar just yet. We'll be releasing lots of music this year so, hopefully, next year we'll be right up there.

I do think mainstream festivals lack imagination when it comes to headline acts: Coldplay/Muse/Metallica/Foo Fighters seem to have been headlining all U.K. festivals for the last ten years

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What do you hope to achieve, as a band, in 2018?

Tom: In 2018, we hope to get on some of the major festivals. We want to start performing our music to a wider audience in an environment we think we are well suited for - due to the energy at our shows.

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

Tom: I was celebrating my 30th birthday and we played a stonking set at Whelans in Dublin and all the fun that came after that show…it was immense.

Jody: I'll have to go with Tom. The gig we played in Whelans was special. It was the first time my family and friends from home got to see us. A great night was had afterwards.

Moses: Dammit guys, that’s mine, too! That, or the second time we visited Ireland for the Hard Working Class Heroes festival. It was incredible because of that unique feeling you get from an Irish crowd. I felt I met my match.

Joe: Playing live is the pinnacle of playing music for me, so I’d have to say our set at The Great Escape festival in Brighton. It was an early slot but the venue was packed and there was a great vibe in the room. We were really on our game and got a great response from the audience. Awesome feeling.

Sam: For me, it's when we played at Tooting Tram and Social. I hadn't been with the band for too long and it was probably the first time I heard a crowd proper belting out our lyrics back to us. To hear that was pretty special.

What advice would you give to new artists coming through?

Moses: Leave the ego at the door in rehearsals and the studio and then take that ego in full force when you play live. It makes both experiences a whole lot more enjoyable.

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IN THIS PHOTO: Good Guy Clarence

Are there any new artists you recommend we check out?

Jody: We gigged with Good Guy Clarence recently - they were class.

Moses: Oh ya, they were CLASS.

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

Tom: I like Sci-Fi movies and taking the pooch out for a walk in the forest.

Sam: I teach, so I get school holidays to chill. So, for me, that's sitting down with a big cup of Earl Grey tea and eating a whole pack of biscuits.

Moses: I’m a filthy Playstation fiend, but find solace in jogging.

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).

Jody: Metronomy - Mick Slow

Joe: Sylvia Says - Charlotte Gainsbourg

Sam: Tayutafu - Susumu Yokota

Tom: Lines -The Hics

Moses: Rejjie Snow (ft. Caroline Smith) - 23

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Follow Bokito

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FEATURE: Spotlight: Amber Mark

FEATURE:

 

Spotlight

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 PHOTO CREDIT: Immstagramer 

Amber Mark

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IF you have not affiliated yourself…

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IMAGE CREDIT: Getty Images

with the brilliant Amber Mark; ensure you correct that and get involved with her music. The New York-based artist has come a long way since her beginnings. A couple of years ago, Noisey spoke to Mark and asked where she recorded her music:

“What's the most enjoyable part of the process for you?
Yes, 90 percent of the times it's been in my bedroom. I've had the opportunity to work with other producers, but I feel I've produced my best work on my own, such as Space. For me the most enjoyable part would be the production side. Don't get me wrong, I have many days where I sit for hours and get nowhere. But when I feel the beat is good and I'm vibin' with it, its almost a mediation for me”.

Love Me Right is the songwriter’s current gem and shows what development and evolution have taken place since her introduction. It is a mix of eclectic, tropical beats and a summer-ready feel; vocals that are chocolate-rich and divine. One gets impressions Erykah Badu and some of the finest female artists of the past couple of decades. It is a brilliant song and one that shows she is ready and able to handle everything chucked her way. There is a lot of interest in the American songwriter at the moment.

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PHOTO CREDIT: Rachel Cabitt/Pitchfork

Handling devastating loss can be tough for all of us. There are artists who tackle that pain and channel it into terrific music: most like to retreat and not really open up about it. Amber Mark lost her mother in 2013 and, following her death, poured her talented and sadness into music. What arrived from that transition was a stunning sound and imaginative palette. Her first track, S P A C E, was released last year and proved an instant hit with critics and fans. It was like nothing out there and, listening to it the context of her current material; one can hear that confidence and talent early on – she has grown and blossomed since then, too. Zane Lowe picked up her music and, after a few months, so many people were flocking her way. Her debut E.P., 3:33am, is out (released last year) and demonstrates what a consistent and alluring proposition Mark is. Each of the tracks on her E.P. is about stages of grief. There is the dealing of isolation and grief; having to accept things and realise she (her mum) is gone. The number ‘three’ plays a big part in Amber Mark’s life – she was born in 1993; her brother in 1983; her mum died on 3rd June, 2013. The aspiring star has managed to turn that anger and loss into something genuinely brilliant and spiritual. There is a lot of maturity and confession in the E.P.

