INTERVIEW: Moonheart

INTERVIEW:

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Moonheart

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IT is to Brooklyn…

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and a chat with the remarkable force that is Moonheart. I have been finding out about their new song, Bridestep, and whether they can shed any light regarding its birth. The guys – Kim takes up most of the answers – tell me how they got together and what their upcoming album, Feel It Out, will contain – what it was like recording it.

I ask how important Brooklyn is and what sounds they were raised on; if they have words of advice for artists coming through; if a trip to the U.K. is part of their plans – Kim and Michael tell me what they hope to achieve before the end of this year.

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

Kim: Hey! Doing pretty well. Thanks for asking (smiles). Aside from still having to do my taxes and being scared to do them (they’re gonna be a mess), I can’t complain. Michael already did his…overachiever.

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

I write songs and Michael produces them. It’s hard to describe how it sounds in words, but other people have done a really nice job of it. One of my friends calls it 'Future-Folk' and I like that. My family calls it ‘nice’.

Michael: Yea. I’d like to think that we’re somewhere in between ‘Future-Folk’ and ‘nice’. Kim writes beautiful songs with heart-wrenching lyrics and I try to dance around them with some electronic bleeps and bloops.

Bridestep is your new single. Can you explain its background and story?

Kim: Writing Bridestep helped me to sort out some lingering feelings that were eating at me about a relationship I’d ended in the past, without expressing myself in a way that I feel honoured how important that relationship was and is to me. I was meditating a lot on closure or the lack of it, on boundaries and what’s allowed to be said after the fact - and this song is an outgrowth of those thoughts.

Feel It Out, coming in spring, sounds exciting! What themes and ideas have gone into the record?

I’m always thinking about my ancestors, trying to connect and open up a pathway to them; feeling them work through my own work and movement; so, there’s always that thread somewhere in my lyrics. There’s also a good amount of grief in this album - the grief of physical and/or emotional loss, of dealing with some mental illness stuff (or not dealing with it). Opposites interacting with one another - openings and closings, expansion and contraction; high and lows and trying to find the balance among them - also plays a large part.

I think Michael, especially, did so much to portray that in his production. There’s a lot of organic sounds weaved into the digital sounds. I promise it’s not as depressing as this description makes it sound though. Ha.

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How was it recording the album? Do you both like being in the studio?

Michael: We actually recorded it in the apartment that we share here in Brooklyn, piece by piece over the course of about eight months or so. Some parts were much easier - getting to do them on our own time - than they would have been in a studio.

Kim: Especially vocal takes. I’m the queen of “just one more” take and then wanting to do at least ninety-three more...

Michael: Yea. I’m glad we didn’t have to pay for that…

Kim: But, for real though; it’s a little dream come true every time a song starts coming together and Michael and I have a little E.S.P going on in that regard. He tends to just know what I’m looking for without my having to explain much and it feels like magic every time.

It’s really fulfilling to shape something and see it through from beginning to end - and such a different muscle from writing. I love it

Michael and Kim. How did you meet one another? What brought you together?

We met in Boston, where we went to the same music conservatory. We didn’t really start making music or hanging out much until I moved to Brooklyn a couple years after he did, in 2014.

Michael: We bonded over trying to be better songwriters. We would do writing exercises where we’d send each other songs every day and ended up getting into each other’s music - and that’s what made us want to work together.

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I believe Brooklyn played a role in your careers. What is/was it about the area that led to songwriting?

Kim: It’s hard to pinpoint all the ways living here has changed me and helped me grow as a writer and person. But I’d say, for sure, one of the biggest factors in all of that is all of the sweet friends and artists around me who I get to watch do their thing beautifully often. The community here is constantly inspiring…

Michael: Yea. The community of musicians here is like nowhere I’ve ever been. I’m constantly humbled and inspired to do and be better by those around me, and that’s a great thing.

Kim: If you’re lucky you can find your people and what keeps you inspired anywhere, or at least on the internet. But, I’m glad we’ve found it here. I feel lucky to live here.

In terms of music; what sort of sounds did you both grow up around?

My dad was always playing all kinds of good stuff. A lot of Stevie Wonder, Erykah Badu; Earth, Wind & Fire, The O’Jays and Prince. My mom loved Michael Jackson and the Whitney Houston. My granddad has a gorgeous voice and plays guitar and piano. My Nonnie sings too. Every family gathering with them is anchored by group singing and it was really special to grow up that way. They love standards, old spirituals and some Folk tunes, which got me into all of those things.

Michael: I grew up listening to a lot of Jazz. My parents weren’t that much into music, but my saxophone teacher introduced me to a lot of Jazz and Classical music. I was really into Stravinsky, Thelonious Monk and Duke Ellington. Later, my sister got me really into Elliott Smith, Deerhoof and Björk.

Will you be touring any time soon - and does that include an eventual trip to the U.K.?

Kim: Fingers crossed!

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What do you hope to achieve in 2018 with your music?

On the topic of touring; I’d really like to tour our record in an extensive way outside of the city. I’m finding that playing shows is a whole other part of the body that writing and recording live in - and I want to tend to and feed that part much more; especially because I’m in love with playing in our current configuration - Michael and I, plus our friends Connor Baker on drums and Parker McAllister on bass. It’s new (we’ve only played two shows with this setup), but it feels really good and they make it so easy to sing.

I also hope that the music makes people feel soothed or lighter, or more comforted or recognized after listening to it, live or recorded. If it makes someone feel that way, I feel like I’m doing my job as a writer and a person.

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

Honestly; it’s been putting this album together. It’s a little dream come true every time a piece of the puzzle of a song is put in place

What advice would you give to new artists coming through?

Michael: Try not to compare yourself too much to those you think are doing better than you. Your path is always gonna be uniquely your own. Sorry for that Malcolm Gladwell corniness.

Kim: Be honest in your writing and be nice to yourself when it’s not coming easy.

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Are there any new artists you recommend we check out?

Hite (Julia Easterlin) made a gorgeous record last year called Light of a Strange Day. She’s also a friend of mine. Her singing is so inspiring to me. She has so much control over her instrument and (especially) uses dynamics in such a moving way – and, whenever I hear her live, it makes me cry.

I love L’Rain’s self-titled album and can’t stop playing it. I’ve also been really into Kalbells lately - this great band from here that’s led by Kalmia from Rubblebucket. She’s great.

Michael: I’m really into Violents right now. I love Monica Martin’s voice and I really like the production...

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IN THIS PHOTO: Violents

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

I try to meditate, but I’m not good at; so, I usually go on runs or watch YouTube tutorials about other things I’m not good at.

Kim: I like to be in nature when it’s not cold and to read as much as I can. I also like watching trash T.V. when I have nothing going on; specifically, this beautiful mess called Vanderpump Rules, which I feel much less shame about now I know Rihanna watches it. 

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).

Kim: Oo. This is hard...I’ll show you my favorite Hite song (Light) since I told you about her.

Michael: Solo by Frank Ocean

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INTERVIEW: Makk Mikkael

INTERVIEW:

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 Makk Mikkael

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AS the warm weather teases my mind with alluring brightness…

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I am thinking of Makk Mikkael and her latest track, How It Feels. I have been listening to the song for a bit and learning more about myself from hearing it. The Canadian songwriter has been telling me about that track - and what she has planned for the coming months. I ask how influential relationships, good or bad, are to her songwriting; if she will come and see us in Britain this year – if there are new artists we need to get behind.

Makk Mikkael gives me the skinny about her creative flow and how she has transitioned as an artist; which albums mean the most to her; if she gets time to detach from the demands of the music day – she offers some sound advice for artists coming through.

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

Hey! I am doing good, thanks! I’ve been in the studio lots working on my third single - so stay tuned exciting things are coming.

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

Hey guys. My name is Makk Mikkael. I’m nineteen-years-old; currently living between Calgary and Toronto right now. I love creating music/listening to music, probably more than anything else in the world. I’m working on my debut album right now - so am super-stoked. Thank you all so much for listening to my music and for the support. Hope to see you on the road.

How It Feels is new. It is inspired by a dark time – the end of a relationship. Was it hard translating that hurt and upset into music?!

How It Feels was written in ten minutes in my basement. Haha. It was written from an experience I had from my trip to L.A. My friend sent me a beat, and it inspired How It Feels pretty instantly. I was so happy turning my anger, sadness towards someone into music; so, it was a very emotionally rewarding process which closed the chapter for me.

The video looks like it was pretty epic and interesting to film. What was it like filming it? Do you enjoy music videos?

I love watching music videos. You get to see the artists thought process when they were writing portrayed through visuals, which is super-dope.

For How It Feels; we started setting up at the first location at 4 P.M. and ended the shoot at 4 A.M. It was a long night, but super-cool to shoot at so many different locations. I love making music so I can make videos for it: I think they go hand in hand and people may relate to the video more than the song, or vice versa. But, it’s just another way of showing what you felt or experienced through visuals.

Have relationships, good and bad, played a big role in your career? Are you in a happier place at the moment?

I am in a really good place right now.

I’m surrounded by such great individuals and my family so it’s a really special time. As far as relationships go; the bad ones are the ones I write about. I typically don’t write happy songs: I like to write from a deep place and write the good and bad I experienced with that person all in one.

