FEATURE: Unfinished Symphony: The Struggle Classical Musicians Endure and the Declining Stock of Gibson

FEATURE:

 

Unfinished Symphony

 ALL PHOTOS (unless credited otherwise): Unsplash 

The Struggle Classical Musicians Endure and the Declining Stock of Gibson

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A couple of startling revelations have come out in the past…

couple of weeks that have given me reason to bridle and reflect. The first, main story is one that will ring true with many musicians. Nearly half of the U.K.’s Classical musicians don’t earn enough to live on say the Musicians’ Union. Rank-and-file members of the BBC Philharmonic or City of Birmingham Symphony Orchestra earn around £30,000 a year. Wages are on the drop and so many young musicians are finding it hard to make it into the world. Classical music has not really been in the popular mindset for centuries but is integral and ever-popular. The musicianship and dedication you find among Classical musicians is beyond anything I have ever seen. You do not need to listen to Classic FM or attend a ballet to hear some incredible Classical music. One of the reasons I am saddened to hear of a wage stagnation is because of my favourite area in London: Covent Garden and its piazza. It is an area I gravitate towards whenever I hit the capital. From Waterloo; I get my arse onto the Piccadilly Line and towards Covent Garden. Hanging over railings and seeing the Classical musicians play to the public is one of the isolated joys of being in London. It is wonderful hearing them play and do so with so much energy and humour.

IN THIS PHOTO: Covent Garden/PHOTO CREDIT: Getty Images

There is a man who comes around with a donation basket – not sure what he is called – and ensures the players are subsidised. Most of the acts that perform there sell C.D.s but one wonders how many people pick them up and buy any. The only way those players are getting any money is the generosity – which can waver and wane depending on the weather and mood – and that barely covers travel. The costs involved with a small-scale set like that are still high. The performers need a license and travel to the site. They need insurance for their instruments and have to feed themselves. I am not sure of the exact cost of a gig at Covent Garden but I worry the performers do not even break-even when all the takings are measured against the debit. Forty-four percent of players have told the Musicians’ Union they struggle to make ends meet. I know a lot of musicians (obviously) and hear daily stories of the costs of getting to gigs and how little they can turn around. Many play for free and others are getting petrol money only. Aside from exposure and experience; the reason they are accepting such low wage is to get themselves out there and music heard. Only the biggest musicians out there are earning serious money and able to do what they do full-time.

I am amazed how many great musicians have to do one (or more) other jobs in order to put food on the table. Classical musicians are experiencing the same issues. Around two-thirds of experienced players say they have considered alternative careers. It is only because of the joy of playing and th passion that keeps them performing – they have enough to scrape through but not enough to really feel comfortable. I wonder what the reason behind this worry is? Unless you have years’ experience and a packed C.V., I suppose the only way you can make any money is doing smaller performances. It takes many years of practice to get to the big stages and Classical music, still, is limited to the boundaries. If it were more evident in the mainstream and popular as Pop, I feel we would not see this privation and struggle. I want to bring in a BBC article that spoke with a flautist, Jemma Freestone:

"It's becoming increasingly obvious that playing your instrument is a small part of what is needed to survive in this industry," she told the BBC.

"For me, that's a brilliant thing. I love teaching and I love doing workshops but for some other people that can be very difficult.

"All you learn in music college is how to play your instrument. You don't learn these auxiliary skills that, in reality, you need to survive."

Ms Freestone plays with the Southbank Sinfonia and the National Theatre, aside from her teaching and outreach work. But she notes that in other European countries, orchestral musicians "the salary is far higher".

"Perhaps it's not valued enough as a profession," she said”.

PHOTO CREDIT: Getty Images

There are some interesting points raised in that snippet. Music, now, is about so much more than learning your craft: artists need to be business-minded and cope with the market; they need to be their own accountant, advocate and promoter. Classical musicians are not as valued as they once were and other nations pay more – we need to look at these issues and redress the concerns. The Musicians’ Union has polled orchestras and launched a campaign, Behind the Moment, that reminds people about the value of orchestra. We are all exposed to Classical music on a daily basis. From video games’ soundtracks and T.V. shows; to films and the odd instrumental fleck in popular songs – you can hear brilliant musicians adding their voice into the world. The fact remains: many orchestras risk closure. That would be a disaster and mean a huge crack would run through the spine of popular culture. One cannot the impact on the music business of orchestras ending and what effect that would have on other angles of the music industry. I have hope there will be more funding provided but do worry we overlook Classical music as being niche and lacking any commercial appeal. These people give their all to the music and are incredibly skilled. They provide a valuable role in music and that should not be denied!

Another article has brought into focus the struggle of Gibson: one of the biggest manufacturers in the guitar market; responsible for making instruments for some of the world’s biggest artists. The statistics and future look shaky:

“On Tuesday, Gibson Brands, Inc – with the biggest product line in the guitar business – filed for bankruptcy, succumbing to an estimated $500m debt load and a failed reinvention in 2014 as a “lifestyle brand”.

Troubles in the land of the six-string are not restricted to Gibson. Ten years post-recession, the guitar industry in the US continues to bob, with the 2,633,000 units sold in the United States in 2017 about 5% short of where things stood in 2008, according to Music Trades magazine. The heavyweight retailer on the American scene, Guitar Center, carries $1.6bn in debt.

Take into account adverse cultural and economic trends – changing musical tastes, online commerce, the lure of the smartphone and the eclipse of the guitar hero – and whispers begin to circulate about the guitar being on the way out. Unless it is already dead?

“The demand for guitars has softened – that’s a story in its own right,” Chris Martin IV, CEO of the legendary acoustic guitar maker CF Martin & Co, told the Guardian. “And Gibson was over-leveraged. But please don’t draw the wrong conclusions. Do not conclude that the guitar is dead”.

IN THIS PHOTO: Gibson Custom LPR8 Aged 1958 Les Paul Standard/PHOTO CREDIT: Getty Images

The final words – that the guitar is not dead – provide hope but there is clearly something rotten at the core. A few problems are obvious: the non-existence of the ‘guitar hero’; competition from the Internet; the lack of music classes being taught – tie that to the price of a typical Gibson. Many have noted how expensive a basic electric guitar can be. Like Classical musicians and the cost of buying and insuring their instruments; up-and-coming guitar players are stumbling at the very first hurdle: finding enough money to buy an instrument. It is galling to think it would take hundreds of quid to buy a guitar – that is before one pays for lessons and even gets started. It seems the cost of a Gibson-brand guitar – you can check out their website to do your research – does not reflect craftsmanship and inflation. The cost, high as it can be, is consistent with a sense of greed and opportunism. It would be wrong to gouge high-profile musicians and take some buck from them: imposing such extortionate and unreasonable costs on young and limited-funds musicians is rather unethical, to say the least. The Internet means anyone can find a reasonably-priced guitar at a lower price. We have limitless online stores that have variable prices but, at the end of the day, the average consumer can find a less expensive option to a Gibson...

Schools are not teaching musical compulsively – some are but most are not – and that means many have to find money for lessons IN ADDITION to buying a guitar. It can be daunting for those starting out: many are being put off by the start-up cost and finding other alternatives. Maybe, in past years, people have gravitated towards a brand like Gibson because of the status and ‘coolness’ of owning one of their guitars. We do not really see the guitar icons of the past in today’s market. The Jimi Hendrix, Eric Clapton and Jimmy Page-like wielders are gone – in their place are less imposing and memorable artists like Ed Sheeran. Returning to the Guardian article I quoted and something interesting came out:

“…That population of younger customers who represent the next generation of guitar musicians and fans is surprisingly robust, said Phil Schaffart, a tour and production manager who opened Ground Floor Guitar, a boutique instrument retailer, two years ago in Omaha, Nebraska.

“There’s still lots of kids,” he said. “I believe – it’s a little corny for me to talk about it, or maybe it doesn’t make sense or somebody doesn’t feel the same way – but rock and roll is such a real thing in music, it’s like a religion.

“And I think that that is very real, and I see that all the time with young kids coming into our store and getting interested in guitar, both girls and boys.

