FEATURE: The May Playlist: Vol. 1: The Hunger Is Growing

FEATURE:

 

The May Playlist

 IN THIS PHOTO: Florence Welch/PHOTO CREDIT: Tom Beard/DESIGN: Brian Roettinger

Vol. 1: The Hunger Is Growing

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ANOTHER single from Florence + the Machine…

IN THIS PHOTO: Jess Glynne

is out and it has got people excited – wondering what we can expect from her upcoming album, High as Hope (out on 29th June). Hunger has been released to the world and, with it, chattering tongues and excited voices are activated. In addition to that big release; there are fresh singles from Róisín Murphy and Jess Glynne; Tom Tripp and Spring King – albums from Leon Bridges and The Slow Readers Club.

This (Bank Holiday) weekend is going to be a hot and humid one: it is as well we have the music to back up that warm and sweaty weather! It is a great start to May and is guaranteed to get everyone in a better mood…

AL PHOTOS/IMAGES (unless credited otherwise): Getty ImagesHEADER PHOTO: Tom Beard/DESIGN: Brian Roettinger

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Florence + the Machine - Hunger

Jess Glynne – I’ll Be There

PHOTO CREDIT: Nicole Nodland

Róisín Murphy – All My Dreams

Troye Sivan – Bloom

Benin City – Bus

Young Fathers – Toy

Tom Tripp – Loving You More

PHOTO CREDIT: Hollie Fernando Photography

Spring King – Animal

Peace - You Don't Walk Away From Love

Amber Mark – Love Is Stronger Than Pride

Dagny – That Feeling When

Dirty Projectors – Break-Thru

Christina Aguilera (ft. Ty Dolla $ign, 2 Chainz) - Accelerate

Plan B – Wait So Long

The Interrupters – She’s Kerosene

Jennifer Hudson – I’ll Fight

YUNGBLUD – 21st Century Liability

Elohim - Half Love

 

Jessie Reyez – Body Count

Drenge – This Dance

Jimmy Eat World – Love Never

Aquilo – Seagull

Emma Blackery – Agenda

Johnny Borrell – My Life, Your World

PHOTO CREDIT: Stew Capper

The Modern Strangers – Nothing on You

Natalie Prass – Lost

Grace Carter – Saving Grace

Mogwai – Donuts

Manic Street Preachers - Hold Me Like a Heaven

Beach House – Black Car

PHOTO CREDIT: Chris Eckert

Eleanor Friedberger – It’s Hard

Frank Turner – Be More Kind

Gaz Coombes – Wounded Egos

MØ - Nostalgia

Jon Hopkins – Emerald Rush

Leon Bridges – Georgia to Texas

The Slow Readers Club – On the TV

Tove Styrke – Sway

Kacey Musgraves – Space Cowboy

TRACK REVIEW: URF - Night Driving

TRACK REVIEW:

 

URF

Night Driving

9.4/10

Night Driving is available via:

https://soundcloud.com/weareurf/night-driving

GENRES:

Shoegaze; Psychedelia

ORIGIN:

Manchester, U.K.

The E.P., For the Ride, is available via:

https://soundcloud.com/weareurf/sets/for-the-ride

RELEASE DATE:

4th May, 2018

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THIS weekend is a slightly ‘shorter’…

one for me but, if anything, more important than any I have had. I should clarify that first remark: the days are not, litreally, going to be any shorter! I mean, in terms of writing, I have less time than I usually would – I have something pressing happening later which means fewer pieces will go online. The second remark, I guess, also warrants further clarification. I have just quit my full-time job – after two years – to pursue the world of music journalism and all it holds. I know it is a risky move – the money will not start rolling right away – so it is a rather nervous and tense time to start, I guess. It is a move I have made following the suffocating and mind-numbing cycle of the workaday life. It may suit some people, who want that routine and safety, but it makes little sense for someone like me, who has a following and ‘talent’, to leave it hidden and lacking profitability. I have, therefore, made the move into journalism and, in a few months, hope to move to Manchester. This brings me to the world of URF and a neat dovetailing of two points: finding musicians who command that sort of risk; the kind that makes me want to dedicate myself to this permanently. Manchester, as I will explain, comes back into the fore. Abbi Parcell, Scott Woodcock; Jack Biggs, Ben Pratley and Sophie Erasmum make up URF and bring to mind a few topics that need discussion. Shoegaze and 1990s-inspired sounds come to mind; I will revisit Manchester; modern love and cynical thoughts; local support and connection; a great band spirit and relationship - I will end by talking about E.P.s and artists who are releasing sensational music. Let us discuss URF in the context of Manchester. It is, as I said, a city I am going to move to and one that holds great fascination. I am seeing a lot of ears and minds turn that way and head away from the capital.

London is not dry and barren but, if anything, there is a split in consciousness: many are heading further north and finding out what is there. The tensions and political cracks in the capital are causing many to relocate and rethink. That is not an indication of quality and authority: London still holds the sense of dominance and leadership; it is the centre of the British music scene. One reason why people are looking to areas like Manchester is because of the great musicians who are coming from there. The way of life is calmer and less stressful; some wonderful sounds are flowing from the bones of Manchester. URF are one of the finest new acts to come from the city. They seem to take from the scents and physical motivations of the people; the past sounds that made Manchester a legend in music – showing plenty of intent and desire. I will not rattle on like I am forcing Manchester down the throat but I am concerned there are still very few who are going out their way to ignore the North of England. What I am also worried about is how few journalists are taking an effort and representing Manchester in the press. It is the personality of the people that make the music unique and effortlessly strong. You can hear that in every note URF produce. I would like to see more people turning towards the North and concentrating on the music coming from here. I am determined to get more people invested in areas like Manchester because of what they have provided the world of music. The modern scene is vibrant and bustling; there are fantastic venues and some of our finest new bands are coming from here. If we can readjust the antenna of journalism and expend some effort this way; I think we will see more balance and ethical parity.

URF have a mixture of sounds at their disposal but, if anything, it is Shoegaze and 1990s vibes that stand out. I know Shoegaze started before the 1990s but it started to come to prominence in that decade. The likes of the Cocteau Twins and the Jesus and Mary Chain popularised the movement in the 1980s. It assimilated Rock and American Indie into the work of Sonic Youth and Dinosaur Jr. It carried on into the 1990s but it was replaced by Grunge and Britpop. A lot of Britpop favourites like Blur used the genre in their earliest work. Look back a bit and you can see how the 1980s changed drastically and embraced Shoegaze. The existence in the 1990s was short-lived but it influenced the next wave of music such as Britpop and Grunge. Artists were looking for something with a bit more pizazz and endeavour. Shoegaze has, ironically, come back without any irony at all. The genre got its title because of the way players and musicians would stare at their shoes and were in this trance-like state. We associate the music of Shoegaze with a bit of experimentation, obscure sounds and distorted vocals – some big, weird guitars and a little bit of trip. Listen to the modern Indie bands and you can hear those contours return to the frame. Smaller bands and bigger artists are injecting Shoegaze back into their music. There was a resurgence in the late-1990s but it sort of faltered and flattened by the turn of the new decade. Now, when music is at its most varied and open. Shoegaze is risky because the lack of vocal clarity and dissonance; a rather undisciplined musicianship and something that reminds one of the past – rather than remaining in the present. URF are not all about the fuzz and Shoegaze bliss. There are other elements they bring into their music.

The band grew up in the 1990s – although they are a lot younger than me – and they integrate sounds of the decade with bits of 1980s and Shoegaze. They have blown away any media expectation and made a stamp on the local scene. What amazes me is they have concocted a sound that has that nostalgia and past glory but is very much based in the now. The guys are not trying to revoke the past and carbon copy any band that came before. I have talked about Manchester a bit and, when you look at the late-1980s and 1990s, you can understand why they would take inspiration from those times. The Stone Roses and Oasis, between them, helped put Manchester on the map. It was a great time for the city and there was a lot more focus put the way of Manchester. Now, the artists there are trying to gain back that glory and sense of identity. Not that they lack focus and strength: the media will only take their eyes from London if they hear something sensational in the city. It is wonderful hearing bands like URF come through and do something incredible. A lot of new bands are a little bit predictable when it comes to sounds and nuance. I am spending more time around solo artists and wonder whether we will ever see a big band revival and sense of promise. It has been a while since we have seen bands take a stand and rule the mainstream. There are signs to suggest things will change and the balance will shift. One of the main reasons I think this is because of the way (bands) mix genres and the connection within the ranks. You listen to URF and hear that sense of passion and commitment. The guys are on the same page, all the time, and determined to get their music to the masses.

I have looked at Manchester and sort of overlooked the local acclaim they have received. I will talk about their E.P. a bit later but, right now, a hint at the way they have grown and how they have got where they are now. The radio stations around the city have clung onto the band but, to me, there is more promise to be seen outside of Manchester – in respect of radio support. I will talk about that too but, looking at the venues you have up there; so many different chances for the band to get their songs out to the people. The five-piece met amidst the busy Manchester scene and are in the throes of negotiating with festivals. This year is a hot one and they will be desperate to get themselves on stage and playing in the sun. The band has already played some good gigs and are making a name where they are. The likes of False Advertising and URF are showing the sort of intent and energy that is coming from the city. The Alternative scene is a bit tired at the moment; the guys of URF know this and are shaking it up with something more intriguing and fresh. Their E.P., For the Ride, is a compendium of variegated and genre-fusing sounds. They nod to the 1980s and 1990s; the production sounds like the here and now – there is a range of influences that make their music as alive and wondrous as you’d imagine. Their three-track E.P. – the title-track and Say You Don’t Mind join Night Driving – is a statement of intent and declaration from a band who knows what the music scene needs. Maybe the band market is struggling against solo competition because there is still that perceived impression of what is popular and commercial. We have seen enough Alternative acts who produce the same sort of thing. Festivals do need some big-hitters but there is a limit to our tolerance.

I can emphasise with those who want festival-ready bands that produce epic sounds and great riffs. We have a few out there but, for the most part, there is not a lot of future-promise. I hear some great songs but few that really stick in the mind. If one can mix the festival-worthy rush with something more sophisticated and broad; that would start a new wave of inspiration and promise. I am sure URF will get to the big leagues and hope they manage to get a few festivals under their belt. Tracking back to my chat about local press and bookings; it seems URF are trying their hardest to get under the skin and put their music into the public forum. I think it is hard for any act to get their music out there and make sure it gets the oxygen it needs. Manchester is a great city but it is becoming more and more competitive. I have seen London acts fail and retreat: any big city has its pressures and can be quite daunting. URF do not need to worry like many of the Alternative acts that are coming through. I feel the market needs a revision and sense of clarity right now. Too many bands are honing their sounds to the festivals and what is tired and tried. I would like to see more embrace something more ambitious and deep. URF are making sure they get into the mind and drumming up as much support as they can. They want to get onto the festival stages and show hungry crowds what they are made of. What also impresses me is the way a risk combination of sounds plays out and pays off. I listen to songs like Night Driving and the music sticks in the head. The notes bounce around but one thinks and spikes their imagination when listening. The future looks very bright for the Manchester quintet.

Think about what artists are writing about and a lot of it sounds similar. You have those who want commercial acclaim and those who want to stand away from all of that. Many songs still look at love and do so in a rather clichéd and conformist way. URF take more gambles and add a sense of cynicism and humour into their music. You hear about twisted love and relationships that are going through the motions. Their wordplay is fantastic and lines stand out. Supplementing that is music that is fantastically arranged and has been getting critics hot and wet. I yearn to discover artists who can bring a sense of wonder and unexpected into the market. We have some acts that do that but we are hitting a bit of a stagnant period. The chemistry present within URF is palpable; they have a lot of affection for one another and want to make music their full-time careers. That desire and clarity translate into the music. They are chatting with promoters and making sure as many people as possible get involved with their music. I know stations like BBC Radio 6 Music – my go-to recommendation – would enjoy their music and there is every chance a song of theirs could get a spin. There are bespoke and perfect venues the guys could play and eager faces who want to lap their music up. I am determined to look at their E.P. and what it is all about but will end on their subject matter and what they are singing about. I note relationships and their trials are part of the agenda. More than that; the guys turn their microscope onto the wider world and looking at what is happening around them. Their E.P. is a commentary on modern life and personal bonds; how we interact and things that are important to them. It is a tight and concentrated trio of tracks and has standout moments. I wanted to look at Night Driving because it sits in the centre of the pack and seems to define what they all about. Say You Don’t Mind and For the Ride are dreamy and languorous; the vocals are swooning and intoxicating; the sound brings your mind to the likes of Cocteau Twins and their ilk. I will look more at the E.P. but was interested in its central track – it is called ‘Nightdriving’ on Spotify but is two words on SoundCloud – and what it is all about.

You listen to the opening notes of Night Driving and get sucked into a magical world. There is a sense of the night about the strings. You think of moonlight and the solitude of the darkness. You walk along and drink in all the magic and stillness of the music. The band ripples the notes and create a haziness that mixes with a shimmering sense of beauty and a humid calm. That parabond of cold and warm means your head and heart are in different places. I was already thinking what the song is about and conspiring scenes and impressions. To me; I felt, in the introduction, it was about searching for answers and getting out into the night. Maybe there has been an argument and something has happened at home – two lovers clashing and that need for time apart and breath. Another reason why I wanted to focus on this track is because it is largely instrumental. Abbi Parcell has a fantastic voice and is one of the main reasons you come back to URF time again. I have been looking at artists who can do something new with sound and push the limits. From Kamasi Washington and Nils Frahm to Hannah Peel and Jon Hopkins – people who are placing sonics and mood above lyrics. One needs to listen to the whole E.P. to place Night Driving in context – the title slab is a fantastic and moody piece that goes through phases and shows bravery. On a debut E.P., regardless of genre; one is keen to get the voice out there and give the people something visible. Many might fear an instrumental track would be a gamble and see people wander off. The band have told a lot of story in the other two tracks: this is the opportunity for them to see a midway breather and get the audience in a different headspace. You listen to the twanging guitars and the racing beats; the guitars become more concentrated and flowing. The bass drives the song forward and there is a feeling of unrest and contemplation.

The heroine comes to the microphone and seems to be traversing memorable spots. Maybe she is driving to forget or looking to remember the good there was. Places the two used to meet – lovers, perhaps, who are struggling or on different pages – and all the spots where things used to happen. The dreamy and slightly sleepy vocal sound appropriately scores the song and its visions of the night and somnambulistic concern. Our girl is looking for some sort of clarity, that is for sure. Whether she is struggling in a relationship or trying to find something within her; you follow her plight and get inside her head. The band move the song through various motions and the tone shifts. Little flecks of The Smiths – I forgot to mention them earlier! – come through and the spirit of Johnny Marr can be heard in the guitar. The percussion, at once thudding, keeps the beat and hangs in the background. Various components come to the forefront and then mingle into the shadows. Whilst the music contorts and snakes; there is that consistent allure and sense of the unexpected. There is the “calm before the storm” and the heroine thinks back to the time she fell at her lover’s feet. It becomes clearer that this song is about looking around and wondering what has happened. There is a need for distance and a return to how things used to be. You get invested in her mind and how she is feeling right now. Whilst there is that big emphasis on sound and texture; it is hard to ignore the vocal and how affecting it really is. The entire band is sharp and fascinating throughout. They add chemistry, emotion and colour to every single line. The song is never too packed and busy; you get that wonderful sense of drama and cinema.

