FEATURE: Like a Broken Record: The Worst Albums Ever

FEATURE:

 

Like a Broken Record

 PHOTO CREDIT: Unsplash 

The Worst Albums Ever

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I am going to look at more serious and timely things…

 PHOTO CREDIT: Unsplash 

as the day ticks on but, looking back at my seven-year history; I don’t think I have ever assessed the worst records ever created! It sounds rather mean but, when you look back at all the fantastic albums that have been released through the decades, I wonder whether we ever consider the terrible records that, really, should not have seen the light of day (or were far beneath what we expected from that artist). I have been having a think and compiling selections from other sites, too; here is a rundown of those albums that critics all agree on: they are pretty darned naff!

ALL IMAGES: Getty Images

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Lou Reed – Metal Machine Music

Release Date: July 1975

Label: RCA Records

Critical Review:

“Lou Reed’s private obsession or a tired joke? Reed’s always claimed that MMM was a misunderstood recording that pushed the envelope of classical music. Since its 1975 release, critics have generally argued over the sincerity of this, or whether it was just a record label “fuck you” and a load of ear-shredding noise that’s impossible to sit through.

Truth is, we’re in neither camp. Recorded by manipulating a feedback explosion spewing forth from two amps sat next to two guitars, the album has its moments of hypnotic beauty. You can, if you really want to, hear anything from birdsong to ice cream trucks in its loops” – Record Collector

Duran Duran – Thank You

Release Date: 4th April, 1995

Labels: Parlophone/EMI; Capitol (U.S.)

Critical Review:

“An album of Duran Duran covering their "influences" was never something even the most dedicated fan wanted to hear, yet the band had the audacity to record Thank You, a collection of the group's favorite songs. Featuring songwriters as diverse as Bob Dylan and Sly Stone, Thank You works best when the band realizes the monumental silliness of its cover, as on "White Lines," which is performed with Grandmaster Flash himself, and the acoustic blues rendition of Public Enemy's "911 Is a Joke." Or it works when the band can reinvent material like Lou Reed's "Perfect Day" into a slick MOR ballad. When Thank You doesn't work, it's because the band doesn't quite get what made the original version special ("Lay Lady Lay" and "Watching the Detectives")” - AllMusic

The Enemy – Streets in the Sky

Release Date: 21st May, 2012

Labels: Cooking Vinyl; eOne Music

Critical Review:

“Fifteen minutes into the third album from The Enemy and already I'm feeling dangerous. I feel sulphuric. I am a creature. I am a planet killer. My nice Italian flatmate is singing in the next room and all I want to do is hurt him. If I strangle him, say, I will probably cry throughout. SOS, Mayday, Tom Clarke is screaming but no one is listening. I wave from the shore. I feel as though I've been left alone with you, Clarkey. This is a low point in British guitar music. For pity's sake, deliver us from evil” – Drowned in Sound

Limp Bizkit – Results May Vary

Release Date: 23rd September, 2003

Labels: Flip; Interscope

Critical Review:

“They are also that bit more insistent than their scores of imitators. Durst demands to be heard, and on Results May Vary, he goes to any lengths to make sure he is. If he's not blasting out the speakers on the generic Gimme the Mic, he is sulking "Nobody knows what it's like to be hated" on a slo-mo version of the Who's Behind Blue Eyes.

At least Limp Bizkit can't be accused of festering in the rap-rock ghetto: Durst's moody aggression adapts to gothic gloom (Underneath the Gun), Bon Jovian bubble-rock (Build a Bridge) and old-school funk (Red Light, Green Light, featuring a supremely sleepy Snoop Dogg).

But Durst's problems are ever-present - and does anybody still care?” – The Guardian

Dirty Vegas – One

Release Date: 18th October, 2004

Label: Parlophone

Critical Review:

“This English trio’s self-titled 2002 debut made the combination of dance beats and rock guitars feel surprisingly cozy and calm. It also won a Grammy and sold a million copies, aided by Mitsubishi’s TV campaign using “Days Go By.” Still, it was snapping street-punk compared to the follow-up. Pinpointing the worst element here is tricky: The hokey tunes of a million AOR nightmares? Or the jarringly stupid lyrics (on “Walk Into the Sun,” overly earnest singer Steve Smith informs, “Lately, I’ve been feeling different/Like I’ve come from outer space”)? Oh, but let’s not ignore the sound; less like, say, Underworld than Richard Marx being persuaded by his accountant to go electronic. If this exhaustingly awful album repeats its predecessor’s success, the world will seem more confusing than ever” - Blender

The Chainsmokers – Memories…Do Not Open

Release Date: 7th April, 2017

Label: Parlophone

Critical Review:

“…The female singers all sound like a Sia guide vocal for Rihanna; the men mostly simper shallow emo-EDM cliches about failing relationships. Eventually everything sounds the same - the more you hear the less there is to listen to. This is Trump-pop: shallow, always betraying its influences, with a third-grade vocabulary and ambition that runs no further than emptying the nearest wallet” – The Guardian

Charlie Puth – Nine Track Mind

Release Date: 29th January, 2016

Label: Atlantic

Critical Review:

“Puth cannot fill this frame of sentimentality with any genuine sentiment: The album’s emotional range covers the spectrum from light longing to light infatuation, contributing to the overall sense that Nine Track Mind is aimed exclusively at hairlessness: children, prepubescents, the discomfitingly waxed” - Pitchfork

Bob Dylan – Self Portrait

Release Date: 8th June, 1970

Label: Columbia

Critical Review:

“To say the least, it's confusing, especially arriving at the end of a decade of unmitigated brilliance, and while the years have made it easier to listen to, it still remains inscrutable, an impossible record to unlock. It may not be worth the effort, either, since this isn't a matter of deciphering cryptic lyrics or interpreting lyrics, it's all about discerning intent, figuring out what the hell Dylan was thinking when he was recording -- not trying to decode a song” - AllMusic

Spice Girls – Forever

Release Date: 1st November, 2000

Label: Virgin

Critical Review:

“As if guided by focus groups, tracks like ”Wasting My Time” and ”Let Love Lead the Way” could be any urban radio girl group. Every genre cliché, from homogenized harmonies to delicately plucked stringed instruments to male rapper interjections, is securely in place. The music is so tasteful, restrained, and assembly line proficient that it makes early singles like ”Say You’ll Be There” sound like the rawest punk rock” – Entertainment Weekly

Westlife – …Allow Us to Be Frank

Release Date: 8th November, 2004

Labels: Song BMG; RCA

Critical Review:

“Having never expressed any interest in the genre before, Allow Us to Be Frank, clever puns aside, feels like a lazy and unimaginative cash-in from a band who, thanks to covers of tracks by Barry Manilow, Cliff Richard, and Phil Collins, aren't exactly renowned for their cutting-edge invention” - Rovi

The Clash – Cut the Crap

Release Date: 4th November, 1985

Label: Epic

Critical Review:

“…too much of Cut the Crap is Strummer's angst running on automatic, superficially ferocious but ultimately stiff and unconvincing” – Rolling Stone

Chris Cornell – Scream

Release Date: 10th March, 2009

Labels: Mosley; Suretine

Critical Review:

“The idea of Cornell's sex-god wail over Timbaland's mechanized funk is appealing. But "Scream" draws out the worst tendencies in both of them. The icy remove of Timbaland's third-string beats here makes Cornell's lyrics like "Pain and suffering. Will come to those. When I get even." feel cartoonish, while Timbaland's vocal processing sucks the elastic virility from Cornell's voice. "Never Far Away" somehow indulges the grievous ballad excesses of both Akon and Daughtry simultaneously. Only the slinky "Ground Zero" arrives at incendiary friction.

After a recovery in the minor leagues, Ankiel made a successful return as an outfielder. Fans of inventive pop and rock music can only hope that both Timbaland and Cornell have similar comebacks in them” – Los Angeles Times

Alanis Morissette – Jagged Little Pill Acoustic

Release Date: 10th March, 2009

Labels: Maverick; Warner Bros.

Critical Review:

“It’s just a shame the new recordings are so damn anemic. I suppose the album was tailor-made for the java-sipping on-the-go types who frequent Starbucks, which is selling Pill exclusively for six weeks (much to the chagrin of traditional retail outlets across the country). We wouldn’t want to overexcite them, what with all the caffeine running through their veins. But I just can’t imagine rushing home to listen to this, and even if I did, it certainly wouldn’t wake my parents up” - SLANT

INTERVIEW: Little Grace

INTERVIEW:

 Little Grace

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I have been speaking with Little Grace…

about their latest song, Higher Ground, and what its story is. They speak effusively about its creation and the sensation of hearing it on tape; what it was like working on the video for the track; which album the guys hold dearest – they let me know whether there are any gigs coming up.

I was keen to know how the band came together and whether they share a love of the same music; whether their base of Liverpool is thriving right now; what they have planned for the rest of the year – the guys select some new artists worth a second look.

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

Hey. It’s been good; busy, but productive/creative as ever. It feels great to be releasing music again!

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

We’re an Electronic-R&B band from in-between Liverpool and Manchester. We’ve been creating, collaboratively, for a few years now and searching for our sound.

Higher Ground is your new track. What is the inspiration and story behind it?

The concept of Higher Ground came from a true place at the time of writing…

I’d just come out of a relatively long-term relationship, and I felt that the last time we spoke was something that I wanted to document. It was important to understand that I wasn’t the only person in the world going through the motions of this at the time.

I met other people in the same position and, at that moment, it felt right for me to share my experience in a way which I could help these friends going through something similar.

The video looks like it was quite an intense and passionate experience! What was it like filming it?

After watching the director’s material and seeing what he was doing for his local scene, we felt like Jay Bannister was the right guy to go with. He understood our concept and also liked the tune, so was able to transpose our ideas into the video. We had discussed the idea of having passionate yet aggressive dancing (argument through dance if you will) and he comes through with Shameer and Anna, who both killed it.

The dancers work with each other regularly, so they seemed to be very comfortable with each other and the whole video is freestyled, too - so it was pretty impressive to see this dance just coming straight from the sounds they were hearing.

Do you think there will be more material later in the year?

100%. We’ve spent quite some time going through some intense situations and emotions and writing about them; so, it’s definitely about time we share them with people.

How did Little Grace form? When did you all meet one another?

We actually all got together, musically, when we were about seventeen/eighteen. It started off as a college thing: about five or six of us started writing and doing covers together then, as we all went to different universities, we stuck together as a trio.

Was a shared bond of music the reason for the formation? By that; did you all form because of a love of the same artists?

I think, subconsciously, yes. We had a relatively small friendship group in school and each of us had our own tastes; we all clicked initially with our love for early R&B and Soul/Motown artists. Then, as the years have progressed, each of our music tastes has grown.

You are based in Liverpool. What is it about the city that compels and attracts? Is it quite an active music scene there right now?

We’re actually based in the suburbs of Liverpool; pretty much between Liverpool & Manchester. We spent our early years around Liverpool, but now, we try and work around both cities. Liverpool’s starting to get interesting, though.

A lot more artists are noticing that you can be based in Liverpool and not have to sound like The Beatles, which is refreshing; especially when you’ve been trying to make something a bit different for a while – and, more recently, producers and other artists are breaking through. It just adds and assists the scene - and everyone is pretty supportive of each other which is great.

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

We’ve been working hard on our live performance in the run-up to the release of Higher Ground in a bid to portray the right image and story to a crowd when playing live. Whilst doing so, we’ve been keeping our want to play live satisfied by playing Sofar Sounds across the country to see the physical reactions of the public when hearing our material.

Our main priority, right now, is getting track two out...

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

Ben: John Legend - Get Lifted

I chose this one because I remember my college tutor showing it to me when I was about sixteen/seventeen and I was obsessed with it (and always go back to it). It’s just a timeless classic. I love John Legend’s writing and his tone and (just) the way that the album carries itself in terms of narrative.

Adam: George Benson - Give Me the Night  

I always find myself going back to this album for inspiration or nostalgia. The man is a Jazz genius and this album holds some of his more Pop-based material. The main reason for this being my choice is that the album was always played in my house whilst my mum was cleaning or decorating. Even my dad played it in the car: an overall family favourite that brings good childhood memories.

Callum: The Streets - Original Pirate Material

This album was passed down to me from my brother; I remember reading somewhere that the vocals were done in Skinner’s wardrobe. That kind of independence for some reason really stood out to me, as it was the first kind of project that I’d listened to that didn’t have a massive studio budget but, somehow, had this magnificent, modern sound to it. As I grew up and paid more attention to the social side of the album, I then realised just how much of an impact on a scene this had.

What do you hope to achieve in 2018?

Right now, we’re focusing on putting out music: this is still very new to us and a lot has changed within the industry since we last released, so we’re learning a lot as we’re going. We’re just looking to reach out to people and get as many people as possible to relate to our music.

Of course; it would be great to play a few more established gigs and maybe even some festivals next year; so, we’re just building up a profile to enable us to do that.

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

Ben: I’d say my personal favourite memory to date was probably writing this track, Higher Ground. Initially, both Adam and myself went to vocal a track for the producer of the track, Dan Casio. After a few hours of doing vocals and finishing the track, Dan turned around and asked us to write a song - and it was a lot of pressure at the time. But, around about three-four hours later, we came up with this track and I was super-proud of it.

Callum: Planning the release of Higher Ground has been something I’ll always remember. Our last few releases have been as a featured artist, so they haven’t been too hands on - but we’ve been able to work with other creatives and really work on getting the concept through.

Adam: As Ben and Callum both stated; it was completely refreshing to both have the ability to write and produce Higher Ground with Danny Casio. The process felt very natural and everything just fell into place.

I remember sitting in the room with Ben and Danny after writing the song and listening to the first draft; getting shivers realising that we would be releasing it into the world for, potentially, millions of people to listen to and thinking that, if the song benefits one single person, for example, makes them happy or helps them get through a tough situation then my mission is accomplished.

What advice would you give to new artists coming through?

As cliché as it may sound: just do you.

There is no time like the present; don’t wait around for the right moment because it may never come. You just have to trust your gut instinct and do whatever feels right to you at the time.

IN THIS PHOTO: XamVolo/PHOTO CREDIT: Robin Clewley 

Are there any new artists you recommend we check out?

We’re really liking XamVolo’s work at the moment. The guy is a lyrical genius. We’ve also been blessed enough to work with the likes of Emily Burns, who is killing it right now…annnd there’s Raheem Alameen and IBEN who both have new material coming soon!

IN THIS PHOTO: Emily Burns/PHOTO CREDIT: Lauren Maccabe

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

When we’re not making music we’re still working part-time but, I guess, making music definitely eases that. We do tend to try and go to watch/listen to live music to gain inspiration as well - but we genuinely have a love for music, so I guess you could say that’s all that we know.

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).

HONNE - Sometimes

XamVolo - Lose Love

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Follow Little Grace

Facebook:

https://www.facebook.com/littlegraceuk

Twitter:

https://twitter.com/littlegraceuk

Instagram:

https://www.instagram.com/littlegraceuk/

SoundCloud:

https://soundcloud.com/littlegraceuk

YouTube:

https://www.youtube.com/channel/UCtCXbz6I9V9CqXILFEF8Pag

INTERVIEW: Kid Kapichi

INTERVIEW:

Kid Kapichi

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ONE of the questions I was keen to ask Kid Kapichi…

was whether Rock was in a good state. The Hastings-based group discuss that and the influences behind their new E.P., Lucozade Dreams; how they got together and what gigs they have coming up – the guys recommend some cool new artists to watch.

The band tell me about their process and tell me what music they grew up around; if they get a chance to recharge away from music; whether there is a busy music scene down in Hastings; what advice they would give new artists – they end the song with some great song selections.

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

The week’s been wicked; so glad to have the E.P. out finally. Our trip to Scotland, to play some shows, was wicked. It’s left us a bit skint but we’re really excited to get the England shows underway.

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

We’re Kid Kapichi; a four-piece band from Hastings. It’s tricky to describe our sound: it’s kind of a heavy, riff-based thing with a bit of a haunted house vibe. Have a listen and decide for yourself.   

Our line-up is Jack Wilson (Lead Vox/Guitar), Ben Beetham (Lead Vox/Guitar); Eddie Lewis (Bass) and George Macdonald (Drums).

Lucozade Dreams is your new E.P. What sort of themes and stories inspired the songs?

Lucozade Dreams, as a whole, is based on a caffeine-fuelled lucid dream.

To be honest, on this E.P., there are a few different themes, ranging from our own political views in Machine Men; Getting out of an abusive relationship in Cinderella - and your typical ‘observational night out song’ in Jack Jones.

Is there a cut from the E.P. each of you would select as a highlight?

Jack: I like the fake build-up in the first verse of Puppet Strings

Eddie: I like it at the end of Machine Men - when it all kicks off massive.

Ben: Me and George both love the solo in Cinderella. It’s a well intense bit of the live show to play.

The video for Puppet Strings is out. Can you tell me about the song and its origins?

Jack: It kind of explains it in the first verse, really: it’s about being used as a pawn in someone else’s love game - but you don’t care because you’re not emotionally invested in it.

Will there be gigs to support its release? Where can we see you play?

Ben: We’ve just finished our tour, which went all the way from Inverness to Torquay and ended with a proper sweatbox at our hometown show in Hastings.

Eddie: We’ve got some more shows in May. One at the Bolieroom in Guildford (T.B.C.) and playing at the Lock Tavern in Camden on the 12th as part of Frank Turner’s Lost Evenings festival.

How did Kid Kapichi get together? Did you all know, when you started jamming, this was it for you guys?

Jack: Ben and I had a flat together in Hastings Old Town a few years ago and we both would occasionally write music together. Pretty early on, we wrote a song called Ice Cream and decided to get a band together and gig it out. I knew George and Eddie from school: we used to play at break times in this practice room and loads of people would gather around the window and watch.

Ben: Yeah. As soon as I met those guys and we played together, it was pretty instant that it all felt right.

You are based down in Hastings. Is there quite a busy scene in that part of East Sussex?!

George: In Hastings, particularly, there’s an insanely good music scene; really diverse and well-high quality of all different genres.

Ben: Yeah. There’s live music that spans across all Jazz, Soul; Blues and Funk-type genres and, in the younger crowd, you’ve got artists like Sam Wills, Folded Like Fabric and Alibi making waves. To be honest, the wildness of the audiences is what adds so much to the scene, too: everyone’s always bang up for it.