“The real main thing is putting it in their hands, making them touch it, making them feel it, and making them believe that ‘I can do this’. People get really excited about that”.

IN THIS PHOTO: A Gibson Les Paul Standard with a 'desertburst' finish from 2006/PHOTO CREDIT: Freebird/Flickr via Creative Commons

Pop bands and artists have replaced the Rock titans of the past: the nature of purchasing has shifted from electric to acoustic. There are some great Rock bands around but the Pop artist is taking more of the focus. Because of that, there are ‘cheaper’ options available – the guitar Ed Sheeran plays is less daunting than some of the high-end versions. The ‘rosy’ news you saw there is, in fact, not that rosy at all: the rise in acoustic guitar buying is not enough to save a company like Gibson and not an impressive sign. I always think of Gibson and the electric guitars owned and smashed by some of music’s snarliest and most iconic stars. The fact a softer and more Pop-based brand is spurring demand makes me worry – I guess any interest in the guitar is a good thing?! There are two different stories – Gibson in trouble and Classical musicians struggling to survive – that make me feel certain areas of music are under-funded. The competition and changing nature of music means there is going to be suffering and loss along the way. We cannot stand idly by and allow institutions and vital corners to wither away and face peril. I hope there are solutions to these unsettling findings and a way to preserve the fortunes of Gibson and Classical music. In any case; it is evident that some modern changes in the music industry are causing…

MORE harm than good.

FEATURE: Digitalus: The Fantastic Music Publications Ensuring the Heartbeat of the Industry Remains Stable and Passionate

FEATURE:

 

Digitalus

 IMAGE CREDIT: DIY 

The Fantastic Music Publications Ensuring the Heartbeat of the Industry Remains Stable and Passionate

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WHEN NME shut down its physical edition…

IN THIS PHOTO: Goat Girl/PHOTO CREDIT: Pooneh Ghana (shot for DIY)

in March, it led many to come out and proclaim that printed music media was dead. Whilst the industry is not as healthy and productive as it was; there is plenty of evidence to suggest people want to keep music media physical and tangible. I have just got a copy of DIY sent through my door and delighted in flicking through the latest edition (it is free from selected newsagent and stockist but there is a small fee when ordering online). I discovered interviews, features and reviews all packed into a hand-held magazine that looked great and cost very little indeed. Many might claim it is free to see DIY’s content online - but there is something noble and heartwarming about a physical copy and having something I can read in a café. I am an online journalist but would love to produce what I do in a printed form and be able to disseminate it around the world. I love the accessibility of a website and how easy and quick it is putting content out into the world. It is nice and easy producing articles and connecting with the public. DIY, to me, is among the frontrunners of the music press right now. There are fantastic blogs out there but the fact they have a physical magazine, to me, puts them ahead of the online-online crew. I feel NME stopped its press because of the creative direction it took: some assumed it was a signal of the music media and the fact people want to have all their music content kept online.

IN THIS PHOTO: Anteros/PHOTO CREDIT: Emma Swann (shot for DIY)

I disagree the music press is dying and on its last legs. Whilst there are some big-name closures; one cannot blame that entirely on tastes and the fact people prefer things to be on the Internet. NME's physical-side-demise is a worrying signal people are becoming busier and, perhaps, have less time to read magazines and traditional formats. As I said; I feel there are other reasons why NME went the way it did – a change of leadership and a certain ethos alienated some and led many to suggest the once-legendary leader of the music press had lost all its edge. I was captured by DIY for a number of reasons. Their online content is packed, busy and professional. The photoshoots with interviewees are glossy and eye-catching; the questions insightful and interesting – it is great reading the interviews they do and the artists they put under the microscope. You can tell there is some serious passion among the staff and everyone puts their heart into it. Having sites like that is inspiring to me. Although I do things on my own – and forgive myself the odd grammatical mistake and less-than-trouser-bulging article – I have been compelled by the leading websites who are also keeping print media alive. I would urge you to get involved with someone like DIY and follow what they do on the Internet – get a monthly magazine/paper and have something you can carry around with you.

IMAGE CREDIT: Dork

Dork is another site that is keeping things varied and healthy in music. They have a great website that brings us the best underground and popular music and, like DIY, fantastic-looking interviews. I am struck by their style and the fact they mix something fun and youthful with a serious journalistic ethos and incredible depth. I have also ordered a copy of Dork’s latest print release – it will come next week – but am excited to see what comes and scanning through the pages. I remember the days of Melody Maker and going down the shop and excitedly scooping up the latest edition. I would revel in all the big interviews and the big news of the day. Maybe that is nostalgia talking but that sentient feeling and connection is why my love of music has endured for so many years. This is not me going down the garden path of memory and remembrance: I want to keep things in the present and show why it is essential we do not discount the physical editions out there. Dork – whether you put it in lower or upper-case... – is one of the more striking and informative websites that is abreast of all the latest happening and artists. DIY and Dork are two great D-worded sites that produce fantastic magazines that you can take around.

IN THIS PHOTO: Jenny Wilson/PHOTO CREDIT: Oskar Omne (shot for Loud and Quiet)

Maybe it is a bit inconvenient having to wait for the thing to appear and paying a bit of money to get it into your hands – why do all of that when you can get it all for nothing?! To me; the best balance is having that monthly copy and getting daily news on the website. Loud and Quiet is another site that has a great hard copy available for music’s most devoted and devout subscriber. I am struck by the visual aspects of music and how journalism can be raised with brilliant design and concepts. That might sound shallow but in an ever-moving and modern time, we are looking for something to strike the mind and captivate the senses. The publications I have mentioned pride themselves on great journalism and keeping things visually-stimulating and bold. The images I have used from these sites (not for commercial interest) show the work they are doing and the quality out there. One gets that first-hand, arresting visual aspect when they get a lovely magazine/paper in their hand. Loud and Quiet is different in tone to say, DIY and Dork, but they all have something in common: ensuring people who question print media are silenced and given food for thought. A reason I am pursuing music journalism with greater ambition is the way certain websites are upping their game and retaining the traditional spirit of music media.

PHOTO CREDIT: Unsplash

I plan on putting together a music T.V. show and producing something that mixes the legendary Old Grey Whistle Test with something modern and music magazine-like. I am also going full-time – or as close as possible – on my blog and trying to make money from it. The appetite for music is at a high and, with the rise of new musicians and the openness of streaming services; more and more promising acts are coming to our ears. In past years; the music we heard on the radio and T.V. was the big stars and those with record labels. Now; every corner of the globe produces artists who can make music from their bedroom or produce stunning works without a label deal. There are other websites who produce physical editions but I wanted to highlight three I am turning onto right now. Away from these sites, the likes of MOJO and Kerrang! have that balance of online and print. Some have called into question the cardiology report of the music press and wondering whether their time is up. Websites are growing at a brisk rate and there are countless blog options for all your musical needs. Whilst the best and most fascinating are good for all your daily desires; having something printed and traditional is invaluable. If the sites who produce physical editions keep true to their spirit and react to the needs of their consumers then there is no reason they cannot exist for years.

IN THIS PHOTO: Peace/PHOTO CREDIT: Dork

Paying for such a thing can be divisive: it is only fair people pay to have something other people have worked hard on. My copy of DIY cost four of my English pounds and the Dork I expecting to come through my door is in the same ballpark. I would say that is a drop in the ocean when you consider the information you get and all the cool new sounds reviewed and featured. Many new artists actually prefer music magazines and papers as opposed the Internet equivalent. The thrill of seeing their faces in print and having something they can show to their friends takes them back to a classic and wonderful time for music media when the biggest magazines excited music fans and featured the biggest artists of the day. I will leave things here but, in addition to checking out the sites/magazines I have already mentioned; do a bit of surfing and investigate the range of blogs and music websites out there. Music media is not struggling and on its last legs: its heart is strong enough and able to pump enough blood to the body and brain. By that; I mean it is able to satisfy those who want something printed and monthly and provide of-the-minute news and reviews. Let’s hope that desire for printed media continues and we continue to foster and support those people producing fantastic and detailed work. Following that DIY deliver through my door; I am now going to regularly subscribe and get a new edition every month. It takes something as simple as a single edition to spark that loyalty and open up new horizons. If we do that, then who knows what will happen in the future. Far from being endangered and struggling; the music press, right now, is impressively resolute, passionate and…

PHOTO CREDIT: Unsplash

WITH everything to play for.