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Is there more material arriving later this year?

There will, 100%, be new material this year. My third single will be released, hopefully soon; we’re just getting it mastered right now. After that, I will start working on my debut album, which I’m all kinds of excited for.

You hail from Calgary and started recording music aged fourteen – under the name of ‘Mackenzie Rose’. How do you think you have changed in the past five years?

Haha. I’ve changed a lot. I don’t listen to Country music - and haven't since I was fourteen. I was really into Taylor Swift though; so that influenced my sound then. Now, I’m just into different stuff and have grown a lot with my sound/style.

How important was it going to L.A. and experience a new creative and personal lease? Do you think you might move away in future years? Are you quite rooted right now?

I think it’s important to try going to different places. Everything is a different experience - and you get the good and bad, but getting out of your comfort zone is so important. I loved living in L.A.; I learned a lot about the industry when I was there and was surrounded by super-talented individuals. L.A. has such different vibe then Toronto. It’s a huge music hub for everyone around the world to gather which, I think, Toronto is now turning into.

Before I move anywhere again, I want to finish my album. When I get on the road, I feel like that will help me decide where I wanna be. I’ve always been super in love with London, though.

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Which artists inspired you as a child? Has music always been in your life?

Music has always been in my life. When I was younger, I listened to JoJo, Taylor Swift; The Pussycat Dolls, Maroon 5 (love their early stuff so much); Hootie and the Blowfish, Hilary Duff; deadmau5 and Lilly Allen. It pretty much ranged from everything my parents listened to - to what was on Disney Channel.

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

I don’t have any gigs lined up. Hopefully, some shows will start in the summer. I’m super-busy creating right now.

Will you come and play the U.K. at all? Do you like the music over here?

I love the vibes in the U.K. The music that comes out of there is crazy-good. I’m so inspired by the sound over there. I will definitely come play there once this album is out.

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

The Internet - Ego Death

I saw them live in the summer in Toronto and was like: ‘What the heck; who are they?!’ They have such an energy and vibe on stage. Love the beats, lyrics: everything is spot on. The perfect way to describe them is (chill Lounge music), which is so inspiring for my sound and vision.

Toro y Moi - Boo Boo

When I was living on my own in Toronto, a friend showed me Toro y Moi. I’d never heard of him and I was completely taken to a different universe. For the next five months, after he introduced me to him, Boo Boo was the only album I had on rotate. I would walk everywhere in the city by myself and his music made me feel so comforted everywhere I went.

The 1975 - The 1975 (Deluxe Version)

The first song I heard from them was Girls. I was hooked. I recently saw them in concert and there just incredible live. They have released so much since there early stuff and it’s all great music - absolutely my favourites. They inspired me to release music and be myself in this industry.

What do you hope to achieve in 2018?

I want to release this album, tour and constantly keep creating.

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

Yes. I was on the back of a motorcycle on the outskirts of Toronto and I got a D.M. from Bipolar Sunshine, who was, at the time, coming to Toronto to perform at the Drake Hotel. He asked me if I wanted to open for him. So that was pretty dope...

Obviously, I said yes.

What advice would you give to new artists coming through?

Just do your thing. The more original and true to yourself you are the more chance you have of being successful. If you have it in you then you're good. Stay true to the music.

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IN THIS PHOTO: Alex Lustig

Are there any new artists you recommend we check out?

I’m digging Sam Austins, Lou Val and my super-talented homie, Alex Lustig.

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

For sure. I live thirty minutes away from the mountains, so I get outside as much as I can. I get inspiration when I take time away from it and usually come back with lots of ideas, so it’s great. Honestly, I love it though; so, I don’t really need breaks from creating.

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).

Wasted Times - The Weeknd

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INTERVIEW: Dom Fricot

INTERVIEW:

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Dom Fricot

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I always enjoy chatting with Dom Fricot because he…

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reveals something new and fascinating. This time around, the Canadian songwriter has been discussing his new track, Echoes, and what the tale behind it is. I ask what we can expect from the upcoming mini-album, Deserts, and whether there are gigs planned.

Fricot reveals whether he is coming to the U.K. and what the scene is like in Vancouver; which artists he was raised on; if there are any new artists worth checking out; what he has planned for the remainder of the year – he ends the interview with a pretty cool song.

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

Been great. Just got back to the Netherlands after a nice month of playing shows on the road in Canada. Been writing with the Folk Road Show and enjoying the arrival of spring.

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

My name is Dom Fricot, I’m from a small town in BC, Canada called Salmon Arm. I’ve been in and out of bands since my late-teens and am currently putting out my third solo studio effort, Deserts.

The video for Echoes is out. I believe it was shot in Nepal. Were you there touring/playing at the time?

I wasn’t, no. I’ve never actually been. The filmmaker, who was interested in making a video for Echoes, was shooting other projects in Uganda and Nepal and pitched me a very loose concept for the video. Originally, I think he was going to do the project in Uganda - and just ended up having a better chance to do it in Nepal.

What were the people like who feature in the video? Was it a memorable experience?

As I wasn’t there, I can only speak from what Dwight has told me. I’m sure it was, yes.

Echoes is from the E.P./mini-album, Deserts. Is there going to be more material from the E.P. released into the world?

Yes. I had slotted to put out the entire eight tracks in March, but the label, Knight Vision Records (Warner) approached me and wanted to put out the album. So, some of the plans shifted a little. We’re putting out Deserts now in three parts: Pt. 1 was released digitally on April 5 and Part II should be out later this month.

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What was it like recording the E.P.? What sort of themes were you inspired by during that time?

The E.P. was pretty exciting to make. We took a quite minimal approach, largely building around my Rhodes, loop station and vocal parts. The last ingredients were merely some synth, mostly bass and then Classical strings.

In terms of creativity and music; are you working on new stuff right now?

At the moment, I’m writing with my other project for Folk Road Show’s next album. I like to have about three times the material than what ends up getting recorded, so we’re in the middle of a lot of writing. It’s feeling pretty fresh and inspired, which is great.

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Which artists did you grow up around? Give me a sense of the music you were raised on…

I have older sisters who were into everything from Wilson Phillips to Milli Vanilli and New Kids (on the Block) to Jon Secada, Janet Jackson and, of course, Phil Collins (smiles). My mother was a Beatles lover through and through – but, later she got into some strange stuff like Tony Byrd and Francis Cabrel.

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Vancouver is where you are from. Are there a lot of great artists working in the city right now?

Oh yeah; always have been. Right now, man; so many stellar acts: Bend Sinister, Peach Pit; We Are the City, Lion Bear Fox; REGAL (ahem…side project); Young Blood, JP Maurice; Savvie and Fraankie. Such a wealth of talent - I know I’m missing so many...

Do you have any gigs lined up? Are you heading to the U.K. this year?

I’m moving into a period of touring with the Folk Road Show in May/June and back to Canada with them for the end of July and August. Then, back to some more solo touring. Balancing is tough. I need a manager. Any takers? (smiles).

What do you hope to achieve in 2018?

Seems lofty...but I’d like to get over a million plays on songs off of Deserts. Haven’t decided which: I’m just starting off by putting that into the universe.  

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

I wrote my high-school grad song with a good friend. We performed it in front of a few thousand people with only an acoustic guitar. Playing it in a packed arena was nuts. When they jumped up to applaud, I nearly fell over. The rush was so huge.

What advice would you give to new artists coming through?

Look for fellow musicians who you feel creative sparks with; people who push you to see and hear things differently and work hard to push each other.

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Are there any new artists you recommend we check out?

Nimbus 3000.

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

I like hiking, beaching and eating - in no particular 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).

Nimbus 3000 (ft. Fricot Cane) - ALONE

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INTERVIEW: Vincent John

INTERVIEW:

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Vincent John

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HIS latest single has been wrapped around my brain…

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and coming into my vision at unexpected times. I have been speaking with the U.S. songwriter Vincent John about his new track, Shiny Car, and what compelled its birth. His E.P., Tangerine, is upcoming, so I was eager to know a bit more about it. I discover what the scene is like in Philadelphia – where Vincent John is based – and whether he will come to the U.K.

He tells me whether he is a fan of British music and what his favourite career memory is; if he gets time to switch off from music; which musicians have inspired him; what it has been like working with the legendary Lee Fields – Vincent John ends the interview by choosing a stunning song.

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

Hello! Thank you for having me. I am very well - and hope the same for you.

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

My name is Vincent John. I am a songwriter, musician; producer and artist.

Tell me about Shiny Car. What is the song about? Did it come together easily?

Shiny Car started out as an instrumental. I had just finished releasing my debut, Never Go Back, and felt this was a step in the right direction for the next batch of songs and, at the same time, an extension of Never Go Back.

It is taken from the E.P., Tangerine. Can you reveal the subjects and stories that compelled the songs? What sort of topics inspired you during its creation?

I pull from my own life and the lives of those close to me for inspiration. Occasionally, political themes creep in - but my intention is to create music that makes people feel good. I try to create metaphors for those themes when they do arise.

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The E.P. brings together classic recording with some modern touches. Is it important you blend the old and new in your music?