Some doubt whether Rock is in good shape. With artists like Black Honey and Royal Blood; do you think Rock is very much alive and well?!

Jack: it’s difficult to say. Personally, I’m always so focused on what we’re doing as a band that I don’t have time to notice what the state of Rock and Roll is. I think I just believe that regardless of what you’re doing, if it is good, it will shine through eventually.

Ben: I think that there’s deffo been a lull in the number of bands in the forefront for the ten years that came before Royal Blood dropped: they sort of reminded everyone that Rock can exist in the mainstream and, since then, it’s been nice to see a gradual increase in the number of bands coming through.

There’s still more ground to be made though, definitely. I think we’re still at the beginning of the revival.

Who are the artists you all grew up listening to? Did music come into your lives early?

Jack: Luckily, both my parents would always be the types to have music on every day in the house and I’d always be that annoying kid that wanted to know the artist, the track name and the album. It was mostly '60s through to late-'80s. I filled in the rest of the blanks myself.  Everything from The Beatles and The Smiths to Led Zeppelin and the Sex Pistols.

I remember being obsessed with the solo in Hotel California for years and the intro to Whiskey in the Jar. You can’t forget the first time you hear those songs.

Ben: Yeah. There’s always been a lot of live music in my house; from a young age, always people bringing instruments round and having big jams. I played the drums when I was a young kid - but the guitar won in the end.

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

Jack: That’s a really hard one. I think influence-wise for me, personally, it is Amphetamine Ballads by The Amazing Snakeheads.

That was kind of a real turning point for me when I heard that album - and I just kind of got it. I understood where I was going wrong and just felt like a huge door had swung open when it came to writing.

What do you hope to achieve in 2018?

Ben: There are deffo some interesting things happening in the pipeline. Just trying to build our team around us and get some more music and videos out there as the year goes on…and are hoping to (just) gig more and more at bigger shows.

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

As a band, some of the best memories have been the hometown shows when we haven’t played in ages. Every time we do one, we always end it saying: “That was the best Hastings show”.  The E.P. release was mayhem.

What advice would you give to new artists coming through?

Ben: Mainly, just that there’s never any rush to be putting music up before you’re definitely ready. Make recordings for sure and gig out as much as possible, but saying ‘This is us in all our glory’ too early can be the kiss of death sometimes in terms of people getting on board. We were gigging and getting our sh*t together ages before Ice Cream was put out.

 IN THIS PHOTO: The Kiffs

Are there any new artists you recommend we check out?

Jack: Well. You guys are probably more in the know than we are when it comes to new music out there but, within Hastings, there are some great up-and-coming bands. The Kiffs are gonna be amazing. They supported us in Hastings the other day and blew us away. The Mystic Shed are great. Primal raw stuff.

Lucky Girl, who are also supporting us soon, are insanely good. Great name, too.

IN THIS PHOTO: Lucky Girl

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

George: It’s pretty full-on at the moment: there isn’t much time to chill.

Ben: Yeah. The gigs themselves feel like a release after all the graft that goes around them with the other band stuff.

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).

Ben: Without a Face – Rage Against the Machine

Jack: Queens of the Stone Age – Turnin’ on the Screw

George: Cotopaxi – The Mars Volta

Eddie: The Specials – Ghost Town

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Follow Kid Kapichi

Official:

https://www.kidkapichi.com/

Facebook:

https://www.facebook.com/KidKapichi/

Twitter:

https://twitter.com/kidkapichi

Instagram:

https://www.instagram.com/kidkapichi/

SoundCloud:

https://soundcloud.com/kidkapichi

YouTube:

https://www.youtube.com/channel/UCefjsEjjtzp0f7UvbE0z79w

Spotify:

https://open.spotify.com/artist/2iwVdN0Geaw5Sn2Abeh9fB

INTERVIEW: KAZE

INTERVIEW:

KAZE

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YOU only need look at their images…

to know they are a force to be reckoned with. Graham and Amy form KAZE and have been talking about their start and changes. I ask what inspired the song, Fierce, and how they will follow it up; whether there are any gig plans lined up; some new artists to check out – what KAZE hope to achieve before the end of the year.

Amy and Graham pick an album important to them; they discuss how they create such a sense of fun and theatre; whether they have favourite memories from their time in music – they reveal what they do when they’re not recording music.

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

Hey, there! We are both well, thanks. We’re away at the moment doing a spot of songwriting actually…

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

Graham McCusker, crazy Scotsman, writes the music and plays keys while Amy Webber, from Kent, writes the lyrics and provides the lead vocals. 

For fans of (it’s somewhere between) Björk, Wolf Alice and Kate Bush. 

What can you tell me about the latest single, Fierce? What is the story behind it?

Fierce is about finding your inner-strength to finally stand up to people who intimidate and bully you. It's about finding your power and your confidence to stand up to injustices.

I love the vocals and theatrics on the track! Was it quite a complex track to put together and get ‘just right’?

We rehearsed the track thoroughly before going into the studio, so it was actually more straightforward than we thought it would be when it came to recording it. While rehearsing it, we experimented with a number of approaches and characters which was fun. 

You recorded at Blueprints studios. What was the experience like being in the studio? Who else can we hear on the track?

We absolutely loved going into Blueprint and playing/recording! Just being in that atmosphere where all you think about is creating music; all the worries of the ‘outside world’ seem distant. You can hear Thomas Fripp on Guitar, Jamie Brewster on Bass and Alexander Tod on Drums. 

How did you come to meet one another? What started the KAZE ball rolling?

We met at the Royal Northern College of Music where we both trained to be Opera singers. It was when Graham became ill with leukaemia in 2016 and was undergoing chemotherapy that he decided we should start a Pop band. We had the occasional jam before of covers, but it was nothing serious.

After finding himself so ill and out of control physically, Graham felt music and writing was something he could control and put his energy into. We wrote twenty songs over his four months of treatment - and that’s how it all started. 

What sort of music do you both like? Who inspired you growing up?

Graham grew up listening to Steely Dan, Radiohead and At the Drive-In. 

Amy grew up listening to Ella Fitzgerald, The Cardigans and Caravan Palace. 

Now, we both have a huge range of music taste: we love Loyle Carner, mr jukes; Sigrid, Tune-Yards etc.…

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

We have some gigs coming up at the end of April which we can’t wait for! 

24 April: Edinburgh @ Sneaky Pete’s

25 April: Glasgow @ The Hug and Pint

27 April: Manchester @ The Castle 

Which albums, old and new, do you count as favourites and standouts?

Frank - Amy Winehouse

Gaucho - Steely Dan

Can we expect more material before the end of this year, do you think?

Yes! We have two releases in the pipeline - we’ve got a bold song called Weapon due for release in June and another song due for release in August!

What do you hope to achieve in 2018?

In 2018, we hope to secure some summer festivals. We have a stage show which we’re really proud of. It’s very theatrical and involves dancing, props and general performing flare. So, we really want to perform to a wider audience and on a big stage.

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

Amy: Those movie moments where you’re sat around a fire and, after drinks and food, someone gets a guitar out at the end of the night. It sounds cheesy but I love making music when there’s no pressure on it to have to ‘sell’ or reach a specific audience - when you just make music for enjoyment and just sing your heart out. 

What advice would you give to new artists coming through?

Write as much music as possible! Keep writing down lyrics ideas and little melodies. Put them on your laptop or on paper and hold on to them. Someone once said to us, for every ten songs you write, you might write one good one!

Keep on top of social media profiles too and keep connecting with people on there. Upload interesting content and connect with like-minded people/musicians. 

Are there any new artists you recommend we check out?

There is an excellent vocalist and songwriter in Angus Munro. We’re actually playing a few gigs with him in Scotland soon and we’re big fans of his punching, acrobatic vocals and heartfelt songs.

We also have a friend, Stella Angelika, who’s from London - and she’s writing really beautiful songs with sublime vocals. Check them both out! 

IN THIS PHOTO: Stella Angelika

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

Graham is a goalie and loves playing football with a post-match pint. If not on the pitch, Graham also enjoys virtual football, A.K.A. Fifa. 

Amy likes eating, cooking and running/yoga (probably done in the reverse order and with fresh herbs, cheese and a glass of dry white).

We both love getting outdoors and going for wild, country walks as well. 

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

Amy: Candi Bar by Keith Murry 

Graham: Boogie Nights by Heatwave

___________

Follow KAZE

 Official:

http://kazehq.com/

Facebook:

https://www.facebook.com/kazelikes/

Twitter:

https://twitter.com/KAZE_Tweets

Instagram:

https://www.instagram.com/kaze_music/

SoundCloud:

https://soundcloud.com/listentokaze

YouTube:

https://www.youtube.com/channel/UCyArgx117ng5749foshnr2A

TRACK REVIEW: Joseph Watt - I Did It All (ft. Scott Colcombe and Heidi North)

TRACK REVIEW:

 

Joseph Watt

I Did It All (ft. Scott Colcombe and Heidi North)

9.4/10

I Did It All is available via:

https://open.spotify.com/album/6MaoSChAlEnCl1DMhRy4Jm

GENRE:

Pop

ORIGIN:

London, U.K.

RELEASE DATE:

6th April, 2018

_________

I am taking a different approach...

to this review and offering a lot of positive suggestions. Usually, I am all-positive but, when it comes to one or two subjects, I am going to take another angle into them. I will talk about the music of Joseph Watt but, before I do, I will look at the social media spread and getting things bulked. The man has a good face and look and, with many artists, the need to see more of it is always there. I have been chided before – when suggesting artists do a bit more to get photos up – and realise there are budget constraints and restrictions that have to be obeyed. I have been looking at Watt’s online presence and it is impressive at the moment. The photos he has right now, as you can see, are high-quality and he has a great eye for the visual. He is a man who wants to make a striking impression and get under the skin. That desire for a subcutaneous impact means we have some stirring images and some good information. As we move into the spring; I would urge the young songwriter to expand his pics and, maybe, have another cool shoot alongside what is out there. His latest track is his second single, so there is a lot of chance to do more, but there is potential and huge scope in terms of Watt’s music. I know he will flesh out his photos in time but there is something unique about his imagery and the way he projects himself. The same can be said of his social media updates. He is pretty new to Twitter – one rather cool tweet – and I know he will update his fans along the way. What I would like Watt to do is think about moving more into YouTube and other platforms. I am not sure whether a video for I Did It All is coming but I see ammunition in his heart and a lot of grit.

All of my points relate to those first steps and how an artist grows between singles. So far, the man has accrued fans and is making strides in the industry. He has a fantastic sound and his story is one that will inspire many other artists. Watt already, on his latest single, is collaborating (as he did on the debut) so has bonded with other artists pretty quickly. All of this makes me excited for his future and what he can achieve. I am not sure what his plans are regarding new material – that was going to be the next point I was going to make. I have looked at both of his tracks and, between releases, I can see that boldness and bravery build. He is taking in new elements and subjects and starting to craft a strong sound. I wonder whether there is an E.P. coming and what sort of songs we can see to accompany those already out. I am a big fan of his work and, in a competitive industry; Watt is already taking big steps. I love how some lesser blogs - in terms of their views and qualities - have sent out less-than-empathic reviews on SubmitHub and Watt, in good humour, has promoted them! Not only are those websites wrong, but they have missed the point - his song is not too commercial and is standout; it is not too slow and not too radio-friendly - it is friendly to the stations that value deep and oriignal sounds. What interests me about his sound is there’s a melting between something harder and tougher – combined with a more detailed and colourful brew. I will move on to look at song subjects; moving from being a producer to a songwriter; how young artists can succeed in a fast-paced industry; future plans and how an artist like Joseph Watt can get a leg up and step further than his peers. It is interesting looking what is already on his online pages and the music he has produced. There is a lot of determination and innovation and, as he brings out new material; Watt is venturing into new territory and pushing what he does. To reflect this; one might want to see a few more snaps and one or two more Twitter bits. There are going to be radio stations calling and coming his way – they will want to keep informed and see what the young man is up to.

I am seeing a lot of new artists progressing from behind the microphone to stepping out on their own. I wonder, in this day, whether people are being encouraged to produce. I am not sure how one would get into that side of the business but I know the role of the producer is under-valued and misunderstood. Some assume it is little more than rocking up to the studio, pressing a few buttons; twiddling some knobs and making sure all the faders are set right – watching the artist play and making sure it is all recorded. Some songs bring that cliché to mind – not a lot of effort put into it – but being a producer is much more complicated and technical than all that. The producer is charged with making decisions and, often, debating with an artist in order to improve their sound. I am annoyed many do not value the producer that much and feel they are an insignificant cog in the machine. What I know is the producer is a lot more valuable and meaningful than people assume. So many great albums and songs sound that good because of the producer adding their mark. In new music; many artists are producing themselves and learning all the skills they need along the way. There is, mind, a marked difference between D.I.Y. recording/producing and producing in a studio. Joseph Watt has spent time in the studio and helped bring other artists’ sounds to life. I would love to get into producing but fear I have left things a little too long. It can be risky making a big call and affecting the sound of a record. Of course, if you get it right; that sort of decision can elevate a record to rare heights. Watt has spent time around acts like Sasha; he has co-produced and got that valuable experience.

It is not only producing that has increased the skillset and desire of Watt. He has already hooked up with other artists and gained a lot of traction mixing it up in different genres. I can understand that need to get out from behind the curtain and show the world what you are about. In terms of Watt’s own music; he has gathered a lot of important knowledge watching other artists and taking that into his own sounds. Joseph Watt’s latest single is a leap from his debut and, as he goes along, Watt is adding to that magic and acquiring new skills. I can see how much of his own self goes into the music (even if other artists take on vocal duties). I guess a lot of that talent and ability has come from transitioning from behind the microphone and working alongside other musicians. It is impressive that Watt decided to go it alone and take that risk. It could have backfired: I have seen many producers and cohorts do their own thing and lose a lot of momentum. In terms of Joseph Watt; he has sprinkled in his musical tastes and past work and produced something stunning and full-bodied. It would be good to see Watt continuing collaboration and getting in a bit more production experience. If he can work in the studio with other artists, that means he will build his C.V. and bring that to his music. Integrating new shades and ideas can only help strengthen his work. I am not sure how far ahead he is looking but, judging his latest work; I can hear that fire and passion coming through. Watt is riding high right now and setting his sights on future glory. Look at where he has come and what he has already achieved: look ahead and see where his music can fit in and how far he can go. Joseph Watt has a tough challenge ahead of him – standing out in a busy market.

I am going to get to his single soon but, before then; I want to look at ways artists can succeed and how he can get ahead of his peers. Right now; we are seeing too many artists produce the same kind of sounds and progress in the music industry based on aspects other than talent and originality. There is still a bit of a bland mass that produce something unspectacular and boring. Many are motivated by commercial gain and there are others who do not really put a huge effort into things. Too many radio stations and sites are focusing on artists who do not offer much to music and are really not doing anything spectacular. I am concerned we are in a position when the biggest and best artists around have to struggle too hard to get attention. That might be hard to sort out right now but, in the short-term; there is an opportunity awaiting those who want to succeed. The dissatisfaction and anger many are feeling, concerning that surfeit of quality, is leading to many scanning around and looking out for someone who can offer something new. Joseph Watt is one of those artists motivated by the personal and unique. He takes from the heart and puts that onto the page. I am stunned by his work ethic and the emotions one gets from hearing his music. I am looking around myself and championing artists who depart from the beige and go a lot further. Many music fans like me are tired of the same thing coming into our ears and not really being surprised by music. It is hard, I know, to get out there and separate yourself from the pack. There are so many different options – it can be hard getting a handle on things and finding out what is genuinely great. Joseph Watt is one of those artists who has something fresh and exciting at his disposal.

IN THIS PHOTO: Heidi North and Joseph Watt/PHOTO CREDIT: George Walker

I am interested looking at his 2018 and what is coming next. I believe there might be a couple more songs arriving and, whether that forms an E.P. or not, it will be good to see what tone they take and the sort of sounds included. Music is such a tough industry to crack nowadays. I have mentioned this a lot and wonder whether too much pressure is being put onto artists’ shoulders. One of the reasons there might be too many same-sounding acts is the fact it is risky stepping out of a comfort zone and taking that risk. Whether that risk is putting yourself out there or concocting sounds that do not usually hang together – few are willing to sacrifice that much. Joseph Watt could have gone down an ordinary path and have an open route to festivals. That might have been tempting and easy enough for him. I am glad the young man has taken his own course and not compromised too much. I was talking about that ‘chance’ available for artists and what is available out there. By that; there is a gap right now that needs filling. The new vogue is artists who are emotional and reveal themselves on the page. That does not mean being too open and revealing: it is more about showing sensitivity and stepping away from subjects of love and the pointless blame we cast out. Many of us want to find a sound that is rich and mixes something raw and tough with a more soulful and passionate edge. That might sound like a very particular and niche concoction but, if you think about what is already out in the industry – do we hear enough music like that? Joseph Watt has built his career on that kind of blend. I am excited to see what he comes up with next because I think, what he is offering, is just what the industry requires right now.

Before I come look at the song itself, I wanted to investigate its inspiration. There are not that many songs out there that tackle domestic drama and the role of a child in a failing relationship. A lot of songs deal with love and broken relationships; there are not that many that look at the perspective of a child and go deeper into a family whose core is starting to come away. There is a lot of blame going through the track and there are different perspectives. One hears about the breakdown and why the relationship has gone sour. Rather than have the writer talking about their experience and cast blame; there are those separate viewpoints and so many ideas working away. The song’s title, and the idea of giving it all, is investigated throughout. Each parent claims they have given it all and done everything right. The child comes into the fray and has done everything they can. You can never blame a child for a marriage split – it is interesting to see the way the song unfolds and the different views. Most love songs and those that deal with disintegration look at the one person and them casting blame. I have not heard of a song that deals with several parties and their views. It is a fascinating mix of emotions and voices working away through the track. I will look at the track itself but, before then; I wanted to think and wonder whether anyone else is doing that right now. I mooted the sort of sound we wanted to discover in the industry. We still see too many love songs coming out and the same kind of messages being projected. What we do not see are artists tackling relations and breakups in a new and unexpected way. It can be hard – especially if you do not have that experience – and most of us write about what we know. More often or not; that involves a relationship ending and blame being provided to the other party.