Amber Mark has been hot on the interview trail and has not long left the U.K. – promoting a song, one hopes, leads to another E.P. She has taken advantage of some our best spots and, fingers crossed, she comes back and plays real soon. The New Yorker will not have a lot of time to get to the U.K. – what with 3:33am loved by many and gaining a lot of traction. The young artist, I know, was obsessed with Michael Jackson growing up. One can imagine her parents playing some great vinyl and exposing the impressionable music lover to wonderful sounds. Based in the U.S.; Amber Mark is competition with some incredible artists. We have brilliant Soul and Pop artists out there – to me, there is something different, refreshing and long-lasting about Mark. She has the strength and fortitude to bridge any problems and tackle the barriers and strain of the music industry. Mark breathes tenacity and natural spirit, which means she can negotiate any hard sell and cheating tongues – get her music out to the world and navigate her way through music on her own terms. Mark recently talked to Pitchfork about making the E.P. and how it got started:

“I didn’t really have the intention of writing an EP. “S P A C E” was one of the first songs I’d ever written, mainly because I had been dealing with a bunch of emotional roller coaster shit within myself. That was a way I could express myself properly, and it felt like a release. I was also really frustrated with myself, because I knew I wanted to be in music and to write music, but I wasn’t finding any producers that were working for me. So I just took matters into my own hands. Someone had given me Logic, and I started to do it all on my own. Writing by myself in my bedroom is definitely where I feel most creative”.

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IMAGE CREDIT: Getty Images/Amber Mark

She went on to assess what the E.P. means and how she wants 3:33am to connect with other people:

“I want this EP to have a bigger meaning, and I want people to feel even more emotional with this than they did with the previous one. Like, I still have drama. It may be all, like, love drama now. But it’s still drama”.

Mark will tour through North America through the spring and summer. It looks like we can expect her back in the country later in the year. Many fellow songwriters will take guidance from her and be inspired by what she is doing and the sound she throws done. There are elements of Sade – who she has covered and, after being written to by Mark, recognised her as a torchbearer and natural soul – and you feel, when listening to any of her songs, alive and exposed at the same time. Her seven-track E.P. talks about everything from drinking heavily and losing patience; having to shoulder the loss of an idol and assimilating grief and numbness into her life. One might read those words and assume everything is gloomy and hopeless. Instead, what we get is an E.P. filled with hope and passion. Amber Mark’s voice has so many layers and colours constantly bubbling, fizzing and swooning.

I cannot wait to see where Amber Mark goes and how the music world reacts to her. She is not naïve and an ingénue artist: there's a fierceness and understanding that goes into confident and assured music. One listens to her perform and it is like she has been doing this all her life. I can imagine her domestic scene being rather adventurous and fun. She revealed in an interview – with NME, I think – her boyfriend neglecting to put down the toilet seat is bugging her! You can sense that charm and humour that emanates from Mark. More than anything; in a year where female artists, in music and other industries, have to fight harder for recognition – it is humbling seeing Amber Mark among the leading voices in music. Barely singing a word; she proves what incredible female talent there is in music right now. There is a definite gap in the industry that requires filling: the sumptuous vocals and deep songs of Amber Mark are there to take the breath and resonate with the listener.

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PHOTO CREDIT: Mon Mon Dieu

3:33am is out and, rightfully, it has accrued some massive love. This is the first big time for Mark and her career. From here, she hits the road pretty hard and will get to see a lot of new faces. I hope she is okay and gets some great reaction. I am confident people will fall for her music and take her to heart – it is only right! I am a big fan for a number of reasons...Mark has that intriguing and engaging personality that makes you want to listen to every word she says. The music gets into the soul and is unlike anything out in music. Finally, and importantly, there is a durability and a sense she will continue to reign and influence decades from now. I can hear that star quality and iconic sound from her debut E.P. If you have the time, and are so inclined; let 3:33am fill your ears and see why so many people…

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IMAGE CREDIT: Getty Images

ARE tipping her for big things.

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Follow Amber Mark

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FEATURE: The Seasons Change: The Spring Playlist

FEATURE:

 

The Seasons Change

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 ALL PHOTOS: Unsplash 

The Spring Playlist

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YOU cannot help but notice the weather is changing…

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and things are getting warmer and brighter! Sure; we have wet conditions and cloudy skies but, by and large, the weather is turning and people are dispensing with their winter clothes. I have been making plans and getting quite comfortable with the improving sky. Spring gives us all a chance to reflect and get outside; be more optimistic and reveal in the longer days. With the changing season comes the possibility of festivals and experiencing more music. I have been thinking about spring-related songs and sounds that put me in mind of optimism, warmer days and the changing light. Here, before we start a new working week, is a list of songs that, I hope, put you in the mood for spring. Sit back, relax and let these songs – regardless of what the weather is doing outside – to put you…

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IN a better mood.

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INTERVIEW: Alba Plano

INTERVIEW:

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Alba Plano

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SHE is an artist whose music, once heard, fills the soul…

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and gets right into the heart. I have been speaking with Alba Plano about her new track, Out There, and what one can expect from her forthcoming E.P., White Lotus. The Sciliy-born musician talks about relocating to London and how she spends time away from music – I ask whether we can see her tour this year.

Plano tells me about her path into music and which new artists are interesting her; the three albums that mean the most to her; how she linked with Amy Winehouse’s bass player, Dale Davis – what advice she would give to artists coming through.

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Hi Alba. How are you? How has your week been?