When the song reaches its intense peak; the drumming gets more insatiable and the bass twangs through. The crescendo and sense of explosion come and one imagines the heroine castigating the bad spirits and making a decision to step out alone. You cannot escape the way the band interacts and the understanding they have throughout. The composition is fantastic and perfectly frames the vocal. The song gets into the blood and you let it take you over. What interests me is how the guys have managed to create their own D.N.A. They could have made it vocal-heavy and put a lot of story in it. Instead, you have that balance of compositional texture and vocal revelation. You get a sense of oblique and open-for-interpretation in the music and hear something more direct and obvious in the lyrics. Each listener can draw their own conclusions and have their own visions. I imagined the heroine looking at old haunts and where she fell for her sweetheart. Things have taken a turn and there is an ache that needs to be balmed. The song is never too haunted and heavy-going. One gets the sense there is hope to be found there is plenty of light to be discovered in the song. I was hooked throughout and compelled to see where the story headed. If you listen to For the Ride and how the E.P. ends; you get a bit of a conclusion but can still come to your own conclusions. The Manchester band has crafted a sublime song and one that makes your head spin and mind brew. I have heard the song a few times now and pick up different things every time I hear it. Investigate the band and make sure you study their E.P. closely. I wanted to look at Night Driving because it is the crucial bridge between the sense of lift and tenderness of the opening track and the sense of confusion and heaviness that ends things.

The guys of URF are on an upward trajectory and determined to succeed. I feel that success will come quickly enough and there will be riches coming their way. They are chatting with promoters and festivals right now. There are many bands hustling at the moment and trying to get gigs lined up for the summer. I know the band will get those dates and their music will spread far and wide. For the Ride is an independent and stunning E.P. that has a connected and natural sound that we do not hear much of right now. There is vibrancy to be found but the band has a more laid-back approach. Some might find that to be an indication of a less focused and interesting viewpoint. Listen to Say You Don’t Mind and the flickering notes and gorgeous vocals. The title cut is a perfect ending and draws you into the music. Each of the songs runs into one another but they have their own identity. I love the musicianship and invention you can hear right throughout. Night Driving is a gorgeous cut and one that seems to show what URF are all about. I have high hopes for the Manchester band and their future. I know they are getting press and fans right now. They are working hard and their press release is great. The band play Night People (Manchester) on 8th June and that will be a big show for them – a headline slot that will get the E.P. out to the local folk. The fact this is their debut E.P. means it is early days for them. For the Ride is something you want to get involved with. The personal and friendly approach of the band – look at their social media to see what they are all about – means you take them to heart and want to see them go far.

I will start to wrap things up but wanted to recommend people go beyond what is forced on us and listen closely to artists trying to do something new in music. Although URF takes from Shoegaze and have a sense of Psychedelia about them; I can detect a lot of modern edges and unique strands. It all fuses into a steamy and alluring perfume that has turned heads and got smiles widening. I have been listening to their E.P. a bit and swimming through every note. It is a fantastic thing that will get some great reaction when they gig more. Check out all their channels for the latest grooves and happenings of a young army who are doing something awesome. They met among the throng and rush of the Manchester scene; they are one of the reasons why I am moving to the city – seeing bands with that blend of personality and interesting music. I am keen for URF to get out there and see their music get wide and far. Congratulations to the guys for presenting such an interesting and solid E.P. Make sure you get behind them and support what they are all about. It is an exciting time for the young band. I know they will be big names in the future and will get a lot of attention. I wanted to look at the track, Night Driving, because it is my favourite song of theirs. I would urge people to view the E.P. as a single thing and address the tracks in their natural state: a brilliant trio that resonates and percolates in the brain. I will end it here but am pleased I have come across URF and will follow them closely. Night Driving is an accomplished E.P. from a band starting out and testing the water. Even though URF are local promise and looking for festivals at the moment; it will not take long before they start getting…

SOME huge and vital bookings.  

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Follow URF

Twitter:

https://twitter.com/weareURF

Instagram:

https://www.instagram.com/weareURF/

Facebook:

https://www.facebook.com/weareURF

Spotify:

https://open.spotify.com/artist/4WENMRc6N8hETj9NjvMoCD

SoundCloud:

https://soundcloud.com/weareurf

BandCamp:

https://weareurf.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UC_4jnB9uQw67NhZiD0XY3ww

INTERVIEW: The 10x

INTERVIEW:

The 10x

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I have been talking with Parker Moore and Jeff Gingrich…

of the band, The 10x. I ask how the new single, Think of Me, came together and whether there is more material coming; how the band got together; if there is a special memory from music they can share – the guys recommend some new musicians worth a serious look.

I ask whether a move from Michigan to Tennessee was instrumental; what the chaps have planned in the coming weeks/months; what advice they would offer anyone coming through right now – I was keen to know whether we might see The 10x in the U.K. before the end of this year.

___________

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

Jeff Gingrich: It’s been a wild week preparing for the new release, but we’re excited to finally have this song out.

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

Parker Moore: I’m Parker Moore. I play drums in The 10x. I’ve been in the band for a little over a year.

JG: I’m Jeff Gingrich. I’ve been writing music as The 10x since 2015. The first E.P. was all me with a little help on drums from a good friend. It’s changed a little since then but I’m still writing (now, with Parker) - recording and mixing everything myself.

Think of Me is your newest single. Can you reveal its background and how it came together?

Think of Me is cool because it’s the first song Parker has been here from beginning to end. We wrote the skeleton together during a ‘jam session’ and I started to hear the other parts in my head.

PM: We were in a room together for the first time since I had relocated to Nashville. I started playing this idea I had and, once Jeff started playing, you could feel something was there...

JG: I only had a bass so I was trying to explain when the parts of the song were changing in my head. I don’t think anyone really understood what I was hearing but everyone was excited at how much of the song happened during that moment.

PM: After we tracked the demo, we experienced a hard drive and laptop crash…losing all of our demos we were working on. This song only survived because we had an MP3 demo saved on Jeff’s phone. We had to rebuild the track based off of that.

Are you looking ahead in terms of E.P.s and singles? What can we expect in the future?

JG: Yeah. The big thing now is to stay on the radar, so we’re hoping to keep releasing E.P.s. Singles are great, but I’d like to put out more content on each drop. We’re already working on a few ideas now.

How did The 10x get together? When did you all meet one another?

PM: I started playing with Jeff in a different band back in Michigan, so we were well acquainted before The 10x. Jeff asked me to play when the band first started touring. After playing out a lot, we realized we had chemistry and worked well together, so I became a member.

Talk to me about the 900-mile drive you took and a 1982 synthesizer…

JG: I watched a video of my favorite musician going through his process on one of his bigger songs. The Juno 6 was a vital part of the song. I looked online that day and there were two for sale; one in Japan and one in Pittsburgh. I left a few days later from Flint, stopped there to pick it up; got back in the car and came straight to Nashville.

It took forever.

How important was your move from Flint, Michigan to Nashville, Tennessee?

PM: We moved at different times. For me, it’s been instrumental in my role in the band. I moved here from a small tourist town called Frankenmuth, Michigan straight to Music City! It’s been a big change and I’ve got to be way more involved with the songwriting process.

That, alone, has been rewarding. I’m also (just) glad to be where the music industry is thriving. It’s good to be surrounded by all these incredible musicians.

JG: My mindset changed when I got here. The atmosphere feels a lot different. In Flint, it’s a tough city no matter what you’re trying to do. When I got here I felt freer and realized that a lot of things that were holding me back were all inside my head. I’ve been grateful for learning that. It is prettier down here, though.

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

PM: We’re working on getting back to the Midwest but also want to play more in Nashville. This is where we call home now - and we want to be more of a presence in this city.

Might you head to the U.K. at some point?

JG: Parker and I have yet to play a show outside the U.S. - but we do see our U.K. numbers growing. It could happen soon.

What do you hope to achieve in 2018?

PM: I’d like to write some great songs, play more cities and meet more of the people who are invested in what we do. That’s been the coolest thing that’s happened since I joined this band…we’ve got to connect with people who care about what we create. That’s special.

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

JG: I have two tied for first: the week we got put in 50,000 Discover Weekly (plays) on Spotify was pretty cool. It was intense waking up and seeing all the interaction; to know someone every five seconds was listening in. The other was our longest tour run. I learned a lot; specifically, how important sleep is to the person singing every night. I didn’t do a good job.

PM: Mine is the first time The 10x went to Indianapolis. It wasn’t a huge show but half the people in the room were singing along with us. That was a crazy experience knowing that we had never been in that city before and people knew our music.

If you could support any musician alive today, and choose your own rider, what would that entail?

I’d play a U2 show (laughs)…

JG: I would too, but that seems insane.

PM: I’d say Lorde.

JG: We both look up to a lot of artists. I think Lorde or Jack Antonoff (Bleachers) would make a lot of sense for us. We’re at a place where we wish we were playing something like that every night, so the question is pretty real. 

Rider - some dope wine; water so my voice doesn’t blow out during the set…I’d eat almost anything.

PM: I want a professional masseuse and a gourmet chef to cater to my every need (laughs).

What advice would you give to new artists coming through?

JG: It’s rough out here. What I’ve learned is that there is always something that will work for you. You have to find that and be consistent.

PM: Find your niche. More specifically: just be who you are. I know that’s corny but, as artists, we’re all a different combination of our influences and things that have inspired us. No one captures the same perspective on music as you can, so take advantage of it.

IN THIS PHOTO: Sam Fender

Are there any new artists you recommend we check out?

I listen to a lot of smaller artists like Sam Fender, lovelytheband; Colony House and COIN. We also have tons of talented friends I listen to.

JG: I listened to Riah’s single, Nice, for three weeks straight. I didn’t listen to any other song.

IN THIS PHOTO: Riah

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

PM: I usually unwind by playing drums so…it’s my job, but it’s also always been my happy place. Doing this IS how I unwind.

JG: I work all day and then come home and work on music so...I think the unwinding happens when the work is good. I like when I spend hours on a song and make progress. I’ve heard it a lot and I feel it too - it’s all about the work.

When a great song is released and people love it, it’s a great feeling – but, here we are; making sure we are ready to dig back in and work more.

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).

Since I mentioned it earlier: Nice by Riah

PM: NEEDTOBREATHE’s new song, Bridges Burn. We got to play with them once and, ever since, I’ve been a fan. This new song might be their best one yet

____________

Follow The 10x

 Official:

https://the10xmusic.com/

Facebook:

https://www.facebook.com/The10x/

Twitter:

https://twitter.com/the10xmusic

Instagram:

https://www.instagram.com/the10x/

YouTube:

https://www.youtube.com/channel/UCpFexdG5UhmABtun_iT6GRQ?app=desktop

Spotify:

https://open.spotify.com/artist/3uOQhPuymPCCvq9E0Gb5zd

SoundCloud:

https://soundcloud.com/the10x

INTERVIEW: Jane’s Party

INTERVIEW:

Jane’s Party

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AS we head into the weekend…

I have been setting time aside to chat with the guys of Jane’s Party. It has been great speaking with the Toronto-based group about their new single, You’re the Light, and how it came together. I ask whether there are gigs coming up; what it was like shooting the video for You’re the Light – they reveal if they are coming to the U.K.

I was eager to explore their musical tastes and the music scene in Toronto; how they spend their time away from music; if they have any advice for new songwriters of the moment – the guys end the interview with song selections.

___________

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

Great week so far! Indie 88 in Toronto premiered the new video for You’re the Light and the single was released across all platforms on Friday.

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

Jeff (Keys, Guitar and Vox), Devon (Bass, Keys and Vox); Tom (Guitar, Vox) and Zach (Drums)

How did Jane’s Party get together? What is the reason behind that name?

We started jamming in a garage up in the Jane and Finch area of Toronto where we were all going to school together and made our first record, The Garage Sessions.

You’re the Light is your new single. Can you talk to me about the song’s story?

The song uses nautical imagery to paint a picture of being lost at sea overwhelmed by the feeling of helplessness and confusion. This refers to, simultaneously, searching for a figure or idol that is one’s guiding light through the maze of commotion we find ourselves trapped inside. 

It was made in collaboration with Matthew Angus of Fast Romantics. What was the reason for that? What was it like working with him?

We’ve known Matt for quite some time now and have always seen eye to eye musically and creatively over the years. It was really only a matter of time before we collaborated on something special and, after bringing a handful of tunes to him, this one jumped out of the bunch and what he added instantly took the song to a place we couldn’t have reached without his guidance.

The video is quite energetic and engaging. Was the concept designed to highlight your performance skills and personalities? Was it a cool shoot?

The video was born out of a performance style aesthetic. We wanted visuals that showcased to fans what the band looks like live - the energy, emotion; passion and skill. The lighting design was done in collaboration with Nathan Whitford from Urban Visuals in Toronto. He is an acclaimed lighting designer and installation artist.

Directors Julian Peter and Kat Webber as well as art director, Tom Ionescu (also in the band), came up with the idea of having different lighting ‘worlds’. The video was shot on two Alexa mini-cameras, as well as a mini D.V. to create contrast.

We used a steady-cam and dolly-track to create different types of movement and combined L.E.D. lights with projectors to get different colour palettes.

What is the music scene like in Toronto? Do you have favourite venues and local artists?

We have been playing around Toronto for almost ten years now and, regardless of where we reside in the future, it will always be home to us. Venues like The Cameron House, The Horseshoe Tavern and The Dakota Tavern are where we learned to play live and they offer a sense of comfort I don’t think anywhere else can.

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

We are very excited about playing Alianait Arts Festival in Iqaluit this summer along with a number of other festivals in and around Ontario. More immediately, we are supporting Jeremy Loops in Toronto and Montreal on May 3rd and 4th.

Will you come to the U.K.? Have you played here before?

We haven’t played the U.K. but we will - with Tom Odell, ideally!

What do you hope to achieve in 2018?

We hope to release a full-length record supported by an abundance of visual content and we hope to take our new music far and wide.

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

Touring Europe with Tom Odell last year. Walking on stage every night to audiences that were so energetic and supportive hasn’t been topped yet. We also got to experience touring Europe with arguably one of the best singer-songwriter pianists to come out of the U.K.

If you could support any musician alive today, and choose your own rider, what would that entail?

Jeff: Paul McCartney - socks, underwear and whiskey.

What advice would you give to new artists coming through?

Write, record and play live. Do it often and don’t stop doing it!

IN THIS PHOTO: Jason Isbell

Are there any new artists you recommend we check out?

Lukas Nelson, Matt Duncan; JULY TALK, Jason Isbell; Fast Romantics and Ferraro.

IN THIS PHOTO: JULY TALK/PHOTO CREDIT: Shalan and Paul

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

We make art, stay active and play in many various musical projects.

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).

Jeff: The Keys – Matt Duncan

Zach: Tom Odell – Somehow

Tom: Ferraro – Can You Feel it

Devon: Fast Romantics – Everybody’s Trying to Steal Your Heart

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Follow Jane’s Party

 Facebook:

https://www.facebook.com/janesparty

Twitter:

https://twitter.com/janespartyband

Instagram:

https://www.instagram.com/janespartyband/

YouTube:

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

Spotify:

https://open.spotify.com/album/0Xvp7nGMFfaOnQhyQdfSmK

SoundCloud:

https://soundcloud.com/janespartyband

INTERVIEW: Emilie Mover

INTERVIEW:

 Emilie Mover

___________

IT has been a little while since I last talked…

to an artist from Canada, so it is just as well Emilie Mover has come along! I speak to her about the new cut, Walkin' Through, and whether the track has personal relevance – she talks to me about her past and musical inspiration (revealing how her dad's musical knowledge and background has helped shape her).

Mover tells me whether there are any gigs coming up and, whether, the U.K. is part of the agenda; how she spends her time away from music; which three albums mean the most to her; the new musicians we need to support – Mover ends the interview with a rather nice song selection!

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

I’m great, thanks! It’s Monday, but so far so good. Just took my puppy to the vet for vaccinations so he’s a bit mad at me…but a good week so far on the whole! Haha.

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

My name is Emilie Mover.

Walkin' Through, your new single, was written in three different apartments. What was the reason behind this?

Well. I’m not sure if it’s a subconscious namesake thing or what, but I have literally MOVED quite a bit in my life. I think I’ve lived in almost thirty apartments over the years (counting family homes).  Also, my dad and sisters are in N.Y.C. and I’ve been moving back and forth between Toronto and New York City since I was a pre-teen; so, a lot of it has to do with going back and forth.