Joseph Watt, in I Did It All, shows a maturity I was not expecting. The latest track from him sees the child confess they have given everything and done all they could. The catastrophic and immense ending of that relationship has sent shocks through the house and left its marks. I know Watt’s upcoming music will be lighter and look at other things. The fact he is already writing about stuff like this makes me hopeful we will see something spectacular from Watt. He is a man with a different perspective on life. He wants to go deeper and do things differently from his rivals. I know there are those out there who do similar things to Joseph Watt. I have speculated what musicians need to do to stand out and what the industry desires right now. More than anything; the latest slice from Joseph Watt shows he is here for the long-term and never willing to squander his voice for something easy. As I step my way through 2018; I am trying to bond with music that stays in the mind and makes me think harder about my own life. Joseph Watt is an artist who writes from his own experiences but has an ability to craft tales and skew the facts. He mixes wonderful sounds and he wants the listener to dive into the music and take something away from it. I listen to I Did It All and learn more about myself and discover something I was not expecting. I have hinted at his maturity and, at twenty-two, he is one of those new artists who exceeds expectations and shows he is hard to predict. Looking ahead at where he can go; I predict there will be several albums and more songs that look at the complexities of fallen relationships. It is stunning seeing where Watt can go and what his next song will entail.

His current single has been gathering some heat and praise already. One hears, wonderfully, little elements of James Blake and Frank Ocean in the opening bars. Joseph Watt handles the production and writing but, when it comes to the vocals; it is his collaborators that take on the duties. Scott Colcombe is a white British artist but one hears sounds of black artists from the U.S. Ocean is the relevant example – mixed with a bit of British magic from James Blake. The introduction sees far-off vocal chorus and contributes to that sense of tingle and passion. The electronics and beats conspire and rise and there is a great choral effect that runs through the opening moments. You assume, because North and Colcombe are taking on the voices, they represent the parents in the piece. North voiced Watt’s previous song, Five AM, and adds a lot to his current track. Colcombe showcases his soulful croon and leads the track. He investigates being blamed and taking everything. There are accusations flying around and it seems he, as the dad one assumes, is taking a lot of the brunt. It is hard to ignore the way Watt’s production and musical tastes drive the song forward. I have talked about the way he writes songs and how he adds something different to the pot. He is never fully in the background and is always pushing the song on and adding his talent in. Colcombe starts things off and sets the scene. The woman wasn’t there for him and he is sorrowful in a sense of defeat. There is a sense of defeat and, as we get backing vocals and a building soundscape; the song takes on more weight and hits hard. Heidi North comes in and plays the role of the mother. She has the same mind and, knowing the man is going to say he is not at fault - she has taken the same aspect and is confessing to the effort she put in.

Watt’s aspects – maybe a tinge of a vocal and production spark; the instrumentation and inspiration – is the soul of the song and fuses the beating heart. Colcombe and North are great partners and add their own tones to the song. They are very different voices but both have an immense degree of soul in their vocals. It is hard to say who was truly to blame, and what went wrong, but you cannot overlook the role of the child and how they are affected. That, in a way, is what Watt represents. His vocal presence is minimal in that sense: his sounds and production are the third voice and overlooked victim. Watt wrote and produced the song and could have taken a large role in the foreground. He is transitioning from the realm of producer to writing his own stuff. One wonders, on future cuts, we will hear more of Watt’s voice come into the foreground and mix it with his collaborators. What is interesting about Watt is the way he can write a song and make it his own whilst giving the vocal chores to other people. North and Colcombe are natural talents who understanding everything Watt wants to project and are right behind him. Both of the leads cast blame and they find it hard to blame themselves. Maybe it was a case of the relationship running its course and neither being truly committed. At every stage; one wonders whether the child is being considered and how they play in the breakup.

The real potency comes from the way the vocals fuse with the composition. The song continues to build and mutate as the words come out. There is Gospel grace and clicking beats; piano notes that have Pop edges. I have labelled this song as ‘Pop’ but, if anything, there is so much going on throughout. It is tricky getting a handle on everything the first time you listen through. I have heard the song a few times and amazed by the intensity and beauty of the song. Watt’s production and guidance makes it a big and dramatic song – without it being too polished and impure. The unity of Colcombe and North, when they blend vocals, gives the biggest chills. They unite wonderfully and add something sumptuous into the pack. I Did It All could be seen as confessional – owning up to what went wrong – or the opposite – they gave everything and could not be seen as culpable. Five AM featured North alone and is a different beast to Joseph Watt’s new single. Now, on his latest cut; Watt has stepped up with something more emphatic and luscious. North owned the debut but, with Colcombe on the new song; that partnership adds something extra. I wonder whether future material from Joseph Watt will feature these two artists – or the man takes on lead vocals and goes in another direction. In any case; I Did It All is another fantastic song from an artist who is exploring new ground and writing music like nobody else out there. The industry needs someone as individual and strong as him right now. I predict the young master will go a long way and succeed. He has a great ear for choruses and melody; his production skills are ace and, with every move, he is gaining new skills and expanding his horizons. Lord only knows how far he can go and what he can achieve before the end of the year. His faithful collaborators have elevated I Did It All to heavens and make it a song you will not forget in a hurry!

Whether you put Joseph Watt’s songs in upper-case or not – I prefer the latter – you cannot deny he is a bold and impressive act. Five AM, his previous song, was one that struck the mind and one that I covered. There is a lot to recommend about Watt and what he is doing at the moment. I know there will be more dates coming but one of the best things that strike my mind is his bond with artists like Heidi North. He spars well with every artist he comes across: his connection with North is special and it might be interesting were they to work with her down the tracks. The production eye and that ease of conspiring means we get full and assured songs from an artist just starting out. I am compelled by his songs and how much he has already accomplished. There is this illusory perception that the mainstream and Pop artists are ruling and essential. That music might be what gets the Spotify streams and buzzes on the biggest radio stations. I am not sure why people value popularity and commercialism over authenticity and something more emotive. In any case; Joseph Watt is an artist who has a long future ahead of him and doing something not many others are. If you have not discovered his music then make sure you get behind it and involve yourself. I have mentioned the need for a few more snaps and information. There is curiosity out there so, to get into the minds of stations and festivals; having a new shoot or some more tweets out there would add to that authority. I have loved listening to Joseph Watt’s new songs and loo with interest at where he can go from here. Let us end things there and congratulate Watt on a great song and strong offering. I Did It All shows he has the determination and talent to go all the way in the music industry. The parties in his current song confess to giving their all and not taking anything for granted. That is a sentiment you can apply to…

JOSEPH Watt himself.  

__________

Follow Joseph Watt

Facebook:

https://www.facebook.com/JSPHWTT/

Twitter:

https://twitter.com/JSPHWTT

Spotify:

https://open.spotify.com/artist/4CQzuUaN2ap9k9NNQxswhi

INTERVIEW: Michael Paradise

INTERVIEW:

Michael Paradise

___________

THIS has been a busy day for me…

and one I am ending by looking at a fantastic young artist. Michael Paradise lets me into his world and tells me the story behind his latest track, Meant 2 Be. I ask him whether there is more material in the locker; which music he holds dear; how his diary is looking for the coming weeks – whether the Canadian will come to the U.K.

I discover how Michael Paradise’s music comes together and how important Goldchain was to his current song; whether the artist has big ambitions and plans for the remainder of the year – he reveals why music by black artists, right now, is speaking to him so loudly.

___________

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

Hey, Sam. It’s been pretty good. It feels great putting out the first track off the new project and I keep getting hit up by old friends, acquaintances and, of course, my best buds (which is really nice).

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

I’m a fully-independent Toronto artist trying to make feelgood music that vibes with people. I write and play the recorded music myself, although I have been getting a lot of help from Goldchain, who is a dope producer and artist. You should check him out. I also have recently put together a band and we play our first show at Burdock Music Hall in Toronto on April 26.

I am interested in the idea of the song, Meant 2 Be. It is a song designed to make you feel good and promote a message. What was the decision behind writing it?

This song is a collaboration with Goldchain. I heard this track he was working on and was like ‘Whaaat; that’s sick’. So, we ended up working on it together and I quickly realized this was the first one I wanted to put out. The idea behind the content is quite simplistic: it’s meant to be sexy and embrace the spring feels coming,  but also, it’s about what I’m going through in my personal life right now.

My partner and I have been having some serious issues even though, most of the time, everything is really good between us. So, it’s almost a question: This feels so good, so why can’t it just work?! Why is it never simple?!

How important was Goldchain regarding the song and your improvement as an artist?

Goldchain is just so professional, but he also has a really clear vision. He’s quite critical in a good way. He challenges me to make something better than what I would have settled on.

Your name, ‘Michael Paradise’, seems to reflect your need to express yourself, and music, without repercussion and boundaries. Do you think too many artists are a bit hesitant and creatively fearful?

It’s a good question and I don’t think it’s that simple…

With social media, it seems like everyone is just doing their thing, fearlessly, and making really cool art - which then can prompt the viewer to feel like they aren’t doing enough. But, also, all the artists I know suffer from some form of self-doubt…myself included. This fear can be crippling. So, with this project, I really just wanted to do my thing and release some sh*t for fun.

Let go of the hesitancy…

Will there be more music coming later this year?

Yeah, def! There are four tracks written and demod for this project. I’m hoping the next single will come out within the next two months.

I know you have been in music for years. When did you decide to do your own project?

I moved back to Toronto from B.C. - where I was living for a bit about three years ago - and I just started slowly writing some of my own tracks. I then got some FACTOR funding recently, so that kicked things into gear for releasing content.

Which artists did you grow up around? What sort of music were you raised on?

Man; I grew up on the classics: Bob Marley, The Beatles; The Grateful Dead, Van Morrison; The Band, James Brown etc. My parents had a stack of records in the kitchen next to the sound system -and those were the types of albums lying around. Later, I got really into Ska, Punk; '90s Hip-Hop.

Now, I just listen to so much music in so many different areas. I think SZA is my fave big artist and Still Woozy is my fave emerging right now.

What do you hope to achieve in 2018?

I have a professional career in music outside of being an artist, so a lot of my personal goals are tied to that as well. But, for my artistry; I’m just trying to have fun and do my best and keep my expectations low.

Which albums are most important to you – in terms of their power and impact?

I mostly only listen to contemporary music now. I think the most progressive, ground-breaking and interesting sh*t being made is in black culture music: R&B, Hip-Hop and Soul. Artist like SZA and Kendrick (Lamar) are just blowing me away. But, also stuff like Noname. I’ve had her album on-repeat for months.

I’m also so into Kali Uchis since I saw her at Danforth, in Toronto, a while back. I love the whole thing she has going on: the branding and artwork, the feel of the music; the feminist messages mixed with really sexy vibes.

I dunno; it’s all pretty cool…

Can we catch you perform anytime soon? What dates do you have coming up?

Right now, just the Burdock show in Toronto on April 26. But, there will be more to come, I have no doubt.

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

No, not yet.

What advice would you give to new artists coming through?

I think my advice is simple: just stay true to yourself. An audience can really recognize authenticity. Don’t make something because you think it is cool and will sell: make it because you need to express yourself. Also, never underestimate the value of networking. With your art, you need to stay true to yourself but, in your social circles and industry, you gotta hustle and put yourself out there.

IN THIS PHOTO: Still Woozy/PHOTO CREDIT: Palmer Morse

Are there any new artists you recommend we check out?

Still Woozy, Men I Trust; Alcordo, Desiire; MorMor, Sylo Nozra and Jaunt.

The list could be endless: so much good sh*t is coming out these days.

IN THIS PHOTO: Alcordo

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

I’ve been working real hard of late. I’m doing my masters, work full-time at a festival and I have this music project. But, I love to exercise to get out of my head. I love getting out of the city too and, of course, playing and listening to music…

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).

Well, since I mentioned him so much: Lucy by Still Woozy (ft. Odie)

___________

Follow Michael Paradise

Official:

https://www.michaelparadisemusic.com/

Facebook:

https://www.facebook.com/michaelparadisemusic/

Twitter:

https://twitter.com/paradisemusic12

Instagram:

https://www.instagram.com/michael.paradise.music/

Soundcloud:

https://soundcloud.com/michaelparadisemusic

Spotify:

https://open.spotify.com/album/24irEVNzRfE7OV26Swv7gf

FEATURE: Access All Areas? How Disabled Gig-Goers Are Still Being Ignored

FEATURE:

 

Access All Areas?

 ALL IMAGES/PHOTOS (unless stated otherwise): Unsplash 

How Disabled Gig-Goers Are Still Being Ignored

__________

ONE need not be confined to a wheelchair…

or have a pronounced physical injury to be considered disabled. As someone who suffers from depression (an illness rather than disability) the ‘invisibility factor’ is a daily stress. It is assumed that, unless you are constantly weeping and suicidal, there is nothing really wrong. Even when you explain the severity and depth of depressions; many write it off as a minor thing and a personal problem – not something that should burden other people. I cannot imagine the sort of ignorance that extends to venues and live performance spaces of the world - to those who have limited access and genuine disabilities. Those disabilities can include deafness and blindness. People from all walks of life and ailments have a passion for music and, therefore, should be provided the opportunity to participate in gigs. It is an inalienable right for everyone: not something that should alienate those who are less able-bodied and mobile as the majority. A fantastic charity called Attitude Is Everything has a manifesto and business plan that aims to reverse the stigma and restrictions imposed on those with disabilities. They say, on their website:

“Attitude is Everything improves Deaf and disabled people’s access to live music by working in partnership with audiences, artists and the music industry.

Having begun as a pilot project in 2000, we are now a fully independent charity and part of Arts Council England’s National Portfolio of Organisations. We encourage events producers to go beyond the legal obligations set out in the Equality Act and implement best practice, providing a fair and equal service to their Deaf and disabled customers.

IMAGE CREDIT: Attitude Is Everything 

I have heard a lot of stories concerning those who, visibly and not, have been turned away from gigs or been unable to enter the premises. There are more and more venues considering disabled patrons and making accommodations. That might include wider seating and easier access to the venue; priority seats for disabled patrons – little improvements so that people are not needlessly turned away. Whilst many of us have no issues getting into venues once our tickets are purchased; for some, the experience they face when at the entrance is shocking and unacceptable. Some have been turned from the door because they had no visible physical issues and were able to stand. If you are deaf or blind, it might be clear-cut in terms of your needs and disability. There are conditions that affect mobility and access that do not necessarily present themselves in an overtly physical form – some people might need easier access to toilet facilities or be unable to scale steps/aisles to get to their seats. Even if you are a smaller venue; it can be intimidating, once in the place, to get enough room and visibility. Is this an issue that affects all venues? How large is the problem? Reading an article from early last year; it seems, at least, there is an improvement occurring:

“Access to live music for disabled people is improving, according to the head of a leading disability charity.

In 2016, Attitude Is Everything found a third of live music events had "no access information" on their websites for deaf and disabled people.

Since then, CEO Suzanne Bull MBE says that 40 festivals and venues now have dedicated pages online.

"Most disabled people are going to want to make an informed choice about where they're going to spend their money.

"What is the point of buying a ticket if you don't already know if you're going to get into that venue."

Band On The Wall is a venue in Manchester which was awarded Attitude Is Everything's gold status, which the charity uses as an example of somewhere which provides excellent disabled access.

Gawain Forster, Projects and Facilities Manager at the venue, says the changes mean they often get repeat customers.

"Customers with access needs come here regularly and often. If you make it easy for someone to attend and they have a good time, they keep coming back.

"That is the basic principle of business".

What happens when you are one of those people who is not confined to a wheelchair or need an aid to mobilise you? Do you suffer unfairly and are treated poorly because, if you are able to walk around, your disability cannot be that bad?! Many have, lately, spoken out regarding getting into venues and having their pleas ignored – they have been refused entry or not had their requirements taking into consideration. I have hinted at how the issue seems to be lessening.

Around the same sort of time as the previous article I quoted; another one, from the Independent, looks at deficits and worrying statistics:

“A study of 251 live music venues and 135 festivals, backed by Arts Council England and carried out by disabled music fans on behalf of the campaign group Attitude is Everything (AIE), found that a majority failed to provide adequate information on access for people with disabilities. Among independent venues, 69 per cent gave no prior details at all and 50 per cent of the remainder offered information described by the report as “poor”.

The findings provoked Emily Eavis, organiser of the Glastonbury Festival, to “urge all festival and venue organisers to ensure that they provide high quality and comprehensive access information” for disabled music fans.

Fans recounted stories of being ordered out of disabled toilets for taking too long, having their vital medical equipment subjected to searches and being doubted by staff over their need for a raised platform because they are not wheelchair users”.

It can be hard proving a disability if there are not clear physical signs. Most music-goers would not fabricate an illness or problem to get better seating. Everyone wants to get in and would not have to lie about a disability to get entry to a venue. There is such a demand for live music that many feel they are unable to do anything about the seating position/width and access rights; others are unable to spend the money making life easier for those with disabilities.

We need to make music as accessible and open to everyone. If we place barriers in front of those who are less able to get around and have a disability then we risk sending out a very poor message to the world. I know there are venues that are set up a particular way and, to adapt them to better accommodate disabled attendees, then it would require a big overhaul and capital input. In a lot of cases, it takes more understanding and tolerance from those who police venues and take tickets at the door. There is ignorance around what constitutes a disability and how some are unable to put their point across. Going back to Attitude Is Everything, and another part of their website caught my eye:

“We support the music industry to understand Deaf and disabled people’s access requirements at music venues and festivals by building equality into the strategic process using a Charter of Best Practice. The ethos of the Charter is that Deaf and disabled people should be as independent as they want to be at live music events and over 100 venues and festivals have already signed up”.

A piece, written by Rob Maddison, shows the experiences he had when performing and D.J.ing:

“…When I got out of hospital, I quickly discovered why: access. The first problem I encountered was how to get into my old rehearsal room, quickly followed by the challenge of getting into venues. Almost all the places I used to play, from small rooms to 2,000-capacity clubs, had suddenly become an impossibility for a musician in a wheelchair. Even a small step could appear like a mountain. Yes, there are helpful roadies and stage crew who can carry you up stairs, but this is extremely risky at the best of times. One slip and it’s all over”.