Absolutely. Most of the music I love dates back to the '60s thru the '80s. But, it is important to me to try to bridge the gap between what inspires me and what most people relate to these days. It’s not easy but, in the end, it is very gratifying.

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You have worked with Lee Fields, Nicole Wray and Aaradhna. Have those experiences been impactful and important?!

Working with these people has been a gift. All of those individuals, as well as ones not mentioned, have been very important to me as a person and an artist. I have an immense respect for those who I collaborate for and with. Not only are those some of my favorite artists, they are friends and role models who I consider myself lucky to know.

Which artists inspired you to get into music? Who do you count as influences?

I grew up listening to Motown. My mother loved the '60s and '70s Pop music, so that’s what I was listening to in my formative years. It’s hard to pin down one favorite but, for what it’s worth, I think the best (Soul) singers who ever lived are Sam Cooke and Marvin Gaye.

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Philadelphia is where you are based. What is the area like in regards to music? Is it a good place to perform?

Philadelphia is known as a hotbed for Indie Rock and R&B. I love to perform in Philadelphia. It is my home and I’m proud of it. My favorite venues would have to be The Fillmore, Union Transfer and Johnny Brenda’s.

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

Yes! We are booking dates in PHL, N.Y.C. and L.A. right now for 2018. Stay tuned for more info soon.

Do you think you’ll play the U.K. this year? Do you like the music coming out of here?

I would love to make it across the pond with this project this year. I do tend to like a lot of what’s coming out of the U.K. these days - Michael Kiwanuka, Alex Francis; Pale Waves and Fishbach…to name a few.

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 IN THIS PHOTO: Pale Waves

What do you hope to achieve in 2018?

A broader awareness of the music I am making for a generation in flux. I hope the records can brighten someone’s day every day...

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

I played L’Olympia in Paris with Lee Fields this January 2018. That was pretty moving. The Beatles, and countless others, have played there.

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What advice would you give to new artists coming through?

Do as much as you can yourself to ensure your vision is not obscured. This day in age, you have to wear many hats, but don’t let the records suffer as a result - that’s always got to be number-one.

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

I honestly don’t lately, but I am happiest when I am busy working. Occasionally, I’ll go on a vinyl buying tear - but that’s not really getting away from music, is it?! (laughs).

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).

William Onyeabor - Good Name

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INTERVIEW: Jazz Mino

INTERVIEW:

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Jazz Mino

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THIS is not the first time I have featured Jazz Mino…

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on these pages. She has been talking about her new single, Warriors, and how it differs from her much-loved interpretation of Crush. The songwriter reveals new artists she is responding to; what it is like being based in London; whether she has had time to reflect on a busy, successful 2017 – she looks ahead to gigs and ambitions for this year.

I ask Mino whether there will be more material and how she crafts that incredible stage presence. She selects her favourite albums and reveals some important advice for new artists – telling me how she spends her time away from music.

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

It’s been great, thanks, despite the miserable rain in London! Spent my weekend trying to battle the weather, failing...and then settling on hiding inside and finishing up my Easter eggs.  

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

Hey, everyone. My name is Jazz and I’m a singer-songwriter most known for my single, Crush, which hit number-five in the U.K. club charts. I used to hate marmite but now I love it. But, there was a weird transition period where I was sort of ‘meh’; so I still disagree with the slogan (smiles).

Warriors is your current track. Can you reveal the story behind it?

I think I speak for a quite a few people when I say 2017 was a pretty rough year and I really wanted to write a song about standing together and knowing that, no matter how bad things get, your squad have always got your back. I needed a song that would uplift me on those days where I’m down - and I really achieved that with Warriors. When I listen to it, it gets me into the mindset of being able to achieve anything.

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How does it differ from previous tracks like Crush? Did you adopt a new persona and colour scheme for Warriors?

Crush was quite a playful track about not over-thinking things and I think Warriors shows a different, bolder side to my personality. Singing Warriors makes me feel more connected to my friends and fans, as it’s about how they’ve made me feel and the confidence and courage they’ve given me to rise up through difficult times.

The colour theme for Warriors is blue/double denim. I associate the blue with feeling downbeat and double denim is something which has really come back and started trending again over past year. So, the theme is sort of a play on this: feeling down and coming back with a bang….

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Do you think we all need to find strength and togetherness this year? How important is music in that regard?

I do and it’s very important to me that my music speaks from the heart. I strongly believe that, if we all support each other more and give out more kindness, the world still might not be perfect but it would be an easier place to live. We live in a very individualistic world where the focus is on bettering yourself in all aspects of life - leaving no time to spare for anybody else.

In London, it’s very easy to get completely caught up in this idea and, whilst I think it’s healthy to have goals and focus, there needs to be more of a balance. For me, life isn’t just about self-improvement; it’s about embracing each moment and sharing happiness and laughter amongst others.

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Will we see more material later this year? What are you working on?

I might have a few more releases planned for this year! You’ll just have to keep posted on my socials (smiles).

(Vero – Search ‘Jazz Mino’ for new song previews and exclusives).

You had a busy 2017! Have you had time to take it all in? Do you feel you have grown in confidence as a songwriter?

The past six months have been a bit of a whirlwind but, to be honest, I’ve just tried to enjoy everything as it comes and it’s been a great 2018 so far. In terms of songwriting; I’ve definitely got more confident with speaking my mind and putting out music that I’m really proud of and love. When you put your all into something and it connects with you on such a deep level, it’s the best feeling to hear that it’s connecting with others in the same way. 

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What is it like living in London? Does the city provide inspiration for you? Is it quite challenging finding that work-relax balance?

I really love London but, yeah, it can be tricky finding a work-life balance…especially when I love working on my music. But, no matter how much you love something, I’ve realised, over the past few months, that you still need a mental break. I work from home a lot, songwriting and recording, and it’s so easy to let a whole day slip by without even going outside.

Lately, I’ve been making a conscious effort to make sure I give myself a proper lunch break completely unrelated to music - and it’s really helped this balance and to get some perspective.

What do you hope to achieve in 2018?

I’m very much focused on enjoying everything as it comes along; so, I guess I don’t have any strict goals. I’m looking forward to releasing some new material and hoping that it connects with everyone as much as my last three singles do. I love singing my stuff live, too, so I’m also looking forward to playing more gigs.

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

Right now, my favourite albums are:

Someone Out There – Rae Morris

Don’t Kill My Vibe (E.P.) – Sigrid

Melodrama – Lorde

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

Yeah. My next London show is:

18th April: The Old Queen’s Head, London. Tickets available here.

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Your performances and stage manner has been praised. Do you feel at your most comfortable on the stage?

Being on stage and singing my heart out is one of my favourite things to do in the entire world. There is just no feeling like it. I really do give my everything on stage and being up there, communicating my inner-most thoughts, vulnerabilities and feelings is euphoric. I love sharing my music online with the world but I think there’s something so special about connecting with my fans at a live gig.

I also tend to play all my unreleased material at gigs, so it’s nice for my fans to get a sneak preview of what’s next on the release radar!

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

That time one of my favourite artists, Oliver Nelson, got in touch to say he wanted to remix my song! That’s a big high of my music career so far. Also; being championed by one of the senior editors at Spotify for my voice and live performance. He literally changed my life and continues to support my music. 

To be honest, there are so many amazing highlights! I feel incredibly humbled and grateful.

What advice would you give to new artists coming through?

Be yourself, trust yourself and don’t let anybody make you feel less than...

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Are there any new artists you recommend we check out?

I recently came across the Indie-Pop band, Zkeletonz, who I highly recommend. I saw them live for the first time last week and they were brilliant! So full energy and fun.

My other favourites of 2018 are Rae Morris, ALMA; Lauv, Sigrid; RAYE, Grace Grundy and Tara Carosielli.

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IN THIS IMAGE: ALMA

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

I have little time, but I’m trying to make the most of that time. When everything is always so exciting, it’s hard to turn your head away for even a second - but, I’m learning to appreciate and love my downtime just as much as music.

I love running, long walks in the park and catching up with friends and my family. One of my sisters is pregnant at the moment, so that’s really exciting (and it’s the first time I’ll be an auntie!).

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).

One of my favourite songs and artists at the moment...

Atletico (The Only One)  – Rae Morris

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INTERVIEW: Comfort

INTERVIEW:

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Comfort

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MY eyes are cast across the musical landscape…

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in search of great bands that can fill festival tents and stand in the mind. There is a lot of competition out there but, riding near the top of the pack, we have Comfort. The guys chat to me about their Comfort EP and what sort of ideas go into it; whether there is a song that stands aside; how they all got together – whether we can see them tour this year at all.

I learn which artists inspire them and how they spend downtime away from music; what their base of Brighton is like in terms of opportunities and vibe; they choose a song each to end the album – recommending a great new artist to look out for.

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

Brendan: Hey! So far, so good. Been writing some demos in my bedroom and getting some stuff recorded, which is exciting me.

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

We are a three-piece born and bred on the South Coast. We’ve been together since late-2016 and have been writing and recording by ourselves ever since. We like to push ourselves, genre-wise, and aren’t really tied down to a cookie-cutter format of writing songs. That’s why it’s exciting to be in this band: we kind of just write and play how we feel in that time, whilst obviously not straying too far to the point of people not recognising the band.