FEATURE: False Prophets: Kanye West and the Latest Controversy

FEATURE:

 

False Prophets

 IN THIS PHOTO: Kanye West/PHOTOS: Getty Images/Press

Kanye West and the Latest Controversy

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BARELY a week goes by…

without Kanye West getting his face in the news for some outrageous comment or other! This latest misstep concerns his views on slavery: West stated slavery was a choice and the centuries-long imprisonment was a result of, in essence, poor mental resolve and a lack of strength. West, himself, calls himself a free-thinker and someone who is adding a new perspective to the issue of slavery and why it continued for so long. To be honest; nobody needed anyone to wade in on the topic and add their voice. Being provocative is all part of what Kanye West is about: going that far and calling slavery a ‘choice’ was met with condemnation and attack. West was on TMZ when he made those unwise remarks regarding slavery – host Van Lathan was quick to push against West and call him on what he said. West is a well-known supporter of Donald Trump and, so, one can hardly be surprised he’d make such idiotic remarks. It is hard to shake off West’s latest remarks as arrogant and insignificant. In the past, he has spoken in egotistical terms and, basically, elevated himself to the status of God. Now, making such stupid observations about slavery has whipped up a storm and offended millions. Users on social media have struck against West and questioned his motives for saying what he said.

He was, in essence, accusing the enslaved black population of lacking a strong mind and choosing their fate. Far from blowing away a casual and insignificant remark; it has caused many to questions whether Kanye West needs to be silenced. It seems that he is on the wrong side of the general population on a weekly basis: the man cannot get enough of stirring things up and doing what he feels is ‘right’. It is all part of his free-thinking, liberal mindset: in essence, it is a flimsy excuse for bull-shit*ing and not having any consequences. Every artist should be a role model and set a good example. There has been a lot of controversy and unrest in music. Behind the scenes, there are accusations of sexual assault – male artists and bands under the microscope – and we need to ensure there is as little trouble as possible. Music is here to inspire and lead the way. West is allowed to have a say but when that extends to incredibly misguided sentiments regarding the slave trade – do we need to place a permanent silence on him? One wonders whether people are queuing up to interview the man, simply to get something juicy on tape. Given this latest stain; let’s hope there are more rigorous decisions when it comes to booking West.

It is a shame a man who has created such incredible albums as Late Registration and Yeezus should sully his name. There seem to be those two sides of the coin: the musical innovator and pioneer; the non-thinking, controversy-courting man. One has no right to tape Kanye West’s mouth and insist he does no further interviews. If we were in a workplace and someone told a colleague that slavery has endured for so long because of poor mental resolve; they would be hauled in front of H.R. and, more than likely, been given their marching orders. Now, with musicians, a Twitter slap on the wrist and we all forget about things. Smaller bands and acts, if they cause trouble or say something stupid, risk having their record deals terminated and gigs pulled. What repercussions will come the way of Kanye West?! The man is far too lucrative to have sponsors pull their deals; his record label will not dump him – his fans will stand behind him and things will carry on. I realise this is not the worst thing one can say: there has been some bigger missteps and West was not spitting malice and yelling when he made those comments. My concern comes when we look at the fallout and how situations like this are controlled.

If a big artist feels they can get away with something that stupid and carry on their lives as before; we have to query whether music is being harsh enough on those who take big risks. West, as you will know, if not going to sober himself and have this big conversation. The man is all about saying what he wants and feels it is part of free speech and expression. The near-universal criticism he faced should give him cause when next he does an interview. I am not happy the man might put his foot in the mouth like this again. What I do want to see is some realisation there are boundaries and limits with what people can see. Musicians, no matter how large, do not run the business and are not beyond punishment. This is not their fiefdom and they need to be conscious of the damage any ill-judged comments can have. Maybe we will see more music from West this year but I wonder whether the promotional duties will involve stepping up the game and getting even more ‘free-spirited’ – and, whether people will actually want to buy his music. It is a shame because, as I said; the man really is an innovative and necessary presence in the industry. He has come through the latest outrage with his reputation slightly damaged – not a lot more has happened. This might sound unfair to smaller acts who have lost a lot more because of something relatively insignificant. If we are going to create a fair-minded and level playing field in music, we have to treat everyone the same and not rely on the juror of social media to decide what punishment an artist deserves. Labels and higher-ups need to show boldness to eviscerate their artists and send a message out. If they don’t – I assume West’s people did nothing more than tut – then it could lead to an artist, West, perhaps, saying something that causes a lot more harm…

THAN we have just seen.

INTERVIEW: Wulfman Fury

INTERVIEW:

Wulfman Fury

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MY final interview of the weekend…

is with the keen Sheffield lads of Wulfman Fury. I have spoken with the guys before and was excited to catch up with them. This time around, they tell me about the song, Getaway, and why they are pumped about the material they’re producing right now.

They tell me why they have such a loyal fanbase and what dates they have coming up; whether the scene in Sheffield is changing and striking; what they hope to achieve before this year is done – the guys each select a song to end the interview with.

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

Great. We’ve been locked away in the studio demoing two new tracks, which we are mega-excited about.

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

We are a five-piece, low-fi Garage-Rock band from Sheffield, made up of George Moran (Lead Vocals, Guitar), Will Severs (Keys); Dave Mitchell (Drums), Joe Moran (Guitar, Vocals) and Steve Harrison (Bass, Vocals).

Getaway is your latest single. Can you reveal its story and what inspired the song?

Getaway is about those malicious and controlling people you come across every so often in life who try to lead you down a dark path.

What was it like filming the video? It looks like it was a cool experience!

Yeah, it was a lot of fun. It was filmed in The Lantern Theatre in Sheffield – it’s quite a small place, but is really visually-striking and dramatic. It definitely felt like it helped get across the vibe we were going for.

Is there going to be an album coming down the line, do you think?

One day, for sure but, at the moment, we’re focusing on writing singles. We already have, probably, two albums worth of good songs demod up but I think, more recently, we have really found our sound and we’re now producing some huge songs. The next few tracks are gonna blow peoples socks off.

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

A mixed bag, really, which helps us a lot with writing. It’s good to be able to reference and be influenced by different genres of music when writing and recording. But, I’d say we’re most heavily influenced by lo-fi, Garage-sounding bands like The White Stripes, The Strokes - that sort of thing.

Sheffield is where you are based. Is there quite a vibrant scene there at the moment?

Yeah. It’s picked up in the past few years. There was that period of time post-Arctic Monkeys where it seemed like every Sheffield band was just a sh*t version of the Arctic Monkeys but I think we’re finally past that and there are some cool original bands getting a name for themselves.

It feels like there is more of a community feel to the scene now, too, which is cool.

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

We’ve got some massive shows coming up which we’re all buzzing about. We got booked to play Tramlines festival which, with being Sheffield lads, is obviously close to our hearts! We’ve also got a show at The Leadmill with our mates High Hazels and a run of shows with This Feeling, which always go down a storm.

Full list of upcoming dates:

12th May, London - Nambucca (This Feeling)

25th May, Sheffield - Record Junkee (This Feeling)

21st July, Sheffield - Tramlines festival

11th August, Scunthorpe – Café INDIEpendent

29th September, Sheffield – The Leadmill (Headline).

It seems like you are incapable of doing a show that doesn’t sell out! Would you attribute that to loyal fans or your tightness on stage?

Yeah. We’re starting to get a bit of a following. We definitely try to put on a good show for people and make it a bit different. I think the word has just spread among people.

It’s cool.

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

We love it. Playing live and getting a good response is what it’s all about and it’s great to play these songs that you’ve grafted on - and to see people singing back, makes it all worthwhile.

What do you hope to achieve in 2018?

As we mentioned before, we’ve got these two stomping new tracks we are working on which are blowing our minds at the moment. Really feel like a step up, so we can’t wait to get them out to people later on in the year. Apart from that, we’ve got some great gigs lined up.