There is enough testimony and experience to see a split: some venues are adapting to the needs of disabled goers and others are not. It seems, at any rate, a survey needs to be conducted to ensure there is adequate access for disabled musicians and gig-goers. The fact there are so many visible disabled musicians might stem from the poor awareness and lack of accessibility. Deaf and disabled customers put so much into the gig economy and are invaluable to the music industry. If they are turned away then it risks haemorrhaging an important stream of revenue and faithful customer base; making it know the music industry is for the able-bodied solely. That is not what we want to tell people. More investment from the Government needs to happen, that is for sure. In any case, before then; we need to better informed regards the spectrum of disability and why the wheelchair is not the definitive symbol – the only disabled people are those restricted to a wheelchair. They need to be considered, of course, but there are so many who suffer restricted mobility or have neurological issues that limit their access and movements. I have hopes things can change – I am saddened there is ignorance and lack of understanding towards the disabled community. It might take more money and conversation but, if we can get the cogs turning and changes happening; it will make gig-going a much more pleasurable and less upsetting experience for…

THE disabled community.

FEATURE: Here Comes the Fear: The Growing Issue of Stage Fright

FEATURE:

 

Here Comes the Fear

 ALL PHOTOS (unless credited otherwise): Unsplash 

The Growing Issue of Stage Fright

__________

THERE is probably a better name…

to describe the sensation and nerves an artist gets when they hit the stage; the feeling of cotton balls being stuffed into the mouth and the stomach being pounded – the head spins and the words fail to come (anxiety, I guess, is more apt and less rigid). A lot of new artists I am interviewing at the moment are saying the same thing: they had to overcome stage fright and tackle something that, until recently, ruled their lives. There is something heartbreaking about having all that talent and ambition inside of you; the fact nerves and an inability to project in front of a crowd – or step up to the microphone in a studio – prohibits expression. One of the reasons I am raising this issue is my own drawbacks: stage fright and nerves have restricted my horizons and made me a little hesitant to get onto radio and put my voice out there. Many say that, when you are flying and get over those initial hurdles; everything is okay and you’ll wonder why you were ever so worrisome. The trouble remains: getting past those, seemingly insurmountable roadblocks are a lot harder than pithy bromides and casual maxims. The same way one afflicted by depression cannot simply overcome their illness with good spirits and optimism: someone who has that terror and crippling stage fright cannot, by force of indomitable determination, lose that burden and purge all that weight.

I can do radio and speak fine – I have been on before – and, aside from those initial nerves when the show gets started; I relax into the task and am excited to be where I am. One of the problems comes when being asked to sing or take control of the mantle. There are legendary artists, and new heroes, who have confessed to having stage fright. In fact, many of the biggest Pop names, at some time, have battled fears and anxieties. There is, however, a distinction between straightforward anxiety and the unholy pain of being unable to perform on stage. To some, it is about the immensity of the task and the sight of thousands waiting for something spectacular – the expectation gets heavy and starts to prod the heart, head and stomach. To others, it is the fear of losing their voice or screwing up their words; the embarrassment that comes with back-tracking and improvising – others, for example, are affected by the fact they are unaided and have to produce an entertaining and coherent gig. In my case; I have that sense of eyes being trained onto me; the way people are waiting for something to happen that moves them – having to face self-doubts and the unnerving silence that comes with gigs. I have not performed myself but the mere thought of stepping onto the stage holds some problems.

Maybe experience and conquering that fear is, in itself, the best way to remedy stage fright. Maybe you need to have some bad experiences and keep going before you can truly be confident and comfortable. There are deeper psychological issues and anxieties that make it hard to visualise a day when one can transition from a nervous and dry-mouthed performer/orator to a truly level and calm star. From holistic and homoeopathic remedies through to hypnotherapy and counselling; there are ways people are dealing with stage fright. Artists like Adele and Val Halen have, at some stage in their careers, faced stage fright and all that comes with it. I have been reading a few studies that explain what stage fright entails and ways one can try and defeat it. An article in The Guardian - back in 2015 - examines invoking stage fright in its physical manifestations and sentient self:

“At the Royal Northern College of Music, Professor Jane Ginsborg has a particular method for explaining this to her students. She asks them to write down what it feels like to fall in love, then, much later, write down what it feels like to stand backstage moments before a performance. Love and fear seem like contrasting emotions, but the descriptions most students will write for each are eerily similar. The bottom line is that the body has only one way of knowing excitement.

It’s why almost every soloist will experience the physical symptoms of music performance anxiety to some degree, particularly in the moments before walking on stage. At its very worst, this anxiety causes the heart rate to rapidly drop, resulting in the player simply freezing or even fainting on the spot.

Most common is the “fight or flight” response, less severe than freezing, but it can still stimulate a vicious cycle. The nervous system pumps two hormones, adrenaline and noradrenaline, into the bloodstream. When their levels get sufficiently high, it leads to physical reactions such as higher heart rate, muscle tremors and increased blood flow from the stomach to the muscles, causing nausea and the feeling we describe as “butterflies”.

If controlled appropriately, these hormonal imbalances can lead to a heightened state of awareness, and a more powerful performance. But given the fine muscle movements and coordination behind musical technique, too much can impair technique, leading to increased anxiety and panic, followed by concentration and memory lapses, and more stress”.

The subcutaneous itch and sting of stage fright is something some people never get over. The way the article above simplifies the body’s response to nerves and copes with it fascinates me. I guess, in some ways, stage fright is binary and does not have that many tentacles. One has that fight-or-flight instinct and it is hard to temporise the need to flee and abandon the stage. Are there, then, ways around the problem and medications one can take to negotiate with stage fright?! Another article I have been reading looks at the question in more depth:

“Janet Hilts, a California-based anxiety coach and producer of the DVD workshop, Dissolving Stage Fright, describes performance anxiety as a sort of post-traumatic stress disorder.

"When you think of little kids in moderately normal homes, they love performing — you can't stop them," Hilts says. "Then, some experience stomps that enthusiasm out of people. Some might have grown up in an environment where there was a lot of criticism, or maybe they were encouraged to be quiet."

To treat stage fright, some doctors prescribe "beta blocker" medications that close off the receptors responsible for our natural "fight or flight" response. Though these medications have been approved by the Food and Drug Administration, some anxiety specialists such as Hilts favor a more natural approach”.

There is that battle between taking a natural approach to medication and relying on prescriptions and drugs. The will and defiance needed to conquer something like stage fright can be rooted in, as alluded to, how our hormones react and guide us when we are children. It is interesting seeing the reasons why some might take to the stage with aplomb and no fear: others might have those jitters and pace backstage before they go on. Is there a downside to self-medicating and finding individuals ways to control those nerves? The Telegraph, back in 2014, cast the spotlight on that question:

“…The problem is that, by dulling nerves, pills or alcohol also dull the edge of tension and inspiration that makes for a great performance. They also treat the symptoms not the cause, says Aaron Williamon, head of the Centre for Performance Research at the Royal College of Music. “Basically there are two components to stage fright,” he says. “There’s the automatic physiological response to being in a stressful situation, things like dry mouth, racing heart and so on.”

Then there are the psychological aspects, which include unhelpful thoughts, like imagining the performance is going to be a disaster.

“The first one you can treat with things like exercise, which lower the amount of tension-inducing hormones in the body, such as cortisol,” says Williamon. “For the second one, cognitive therapies are very effective. It’s a matter of getting the musician to think about the situation in a more rational way. For example, instead of thinking that the audience is the enemy, and the performance will either be perfect or a disaster, you retrain the performer to accept that there will inevitably be a few mistakes, and the audience is on their side”.

There are a few articles that look at ways one can manage stage fright. Although it might be impossible to go from a cowering and nervous performer into a huge and boldly empathic alternative; that does not mean all is lost. Few artists out there can stand on a stage and be free of nerves and never be affected by stage fright. Classical artists have it; mainstream Popstars are afflicted – it is an issue in every corner and avenue of music. The best way to control and manage the problem so that one can get onto the stage and sustain a career is to follow a combination of self-actualisation exercises; natural cures and supplements – consider, if the issue is pronounced; go into therapy and look at the reasons why the stage fright is so bad. Many assume they are alone and it is not that bad for other people: so many others have the same fear and anxieties that affect how they approach music. I am going to radio and the media more but realise I need to address minor stage fright – looking at talk-therapy and some natural options that might alleviate some of the symptoms. I cannot imagine how bad it is for other people, though. The added pressures put on artists’ shoulders these days makes it all so much worse.

IN THIS PHOTO: Adele/PHOTO CREDIT: Getty Images

There is endless competition so the desire and demand to have them endlessly perform and be at their best ALL OF THE TIME can create insurmountable nerves and exacerbate a real problem! We need to go easier on musicians and recognise those who are afflicted by stage fright. Although few accommodations can be made; having a greater knowledge of the condition and how debilitating it can be will go a long way to lessening the severity of the symptoms. For anyone who does face daily stage fright; there is help out there and ways to take some of the strain off – even if there might not be a quick cure. Some big artists have suffered from stage fright for years. NME, back in 2015, looked at Adele and how her stage fight made it increasingly difficult for her to tour:

“In a new interview with NPR, the singer explained that she was finding it harder to perform and was “too frightened to try anything new.”

“I get so nervous with live performances that I’m too frightened to try anything new,” she said. “It’s actually getting worse. Or it’s just not getting better, so I feel like it’s getting worse, because it should’ve gotten better by now.”

“With my stage fright, I just don’t want to let people down,” she continued. “I get so nervous onstage that I don’t have the guts to improvise or anything like that”.

There is hope, though, that stars like Adele – who can still tour and take to the big stages – have found ways of dealing with stage fright and its worst traits. The bigger question is whether something effective and concentrated – without causing harm and addiction – can be given to musicians who suffer bad nerves and anxiety. The rewards, if that is ever possible, would be hugely beneficial…

TO the music world.

INTERVIEW: Lara Smiles

INTERVIEW:

Lara Smiles

___________

SHE is a bright and ambitious songwriter…

who is ready to take music by storm. The incredible British artist Lara Smiles tells me about her path into music and when she first bonded with the guitar; what the story is behind her single, Coincidence; what we can expect from her debut album – which albums she holds dearest.

I ask what she has coming up in terms of gigs; some new artists we need to get behind;  what advice she would give to any similar artists making their way into music; what sort of sounds she was raised on – how it feels being promoted and backed by some big, important sites.

___________

Hi Lara, how are you? How has your week been?

Hey. I'm good, thanks. Hope you're well! My week's been good. I'm just on tour in Germany singing with The Australian Pink Floyd Show. It's my other job when I’m not doing my own stuff (smiles).

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

My name's Lara Smiles. Some people think it's my stage-name but it's my real name. Haha! I grew up in Hertfordshire in a small village with no music scene, so I moved to London. 

I play my songs with an awesome drummer and bass player, so we gig as a three-piece, and I like to write songs that don't have a specific style. But, I mainly like to mash up Rock, Indie and Electro. I'm in the middle of recording my debut album and I’m excited to announce it will be out in the summer! 

What can you tell me about Coincidence? How did the single come together?

Coincidence is the first single from my debut album that I've put out.

It's slightly different to all my earlier releases because it's the first recorded song I'm playing all the guitar parts on (and I've produced the track myself). It’s a mixture of Indie, Rock and Electro. Here's a deeper description of the lyrics of the song…

Coincidence is about those moments in life that leave you wondering if there is such thing as fate. Many of the songs I write are ambiguous and philosophical, like Coincidence. On the one hand, it's about a moment and how it came together perfectly but, on the other hand, I'm questioning: 'Is this a coincidence?' or is it purely our actions alone that lead us to the circumstances we often find ourselves in…?

IMAGE CREDIT: Hannah Smiles

It sounds like a pretty natural song. Did you find yourself writing it pretty quickly – or did it go through stages?

I wrote the song in a couple of hours, to be honest, but I worked on the production for quite a while. It actually started off as an EDM tune on the first demo I recorded and, when I started playing some grungy guitar on it, it totally changed the vibe and I decided I wanted it to go a bit heavier – so, I added live drums and more distorted guitars and bass.

Will there be more material coming later in the year? 

Yes. I'll be putting out a few more singles over the coming months and then the album will be out on 3rd August. 

It seems you take influence from Grunge and Alternative artists. Is that the sort of music you were raised on? Who do you count as idols?

I'm inspired by so many artists and I have many idols, such as Paul McCartney, Billy Joe Armstrong; Tina Turner, Prince; Debbie Harry and Karen O. I was introduced to lots of music growing up; I think it's because I am the youngest of three and I got to listen to my siblings and parents music and I was mainly raised on The Beatles, Tina Turner and Paul Simon. I remember loving these artists when I was very young and I knew I wanted to be involved in music.

Then, in my early-teens, I got into Green Day, The Prodigy and the late-90s' Dance scene - and I think that's where the idea to experiment with different styles started.  

The guitar, too, is a weapon you wield well! When did you pick it up? How important is the guitar to your overall sound?

I picked up the guitar, seriously, just a couple of years ago.

I'm a singer, first and foremost, but I always wanted to play more guitar - but never thought I'd be good enough to actually play and sing at the same time live without a lead guitarist helping out. But, for the last two years, I've been doing it. It's been a massive challenge for me, to say the least, and I've only just started to enjoy it because I found it quite stressful – but, I’m glad I’ve started now. Llet the fun begin! 

Your music has been picked up and promoted by some big sources. Does it give you a lot of confidence knowing people react to your music?!

It’s been an amazing year so far...

I'm recording my debut album and have been able to do this from reaching my pledge target. I've been getting some great blogs and press from the first single so far so, yes, it's been great - and getting a good response has definitely helped me think in a more confident/positive way.

What do you hope to achieve in 2018? 

I hope to get some more gigs and book a mini-tour in the summer to promote the album - and I'm currently looking for a booking agent. So, if anyone’s interested out there?! Hehe. 

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

That's a difficult one! But, here goes...

Graceland - Paul Simon

Takes me back to when my parents played this a lot when we live in the Middle East. So, it reminds me of driving through sand dunes and playing in the beautiful Indian Ocean. Paul’s voice, songwriting and poetry are just genius. 

Nimrod - Green Day

Takes me back to being an angsty teenager and bunking off school. I remember getting excited about this band when I heard Dookie for the first time as well.  

Everything Everything - Get to Heaven

I'm so into this album right now so I thought, rather than chose another legendary older album like Michael Jackson’s Off the Wall or something which also really inspired me as a kid; I thought I’d go with something that's inspiring me right now. I just think the production on this album is unbelievable. Every intricate detail in the musicianship and the songwriting is mind-blowing, too. 

Can we catch you perform anytime soon? What dates do you have coming up?

Keep an eye out on my website. I'll have some gigs booked in soon.

I'll be doing some gigs over the summer at Foodies Festival, supporting The Hoosiers, which will be fun!

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

There's been so many; not just in my own band but in other bands I’ve toured with as well. The only thing that springs to mind now is talking to people after my London gigs and to hear them say they've come along as they've heard good things - and that is enough to make me feel like I’m doing the right thing.

What advice would you give to new artists coming through?

I would say keep writing songs: it's all about the song. Gig as much as you can.

IN THIS PHOTO: Vivienne Chi

Are there any new artists you recommend we check out? 

Yes. My very talented friends; these ladies are rockin’: Vivienne Chi and The Pearl Harts.

IN THIS PHOTO: The Pearl Harts

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

Being a solo artist, I’ve got to do everything myself; so, if I’m not writing or recording music, I’m promoting my music and emailing people about it etc. So; I don't get much time to chill but, when I do get to unwind, it will be with friends or family and a bottle of wine (smiles).

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

Thanks for the interview! I choose No Reptiles by Everything Everything. It's on the album, Get to Heaven…I'm loving the build-up on this tune...

___________

Follow Lara Smiles

Official:

http://www.larasmiles.com/

Facebook:

https://www.facebook.com/larasmilesmusic/

Twitter:

https://twitter.com/LaraSmilesMusic

Instagram:

https://www.instagram.com/larasmilesmusic/

SoundCloud:

https://soundcloud.com/lara-smiles

YouTube:

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

INTERVIEW: MAYKA

INTERVIEW:

MAYKA

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THERE are a lot of energetic and passionate…

artists working in music right now. It can be hard deciphering and discovering which artists are better than the average. It takes no time at all to realise MAYKA is a hot talent who needs no time and chance to bed in. I have been speaking with her about the single, Rich, and what comes next for her; which new artists she recommends – whether there are any tour dates confirmed.

The Swedish-based artist discusses the music in the country and how she got into music/D.J.ing. I ask whether MAYKA has any advice for new artists and what she wants to achieve before the end of the year – ending the song with a great song choice.

___________

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

Hi! My last week has been intense with lots of sessions and also promo-stuff, but I'm feeling very good and excited! 

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

I'm MAYKA; born and raised in Sweden. I make dark, naive and edgy Pop with Trap, Future-Bass and Hip-Hop influences. My background lies in D.J.ing and the EDM-scene. 

Rich is your new song. What is the tale behind the song?

From the beginning, the song was about a relationship scenario - and I pictured dating some guy who's just bragging and showing off. Lately, I've found a deeper meaning, and now, I think it's more about striving for success – how we're chasing goals and trying to find happiness outside ourselves.

I'm so tired of that and I just wanna go back to simplicity and the richness of being present. 

It is a colourful and huge track. Did you design it with the summer in mind? It has that crowd-uniting sound to it!

Thanks! Actually, it was written a year ago, right before summer. I wanted it to be happy and cheerful but, at the same time, with an ounce of melancholy and heaviness. 

What was it like producing alongside LIOHN?

I love making music with LIOHN. He's such a genius with great composer skills and, at the same time, awesome at making beats and sounds. 

Are you looking ahead to new material? Might we expect an E.P. before the end of the year?

Yeah. I've got so many nice songs stored. Hopefully, there will be another single before summer and an E.P. this fall. 

You are one-half of the Electro-Rap-Pop duo, Death Team. Do you think your first solo outing differs from the work you do with Death Team? Are you going to balance the two projects?

Hm. Yeah; my solo-stuff is a bit more dark and less '90s party. I love both of the projects and I feel like they represent different aspects of me. Right now, I'm focusing more on my own thing - but the goal is to balance the two. 

How did you get your start in music? Were there particular artists that got you hooked?

When I was a kid, I listened to Nirvana, Snoop Dogg and Rage Against the Machine. I was a real music nerd and bought new records every week. But it wasn't until I was about twenty-one-years-old I started pursuing music myself. I heard Justice – We Are Your Friends on a dancefloor while living in Barcelona and I got totally blown away. There and then I decided to become a D.J.