Your Comfort EP is new. Can you describe the stories and ideas that influenced the songwriting?

Yeah. It came out on 2nd April after a string of singles released since January. Well, the four tracks were all the really early solo demos I made and we decided to spend time over the band’s duration to make them the best they can sound but still hold onto the energy of when they were created. That’s why we thought it was nice to release the songs in order and not lose them. The early stuff was very influenced by a strenuous and deeply affecting relationship with my first love, and the songs were just an expression of what I was feeling at the time.

Comfort is pretty literal in that regard and was sort of written as an emotional release; Pass Me the Syrup and Their Laughter Is a Killer were attempts to counteract sadness with wigged-out fun. In the end, we felt they all deserved to be on the debut E.P. as an introduction and expression of that specific time in our lives.

Is there a track from the E.P. you would select as highlights?

I think Comfort. It’s hard to have an opinion on my own songs, but there is something about that track for me, personally. Musically, it’s dreamy and hazy but also directed. Really, it’s a just a vulnerable, messy love song. The person in that song does feel kind of weak and defeated in parts and bold and positive in others; the topsy-turvy-ness I like. Lyrically, it was kind of hard to put out there as it was so personal, but now that it has transcended that emotion, I just like the track sonically. Pass Me the Syrup is probably the consensus, though.

That’s fun to play….

How did Comfort get together? Is it true you are all childhood friends?

It started out as demos by myself. The songs were very different to what I had made in the past and think that was a direct reaction to my messy emotions at the time. Then, James and Jake joined me and we made it work in a live setting and we continued to grow from there. Jake and James adding parts, writing drums and bass lines; working off each other to push the songs to another place.

Yeah, we’re all childhood friends who have had many musical projects separately and together - but we kind of looped back around and started making music again together, which is awesome.

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Can you remember the music you were listening to back then? Are there particular artists that inspired you to start a band?

Yeah, for sure. I think the early stuff we got into that made us realise that music wasn’t just the charts were Nirvana, Radiohead; Jeff Buckley…around the ages of sixteen-eighteen or so. I mean, there are loads. I specifically remember listening to Nirvana for the first time when I was, like, eleven and thinking: ‘Woah… this is a big deal’.

What is Brighton like in terms of inspiration and its people? Is it a great city to perform in?

Brighton is just a small, artistic; bohemian, unique little hub of creativity. It’s a great place to perform and just be in. Like any place, it has its ups and downs, but as beach towns go, it’s up there with the best. If it were summer all year round, it would put the cherry on the cake.

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

Our next gig is at The Waiting Room in London. We’re supporting MOHIT alongside Purs. It’s great, as MOHIT are also childhood friends, so all getting to share a space and play together is awesome. We really bounce off of each other, creatively. It’s going to be a good one. Other than that, we are just planning the year ahead gig-wise, with a few exciting things on the horizon.

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How important is it to gig and get onto the stage? Can you describe the sensation of being on stage and performing?

It’s, basically, what you do it for. Writing the songs in a small bedroom, recording for countless hours; mixing, mastering…all that, it’s just so we can get on a stage and connect with an audience face to face. As I’m also an actor, the ‘performance’ side of things is really important to me. For me, anyway, it’s kind of a hazy feeling on stage. I blink and the set is over. Not to say I don’t enjoy myself, but all forms of performance I kind of float away. I think I need to ground myself sometimes. Hopefully, that doesn’t sound too silly...

Making sure not to think too much is key, I guess but I also love the idea of real honed stagecraft and showmanship; so, pushing into that direction would be awesome. People not just seeing yet another gig, but a show. We’ll hopefully get there one day. For now, though yeah; it’s just us playing instruments and having fun. The show is kind loose and carefree at the moment, which is a blast.

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

That’s always such a hard question…but I guess I would go with Kid A by Radiohead

I know that’s kind of an easy answer. It’s just a daring record. Divisive, important and timeless. It means a lot to me, personally, and inspired my approach to songwriting, like, hang on; why can’t music just be music and not a tick box of genre pleasing tables and graphs?!

James: Mine is Sketches for My Sweetheart the Drunk by Jeff Buckley

My reasons for this are because it's the first album/mixtape I heard that didn't have to be a certain way. Capturing the energy and ideas of the songs with so much rawness. Its low-fi vibe makes you feel like you're there. A very inclusive body of work.

Jake: Doolittle by Pixies

I learned to play by listening to that album on-repeat and working out the bass lines. It's pretty much why everything I write is so simple. Alternative answer: Willennium - It's a fuc*ing masterpiece.

What do you all hope to achieve in 2018?

Brendan: I’ll just settle for nice weather and good tele at Christmas. Lots of shows and more recording with new and exciting people would be nice, too. We’re currently working on the follow-up singles and E.P. and would be lovely if we kept up the momentum of releases and get stuff out, sooner rather than later.

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

For this band, specifically; I guess recording the debut E.P. We recorded at Nice Weather for Airstrikes Studios in Puburough and just being in the countryside for the weekend, hashing out these songs I wrote on a laptop in my bedroom; it was, creatively, very rewarding. Also, recording and mixing it ourselves was a great learning experience and added to the personal vibe of the songs.

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What advice would you give to new artists coming through?

Blimey. I don’t really feel like I can give advice as we’re basically babies in this industry. I guess: don’t ever compromise on your craft, have fun; be kind and polite to people and don’t forget why you wanted to do it in the first place.

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Are there any new artists you recommend we check out?

I’ve been listening to Anna Burch’s new record, Quit the Curse, on-repeat, so I’d give that a go. A lot of new music that people are fawning over isn’t quite hitting me - but there is some great stuff out there if you look hard enough.

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

The other night, I watched, like, six hours of golf, which is like meditation to me. I love the outdoors too, like the woods, especially - but I don’t get myself motivated enough to go regularly. I’m a very frantic person, mentally and physically, so chilling is important, otherwise, I’ll just burn myself out before dinner. Reading. Watching movies. All the usual, nice stuff…

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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).

Great, cheers!

Brendan: Unknown Mortal Orchestra - American Guilt

Jake: Air – Sexy Boy

James: Ski Mask The Slump God - Catch Me Outside

It's a loose-trap record with references to cartoons I watched growing up - and, also, captures a moment in time

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INTERVIEW: Dead Man’s Knee

INTERVIEW:

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Dead Man’s Knee

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WITH a fantastic single out there….

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it was a good moment to speak with Dead Man’s Knee and find out more. They talk about Pleasure and what inspired the single. They tell me about their formation and influences such as Funkdaelic; whether there is more material brewing in the camp – the members each choose an album that means a lot to them.

The Rock band reveal what they do when not making music; new artists worth looking out for; what sort of gigs they have lined up; if they each have a favourite memory from their time in music – the guys all select a kick-ass song to conclude the interview.

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

Hi. It’s been a pretty good week. We’ve all been busy promoting our new single, Pleasure. It seems to be going pretty well - and we’re happy with the reception it’s been getting.

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

Well. We’re a four-piece Rock band from London called Dead Man’s Knee. Angelos is a Greek living in London and he plays the guitar; George is also a Greek living in London and he plays the bass; Leonn is our drummer; he’s from Walthamstow in North East London and Del is from Brixton in South London and he plays the guitar and sings. 

I like the sound of Pleasure. How did the song come together? What inspired it?

Pleasure was one of the very first songs we ever wrote together but it went through about three different versions before we settled on the version that we finally released. The melody and the lyrics stayed pretty much the same as they are now - but the music changed drastically.

Musically, the song was inspired by a wide range of things; underneath all of the distorted guitars and the Blues influences that are pretty obvious to the ear. There’s this '60s R&B and Motown vibe in the drums and bass. It’s a song for dancing.

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It, in a way, rallies against the image of Rock. What do you think of the new breed of Rock/Punk bands? Does the return of a band like Arctic Monkeys hint at a genuineness that has been missing?

The intention wasn’t so much going against the image of Rock per se: it was more saying you don’t have to do what everyone else expects you to do; you should be able to live your life in a way that makes you happy without feeling guilty about what you like or ashamed for enjoying yourself. We don’t really have a set opinion on the new Rock and Punk bands that are out there. As is always the case, some are good some are not to our taste...

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We’ve said before, we really like what Royal Blood are doing. We also really like what Nothing But Thieves have been doing as well. As for Arctic Monkeys; we’re excited to see where they go musically after AM. That had a lot of different influences; from Hip-Hop and R&B mixed into their core sound (and made for an exciting record).

How did Dead Man’s Knee come together? Did you instantly know you set up a band?

Del and Angelos had known each other through George and some other mutual friends for a while - but had never played in the same bands because most of what we did as session musicians only required one guitarist.

So, as an excuse to play together, we decided to have some late-night jams and things kind of kept going from there. We all really enjoyed the music that we were making together, so we just kept doing it and started writing songs based on bits of those jams. At some point, we decided we should give ourselves a name and, now, here we are...

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I hear shades of Funkadelic in your tones. Which artists are most important you all?

We love Funkadelic, so we’re glad you can hear that influence in what we’re doing.