Walkin' Through came together quite slowly and tediously: a verse here, a verse there; so, naturally, it just ended up that it’s got a little bit of multiple apartments in it.  

What, would you say, is the song about? How did it come to mind?

Like I said; it was written over the course of a few years.

I didn’t want to rush it because it’s about something that is maybe THE most important thing to me, which is my relationship with the unseen, faith, etc. It came to mind, initially, when I was travelling across Canada on the train. Maybe I got to thinking about the big picture because watching the scenery passing through the country was just so overwhelmingly beautiful. 

Was it cool recording it at The Bathouse in Kingston?

Oh boy; was it ever! That place just has excellent, excellent vibes. I know a lot of really great recording gets done there. Also, the other musicians on the album are all actually (just) my oldest and greatest friends, so it was pretty wonderful to have the opportunity to go to the country and play music for a week in this gorgeous house. ALSO, the engineer at the Bathouse, Nyles, is a great guy and terribly talented. 

Are you looking ahead at more material? Might we see an E.P. later in the year?

I’m working on putting together a little home studio right now. I would like to start releasing material more on the fly, sharing it spontaneously for a while. I’ve made a lot of albums but things have shifted so much: I wouldn’t mind seeing what happened to the songs and my writing process; if I just bring them into the world and then let them out as they come, as opposed to waiting for a year or two to release another cohesive album.

But, who knows…I might change my mind. 

Which musicians did you grow up around? Who do you count as idols?

My favourite question! My first and foremost musical role model is and always will be my father, Bob Mover (www.bobmover.com). He is another level of a musician that they just don’t make anymore and he taught me things about listening to and understanding music that they can’t teach in school.

He has an encyclopaedic understanding of Jazz and he got me into all of the great songwriters of the twentieth-century (Cole Porter and stuff, obviously, but also people like Johnny Mercer, Billy Strayhorn and Sammy Fain. Guys like that). He knows all of the lyrics to the songs he plays - which is a rarity among non-singers these days – but, to him, is essential. 

When I took to singing, he ‘hipped’ me (to use his phrase) to all the great Jazz singers (Billie, Ella; Sarah, Peggy; Dinah, Blossom). But, I’m also big into sax players and piano players: Charlie Parker, Lester Young; Cannonball Adderley, Coleman Hawkins; Ben Webster, Teddy Wilson; Thelonious Monk, Earl Hines; Hampton Hawes; that kind of thing.  

In my early-twenties, I got really into Soul music. I love that stuff. New Orleans, Memphis kind of stuff: Donny Hathaway, Brenton Wood; Irma Thomas, Percy Mayfield; Lee Dorsey, The Meters. Oh man, the list goes ON AND ON…

Also; can’t forget the great Stevie Wonder. He’s my main man.

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

Going to have a little tour in Canada and, maybe, the New York area a couple of months after the album comes out on June 5th. Right now, I’m getting ready to play Major/Minor festival at the Burdock on May 13, and for my mini-album release at the Tranzac on June 6th.

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

No plans as of yet, but would love that. 

What do you hope to achieve in 2018?

A new sound - but in the same spirit of timelessness, humility and love of music. 

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

So many, really. I would, again, say that being at Bathouse while recording this album was one of the most fun times of my life. But, I generally love being in the studio. Every time I’m in the studio I have that ‘this is where I’m meant to be’ feeling and, lately, I’ve been loving being on stage too. I’ve been playing solo and I love it. It’s like the silence is my rhythm section. 

It’s pretty nice being able to communicate and talk real sh*t like an arrow to a target with a whole room full of people. It makes me feel very happy and safe.

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

Stevie Wonder - Fulfillingness' First Finale

I just feel like Stevie innately has this grasp on love as a concept that most of us have to work our whole lives to get to. He is my main man. I chose this album because it has a lot of good songs but, really, any album has at least one song that will blow the mind in its ability to communicate love through melody and harmony. I mean, I named my dog after Stevie Wonder. Haha.

Paul Simon - Paul Simon

Everything Put Together Falls Apart and Run That Body Down are both on this album. If I could choose to have written any song in the world, it would probably be Everything Put Together Falls Apart. Also; fantastic album cover. 

Luiz Bonfa – Solo in Rio 1959

This is an instrumental Bossa Nova album by the guy who is best known for writing the music for Black Orpheus. My first big love, let’s call him ‘M’, introduced it to me. He worked in record stores and a guy came in and asked if they had any good solo Brazilian guitar. M said “No, sorry”, but, then, when the guy left, he pointed to this record on the counter and said: “This is the best Brazilian guitar record”. Haha. Record stores. Either way, it really is. It has been with me ever since.I listen to it at least once a week. 

What advice would you give to new artists coming through?

I don’t think they need my advice. Maybe, don’t resist change because it’s pointless. I guess I would just say stay humble and try not to get bitter. It’s so easy to get bitter. I’ve seen it happen to a lot of guys in my dad’s generation. It doesn’t help you create. 

Are there any new artists you recommend we check out?

Have you heard of Stevie Wonder? Just kidding…

Well. He’s not a new artist, but I always tell people to check out Percy Mayfield because hardly anyone knows about him and he’s really great. He wrote Hit the Road Jack and Please Send Me Someone to Love. He was being primed to be a STAR but then he hit some hard times and it never happened. He wrote for Ray Charles a fair bit, I believe. In any case, he’s lovely.

In my city at this moment, I can’t forget to mention Jennifer Castle. She is my friend, but I listen to her records on the regular. Big fan. 

IN THIS PHOTO: Jenniger Castle

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

Music is the unwinding. That and Netflix, obviously.

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).

Oooh. Play Donny Hathaway - Jealous Guy.

That’s what is playing right now - and I think you would enjoy it. Haha

Thanks for everything!

Xo, Em.

____________

Follow Emilie Mover

Facebook:

https://www.facebook.com/emiliemovermusic/

Twitter:

https://twitter.com/emiliemover

Instagram:

https://www.instagram.com/emiliemover/

YouTube:

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

Spotify:

https://open.spotify.com/artist/4dx2QFru02KbFFNYgwourF?si=gumZIo1BQeiXtAhMyGsz4w

INTERVIEW: Mozaics

INTERVIEW:

Mozaics

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ONLY yesterday…

I was speaking with a band who hails from Guernsey. Now, I have been chatting with the Jersey-based band, Mozaics. I learn what the scene is like on Jersey and whether there is more material in the coming months – I discover how they came to meet J-Hus!

The guys reveal what they do away from music; whether there are any new artists we need to check out; if they feel the music they are making now has developed from their earliest days; what advice they would give to new musicians coming through – I ask how the band feels when they get on stage and deliver the music to their fans.

___________

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

Hello. We’re good thanks; how are you? This week has been interesting for us. The video for B.W.G.O. dropped this week and, so, we’re busy organising radio interviews and some local gigs to promote it! It’s an exciting time.

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

Hi. We’re Mozaics. We’re from Jersey: not the New Jersey; the old one situated off the coast of France in the Channel Islands.

Our music has been described as uplifting anthem-Indie/Trip-Hop. Basically, we’re obsessed with melodies and hooks; if it’s not catchy it doesn’t make you smile! Music that makes you smile tends to make you dance; two things that we think are extremely important.

How did Mozaics get together? When did you all meet one another?

Jersey is a pretty small island - so we’ve all kind of known each other for years. We’ve all gigged together in different bands and have had varying levels of success in different formations. Mozaics really came together in mid-2015. That’s when Craig and Chris joined Christian, who had already written and produced a few records. Tom came along shortly thereafter and the power line-up as it stands now was born.

Before We Grow Old is your latest track. What is the story behind the song?

B.W.G.O. is about a nostalgic hat-tip to a youthful relationship told by someone who didn’t know what they had and took it far too seriously.

What can we expect going forward? Is there going to be more material or any collaboration happening?

The future is rosy! We’ve been hard at work networking and expanding our relationships. Since recording B.W.G.O., we’ve written and recorded four more tracks and we’re as excited, if not maybe even a little more excited, to share those with the world in due course. Watch this space!

Tell me how you met J-Hus. How did that encounter come about?!

There isn’t really much to tell if we’re honest. We met backstage at a festival that we were both playing. He confessed to rapping over our songs during our set and we just started chatting.

Stylistically, you would say we’re very different artists; however, we share a common passion for one thing - and that’s music. Although there’s no immediate discussion about a collaboration, we’d be daft not to follow it up! The future knows no bounds, right?  

Do you think you have grown and strengthened since your earliest days?

Without a doubt. We’ve probably all grown as musicians, individually, although we play now more for the music, so it might seem like we’ve paired it back a little from the earlier days. That is, however, where the growth has come: it’s in the songwriting and playing what’s needed for the song. Hopefully, that comes across in the tracks and in our live shows.

Don’t get me wrong; we elaborate where we need to in a live show because that’s an experience and is a completely separate piece of the Mozaics puzzle.

The video for the track, Do This with Me, gained a lot of praise for the performance and concept. Do you guys get involved a lot with pitching videos and the look of them?

Yeah; that’s a really pretty video, that one. We’re obviously biased; however, we’d really recommend it as a must-watch! We like to be involved in the decisions made around video concept. We all have ideas and visualise how it should look and these are shared early on. We are pampered somewhat in that our pals at Nifty50, who have shot all the Mozaics music videos, are masterful videographers. They’re, also, very musical.

Add to those two things the fact that they’re super-down-to-earth and genuine in everything they do. It’s pretty much a trifecta of awesome! We’re lucky to have worked with them and plan to continue to work with them as our journey continues.

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

Yeah. We’ll be announcing shows soon; keep an eye on our Facebook and Twitter pages. We’re also very keen to share another live-streamed gig on social media - something we tested earlier in the year and became a huge success. If you get a chance, visit our Facebook page and watch the live gig on Facebook. It was streamed live from our practice space. Off the top of my head; we’re headlining a show on 23rd June in Jersey at the Watersplash.

If you’re on the island, come and have a dance!

How important is it getting on the stage and seeing the reaction of the crowd?

The live performance is everything. Any and every artist will say the same thing. There is no substitute for the buzz of a gig and the interaction you get from an audience of people who love music as much as you do. It’s therapeutic. It’s what artists (us) live for. If you love music and you’ve experienced music at a live gig, you can almost always recall the emotions that you felt at that gig, the lights, the sway of the crowd; it’s memorable because it’s an experience like no other.

Live music shared with people who love music is a really powerful thing.  Live performances from our favourite artists are what inspire us and what fuels our passion.  It’s the reason we make music.

What do you hope to achieve in 2018?

2018 is an exciting year.

For us, it feels like momentum has been good through 2017 - and everything has been leading to this year. We’ve been bottled up and spent the past year or so shaking things up: 2018 is about blowing the lid off (so to speak) for Mozaics. Having seen the support for the most recent single, Before We Grow Old, and knowing that we quite possibly have, dare we say it, more belters to follow; we’re super-excited and anxious to share our art with the world on a bigger stage. 

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

There are probably plenty. One that really sticks out for me (Chris) has to be our first performance in this line-up at Jersey Live. I think it was 2015?

Anyways; we’d yet to play a show locally...and so no one knew what to expect. We were all really excited to play the show and I think, secretly, we knew our set was going to be something the island had never seen. Plus, we’d rehearsed it quite a bit and we were ready to share our songs with the world. We played in the middle of the day in a tent at the back of the festival in between main stage turnaround.

Not expecting much, we packed the tent after our first song, bossed the rest of the set and played an encore to a hungry audience. Thereafter, we sold every single one of our E.P.s and there was a real buzz around the festival about the band. It was pretty special and definitely a moment I’ll never forget.

What advice would you give to new artists coming through?

We’re not really advisors - and we continue to learn, every day, that we do this. We have, however, all been doing this music thing for a number of years. We’ve all had some success in different forms and we’ve all experienced just how difficult it can be to turn heads and make people notice what you’re doing. The only bits of advice we can give derives from our own experiences. First and foremost, believe in the product and believe in the band. If you don’t believe, no one else can.

Secondly, there is no substitute for good old-fashion hard work. If you want something you have to roll your sleeves up and get busy with it. No one else is going to invest time or money in a band that isn’t interested enough to invest their own time and money in themselves.

Thirdly; every single relationship/contact, no matter how brief with a venue contact, a fan; another band, a D.J.; a promoter, a bar manager; a friend of a friend, etc. is as important as the last. Make those relationships work for you; make sure they remember you for the right reasons. You never know when you might need to rely on them in future as part of your journey. Plus, they’re more likely to buy your music when you release it out into the world. Better yet; if they like you, they’ll probably promote you to their friends, who will promote you to their friends and so on...

Sorry...that kind of dragged on a little!

IN THIS PHOTO: July Talk

Are there any new artists you recommend we check out?

Check out JULY TALK. They’re a really cool Canadian Rock band making waves on both sides of the Atlantic. Chris roomed with their guitarist at university. Other cool under-the-radar acts to check out are Winterfalle, Alex Alex and Tadhg Daly - all musicians from our small island in Jersey and all making waves in the music world.

IN THIS PHOTO: Tadhg Daly

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

We do. Everyone is very close with their families; most downtime is spent in their company. When not doing that, Christian meditates and does jiu-jitsu. Chris is an avid golfer and has more recently developed a passion for long-distance running. Craig is really into yoga and spends a great deal of his time reading.

Aside from being the band hunk, and the guy everyone wants as their best mate, Tommy teaches music professionally, and so, when he’s not playing with Mozaics, he’s playing with others (not in that way; at least we think). You can take Tommy out of the Music but you cant take the Music out of Tommy! 

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).

QYURRYUS by The Voidz. We’re really into this track at the moment. It’s way dope

____________

Follow Mozaics

Facebook:

https://www.facebook.com/mozaicsofficial/

Twitter:

https://twitter.com/MozaicsMusic

SoundCloud:

https://soundcloud.com/mozaicsmusic

YouTube:

https://www.youtube.com/channel/UCtQb7XmuU14os3O0laNq3Tg 

INTERVIEW: Fletcher Jackson

INTERVIEW:

 Fletcher Jackson

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I have been speaking with the guys of Fletcher Jackson…

about their new single, Prelude. Fletch (the band’s singer) fields the questions and chats about the next steps for the group and how they all got together. The guys each select an album that means a lot to them; Fletch talks to me about where they are heading on tour – he recommends a new artist we need to get out ears around.

Fletch also provides advice for new artists and reveals what he (and the chaps) gets up to when they disconnect from music; they each select a song to end the interview – a nice view into the busy and exciting world of Fletcher Jackson.

___________

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

We’re good, thanks. We’re having a crazy week! On top of dropping our new single, we're mixing the follow-ups! At this point, sleep is a luxury!

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

I’m Fletch. I’m the singer in the band. On guitar we have Jack. On drums we have James. Ben’s on the bass and behind the keys there’s Sean!

Tell me about your new song, Prelude. How did it come together? What is the story behind it?

James played me a drum sample that I instantly wanted to write over. It was around the time Trump was elected, so I knew I had something to say. It all came together from there!

It follows on quickly from Live a Lie. Did the big reaction to that track compel that creative continuation?

The reaction to Live a Lie was a big surprise to us all! But, we don’t like to cover the same ground twice so Prelude couldn’t be a Live A Lie part two. It had to feel new and exciting!

Will we see an E.P. arrive later this year, do you think?

You’ll definitely see more new music, for sure! If it’s in an E.P format is a different story. Streaming’s changed the game and we wanna embrace that!

 How did Fletcher Jackson get together? What is the origin of that band name?

We all met at The Academy of Music and Sound in Gateshead. I formed a band around a solo project but it quickly became a band. We took my name ‘Fletcher’ as a reference to the project that first brought us together and ‘Jackson’, the street we drink on in Gateshead, to get the band name.

What sort of music did you all grow up on? Which musicians stick in the mind?