Hi, there. I am well, thanks. I'm also excited about this amazing experience of having the opportunity to share my music.

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

I am a Jazz and Neo-Soul singer; Sicily-born-and-bred, now living in London. I'm working on my project and am about to release my first E.P. called White Lotus.

What is your new single, Out There, all about?

My new single, Out There, it's about fear, about the limit we put on ourselves because it makes us feel safe; because, at least 'we know who we are', but that's not helping when you want to grow and expand your soul. It takes a big amount of love and respect for ourselves to allow us to see things in a different perspective.

This song is about the difficulty in finding beauty around us, in nature; in a smile, in very simple things we struggle to appreciate - especially when you live in a place like London that forces you to focus on yourself; that teaches you to count only on yourself, that pushes your ego and, sometimes, makes you blind.

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Did you know, when you heard Out There back for the first time, something special had been created?

Because my background is Jazz and Soul; when I heard the song back for the first time, it was clear to me that I had created something that connected my influences with something personal. I hope that comes across.

Your E.P., White Lotus, is out later this year. What are the themes that inspire the songwriting?

What made me write the lyrics of this E.P. was a strong desire to overcome my fears, my experiences and to move forward. Whatever decisions I made in life, even the ones that made me suffer, contributed to the person that I am now.

There’s beauty in the fact that we heal and get stronger if we stay pure to our soul.

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Tell me how you came to be involved with Amy Winehouse’s bassist, Dale Davis.

I met Dale Davis at a gig. He was impressed with my interpretation of her songs. A year later, the producers of the project, Forever Amy, contacted me and I started this beautiful and exciting experience with Amy’s original band members. I am truly honoured to be part of this because Amy is a huge inspiration; the one who combined in the most natural way the power of Soul music with the depth and refinement of Jazz.

What is London like for a young artist? How does it affect you?

I feel cold most of the time. I am trying to be real and, yes, this city is vibrant, has a lot of opportunities to offer. But, what makes this town special, is the people I’ve met from all over the world. They are open, ready to help without asking anything in return, simply because they know how difficult London can be. So, I ended up feeling part of their family.

On a human level; London is really something else; something that gives you a lot of hope - even when you have none.

How did music come into your life? Did you grow up in a musical household?

I discovered, at the age of twelve, that music was certainly a way to discover myself; a way to connect with my sensibilities and personality, always an incredible source of joy. Stevie Wonder, Michael Jackson and Whitney Huston were the first influences…then Nina Simone, Miles Davis and Bill Evans: the ones I still listen to now.

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

Kind of Blue - Miles Davis

There’s magic, freedom; truth, pain. There’s everything I want to listen to. A masterpiece. You can’t say you love Jazz if you’ve never listened to Kind of Blue.

You Must Believe in Spring - Bill Evans

Although the album is about grief, it is sweet and comforting because of the way Bill plays; the close harmonies. To me, it’s a real experience and gives me lots of peace every time I listen to it.

Off the Wall - Michael Jackson

Lots of memories; an example of how a Pop song should be written. Great arrangements; everyone at the top of their game. The one thing that always gets me dancing at home alone.

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Can we see you on tour this year at all?

I will be touring from June. I am taking some time off to dedicate myself to writing new material for the next album.

What does the stage mean to you? How does it feel performing in front of people?

Every time I go on stage, I know it’s the only place I wanna be. It’s always an opportunity to transcend. I am open with the audience and I think they can feel my passion and joy.

What do you hope to achieve in 2018?

Getting out there playing my music with the musicians I love the most is very important to me - I get lots of inspiration from them.

What is your favourite memory of your time in music?

I feel lucky to already have many memories of my time in music. One I will never forget is when I saw Stevie Wonder live, probably because I had so many childhood memories of his music - and he is one of the first artists that inspired me.

What advice would you give new artists coming through?

The only advice I can give to new artist like me is to make music that really means something to you and enjoy what you’re doing, without asking yourself if everyone is going to like it. Nowadays, we see so many examples of fake music realities pushed by T.V., programs like X Factor etc.

Teenagers are dreaming of getting on to those shows because they think it’s the only way you can become an artist. But, it takes much more then jumping on stage and singing on backing tracks in front of millions of people to be able to be ready to write your own music, to play with others musicians and to sing in front of many people.

It’s a journey that you cannot skip - but should enjoy instead.

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IN THIS PHOTO: Tawiah

Which new artists do you recommend we check out?

London is full of new artists. The ones I love are Moses Sumney, Mr Jukes; Tawiah, Native Dancer and Thandii.

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What do you like to do in order to unwind from music?

I love painting, travelling and cooking. On my last trip to Bali, I had the chance to learn Asian cooking from an amazing chef. I believe that food tells you a lot about a culture and its people.

Finally, and for being a good sport; you can select a song and I’ll play it here.

Tawo - Jordan Rakei

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Follow Alba Plano

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FEATURE: Four-Track Mind: The Brilliance and Popularity of the E.P.

FEATURE:

 

Four-Track Mind

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

The Brilliance and Popularity of the E.P.