We’ve got such a mixed bag of important influences from the Blues legends like Muddy Waters, John Lee Hooker and the Chess Records artists to the Gospel influences of Andre Crouch and the Edward Hawkins Singers; from Led Zeppelin and AC/DC down to Queens of the Stone Age and The Foo Fighters.

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Might we see more material later this year? What are you guys working on?

Right now, we are working on an E.P. called Fear of Flying - Pleasure is actually the first single from that project. We’re intending to put out another single from that later this year and then the E.P. should be ready for release towards the end of the year.

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

Angelos: AC/DC – Who Made Who

Because it was the first album I bought when I was eight-years-old and it made me want to play the guitar and be in a Rock band.

Del: It’s really, really hard to select just one - but I’ll say Lewis Taylor’s first album. It’s just called Lewis Taylor and it’s one of those albums I’ve never stopped listening to since the first time I heard it.

George: Miles Davis - In a Silent Way

Because it’s optimistic, it’s dirty; it’s stressful, it’s peaceful; it’s a constant journey through feelings and emotions.

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Do you guys have any gigs lined up? Where can we see you play?

Playing in front of an audience is where we are most at home and the songs really shine in a live environment. As of right now, we don’t have any gigs booked in but we are working on some festivals for the summer and we’re hopeful that, once the E.P has been released, it’ll get enough support for us to get out on a small tour.

If people keep up with us on our social media, we’ll be letting everyone know about our next shows as soon as we’ve got everything confirmed.

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If you had the chance to support any artist, and choose any rider; what would that include?

If we could support any artist on tour right now it would probably be the Foo Fighters. As for the rider; we’ll take everything on the menu times four, please.

What do you hope to achieve in 2018?

The plan for 2018 is to get the E.P. finished and get that released so people can start hearing who we are and what we bring to the table; then get out on the road and let people come and see and hear how we do it live. It’d be nice to really get a good buzz going so that we have something to springboard onto the next phase of our evolution as a band…

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

Angelos: Most of my friends come from music and are musicians so, whenever I see friends, I have happy musical memories

Del: Every time I look around on stage and realise I’m playing music I love with friends I love. Sometimes, it can be very overwhelming realising how lucky I am to be able to do that.

George: I have way too many memorable music moments to be able to choose just one: my whole life is music.

What advice would you give to new artists coming through?

Keep doing what you do because you love it, and don’t give up on your dreams: keep chasing them until you catch them because, eventually, you will…

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IN THIS PHOTO: Michael Jablonka

Are there any new artists you recommend we check out?

Michael Jablonka, Kadija Kamara; Jodie Abacus, Sebastian Blake; Marli Artiste; Neon Family, K N DÉ and Blue Lab Beats.

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IN THIS PHOTO: K N DÉ

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

We all enjoy spending downtime with our respective families and we like a bit of sport; mostly basketball, football; boxing or watching Formula 1. Music is always there, though. Even when we’re relaxing; we all have other artists we work with and projects we’re involved with – as well as Dead Man’s Knee. Some for work; others just for fun.

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).

Michael Jablonka – I Found You

Kadija Kamara – Nothing Left to Lose

AC/DC – Ride On

Soundgarden – Black Hole Sun

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Follow Dead Man’s Knee

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INTERVIEW: Unparalleled Height

INTERVIEW:

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PHOTO CREDIT: Kyle Hines

 Unparalleled Height

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THERE is enough grit and raw power…

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in the arsenal of Unparalleled Height to power a nuclear power station! The Pittsburgh band talk about their music and what they have planned for the future. I ask why they covered Zedd and Alessia Cara’s song, Stay, and what we can expect from their forthcoming album.

The guys talk about influences and the scene in Pittsburgh; whether they are coming to the U.K. this year; what they hope to achieve before the end of the year; how they spend time away from music – they end the interview with some awesome songs!

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

I am doing well! This week has been very exciting in terms of releasing our new single, Stay. It has been great to see the reaction from our fans and new listeners!

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

We are Unparalleled Height; a Metal band from Pittsburgh, PA in the United States. We started the band in 2011 when we were seniors in high-school. We started out, originally, playing shows where we covered songs by bands like Avenged Sevenfold, Bullet for My Valentine etc.

Those bands became our biggest influences as we started writing our own music. Over the course of the last seven years, we have evolved quite a bit. We believe that our newest single, Stay, shows the process of that evolution taking place.

What was the reason behind covering Zedd and Alessia Cara's single, Stay?! Was there something in the song that stood out?

This, truly, began as an idea when had a total shift in the way we began looking at releasing music. We want to keep our fans interested by releasing music between our E.P. and album releases. So, we decided to do a Pop-goes-Punk-esque cover. We wanted to challenge ourselves by covering a Pop song. We really enjoy taking songs and making them our own. It is fun and a totally different process than writing original music.

The reason behind doing Stay is that our vocalist, Dave, is actually a fan of Alessia Cara. We took a look at a few different Pop songs that were rather popular and decided that Stay was a great choice for many reasons.

Was it quite hard transforming the song and producing the version you have out?!

Truthfully; it came together much faster than we anticipated. This song came together rather naturally.

How long did it take to get the song together? Were there quite a few different takes?

The outline of the song came together in a little over a week.

We had a pretty good vision of what we wanted the song to be like and then we executed it rather fast! The guitar solos and other production elements took some additional time to piece together. Even with this, the actual writing of the song did not too long!

Is there going to be more material coming soon? What are you working out?

The first volume of Resurgence, a two-E.P. feature, was released back in September 2017. That is available worldwide on all platforms: iTunes, Spotify; Apple Music, etc. Resurgence, Vol. 2 will be released in the near-future. We are very excited about it. It has a somewhat different feel and vibe than Volume 1. There has not been a definitive release date set for it yet, but that will be coming very shortly.

How did Unparalleled Height get together? How did you all find out another?

CJ (Lead Guitar), Justin (Drums) and I actually all went to school together as far back as middle-school. Some of the other original members were in the same boat as well. We played in concert band together back then. As we grew older, we all developed a very similar taste in Rock and Metal.

One summer, before our senior year of high-school, CJ, Justin and I got together and jammed. The rest is pretty much history after that! We met our bassist, Marshall, in college. Things naturally clicked!

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What sort of music did you all grow up around?

Each one of us would have a different answer here - and I can only speak for myself. I grew up around many different kinds. My mom is very into Classic-Rock and other great artists such as Elton John and Stevie Wonder. I grew up around a lot of Classic-Rock and artists like that!

Pittsburgh is where you are based. Is there quite a big and active scene there?

That really would depend on who you talk to, I guess. For us, we really aren't a part of the Pittsburgh music scene. Our following began to grow in a national and global way ever since we started releasing music. So, for us, we are in a little bit of a different situation. I do have many friends that are a part of the Pittsburgh music scene...

I want nothing but the best for it!

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

As of right now, we have been focusing, primarily, on getting music out online and trying to get our fans excited as well as attract new listeners. We don't have any gigs lined up at the moment, however; we have been discussing some possible tours.

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Will we see you come over to the U.K.?

I believe it is only a matter of time for that. We have a rather large U.K. following - in proportion to our total following, that is. A lot of our page ‘likes’, followers; streams, etc. come from the U.K. and mainland Europe. Hopefully, we can get over there A.S.A.P. We've had a lot of fans waiting for quite some time.

What do you hope to achieve in 2018?

Stay was a big focus for 2018. The release of Resurgence, Vol. 2 is next up! After that, we have something else, cover-wise, up of our sleeve that we are incredibly excited about. I think people are going to be caught by total surprise in terms of the song. We are looking into some other things at the moment as well that I cannot speak about quite yet! They are quite exciting - and I can't wait until we can share them.

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

I would have to say watching our song, Embrace the Storm, played on NBC Sports during World Series of Fighting would be up there for me, personally. That was awesome to see.

What advice would you give to new artists coming through?

That is a tough question....

There are so many details I could go on about. I think the most important thing is to truly develop a strong mindset and resilience. I think, if artists can do that, it will solve 95% of their problems that they will meet along the way. If you stay in the game long enough and work hard at it, success will eventually find you if you make great music. That is the most important thing: make great music.

Are there any new artists you recommend we check out?

Personally, I have been very into a lot of different stuff. There are so many great artists out there; it would be hard for me to name only a few!

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

I really enjoy working out. It is a great way for me to release a lot of stress and emotion in a positive way.

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

Polaris - Consume

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Follow Unparalleled Height

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INTERVIEW: jellyskin

INTERVIEW:

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jellyskin

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IT has been a real ball…

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speaking with Will and Zia of jellyskin. The guys talk to me about their new single, Judder, and what its story is. I ask where they are heading now and what new material is coming; if they have tour dates booked and, as they are based in Leeds; I was curious to ask what the scene is like in the North.

The duo reveals new acts to watch and what music they are inspired by; how they spend their time away from music; what sort of music they grew up around – they provide some useful advice for new artists.

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

Will: Yeah, alright. It was nice to release some new music because we haven’t done that in a long while.

Zia: We’re in our final year at uni, so things are getting a bit stressful - but putting music out always cheers me up!

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

Will: I’m Will and I play the guitar and sing a bit and tend to make most of the beats.