I started out playing records at Indie clubs and, after a while, I learned production. I did that for some years and then got crazy-inspired by M.I.A., Uffie and Fever Ray. So; I started singing/rapping and writing. I've always been drawn to rebellious, high-energy music with a Punk and don't-give-a-f*ck-vibe.  

PHOTO CREDIT: Adam Chiapponi

You are Swedish-born. Is the music scene in Sweden quite varied and promising? How would you sum up Sweden’s ‘sound’ in a few words?

Swedes are awesome at making music.

I guess people are extremely creative and productive since it's dark and cold, like, nine months a year. I would say the Swedish sound is forward-thinking, fresh; melodic and trend-setting, but, with a lot of soul and essence. 

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

I have some gigs coming up in Sweden during spring. So excited. A tour is not planned yet and I'm busy rehearsing and putting my live set together.

What do you hope to achieve in 2018?

I just hope my songs will find new homes - and that I will keep developing and experimenting with my sound. I always think the best is yet to come. 

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

I have many. There are so many roadblocks I've been forced to climb during my journey, and it's crazy that I'm still doing this and haven't given up yet. One of my best memories was my first festival summer with Death Team. I was insanely nervous since I had no live experience. But, with all of the support from our fans, it felt like I got superpowers on stage and I grew more and more for every show we did.

Total bliss and euphoria. 

What advice would you give to new artists coming through?

Collaborate and don't try to do everything by yourself. Join a community and look for support and people who can hold your back. Also, put some focus on finding visual concepts that represent you and your music. 

IN THIS PHOTO: Mallrat

Are there any new artists you recommend we check out?

Yeah. A singer-songwriter girl, Mallrat, from Australia is my new favorite. Also; Swedish producer MagnusTheMagnus makes awesome beats. 

IN THIS PHOTO: MagnusTheMagnus

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

Some periods are crazy-hectic and other times it feels like I got nothing to do at all. When I don't have gigs at the weekends, I love to do some yoga, hang-out with friends; chill out and watch Netflix series. 

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).

Louis the Child, Elohim – Love Is Alive 

___________

Follow MAYKA 

Facebook:

https://www.facebook.com/maykamusic

Instagram:

https://www.instagram.com/maykamayka/

SoundCloud:

https://soundcloud.com/dj-mayka

YouTube:

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

INTERVIEW: RIVVRS

INTERVIEW:

RIVVRS

___________

HE has been a rather busy man…

over the past few weeks! Even though he has a newer song out there (Let It Die); I have been speaking with RIVVRS about his sizzler, Don’t Wanna Know. The U.S. songwriter is in hectic form and looking ahead to a new album – one I was keen to know more about.

Brandon (RIVVRS) discusses his influenced and the music scene in L.A.; what it feels like having his music picked up by T.V. and publications; whether we can see him in the U.K. during 2018 – he ends the interview with an artist I was not overly-familiar with…

___________

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

Hello! You can call me Brandon! (Smiles). I’ve had a really nice week after a few not so nice weeks, so I’m feeling really good! I just got back from Palm Springs, so I’m pretending I’m still there as I type this...

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

Sure! I’m Brandon - sometimes I go by the name ‘RIVVRS’. Sometimes, I play with a band; sometimes I play by myself. Sometimes, I just watch Netflix instead. In terms of the type of music I play, it’s always changing. Right now, I’m very much in this Americana/Rock ‘n’ Roll phase and having a lot of fun playing out with the band. I listen to a lot of different types of music - so it’s usually really hard for me to stay focused on one genre.

Can I ask about that name – and where ‘RIVVRS’ comes from?

One of my first bands after high-school was called ‘RIVER SHIVER’ and we were a duo (myself and a drummer) and played around San Francisco a lot. When I decided to move to L.A. and start a new project, I wanted to do something new but also keep the familiarity of the old band name. RIVERS was one that always played in my head, but it’s such a common word that it’s impossible to separate yourself online (legally) without changing the spelling. I never really had any pressure to change the name, so I just started making music without a name.

After I wrote my first song in L.A., it was placed in a T.V. show that talks about a band from San Francisco. When I found out they were using my song, they asked what my band name was and I had to give them something on the fly! It was ‘RIVVERS’ at first and then I dropped the ‘E’ to make it ‘RIVVRS’.

Don’t Wanna Know is your latest cut. What is the story behind the song?

I wrote that song with my buddy, Joshua James, after we toured together last year. He has a wife and two kids at home, so touring is definitely harder on him. I have a girlfriend and two cats at home, so it’s not exactly the same - but I definitely miss them when I’m gone. We had such a good time while traveling.

I remember thinking at one point: ‘What if we just don’t go home and never go back?!’. Mostly as a joke, but then actually played out the scenario in my head. It’s a little scary to think about leaving an entire life behind, but it happens every day. Husbands leave their wives and their kids all the time…

I experienced it as a child and I still wonder what it takes to do something like that. I think that’s, generally, what inspired the song. Along the way, we swapped out the words ‘If I do drugs on the weekend’ for a lighter version of ‘If I get high on the weekend’. Haha - it’s really just an angsty song about life on the road and what you leave behind when you’re gone - and the fear that it might not be waiting for you when you get back.

I know it has picked up traction from the likes of NYLON. Is it touching knowing people are responding so strongly to your music?

I’m just grateful to be able to do this for a living. It’s incredibly flattering to know people are listening and connecting to the songs! It’s truly what keeps the fire going.

Your latest L.P., Cosmic Dream, is due later this year. Are there particular stories and aspects that influence the music? How do you feel it develops from your earliest work?

This album feels like my first record; mostly because it was created in a three-year period with the intention of being a RECORD. For that reason, I feel like it’s very congruent from song to song. My first record was more of a compilation of songs I wrote at different period of my life and then put it out when the time felt right. This new album has been a long, slow process and I’ve taken a lot more care with it.

It’s definitely similar to previous work but stands on its own, for sure.

Your music has been used on network television shows – you have accrued massive numbers on Spotify. How have these television placements helped get your music to new audiences?

It’s been really helpful! Especially with Shazam. It’s easy for someone to get instantly connected to your catalog just by clicking the Shazam button when they hear a song they like. That’s been a huge advantage for sure. It’s always nice to connect with someone at a live show and they tell you: “Oh, yeah; I discovered you by watching this T.V. show!” It’s not really how I ever imagined people would discover my music and I think it’s really rad!

What music did you grow up on? Was Classic-Rock a big part of that education?

Absolutely. My dad came from that era, so anything he grew up listening to I listened to. Luckily, I also had the incredible music of the '90s to add to that, so overall I got a very eclectic mix of music at an early age.  Tom Petty, The Red Hot Chili Peppers; AC/DC and Ben Harper. Those acts stand out in my head as big influences from an early age.

It seems like your early life was, at times, quite displaced. Was your childhood quite uprooted and unsettled? Did you travel about a lot?

We moved around a lot when I was younger but, by the time I was in middle-school, things mellowed out a little bit. There’s a lot of drug abuse and mental illness that runs on both sides of my family so, naturally, I’ve become a product of that environment - but I feel like I was raised well under those circumstances.

Now, I just write songs about it! Haha.

You are a native of Northern California, now based in L.A. What made you move away and embrace a new crowd? What are the main differences between Northern California and L.A.?

I moved to L.A. to be closer to the music scene, naturally. It’s been a transition, but I love L.A. The difference is the people. In Northern California, there’s a stronger sense of community and connection. In Los Angeles, I feel like most connections are surface level and motivated by self-interest. It’s a town that lives for money, not art. BUT on the flip side, there are communities within the city that embrace the Northern California vibe - and I’m slowly starting to find those and embrace them.

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

We won’t be touring until later in 2018, into 2019. But this May, we’ll be playing the Main Stage at Bottle Rock in Napa Valley! Friday, May 25th to be exact…

Do you think your music comes alive when you have a full band on the stage? How important is it getting music out to the people?

The music is (at best) half-alive without the band. I’m realizing how vital the band is with this new record. The songs just don’t translate the same when it’s only me and a guitar. It translates: it just does it differently. I’m really excited to keep playing with the full group!

What do you hope to achieve in 2018?

Total enlightenment…just kidding. I just wanna release my record and have a tour in place by the end of 2018 - and then hit the road hard in 2019.

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

Oh yeah! When I lived in Napa, I used to submit myself to the local theater as an opening act for the larger touring artists that came through. After two years of no response, one day the booker emailed me to let me know she’d confirmed me to open for Jewel for two nights. That was single-handedly the most memorable experience I have to date, simply because she was so nice and encouraging to me and it gave me this confidence boost I didn’t have at twenty-years-old. I think it just validated my dream and made me feel like it was realistic for the first time.

What advice would you give to new artists coming through?

…to listen to advice. Haha

I think it’s easy to let good advice slip by you. Just be open and willing to learn and to adapt to change. There’s always learning to do.

Are there any new artists you recommend we check out?

Mt. Joy! Really loving them right now. Also, Field Report!

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

Now that the record is done and I’m not hitting the road, I have been chilling HARD. Now that the weather is heating up, I’ve been spending a lot of time outdoors. Any escape from the concrete helps me unwind.

Otherwise, I’m definitely a homebody; lots of writing and listening to music and watching Shark Tank.

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).

YES! I’m sure you’ve heard it by now but listen to The Joke by Brandi Carlile; or a song called Sugartooth. The whole album she just released is SO GOOD

___________

Follow RIVVRS

Official:

http://www.rivvrs.com/

Facebook:

https://www.facebook.com/rivvrs

Twitter:

https://twitter.com/rivvrsmusic

Instagram:

https://www.instagram.com/rivvrs/

Soundcloud:

https://soundcloud.com/rivvrs

Spotify:

https://open.spotify.com/artist/5T3N5ks9c3L7D4aXw54DVs

YouTube:

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

FEATURE: The April Playlist: Vol. 2: Sky Full, Fists Pumped and Crying Pretty

FEATURE:

 

The April Playlist

 IN THIS IMAGE: Florence Welch/IMAGE CREDIT: Unskilledworker 

Vol. 2: Sky Full, Fists Pumped and Crying Pretty

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THIS is another bumper week for new music…

IN THIS PHOTO: Kamasi Washington

We have a stunning new song from Florence + the Machine; a wondrous cut from Kamasi Washington and an alluring and busy gem from LUMP – a new project of Laura Marling and Mike Lindsay.

If all that wasn’t enough to whet the appetite – you have some nerve! – then we have Janelle Monáe, Gaz Coombes and Nicki Minaj; Sigrid, Manic Street Preachers and JONES – with a bit of CHVRCHES and Frank Turner to add a bit of spice and excitement!

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

_________

Florence + the Machine – Sky Full of Song

Kamasi Washington – Fists of Fury

PHOTO CREDIT: Mathew Parri & Esteban Diacono_100

LUMP - Curse of the Contemporary

The Weeknd - Call Out My Name

The Magic Numbers - Ride Against the Wind

ZAYN - Let Me

Meek Mill - 1942 Flows

Carrie Underwood - Cry Pretty

Amy Shark – I Said Hi

Bebe Rexha – Ferrari

Frank Turner – Make America Great Again

Vance Joy – Saturday Sun

Ina Wroldsen – Sea

Janelle Monáe (ft. Grimes) – PYNK

Catherine McGrath – Wild

Gaz Coombes – Shit (I’ve Done It Again)

Nicki Minaj – Chun-Li

Sigrid – High Five

Breaking Benjamin - Torn in Two

Maren Morris - Rich

Miley Cyrus – The Bitch Is Back

Plan B – It’s a War

Snow Patrol – Life on Earth

PHOTO CREDIT: Laura E. Partain

Courtney Marie Andrews – Songs for Tourists

Daktoa, Not3s - Sober

Twin Shadow – When You’re Wrong

Isaac Gracie – telescope

The Shires – The Hard Way

Laura Veirs – The Canyon

JONES – Tender

Matthew and the Atlas – Cali

Manic Street Preachers – Vivian

Noel Gallagher’s High Flying Birds – She Taught Me How to Fly

CHVRCHES – Miracle

Superorganism – Night Time

Youngr – Drive

PHOTO CREDIT: Shervin Lainez

Speedy Ortiz – Villain

Tinashe, Little Dragon - Stuck with Me

TRACK REVIEW: Laish - Dance to the Rhythm

TRACK REVIEW:

 

Laish

Dance to the Rhythm

9.6/10

Dance to the Rhythm is available via:

https://www.youtube.com/watch?v=9ihY8frdo18

GENRES:

Art-Rock; Acoustic

ORIGIN:

London, U.K.

VIDEO RELEASE DATE:

29th March, 2018

The album, Time Elastic, is available here:

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

RELEASE DATE:

13th April, 2018

LABEL:

Talitres

_________

THIS is the time of the year…

when the sun starts to rouse from its slumbers and gets its bottom out into the working world. So far, it has been like a student during the first year of university studies: occasionally nipping into lectures but, for the most part, pissing it up the wall every night and spunking its student loans up the wall! I am not sure where that analogy is going but my point remains: it has not been showing its face as frequently as the average pasty Brit would like! That being said, today, there are ample signs to show spring may be, briefly at least, here! I have got my favourite new T-shirt out and am priming the arms for some much-needed warmth. To accompany my sojourn into springtime; I have been searching around for a soundtrack that can accompany all the moods I will assimilate into my movements. I am going to do a bit of a John Travolta strut; I will wistfully contemplate the changing seasons and, yes, I need something to provide some smile and curiosity. Alongside that, there is the desire to have the spirits uplifted and the mind nourished. That is a rather demanding rider but, right in front of me, is an artist I have reviewed once before: Laish is a fascinating talent whose almost-too-perfectly-trimmed facial hair is as spectacular as the music that emanates from him. Before I look at his new album – highlighting the featured track from it – I will address a few other things. I want to look at the city and all the wonderful things that intrigue and spike the mind; radio features and getting attention from some big sources; having incredible promotional videos back your music; the ‘northern spirit’; I will look at the way musicians can cram so much life and range into an album – touching on my desire to have a bespoke, all-encompassing music show on T.V.

‘Laish’ is the moniker of Yorkshire-born Danny Green and, to start, gets me looking at the North and the indomitable candour and grace of its people. My mind has been split between a move to South London: either that or locating to Manchester. I adore Yorkshire and, as part of my plans, want to visit a lot of the artists who play there. I have always been a massive fan of that part of the U.K. There is a natural inventiveness and variegation that exceeds expectation and tops that coming out of London. Laish moved from Yorkshire – he brings that homegrown wit and talent with him. One of the reasons I want to move to Manchester, aside from the warm people and humour, is the music coming out of there. Many critics and listeners overlook the North and the music coming out of there. This year’s best album, in my view, will be released by a northern-formed band: Arctic Monkeys look set to unleash the record 2018 demands. Even though Laish has replaced the rolling hills and splendid tea of Yorkshire for the too-cool-to-speak-to-you hipster bars of London and its irascible energy; he has translated and retained his key attributes and northern wit. That humorous dynamic has lifted his music from the realms of the ordinary – taking it to new heights and providing the listener with something smile-worthy and character-filled. His new record, Time Elastic, has been pressed by the respected (French) label Taitres and shows his music is unique. I have been casting my fishing net out into the musical lake and have been seeing a lot of sad-faced fish with no real colour and nutritional value. Now, as the sun is out and the water is clear, I have caught Laish and see something wonderful: great skin, eye-catching shades and a nice big grin. Maybe I need to lay off the early-morning shot of caffeine but I stand by my assertions. This year has seen some oh-so-serious music: the artists who provide a bit of fun and energy are in the minority.

I will move on to look at other areas but, before then, I want to stick with northerners and humour. I am not suggesting all musicians crack out the comedy numbers and do something funny. Laish is a serious artist whose music and mannerisms are special and multi-layered. What he does is go beyond what most listeners expect and chucks in a cart-load of bright and optimistic. His songs look at life and all the issues we face – struggling with love and the self; negotiating the hurdles of the city – but, rather than make it all mordent and gloomy; the sun is out and one is treated to something more accessible and nurturing. I guess there is that heritage and elements of the North that help bring the music beyond the pit of weary and samey. Laish’s mindset is clear: put out songs that people can connect to but will not bring the spirit down. This year has been a tough and challenging one for us all and, as we try and see what the world will throw at us; music is there to aid and assist our decisions. I have been pining for an artist who has that rare mixture of incredible lyrics, bright textures and a depth that the soul demands. Laish has been around a while and seen where there is a gap in the market. There has been a real lack of engaging and nuanced music that strays beyond what is out there and offers the listener a real burst of originality. Maybe it is the way he has transitioned from the North and located to London that has added all these fresh fabrics and tones to his music. The young artist has accrued a lot of experience and visions into his work; he has progressed between works and now, in 2018, he is making music that sets aside from the rabble and stays in the brain.

I have alluded to the city and how its energy and mix of people can lure and attract artists. Even though I am deciding between London and a move further north; it seems Laish has found his niche down in the capital. He lives with his girlfriend, instruments and, one suspects, a pet is in there somewhere. It seems like a very idyllic and comfortable life for the musician. What that provides is a security and inspiration that has bled into his music. Green’s movements and sense of ambition comes from the people around him and that established and life-giving core. I can imagine the flat Laish’s creator resides in: there would be the guitars hanging on the wall and an amp somewhere, perhaps. One might expect a piano in the corner – with some character and age; a cup of coffee nearby – and some great records propping up a turntable. Outside, I can envisage the rush of London and a rather charming backdrop. This might sound like the opening page of a Richard Curtis script but, when thinking about Laish’s music, London has fuelled his imagination and impacted the music. I am not saying, were he back in Yorkshire, he would not have access to the same humans and wonderful scenes. Laish has great venues at his door and some wonderful creative talents right in front of him. One of the reasons I have been looking to South London is the population: all ages, races and nationalities living together and integrating in the community. You have that blend of hectic and busy and places to escape to. For a songwriter; that choice and excitement can only seep into the body and provoke fantastic music. Danny Green has carried his Yorkshire heart and borrowed the bones and body of London. That anatomical cut-and-shut could, in lesser hands, be a mismatch and incompatible beast. Instead; it is the perfect conspiracy that has infused the music world with something rare and divine.