Just spreading the word...

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

We did a couple of dates in France, which were super-fun. The crowds over there are something else: super-responsive and don’t hold anything back!

What advice would you give to new artists coming through?

Be selective of who you work with and which gigs you choose to play. Focus on writing and don’t put yourself out there until you’re ready. There’s no rush.

IN THIS PHOTO: The Blinders/PHOTO CREDIT: Nasty Man Creations

Are there any new artists you recommend we check out?

The Blinders, Patawawa; The Seamonsters, SHEAFS; Manuka Hive and Before Breakfast.

IN THIS PHOTO: Before Brekfast 

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

There are some great bars and venues in Sheff. When we’re not in the studio, you can probably find us knocking about in The Washington or at the Picture House Social.

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).

Joe: Unknown Mortal Orchestra - American Guilt

Will: Nirvana – Drain You

Dave: Miles Kane – Loaded

George Moran: Richard Swift – Drakula (Hey Man!)

Steve: Michael Jackson - P.Y.T. (Pretty Young Thing)

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INTERVIEW: Lucille Furs

INTERVIEW:

Lucille Furs

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I had a listen to Another Land…

and had to speak with the creators of the song. Lucille Furs have been chatting about the song’s background and whether they have more tracks coming along. I learn what the scene is like where they are in Chicago; how their tour plans are set for the foreseeable future – the guys reveal whether we will see them in the U.K.

I was eager to learn how the band got together and some of the sounds that inspire them; what they do away from music; how it feels having played SXSW and getting respect in Brooklyn; which new artists they advise we check out – they tell me what it is like being signed to Treehouse Records.

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

The last week has been hectic but efficient. We have been booking shows, finishing vocals on some songs and writing new ones!

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

Lucille Furs hails from the hog-butcher of the world, A.K.A. Chicago, Illinois (U.S.A.). As a five-piece, we write psychedelic, Western-tinged Rock with '60s Pop and Baroque sensibilities.

Tell me what inspired your song, Another Land. What is the story behind it?

Another Land was co-written on Fender Bass VI with our art director and friend John Zabawa, who is a frequent collaborator of the band’s, while inside his apartment in Chicago. The song Funkytown by Lipps, Inc. was written because the band was daydreaming about living elsewhere.

L.F. strives to travel as much as possible and, I guess, we enjoy the excitement of being in a new place. Creatively, we were looking to strip back our arrangements and focus on more of the groove and rhythm section.  

Is there going to be more material coming later this year?

Yes. We have finished our second L.P. and are in the process of getting it mixed. 

You are signed to Treehouse Records. Do you get a lot of freedom as a band to create and release songs as you wish?

Definitely. Treehouse has been nothing but monumentally helpful to the band's development and discipline in the studio. We enjoy feedback and discussion when we are choosing our next single.  

How did Lucille Furs get together? Were you all friends from way back?

Some of us met during college or uni in Chicago, while others met at local D.I.Y. house-shows around town. 

The band played SXSW and had a great reception in Brooklyn. Has it been a bit of a whirlwind last few months or so?!

It really has! Finishing a record so fast before going on tour to support the first record definitely had its obstacles. Coast to coast traveling in one week is no joke! 

Chicago is important and influential. What is it like making music in the city? Is it quite a vibrant and full scene?

We are lucky to be surrounded by so many cool bands in Chicago. Although; we probably cannot stay here forever, we do feel the most comfortable recording here since we have built many great relationships in the scene. 

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

We are going to be playing at Summer Camp Music Festival in Southern Illinois as well as Summerfest in Milwaukee, WI early this summer! We will sprinkle in some L.A. and Chicago dates, as well. 

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

We have played in London a couple times, including Moth Club in Hackney and a SofarSounds show in an office co-op. The latter was video-recorded and is on Youtube. 

What do you hope to achieve in 2018?

We hope to release our second record and to also tour the U.S. and Europe while writing L.P. three. 

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

Probably opening for Mild High Club at Lincoln Hall in Chicago. 

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

Five fortune cookies and a six-pack…

What advice would you give to new artists coming through?

Don't break up! 

Are there any new artists you recommend we check out?

Yes. We have been enjoying ROOKIE, Juniore; Triptides, Post Animal and The Nude Party.

 IN THIS PHOTO: Triptides/PHOTO CREDIT: Michael Haight

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

You can find us on the tennis courts or shopping the flea markets. 

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).

The Babe Rainbow - Monky Disco

Lasso Spells - Stuck in Shape 

The Nude Party - Chevrolet Van 

Allah-Las - Fish on the Sand 

​​​​​​​

Jack White - Ice Station Zebra 

____________

Follow Lucille Furs

Official:

http://www.lucillefurs.com/

Facebook:

https://www.facebook.com/lucillefurs

Twitter:

https://twitter.com/LucilleFurs

Instagram:

https://www.instagram.com/lucillefurs/

SoundCloud:

https://soundcloud.com/lucillefurs

Spotify:

https://open.spotify.com/artist/32JGtuoayw9vECentJ3tQG

INTERVIEW: Lo Lo

INTERVIEW:

Lo Lo

___________

YOU get a rush of personality and brightness…

with Lo Lo. It has been a thrill speaking with her about the debut song, Yours, and its rather usual and heartbreaking story. She discusses what her next moves are and the artists who have inspired her. The Toronto-based songwriter talks about the scene there and when music came into her life; what dates she has coming up – whether the U.K. is part of her plans.

I learn which three albums are most important to her; some new artists we need to throw our weight behind; how she spends her time away from music – she ends the interview by selecting a rather cool song.

___________

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

What’s up, Sam! I’m doing great, thanks. This week has been crazy, but good-crazy (very good!).

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

Hi guys! I’m Lo Lo and I’m a singer and a songwriter from Toronto. I just released my debut single, Yours, on Friday but I have a lot more music coming your way soon…and I can’t wait to share it with you guys (smiles).

Talk to me about Yours. Is it true it was motivated by a rather ill-timed breakup on April Fools’ Day?!

Haha, unfortunately, it is true. At the time it really sucked but now I’m thinking that I guess everything happens for a reason. After all, I would never have been able to write this song if it never happened. Last year, I had originally planned to release a different song as my first single but then, after I wrote Yours, I just knew that this was the one.

How did you react to that rather insensitive moment? Was it hard processing the emotions and rationalising things?!

Oh yeah; it was insane.

I thought he was joking (obviously) for a solid ten minutes of the breakup. I didn't even cry at first because I was laughing about it! I definitely cried a lot after though but sitting down and putting my emotions into a song really helped me feel better. After I wrote it, I knew that it had something special to it.

The song has plenty of spark and colour. It reminds me, in a way, of the girl group-made songs of the 1990s. Did you set out to create something that dealt with a hard subject but provided hope and uplift?

Thank you! Actually, no. At first, the song was a ballad. It was much slower and much sadder, too. As I slowly got over the breakup, the song developed into a whole new vibe. It used to be played on the piano, but the guitar gave it a whole new feel. All of a sudden, the song stopped feeling bad for itself and it stopped taking itself too seriously, as did I.

When we sat down to work on the production, I was chewing Double bubble and a huge bubble popped all over my face…and that’s when we had the idea to use that sound before the first drop. After we added the bubblegum and those initial guitars, the rest of the production and feel of the song came very quickly and easily.

Is there more material coming along? What are you working on right now?

Yeah! I’ve got a bunch more songs ready to go and am hoping to release another single later in the summer, followed by an E.P. in the fall. I can’t wait for everyone to hear it!

Toronto is where you are based out of. How would you describe the city’s music culture and scene?

Toronto has an awesome music scene - it’s very diverse, just like the people here, which is sick. There’s so much variety here, which is great because you can always go downtown and check out some new music.

When did music come into your life? Was there a moment you knew music was what you wanted to do?

From the time when I was old enough to walk and talk, I used to be obsessed with Shirley Temple movies. I made my mom curl my hair and put me in tap dancing lessons and singing lessons. I knew then that I wanted my life to be music but, at the time, I thought I wanted to be on Broadway. When I was thirteen, I picked up the guitar pretty quick, so my guitar teacher encouraged me to try to write a song. I always wrote a diary as a kid, so writing songs came pretty easy!