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WE can see definite splits and differences between…

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PHOTO CREDIT: Unsplash

the mainstream and underground music. What I have noticed is the nature of releases and how few popular artists, years ago, released E.P.s. When I was growing up; it was all about the single or album: there was no in-between stage or compromise the curious consumer could get their teeth into. Everyone from Sigrid and Wild Beasts have released E.P.s – in fact, most big artists, at some time, will release one or be involved with someone else’s. This year; Panda Bear (A Day with the Homies) and Belle and Sebastian have released E.P.s – How to Solve Our Human Problems was their series of concept E.P.s. Sigrid’s 2017 E.P., Don’t Kill My Vibe, helped launch her onto the world stage and under the gaze of the BBC (who named her one of their ones to watch for this year). It is a much more common thing in new/underground music. Artists, here, release singles and then, before they put together an album, they release an E.P. and have something to put out to the world. Often, this consists their singles and maybe, one or two other tracks they have written to accompany them. The reason behind this is the cost of the album. Many do not have the funds to compile an L.P. and it is a great way of keeping the music alive and out there.

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Most of the artists I deal with are either releasing E.P.s or singles. Many do record albums but I am finding very few release one that early in their career. A lot of the time, it is about getting hype and ensuring there is enough demand for an album. Mainstream artists do not really have the same issues. If you are good enough to rub shoulders with the best of modern music; chances are you will have a label behind you or enough of a public ear to put an album out. I am seeing a few popular artists put out E.P.s as a between-albums device. Often, there is the pressure to do things like everyone else. Artists have to fulfil contracts and release a certain number of albums. When an album is announced; they drip-feed singles and slowly bring music into the world. By the time the record is out; most people have heard four or five songs. It creates a rather disjointed experience and means you are over-familiar with half the album. What appeals to me if the fact you get a perfect balance between the immediacy and singularity of a lone track; enough depth and interest as not to bore the senses. If you release a four or five-track E.P.; that means you can satisfy the fans and not have to commit to a complete album. A lot of new albums suffer from bloating and a little too ambition. Some might run out of steam by the half-way mark or be disjointed in terms of pace and quality.

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PHOTO CREDIT: Unsplash

I am always excited when a big artist like Jack White or Courtney Barnett releases a single. I am invested in the follow-up and then wait with baited breath for the album. The past year or so, I have noticed one thing: many of the albums I have predicted for greatness have been a bit of a let-down. There are great records out there but, in a lot of cases; one could have forgiven the artist for releasing a concise and quality-rich E.P. Consider hot new acts like Goat Girl and Cabbage and the attention coming their way. They have both released albums in the past few weeks – Goat Girl and Nihilistic Glamour Shots – and have received terrific reviews. I know they will be touring those albums and keeping busy throughout this year. There is going to be the inevitable pressure: labels and fans baying for new material. Rather than wait for a year or two for a new album; a remedy might be to fill the gap with an E.P. I am seeing more artists do this and it is a great way of keeping the ball rolling without committing to something full – you might risk rushing a release and taking away that acclaim. New artists release E.P.s for different reasons.

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IN THIS PHOTO: Arctic Monkeys

The cost of producing an album can be steep and rather daunting. Even if it a D.I.Y., simple thing; you need to write the songs and be confident with the material. From there, you have to gig the songs and make sure people hear/buy it. I feel the market is not as obsessed with the album as it was back when I was younger. I am seeing double A-sides come back; artists are releasing B-sides and giving themselves more flexibility. Even if an unsigned artist doesn’t have critical pressure and a strict time scheduled; they need to get music released so people know who they are and keep fans happy. The days of doing standalone singles seem to be long gone. Maybe a double A-side is a solution if you do not have an E.P. quite worked out – we need to get away from the assumption music is all about the album. The progress and structure of a new artist is anatomically different to a mainstream artist. There is too much focus on an album and getting artists to release records quickly. Some are leaving huge gaps between albums; others are hurrying material and it leads to sloppy results. An E.P. seems like an elegant and logical solution to the problem at hand. I wonder whether the five-year gap between Arctic Monkeys could have been filled by an E.P.

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PHOTO CREDIT: Unsplash

Fans and the media would have something to hear; the band would stay in the public eyes and it would let us know they are still active. I know their upcoming album, Tranquillity Base Hotel & Casino, will be an epic thing – it NEEDS to be after that long wait – but I wonder whether an E.P., back in 2016, would have been a good idea. New artists bring out E.P.s because it is a natural stage between singles and their first album. Even when they have brought out that debut album; they release E.P.s and do not feel the need to bring out a new album every year. The E.P. is a perfect balance that allows artists to keep making music and not having that stress of putting together ten or eleven songs. I feel more popular artists need to take this approach to music-making. They may fear there would be commercial risks – music shops don’t really stock E.P.s anymore – and fans would feel short-changed. To me; the E.P. is a nice collection of songs that have concision and depth – without being too brief or risk suffering from a dip in quality. I understand there is always pressure from various angles to keep putting material out. Releasing an E.P. can be a pressure, too, and risk being rubbish if you do not let an artist create.