We all grew up surrounded by very different music. I remember (Frank) Sinatra being played a lot when I was younger whereas Jack grew up on Classic Rock - that probably explains why he’s a better guitarist than me and why I have a fascination with spats…

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

For me, it’s Kendrick’s (Lamar) To Pimp a Butterfly. It showed me how to take all your influences and use them in a modern way.

James loves The 1975’s (The 1975) first album! His approach to drumming changed after he heard it.

Ben got into bass through Rush’s Moving Pictures; so he’d probably pick that!

Sean’s is Demon Days by the Gorillaz. It was the first L.P. to get him into Rap.

For Jack, it’d be Deep Purple’s Machine Head. It’s the album that made him pick up the guitar!

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

On 6th May, we’re playing The Riverside as part of Newcastle’s Hit the North festival and 25th May, we’re up in Glasgow supporting Jake Bugg!

How important is it for you to get on stage and get those songs out to the people?

It means a lot to us! Going through the process of writing and recording a song is special but very private. We just wanna share our music with people - and live is the best way to do that!

What do you hope to achieve in 2018?

To be heard by as many people as possible! We love sharing our music!

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

Playing Newcastle City Hall meant a lot. Our heroes played there, so that was special!

What advice would you give to new artists coming through?

Trust yourself but take advice from the right people. Ignore the guy in your local complaining about your guitar tone - they’re always wrong!

IN THIS PHOTO: King Princess

Are there any new artists you recommend we check out? 

We’d highly recommend King Princess. 1950 is a banger

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

Not really. We spend a lot of time making music and collaborating. There’s always something going on! I guess that’s our way of relaxing.

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).

Of course! Here’s our songs!

I’ll have Redbone by Childish Gambino

Jack’ll have Can’t Do by Everything Everything

Ben wants Ivy by Frank Ocean

Sean picks Sunshine by Flight Facilities

James will have Somebody Else by The 1975

____________

Follow Fletcher Jackson

 Facebook:

https://www.facebook.com/FletcherJacksonFJ

Twitter:

https://twitter.com/fletchjackson

Instagram:

https://www.instagram.com/fletcher_jackson/

Spotify:

https://open.spotify.com/artist/6hw9olQufTzUrB0zr7Sriq

INTERVIEW: track not found

INTERVIEW:

 track not found

___________

MY journalistic work allows firsts and unusual occurrences…

that introduce me to new areas of music. In many cases, that geographical revelation is sound-based. Now, as I speak to the Guernsey-based band, track not found; it has opened my eyes to the music coming from there. The group chat about their track, Science (Gone Wrong) and what we can expect from their upcoming, debut album.

I learn how the band got together and whether they have any memories of scouting through record stores – as their new single was released on Record Store Day – and what gigs they have coming up; which new artists we need to check out; the band members each choose an album that means a lot to them - Grace Taylor (on vocals and guitar), Maisie Bisson (on vocals and bass) and Emma Thomas (on drums and vocals) let me into their world.

___________

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

Emma: I’m good and tired because school is busy, but I recently had my seventeenth birthday, which was fun.

Grace: Good. Writing lots of new songs, like one about my friend’s cat.

Maisie: Yeah, it’s been alright. The weather over here has been really summer, so that’s made my week, really.

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

We are <track not found> and we write angsty songs in whatever genre we choose. We tend to get creative and make our songs as unique, moshable and cool as possible (even if it isn’t so cool to others).

Science (Gone Wrong) is your new single. What is the inspiration behind the track?

For inspiration, we wanted to write a more…funky, jazzy song. Lyrics-wise, it’s a mix of frustration and Grace’s family relationships at the time it was written.

It was released on Record Store Day (21st April). Was there a reason for releasing it that day? How important to track not found are record stores?

It’s a day for all musicians to show off their music in a physical form that brings back the heart of music scenes around the world – record stores.

However, we are a group of broke teenagers, so we couldn’t afford to release anything in physical copies, so we thought the next best thing would be to put out online and put free download codes in our local record store for people to pick up when they buy their vinyl. We have one real record store on Guernsey, Vinyl Vaughan’s, that’s pretty cool and has some really good deals.

Vinyl shops are a good place to find old music and new things.

Do you have memories of being taken to record stores and digging through crates? Any favourite finds you’ve had at any record shops?

Emma: not necessarily a record but I once found eight Placebo singles at a record fair. That was pretty great…

Grace: I’ve recently been going to Vinyl Vaughan’s a lot more as I get into discovering different bands…

Maisie: I don’t really have memories of record stores, but I recently got my parents’ old collections of vinyl and have loved listening to all of them

I believe you have a debut album on its way. What can you tell us about the songs and titles that will appear on the record?

Well; we’re not entirely sure which songs we’re putting on there yet but it’s going to be all our favourite originals from the past year or two and some new ones we’ve been working on more recently. Hopefully, it’ll just be a good collection of songs that people can have a good ol’ bop to.

The Only Way Is Lost, your debut, E.P. was released last year. It got great reviews! How pleasing was it seeing that sort of responses?

It was great to see that people enjoyed our music because we were super-proud of how the E.P. turned out and had so much fun recording it. It’s encouraging to see how our hard work paid off. It was really interesting to see how people were so enthusiastic about some parts of the E.P. that we hadn’t been too fussed about.

It shows you how, even when you know the music inside out, you still haven’t listened to it in the same way that other people have.

Guernsey is where you hail from. Is there a busy music scene on the island? Is it hard getting gigs there at all?

The music scene on Guernsey is brilliant - we cannot praise it enough. The small population and close-knit community really support each other it’s easy to feel like a local celebrity when, almost every time you leave the house, you see someone who you’ve met in the scene.

The two main festivals in the summer help new bands and people get into the local scene. However, it can still be hard to get gigs as a younger band as there are strict licenses against under-18s being in pubs. There are under-18 nights organised by Sound Guernsey that are really great for us young bands.

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

Emma: Origin of Symmetry – Muse

Muse has been a huge part of my life for about ten years and this album got me into drumming, as Dom Howard is my key inspiration. Muse were the first band I ever saw live - and that also really inspired me to perform

Grace: If it was just one, it would change weekly but, at the moment, probably Two Moons – Bat for Lashes

I think it’s a really beautiful album that I could listen to over and over and not get tired of it. Either that or one of Radiohead’s later albums.

Maisie: I have got to say Lazaretto – Jack White

This album really opened my eyes to the music that was out there and Jack White was the first artist who I couldn’t stop listening to. Even though I had been surrounded by music my whole life, this was the album that got me to start listening to music rather than just hearing it.

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

We’ve got a quite a few gigs lined up for summer on our U.K. tour such as The Finsbury in London, which we’re super-excited for! But, before that, we’ve got a couple around Guernsey like an under-18s gig (with Sound). But, we’ve got all of our gigs up on our Facebook and Twitter so, if we have any new dates, that’s the place to look…

What do you hope to achieve in 2018?

In 2018, we’d like to carry on writing better songs, record the full album; gain some connections while we’re on our U.K. tour and just carry on developing our stage presence. I think the main aim is just to carry on making music, gaining fans and having a good time.

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

Emma: Our Epiphany gig. During the set we had two circle pits going on at the same time and, for some reason, we all ended up lying on the floor with the crowd.

Grace: My favourite memory is the first proper mosh-pit I got into at the local festival, Chaos, last year.

Maisie: When we played a gig supporting a local band and, after having a great time on stage, we could hardly move for people saying how much they enjoyed the set.

What advice would you give to new artists coming through?

You’ve just got to love the music you make...

While other’s opinions matter, you cannot make music for anyone other than yourself. Use it as an outlet to express your emotions, both good and bad. It’s important to be open to suggestions as long as they don’t change your music to a place where you aren’t happy with it. Be in a band with friends and people you enjoy spending time with - so it’s always fun making music with them and you can truly be yourself around them.

IN THIS PHOTO: Japanese Breakfast

Are there any new artists you recommend we check out?

Emma: Not exactly new or unknown - but, Ghost. You will not regret it.

Grace: Japanese Breakfast is very new, but is very good.

Maisie: Local bands like The Recks and Static Alice are really great, but NOVA TWINS are also really great.

IN THIS PHOTO: NOVA TWINS/PHOTO CREDIT: Sanaa Abstrakt

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

Emma: Personally, not much: juggling a relationship, A-levels, friendships and the band makes for no time. I do enjoy painting and sketching if I have any free time.

Grace: I unwind by lighting incense, eating chocolate and watching T.V. with my cat (currently, RuPaul’s Drag Race).

Maisie: If I find any time, a good book or film is usually my go-to with many cups of tea.

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).

Emma: Square Hammer by Ghost

Grace: My choice is 7, the element by Vitas. Thank you

Maisie: Yellow Sun by The Raconteurs, please!

____________

Follow track not found

Official:

https://tracknotfound.com/

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INTERVIEW: Screamin’ Whisper

INTERVIEW:

Screamin’ Whisper

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AN insatiable force with a brand of music that…

fills the body and provokes all sort of imaginative visions – Screamin’ Whisper are the band to get the heart, bones and brain buzzing. I have been speaking with them about their upcoming album, Filth, and the themes that inspired it. They talk about their latest single, Angels Don’t Watch Broken Homes, and what happens now – where they are touring and what they have planned.

The guys talk about their musical influences and how their songs come together; how the band stand out in a busy market; if they get time to unwind away from music – the lads each select a song to end the interview.

___________

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

Hi. Our week has been good. We’ve been rehearsing hard for our album launch on 17th May at Voodoo Rooms, Edinburgh. Our drummer, Zak, also got an ‘unconditional’ for college; doing drumming, of course...so we had a celebration.

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

We’re Screamin’ Whisper, an Edinburgh-based band. We’re a kind of Rock/Indie sound, I suppose. We’re a three-piece, made up of a set of identical twins, Brian and Martin - and Zak, who is almost the triplet we never had.

Angels Don’t Watch Broken Homes is your current single. What inspired the song?

Yes. It’s the newest single from our album, Filth. It was inspired by realising that, sometimes, it’s better to move on sooner rather than later – when something will never be the same again, the memories are probably better left intact.

It is from your upcoming album, Filth. Are there particular themes that influenced the songwriting?

In terms of themes, there was no conscious theme through the whole thing, really. In hindsight; it seems influenced by experiences of being young and making mistakes. Maybe finding out that the world isn’t as forgiving as you’d sometimes like...

In summary; a lot of stupidity was involved.

I hear bits of The Rolling Stones and T. Rex in your music. Would it be fair to say you have a love of Rock and Glam legends?

Yeah. There’s a lot of influence from that sort of era. Brian, our singer, gets compared, vocally, to Marc Bolan quite often, actually.

When we play live, we get compared to The Stones surprisingly often as well. I guess it’s the fact we try to put on a show. We’re not really a stagnant band when we play live: there’s a lot of space to play with on stage when you’re a three-piece, which is nice.

What sort of music did you all grow up around? Did you always know you wanted to be musicians?

We all grew up around relatively old music: certainly, not listening to the current charts, anyway. Bands like The Doors, Bob Dylan or, even, Gorillaz all had a big impact on our early years.

We have all been quite sure music was something we wanted to do from a young age. So, when we formed in 2015 - after several years of playing together in other projects - we were quite sure that we were all set on a career in music.

How does a Screamin’ Whisper song come together? Do you all write songs together – or will someone tackle lyrics and bring it to the rest of the band?

Brian does the writing for the band. He usually sits down to write on his acoustic guitar and then brings it in to show the rest of us. Sometimes, he comes in with a full demo he recorded, with all the parts for us to hear. Other times, we just jam it out in the rehearsal room. It really depends on how clear an idea he has on what the song should be.  

There are a lot of bands out there right now. How do you guys stand out from the crowd?

I think we stand out because we try to take things into our own hands as much as possible. We design our own merchandise - which reflects the band. Things like our T-shirts that say ‘Basser Is a Knobhead’ sold out very quickly because our fans realise that our bassist is, in fact, a knobhead.

So; I think it’s more about being yourself than ever - especially when people can see a lot of sides to you by simply checking out what you’re like online.

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

Right now, we’re just focused on our album launch. We’ve been keeping gigging quite dry since the first single came out last month, to focus on rehearsal and, also, we can build a hype for the album launch next month. We’re hoping to fit in a few festivals in the summer and we’re making plans for a tour as well.

What do you hope to achieve in 2018?

We’re hoping to (just) build out following and profile on the back of the album. It’s all about continuous progress for us. Once you’re moving forward, there’s nothing to complain about. We also have plans to have our second album finished by Christmas. It’s pretty much written so, after festival season, it’ll be straight to recording, really.

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

As a band, the best memory must be when we played in the National Museum in Edinburgh. It was really special; it has high ceilings and is really picturesque. (There were dinosaurs there!). But, also, we had a great showing of support that night, so the atmosphere was electric. It really was one of those magic, once-in-a-lifetime opportunities.

If you could support any musician alive today, and choose your own rider, what would that entail?

Probably The Rolling Stones. Just to say you’d shared a stage with a band like that would be a story to tell the grandkids. I’d say they’ve got a few great stories to tell in the dressing room, too! Or, maybe, Liam Gallagher. He always has nuggets of top quality wisdom to impart - or just his outspoken opinions are a sight to behold.

As for a rider; beer is a must. Probably sandwiches or crisps, too. They’re always good to keep you going. Although, Martin doesn’t ever eat before we play. He feels like he’ll be sick if he does. I can only imagine him vomiting on the front row…like a scene from the early days of Punk!

What advice would you give to new artists coming through?

First thing is to always get things in writing. Otherwise, be real: put on a show and learn every aspect of the business. It’s your job to do it right until somebody else offers to do it for you better. That’s the practical advice out of the way…

But, as for being a band; be something that everyone else is afraid to be. If you are something that people don’t see every day, that’s more than just the music, then people will want to see it in person. Like a circus!

IN THIS PHOTO: Imelda May

Are there any new artists you recommend we check out?

We’re big into people like Imelda May. She’s got a really cool Soul/Rockabilly vibe...or maybe Sundara Karma. They’ve got a nice, loose Indie vibe. There’s a lot of quite strong bands of that ilk around in Britain at the minute. Good stuff.

IN THIS PHOTO: Sundara Karma/PHOTO CREDIT: Anna Maria Lopez

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

Recently, there hasn’t been so much time away from music. But, when we have time, drinking is always a winner or, if it counts as time away from music, going to see local bands is also a winner.

Brian dabbles in animation and has been working on some cool visuals for the upcoming shows. Zak often can be found at the local skatepark. But, reading is generally a great escape.

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).

Okay…three choices:

We Are the Dead by David Bowie

Twilight by Elliott Smith

Muffin Man by Frank Zappa

All great songs, if you ask us!

                                                                 ____________

Follow Screamin’ Whisper

Official:

http://www.screaminwhisper.com/

Facebook:

https://www.facebook.com/screaminwhisper/

Twitter:

https://twitter.com/ScreaminWhisper

Instagram:

https://www.instagram.com/keepscreamin/

SoundCloud:

https://soundcloud.com/screamin-whisper

YouTube:

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

Spotify:

https://open.spotify.com/artist/0k2jpp6jo2alqp5KlBc9Oy

INTERVIEW: DeLaurentis

INTERVIEW:

 PHOTO CREDIT: Dominique Gau 

DeLaurentis

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THERE is a distinct magic that emanates…

from the sounds of DeLaurentis. I have been speaking with the songwriter about her Big Part of a Big Sun E.P. and what inspired its songs. She talks about her connection to music and literature; why she takes care of producing her own music; how computer music changed her life and creativity – she talks about the three albums that mean the most to her.

I ask her to recommend some new artists and what tour dates are coming up; which musicians she grew up around; if she has a special memory that sticks in the mind; what she hopes to achieve before the end of the year – DeLaurentis tells me how she chills away from music.

___________

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

Hi. I’m fine! We had a beautiful week in Paris - the summer weather came early. I performed a live video with my violinist friend at my home studio; we played the single from my new E.P.