Zia: I’m Zia and I sing and play synth.

How did ‘jellyskin’ come to be? Zia and Will. How did you come to work with one another?

Will: We met at uni and started going out, and then decided to make music. I think it’s a bit problematic if you get bands that were first bands and then people start getting involved with each other. We had a life before the band for almost a year before we started jellyskin. I reckon it must be quite weird to start going out with a bandmate; almost like a cousin or something, but y’know, as they say, each to their own...

Zia: When we first got together, Will was in another band and I was making my own stuff, but we were always on the same wavelength in terms of the music we listened to or created. After a while, we thought it’d be fun to start our own band…

Judder is your new single. What is the story behind it?

It was a sketch that Will brought to the table and it was so promising. I helped to flesh it out with some ideas I had and we spent a bit of time honing it, then recorded it with our friend Theo Cookson at his studio. He engineered and co-produced the song, which was a great experience because he’s enormously talented and a really positive creative influence on us.

Will: It was nice having another pair of ears as, before Theo’s input, it was a little more monotonous; he encouraged us to break the song up a bit. I used his steel pan on the song too which was fun.

Zia: In the past, we’ve really enjoyed shooting music videos for our songs so we definitely wanted to release Judder with its own video. I think the visual aspect of the band is really important as it adds that extra bit of depth.

It was great to film in the Hyde Park Picture House as it’s such an iconic place.

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Do you feel there will be more material coming later this year?

Definitely - and we can’t wait! We’ve got a couple of songs that are pretty much finished that we’re so excited about - we’ve got the writing bug at the moment.

Will: We’ll hopefully record them soon - and they’ll be out over summer.

Listening to Judder; it seems you have changed courses and stepped away from that dreamy sound. What was the decision behind that?

I suppose we just decided to make music with a bit more bite and we were probably just listening to more abrasive music. I like to think I listen to a wide range of music, but what usually happens is that I kind of oscillate between different types of music.

At the moment, I’m listening to poppy, pure ‘happy’ stuff like Michael Farneti, the Alessi Brothers; Arthur Lyman and Esquivel but, if I remember during Judder, I was exposed to the delights of artists like Kahn, Commodo and Pinch, and revisited stuff like Throbbing Gristle, Sote; Neubaten etc.

Zia: It wasn’t a conscious decision as such, but we definitely resented being categorised as a ‘Shoegaze’ band just because our first couple of releases half-fitted that description. We love trying new things. As lame as it sounds, we don’t want to be pigeon-holed as a certain type of band in one genre. As Will said, Judder was spawned from a period of listening to a certain type of music and that, inevitably, infiltrates your creative mindset.

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Leeds is where you are based. What is the music scene like there? Do you think the North gets as much respect as it deserves?!

Will: It’s alright. We’re never sure whether there’s a ‘scene’ there or not and, even if there is; I don’t reckon we’re part of it - we wouldn’t want to be. We just like to do our own thing. Scenes have a tendency to be very cliquey - if they’re based around similarities in sound - so it’s probably best to (just) have a load of people doing different things in the same place, rather than any ‘scene’.

That’s an interesting question. I’d say that it probably does, simply for its long history of producing amazing stuff. It’s like anywhere, really. Everyone’s aware of music that’s come out of Manchester, Sheffield etc. Obviously, London seems a focal point for music and maybe this diverts a little attention away from smaller places like Bristol, Sheffield or Leeds for the ‘average’ music fan who isn’t hell-bent on finding new artists. But, in terms of respect, I think it garners lots of it.

Zia: The North is the best! We don’t feel part of a ‘scene’ but we’re very much aware and mutually supportive where we can be of other local bands, i.e. Hookworms, Team Picture; Girl Sweat etc. who are all fantastic in their own right. The North has that special atmosphere that you can’t quite pinpoint - the creative communities in the North just feel friendlier, more accepting and less ‘cliquey’ and stifling than some of the London scenes, which sometimes come across as unwelcoming or just too broad. But, yeah; as Will said, we don’t want to be lumped in with a group of bands – although, we’re supportive of our fellow strugglers.

Will: Also, with a ‘scene’; you will always be considered alongside and in relation to other bands. What people think of you isn’t hugely important, but it must be a bit disheartening for every comment to mention three other of your contemporaries.

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What sort of music did you grow up around? Did you each come into music through different paths?

Pretty classic stuff that has mostly stayed with me like Doves, The La’s (an all-time favourite) and Stone Roses - fairly homogenous stuff, but good nonetheless. I grew up in Bristol so I was also exposed to Massive Attack, Portishead; Tricky - all that good stuff - and they’ve all stayed with me.

It took until I was about fourteen-fifteen to really start immersing myself in music. The main route in was having friends that were all getting into music at the same time, as well as all playing in bands and later on putting on gigs. So, you’re just exposed to more stuff earlier on and get that hunger to play live sooner. Having a good independent record shop (Trading Post in Stroud) was definitely influential too.

Zia: My parents were both active in the '70s/'80s Liverpool Punk scene, so I’ve always been into that stuff - but they have a whopping music collection that I’ve always been surrounded by, e.g. lashings of Dub, '60s Pop;  techno, The B-52’s, Patti Smith; Soft Cell etc…just anything and everything really. As I got into my teenage years, I started expanding my knowledge a lot more as well and really delved deeper into the things I was brought up on like The Doors, Nick Cave...

I could honestly go on about my favourite music forever; so I’ll just stop it there.

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Are there tour dates approaching? Where can we see you play?

Will: We’ve got a few things in the pipeline that are yet to be announced but follow us on social media to stay up to date.

Zia: Towards the end of May/early-June we’ll be out and about, so keep an eye out!

What do you hope to achieve in 2018?

Will: We’d love to do some bigger gigs and play new places. We really want to play a festival or two in 2019. That’s the dream.

Zia: My hopes for 2018 are to play to larger audiences, go on tour with a band we love and release some more music that we’re proud of. Glasto 2019 is one of my ultimate goals.

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

Will: The first Velvet Underground album is unequalled for me. It’s as close to perfection that anyone’s got. Sublime. I think it was the first thing Zi noticed when she first came round my flat, too…

Zia: Yeah. The Velvet Underground & Nico is a special one for us. I think I’m going to go for Nuggets: Original Artyfacts from the First Psychedelic Era, 1965-1968, as it’s just loaded with memories for me; blasting it out of the car on family holidays, meeting Will; parties with friends…it’s the king of compilations. (Assembled in 1972 by Lenny Kaye, who went on to be the lead guitarist for the Patti Smith Group). I just love that it’s a collection of amazing songs by bands that never quite ‘made it’ in the '60s - it’s an important, influential time capsule.

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

Will: Supporting The Moonlandingz at The Leadmill was amazing. It’s the biggest place we’ve played and it was just a great experience. I also got recognised by Faris from The Horrors after one of their gigs in Leeds. We’d sent our music to them months previously and, for some reason, he remembered my face. They’re one of my all-time favourites, so that was pretty crazy.

Zia: I was so annoyed that I wasn’t with Will for that Faris encounter. Playing The Leadmill was pretty overwhelming (in the best way). But, we recently played a brand-new song at a gig and it went so well that we couldn’t stop grinning on stage - little moments like that are my favourite!

What advice would you give to new artists coming through?

Will: Practically-speaking: just shout about your band/project as much as you can. Send your music to anyone you can: you never know who’s going to listen. Even if someone sees your name in the email or whatever and doesn’t think anything of it, if they chance upon your name again, it’ll ring a bell and they might check you out.

Also, write as much as you can. Have band practice as much as you can. I always remember what (John) Cale said about how he and Lou felt about making music in The Velvets: he said: “The work is more fun than the fun”.

I would also downsize as much as you can; it’ll make you think about arrangements and song structure more, also…life’s too short to be worrying whether the third guitarist will make it to band practice.

Zia: Don’t worry about pleasing everyone. I can be thin-skinned at times but I’m also good at not caring what people think about me or the band. You’ve got to focus on pursuing songs and making decisions that are right for you, before anyone else. You know your band best and if someone gives you advice or makes you an offer that doesn’t sit right, don’t feel guilty about not taking it. 

Get some material behind you before you start making social media accounts and booking gigs, too. Write, rehearse; perform and spread your band’s juicy seeds wherever you can.

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Are there any new artists you recommend we check out?

Will: Some of these aren’t ‘new’ per se, but they are yet to find widespread popularity: Girl Sweat, The Fishing Party; Warmduscher and Happa.

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IN THIS IMAGE: The cover for Warmduscher's album,Whale City/ IMAGE CREDIT: Brian Rose

Zia: Mysteron from Sheffield! They deserve to be huge. They’re one of the most interesting bands out there - think Scott Walker covering The Fall.

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IN THIS PHOTO: Mysteron/PHOTO CREDIT: Duncan Sandelind Stafford 

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

Will: I suppose, in time spent outside of the band I like going to gigs, listening to music; partying, complaining - all the usual stuff. In terms of non-musical things, I try to read lots (usually fiction). I like (James) Joyce, (John) Steinbeck and Laurie Lee amongst others. Most of my interests are based on music, though.