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PHOTO CREDIT: Unsplash

The fact big bands and acts are releasing them means the industry is starting to loosen and give artists a bit of freedom. I guess E.P.s have always been around but it is nice to see they are popular in an age of streaming. People hanker after music in all its forms so one feels, the next time a big name has some great material but not enough for an album; do not wait years for inspiration – get an E.P. out and, if you have a sudden rush of inspiration; you can release another E.P. and not have to put so much stress on your shoulders. I am a big fan of the album but there is something about an E.P. both special and intimate. New musicians rely on the E.P. and able to work this way; bigger artists are starting to turn to them, too. Newcomers like Sigrid have used the E.P. to put their singles into the market and open eyes – before they have enough material to put out an album. I hope the dexterity and accessibility of the E.P. leads to other changes and developments in music. Maybe artists will go to another extreme and release a double-album; some might release to cassette and float that out – there are possibilities out there. Those musicians with a four-track mind interest me greatly. There is something incredible about an E.P. I cannot put into words. I hope this year sees new musicians keep them in the fore and compel mainstream musicians to…

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IN THIS IMAGE: The cover of The Comet Is Coming's E.P., Death to the Planet

FOLLOW their lead.

FEATURE: Kintsukuroi: London’s Forming Cracks and the Future for Musicians

FEATURE:

 

Kintsukuroi

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 IMAGE CREDIT: @Laucorne 

London’s Forming Cracks and the Future for Musicians

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THE past couple of weeks have seen news reports…

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ALL PHOTOS (unless credited otherwise): Unsplash

filled with violent scenes and doom-laden prophecies from the streets of London. There have been over fifty murders in London this year already. Although we have lived through years, fairly recently, with a higher number of deaths; there seem to be a very real problems unfolding. A lot of the murders are knife-related and, aside from some random and isolated killings; a lot of them seem to be either gang-related or about territory. Some commentators, including Cressida Dick, have looked at social media and the way that has led to the issue. Many are going onto social media and urging these killings; sending insults and pushing people to go out and commit murder. Looking at a report by Sky News - and Metropolitan Police commissioner Dick has backed away from assumptions the rise in deaths on the streets of London constitute a crisis:

“The head of the capital's police force told Sky News she is "really concerned" about recent deaths and admitted London has experienced a "bad three months" in terms of murders.

But, Commissioner Dick expressed her hope Scotland Yard would soon reduce the bloodshed as she confirmed 300 extra officers a day will be deployed in London over the weekend.

Since the turn of the year, Sky News has identified 51 people who are suspected to have been deliberately killed in the capital amid a spate of stabbings and shootings, with two teenagers left injured in the latest knife attack at the Whitgift Shopping Centre in Croydon on Friday evening”.

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PHOTO CREDIT: Getty Images

There has been a sharp rise in deaths the past few weeks. Maybe news of killings is spurring would-be perpetrators to follow suit and settle debates in the same way. Although there are more dangerous parts of the world – and knife/gun killings are nothing new – there is distinct cancer that needs curing. Why young people have access to guns and why they are driven to such random and senseless murders. I have written about London and how it is a Mecca for many aspiring musicians. Many people move here to succeed and progress their careers. It is a packed and busy time for music; there is little room for error and, if you want to go all the way, you need proximity to great venues, labels and stations – so your music does not have to travel too far. There have always been problems in the capital but now, as we move into spring; we are all waiting for sun and warm weather – excited to see things improve and take advantage of the conditions. Instead of having an optimistic outlook; many are worried about the spate of deaths and what this signals. Many I know are moving to London and, understandably, are hoping to stay there long-term. Of course, the chances of dying in a stabbing or shooting are very slim – it is unlikely someone will be randomly targeted by a stranger.

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We are all subject to the randomness of life and the dangers around us – there is no way we can protect everyone from everything. I have side-stepped a definite move to London for a more pragmatic and safer aim of Manchester. That is not compelled, in whole, because of the growing violence and struggles there. It is, for many musicians, putting them off and creating nerves. London is at the leading edge of British music and needs to send the message to the world (the city) is a safe place and is improving. We know issues around rising rents and Brexit; other problems that are putting a lot of people off of London. We hope the killings will desist and things will return to ‘normal’ before too long. What worries me is the fact there is a lot putting musicians off of London. All of the biggest labels and venues are here; it is the busiest city in the U.K. and, as such, need to retain its reputation as being a creative and great place for musicians. The fact there are murders happening does not detract from London’s multicultural people and the options open for musicians. If many, who are thinking about relocating, see what is happening on the news; one has to ask whether they will avoid London or delay their move.

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I have changed my plans and cannot lie that, in some way, the rise in violence has put me off. I am not saying where I wanted to move to (around Brixton) would be any worse than it has been the past few years. There are so many great things about London but, if you balance it against other cities; how ideal and sustainable is a comfortable life there? It is clear there are cracks in the city that need gilded repair and some expert treatment. The city is like an ornate and treasured jug. It is proud and beautiful; it has a place and purpose but, right now, there are value-decreasing cracks forming at the bottom. The only way London can keep its crown as the go-to location for musicians hoping to make a go of their career is to address a lot of the problems it is facing. Gentrification and rent hikes are putting enough people off already: unabated street violence is another fault we can do without right now. I wonder whether, in combating the reasons behind the violence in the capital; we can bring music in to help give these disaffected young people direction and place. I know their motives for murder are more complicated and personal than simple boredom and disaffection. There is a frustration building in the boroughs; a sense they (the young) are not being listened to and represented.