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

I’m a singer-musician and I produce everything. I record with synthesizers, controllers; loppers, vocoders etc. My music is Electronic, Pop and cinematic. I’m fascinated by the relationship between sounds and images! I grew up in an artistic family. My father is a Jazz piano player, my sister is an actress and my little brothers are musicians, too.

Big Part of a Big Sun is your new E.P. Can you tell me what sort of themes influenced the songs that appear throughout?

I composed these new songs on an island while trying to disconnect myself from city life and the crazy rhythm of the digital world. That’s why elements of nature, dreams; memories and the cycle of life are the themes of this new E.P.

Is it true you wrote the songs whilst on an island – free from distractions of social media? Did that influence themes of connecting with nature and the planet?

Yes, it’s true! Last year, I felt in a state of emergency to be in the wild and let intuition and inspiration take the reins. So, I went to an island to create and the result was immediate - because the first song I wrote was A Big Part of a Big Sun! It is an ode to the majestic sun - and the other songs came naturally after…

How much do literature and art go into your music? Do you take a lot from literature when you conceive material?

I like to read Celtic tales and traditional myths to write songs because it helps to open ‘the doors of perception’, as William Blake stated. My favourite books are Femmes qui courent avec les loups by Clarissa Pinkola Esté and La Femme Celte by Jean Markale.

Did music suddenly mean more to you when you discovered computer music? Was that a moment when you stepped up your ambitions and aims?!

At the age of twenty-four, I discovered computer music and I understood that all the sounds and melodies in my head could be recorded and played. Infinite possibilities were opened to me!

We live in a revolutionary time: nowadays: everyone can make music at home and release it online very easily.

You are a producer, too. Do you think having control of your music makes it sounds more natural and personal?

Yes. it’s really great to feel independent and free to make music by myself. It’s more personal and singular because I can choose the sounds, the effects; the sound design, the scenario…and, sometimes, accidents and mistakes can become a personal touch!

Which musicians struck your ear when you were growing up?

The first record I listened to, when I was five, was Toulouse from Claude Nougaro, a famous singer from my own city! Afterwards, I heard my father playing Jazz standards in clubs and I used to sing Jazz a lot. In my teenage years, I discovered Trip-Hop with Portishead, Morcheeba; Björk, Massive Attack…it was a defining moment!

PHOTO CREDIT: Thomas Guerigen

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

Not in the U.K. at the moment, but I have few gigs coming in France in the next months. One of them is a residence in the Montargis theatre (a small city close to Paris), where I will rehearse my new live show. At the end of the residence, I will perform my show and host a masterclass about how I connect Ableton software and Resolume software (video) on stage.

What do you hope to achieve in 2018?

I hope to perform in many places in many other countries! I would love to come to play in London, of course! I really enjoyed performing in Ecuador last January year and I would love to return to South America. I’m also working on new songs and I hope to release my first album next year.

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

One of my best memories as an artist is the concert I gave in 2016 with a string Classical quartet. The meeting of electronic and organic sounds is a perfect mixture. Since then, I always try to put these ingredients in my new songs!

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

Laurie Anderson - Big Science

She’s one of the first women who pioneered Electronic music - and this album is a huge reference for me.

Björk - Homogenic

After the queen Laurie Anderson, there is the diva Björk; another amazing female artist who has made a mark on the music history. This album is absolute perfection.

Joni Mitchell - Both Sides Now

Because it’s beautiful, poetic; symphonic and tender. It’s her seventeenth album and, for me, it’s her best! It always reminds me that I still have a lot to do and a lot to learn!

What advice would you give to new artists coming through?

Be true; listen to your intuition and use the music to make a link between body and spirit. Share your feelings, give your emotions and the most important thing is working hard every day. Sacha Guitry (the famous French actor, director and screenwriter) used to say that an artist is 10% luck, 10% talent and 80% hard-working!

IN THIS PHOTO: Prequell/PHOTO CREDIT: Barrere & Simon

Are there any new artists you recommend we check out?

Yes. I recommend you a lot of new artists like Prequell, LAAKE; Oscar and the Wolf, Malvina Meinier; Grandbrothers, Penelope Antena and Superpoze.

 IN THIS PHOTO: Malvina Meiner/PHOTO CREDIT: Lucas Lauren

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

I do yoga every morning! I can’t begin a day without sun salutation. I like to walk in a park, have a glass of red wine with my friends and I enjoy cooking exotic meals like chicken curry, couscous and tom yam soup. Watching (T.V.) series is a good way to chill away from music. I prefer Science Fiction and Fantasy like Black Mirror, Stranger Things and Game of Thrones.

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).

The Singer by Teitur

  ______________

Follow DeLaurentis

Official:

https://delaurentismusic.com/

Facebook:

https://www.facebook.com/delaurentis.music

Twitter:

https://twitter.com/delaurentis000

Instagram:

https://www.instagram.com/delaurentis.music/

SoundCloud:

https://soundcloud.com/delaurentis

YouTube:

https://www.youtube.com/channel/UCZhI3lSsqHdzQBcLHkxoDow

INTERVIEW: Crossing the Limits

INTERVIEW:

Crossing the Limits

___________

ONE cannot listen to a Crossing the Limits song…

without being impacted and moved. I have been speaking with the five-piece Pop-Punk band about their latest cut, Predictable, and how they all got together – I learn more about their current E.P., Perseverance, and whether more material is in their mind already.

The stunning band (their vocalist, Rachael, fields the questions) discuss tour dates and what advice they’d give to fellow songwriters emerging; if they all get much time to detach and chill away from music; which new artist we should get behind; the sort of artists who inspire Crossing the Limits – what ambitions are left to tick off for the awesome quintet.

___________

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

Hey! Pretty good, thanks. We had a pretty busy week last week with heading to Leeds and our first headline show in Norwich.

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

Yeah! We are a five-piece Pop-Punk band. Our music is pretty bright, edgy and fun.

How did Crossing the Limits get together? When did the band start?

We started up in 2016 - but the line-up wasn’t really final until around early-2017. I was looking to start up a new band after my last one had called it a day. I started posting ads online and all around town in a desperate bid to find the right people. I was looking for people with ambition, drive (and that) shared the same dream.

Things were not easy: it took a while, but everyone in this band is in it for a solid reason..and I wouldn’t change a single one. They’re like my brothers.

 

Talk to me about the song, Predictable. What is the story behind it?

The song is really standing for being who you are without apology.

Like; how many times do we all start to question ourselves because we're not doing the same as everybody else?! We doubt ourselves so much for simply being different. I got really fed up with seeing my friends and people around me throwing away what they actually wanted to do because it wasn’t realistic, or people had told them it was too difficult.

I've felt like that, so many times, where I've been made to feel like what I wanted out of life was stupid because it doesn’t fit in with what everybody else is doing. I want people to listen to this song and brush off anyone that’s tried to put down their ambitions.

How much of what you are writing at the moment is based on your experiences over the past few years – lives in different bands and areas of the country?

All of it! I'll never write about something that I haven’t gone through. These songs are all stories that have happened over the last year. It’s really cool to listen back and go back to that place in time.

Your debut E.P., Perseverance, was out a few weeks back. What has the reaction been like so far?

Amazing! We are so pleased we’ve sent C.D.s out to people in America and Germany. It’s so cool to see that our music is reaching people in those places. Our fans seem to be enjoying it - and that’s what matters most to us.

Are you already looking ahead to new material? Are you always writing?

Absolutely! We've been writing a bunch of new songs. We like to give ourselves time and come up with the best possible songs we can before making any final choices on which ones go on the next record.

You gotta let life happen for the inspiration to come in.

What sort of music did you all grow up around?

I grew up with a lot of Pop music, then I discovered Pop-Punk and it really filled in that edge I'd never really got from just straight Pop music. The guys grew up with a ton of Pop-Punk and Rock music. Avril Lavigne was always a big go-to for me.

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

We’re looking into booking some shows for summer, so look out for those. We just need to be on the right line-up and hitting the right places.

What do you hope to achieve in 2018?

Lots of shows and to grow our fan base is the goal for this year.

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

I think collectively, as a band, we'd say opening for Against the Current in our hometown was a huge night for us. We gained so many new fans that night and had such a great time. I was always a big fan of the band We Are the In Crowd and, now Jordan Eckes has moved to playing for A.T.C. live, it was pretty damn cool to be playing alongside someone I've got a lot of respect for.

If you could support any musician alive today, and choose your own rider, what would that entail?

I'm really loving Halsey right now. I really like her vibe and I also really like how she stands for the L.G.B.T.Q. community which, as someone who is gay myself, I really respect that. She played a show in Russia and, even at risk of getting thrown in jail, still gave a shout-out to the people in the crowd holding up flags - saying she was proud of them for being brave. I thought that was bad-ass. Pvris would also be really cool to open for!

I don’t think we'd have anything too crazy: we keep talking about how we want a band dog so, probably, dogs and junk food.

What advice would you give to new artists coming through?

Stay true to your art. There’s gonna be a lot of people with a lot of different opinions. You can’t get too involved in any of that because, then, you start writing to please a million different people. Believe in what you're doing wholeheartedly and protect it.

IN THIS PHOTO: Pessimist.

Are there any new artists you recommend we check out?

A Pop-Punk band called Pessimist. They’re fairly local to us - and one of my favourite bands right now.

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

I actually do find it really hard sometimes to find a balance, because music is something I live for so, when I get a minute, I'm usually thinking what needs to get done next for the band. I feel kinda guilty if I'm not being productive. When I do tell myself to step away, I like to hang with friends and family or watch weird documentaries on YouTube.

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).

Rach: All You Are Is History - State Champs

Tom: Audit in Progress – Hot Snakes

Ben: On My Teeth - Underoath

Tim: Young Blood - Good Friend

Dan: Taking Off – ONE OK ROCK

  ____________

Follow Crossing the Limits

Facebook:

https://www.facebook.com/crossingthelimitsband/

Twitter:

https://twitter.com/ctlbanduk

Instagram:

https://www.instagram.com/crossingthelimitsband/

SoundCloud:

https://soundcloud.com/crossingthelimits

Spotify:

https://open.spotify.com/artist/4FDUyxtged1bdkDc3jnpJp

INTERVIEW: Too Many Zooz

INTERVIEW:

Too Many Zooz

___________

MY first encounter with Too Many Zooz…

was through YouTube videos of them playing to eager and excited commuters. The Brass-House trio grabbed worldwide attention with their thrilling performances in New York’s Subway. I have been speaking with Leo about the band's YouTube videos and what the story of their single, Bedford, is.

He talks to me about upcoming gigs and what it was like working with Beyoncé; whether we will see more material later in the year; what the music vibe is like in New York – Leo tells me who he, and the band, count as influences.

___________

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

This is Leo speaking! We are good; back on tour and feels better than ever. When I play by myself, I can never seem to get to the level of passion and enjoyment that I reach playing in front of people, so I’m very happy to be back on tour.

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

We are Too Many Zooz; a Brass-House trio that started in the subways of N.Y.C. Brass-House is the sound of a D.J. mixed with the improvisational, conversational attitude of a Jazz trio.

PHOTO CREDIT: Mathieu Foucher

I first came across Too Many Zooz watching YouTube videos playing on the New York City Subway. Do you remember the first time you played there? How did you all get together?

I (Leo) met the King of Sludge playing in a Subway band called the Drumadics. One day, he told everybody in the band he wanted to play more - and that anyone can show up tomorrow morning if they want to play. I was the only person that showed. At first, it was the King of Sludge, myself and his son. We played for several months and then his son went back to school in Portland. 

One day, my good school buddy at Manhattan School of Music was just hanging out at my place and I was like: “Hey; wanna come jam with us?!” The rest is history. The first time we played it felt right, so we never stopped.  

Were you quite surprised the reaction you got and the number of people who watched videos of your Subway gigs?

Honestly, I wasn’t, but I’m probably the only person that wasn’t surprised. I knew it was special and that people would eventually enjoy our charisma all over the world. However; I did not know it would happen this fast…

Bedford is your latest track. Can you reveal how that came together and what inspired it?

Bedford is a classic ‘Brass-House piece’; I believe it’s volume 78 part 2 - meaning the song was actually made up on the spot to reflect the situation we were in. If we played a fully written-out piece, it wouldn’t have had the same chemistry. We were inspired by the L train; a train that became very important to all of us over the years.

Might we see an album or E.P. coming later this year?

Hopefully, but probably not. We have a single label deal currently, which means we can’t just release stuff whenever we want. But, we have tons of new music and I hope it will be released soon - at the very least, we will definitely be releasing singles throughout this year.

PHOTO CREDIT: Mathieu Foucher

I know you have collaborated with Beyoncé! What was that experience like?!

It was amazing and very professional. She was very kind and the whole experience was just great. There are no words to describe the feeling we had, honestly.

I am interesting finding out who you count as influences. Which artists have inspired you all?

Kanye West, Miles Davis; Diplo, Prince, Ronnie Cuber; Sean Jones, Lenny Picket; Vibes Cartel, Tupac; Migos, Michael Jackson; Beyoncé, Justin Bieber etc.

What is the music scene like in New York? Is it a wonderful place to create and play?

The music scene in New York is great, but it takes a while to get enough work to support yourself. You really have to be a good individual who is talented and driven. As long as you keep your manners and work ethic up, you will succeed and have fun.

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

Currently, on a European tour until the end of May…

What do you hope to achieve in 2018?

World Domination…duh!

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

Beyoncé!

PHOTO CREDIT: Brandon Nagy

If you could support any musician alive today, and choose your own rider, what would that entail?

The Wu-Tang Clan - Water, Hennessy; local food...and something else that I’d rather not mention…

What advice would you give to new artists coming through?

Find something you are good at it and become great at it. If you are the best at what you do, your chance of success is heightened to an extreme level.

Are there any new artists you recommend we check out?

Five Alarm Funk.

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

Honestly; we all unwind by making our own music and spending time with friends and family. I, personally, really enjoy going to the gym with my brother.

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).

Prince - Purple Rain

____________

Follow Too Many Zooz

PHOTO CREDIT: Brandon Nag  

Official:

http://toomanyzooz.com/

Facebook:

https://www.facebook.com/toomanyzooz/

Twitter:

https://twitter.com/TooManyZooz

Instagram:

https://www.instagram.com/toomanyzooz/

BandCamp:

https://toomanyzooz.bandcamp.com/

SoundCloud:

https://soundcloud.com/toomanyzooz

Spotify:

https://open.spotify.com/artist/72rZmJbRFSY6IFJAysfOdr

INTERVIEW: Lostchild

INTERVIEW:

 Lostchild

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THERE are few out there like Lostchild…

I have been speaking with the unique artist about his track, Blacklist, and creating its extraordinary video. The young songwriter tells me how it feels knowing his E.P., Blacklist, has gathered big reviews; what his next steps are in terms of material and touring; what music means to him – he reveals the three albums that mean the most to him.

Lostchild tells me his ambitions for the rest of the year; why he takes influences from the '80s and '90s; which new artist we should check out; the advice he would give to fellow artists coming through – he ends the interview by selecting a very fine song.

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

Me and my week have been pretty good. A little hungover today...

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

I’m Lostchild. I grew up in a small town but finally moved to London; I write Electronic-Pop music songs about being an anxiety-ridden queer person. I love a big pop hook and the '80s.

What can you tell us about the new single, Blacklist? What inspired its creation?

Blacklist is about changing yourself to keep someone else interested. It’s about a particular relationship I had with a guy who was clearly uninterested, but I perceived him as so out of my league that I jumped through hoops to meet up with him.

I like the video a lot. Was it quite a good experience shooting it? Do you enjoy music videos?

I actually am more of a T.V. buff: I don’t watch a lot of music videos, so the ideas I have for videos are often influenced by things I’ve seen in T.V. shows. I like to tell a story. The Blacklist video was a magnificent experience; it was my first time and, hopefully not the last time, working with Gary Woods (@garyxwoods) - a really provocative director from Manchester.