The one problem was - you never had to read anyone your diary, but you kinda have to show people your songs! I made my guitar teacher turn his chair around AND cover his eyes when I showed him my first song because I was so nervous and embarrassed about it. He ended up saying that it was actually pretty good! That’s when I knew I wanted to be an artist, and from then on, I wrote songs instead of diary entries.

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

I’m definitely going to have some gigs coming up this summer! Nothing has been officially announced yet, but I’m very excited (smiles).

Are you coming to the U.K. to see us at all?

I better be! I’ve never been to the U.K. before, but I’m dying to come! I really need to work on my British accent: it’s pretty embarrassing right now.

What do you hope to achieve in 2018?

2018 is already off to a great start! I hope that people can hear my music, sing their hearts out and relate to it. If I can make even one person feel better about a shit*y situation, then I think I’ve done my job! Sometimes, things really suck…but we get through it.

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

Just a few days ago, actually, someone sent me a really nice message on Insta. D.M. They told me that they came across my song on Spotify and that they could really relate - and the song made them feel better.

I think that music is all about bringing people together - and I’m so lucky that I’m able to contribute to that!

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

Taylor Swift - Fearless

Because this girl showed me that it was okay to write songs about whatever and whoever you want…I’ll be a Taylor Swift fan till the day I die.

Ummm. Every single Eminem album because he is a god?! But, I guess I’ll choose Curtain Call because Stan is one of my all-time favourite songs.

Gavin Degraw - Chariot

Because every single song on this album is the reason why I want to write songs. Gavin is a huge inspiration to me. I love the realness and rawness with all of his music. Also, I have a major crush on him. One of my (unreleased) songs may or may not be about him…cannot confirm or deny at this time.

What advice would you give to new artists coming through?

Just do you, no matter what people say. A lot of people told me ‘no’ many times. I was told that Yours wouldn’t do well because it didn’t fit the ‘popular’ mould of ‘regular’ songs on the radio. I was told that I should probably have a backup plan because I probably wouldn't ever be an artist. With all the positive response to my first song, I’m really happy I didn’t listen.

So; my advice to new artists (just like me) is to have confidence in who you are, and make music that makes you happy. Write songs that you think are cool - others will think it’s cool too (smiles).

IN THIS PHOTO: bülow 

Are there any new artists you recommend we check out?

You gotta check out my friend, bülow. She’s pretty new to the scene, but you’d never know it because she’s epic. I also love Billie Eilish. Not my friend, but, hopefully, my friend one day (Billie; let’s be friends).

IN THIS PHOTO: Billie Eilish

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

I don’t get much time to chill away from making music but, when I do, I love to go on long walks with my puppy. His name is Slim; he’s a Bichon and he’s named after Eminem.

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).

WOO. Thanks so much for having me on here (smiles). Check out Tove Styrke’s version of Liability (Lorde). I’m obsessed with this version and sing it at least once a day:

____________

Follow Lo Lo

Official:

http://www.itslolomusic.com/

Facebook:

https://www.facebook.com/its.lo.lo.music/

Twitter:

https://twitter.com/itslolomusic

Instagram:

https://www.instagram.com/itslolomusic/

YouTube:

https://www.youtube.com/channel/UCMgn05wA8bs-xFykolBsbQA

TRACK REVIEW: Rory Cannon - Vital Signs

TRACK REVIEW:

 

Rory Cannon

Vital Signs

9.3/10

Vital Signs is available via:

https://soundcloud.com/rory-cannon/vital-signs-1

GENRES:

Folk; Singer-Songwriter

ORIGIN:

Nottingham, U.K.

RELEASE DATE:

16th March, 2018

_________

THIS time around…

I am looking at an artist who is producing some wonderful sounds and is someone who deserves big acclaim. I shall chat about Rory Cannon in a bit but, before then, I want to investigate a few other things. I want to look at atmospheric, acoustic music and why it should be heralded and elevated this year; the Midlands and why it is an area that gets overlooked; artists you’d want to get out there and see tour; music that soothes the imagination and calms the body; a little about evolving music and embracing everyone – finishing by looking at where Cannon might go. What interests me about Rory Cannon is his style of music and how rare it is in the modern scene. When you look at artists out there and what is happening in the music world; there is still an emphasis on the more sprite and fizzy style of song. That sounds rather crude and simplistic but I listen to the radio and tend to hear more uplifting and energised songs. That is what many people go for: they do not often look for something more downbeat or calmed. I listen to Rory Cannon and have a great sense he will go far and something great is going to happen. It is quite a challenge going out into the market and delivering music that has quite a seductive and deep sound. There are acoustic artists out there but, for the most part, you tend to hear few on the big stations. Cannon has a Folk songwriter who immerses the listener into his world and reminds one of the greats of the genre. I want to hear more radio stations concentrate on artists away from the charts; those who produce music to make you think; something evocative and settled. There is plenty of passion, emotion and drama in a song like Vital Signs – a track that could score any mood and eventuality. I am hearing a lot of Alternative acts and chart-bound artists but few of them really resonate and remain in the mind.

Maybe this is down to the rush and quantity of music we are exposed to; it might be the nature of the songs – delivering something instant – but I feel we are always looking for sounds that lodge right in the brain and we do not have to think too much about. Cannon is someone who will find favour among Folk stations and get airplay on those stations with broader minds. I wonder how long it will take before our bigger commercial stations begin to embrace acoustic music more. Aside from a few artists – the likes of Ed Sheeran – there are not that many finger-picking acts being spun on the biggest stations. Maybe we are all looking for music that puts us in a better frame of mind and gets us moving. The reason why I feel acoustic music needs better regard is the fact it can ease our stresses and provides fascination, beauty and allure. If we balance this type of music against the usual fare; I feel we will be broader-minded and more rounded as listeners. Look ahead to the future of music and we have to wonder what is needed in order for it to sustain and inspire. Music will always be around but I fear the stations with a wider remit are less popular and heard than those who feature similar and commercial music. One cannot object to people’s tastes but you have to question why the music of the charts is being given greater credence than music with greater nuance and musicianship. Rory Cannon is a man who puts his all into music and wants his music to connect with as many people as possible. That ethos and ambition deserve reward and applause. I listen to acoustic music and find myself more involved in the music. I am powerless to imagine what is being sung and where the song is heading. You can say Rock, Pop and other genres are powerful and instant: I feel Folk and acoustic-led music is much more affecting, long-lasting and emotive. I hope stations broaden a bit and start shining a light on artists like Rory Cannon.

I want to come back to this point but, right now, let’s look at the Midlands and why we need to look over there. I often talk about London and why we concentrate here. It is the capital of the nation and, with that, houses all the biggest labels, studios and artists. That is fine but that does not mean we have to focus entirely on this part of the world – there is a rich and full nation of music for us discover. I have been campaigning for parity and greater awareness among listeners and journalists. What we need to do is keep London high in the thoughts but look elsewhere and experience all the U.K. has to offer. I have talked about the North and all the fantastic musicians in cities like Manchester and Liverpool. Many people know of the Midlands’ music but how often do we see artists from here featured in the big publications and websites? Maybe there are fewer big-name artists from here: plenty of new musicians with heart and promise are performing around the Midlands. Rory Cannon is a Nottingham-based artist and is in a city that has its fair share of wonder. You can throw in cities like Birmingham and you have cities that are vast and ever-growing. Maybe it is hard to tackle every corner of the U.K. and get a grip on what’s happening. I do not accept the fact most of the wonderful music around comes out of London. It certainly fosters our best radio stations and labels but musicians of all genres are spread evenly. You can get a fantastic bunch of Rock artists in Glasgow; some brilliant young bands in Brighton – look to Nottingham and there are some great artists emerging. It only really takes the celebration of one Midland-based artist to get the ball rolling and cast eyes that way. Rory Cannon is typical of what Nottingham and the Midlands is producing. I do not mean that in terms of genre and sounds: more, a broadness and quality that mixes commercial possibility with unique and personal merit.