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IMAGE CREDIT: Getty Images

The Prime Minister, so far, has been an absent leader and theoretical tackler regarding the new cases of gun and knife-related deaths. One would hope the P.M. takes a more direct and passionate approach to finding out why so many young lives are being snubbed out; how we can all resolve to fix the problems and discover the reasons why people are turning to murder. Mayor Sadiq Khan has been attacked and blamed for the rise in attacks this year – many have come out and queried why politicians are being so passive. Tottenham M.P. David Lammy, when speaking to The Guardian, highlighted how the war on drugs has failed; how much black lives DO matter – and why Sadiq Khan has been relatively silent about the problems:

“Sadiq and I have a good relationship,” he says, but the only reason he can think of to explain why Khan didn’t call is also his greatest fear: “I think it’s that we’ve come to normalise it. We think of gun and knife crime among teenagers as normal. And it is not.”

To Lammy, the rise in London murders feels ominously different to previous surges of violence. “I am more worried about this spike because the profile of the people getting caught up in it is younger. The callousness of shooting into a crowd outside a cinema, shooting at young women, the normalisation – never mind the ramping up by social media – all of that makes me alarmed and worried. I am pretty confident that we’re not going to get over this problem unless there is a proper political consensus. This is not going to self-correct”.

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I am not suggesting arts and participation in music is going to be a magical cure to a deeper issue – it is a surface solution. I am not trying to tackle the issue by avoiding the problem: my point is that there are ways we can communicate and negotiate with those who are killing others by actual discussion and progression. Ignoring the problem and casting blame is not a solution; highlighting social media’s role and not doing anything about it is appalling and incredibly unhelpful. I feel a more cooperative and personal approach to the problems would help ease the burden and conflicts happening on the streets. Giving young people an outlet and a productive channel is a good and practical first step. Beyond this; we need to look at reasons why London’s youth feel they have to go out and kill others. There is a rising drug epidemic – cocaine use and trade are on the increase – and there is a sense of disaffection and alienation. With homogenisation and the changes happening in London; a lot of its settled and native residents feel they are being pushed to the boundaries. London is a wonderful city but, if we continue to negate discussion and shirk responsibility, the problem will only worsen. The violence we see on the news will put many people off moving to London; there is that inherent strain on the music industry – fewer people will want to come to the capital – and that will only get worse.

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We need to make London a place people want to come to; where musicians feel safe and they feel they have a voice. Politicians are being accused of conscientious objection and remaining silent. Rather than hold meetings and get out into the affected communities; they are standing behind desks and making false promises. Let’s all resolve to discover what is behind the rise in knife and gun crime; how we, as people of the U.K., can work together and stem the tide. London is at the beating heart of the isles and, as such, should be a shining and golden example of what Britain is about. If people look at the news and what is happening here right now; they will be put off and reluctant to spend time here. Musicians pine for that London life but, the more murders we see reported; are ones already based here going to move and take their talents to other parts?! I am hearing of some emigrating; others, who planned on coming, are going elsewhere. There are definite problems and they will not be fixed with words and a wait-and-see policy. I am genuinely worried London is starting to lose its way a bit and that, in the long-run, will have a huge impact on the music industry. If we can apply some logical thinking and proactive policies; that can help redress the problems coming from the streets and make the young populous feel heard and understood. We do not want people avoiding London and feeling it is an unsafe place to be. If all that fails then, well; I guess…

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THERE’S always Manchester!

INTERVIEW: Brandy Zdan

INTERVIEW:

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Brandy Zdan

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I have been checking out…

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I Want Your Trouble and speaking with its performer, Brandy Zdan. She reveals the background to the song and working with Tom Blakenship and Carl Broemel; what comes next for her; what we can expect from her album, Secretear – what it was like recording in Nashville.

Zdan tells me about the gigs coming up; whether she will play any dates outside the U.S.; how she spends her time away from music – recommending some new artists to look out for.

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

Hi, there! My week has been wonderful. Just got off the road from some fantastic tours opening for Buddy Guy and Doyle Bramhall II. It’s been a whirlwind couple months. Glad to be home for a minute.

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

I’m a Rock ‘n’ Roll artist living in Nashville, TN - but originally from Winnipeg, MB (Canada).  I’ve had a couple of ‘past lives’ in my music career as a sidewoman in a TX band called The Trishas and, before that, as half of Canadian Folk/Gothic duo, Twilight Hotel.

I live and breathe music: it’s all I’ve known. I’ve been doing this a long time but I’m most excited to be out in the world on my own with this new music. I love steel guitar, a fine scotch or fine tequila…and I’m an avid birder.

 

I Want Your Trouble is new. Can you tell me what inspired the song?

This song was inspired by a text message that my husband Aaron sent to me while we were courting. It simply said: ‘I want your trouble’. I knew it had to be a song, so I took it and ran and, of course, gave him 50% of the writing credit.