He filmed me getting drunk in a hotel room; trying on all this beautiful fetish wear designed by The Freak Show (@thefreakshowuk). The end result is exactly what I wanted: a hazy memory of a hedonistic night. It’s way out of my comfort zone and I’m sure it will divide viewers, but it was so liberating.

Your E.P., Blacklist, has gathered great reviews. What themes and experiences compelled the music? How much of you is in the songs?

The E.P. is very much about how anxiety has affected my behaviour patterns…drink and drugs leading to casual sex and bad behaviour and the shame and regret that comes afterwards. Which, in itself, leads back to drink and drugs to cope. All of the songs are about vicious cycles that I know a lot of queer people go through to cope with their mental-health.

It seems like you have a love of '80s and '90s Pop. Which artists do you count as idols? Did music come into your life early?

The earliest musical obsessions I remember having was the Spice Girls and B*Witched, but my first love was Madonna. I was ten and I listened to my mum’s copy of her Ray of Light album. I’m not sure what drew me to her, but I became obsessed and would make my mum go into C.D. shops to buy her albums for me because I was too embarrassed. What I heard and saw of Madonna was a truly rebellious soul, something I always wished I could be, and I feel like she has inspired me to be unapologetically yourself, even if it ruffles some feathers.

There was a lot of other '80s and '90s artists such as Sade and George Michael, that my parents listened to a lot, which probably explains my affinity for ‘80s and ‘90s music as well.

What, to you, does music do? Is it a way of translating and expressing yourself in a unique and easy way?

Making music is a way for me to make sense of all the negative things in my life. If I didn’t make music, all the horrible things I feel, the stupid things I’ve done; they would just define me. Instead, I try to own my pain and mistakes, be honest about it all, and, hopefully, reach other people who feel like outsiders - and who frequently self-sabotage and doubt themselves.

Do you feel you’re a more confident and inventive artist since your earliest days?

More confident, certainly. More inventive…I dunno.

I made some pretty out-there music before settling on Pop. Making music people actually want to listen to in order for them to hear your message definitely requires you to be more business-savvy in your approach. So, I would say I make more accessible music than I used to but, luckily, I love a Pop hook; so, I’m simply getting better at making pop music and that makes me confident.

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

There are some gigs in the works for summer, but you’ll have to follow my socials (@lostchilduk) for announcements!

What do you hope to achieve in 2018?

I want to get out there and gig, meet people who recognise themselves in my music - and become a voice for the messed-up queer community!

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

Being on stage for the first time. Absolutely electrifying. The only time that my anxiety isn’t niggling at me is when I’m on stage performing. When I left the stage for the first time, I thought: ‘This is what I’m on this earth to do’.

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

Madonna - The Immaculate Collection

For being the (most) perfect collection of Pop songs ever…and Ray of Light for being the first album that made me realise I loved music.

Radiohead - Kid A

A bit out-there, I know, but this album is perfect for locking yourself away to and pretending the outside world doesn’t exist.

What advice would you give to new artists coming through?

Work hard. Make music and videos often; don’t treat it like a hobby. Keep yourself busy and people take you seriously.

IN THIS PHOTO: Diamantina/PHOTO CREDIT: @kirangidda

Are there any new artists you recommend we check out?

Diamantina. I worked with her a while back and she’s just the most inspiring and positive person you’ve ever met. Her singles, 90s Kid, Earn Me and, especially, her new single, Bandwagon, are all soulful, sassy Pop gems. Girl knows how to write a hook...

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

I binge-watch T.V. shows. I love a mix of stuff from The X-Files to Bob’s Burgers to Scandal.

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).

Satin Jackets (ft. Scavenger Hunt) - Feel Good

____________

Follow Lostchild

Official:

https://www.lostchild.co.uk/

Facebook:

https://www.facebook.com/lostchilduk/

Twitter:

https://twitter.com/lostchilduk

Instagram:

https://www.instagram.com/lostchilduk/

YouTube:

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

SoundCloud:

https://soundcloud.com/lostchilduk

Spotify:

https://open.spotify.com/artist/0m48xvgs3RfLa7EDF51y8I

INTERVIEW: Omer Matz

INTERVIEW:

 Omer Matz

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WHEN thinking of all the parts of the world…

I have taken this blog; it has been a while since I last visited Israel. Omer Matz gives me a chance to return to Tel Aviv and ask what the music scene is like there. The songwriter talks about his single, Hold, and what comes next for him; how he got into music; the artists who have inspired him – Matz discusses a business venture he set up for hobbyists.

I learn why the artist moved and relocated a few times; whether he took any skills from his business days to the music side of things; how he detaches away from music; whether there are any new artists to look out – I ask Matz whether he is coming to the U.K. and playing anytime soon.

___________

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

Pretty good. New beginnings are always exciting: mainly learning a lot about music promotion these days.

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

I’m thirty-two-years-old; I’ve lived in various places throughout my life (the U.S., Italy; London, Tel Aviv). I played Classical piano all of my childhood, started writing songs and playing the guitar at sixteen. At the age of twenty-two, I studied music at Goldsmiths College in London. During that period, one of my tutors spoke a lot about music for films, which I really fell in love with. London was a lot to take in at such an early stage of my music career (and of my personal career). Also, as a kid growing up near the beaches of sunny Tel Aviv, I really missed the weather, the people and felt it might be too early for me. I discovered that in my hometown, in one of the biggest music colleges in the country, they have a major in music for film.

So; I moved back home and began studying there. I wrote a few compositions for local film students but felt there was also another side of me that I needed to explore that’s not a musical side. So, I opened a business for music hobbyists that want to play in bands and gave them band lessons. The business grew fairly and, after three years, I decided to sell my part to my partner and continue exploring entrepreneurship through international startups. I got an offer to be the head of digital marketing for a start-up that was rapidly growing. Being the first employee, I was blinded by the excitement of creating something big from scratch, but it came with a price. After over a decade of having music a big part of my life, for the first time; I wasn’t doing anything connected to music for two years.

I began also exploring my hippy side at that time and remember having this awakening in the middle of an extensive meditation session. (Heads up, this is a weird story…). My hands and fingers locked up, I couldn’t move them and I saw a strong vision of a woman and we started having this internal dreamy dialogue (no drugs were involved, I swear) and she kept telling me I need to trust her. Diving deeper into this bizarre and very intense experience; I understood that this subconscious conversation was reality and my intuition slapping me in the face trying to wake me up. From there, something opened up. I began writing songs like never before. I finally felt the songs were mature enough and ready enough to see light.

I decided to quit my job and start building myself again as a musician, this time, as a songwriter - the raw and pure way it appeared in my life at age sixteen.

Hold is your new track. What is the background to the song?

After leaving my business, while working in the start-up company, we moved offices to a building with shared office space. To my surprise, one of the companies sitting in that space was the music company I have founded and separated from. Going back home that day, I realized I didn’t move on and didn’t forgive myself for giving up this beautiful creation. The song is about holding on to something that’s not there anymore. I think anyone who experienced some sort of separation from something they loved dearly can connect with the feeling.

The lyrics in of the chorus are: “And so you hold, hold till it’s cold/Till the pieces fall apart/Hold with your soul, hold till it’s cold/Someday, it all adds up together”.

It is a busy and alive song. Was it quite easy putting it together in the studio – or were there challenges and hurdles along the way?

Thanks (smiles). I’m really happy you feel that way.

I owe a lot to my producers Dotan Moshanov and Shimon Tal. They treated this song with extreme sensitivity and patience. Since this was the first song, it was also the first step into the E.P. and definitely a style-setter. The decision we made, in terms of style, had to be precise in terms of defining who I am as an artist. Strategically; this song’s purpose in the E.P. was to explore and set the tone for the other songs. It took nearly six months to build - but completely worth it.

I believe you are working on an E.P. Can you reveal some of the ideas and stories you will include?

Each song in this E.P. is a piece in the journey of deciding to become an artist. Some speak about the journey itself and some are about struggles along the way; betrayals, acceptance; fear, learning to let go of things that are stopping me from becoming something I’m so afraid of. Also; the sound and the general music production aim to give a feeling of something cinematic and scenic. I really want people to be able to visualize the stories in the songs.

Tel Aviv is your home. What is the music scene like there right now? How much do you take from the people and fellow musicians?

Tel Aviv has an amazing music scene: very eclectic, so many different genres and sub-genres that are born because there’s such an interesting mixture of family backgrounds. You can find here any genre you can think of (Afrobeat, Arabic music; Yemen Blues, Greek music; Electro-pop, Jazz and so much more). Musicians here are so talented, which might also be one reason I was afraid to go in this path for so long.

But, yes; there’s so much to take from the scene over here.

You have moved around a bit and spent time in the U.S. and U.K. You transitioned from study to set up your own business. Tell me about that venture you set up for hobbyists…

After being a private piano tutor and as a child growing up playing the piano, who didn’t learn in any formal school, I came to music college clueless. I knew how to play Chopin and Debussy, but when I had to play with a band, it was a completely different thing. I remember getting a chord chart in my audition that I could read but when the bass, drums and guitar started playing, I had no freakin’ idea what to do. So, I thought to myself: there are so many music students who learn with a private tutor, they probably don’t play in bands - which is such a huge part of your education as a musician.

So, I started off by collaborating with many music tutors who give private lessons and giving their students a platform to also have band practice. I took a player from each instrument until a band was formed and gave them two-three-hour band lessons playing Rock, Pop; Jazz…anything. I worked with a small group of professional musicians who gave the band lessons and, every three months, we would organize bandathons.

The business grew till there were about thirty bands; 80% of them were adults, to my surprise. So many different types of people: a sixty-five-year-old grandma playing the bass; a commercial pilot, a British nurse; an endless variety of people brought together by music and the desire of playing in a band. It was great fun.

How much did you learn from the business and taking care of musicians? Do you think modern artists have a lot to handle in terms of finance and promotion?

I’m still terrible with money - but it was obviously better than any business school out there. I think, today, musicians are very much similar to a business. I find a lot of musicians who are afraid to take care of the financial side and promotion side - but, it’s the most important thing you have after the music itself, of course. Nobody cares about your music as much as you do - and that passion is an engine. Even if you don’t ‘know’ how to promote, you have to be a part of it, somehow, and embrace it.  

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

At the moment, no.

I’m working on building up awareness, slowly, by releasing song-by-song. The plan is to release the E.P. around September and then start gigging. I’m heading anywhere.

Will we see you come over to the U.K.? Do you play here a lot?

I wish! I have played a bit with a band in London when I lived there ten years ago. Very much hoping to be back there.

What do you hope to achieve in 2018?

Recognition as a musician; connection with new people through music; building a lifestyle that will allow myself to make music.

Music, to everyone, has different meanings. What does it mean to you? How important is it in your life?

Well….

Music, for me, is the most honest place there is. It comes from a feeling that needs to be expressed. It’s usually a dominant feeling; so, if I’m struggling with something, I might try to solve it through a song. It’s a place of healing and problem-solving. In my life experience, when music wasn’t in my life, I felt lost. It’s a sense of purpose.

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

Wow; so many…

If I have to choose one, it’s when we finished the mastering of Hold. I had some friends come over for drinks and, as the evening went on, they asked to hear the song. Most of my closest friends didn’t even know I was in a studio twice a week producing the E.P. (that’s how exaggeratedly-scared I was). Only two or three people heard the song before but I was drunk enough to go with the flow.

I played the song (on speakers. God forbid, not live) and they were so excited they couldn’t shut up for, literally, more than five seconds. I don’t even know if they listened to the song but they wanted to hear it again and again (worth mentioning: my friends are terrible when it comes to being politically correct). To feel their excitement was so rewarding - it gave such a boost of confidence.

What advice would you give to new artists coming through?

Patience. There is a tremendous amount of stuff to deal with and manage: you don’t have to deal with everything at once. 

Are there any new artists you recommend we check out?

Yes. Two from the local music scene here in Israel: Full Trunk and ISADORA.

PHOTO CREDIT: Merav Ben Loulou

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

A good few days’ hike or a surf trip somewhere (which I don’t do enough).

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).

Ásgeir - Afterglow

Such a beautiful song. A great example of the magic that happens when a beautiful song meets beautiful production. Thank you so much for this interview!

____________

Follow Omer Matz

Facebook:

https://www.facebook.com/omermatzmusic/

Twitter:

https://twitter.com/MatzOmer

Instagram:

https://www.instagram.com/tomorrowsbadseeds/

YouTube:

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

SoundCloud:

https://soundcloud.com/omermatz

Spotify:

https://open.spotify.com/artist/0Q4ph5owI5jMcs34qwdeLy

INTERVIEW: Tomorrows Bad Seeds

INTERVIEW:

 Tomorrows Bad Seeds

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IT is a hectic and packed time for…

the guys of Tomorrows Bad Seeds. I have been chatting with them about their singles, Frequency and Trinity – both of which have videos out. The songs are taken from the album, Illuminate – the band tells me about its creation and themes.

I ask Tomorrows Bad Seeds about their formation and what it is like living in the South Bay area of Los Angeles; if they have any gigs coming up; what sort of music the band are influenced by; whether we can see them come play over in the U.K. – they recommend some new artists we should be checking out.

___________

Hi, guys. How are you? How have your weeks been?

We are doing great! This week has been wicked. We just flew back home from Charlotte, North Carolina playing at the Jamaican Me Hoppy Festival, which was an absolute blast - seeing all of the unity and diversity amongst the town. 

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

Moi - Frontman/Vox

Mets - Guitar/Vox

Pat - Drums 

Dre - Bass man 

Steve - Keys/Organ/Synth

The videos for Frequency and Trinity are out. What was it like filming and creating those videos?

Frequency was captured by our boy Chris (concrete) while we were writing and recording the track with our good friend, Jason J. It felt really organic and true to the vibe of the song, which was written and recorded in a matter of hours from start to finish. The session went really well, so we decided to use the footage for a video. We hope you enjoy it.

Trinity was an impromptu video done by Tom from Reel Wolf out of Canada. He was gonna be in L.A. and our boy James Wright suggested we try a video with Tom, and we chose to film at locations that have had a large impact in our lives growing up with one foot on the beach and the other in the streets; encompassing the humble beginnings as a reminder to never forget where you came from. Also, to remember (to) never lose track of where you’re going: we all buy the ticket and take the ride.

What was the reason for releasing those two songs as singles? Do they hold a special place for you?

The reason we chose to release those songs first is because of how quick the songs came to fruition from start to finish; so, it made sense for us to share them first and, of course, isn’t the deep underlying message for all of humanity, to share love where it is so badly needed all over the world? The same goals we all strive for here in the concrete jungles: giving respect to all positive ideas and living things alike. 

All of the songs off of our upcoming record, Illuminate, hold a special place to us, as we are excited to release new music and have been for a while.  

Illuminate is the album they are taken from. Are there key themes and common links that go into the music? How would you define the record?

Yes. There are some key themes and common links on this record that encompass life from beginning to end; into the illumination of its resurrection and the cycle of birth to death. We would define this record as grown Folk music, with a feel-good positive vibe and attitude but, also, touching on the realities of life - “Life is the Mission/Love is the Message” M. McEwan.

What was it like recording the album? Was it a lot of fun?

It’s always a lot of fun recording music and coming up with different ideas when one idea bounces off one another. It’s hard to expect when the magic hits, but it always does when you keep an open mind. It such a pleasure and privilege getting to work with the producer Chaz ‘ROX’ Toney out of the Island Empire Recording Studios in Carson, California. He is such a talented and hard-working producer/musician. It was many long days and even longer nights burning that midnight oil to its fullest.

We would spend long days and countless hours into the early morning working on and recording this record. It was so much fun and gave so much motivation getting to work with like-minded people we admire and respect so much.

How did Tomorrows Bad Seeds get together? How did you find one another?