I am based in the South and find there are plenty of great artists to get my teeth into. Brighton and London and close by and, with it, you get a nice variety of sounds. I travel further up the country and that does not really change. Wherever you head, you’ll get a brilliant array and choice. The Midlands is attracting more and more artists in terms of touring. Whether it is the nature of the people or the sustainable and excellent venues there – I notice more and more are booking Midlands dates and wanting to get up there. It is hard to pay equal attention to all areas of the country but the Midlands has always been relevant and strong. Rory Cannon could relocate further north or south but where he is, there is enough support and potential so he can grow his music and get where he needs to. I wonder what the long-term effects will be of that one-track-mind and singular focus. There is less money and support in the Midlands but, the more we look at artists here, the more people will invest. It is a great and fascinating time for new music. The scene is more arresting and open and, because of that, listeners and musicians are expanding their minds and drinking it all in. I have alluded to the fact we often overlook acoustic music in terms of its potential and commercial appeal. The same might be said of areas further north (of London). If we are going to embrace and celebrate the best of music’s banquet; we need to investigate areas like the Midlands and what is happening there. For the moment, we have artists like Rory Cannon who are perfect advocates of the area. I wonder whether, as he grows more popular, he might relocate to an area like London or Manchester. Right now, he is based somewhere that has fantastic venues and has brilliant musicians working and striking.

I am hearing a lot of mixed reviews from artists on the touring circuit right now. It is the time of year we are all clambering and getting out there. The weather has turned and the sun is out; we are looking at the summer festivals and seeing what’s what. I am keen to get out there if I can and see a few gigs. The warmer and more settled the weather means we are more active and energised to see live music. Whether you are heading to an indoor venue or a festival; it is important to look at all the musicians out there and keep the mind open. I know I am talking a lot about broadness and letting music’s full spectrum in. Artists like Rory Cannon might sound quite calming and soft on paper – acoustic music tends to have its particular audience and potential – but there is so much to recommend about the music. Maybe he will find less favour on huge festival stages but his music is just right for the time and conditions. Listen to those beautiful notes and heartfelt vocals and seeing that up-close and live is a different experience. You are not exposed to walls of processed beats and shonky vocals; the predictable sounds one might get from a lot of festivals acts. Instead, you have an artist who is putting his heart out there and keen for his music to connect with every member of the audience. Apply that logic to a more intimate space and you have an artist more adaptable and diverse than most out there. From a church space to a small-sized space; Rory Cannon can bring the people in and keep them hooked. The grace and universal sense of understanding – we can all relate to what he is saying – should be proof enough he merits serious focus and fandom. I feel a lot of artists are being overlooked because we still clamber towards bands and a certain type of music. Even if you are not a fan of Folk and acoustic music; you have to concede that Rory Cannon has a balance of intensity and beauty that gets into every corner of the body.

I am keen, as I said, to get out there and see artists play and feel Cannon would be a great choice. There are artists out there who are being let down and played by promoters and crew at shows. It might take the form of a reduced set or inattentive crew; venues who are not keeping their end of the bargain and treat artists fairly. I would like to see these kinds of problems tackled and addressed. The reason I have brought this up is that there are traps and issues for artists playing gigs at the moment. It is not that common but one has to be aware of what artists are exposed to when they play. It is hard enough to get gigs and sustain interest; really difficult to keep the money coming in and succeed. I am not sure where Cannon is heading in the next few weeks but he is exposed to the same issues as his peers. I am sure he has had one or two bad gig experiences but, looking back at reviews and reading up on him, he is a celebrated performer and someone who holds the crowd in his palm. It is a tough market but we have, in Rory Cannon, a performer who is the complete package. His music runs a gamut of emotions and he is a captivating and reliable performer. You do not get lashings of reverb and percussion with Cannon; you do not get something raucous and sweat-inducing. What one does get is an accomplished and hungry musician who puts his everything into his shows. He works hard to get bookings and ensures each show he plays at is as full and promising as possible. I know Cannon will grow and he will get dates all around the country. It is a competitive market but it is such an asset to have in your locker – being able to hook and effect when you are up on the stage. You just know the space of the stage is the most important thing to him. Nothing else matches the thrill and naturalness of being up there and sending those vibes to the crowd. Looking at his Facebook page and it seems Cannon has had a couple of great gigs. He has played in Nottingham and Sheffield and is getting out to the people. I know Cannon will want to capitalise on the momentum he is creating and getting Vital Signs out to the masses.

I will come to the song in question soon but, before then, a little nod to the music Cannon is playing and what he is all about. He takes influence from artists like Ben Howard, Bon Iver and Nick Drake: acts who have inspired many and have immense power. I listen to someone like Nick Drake and am affected by what he delivers and compelled by the music. It runs deep and I am attracted to the beautiful noted, incredible lyrics and fantastic vocals. Whereas a lot of mainstream music does only one thing or is quite basic; with Folk and artists like Nick Drake, you get something a lot more appealing and resonant. Rory Cannon is the same kind of artist. He considers every angle of his sounds and writes what is true to him. The performances are universally fine and you get such a hit and impact with every song. Cannon’s vocals are superb and one hears so many contours and dynamics working away. His lyrics, as I shall explore, are intelligent and thought-provoking. It is fantastic listening to this artist and seeing what he is all about. Cannon’s looping and finger-picking creates a special sound and gets into the soul. I always look for music that ticks all boxes and has the promise to endure for years. It is, without doubt, I recommend Rory Cannon to people and suggest people throw their weight behind him. When you listen to a song like Vital Signs; you get so many hits and highs. It is a brilliant experience and you are taking somewhere very special indeed. I should move on to the song itself but I will round this section up by talking about Cannon as a complete package. He is someone who, like Bon Iver and Ben Howard, has acoustic and Folk at the roots but builds on that and pushes outwards. The inventive and restless spirit of his music is an attempt to reach all sorts of people and push the limits of music. I feel many of us get hooked up on the fact Folk and acoustic-based music is going to be quite simple and boring. There are artists who are quite basic and uninteresting but the new breed, with the likes of Cannon in their midst, are showing what is possible and what the genre is all about.

The opening notes are gentle and propulsive at the same time. One hears something enticing and soft; there is a strength underneath that builds some energy and projects images. A complex and satisfying brew that gets right into the head and settles you down. When Cannon come to the microphone; he delivers words that raise questions and spike the senses. “It must have been fine and faltered/Let’s pretend…” are curious words and ones that make me think about relations and going through motions. That contrast of ‘fine’ and ‘faltered’ gets me thinking about the different minds and views of a relationship. Maybe things are endangered and they are holding onto something flat. The song’s title, Vital Signs, provokes images of cardiac arrest of weakening signals. The man’s beating heart is failing and he seems tired of games being played. Rather than present a relation and state of affairs in rather basic and generic terms; he produces sentiments that mix poetic expression with something oblique and distant. You can hear how much the words mean but the intensity of the situation means there are few explicit thoughts. That is good as each listener can picture their own scenes and piece the story together. It is clear there is a lot of pain and regret working at the moment. The vocal pitch and changes put me in mind of Damien Rice. Cannon has a deeper and more gravelled voice than Rice. The two do share a sense of command that means the song hits you right away and has a huge sense of confidence and authority. Cannon mixes simple and stirring finger-picking with some interesting additions – percussion and strings – that gives the song a richness and complexity. The way he changes pace and tone – the verse and chorus have distinct and different sounds – impresses me. You are compelled and invested in the first verse and wonder where things are headed. Dreams and frustrations are brought in; the snow has been salted and is desecrated.