My husband Aaron Haynes plays the drums on this record and this really is his shining drums moment on the record. We had to track this at night and I came back in with a flask of whiskey to nail the vocal.

Needed to be a little loose for this one…

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It features Tom Blakenship (My Morning Jacket) on bass and Carl Broemel on guitar. What was it like working with them?

They are incredible musicians and a pleasure to work with. This is the second record they have played on with me. Teddy Morgan, the producer, makes music with both of them and he knew they were the guys to call to round out the band. They really serve the songs in the best way.

The song is taken from the album, Secretear – out on 11th May. What are the themes and stories that we can expect from the record?

Thematically, this is kind of an unconventional love-song album. There are a lot of messages/reminders within the songs to myself, especially in the song, Secret Tears. It’s an album about self-love and, generally, just coming to terms with who you are which we all have to do.

It’s about the journey, not the destination.

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It seems, with each release, you are assimilating new elements in your voice/music. Do you think you learn something new with each recording?

Of course, you do. You have to or you’re doing something wrong. Record-making has always fascinated me. There's a fine balance of knowing and not-knowing that must be achieved; a mystery that must be present, followed and honored - as well as a confidence to not second-guess the magic.  There is no one right way and, as an artist, you can only learn by doing observing and listening

With every record made, you come out knowing so much more than you did before, but you also realize how much more there is to learn.

What is Nashville like for a recording artist? How important are the city and its people?

Nashville is a great place for a recording artist. I’m sure wherever you are standing in the city there are a dozen studios a stone’s throw from where you stand. Some of the most incredible musicians live here and, whatever kind of record you are trying to make; you can find someone to help you make it. I get called in to go do backup vocals on records all the time.

The city is full of the music business as well. Everyone is hustling. I love that vibe: people that work on their craft and where music is genuinely their career. Of course, there is a dark side to that: people get caught up in the game, the ‘hit-game’; there are slime-balls but, generally in my genre, it’s about making art and not about how many Facebook likes one has.

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

The Beatles - ‘The White Album’

The Beatles were my way into Rock ‘n’ Roll - and this record lets you know you could try anything you want, experiment; challenge the listener. I love how this record broke the mould in many ways. I reference many drums sounds on this record and my favourite Beatles song, Happiness Is a Warm Gun, is on it.

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Daniel Lanois - Belladonna

Lanois is my favorite guitar player and one of my favorite producers. This is my way into Instrumental music, which I love. Words can be limiting - while one’s not limited on a steel guitar; it can limitlessly emote.

Patti Smith – Easter

Patti is a goddess. She is the ultimate Rock ‘n’ Roll poet. Everything she does is the most inspiring. This was the first album I heard of hers and it knocked me out - and it continues to. Whenever I get down about the business or can’t find the muse, I think: ‘What would Patti do?’

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

Just got off a two-month cross-country U.S. tour with Buddy Guy and Doyle Bramhall II. Gonna be home for a while - but many shows are getting lined up.

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

I sure hope so! Just need the right person to bring us over. I came over many times with my old band, Twilight Hotel, and toured ALL over the U.K. I can’t wait!

What do you hope to achieve in 2018?

I hope to write the next album. Get better at guitar and stay on the road and play many, many shows.

It’s really quite simple for me. I also hope to record some cover songs and release them on 45s.

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 PHOTO CREDIT: @chrisphelps

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

My current favorite memory only happened a couple of weeks ago…

Drinking fine Cognac with Buddy Guy in his dressing room while we listened to him telling stories about all the people he’s worked with. 

What advice would you give to new artists coming through?

Do your own thing and don’t worry about what anyone else is doing. 

Find what sets you apart and embrace it.

PATIENCE is necessary.

No two people have the same path.

The work is the reward.

If you want to do something else and can, go do it. Art as a career is ugly, unforgiving and the hardest. BUT; if it’s all you can do, do it.

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 IN THIS PHOTO: Deap Vally

Are there any new artists you recommend we check out?

I’m really into Jonathan Wilson, HAIM; Link Wray and Deap Vally currently - but they aren’t new.

Carl Anderson, Erin Rae and The Texas Gentlemen are some fine musician peers.

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IN THIS PHOTO: Erin Rae

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

I get some, but not much. My husband and I love to venture out to a couple of our favorite and chill for a couple of days. Those being the Belmont Hotel in Dallas, TX and the El Rey in Sante Fe, New Mexico. There’s something about the right hotel vibe that gives me permission to really chill.

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).

This tune has been on repeat a lot lately…

The War on Drugs - Pain

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 Follow Brandy Zdan

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INTERVIEW: Siv Jakobsen

INTERVIEW:

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 PHOTO CREDIT: Jørgen Nordby 

Siv Jakobsen

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HER debut album…

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The Nordic Mellow was released last year and picked up award nominations and success. I have been talking to Siv Jakobsen about her upcoming live album (out on 27th April) that was recorded in Rockefeller in Oslo – her beautiful hometown. She discusses what songs were included; why she decided to cover Dolly Parton’s Jolene and what comes next for her – she reveals what her touring plans are.