Long story short; we (Mets and Moi) met in the summer of 2000 through a mutual friend. We started jamming music right on the beach break-wall where we met nearly every day, covering songs that heavily influenced us - from artists like Bob Marley, Sublime; Steel Pulse, Slightly Stoopid; the Eagles and many, many more. We would also jam in Moi’s mom’s living-room a lot, where she would give us so much love; amazing home Mexican food and constructive criticisms - and shared her theories of music with us that we still hold dear to this day. 

Later that year, we had the idea of starting a band…

Tomorrows Bad Seeds is Moises Juarez on vocals, Matthew McEwan on guitar and vocals; Johnny McEwan on drums and Al Arnado on the bass. This was the original line-up, until a year later Sean Chapman join the band playing guitar and vocals. This one ensemble lasted till about 2007 when Andre Davis joined playing the bass later on that year; Patrick Salmon joined playing the drums. That was our line-up up until Steve Aguilar started playing shows with us in 2010...

2015 is when Sean Chapman left the band and now, since, we have various people performing for us from Jeff Nisen on guitar; Steven Ingraham jammed a few shows with us and now we have Anthony Francisco on tour with us. Also, there’s Kurtis Parsons on percussion and we are looking forward to playing with many more musicians.

You hail from South Bay, Los Angeles. What is the area like for music and likeminded artists?

The South Bay of Los Angeles is a very beautiful (although it looks like the balls of California on a map, maybe. Ha) area with open coasts and beautiful beaches with good waves; nice weather and beautiful people. With a melting pot of all different kinds of music ranging from Punk-Rock, Hip-Hop; Reggae, Jazz Blues etc…there’s lots of emerging talent coming out of the South Bay. We feel blessed to represent such a beautiful place, from which we got our start.

Aside from a few backyard parties, we played for a few good friends’ birthdays (one of which, Opie Ortiz from LBDA, was at pouring his homemade Martini concoctions down our throats as we were playing - some of our greatest memories were from the beginning when it all started.) 

Hermosa Beach Pier was our first show at the Lighthouse, opening up for Too Rude. We love where we come from and love even more the fact that our city has our back - where we will be closing out some of the final shows of tour: June 1st and 2nd at Saint Rocke on 2nd Street and PCH in Hermosa Beach, California.

Do you all share the same sort of music tastes, roughly? Do you tend to listen to older stuff – or dip into a lot of new music?

We all have, relatively, some of the same taste in music, but we also like all different kinds of music. Collectively, being from Los Angeles, California there’s a melting pot of music and It is hard to just like one genre.

We all grew loving bands like Red Hot Chili Peppers, Sublime; Beastie Boys, Nirvana; Public Enemy, 2 Pac; Biggie, Eminem; Anthrax, Rage Against the Machine; Steel Pulse, Bob Marley; Long Beach Dub Allstars; Stevie Wonder, Bob Dylan; Daft Punk…the list goes on and on and on; we love music to say the least, so there are many, many more. 

What do you all hope to achieve in 2018?

We hope to Tour Europe, Asia; meet new fans, spread positive vibes and positive music; keeping the vibes alive and spreading our message.

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

Illuminate spring tour dates:

4/24 - Dallas, TX

4/25 - San Antonio, TX

4/26 - Corpus Christi, TX

4/28 - Knoxville, TN

5/1 - Atlanta, GA

5/2 - Jacksonville, FL

5/4 - Cocoa Beach, FL

5/6 - Miami, FL

5/8 - Wilmington, NC

5/9 - Durham, NC

5/10 - Virginia Beach, VA

5/11 - Vienna, VA

5/12 - Brooklyn, NY

5/13 - New Bedford, MA 

5/15 - Pittsburgh, PA

5/16 - Grand Rapids, MI

5/17 - Columbus, OH 

5/18 - Chicago, IL

5/19 - St. Louis, MO

5/20 - Omaha, NE

5/23 - Pueblo, CO

5/24 - Denver, CO

5/25 - Salt Lake City, UT

5/26 - Boise, ID

5/27 - Seattle, WA

5/31 - Santa Cruz, CA 

6/1 - Hermosa Beach, CA

6/2 - Hermosa Beach, CA

6/3 - San Diego, CA

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

Just being able to perform and do what we love on a daily is a true blessing.  

What advice would you give to new artists coming through?

Work hard, practice; stay honest and true to yourselves. Don’t get caught up in all the facades or masks of ego we, as people, create for ourselves.

Are there any new artists you recommend we check out?

Ease Up, LAW; The Late Ones, Jason J; Anthony Francisco, Lea Love; Yuja Wang. I mean, there is so much talent constantly emerging from all over the world that it’s so tough to keep up with the times...

IN THIS PHOTO: Lea Love

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

Yes, and we love spending time with our families and children (for Mets & Moi). We also love to surf, camp; yoga, BBQ; breakdance and jam music, paint; create or just catch up on sleep…

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).

Moi: Sammy Johnson – Don’t Say Goodbye

Mets: It’s Alright, Ma (I’m Only Bleeding) – Bob Dylan

Dre: All Time Low - Joe Bellion

Pat: The Box – Snot

Steve: Trade It All – Cory Henry & The Funk Apostles

____________

Follow Tomorrows Bad Seeds

Official:

http://www.labadseeds.com/

Facebook:

https://www.facebook.com/tomorrowsbadseeds

Twitter:

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Spotify:

https://open.spotify.com/artist/4CfFkWbFTygKAWZmSJML3D

INTERVIEW: Dante Matas

INTERVIEW:

Dante Matas

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I am kicking off this week by speaking…

with Dante Matas about his latest track, Everything Nearly Fell Apart Completely. He talks about his upcoming album, A Colourful Headache (out on 4th May), and the themes that inspired it; when music came into his life; who he ranks as influences – I ask whether the songwriter has any gigs booked in.

The Canadian reveals whether he is coming to the U.K.; I ask which three albums mean the most to Matas; how he spends his free spaces away from music; whether there are any special memories from his time in music – he recommends a new artist that is worth some affection and appreciation.

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

I’m doing well, thanks! My week has so far consisted of teaching, practicing for our upcoming show at In the Soil festival in St. Catharines, Ontario and prepping for our tour next month!

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

I’m Dante Matas. I make music across genres like Psychedelic-Rock, Synth-Pop, and Indie-Folk. I’ve been playing and recording music for over a decade now - and writing songs for even longer. I’ve recently started playing music with a full band and we go by the name ‘Dante Matas and the Infernal Racket’. I play synth, acoustic guitar and sing in the band. The other members are my good friends Colin McNally (Drums), Omar Shabbar (Guitar) and Joseph Landau (Bass).

Everything Nearly Fell Apart Completely is your new single. Can you talk about its origin and creation?

I came up with the main chorus melody for Everything Nearly Fell Apart Completely, probably, five years ago. That might seem crazy, but it’s true - I have the iPhone memos to prove it. This was one of those songs that I didn’t rush at all (obviously) and, instead, let happen naturally. I don’t always do that: sometimes, songs happen very quickly.

Over the next few years, I would get a new idea for another part or a lyric and add it to the song. Last summer, I decided to record everything I had come up with and ended up with a song almost seven minutes long (!). After some crazy editing, I ended up with the single as it exists today.

I actually played that seven-minute version of the song with a huge band live at Dundas Square in Toronto last summer. It was tons of fun!

Will there be more material coming later down the line?

On May 4th, I will be releasing my new album, A Colourful Headache, of which the single, Everything Nearly Fell Apart Completely, is a part of. This is really my first official full-length, so I’m super-excited to get it out there. It has lots of vocal melodies weaving around each other; some laser beam synth hooks, lo-fi punchy drums; effected electric guitar and lots of distorted bass slides. It’s quite different to my last E.P., which was a very straight-ahead Indie-Folk record.

Beyond that, I am already writing music for the next record and I can’t wait to start work on it once I get back from tour!

Can you remember when music came into your life? Was there a single moment where you decided to pursue music and do it as a career?

Music came into my life when I was maybe six-years-old and I first acknowledged what a melody was. The melody, in particular, was Ode to Joy and it was the most beautiful thing my six-year-old mind thought was possible. So; I was hooked after that.

Once I started playing the guitar in my early-teens; I noticed that writing music was the most rewarding thing I could do and I basically decided to dedicate my life to it. Of course, it’s, obviously, not that simple and there is much more to being a professional musician! I figured I’d have to learn the rest along the way.

I’m still doing that now - and I’m loving every second of it.

Which musicians did you grow up around? Who do you count as idols?

No one in my family really played music, so the only musicians I grew up around were my music teachers and my friends. I went to an arts high-school and, during breaks, my friends and I would sneak into the practice rooms and write music. I say ‘sneak’, because was in the visual art program at the school - so, I probably wasn’t supposed to be there.

My idols would have to be the musicians I looked up to when I was growing up, namely The Beatles, Radiohead and Leonard Cohen.

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

We leave for the main leg of the tour in mid-May. We’ll be hitting up places like Halifax, Charlottetown; Montreal, Ottawa and so many more. We’ll also be joined by our friend and Folk artist, Mike Legere, who also helped engineer A Colourful Headache.

We will also be having a big hometown release show at Burdock, in Toronto, on June 21st!

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

Definitely. Our next tour will see us going international and we would love to come to the U.K. It’s something we are going to work towards for 2019.

What do you hope to achieve in 2018?

I hope to get A Colourful Headache to all the people that would enjoy hearing it. I hope to keep playing bigger shows and to continue learning about music and the music industry. I hope to finish recording a new collection of songs by the end of the year so we can put out another release in early-2019.  

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

There are so many, but I think making my first E.P. back in high-school was a really memorable experience...

My bandmates and I had no idea what we were doing but, at least for me, it made me fall in love with recording. I had been messing around with GarageBand on my computer before then, but going into an actual studio made me look at music from a producer’s perspective for the first time.

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

Radiohead - Ok Computer

I know everyone likes this record, but it was one of the first records I bought as a kid. The first time I listened to it was on a cold Toronto winter day and I wrapped myself in a bunch of blankets and read the lyric booklet along with it. Definitely a very meaningful record to me.

Sufjan Stevens - Age of Adz

I love this record because of how complicated the emotions are. A lot of artists tend to write sad music and really explore the depth of that. So many Pop songs are about heartbreak that, sometimes, we can forget that all emotions are equally complex. On Age of Adz; Sufjan goes all over the place and it’s really something special.

The Magnetic Fields - 69 Love Songs

This record is (so) unique. It has sixty-nine songs and every single one is a perfectly-crafted Pop song. There are beautiful melodies all over the place and, frankly, hilarious lyrics in every track.

What advice would you give to new artists coming through?

On creativity: songs and hooks are not the same thing. Songs tell stories; hooks get stuck in people’s heads. If you have only hooks then your music will be catchy but feel empty. If you don’t have any hooks then no one will sing along. Also; don’t listen to other people (like me): just make up your own rules over time through trial and error.

On getting your music heard: just keep going, but always believe in the music you’re putting out. If you do that and you’re honest with yourself about how good it is, you’ll only ever get better and people will eventually respond to it.

IN THIS PHOTO: Natalie Prass

Are there any new artists you recommend we check out?

I recently got into Natalie Prass; especially her single, Short Court Style. I love the groove of the bass and guitar - and the chorus is super-catchy. The music video makes me dizzy, though. I’d love to see her live!

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

Between work and booking tours, recording; writing and playing live, I don’t do much else. I like going out with my friends now and then as well as seeing live music. I’m excited to see Paul Simon, Radiohead and The Magnetic Fields all in the next few months!

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

I’ve got to go with that Natalie Prass song - it’s just too good.

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Follow Dante Matas

Official:

https://www.dantematas.com/

Facebook:

https://www.facebook.com/dantematasmusic/

Twitter:

https://twitter.com/Dante_Matas

Instagram:

https://www.instagram.com/dantematas/

BandCamp:

https://dantematas.bandcamp.com/

YouTube:

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

SoundCloud:

https://soundcloud.com/dante-matas

INTERVIEW: Ay Wing

INTERVIEW:

PHOTO CREDIT: Sara Herrlander

Ay Wing

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HER latest single boasts a sound and brilliance…

that lodges firmly in the brain and gets the blood racing. I was eager to speak with Ay Wing about Strange and its evocative video. She tells me what it is like to create and live in Berlin; what gigs she has booked in the diary; a few albums that mean a lot to her – the songwriter recommends a new artist we need to look out for.

I ask Ay Wing about her E.P., Ice Cream Dream, and what it was like recording it. She tells me about artists who inspired her to get into songwriting; how she spends time away from music; what advice she would give to new artists coming through – she ends the interview by selecting a pretty sweet song.

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Hi, Ay Wing. How are you? How has your week been?

Quite overwhelming. It’s nice to get so much feedback for the music video to Strange.

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

I’m a female producer and songwriter currently living in Berlin, writing tunes in the basement. So, my lack of vitamin D this year is pretty high…

Strange is your current track. What is the story behind that song?

Strange tries to find humour in an age where many of our own identities seem based on an InstaFilter and the 'right angle'.

The hook of Strange is actually a quote from an old man that asked us for directions. We were grocery shopping in our P.J.s, as you do in Berlin and, when we couldn’t help, he asked “Are you strange?" before he left.

We liked that a lot, so we kept it.

Talk to me about the cast of characters and vision in the video. What was it like seeing it all come to life?!

It was fun to get into the role of these iconic female characters. I guess I needed a reason to dress up. I had to watch all the movies again and learn their facial expressions and movements, which was quite a tricky thing for me (but a fun experience). I had an amazing team.

Yvonne Wrengler did a fantastic make-up job. Josué Cifuentes filmed it and Emily Josefine directed the video. Raphael Lepeu played The Thing and The Dragon and made me laugh during the shoot - and Martin Riesen did all the aftereffects magic.

Ice Cream Dream, your E.P., has been unleashed. Did you learn a lot about yourself whilst making the E.P.? What is your favourite cut of the pack?

I loved the process of creating. You learn a lot about yourself, about your patience; about working in a team and decision-making.

My favourite one is probably LA. It’s bouncy and has a deeper meaning.

It seems colour and vibrancy is integral to you. Do you want the listener to feel more alive when listening to your music?

That would be wonderful - if they feel more alive when they listen to it. When I create, I don’t try to think too much; I just do what I feel without thinking of any genres or outcome. 

Are there particular musicians who have influenced you and made a big impression?

I love musicians who don’t take themselves too seriously, such as The Beatles, Damon Albarn and Eminem. I love the humour in their music - and they definitely have influenced me in some ways.

You are based in Berlin. Is it a great city to make music in? Would you recommend others to come over and investigate?

I think it’s a great city. There is room for every kind of quirky project and I feel like there is a good sense of community out there. I would definitely recommend it. People help each other out. 

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

I play at Klunkerkranich on 2nd May in Berlin; Twin Lakes Festivals on 1st September; then, some gigs in Switzerland and, in October, I’m heading to the U.K. again for some shows.

What do you hope to achieve in 2018?

To get my next E.P. and more videos out...and play more shows.

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

There are so many beautiful ones.

I recently played for Sofar Sounds Edinburgh at Usher Hall. The crew was incredibly nice and well-organised - and the audience was such an attentive one. It was certainly one of the nicest experience I encountered this year.

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

The Miseducation of Lauryn Hill (Lauryn Hill); Nirvana’s Nevermind and Father John Misty’s Pure Comedy

These are all albums that I could listen to all day long – ones that inspired my songwriting.

What advice would you give to new artists coming through?

Try to find your own style of music and don’t listen too much to other opinions: you’ll eventually find your niche and people will resonate with your music if you create music you truly love.

IMAGE CREDIT: Julie Moorhouse

Are there any new artists you recommend we check out?

I recently played a London show with the band, BOKITO. I can highly recommend them; one of the best live acts I’ve seen in a while…

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

At the moment, I try hard to make space to unwind and go to nature. That helps.

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).