You get all these vivid images and stunning words that get the thoughts working and pulls at the mind. These tense and epic emotions are bubbling away and you wonder whether there is any way there is reconciliation and chance. Maybe things are not as simple as a relationship crumbling and losing hold of love. The hero is looking inside himself and investigating where things have gone wrong. Whilst blame is not necessarily placed on the other party; you get the impression they have not been as loyal and invested as they could have been. I follow the song and picture what is going on. The strings are expressive and punchy; they convey so much and take the song to a different level. I keep thinking about other interpretations and what the words could be saying. “These memories through glass drained yet mistaken/Desired direction time to mend…” make me think about relationships but hopes and dreams.  The young man is looking at his life and investigating what is happening around him. Maybe he is going through tough times and not as happy as he could be. Whatever the real truth of the words; you are compelled to stick by him and see things through. The chorus projects chances of improvement and hope. The silence covering frustrations and the snow clearing; that clarity and direction that leads the hero home. Things have been hard and times are unsure right now. You get the sense Cannon wants everything to be alright and see his heartbeat return strong and noble. The title gains new relevance when you follow the words and get more engrossed. I listen to the final words and get the feeling Cannon is in a better place than recent memory but there are still things he needs to address and get through. Whether Vital Signs is purely about faded love and finding new happiness: maybe there is this personal exposure and tackling some rather harsh and unforgiving scenarios.

In any case…one can get lost in the pleasures and notes of Vital Signs. It is a wonderful song that sounds great in isolation. I know it would be great accompanied by other songs on an album or E.P. Maybe you’d get more of a background and history if it was flanked by other numbers. Right now; it is a fantastic single that shows what a strong songwriter Cannon is. You wonder how strong the song could be if it has the backing of other material. I don’t know but I get the impression, when listening to the song, it is something that is part of a wider story. It seems Cannon is in productive mood and creating some great music right now. I hope he gets into the fore and gets his music out there. Right now, he is performing and looking ahead to the summer months. Vital Signs is a terrific song from a bold and impressive artist who has a long future ahead of him. I am interested to see where Cannon can go and what he has coming up. Make sure you get behind him and follow what he does next. The future is very bright and I am pumped to see how far Cannon’s music can go.

Rory Cannon has been keeping busy and is getting Vital Signs out to the world. It has got a lot of love and plays on SoundCloud and people are responding to it. The songwriter was unwell last month and suffered a bit, it seems. He is back now and determined to get on the road and thank his fans for listening to his latest single. I know many will be eager to catch him on the road and hear more music. I know Cannon will be booking dates and trying to get as far and wide as possible. I would love to hear some more singles and see the young songwriter keep that pressure on. He will want to get Vital Signs out there and take it as far as he possibly can. When that is done, and he looks ahead, I am curious what direction his music will take and what he will write about. Things are moving in the right direction and it is a fantastic time for the Nottingham-based songwriter. It is always hard for solo artists to compete with bands and get those big gigs. The songwriter has a lot of love in his local area and is making waves in other parts of the U.K. I can imagine, soon enough, international venues looking his way and pricking their ears. I am not sure what Cannon has in mind but it will be excited following his moves and where he is heading. It has been an eventful and busy 2018 for him and he will want to keep that fascination and success going. Make sure you listen to Vital Signs and keep involved with the fantastic artist. I am hooked on his music and will continue to back him and get involved with his releases. There are few artists who manage to compel in as many ways as Rory Cannon. He has that passion burning and knowledge of music that means his music goes further and deeper than most. If you are unfamiliar with the music of Rory Cannon then make sure you get behind him and show his sounds…

SOME serious love.  

__________

Follow Rory Cannon

Twitter:

https://twitter.com/RoryCannonMusic

Instagram:

https://www.instagram.com/rorycannonmusic/

Facebook:

https://www.facebook.com/rorycannonmusic/

Spotify:

https://open.spotify.com/artist/5kjyIrMAtqkb4zmxpq6pRX

SoundCloud:

https://soundcloud.com/rory-cannon

YouTube:

https://www.youtube.com/channel/UCIIO5b7DxNCPCpt700vPzsw

INTERVIEW: Dan Sadin

INTERVIEW:

 Dan Sadin

___________

BEFORE this interview…

I knew a bit about Dan Sadin and the work he has recorded. I was keen to learn more about his solo career and how he balances that with his work in the band, FRENSHIP. The Way That It Hurts is his first solo single – a song that definitely sticks in the mind and compels further enquiry.

Sadin talks about his musical progression and changes; which artists and albums have made a big impression on him; how he spends his time away from music; whether we might see him visit the U.K. – he recommends a couple of new artists to check out.

___________

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

Hey man! I’m good, thanks. I’m in the van on my way to Boise, Idaho from Omaha, Nebraska. This week has been packed. I released The Way That It Hurts, which I’m so happy to have living out in the world and have been playing almost every night with, and opening for, FRENSHIP.

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

Thank God for guitars and good songs – can I just leave it at that?

The Way That It Hurts is your first solo single. What is the origin of the track? What does it mean to you?

This song was about two years in the making. Over the course of writing the song, I left my old band of about eight years, broke up with my long-time girlfriend; joined up with FRENSHIP and started touring the world. It was a whirlwind of events and not a lot of time to process it all.

The Way That It Hurts is my way of understanding all of those things that happened; specifically, the struggle of ending and creating new relationships. It’s always tough to accept the pain that comes from change – but I feel strongly that it’s necessary in order to grow and move forward in my life.

Will there be an E.P. or further singles later in the year?

Absolutely. I will be releasing more music - leading up to an E.P. at the end of June.

How do songs come together for you? Do you set time aside to write - or is it best to allow for inspiration to strike?

Writing is a muscle: if I don’t exercise it, I have a hard time using it and being creative.

I am always writing down snippets of lyrics/prompts on my phone and recording quick ideas during soundcheck or in the car. When I’m home, I generally go back to these ideas and start building from there. Sometimes, I’m able to follow an idea through to the end and, other times, it sparks another musical path that I follow. I used to be hyper-critical and only allow myself to work on what I had originally set out to do...

But, I’ve found, if I just follow my creativity, I’ll end up where I need to be. I never want to be fighting myself for a song. There’s nothing authentic about that.

Many know you from your work with FRENSHIP. Was there a reason for stepping away from the group and going out alone?

Actually, I still play with FRENSHIP. They’re like family and I have a hard time imagining a life where they aren’t involved in some capacity…and, as much as I love them, at the end of the day, I’m playing somebody else’s music.

Don’t get me wrong; it’s such a treat to play the music - it’s really good and there’s a lot I can learn from them. But, I’ve always wanted to do my own thing, use my own voice. I feel like I’ve found a good starting point and I’m working as hard as I can; making myself the priority in my own musical career.

How does your life as a solo artist differ to that of FRENSHIP? Have you noticed big changes and differences?

Since I’m still playing with FRENSHIP and we’re in the middle of a two-month-long North American tour, not too much has changed. I guess the biggest difference is that I’m pulling double duty – I am opening up the shows on this run for them as Dan Sadin as well as playing in the band. It’s been incredibly rewarding and meaningful to get in front of their audiences and start connecting with people around with the music I’m creating.

Which artists did you grow up around? Tell me who you count as idols…

I feel like I’ve kind of grown up twice…

Once, from a kid to an adult and a second time, within the last few years, where I rekindled a creative fire I never knew had gone out. I’d count this second phase as equally, if not more, important in my current identity as a musician.

I never got into Tom Petty when I was younger but, in the last few years, he’s become my biggest musical idol. When he passed in the fall, I felt like I had lost a family member. I hate being that dramatic about it but my heart truly hurt - and it still does. Also, count me in for Bruce Springsteen, Fleetwood Mac and Patti Smith.

As a kid growing up, I was into anything that had a guitar or a guitar solo. I’m a closet early Van Halen fan (through 1984)…outside of that; my favorites would have been: Jimi Hendrix, Led Zeppelin; Steve Miller Band, The Rolling Stones; Jeff Buckley, The Strokes; Jet, Radiohead; The Allman Brothers, Chris Whitley; Red Hot Chili Peppers, No Doubt; Green Day, AC/DC; U2, The Police; Coldplay, John Mayer…

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

I do! I am continuing to open for FRENSHIP for the rest of this tour through the end of May. I am lining up shows for the summer around the release of the E.P. - when I’m back in Los Angeles.

Might you head to the U.K. and play?

Yeah; that’d be absolutely killer…you have any connects?! Haha.

What do you hope to achieve in 2018?

At the end of last year, FRENSHIP was quieting down and I set a goal to start releasing music and make my own project happen this year. So far, I’ve kept to that goal and look forward to releasing more music, playing more shows; hopping on more tours, building fans and growing this project in a meaningful and lasting way.