I ask Jakobsen how she has progressed as an artist and what music compels her; new artists that inspire her right now; the advice she would give to new artists of the moment – and, what the scene is like in Oslo right now.

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

Great, thanks! Just getting out of a short Easter holiday and preparing to release the live album soon.

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

My name is Siv Jakobsen and I write, release and perform songs that are often said to be melancholic and acoustic.

Your debut album, The Nordic Mellow, was released last It has been nominated for Best International Record at this year’s Unsigned Music Awards. How does that make you feel?

Great! It’s a lovely thing to have it be recognised and I love that there is a platform like that for self-released/independent releases.

The album has gained positive reviews and lots of love. Were you expecting it to get such a big response?!

I did hope people would like it of course, but it’s hard to know what to expect - I just hoped it wouldn’t just quietly fade away without anyone noticing. The response has, thankfully, been lovely, so I am very grateful.

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I know you’ll be releasing a live album very soon. It was recorded at Rockefeller in Oslo. What was the reason for choosing that location? What compelled you to record a live album?

The Rockefeller show was the only hometown show for The Nordic Mellow release tour, so it felt like a good chance to capture my live show in a (to me) very familiar and lovely atmosphere. I had my whole band with me (string quartet and all) so I couldn’t pass up the chance to have it recorded. It was originally thought to become a short E.P., but the recordings were too good not to release.

Is there a mix of older and newer songs included? Was it hard putting a set-list together?

Yes! There’s a bit of both The Lingering and The Nordic Mellow on there; some familiar arrangements, some with brand new arrangements. It was a lot of fun. As for set-lists; I find them very difficult as I use a lot of different tunings and have to not only think of the flow of the show but, also, what will work, tuning-wise.

So, it’s always a bit hard. Haha.

I know Jolene, your version of it, is included. What is it about Dolly Parton and that song that speaks to you?

Jolene is the sort of song, for me, that really resonates on a deep level. I think a lot of people have had a Jolene in their life, so it feels universal in some way. I love the imagery of the lyric and the pleading tone of the chorus. It’s a masterpiece of a song and I really felt when I created my little version of it; that I was singing about myself.

I only hope I was able to do the song justice.

How important is Oslo to you? Is it a great city to record and write music in?

Oslo is my home so it’s, of course, very important. This is where I live, where I rest and where I write a lot of my songs. I’ve actually never recorded a studio album here, though - only the live-record. But, I assume it would be a great experience to do that here as well...

What sort of music captured you at a young age? Can you recall the first album you ever bought?

At a younger age, my favourite band was the Spice Girls – so, that was probably the first album I bought. Hehe. I was also big into Classical music when I was very, very little. Apparently, I would sit in front of the stereo in our living-room and be totally mesmerised if mom put on Vivaldi or Debussy. I also loved Boney M, as it was my father’s favourite band.

A pretty interesting mix of music, I guess.

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Can we see you tour soon? What gigs do you have coming up? Will you come to the U.K. and play at any point?

I don’t have any longer tours planned at the moment, as I’m trying to write a new record - but I do have a few shows in the U.K. this summer. I’m playing at St. Pancras Old Church in London on June 4th with a string quartet and at Timber Festival in June.

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

The Rockefeller show was a big one for me as a headline gig. Another incredible memory is when I was touring with Bear’s Den. The guys brought me and the other support, Matthew & the Atlas, out at the end of the performances and we all sang Leonard Cohen’s So Long, Marianne together in front of one little mic. It was pure magic every night.

What advice would you give to new artists coming through?

Be yourself! Seriously: sincerity is beautiful.

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IN THIS PHOTO: Fay Wildhagen

Are there any new artists you recommend we check out?

I’m usually quite late to ‘discover’ new artists, but here are a few artists that I think are incredible:

Fay Wildhagen; Julien Baker (not sure if she’s new or small, but incredible either way); Liza Anne; Adrianne Lenker (of Big Thief. Her solo stuff is incredible); WILSEN; Bryde.

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IN THIS PHOTO: Liza Anne/PHOTO CREDIT: Brett Warren

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

I love cooking, running and yoga. I read a lot and have a weakness for crime shows.

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).

Fay Wildhagen - Carry You 

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Follow Siv Jakobsen

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

TRACK REVIEW:

 

Equals

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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

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

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THERE are few artists…

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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?!

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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.

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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.

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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…

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SPEAK for everyone.  

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Follow Equals

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

FEATURE:

 

In Order to Succeed

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ALL PHOTOS (unless credited otherwise): Unsplash

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

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EVERY music obsessive has that same dream…

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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.

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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?!

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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

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 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…

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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.

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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.

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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?!

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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.

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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!

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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.

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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…

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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:

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BBXO

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BASED over in Berlin…

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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.

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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.

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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.

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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”.

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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…

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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

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

FEATURE:

 

Figure It Out

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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…

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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.

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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.

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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.

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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”.

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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”.

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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.

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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…

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STEP into the limelight.

INTERVIEW: Katie Coleman

INTERVIEW:

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Katie Coleman

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HER debut single…

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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...

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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. 

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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!

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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. 

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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!

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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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