Zia: As I mentioned before, we’re snowed under with uni work so it’s a frenzied time but, when we do get time to relax, we might stick on a Disney film with a glass of wine. I also keep a sketchbook, as I find it very relaxing to sketch and paint whilst listening to music. One of my main pastimes, though, is getting trapped in a YouTube vortex - it happens almost nightly.

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).

Will: Seabird by the Alessi Brothers - This is my new musical obsession; there’s something very special about this song. I’m not really sure what it is though. You’ll have to listen to understand

Zia: I Heard Wonders by David Holmes - Also my new musical obsession; an absolutely magical song with not one single note of gloominess. Probably one of the most uplifting songs in the world - and it’s helped me through a really stressful time. With Martin Rev on lead vocals, how could you not love it?! I like to pretend this song soundtracks a jellyskin tour video montage when I listen to it…one day!

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Follow jellyskin

FEATURE: First-Person Narrative: Is Love or Singledom the Greatest Muse?

FEATURE:

 

First-Person Narrative

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ALL PHOTOS: Unsplash

Is Love or Singledom the Greatest Muse?

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IF Morrissey bemoaned his lack of action and sexual braggadocio…

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on The Smiths’ song Never Had No One Ever; one cannot even start to get their head around my lack of relationship glory! A lot of my daily creativity throws in a moral and soulful conundrum around passion and companionship. In order to peruse my desires and aspirations to the nth-degree; I need to have a degree of solitude and focus. How much would I be able to produce if I had a committed relationship and was dividing my time? Would consistent journalism and the relentless curiosity that comes with it create a distraction and, thus, have a detrimental impact on the relationship? I do weight that up and am not assuming that if I had greater clarity in respect of placing my bodily needs over that of the mind, I would be able to find someone and be happier. The reason I embark on such a lonesome and all-hours-consuming drive is that I can get more done and have few distractions. I am interviewing a lot of people and a few things are coming to light. For a start; many of the songwriters I feature are single by choice. They feel there is a risk of having to balance the full-time demands of a relationship with the full-time job and full-time career in music. Full-time-squared is less pressured and destructive than, say, full-time-squared.

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One might say the pleasures and burden-sharing benefits of a relationship make the equation less daunting and less heavy. It is possible being in a relationship and being able to commit to music and all it holds. Another thing I have noticed is the fact many are looking for love in order to help get their mind away from music. They are actively seeking a boyfriend/girlfriend because music is such a demanding and tiring pursuit. Having an extra body and that affectionate company allows a sense of de-stress and assistant. We are more anxious and solitary than any time in human history. The rise of machinery and the digital means we fabricate friendships and have access to all things at the click of a button – there is less need to go out and bond with people. Whilst we can get conversation and communication from the Internet; they have not advanced technology so we can have a relationship and sex through this method. Relationships are, luckily, one of the last human pursuits that cannot be outsold to big corporations and technology. Maybe we can communicate with our girlfriend/boyfriend online but the physicality and sociability need to be there in order to make it work. What, then, does this have to do with music?! The other thing I am picking up (from interviews) is that failed relationships and the need for personal space are becoming bigger motivators for creativity than love itself.

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We look back to the music of the 1960s and 1970s and a lot of the best songs are about relationships and the paens of common connection. Now, in this fast-paced age, sex and relationships are more complicated and variegated – the full spectrum is being explored and exposed. I am caught between a rock and a hard place right now. I want a relationship myself but feel, if I relinquish the lure of writing and the demands it puts on me; that risks exsanguinating my proliferation and taking my attentions away from my true pursuit. Songwriting, I have found, is less clear-cut than recent years. More and more artists are talking about the benefits of solo life and being able to have independence. Whilst many artists are painting pictures of doomed love and deceitful lovers; they are finding relief in that transition and looking more inward. We have seen the new breed of Pop artist – from Sigrid and Dua Lipa to Tom Misch and Superorganism – and the palette is not as commercial and lyrically predictable as you’d imagine. When artists such as Dua Lipa are talking about love, there is a lot more bravery, personality and broadness – the sex is more sizzling and saucy; the single life more nourishing and less fearful; the relationships more even and challenging.

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If you had to answer this simple question: Do you feel songwriters are talking more about love than being single – what would you answer be? I feel the once-reliable muse of romance is being replaced by a move towards single life. So many of the artists I review and speak to are either single by choice or unable to find love. Whilst that might paint an image of loneliness and stress; many are using that sense of freedom to expand their careers and become more ambitious. Songs are reflecting a less confined and predetermined life – children and marriage – and artists, because of the hours they put in, are unable to commit to proper relationships. I am not saying hook-ups are substituting relationships and long-term love: there is a sense that time is limited and a career in music is impossible if one were in a relationship. That being said; I am discovering artists, like I said, who are finding it harder to find love. Dating websites are out there but that either leads to dodgy dates and mixed results. Few are finding anyone substantial and, largely, the liaisons are brief and unmemorable. That desire for love is still part of the songwriting cannon but, more and more, artists are embracing – willingly or not – a life of singledom.

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From my viewpoint; I commit a lot of time to writing and, when I do go out, it is for errands and not necessarily sociable. I get carried away with writing and, whilst I get a lot done and pleased with my work; there is little time at the end of the day to do anything (but sleep, I guess). The weekends are very similar: a lot of work and scant time outside and mingling. Although that concentration and discipline leads to a prolific output and a good routine; I wonder whether my work would be stronger were I to embark on a relationship – fewer pieces but better quality, owing to greater happiness and fulfilment. So much of music involves relationships and how sex and love are entwined in the fabric and bones of the process. There are songwriters who write about conventional desire and being in contended romances: there are more and more who are writing about separation and the need to embark on a solo life. Does this mean, though, we are a less together and compatible people?  Are successful relationships harder at a time when there is less disposal income in the pocket and more strain on the shoulders?! I find myself coming back to the paradigm of the modern Popstar: the embodiment of youth and the representation of young life.

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Whilst artists in Folk and Rock articulate the complexities and realities of love as good as anyone else; it is those young Pop artists who have always focused on love more. Songs are becoming, largely, more mature and there is less emphasis on the ‘Ls’ of life: love, loss; lips, losers and loquaciousness. Artists are talking about psychological concerns and nurturing the self; coping with anxieties and finding it more difficult to concecrate their lives to relationships. It is odd comparing the way Pop and the mainstream, especially, has evolved through the years. Listen to a lot of the 1960s’ best and, yes, you will hear recrimination and romantic fall-out. There are more songs that express happiness and contentment in life. Even as recently as a few years ago; it seemed writers were in a more embracing and open mindset. Whereas love and its allure was a driving force then; now, as we look at new artists coming through – is love and its benefits outweighing solo life and tackling things lone? If I had to do a reconnaissance of all the interviews and reviews I have done over the past few weeks; when I ask artists about song inspiration and their status, the breakdown is quite clear: more artists are speaking about the negatives of life and more artists are single (than those in relationships).

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Maybe that is just the artists I have been seeing: I feel they represent the changing nature of music and how artists’ lives are. That projection is not necessarily gloomy and clandestine. Loads of people are happily in love but I guess, given the time one needs to put into music; a lot are talking about love in more theoretical and less tangential terms – the need for something sustainable and uplifting is still there, though. I am one of those people who is motivated by career and creative success rather than embarking on a relationship and laying down roots. That is not to say, too, we cannot see classic love songs coming from the radio in years to come. I think love is a wider spectrum and more open forum than it was in previous years. We are more understanding of different orientations; people are not being defined by relationships and the life of the single person does not need to have any stigma attached. I shall leave things there but wanted to leave the feature’s headline question on the tongue. Listen to modern music and compare it with stuff we grew up with. One can chart a development and shift regarding the nature of a love song and what artists are writing about. Perhaps the charts are less beholden to inane love songs; maybe music has become more diverse and artists are exploring new territory – there is a definite change in the air! That eternal muse of love is strong but her skin is wrinkling and there are crow’s feet forming. What about me, then?! Well; I am hopeful of finding someone soon but feel, in order to achieve what I want from journalism and music my relationship status is not…

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ONE I can change and negotiate with any time soon.

FEATURE: The Second War of Independence: Does Coachella Show What a British Music Festival Should Be?!

FEATURE:

 

The Second War of Independence

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

Does Coachella Show What a British Music Festival Should Be?!

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THERE is still the amazing buzz around Coachella…

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and the you-had-to-be-there-to-believe-it reunification of Destiny’s Child! That rare appearance of the trio (last night) was part of a career-spanning set from Beyoncé: one of the first major shows she has performed since giving birth to her twins last year. I, personally, couldn’t give a flying-f*ck about her twins – I am all warm and paternal that way! – but feel it amazing she has managed to get back onto the stage and not lose any of her spark and swagger! I am not going to turn this into a showcase and feature about Beyoncé – I am a big fan but have written about her before – but feel her set and performance was what Coachella is all about. There is that assumption and gospel that Glastonbury is the best festival on the planet. Whilst I argue Glastonbury has an aura and atmosphere that cannot be beaten; I wonder whether the main thing, the music, is as strong as the U.S. best?! I haven’t even mention SXSW when it comes to the U.S. showing – another huge festival that commands the biggest names in music. One of the problems with Glastonbury is the need to either have modern and obvious headliners or a male-majority featuring. Maybe we have a good female showing lower down the bill: the headliners are usually male, Rock-based and commercial.