Maybe I am blathering a little but I have always been caught by Laish and how he does things. I will talk about his album in the conclusion but, before I move onto other things; I wanted to look at directing and how great collaborators can elevate music. I have talked a lot about Laish’s background and D.N.A. – without going into the music itself and reasons why it resonates. One of the reasons I have selected Dance to the Rhythm is because it seems to epitomise all the pluses and sides of Time Elastic.  Green has always been a master of splicing emotions and a world of different themes into his music. 2016’s Pendulum Swing was a bold and varied work that stunned critics and showed how far Laish has come (since his debut). Time Elastic goes further and shows the songwriter at his brilliant best. The last time I featured Laish was when he unveiled the single, Learning to Love the Bomb. That was from his previous album and (its video was) directed by Ruth Pickett. I know her work to be good because, some sixteen years ago, I encountered her work, first-hand, at Cambridge. She was one of the brightest bulbs in The Footlights and stood out from the other performers in the society. Her repertoire mixed music and comedy; she had/has great dramatic chops and sprinkles the odd and charming alongside the grounded and gravelled. That curiosity and exceptional ability has mutated into screenwriting, directing and acting. She has retained comedic elements and that sense of fantasy in her directing. There are some great female video directors out there – they are not as proffered and exposed as they should be. The reason I bring Pickett, and directors, up is how a faithful and natural unity between artist and director can bring music to new audience. I love the video for Dance to the Rhythm. It has that low-budget brilliance but that does not squander ambition and visual delight.

PHOTO CREDIT: Mike Watts

What Pickett and Green have done is create something that stands out on its own. I cannot listen to the album without going straight to the single. Maybe it is the incredible sound and songwriting throughout: to me, there is that visual wonder and the way I associate the video with Dance to the Rhythm. You have to watch it to see what I mean but it is the visuals and scenes laid out that give the song a fresh brilliance and sense of memorability. There is a trust between director and performer throughout. I know, from seeing social media posts, the filming process was hugely enjoyable and a great experience for everyone involved. The shoot sees the bizarre and humorous integrate and conspire inside a London flat. Whilst it is easy to imagine songwriters’ personality and charms within music itself; great music videos showcase more and help clarify and cement that assumption. By that; I mean we see a new side to the musician and how they want their music to look. There are so many bands and artists who put out quick and lazy videos. Some put thought and invention into their work but, for the most part, I pass by what they throw out there. In fact, LUMP (a side-project of Laura Marling), have just released the video for their debut single, Curse of the Contemporary.  It is a charming and wonderful video that, well…you’ll have to go and see it. Those videos that stand out and make you watch it time again are very rare in this day and age. I will come to look at that a bit more but there is an innate visual aspect to music. An artist can project a sense of theatre and the visual through their words – they turn that to a director and it is their job to bring something new from the song. One of the reasons I wanted to highlight Pickett’s work was the fact she can work on a smaller budget but does not compromise the artistic and visually-arresting.

Laish’s music is bold and sumptuous; it is a complicated and bountiful aroma that requires intelligent and respectful handling. Directors who mangle his work or conceive dull treatments are going to damage that track and put listeners off. Pickett has picked up on something in the music, and Danny Green, and been able to bring her personality into the fold. It is hard to quantify how many people have turned onto Laish’s music because of the videos – mere YouTube figures do not give you a clear and reliable guide. We often ignore the music video and assume it is not going to be worth watching. The past few years have seen very few out-and-out classics from that side of the industry. Directors do not have deep pockets and, unless you are a mainstream artist, you cannot afford to realise your most lurid, heightened and ambitious dreams. Many directors will work on a three/four-digit budget and have to deliver the goods with little luxury. I hope Laish and Pickett work together more because their unity is one that results in fantastic videos and memorable scenes. Both have the disposal and endless resources of London right next to them. There are lush parks and packed streets; historical monuments and some of the most arresting sights in the country. The fact the two can create wonderful videos – with the help of a crew – in the recess and comfort of a medium-sized flat amazes me! There is something, mind, about the aura and peripheral of the London buzz that filters into the nostrils of Pickett and her team. She has years’ experience and work in her toolkit and is an accomplished comedic performer and dramatic writer. I hope her expanding chops and confidence sees more fruitful Laish work. Danny Green, actually, seems like a natural and charismatic presence in front of the camera – maybe, a short film featuring him would be a natural next move?! In any case; I am hooked and compelled by the latest music video from Laish.

I will come to the song in question but, when thinking of Laish, I cannot help look back at his achievements and how many sources have turned onto his music. It is fuck*ng impressive looking at the roster of radio stations who have spun a Laish cut. BBC Radio 6 Music has been pretty involved with his music. Steve Lamacq, Tom Robinson and Tom Ravenscroft have played his music and backed his work. Amazing Radio and other great stations have shown their backing of a great artist. It is hard getting people to play your music but there is that combination of dogged determination and natural talent that has led to this proliferation and accomplishment. Green, as a person, does not want his music to sit on the shelf like a misunderstood sin. Once the track has come out of the studio and been laid down to tape; he could easily let it fester and not really push it out there. He is active on social media and ensures every Laish movement gets as far as it can. He puts out his music to radio sources and lets people know about his work. There is that determination and need to get the music out the people and spread it as far as possible. He has achieved a lot already but, with Time Elastic fresh and hungry; I expect the likes of BBC Radio 6 Music will be behind it and features the singles released. I am not sure whether they have already played Dance to the Rhythm already – surely, only a matter of time before it gets played! There are few musicians who have been taken to heart as firmly and readily as Laish. I am compelled to see how far he can go and what his next moves are. So far, over the course of his career, he has been championed by British sources – I know international recognition and U.S. dates cannot be too far behind! I have talked enough about Laish and components that make his work stand out from everything else. I will come to look at his album but, right now, a look at a song that has caught my eye.

The track’s video sees the hero, in a wife-beater/vest and casual attire, move through his flat and sit on the sofa with a girl (his girlfriend?!). The song itself looks at songwriting and is very meta, in fact. His girlfriend – whether Danny Green is cribbing from a real-life conversation – has suggested he writes a song with a bit of a chiming and, I guess, banal cooing and chorusing. Maybe that is ironic and tongue firmly in cheek but, as Dance to the Rhythm starts; Laish talks about something commercial and peppy. Maybe the suggestion is aimed at producing something hopefully and happy; a chance to get the listener lifted and the radio smiling. Maybe there is that need to write something commercial and Pop-inspired. All these thoughts entangle and wrestle in a sweaty and sexual tussle as those calm and Noah and the Whale-influenced tones come through (there is a bit of Charlie Fink in Danny Green). The backing vocal and aural rush are infectious and gripping. There is a blast of 1960s Pop and something uniquely Laish; the vocal has a seriousness and masked expression to it – maybe, reflecting the fatigue and dubiousness of the hero. The girlfriend, proffering ideals of fame and celebrity or a need to get the song out there, is talking with the hero. She says (the song) will get onto Spotify and be sh*t-white-hot by this time next year. Laish turns to the camera and gives a look that one might give if they were given a box of elastic bands for their birthday: that mock-sincerity and forced smile. Maybe there is cynicism the song is intended for the hype and chundering (sic./sick) mechanics of the modern machine. Laish wants people to listen to his music but, perhaps, not intending it to nestle alongside your Ed Sheerans and Cardi Bs. The heroine is excitable and showing faith: our man seems more comfortable in his undercrackers and sharing a brew. Maybe that is a bit of Yorkshire dour and realism creeping into the bloodbuzz and commercialism of London – he does not want to think too far ahead and get carried away.

The song itself seems like a study and exposure of the creative mind and questions posed by labels and higher-ups. The moral of the song seems to be adding hooks and melodic sensibilities to the pot. The hero, in the video, is reading a book of lyrics/guides and nodding effusively. He wants to pen a song that has a sexy rhythm and gets the average body motivated and boogying. There seems to be irony and a bit of humour in the seriousness of the words. Laish is a great songwriter who does not pen his songs for the ultra-cool and those who want empty calories and untutored vowels. He does not create mindless choruses and songs, merely, that get the listeners grinning. That said, on the latest single; our man has crafted a flowering and heady nosegay that mixes ingénue backing vocals that has sweetness and infantile delight. It is great listening to a song that is about the nature of songwriting. One would listen to the song and feel the video is crying out for the likes of Michel Gondry – someone who would relish the chance to bring something to a song that looks at songs; bringing quirk and the visually-stunning to the mix. The reason I love Ruth Pickett’s direction is because it brings personality and the filmic from a small set and a physically-limited movement. Most of the action takes place around the sofa; relying on props, the bond of the lead actors and the beauty of the song. In fact…scratch that last bit! An alluring Devil’s claw (Pickett herself, I believe!) comes into frame and tempts the lovers into another world. The set transforms from a modest and homely – code for ‘lived-in’ – and places the sweethearts in a palatial and luxurious mansion. They are decked in finery and exquisite fashions; strangers to the value of the setting – a representation, I gleam, of commercial sacrifice and adding needless glamour and expense to a song that holds weight in its simplicity and honesty. Although the hero seems comfortable and acclimatised to thrones, Georgian makeup (almost like a George IV figure at this point, minus the enormous gluttony and gut!) and servants. The hero looks at love and how his life will progress.

PHOTO CREDIT: Michaela Meadow

One feels he is living a life that seems predictable and predetermined. There is that sense of living for someone else and doing what everyone else does: settling down and having children. In fact, Laish gives a wonderful Jarvis Cocker-esque “Why not?!” to camera upon that proposition. It is another nuance and angle that shows what a personality and sense of songwriting ability he has. The chorus swigs back in and Laish is backed by dancers and enthralled supporters. His wardrobe changes from that nineteenth-century grace to something a little more casual. He has the look of Jay-Z’s barber crossed with an extra from a Disco-inspired flick from the 1970s. He is getting more used to the changing landscape and adapting to the excesses and exhilaration of fame. To me; you get the view that, if you pen something danceable and energetic, you can get a number-one and rake in money. You would sell your ethics and talent for something more profitable and populist – how would the soul cope with that deal?! The sets get more elaborate – Laish transforms into a P.G. Wodehouse acid-trip – and the man, flanked by pipe-playing peeps and an elegant cane gets into the groove. The simplicity and bare-naked domesticity of the opening have transformed into the arresting and beguiling – adding an extra ‘0’ to the video’s budget, no less! The song seems to look at the lifespan of a song and the questions that come to the mind; how some sell-out and others have to make those compromises. Laish seems less resistant, and less happy when he gets big and popular. The track’s assessment of fame and commercial demands sees him bat away a Devil hand – not as tempted to follow this time… - and project a cooing chorus with less determination and passion as one would hope. Dance to the Rhythm is a wonderfully compelling and fascinating song from a talent who seems to get finer and more ambitious every time he brings out an album. It is a perfect embodiment of the wit, arresting colours and wonderful sounds one can experience throughout Time Elastic.

I have talked about music T.V. shows and why we should get a decent one on the box. Sounds like Friday Night is on and, well…it is aimed at the Pop market. We have Jools Hollands’ established and years-running show but there is nothing new that expands from that and features a range of musicians. The reason I bring this up is because Laish seems perfect for a retooled and rebranded music shows. I feel his music deserves television exposure and, with the video for his latest single out; many will see how he mixes visuals and music to great effect. His sound is unlikely anything else out there and warrants a huge and dedicated audience. In the past, we has music T.V. and it was much more popular and influential than it is now. I wonder whether YouTube is sufficient and (if) it gives musicians the reach and attention they deserve. I would like a brilliant new music T.V. show out there that captures the spirit of The Old Grey Whistle Test and would be a perfect fit for Laish. I will not speak in-length about Time Elastic – lest my hands fall off and I need reconstructive surgery on my buttocks – but the record is full of life and brilliance. Look at some of the songtitles – Listening to God, University and I Would Prefer Not To – and you are compelled to listen to the track to see what it is all about! It is a fulsome and expansive album that touches on a number of themes. There are those sides of love under-explored and look at the soul; introspective moments and the passing of time. The album’s title, in fact, raises questions around mortality, youth and our time of life. It is a wonderfully rich and candid work that has plenty of wit, intelligence and musical highlights. I urge people to check it out on Spotify (see at the top of this review) and investigate every track. I know Laish plays Brighton and London in the next few days. He is off to Newcastle and Bristol soon – heading over to France by the end of the month. Look at his Facebook page (see below) for all the updated news and gigs. It has been great returning to Laish and investigating a stunning song: Dance to the Rhythm is another marvellous cut from an artist who continues to produce music…

LIKE nobody else.  

_________

Follow Laish

Official:

https://laishmusic.com/

Facebook:

https://www.facebook.com/laishmusic/

Twitter:

https://twitter.com/LAISHmusic

Instagram:

https://www.instagram.com/laishmusic/

YouTube:

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

Soundcloud:

https://soundcloud.com/laishmusic/sets

Spotify:

https://open.spotify.com/artist/7t8yI4NdwroxLKOeffJ1B4

Bandcamp:

https://laish.bandcamp.com/

INTERVIEW: Leisure Tank

INTERVIEW:

Leisure Tank

___________

THE life of the duo…

always intrigues me and causes fascination. I have been talking with Leisure Tank and how they came to be; whether there is a special story behind their name; what inspired their latest cut, Higher; whether there is more material on the horizon – which artists mean the most to them both.

K.C. and Budi reveal what they do away from music and what they would tell to new artists; which current acts are catching their imagination; how they have developed since their earliest songs – and, how their music comes together.

___________

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

Hello. Very good, thank you. We just finished our U.K. tour and are looking forward to two more shows here in London.

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

We are Leisure Tank; an Indie-Rock power-duo located in London. Our concept is pretty simple: electric guitar, vocals; drums and a loop we sometimes use.

Our sound is rather raw, a bit retro, due to our love for our 1968 Ludwig drumkit and the music we love.

Higher is a fresh cut. Can you tell us how the song came together and what inspired it?

I (K.C.) had a guitar loop and riff I experimented with. It all came together pretty quickly and the song basically wrote itself once I had the subject and parts. Budi’s drum came in and we tried to keep everything simple to keep the natural flow...

The song reflects emotions in our chosen partners. Sometimes, we fly high on love without realising that it is happening more in our own heads than between partners. The coming-down can be harsh and we tend to blame the other side. The blame a friend put on an ex-partner in that way inspired the lyrics to Higher. I guess you can say things like that in a song…but not always into someone's face…

How does an average Leisure Tank song come together? K.C. and Budi. Do you work separately or do you sit in a room and hash a song out?

K.C. writes the songs. Sometimes we rehearse ideas but K.C. usually comes with a finished song into rehearsals. Then we add drums to it, loops; other parts etc. We always try to filter through what serves the song: the initial idea best. We have songs that came together quite quickly and others we are still messing with, after years of playing them.

Can I ask about that name, ‘Leisure Tank’? To me, it seems to combine two Blur albums (Leisure and Think Tank)! What is the origin of the name? How did you meet one another, too?

Haha. We noticed the Blur connection after we named the band. That would explain all those disappointed Britpop-ers at our shows…

We named the band at a time when K.C. was thinking about the lack of leisure in our society, in our lives. Inspiration comes from 'leisure'. Just think Newton under the apple tree; the lack of leisure, the constant pressure of having to do or produce something. We figured that, nowadays, you have to protect your right to do nothing: not watching anything, not making and not achieving. That’s how the word ‘Tank’ forced its way in. One needs to be fierce and protective about the leisure time we have.

On the other hand, it makes a nice double-meaning in terms of 'fish tank', swimming etc. We tend to play with the marine part of the double-meaning, just because it is fun.

Is there going to be more material later in the year?

We, honestly, don’t know at this point. We would like to release more music, of course, but need time to write and record.

Do you think you have grown as writers and performers since the 2014 album, Westsuit?

We played the album live a lot, so we feel we have grown as performers. The writing process hasn’t changed much, though. We’re laying more leads to better control of our instruments, and that influences the writing - and it is up to others to say if we have grown.

It is hard to compare your music to other artists. If you had to select the acts, you feel, have inspired you most; which would you highlight?

That’s a hard one. We listen to so much different music and don’t always agree on artists. Budi, as a drummer, listened to a lot of Led Zeppelin and sixties/seventies music when he was younger, as well as Jazz, Skiffle; Rock ’n’ Roll…

We saw the Jazz drummer Max Roach once in Berlin together, which was very inspiring. But, I wouldn’t say we can actually hear it in our music. As a highlight, we both agree on….mh….

Probably, Led Zeppelin, PJ Harvey; Karate, The Band; Bob Dylan, Björk; Bonnie ‘Prince’ Billy, Janis Ian; Sandy Denny, Fairport Convention and Scout Niblett…

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

We will play London’s Water Rats on 14th April and the Dublin Castle in London on 26th April.

The summer is, sort of, almost here! Do you think you might get a chance to play some festivals at all?

Unfortunately, no festival wanted us this year...

What do you hope to achieve in 2018?

Write and record. Play more shows. I guess every band does that. Haha.

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

Oh; many! We supported Dave Swarbrick in London before his death. That was great. We recorded our last single at Jimmy Hogarth’s studio which was a great experience and a learning curve. We met Robert Plant last year at a festival. If your own music carries you that far, that’s a great feeling.

What advice would you give to new artists coming through?

I guess that depends on what the artists want to achieve.

Good advice we give ourselves is to ignore them all, which didn’t help in terms of commercial success...but we always had a hell of a time doing what we want to.

IN THIS PHOTO: Marine/PHOTO CREDIT: Bex Wade Photography 

Are there any new artists you recommend we check out?

Marine, You; Blue Statue and Son of Dave.

IN THIS PHOTO: Blue Statute

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

It’s the other way round: we relax most by making music and writing songs.

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).

K.C.: Joe Gideon & the Shark – Kathy Ray

Budi: Primus – Too Many Puppies

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Follow Leisure Tank

Official:

http://www.leisuretank.com/

Facebook:

https://www.facebook.com/leisuretank

Twitter:

https://twitter.com/leisuretank

Instagram:

https://www.instagram.com/leisuretank/

Soundcloud:

https://soundcloud.com/leisuretank

Spotify:

https://open.spotify.com/artist/0JRTABfgjvDWDA6ciUGloN

Bandcamp:

https://leisuretank.bandcamp.com/

INTERVIEW: Filo Vals

INTERVIEW:

Filo Vals

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GOING into the weekend…

I am featuring a couple of great new artists with plenty of ambition and energy. Filo Vals tells me about his new single, Just Guessin’, and how it differs from his popular song, Mr. World. I ask whether there is more material coming; what we can expect in terms of gigs – which artists inspired his progression and sound.