BOKITO - Love Gotten

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Follow Ay Wing

Official:

http://aywing.com/

Facebook:

https://www.facebook.com/aywingmusic/

Instagram:

https://www.instagram.com/aywingmusic/

YouTube:

https://www.youtube.com/channel/UCBnFHc4RSC-gCvuCwoqg0Qw

Spotify:

https://open.spotify.com/artist/7cjLa6AQcbH9XWQYmPNpX4

FEATURE: Return of the Four-String Sting: Songs That Highlight the Power of the Bass Guitar

FEATURE:

 

Return of the Four-String Sting

 ALL PHOTOS: Unsplash 

Songs That Highlight the Power of the Bass Guitar

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THERE is that running joke where the bass guitar…

is seen as the slightly unathletic kid who is picked last in the playground. Once the smoking and rebellious electric guitar is picked; the next selection is the muscular and stern percussion. Then, you have the striking and popular singer that is a natural teammate. Then, when you have picked the sought-after kids; you scan around and look for rank-and-file people to complete the team. Bass guitar, sadly, is left until the end - seen as a bit of filler. I know many musicians who rate the bass and wield it to great effect. Whilst few of us ever do an epic ‘bass solo’ to songs; it is that crucial part of the song mix and has been responsible for elevating merely great songs to heavenly heights. Whether it is funky finger-picking and some beautifully nimble playing; a strident and ambitious bit of bass strutting – it infuses the song with melody, rhythm and physicality. It can drive a song and galvanise other players; it can bring new light to a piece and, if given the chance, stand out alone and steal the spotlight. I have selected some songs, from various genre and periods, which show how essential and underrated the bass is. I hope the collection of songs makes people rethink their priorities and realise the kid that always gets picked last is, in fact, rather…

SPECIAL and integral.

FEATURE: Bavarian Forest Sonata: The Artists Pushing the Limits of Sound

FEATURE:

 

Bavarian Forest Sonata

 PHOTO CREDIT: Unsplash 

The Artists Pushing the Limits of Sound

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SO much of what we hear today…

IN THIS PHOTO: Kamasi Washington/PHOTO CREDIT: Press/Getty Images

is all about forcing notes down the throat and sort of ‘getting to the point’. They say people can judge a song in the first thirty seconds: after that, they will stay with it or skip onto the next one. At a time when we are streaming music and buying albums in digital form; we tend to pick and choose our songs based on the first few seconds and whether they strike a chord. People buy albums but we are much more involved with single songs and browsing the full library of music. Even if we do buy a record; we tend to have our favourite tracks and gravitate towards certain tones. Pop music is changing and, even though it will not relinquish its spot in the forefront; the style that is being projected by its biggest newcomers has altered. More mature and inward-looking artists are writing about personal anxieties and pressures: we have more traditional Pop numbers but the whole music is changing, in fact. Even if there are shifts happening in every genre; there is still that thirty-second-rule: get the people hooked, either by energy and hooks or something beautiful and meaningful. Because of this, I am seeing that dependence on vocals and the power of the voice. Lyrics are important but, largely, we concentrate on the vocal and what it can deliver.

Even when we are hooked to the music – a chunky riff or pulsating percussion; some great, electronic rush or coda – we rarely get chance to indulge in the music and get blown away. Maybe we are less patient as a people or prefer our music tighter and less experimental. I want to mention a few artists: Kamasi Washington, Hannah Peel and Goat. The latter is a Swedish fusion group whose current album, Fuzzed in Europe, was met with critical acclaim. The single, Let It Burn, has been doing the rounds on radio and is a fantastically imaginative and galloping work with its tribal drums and epic build. It has the sound of a modern-day Progressive-Rock song. The way it goes through phases and grows larger and more animalistic. Goat have created something that relies on compositional brilliance; taking the listener somewhere wonderful and producing one of the finest singles of the year so far. You listen to a song like Let It Burn and you can feel that cinematic and dramatic sensation. The song was specifically written for the climactic scene in the short film, Killing Gävle. The six-minute-plus fuzzed-out gem has those rollicking drums and ‘fuzzwah’ guitar sounds; a bit of fuzzy bass and epic flute breakdown. Leading to the string-heavy final; it is a biblical and staggering thing that does not need to rely on layers of production and vocals.

IN THIS PHOTO: Hannah Peel/PHOTO CREDIT: Getty Images

Another artist, Hannah Peel, used brass and Classical elements in her music. Whereas Goat’s latest track is primal and urgent; Peel opens up more and creates something spacey and intergalactic. Her 2017 album, Mary Casio: Journey to Cassiopeia was a critical success and is a seven-track release that takes us through the cosmos and provokes images of the stars, planets and galaxies. It relies on the imagination and the listener’s willingness to succumb to the music. It is hard to say what genre (the music is) but the Northern Irish artist has taken Electronic music in new directions. The songs, or ‘movements’, use traditional colliery brass and it explores one person’s exploration to outer-space. It is documents an elderly, pioneering Electronic music stargazer and her lifelong dream to leave her Yorkshire home in Barnsley and see Cassiopeia. The record was recorded live in the Barnsley Civic and combines analogue synths and some incredible brass. One listens to the song and you are immersed in the soundscapes and wonderful twists and turns. It is a physical experience; Mary Casio: Journey to Cassiopeia takes the listener by the hand and brings them into this starry, magical world. It does not need to rely on voices and traditional guitar-bass-drum combinations. I have heard few composers like Hannah Peel who can take brass and Electronic sounds and make them accessible and wonderful. Maybe there are a few likeminded artists around right now: I have not seen anyone who possesses the same imagination and brilliance.

Heaven and Earth is the upcoming album, a sixteen-track release, and will be out towards the end of June. It is his first new album in a few years and shows he has lost none of his step. Fists of Fury is the lead-off track from the record and has been getting some radioplay right now. The fact it is over nine minutes means few will regularly play it. No matter, though; the song is a stunning and expansive work that features choral vocals and spirited horns. It is hard to put into words – you can hear the song a bit further down – and is proof Washington is among the finest composers and musical minds we have right now. If Hannah Peel is bringing Electronic music to new worlds; Goat are doing something radical with drums and more conventional instruments/genres – Washington is bringing Jazz to new heights. There are those who turn their nose at up at Jazz music and feel all of it holds no merit. I am not a huge fan of the genre but have always appreciated how the masters of the form can settle the mood and elevate the spirits; seduce the mind and get the blood rushing – sometimes, in the space of a single song! Kamasi Washington mixes the more ambitious and epic moments of Miles Davis but, in reality, stands out in a league of his own. It will be interesting seeing how Heaven and Earth will be received.

There are some great artists out there but, to me, there are few as scintillating and mesmeric as Nils Frahm. So far, I have brought you wonderful Swedish, British and American music: let us bring a German genius into the mix. One of my favourite discoveries is Frahm and his brilliant album, All Melody. It was released earlier this year and is another record that has picked up rave reviews. This year has seen some immense albums – everyone from Goat Girl to Kasey Musgraves – but they are more of what you’d expect from modern music. Frahm is someone who works with Electronic music but is a modern-day Classical composer. He can do dramatic and stirring: it is when he is at his most romantic and tender the shivers start and the jaw drops. Listen to a song like My Friend the Forest (below) and you can see what I mean. Frahm is an unconventional composer who mixes grand and upright piano; a Roland Juno-60 and Rhodes piano with Moog Taurus and drum machines. It is the way he manages to blend keys and Classical periods that amazes me. A song like My Friend the Forest is so sparse and open. You can hear him pressing on the foot pedal and the odd clatter and hiss of the tape; it is as naked and revealing a performance as you will hear all year.

Forever Changeless and All Melody are tracks that play with sound and mix styles with incredible conviction and brilliance – the latter is an Electronic number that departs from what one might usually expect. You’d think an album that pushes those contrasts and extremes together would not work and hang together. Everything flows purely – the only minor fault is Frahm’s treatment of the human voice and how it is less effective than anything else on the album. I have highlighted these artists because they rely on compositions and throw few vocals into the mix. We often listen to music and know what to expect. There will be vocals at some point and lyrics we can learn from; the songs are usually quite short and, when it is over, we can move onto something else. How many of us take the time to sit down and engage with a song that runs a little longer and emphasises compositional elements? It is no coincidence that Goat’s new single is being tipped as a year-best; Kamasi Washington is being hailed as a pioneer – musicians who go the extra mile and change the rules. I have only mentioned four artists but they represent a wider point. Many of us overlook sonic pieces and artists who engage the imagination and suck us into their worlds. I am obsessed with sound and, in a scene where we want something quick and familiar; these are the artists who rebel against that and produce mind-melting, knee-buckling works. Take a moment to think about the music we listen to and whether we take time to investigate musicians who place emphasis on composition. Take a listen to the songs included in this piece and try and argue against the fact that they are wonderful…

IN THIS PHOTO: Nils Frahm/PHOTO CREDIT: Getty Images

WORKS of brilliance.

FEATURE: No Teasers, Please: Why Arctic Monkeys’ Plan for Their New Album Is a Stunning Move

FEATURE:

 

No Teasers, Please

 PHOTO CREDIT: Getty Images 

Why Arctic Monkeys’ Plan for Their New Album Is a Stunning Move

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THEY tease and tempt us with their alluring promise…

PHOTO CREDIT: Unsplash

and bounteous, luscious potential. We are all eager to rip into Arctic Monkeys’ new album, Tranquility Base Hotel + Casino. The record is out on 11th May and is the Sheffield band’s sixth album. The group exploded onto the scene back in 2006 and, since then, have established themselves as one of the most essential and intelligent acts we have ever produced. There was a lot of speculation as to who the band were back on their debut – a bit unknown and, on their 2006, we asked Who the Fuck Are Arctic Monkeys? What usually happens after a five-year gap – they released AM in 2013 – is the record label hurries around and gets all their plans together. We normally have a little teaser video and that announcement of an album. Then, after that, comes the first single that is played to death on the radio. When we have all been exposed to that song, a few weeks later, there are plans to unveil the second single. We might hear four or five songs from an album before the actual thing is out! It is understandable a record label would want an album promoted as much as possible and to get it ahead of the competition. Most of us are used to the process and it is the way things are done nowadays. I get a bit bored of that cycle because, after you have digested those songs, you are either sick of that album or tired of the artist.

When you do get the album; you know those set of songs well and the other half (of the album) is new. It can seem rather disjointed and two-tone when you have these well-played and worn songs alongside the foreign cuts. Maybe you skip those singles you have heard and investigate something new. In any case; one is always a little bored about the endless build-up and circus around an album. In the case of Arctic Monkeys; the circumstances around Tranquility Base Hotel + Casino are unique. The band have come back after that five-year pause and they are releasing one of the most anticipated albums of the year. Their plan is to keep all the material private until 11th May – that is when you can experience an album in its entirety. This is a bold move for the band – one that DIY, having already reviewed the album, explained... – that will get some raised eyebrows:

“To cut to the obvious chase, the quartet’s long-awaited sixth is like nothing they’ve done before. An Alex Turner solo record by any other name, its 11 tracks run largely on the singer’s affected croon and a newly-discovered love of the piano. Rarely do guitars make a pronounced appearance, save for the ominous notes that open ‘Golden Trunks’ and a few slinking bass lines on ‘She Looks Like Fun’ and ‘Four Out Of Five’. What powerhouse drummer Matt Helders is going to busy himself with during live shows, meanwhile, is anyone’s guess…

 PHOTO CREDIT: Getty Images   

An album that only even begins to click after about the tenth listen, Arctic Monkeys’ sixth is the kind of eyebrow-raising curveball that could still yet lead to brilliance. Every maverick has to risk it all in pursuit of the new at some point. But there’s still something a little sad about having to try so hard to fall in love with a record from a band who’ve always made devotion so easy. Who the fuck are Arctic Monkeys? It seems only time will tell”.

It seems the new arrival from Arctic Monkeys is not what anyone expected. More an Alex Turner solo album or strange concept record – the full review shed more light – it seems like one of those albums that will get retrospective acclaim and understanding. Maybe that is what the five years have been about: brewing something that departs from the predictable path we expect and takes the band in a new direction. This is not the only time a big-name act has unveiled an album without a single coming from it – or dropped it straight out of the blue. Radiohead, in 2007, did it with In Rainbows; Beyoncé released her fifth solo album in 2013 without much knowledge; Kendrick Lamar’s untitled.unmastered arrived in 2016 and took us all off-guard. Labels love the build-up and normal procedure because it is all meticulous and allows them to test the water and see what reception the album will be afforded.

PHOTO CREDIT: Unsplash

I guess smaller artists do not have the cachet to do a surprise release and subvert the desires of labels and the public. In a way, Arctic Monkeys have created more excitement and fever with their new album. Even though the first review – the one I can find – is a three-star thing (the writer unsure whether Tranquility Base Hotel + Casino is a masterstroke or a confused work); that might be the story of 2018. All the artists who promised big, scene-shattering albums (including Jack White) have sort of come short and not really fulfilled their promise. Every artist reaches a stage where they change things up and go in a new direction. It would have been easy for Arctic Monkeys to release the long-awaited single and the Internet to jump on it. Given the fact their latest album is a concept and a bit of a left-turn; there might have been criticism and the songs might seem unusual and under-nourished out of the context of the album. It seems like all the songs need to be heard together: Tranquility Base Hotel + Casino is an experience and cinematic piece, it seems. A director would not release five-minute sections of a film before it comes on release. They put out trailers but you do not portion out a film before it goes into the cinemas. Music is unusual in the way it is released and promoted.

IN THIS IMAGE: The album cover for Arctic Monkeys' AM/IMAGE CREDIT: Getty Images 

Arctic Monkeys have had people breathing down their necks and been keeping us guessing for a while now. 2018 is there year and, because of that, they had the choice of whether to do a standard release – all the singles and interviews – or put an album out there and let people enjoy it. Their decision takes my mind back when I was a child and experiencing music. Sure; there may have been a single or two floating around but it was not unusual for a big act to release an album without any singles coming out. They wanted the public to enjoy the entire thing and, in essence, buy the record! People could listen to an L.P. in its entirety and get a much better picture of its sounds and themes – without the subjective and misleading influence of drip-feeding and slow-build. Maybe it is a generational thing: many younger listeners like getting songs before an album’s out and getting to witness this event and process. It depends on tastes, I guess, but I am more bonded and committed to a record if I have to wait and witness the music as a single thing. One of the reasons I was a bit disheartened listening to Jack White’s Boarding House Reach was I heard several of the songs at different stages. I then god the album and was listening to these familiar tracks alongside new ones.

PHOTO CREDIT: Unsplash

I had, in essence, heard the best from the record and was hearing music that didn’t really match what was already out. There is no guarantee my perception of the album would have been different had there been no singles from it. Arctic Monkeys have Tranquility Base Hotel + Casino out and, forgive them, they do not want to give too much away. I feel other bands and artists should take a bold approach like this. It is always risky doing this kind of thing if you do not have a salivating fanbase and that commercial profit. Arctic Monkeys, back on their 2006 debut, were already known and people had heard their music. They did not embark on the streaming flow – sites like YouTube were brand-new then – and would not have been able to ignore the promotional process if they were new in 2018. I would, mind, like to see more artists stepping away from the routine and ever-lasting routine of releasing songs one-by-one and, by the time the album comes out; we have heard half the album and it is all rather staid. Regardless of how critics receive Tranquility Base Hotel + Casino on 11th May – it looks like it could be that classic three-star record – it has been worth the wait and patience. People do not know what to expect and, for the first time in years; we are actually looking at reviews and learning about an album’s content in traditional ways. It is a shame the hard copy of NME is no longer around: a write-up about Arctic Monkeys would have been a perfect reason to buy the magazine and digest the review. Let us embrace artists who want to defy the normal and take music back to its basic brilliance. I am looking forward to Tranquility Base Hotel + Casino and am interested to see how Arctic Monkeys have evolved: going from tundra-walking primates to a spacey, casino-based bunch of blokes. Maybe it will balkanised and divide the fans but, in true Arctic Monkeys style, their new album will be anything…

PHOTO CREDIT: Getty Images

BUT boring!