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IN THIS PHOTO: Björk

One of my hopes is we have Beyoncé headline Glastonbury in 2019 – there is a fallow year in 2018 – and, maybe, someone like St. Vincent or Björk doing another headline set. The fact all three of those artists are relevant and contemporary – two have released albums in the past few months – they can command a show and perfectly enthral the crowds. Coachella would think nothing of having a huge showing like that in their ranks. Beyoncé has been called in after giving birth; she has been given the platform to wow and show she is still one of the strongest modern artists around. Look around the bill and one can see much greater diversity and gender-balance. SZA, St. Vincent and HAIM are among the biggest acts; Cardi B is in the line-up and will be one of the biggest attractions. Tonight (Sunday, 15th April) will see Eminem take to the stage and, let’s hope, feature a number of songs from his classic alums – fewer from his recent effort, Revival. Another reason I wanted to highlight Beyoncé as a reason why Coachella is braver and bolder than Glastonbury is the reviews that followed her headline set yesterday. The Guardian wrote about the event:

“She’s also indebted to her musical past, and not just her own history. She splices Drunk in Love with Nina Simone’s Lilac Wine, elevated on a crane over the crowd. She has a go at husband Jay Z’s back catalogue, her orchestra alluding to Dirt Off Your Shoulder. There are classic hits from her early solo days, including Baby Boy; outings of the likes of Flawless and Don’t Hurt Yourself showcase her rock stardom with her third outfit change into black PVC. When she sings the infamous line “I woke up like this”, she turns to Coachella and asks: “How did you wake up this morning?”

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 IN THIS PHOTO: Beyoncé

The thing is, Beyonce did wake up like this. There is clearly a double entendre to the notion of wokeness, but the show doesn’t get woke at the expense of actually waking everyone up to the joy and togetherness of live performance.

Once she’s proved her mettle more times than necessary the thought of potential guests starts looming. She covers a smidgen of Dawn Penn’s You Don’t Love Me (No, No, No) and you wonder if it might segue into Destiny’s Child’s No, No, No, but not yet. There are a few hits to get through – Hold Up, Countdown, Check on It – and then Jay Z comes out for Deja Vu. After Beyoncé has spent almost an hour singing scorned female anthems about adultery, they display a heart-melting chemistry for one another. Moving into Run the World, however, she appears in army khaki, and you know it’s coming. She has to paid her dues to the thing that got her to this point”.

That gives you an impression of what a festival headliner is all about. Sure, last year, we had Radiohead do a pretty bold and emphatic set. They were amazing and played songs from their earliest days – taking us right up to the moment and producing a spine-tingling performance. The other headliners – Foo Fighters and Ed Sheeran – pale into insignificance when it comes to the acts on offer in the U.S.

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There is Kamasi Washington and David Byrne; Portugal. the Man and Fleet Foxes. Coachella’s ‘first round’ will conclude today – next Friday, Saturday and Sunday will repeat the action we have seen since Friday. You look through the bill and, whilst there are a lot of male acts; there is great balance than many festivals in this country. The fact the U.S. organisers have featured one female headliner is a lot better than our festivals – this year’s Reading and Leeds and last year’s Glastonbury have all been male-headlined. I have alluded to SXSW but, if you put it up against Reading and Leeds; one would have to give the advantage to the U.S. Many American artists who play over here always say Glastonbury is their best festival. That may be a kindness to us but I feel it has more to do with the spirit of the people as opposed to the facilities, music and weather. You cannot deny the British are among the world’s best when it comes to defying the conditions and sending chills through the air. We are wonderful at raising sun when there isn’t any; making a lot of noise and all joining together. One gets the impression Coachella is more relaxed, open and casual. We assume the audiences are not as together and rapturous; the sensations not as vivacious and mesmeric; the rules more strict and rigid.

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IN THIS PHOTO: Kamasi Washington

The Americans are tighter when it comes to having drinks on site and being a bit lary. Gone are the days when people could drink and smoke what they wanted; climb over fences and do what they wanted. Whilst a sense of liberty and relaxation adds to a more harmonious and chilled festival; the added booze and excess leads to sore heads and regretful mornings. Coachella is more serious and is not quite as willing to let its patrons wander around with beers in hand. The fact is, when you go to the site and explore the facilities; it can match Glastonbury for its options, food and produce. One of the biggest decision-breakers come when you weight up what weather you want for a festival. Many say the cloudy and wet conditions is knitted into the fabric of the country. We moan whatever the weather is doing – we would not be happy if it were sunny and warm. California is hot and sunny; it can be stifling but, if anything means people are in a good mood before they get there. The British have learned to adapt to the bad weather and show that sense of adversity. I would prefer a festival where the temperature was a bit warmer and the sun was out – getting drenched is only appealing when you can dry off and have somewhere cosy to sleep.

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PHOTO CREDIT: Unsplash

A lot of people go to bigger festivals like Reading and Leeds, Glastonbury and the like because of the community and additions: music is not the only reason why humans flock in their thousands. I feel, though, the music itself is the centre and soul of any festival. If you are forgiving of inequality, poor quality and predictable then why would you spend all that money going? Reading and Leeds’ line-up for this year has been slagged off for having too few great names and too many Rap/Grime acts. Although Kendrick Lamar is there to add some beef and authority; the likes of Kings of Leon, Fall Out Boy and Panic! At the Disco is a rather lacklustre and dreary proposition. There is no Glastonbury this year: the remaining festivals are offering few big names. Coachella has Jorja Smith and Jessie Ware: some of our very best are going to the U.S. because, one feels, they are not being afforded proper exposure at British festivals. Although Dua Lipa and Wolf Alice will take to the stage at Reading and Leeds; where are the exciting headliners and those epic sets?! I doubt we will produce anything as scintillating and years-lasting as Coachella will this weekend. Many have argued there is something ultra-fashionable about Coachella. People taking selfies and posing; Californian cool oozing from every palm tree and the bijou and hip shining bright.

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There is something muddy and charming about Glastonbury. If we had to balance the merits of the British and American best; it all comes down to that final category: the quality and spread of the music. You can award Britain merit for its people and its upcoming artists; the way we flip a finger to the weather; the unique spirit only we can bring. The music itself is the reason people come to festivals and why they need to be supported. I worry about the quality of our headliners and how some festivals are losing their ethos and edge. There is an imbalance regards gender and we are not putting another of the biggest stars on the big stages – our attempts to match the sparks of Coachella and SXSW are rather timid and worn-out. The fact our premier Rock festival has Kings of Leon and Fall Out Boy headlining tells you all you need to know! I worry Glastonbury, when it returns next year, will not learn anything and make the same mistakes (regards its commercial headliners and lack of female names). We can teach the Americans a lot about the people and atmosphere: they are schooling us regarding the quality of music, the spread of genres and their all-killer-no-filler approach to bookings. We are being promised a hot summer in this country but I doubt, no matter how warm the weather gets; the music on show at our festivals will not be as fierce and memorable as the artists…

TAKING to the stage at Coachella!

FEATURE: Like a Broken Record: The Worst Albums Ever

FEATURE:

 

Like a Broken Record

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 PHOTO CREDIT: Unsplash 

The Worst Albums Ever

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

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 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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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:

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 Little Grace

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I have been speaking with Little Grace…

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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.

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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.

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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.

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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...

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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.

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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.

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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.

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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!

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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

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INTERVIEW: Kid Kapichi

INTERVIEW:

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Kid Kapichi

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

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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).

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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.

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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.

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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.

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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.

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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.

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 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.

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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

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INTERVIEW: KAZE

INTERVIEW:

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KAZE

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YOU only need look at their images…

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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. 

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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

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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!

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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. 

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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! 

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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

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Follow KAZE

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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

 

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I Did It All is available via:

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

GENRE:

Pop

ORIGIN:

London, U.K.

RELEASE DATE:

6th April, 2018

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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…

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JOSEPH Watt himself.  

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Follow Joseph Watt

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INTERVIEW: Michael Paradise

INTERVIEW:

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Michael Paradise

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THIS has been a busy day for me…

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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.

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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…

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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.

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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…

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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.

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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.

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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)

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Follow Michael Paradise

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

FEATURE:

 

Access All Areas?

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 ALL IMAGES/PHOTOS (unless stated otherwise): Unsplash 

How Disabled Gig-Goers Are Still Being Ignored

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ONE need not be confined to a wheelchair…

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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.

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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.

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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.

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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.

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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”.

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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…

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THE disabled community.

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

FEATURE:

 

Here Comes the Fear

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 ALL PHOTOS (unless credited otherwise): Unsplash 

The Growing Issue of Stage Fright

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THERE is probably a better name…

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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.

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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.

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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”.

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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”.

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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”.

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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.

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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…

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TO the music world.

INTERVIEW: Lara Smiles

INTERVIEW:

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Lara Smiles

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SHE is a bright and ambitious songwriter…

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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.

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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…?

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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.

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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! 

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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. 

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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. 

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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.

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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.

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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...

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Follow Lara Smiles

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