Vals looks back at good musical memories and ahead to the remainder of this year; how he spends time away from music; which new artists we need to look out for; being compared to the likes of Paolo Nutini – ending with a song by the great man himself.

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

Hi! I’m very good, thank you! This week has been very tiring. There’s a lot going on - but I really love what I do so I can’t complain really.

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

I’m a singer-songwriter and I’m from Rome. I moved to the U.K. when I was eighteen and I’m currently living in London as well as working on my new album (that will come out very soon!).

Just Guessin’ is your new song. Tell me about its origination and story…

Just Guessin’ is a song I wrote one year ago when I was into a girl I used to see at the time. The song is really about those feelings you have when you start seeing someone you like. I wanted to try to express that kind of insecurity you have - as you don’t know what you can tell or ask but, at the same time, you literally want to feel free to be yourself with that person.

How do you think it differs from a track like, say, Mr. World?

Well. The main difference between two tracks is that Mr. World is a song about personal thoughts sometimes combined with poetic images, while Just Guessin’ is (just) about personal feelings that I have actually lived.

Is there going to be an E.P. or album later this year?      

We will have more singles coming out in the next few months - before launching the whole album later this year.

How did music come into your life? Is it true you first picked up a guitar aged six?

My father used to roughly play the guitar. He wrote a song about the Disney characters for me and my sister when we were little, and I was really fascinated by that instrument. So, yes, when I was six I decided I wanted to learn it!

I hear elements of Paolo Nutini and Bob Dylan in your sound. Which artists have influenced your music and direction?               

First of all, thank you very much; I take that as a big compliment. The two artists you mentioned are two artists that I really love and that I have listened to for a long time, so I can’t deny those are the ones I’m inspired by.

I would also add, as influences, Bob Marley and Jack Johnson!

You have received support from the BBC and streaming sites. Is that kind of backing pivotal when it comes to pressing on and aiming high?!            

Yes. Those events are big opportunities to reach a wider audience!

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

My next gig confirmed is 30th April at Nell’s Jazz and Blues. I am really excited and I can’t wait! Come along! Then, I’ll have another one at the Troubadour on 25th May.

How does it make you feel being on stage? Can you describe the feeling?!       

Being on stage is great, especially when the crowd is warm. Sometimes, you feel so much adrenaline that, when you’re done, you can’t even remember how it was.     

What do you hope to achieve in 2018? 

I hope to share and play my music and reach as many people as I can.   

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

One of the strongest memories is from when I played at a festival in Italy in front of 15,000 people. The energy I felt was insane. The best live experience I’ve ever had.

What advice would you give to new artists coming through?    

The only advice I would give to anyone is the advice I’m following myself: if you believe in what you’re doing and have a vision, fight to make it happen, no matter what.

Are there any new artists you recommend we check out?

I am sure you know him already, but I really enjoyed discovering Tom Misch this year! Great Sound! I would also advise you to listen to Jack Martini - he is a very talented friend of mine with a great acoustic sound.

IN THIS PHOTO: Jack Martini/PHOTO CREDIT: Flaminia Reposi

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

Haha. I think I chill just like everyone else: laying on the sofa and watching movies. I love watching movies!

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

I suggest Pencil Full of Lead by Paolo Nutini. It always puts me in a great mood!

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Follow Filo Vals

Facebook:

https://www.facebook.com/filovals/

Twitter:

https://twitter.com/filovalsmusic

Instagram:

https://www.instagram.com/filovals/

Spotify:

https://open.spotify.com/artist/0WKmUBSMQFDjnSNxiw5FIM

INTERVIEW: Tommy Down

INTERVIEW:

Tommy Down

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THERE are some fantastically soulful voices…

in the world of music right now, exciting the senses and compelling critics. In America, there is Leon Bridges; here, and with a hot tune ready for us, is Tommy Down. I have been speaking with the young maestro about being compared with Nile Rodgers; what factors/threads influenced Superficial - and, whether we can see an E.P. very soon.

Tommy Down tells me about his musical tastes and how he got into the industry; what it was like working with producer Rhys Lewis on Superficial; some new artists we need to spend some time with – how the former band leader has adapted to life as a solo artist.

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Hi, Tommy Down. How are you? How has your week been?

Hey. I’m good, thanks. I’ve just been working with my band, Harker Moon, a lot this week as we’re trying to finish this new song we’ve been working on.

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

Hi. I’m Tommy and I’ve recently released a lyrically-heavy, Funk-inspired track called Superficial - but wouldn’t say I’m tied to one genre at all; so, always keen to try new things with later releases.

Superficial is your new song. What can you reveal about its creation and story?

Well. I was introduced to Rhys Lewis by his brother and we ended up having a writing session together. I showed him some chords I had recently written and he came up with the bass line, which ended up being the chore of the track.

It was great fun to work with him and we pretty much finished the song that day. We wrote the song very quickly - but it felt like a very natural collaboration, so it didn’t feel rushed.

I picked up on an aspect of social media obsession. Do you feel we are all becoming too obsessed with our laptops and phones? How do we break out of this?!

I’m probably not the right person to ask concerning how to break out of it, as I’m likely just as bad as anyone else but, yeah, the song was inspired through an observation of our generation. I remember talking to Rhys about how people at my uni (in Bristol), for some, reason loved wearing vintage Nike/Adidas sportswear and how everyone seemed to jump on this bandwagon. Suddenly, all my brother’s old clothes were cool (laughs).

I think, once a group of people have started to do something, it's considered fine. I (just) can’t ever imagine my grandmother taking a selfie and mailing that photo to all her friends sixty years ago yet, online, it’s considered the norm. I don’t think we’re obsessed – but it’s nice to take a break now and then.

Superficial seems to mix Nile Rodgers and Sade. It is a bit of a stomper! Were you channelling any particular artists for this song?

Thanks, man, appreciate it. I do love a bit of Nile. I’d been listening to a lot of Seramic and at the time and not sure whether I was listening to him then – but, I think Steve Lacy is great. Love the bass-y nature of some of his tracks – like, in Some.

I also like the lyrical nature of the Arctic Monkeys - and thought it would be cool to get a bit of a story into the track.

What did producer Rhys Lewis bring to the track, do you think? Was it a good experience working with him?

It was great to work with Rhys.

He’s a great producer and musician. I felt he helped me look at the creation of a song in a different way. I usually have an idea of what the song will sound like before I record it, but trying out different sounds while writing the song was great. I also rarely repeat a lyric in a verse, but Rhys actually wrote the lyric “God, I hate the taste; I hate this place”, which is repeated in the second verse.

It felt it was a good idea as it applied in both contexts.

Is there going to be more material coming later in the year? Will we see an E.P.?

There likely will be some more material coming in the year. I’m trying a few different genres at the moment, so just have to make sure I like what I make before I share it, really.

I will be releasing a music video for Superficial this year, however, which I made with my friend Tobias Harris. My band, Harker Moon, will be releasing a track this year, too.

How did you get started in music? Did you begin with open mics? Was there a particular event that influenced that decision?

My parents always played music at home and I remember listening to Magic 105.4 in the car with my mum on the way to school every day. I started writing music when I got my first cheap recording kit around the age of fourteen - and enjoy listening back to the terrible songs I wrote...

Yeah; I think I started with open mics - which were always fun - but singing in my university’s Jazz band probably made me start to think of music as my ideal career. We went on tour to Switzerland. It was great being around all those musicians and was one of the best experiences of my life.

Who are the artists who opened your eyes growing up?

Stevie Wonder, James Brown; Marvin Gaye, Michael Jackson; Otis Redding, Al Green and the Arctic Monkeys - and Queen’s greatest hits was actually the first album I bought. I have always loved Soul music, though.

You are a band leader as well as a solo artist. Do you have to change the way you perform and write in each environment? What are the main differences?

Yep. It’s quite a different writing process with the band. I usually write a blueprint for a song and then the band add their particular spin on it; the changes can go on for months. I wouldn’t say I perform differently, though - you’ll have to come to a gig some time to find out.

What do you hope to achieve in 2018?

I hope to release some material through my band and my solo project - that I am proud of – and, hopefully, play a few festivals along the way.

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

I usually don’t drink a drop before getting on stage, but I remember thinking I had finished my set for my uni’s jazz band in this small village in Switzerland by the sea. Thinking I had no more songs to sing, I got pretty drunk. The conductor Paddy, without warning, announced that I was going to finish the set with Feeling Good by Nina Simone. I remember repeating the lyric tree a lot.

Luckily, everyone was foreign – so, I don’t think they knew what I was saying anyway. 

What advice would you give to new artists coming through?

I would tell them to take time writing every individual part of the first song they release…especially if you’re in a band as, when it comes to the day you record it, you will want to know exactly what you’re playing. So, make a demo. Make sure that you are entirely happy with the first song you release as you only really get one chance…unless you take it down and put another one up, of course.

Talk to as many people in the industry you can, keep asking for advice; spend a lot of time writing and try release as much material as you can.

IN THIS PHOTO: Daniel Caesar/PHOTO CREDIT: Keavan J. Yazdani 

Are there any new artists you recommend we check out?

I’ve been listening to a lot of Daniel Caesar. He’s great. I’ve already mentioned Steve Lacy. She’s not that new, but Jorja Smith is great too.

 IN THIS PHOTO: Jorja Smith

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

Luckily, my bandmates are actually my friends too, so it's always nice hanging out with them. You’d probably bump into me at some pub in Camden with my mates if you’re round there during the weekend.

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).

Sweet - and thanks for the Interview. All the best, Tommy. I will leave you with the King of Soul:

People Get Up and Drive Your Funky Soul (Remix) – James Brown, Fred Wesley and The J.B.'s

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Follow Tommy Down

Facebook:

https://www.facebook.com/Tommy-Down-138191366266833/

Instagram:

https://www.instagram.com/tommydownmusic/

SoundCloud:

https://soundcloud.com/nii-amar-children

Spotify:

https://open.spotify.com/artist/01gw02eOtd3kFn3f3rGlxg

INTERVIEW: Harlequiin

INTERVIEW:

Harlequiin

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HIS year has already been busy and eventful…

so it was good to sit down with Harlequiin and discuss his new music. He (Rory Simmons) chats about the song, Young One, and what new/recent stuff is coming up. Simmons tells me about his tastes and upbringing; what gigs there are cemented; which three albums mean the most to him – what it was like playing alongside Blur!

Simmons also tells me how he spends his time away from music; which new artists we need to investigate; why he decided to go into music; whether he has developed as an artist  - completing the interview with a good song decision.

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

Good, thanks; pretty jet-lagged. I came back from Singapore yesterday - playing a gig over there for the Singapore Jazz Festival.

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

I’m a multi-instrumentalist and producer called Rory Simmons but I’m now releasing new music under the moniker ‘Harlequiin’ - this music is influenced by Four Tet/LCD Soundsystem/Little Dragon/Sampha etc. I play almost all the instruments on it but I have featured vocalists on different tracks - though, singer Elliot Cole features predominantly on the music.

I’ve been a session musician for years touring with different people, but I have released my own music before. But, this has been more within the Jazz and Ambient music world. This is quite a big change in direction for me.

 

Young One is the new single. What can you reveal about its inception?

Young One is a collaboration with vocalist Amelka May and it started off as a kind of Industrial-House type vibe. I then moved into more the Zola Jesus/Björk-type territory as the lyrical ideas unfolded. We actually started working on it two years ago - but it sat on my hard-drive for a good while until we decided to resurrect it. 

I believe there is a new Harlequiin coming up. Can you tell me what themes influenced it? Is there a song that, to you, stand out from the pack?

The newest track, Your Hearts Afloat, is about watching somebody pretend they are in love with someone they are not - until they even convince themselves they are, and kind of musing on whether that is really what love is; pretending until you believe yourself. (I don’t really believe this - it’s just an interesting idea on how we consolidate and develop emotional ideas). The main sample of the song is from a 1930s Blues track.

The track features amazing musicians and producers Dave De Rose and Pete Ibbetson on bass and drums; plus, the brilliant Elliot Cole on vocals.

Do you remember when music came into your life? Which artists inspired you growing up?

I was very young when Dangerous (Michael Jackson) came out - but that was a huge influence on me. I feel in love with the album and everything Michael Jackson did. Soon after that, I discovered Grunge with Nirvana, Smashing Pumpkins; Pearl Jam etc., plus some more of the British Rock scene from the mid-'90s.

Then, as a teenager, my tastes took a big shift into Jazz and improvised music, with Miles Davis, Keith Jarrett; Clifford Brown, Lou Donaldson and other great artists from the '50s and '60s.

You have worked alongside the likes of Blur! Did those big experiences teach you a lot about music?!

Working with big bands like that as a session musician is definitely an amazing experience, musically; to perform in massive venues and see a touring entourage and how slick it is at that level. But, also, on a personal level, it’s really insightful seeing from the inside how bands or solo artists who’ve had huge success move forward together and grow, musically and creatively - and the investment of time and energy into new album cycles and projects.

What compelled the decision to step alone and start writing? Did you feel the need to prove yourself on your own terms?

I’ve actually written and released quite a lot of music on my own or as collaboration with others in the past (Fringe Magnetic, Monocled Man; Eyes of a Blue Dog and Embla) but I suppose this is the first thing I’ve done in much more of an Alternative Pop/Electronic music genre. 

I don’t really feel the need to prove myself - but I am striving to keep developing my sound and get better at what I do.

In your mind; do you think you have moved on as a songwriter? What have you learnt since your earliest days?

I think I started off thinking about sound and timbre and that was the genesis of new music and new songs, specifically. More recently, I’ve been trying to use lyric and narrative as the thing that inspires new songs; to try and create something that has a tangible meaning (even if it has abstract elements) to be the basis of a song. I’ve been loving the Jamie Lidell podcast Hanging Out with Audiophiles, and that’s been really informing my songwriting and production approach.

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

Björk – Homogenic

This had a huge influence on me in my twenties: the production/the songwriting and the sentiment. I’ve always loved Björk but probably ‘overdosed’ on her a bit in those days. But, it’s still a huge part of my musical identity.

Mule Variations - Tom Waits

It was also a really important album for me, the depth of songwriting; Tom’s voice and, also, all the instrumental performances on the album (the guitarist, Marc Ribot, particularly).

Finally: Nirvana – Nevermind

It will always have a huge connection for me. As a teenager, that album was everything to me and, weirdly, I see so many parallels in fairly avant-garde contemporary Jazz from the early-2000s. The same trashy approach to harmony and the ‘Grungey’ sound is something that I hear massively in N.Y.C-based improvised music, as much as I hear in Kurt Cobain’s music of the early-'90s.

But, most importantly, Nirvana were a significant part of my growing up. The music and culture of West Coast Grunge was so exciting for me - and still influences me now.

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

We’re playing Paris Disquaire Day on 18th April; Eldorado Festival in July…and more to be announced soon!

What do you hope to achieve in 2018?

I’m planning to record an album with Harlequiin later this year: after three E.P.s, I feel something longer-form is what I need to do next. But, before that, I’m going to be a dad again!

So; probably some sleep deprivation will feature too…

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

Playing Parklike with Blur at Madison Square Garden in 2015 was pretty damn fun. I loved that music as a kid - so to the opportunity to tour with them was pretty special.

What advice would you give to new artists coming through?

Listen to everyone's advice: then forget it all and make up your own mind. Be hungry for new music and new skills.

Are there any new artists you recommend we check out?

Jamie Doe, Snowpoet; Dexter Story and Ivan Dorn are all relatively new artists that I’m loving at the moment. All pretty different, too…

IN THIS PHOTO: Ivan Dorn

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

I maintain an unhealthy balance of drinking craft beer, writing letters of complaint and eating over-priced pulled pork burgers in my spare time.

In that exact order...

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).

Town & Country by Bibio…glorious English-ness for a spring day. Bibio is still one of my favourites

___________

Follow Harlequiin

Official:

www.rorysimmons.com

Facebook:

https://www.facebook.com/harlequiinmusic/

Twitter:

https://twitter.com/rory_simmons

Instagram:

https://www.instagram.com/rorysimmonsmusic/

SoundCloud:

https://soundcloud.com/Rory_Simmons

YouTube:

https://www.youtube.com/channel/UC5F6rzDf4-D3Sob6g0-3juw

INTERVIEW: Espanola

INTERVIEW:

Espanola

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IT has been a little while…

since I visited Canada and talked to an artist from there. I have been discovering more about Espanola – the alter ego of Aaron Goldstein. He discusses the single, Outside Saskatoon, and what comes next; how his career has developed and shifted – whether there are any tour dates in the diary so far.

I find out which artists Goldstein grew up around and what advice he would give to new artists; which current musicians are compelling him; whether he will come to the U.K. – ending the interview with a great song selection!

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

I’m fine, thanks. It’s been a super-busy week. Last night, I played the launch of Michael Barclay’s new Tragically Hip biography. The band was Ian Blurton, Caitlin Dacey and Ryan Gassi (all from Public Animal); Sean Dean from the Sadies and me.

We spent the whole beginning of the week rehearsing and tons of awesome singers got up to do Hip songs. Owen Pallett, Mike O’Neil and Michelle McAdorey: everybody was amazing. I also, somehow, found time yesterday before load-in to play on the new Wintersleep AND the new Matt Mays. It’s been CanCon o’clock around here.

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

I’ve been recording and touring for almost ten years now, mostly as a pedal steel player but also often on guitar and keyboards occasionally. A lot of people might know me from a stint I did in the City and Colour live band a number of years ago. I have toured off and on for many years with Daniel Romano and also Tom Wilson’s Lee Harvey Osmond project, appearing on several records with each of them. I’ve also done recordings and/or touring work with Elliott Brood, Bry Webb; Cowboy Junkies, Matt Mays; Kathleen Edwards and many, many more.

If you’re from Hamilton, you may know me best from my Rock band, Huron, who released a record on Latent Recordings in 2010 and played lots around town. That’s probably the band that has the most in common with the music I’m releasing now as ‘Espanola’.

Can you tell me about Outside Saskatoon and the inspiration behind it?

I don’t wanna get too deep into it, but it’s definitely centred upon some times I had hanging out in that province over several visits and I guess, mostly, it has to do with the people I was hanging with, and the scenery and all that. The lyric actually comes from several different perspectives in different stanzas - and I wanna believe that I’m not one of them…but I might be.

How did The Dunk (Prince Edward Island) and Saskatchewan influence your latest single? It sounds like that experience, back in 2013, was quite a revelation?!

I went down to The Dunk in a bit of a huff because I had two weeks blocked off for a tour that, all-of-a-sudden, didn’t happen.

So; I got in touch with Hal who built and ran the place - it was literally just his house but he was a sweet guy who was really into music and welcoming to artists - and asked if I could come down. Anyway; the solitude was definitely good for me and I got a bunch of writing done there. I’m pretty severely A.D.D. and/or who knows what else is going on in my brain (I’m serious; I don’t even really know) and I just find it really hard to settle down at home and write.

I’ve always had trouble sticking to one thing which maybe accounts for my nomadic nature as a sideman; playing fairly short times with a lot of different people. Anyway; being down there and knowing I had basically one thing to do was helpful and really reminded me that I COULD write songs and that I should keep at it if I ever wanted to write anything good.

Then, when I eventually took those songs to Saskatchewan to record, I was lucky enough to write another couple on the trip before the session, including Ever Kind and True (which I released last fall).

It’s kinda hard to put into perspective why these trips had this effect on me. I have travelled so, so much in my professional life and definitely been to more traditionally ‘interesting’ places. In fact, it wasn’t even like it was my first time on P.E.I., or even at The Dunk – and, certainly, I had been through Saskatchewan on tour SEVERAL times before. I guess I would chock it up to the pals old and new I was hanging with and the good times we had.

Will there be more material coming later this year? Do you find yourself writing a lot right now?

I’m planning to do another A and B-side single, which will be my third - and I hope to release the L.P. before year’s end. It is virtually done, with just a few little scraps to take care of. I’m writing a little more now. It’s still hard to find the time. My main pursuit these days is producing music for other people - and it has been for some time.

How important is Canada and the varied landscape to your writing and creativity?

Well; it’s an inescapable part of my identity and, certainly, one might infer that it figures highly into my writing given this song. But, the truth is, most of the rest of the record is about people that I know; the struggle to be my best creative self and all kinds of other boring things. At the very least, I hope its good Rock and Roll.

Most days, I think it is…

Which artists did you grow up around? Can you recall when music entered your life?

The earliest memory I can summon is watching Cab Calloway in his white tux on Sesame Street, singing The Hi De Ho Man. I don’t really remember a time when music wasn’t essentially my guiding force. As a really young kid, I became obsessed with early Rock and Roll and, strangely, I kind-of experienced the evolution of popular music the same way they world did, but in my own little bubble, thirty years later.

I was obsessed with Buddy Holly, Chuck Berry; Fats Domino, Little Richard and Elvis - all the Sun stuff…girl-groups and The Beach Boys. Then; The Beatles hit and knocked me out for years. Kids around me were listening to - I don’t know. Duran Duran?

Anyway, it was a complete and utter obsession with Rock and Roll and Pop circa-1956-1968, until I started to get hip to new music in junior-high school. Dookie, Nevermind and The Blue Album were all favourites at that time and, in fairness, also probably did a lot to inform my writing today. It’s clear to me now that there is no Weezer without Buddy Holly - and that has nothing to do with their song by that name. Simple, singable; three-chord sh*t?

Weezer et al do it well - but they didn’t do it first. Years later, when I began to appreciate bands like Big Star and Black Sabbath, it was clear where those bands fit into the puzzle, chronologically, in-between the '60s and '90s music I loved so much.  

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

Nothing on the calendar at the moment. I’m hoping to do some regional traveling in the fall...

Will you come to the U.K. and play? Have you been here before?

I’ve played throughout the U.K. as a sideman many times, but Espanola has never been there. I love that side of the world; I love playing there so much. The whole music racket can, unfortunately, boil down to a numbers game sometimes - if any of your readers are a fantastically ambitious Rock and Roll talent-buyer connect me with them, would you?

Which albums, old and new, do you count as favourites and standouts?

Oh, gosh…there are so many. I’d be nothing without ‘The Brown Album’ (The Band) and Tonight’s the Night (Neil Young).

But, there are so, so many…

What do you hope to achieve in 2018?

I hope to reach as many interested parties as possible with my unique brand of Canadian Alt-Country/Rock and Roll and would love to play in person to as many of those people as possible.

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

There are many…

Any time the band hit a stride, a moment of collective mind where we transcended our individual selves and became greater than the sum of our parts. Those are the moments I live for…that’s why I do this. Sometimes, you spend many nights on the road looking for that moment. Some tours you’re lucky and they happen often.

What advice would you give to new artists coming through?

When I started playing pedal steel, I had a couple of lessons from the great musician Bob Egan - who played in Blue Rodeo for many years - and was with Wilco for a time. He has this great story. When he was starting with Wilco but hadn’t yet committed to them full-time, he met Johnny Cash backstage at a concert and they chatted briefly.

Bob expressed that it was a difficult decision to commit to music full-time and Johnny said to him: “It can be very rewarding, if your heart is in it.” I think about that story quite a lot actually. I have no doubt that my heart is in it. But, I know many people whose hearts have been in it, who haven’t made it. How have I managed to make it work, thus far? Brutal and never-ending hard work; lots of luck and good timing. This isn’t the easiest way to make a living, by a long shot. It probably NEVER was but, nowadays, more so.

If you came from the middle-class like I did and think you’re going to dive into music and make the kind of money your parents did, and have the kind of life they made for you, you’re taking a risk. But, if you’re ready to accept that risk - and you know that this is the only thing in the world for you to do, like I do - well, then, you have no choice, do you?

Are there any new artists you recommend we check out?

Full disclosure: all artists I’ve produced:

Side Hustle; Major Love - their second single just entered the CBC Radio 2 Top 20 at #10 this week. Also; Tired Kid.

IN THIS PHOTO: Major Love

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

I do NOT get much of a chance to chill, which is one of the pitfalls of turning your passion into your career. I haven’t unwound since 2007. I have a beautiful, humongous record collection and I hope one day to be able to lay on the couch and listen to After the Gold Rush for an afternoon.

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).

Dave Rawlings Machine - Ruby

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Follow Espanola

Facebook:

https://www.facebook.com/espanolamusic/

Twitter:

https://twitter.com/aarongoldstein

Instagram:

https://www.instagram.com/agoldrules/

Soundcloud:

https://soundcloud.com/agoldrules

Bandcamp:

https://espanola.bandcamp.com/

INTERVIEW: Maaike Siegerist

INTERVIEW:

 ALL PHOTOS (unless credited otherwise): Catherine Rudie 

Maaike Siegerist

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THERE are few artists who can claim…

BBC Radio 6 Music has played their music. I have been talking to Maaike Siegerist about the station spinning Keep It in the Dark and Yangtze River Blues. She tells me about her debut album, Born Before the Wind, and how her travels and relation influenced her songwriting. Siegerist discusses a move to Bath and what she has coming up in terms of songwriting – what tour dates we can expect in the coming weeks.

I learn about new artists she is vibing to; the sort of music she is influenced by; how she spends her time away from music; the advice she would give to new artists – she talks about a fond memory from her time in music.

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

Really good! Tom Robinson played my track, Keep It in the Dark, twice on BBC Radio 6 Music last weekend, so I’ve been buzzing all week.

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

I’m a Dutch singer-songwriter based in Bristol. I play a Spanish guitar and love Jazz chords - but have also sung in atmospheric Metal bands. You can hear all those elements in my music.

Born Before the Wind is your debut album. What sort of themes influenced the songs on the record?

The sea, the wind; ships – there’s a lot of maritime imagery in the lyrics. I grew up close to the sea and it’s an important element of Dutch culture. The imagery has made its way into my songs about travels.

There’s also literal and figurative darkness in some of the songs – a love kept in the shadows, a sinking ship; a young woman who ends her life.

It was recorded in Bath – you moved there in 2014. What was the reason for relocating there?

I had spent a week in a mansion in the rainy Scottish countryside in 2013, together with twenty-five other songwriters. We were on a songwriting boot-camp, writing a song a day, and it was one of the best weeks of my life. The camp was run by Bath Spa University and their team mentioned they run a yearlong songwriting course in Bath, so I applied (after working and saving up for a year).

BBC Radio 6 Music has played Yangtze River Blues. What was that like?! Is it important getting that sort of focus?

It’s a thrill to be played on national radio! When the music you wrote and recorded yourself is on the radio, that’s a huge compliment. It also gives you credibility. All of a sudden, you’re not just another girl with a guitar…

You’re the girl with the guitar whose music was played on 6 Music.

PHOTO CREDIT: Jonni Slater

How does the music scene differ in Bath compared to where you were raised in Holland? Is it true you lived in China for a time?

I love the buskers in Bath – they are pros, singing and playing for hours…even in the winter.

You don’t see that many and such good buskers in Rotterdam. There are also way more open mics in the U.K. in general than in the Netherlands. Bath even has one in a church, St Michael’s Without. I met a few of my best friends and fellow musicians at open mic nights in Bath!

A while ago, I lived in China for a year. I studied Chinese in Hangzhou, a beautiful city with a big lake and fields of green tea, near Shanghai. It’s the home of more than nine-million people. The country has inspired two of my songs so far: Yangtze River Blues is the story of a farmer who lives near the Three Gorges Dam, whose land is flooded in the name of progress; Long Way Down is written from the perspective of a Chinese student who ends her life because she can’t live up to her family’s expectations.

I hear different sounds in your music. What sort of music did you grow up around?

My dad listened to all kinds of music: Mike Oldfield, Annie Lennox; Donna Summer, Sergio Mendes; Queen, Eurodance acts – I had no choice but to love them all.

When I was in my teens, my elderly guitar teacher introduced me to classic Jazz – his repertoire basically ended with The Beatles. The Jazz chords and melodies are amazing! I also started listening to Gothic Metal - bands like Within Temptation and Nightwish were really big in the Netherlands. I wanted to sing like their frontwomen, so I took classical singing lessons and started listening to Classical music as well.

PHOTO CREDIT: Jonni Slater

There are Spanish and Argentine elements in your blend of Folk. That is something we do not hear in music a lot. Do you think it is important to remain true to you and not compromise?

Yes. That’s the only way to add something. There’s no point in trying to sound like anyone else. Although, there is room for negotiation when you’re co-writing. Keep It in the Dark was a co-write with Catherine Rudie, who you can also hear on the track.

The song is different from what we write on our own; it’s where our styles meet. We each had to sacrifice a few of our favourite ideas along the way, but I love the result!

What do you hope to achieve in 2018?

Get the songs to the people who will love them – online, via the radio, and live.

Behind the scenes, I’m also writing and recording new tracks. There are a few songs in the pipeline I’m very enthusiastic about!

IMAGE CREDIT: Artist/Getty Images

Can we catch you perform anytime soon? What dates do you have coming up?

Friday, 20 April, Arts House Café, Bristol

Saturday, 28 April, St Alfege Church, Greenwich (London)

Friday, 18 May, Komedia Café, Bath

Saturday, 26 May, Bath Pizza Company

Sunday, 9 September, Half Moon Putney, London

How important is it getting your music on stage and performing it to people?

Being online is vital, but gigs are definitely still important. I like the personal connection you can make with people at a show - and gigs are also a way of introducing your music to people who haven’t heard it before. I love turning gigs into happenings.

When we’re performing in Greenwich this month, we’ll have piano, flute; trombone and many voices. I’m really looking forward to it.

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

My album launch in Rotterdam last year! It was in a small, dark wooden church with model ships hanging from the ceiling. On stage with me were my British friends Susanna and Jonni on piano and keys and my Dutch friends on upright bass, flute and violin. In the audience were one-hundred people who had supported my musical journey that far.

It was totally nerve-wracking beforehand, but it was a magical night.

What advice would you give to new artists coming through?

I think I’m still pretty new myself...

But; my advice would be: be yourself musically; don’t try to sound like anyone else. Make music that you think is good and find the people who love it too. Musical tastes are subjective so don’t dwell on rejections. If you put enough effort in, some of your songs will float to the surface – they’ll get on national radio, make people cry; have people singing along – and that’s amazing!

IN THIS PHOTO: Jonni Slater

Are there any new artists you recommend we check out?

Yes! Jonni Slater, a Bristol-based Indie-Alternative artist, is releasing his new E.P., Inversions, later this month. It’s pure quality.

Leandro Maia, a Brazilian artist who lives in Bath, makes beautiful, interesting music and sings in Brazilian Portuguese.

Or if you like Folk; check out Sharon Lazibyrd. She has a gorgeous voice and a witty way with words.

For Rock ‘n’ Roll, go to David Sinclair Four. Their lyrics are masterful.

IN THIS PHOTO: Sharon Lazibyrd

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

Fine wine and good food - and travelling to far-away places or nearby castles. I also like reading Frank Sinatra biographies and watch a lot of Netflix.

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).

Here are two of my amazingly talented friends – Chloe Tyghe & Guillem Mitchel (The Slightest Hiss of Wind)

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Follow Maaike Siegerist

Official:

http://www.maaikesiegerist.com/

Facebook:

https://www.facebook.com/maaikesiegeristmusic/

Twitter:

https://twitter.com/maaikesiegerist

Instagram:

https://www.instagram.com/maaikesiegeristmusic/

SoundCloud:

https://soundcloud.com/maaikesiegerist

Spotify:

https://open.spotify.com/artist/53Xt6CRZkrbOvr91ZmTzMt?si=B-5eR--DR3SOy_BlyV7tJw

INTERVIEW: Sakura

INTERVIEW:

PHOTO CREDIT: Richard Taylor 

Sakura

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A few weeks ago…

I came across the music of Sakura and was compelled to pin her down to an interview. She has provided the time to talk about December – her stunning track released late last year. The songwriter talks about her Asian roots and the music she holds dear; what she has planned in terms of future material – how London, and its pace, affects her songwriting and drive.

Sakura tells me about future gigs and whether women get an equal shot in the music industry; some new artists to look out for; how she unwinds away from music; why Jeff Buckley is an influence – she ends the interview with a pretty hot song selection.

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

Hey, Sam! I’m doing great. It’s been a busy week; so I'm glad it’s Friday!

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

I’m Sakura. I’m a twenty-year-old Japanese/Chinese musician, based here in London. I love all things art and try and incorporate that within my artistry and my music. I try to be authentic and as genuine as possible with my songs - and I hope that comes across!

The track, December, was released last November. It got quite a big reaction! Were you surprised by the feedback it got?

I was! It’s always great when your music reaches people and it was just a little acoustic Christmas song that I put together with friends...so I was surprised, for sure.

What inspired you to write that song? Does it hold personal relevance to you?

We finished the whole production and music video for that song in less than a month - it was a really spontaneous decision!

I wrote the song because everywhere I went in London, I would see street sleepers in the cold and it really made me sad to know that so many people were out there, during what’s supposed to be the happiest time of the year. So; I decided to release a Christmas song and donate half of the proceeds to a charity working with street sleepers. It was so great that so many people got involved to help me create this vision that I had!

PHOTO CREDIT: Richard Taylor 

What can we expect in terms of future material? What are you working on right now?

I’m currently working on a four-track E.P. titled Roots. It’s quite a big jump from the music I’ve previously released, so I’m quite excited to see what everyone thinks when it’s out! It’s a little heavier and moodier than Evolve and December but I don't want to give too much away!

Fairly recently, it was International Women’s Day. Do you think women in music get the respect and parity they deserve?!

I think there’s a huge new wave of kick-ass female musicians in the Indie scene that’s really inspiring and are representing the diversity and lack of women in the music industry. It’s a step in the right direction!

You have Japanese and Chinese blood – born and raised in Hong Kong. How important is your Asian background in regards your style and musicianship?

It’s played a huge part in my development as a person, let alone music. It really motivates me to know that I am representing women of colour every time I pick up a guitar and play.

How different do you find London and the people? Do you take a lot of inspiration from the city?

It’s pretty different here. Haha! But, I feel like London is a melting pot for creatives and that’s definitely worth the move. There are so many gigs going on every day of the week here and it’s so easy to meet musicians too - there are also so many great talents that inspire and push you to work hard.

PHOTO CREDIT: Richard Taylor 

I hear shades of Jeff Buckley in your music. Which artists did you listen to growing up?

Jeff Buckley was definitely a huge influence on my songwriting and lyricism! I really admire his musicality and the way he uses his voice as an instrument. Other favourites from growing up are Joni Mitchell, Tracy Chapman and, probably, John Mayer. I’ve learnt a lot about songwriting from John Mayer!

What do you hope to achieve in 2018?

I want to get everything ready for my E.P. release in early-2019 and I'm also really buzzed to start gigging with a full band in London!

Can we catch you perform anytime soon? What dates do you have coming up?

I’m heading on a solo adventure to Bali for a month to recharge myself and my creativity but, the night before that, I’ll be playing at the open mic that I host at The Monarch in Camden! It’ll be on April 9th and it’s on bi-monthly. ‘Open Mind Open Mic’ on Facebook for anyone that wants to come down and share their art with us!

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

My favourite memories would probably be my first few weeks in London, playing open mic nights and gigs, meeting loads of amazing people; being exposed to so much live music and getting to develop a lot as an artist.

Or the release of my debut single, Evolve! The video shoot for that was a lot of fun. We went out to Surrey and spent a day in a beautiful park with the best crew!

What advice would you give to new artists coming through?

Be your most authentic self.

IN THIS PHOTO: Joe Traxler/PHOTO CREDIT: Clemens Neumeister

Are there any new artists you recommend we check out?

There are so many amazing artists here in London, but a few that come to mind first are Joe Traxler, Julian LeBen and Chris Reardon.

IN THIS PHOTO: Julian LeBen/PHOTO CREDIT: Samantha Jane Photography

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

I love travelling so, every few months, I end up escaping London for a bit and doing some exploring!

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

I’ve fallen in love with a song by Japanese Breakfast called Boyish - so I think I’ll choose that! Thanks so much, Sam, for all these great questions, and for having me on Music Musings and Such

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Follow Sakura

PHOTO CREDIT: Richard Taylor   

Facebook:

https://www.facebook.com/SAKURAKATSUURA/

Instagram:

https://www.instagram.com/SAKURAKATSUURA/

SoundCloud:

https://soundcloud.com/sakurakatsuura

BandCamp:

https://iamsakura.bandcamp.com/