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

Playing Outside Lands last year with FRENSHIP was super-meaningful. I grew up in San Francisco, so I got to walk from my parents’ house to the festival and play for my family and my hometown – literally, on the field where I used to play soccer as a kid.

Don’t think I’ll ever forget that one.

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

Only three?! That’s tough, but I’ll go with what I’m feeling today:

Full Moon Fever – Tom Petty

This album has so many great songs and yet was recorded in Mike Campbell’s garage. It is one of Tom Petty’s largest commercial successes but both members of his band and his entire record label doubted its success. To me, this is where Petty really started reaching his peak as a songwriter and artist – and the story of perseverance, of him believing in himself and using so little to create so much is something that I deeply connect with.

Grace – Jeff Buckley

This was the first time I had ever heard the guitar played in this way. Buckley’s playing is straight from the heart, unique in style and is equally as virtuosic as it is complementary to his vocals. Grace also pushed me to rethink what a song could be, how it could be constructed. This album carried me through high-school.

Viva la Vida or Death and All His Friends/Prospekt’s March – Coldplay

It’s just so good - and same with the E.P. that followed. I don’t think there’s anything else that sounds quite like it. The production, the songs; the feeling…they’re all there for me. Life in Technicolor II is one of my favorite songs and is still on-repeat for me.

What advice would you give to new artists coming through?

I feel like I’m a new artist. Ha. But, if I had to talk about my dogma as a musician, I’d say don’t let anybody else shape your opinion of your own music. Nobody is going to work harder for you than you will. It’s not just about hard work: it’s about smart work and making the heart work.

IN THIS PHOTO: Colyer

Are there any new artists you recommend we check out?

Totally. I’ve had the pleasure of working with my close friend and musical brother, Colyer. His music is so good and I am thrilled to be able to share in it with him.

Also, I’ve been working with Celeste (Tacuhar), the keyboardist and singer in FRENSHIP, on her own music. It’s been a lot of fun and I am looking forward to finishing up that project and supporting her in her own career. Keep eyes out for her!

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

Not a huge amount of time but, when I do, I’m usually spending quality time with my girlfriend and my dog. We do a lot of road trips, camping and exploring. I honestly don’t know what I would do without either of them in my life. Their unconditional love helps ground me when I need it the most.

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

This one is for my brother, Colyer. I co-produced his song, Lost in Your Love, and it is one of my favorites

____________

Follow Dan Sadin

Official:

http://dansadin.com/

Facebook:

https://www.facebook.com/dansadinmusic/

Twitter:

https://twitter.com/_dansadin

Instagram:

https://www.instagram.com/dansadin/

YouTube:

https://www.youtube.com/channel/UCTdqdeADp-ehr2b5ZBZJGUw

Spotify:

https://open.spotify.com/artist/5gf9Kn0Xbz966PieIOA5Hi

PHOTOS:

Silvia Grav

INTERVIEW: The Raven & The Fox

INTERVIEW:

PHOTO CREDIT: Jager & Kokemor Photography 

The Raven & The Fox

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MY first interview of the weekend…

finds me talking with Julie and Sean of The Raven & The Fox. They tell me about their work and what we can expect from their eponymous album; how Canmore (Canada) is important and how they found one another – they tell me about a treasured memory from their time in music.

I ask where The Raven & The Fox goes from here and the artists they are influenced by; whether we might see them hit the road this year; what it was like working with producer Geoff Hilhorst on their album – they recommend a new artist we should be looking out for.

___________

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

Hi! We have had a great week. It is springtime in the mountains but the snow is still really good; so, I have been out skiing and snowboarding a bunch. Julie and I actually just got home from a morning of snowboarding some fresh powder.

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

We are The Raven & The Fox - a Folk duo from Canmore, Alberta (Canada) in the heart of the Canadian Rockies. We write love songs inspired by connections in the mountains.

Julie and Sean. How did you meet and form The Raven & The Fox? Is there a story behind the name, too?

We met at an informal jam and I was instantly smitten with Julie’s singing voice. One thing led to another and we began our musical and romantic relationship. On that first night, we met while playing music. She asked me what spirit animal I thought that she would be. I suggested 'a raven' since they are beautiful, intelligent; playful, graceful creatures.

Then, I asked her what animal she thought I would be and she said 'a fox' - which I, naturally, took as flirting.

How important is Canmore? Is the area and its geography directly responsible for your path into music?

Canmore is a vibrant mountain community of world-class athletes, artists; musicians and nature lovers. The place seems to vibrate on a higher level. Our little happening town is surrounded by high, stunning peaks - so there is lots of inspiration to pull from for music and other arts.

Your eponymous debut album is near. What sort of songs and stories might we find throughout?

A lot of the songwriting and lyrics on the album revolve around falling in love in the mountains. They are Folk ballads with an earthy element grounding them.

Geoff Hilhorst produced your album. What was it like working alongside him? What did he bring to the table?

Geoff is a very talented musician. He is best known for his incredible organ and piano playing in the Alt-Country band The Deep Dark Woods, but he is an all-round great multi-instrumentalist. He really helped to bring our songs from simple guitar-vocal arrangements to their full sonic potential as heard on the album. He had a lot of great ideas and we owe him a huge ‘thank you’.

Which artists do you count as your main influences?

For me, I grew up listening to the (Grateful) Dead a lot. I definitely connect with the music of an older sound from the '60s and '70s including C.S.N.Y., The Band; Led Zepplin and even (Black) Sabbath. Even the newer bands I enjoy have that sound and feel like Dawes.

Right now, I can’t seem to get enough of the Middle Brother album. I think Gregory Alan Isakov is an incredible songwriter. Julie grew up listening to a lot of Grunge in the '90s, which is far from our sound - but she now enjoys a variety of musical stylings; from Roots-y Americana to Indie-Rock.

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

We have a bunch of spring shows coming up including East Coulee Spring Fest in Drumheller, Alberta; then we will see what happens after that.

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

We haven’t yet taken our music outside of Canada but would love to. I have travelled all over the world for climbing mountains - but travelling for music would be something new.

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

For me, it would probably be Nirvana Unplugged (MTV Unplugged in New York). I bought it as a bootleg cassette in Thailand in the mid-'90s and pretty much wore it out. It combined my enjoyment of acoustically-based Folk music but with an edge.

What do you hope to achieve in 2018?

I would love to see our music and album get into more people’s hands - and, by 'hands', I mean playlists; so, as an independent artist, we need to figure out how to optimize our exposure on streaming platforms.

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

Our most unique show was performing in Rats Nest Cave deep in Grotto Mountain. This cave is fairly technical and can only be accessed with a guide since it involves ropes. Last year; Canmore Cave Tours began offering their unEarthed Concert Series, where they guide in about twenty intrepid adventurers to the Grand Gallery - a large subterranean chamber ten storeys beneath the mountain - for an intimate acoustic concert.

It was surreal to hear Julie’s vocals and my old Martin D28 reverberating off the limestone walls to a dead-silent, entranced audience that just scrambled and squeezed their way for an hour to hear us.

What advice would you give to new artists coming through?

That is a hard question to answer since we are fairly new at this. I think what worked for us is staying true to our love of good music and trying to make music we want to listen to.

IN THIS PHOTO: Kyle Pullan

Are there any new artists you recommend we check out?

Our bass player, Kyle Pullan, is an incredible instrumental, finger-style acoustic guitar player. He blows audiences away wherever he plays with his original music and mad guitar skills.

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

We have lots of outdoor outlets here in the Canadian Rockies between skiing, snowboarding; mountain biking, rock climbing and paddleboarding. I also work as a certified climbing guide taking clients up rock faces, frozen waterfalls and mountains, which is a pretty darn fun day job.

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).

Like I said, I can’t get enough of the Middle Brother album; so I will pick Daydreaming by Middle Brother

____________

Follow Raven & The Fox

Official:

http://www.theravenandthefox.com/

Facebook:

https://www.facebook.com/theravenandthefox/

Instagram:

https://www.instagram.com/theraventhefox/

YouTube:

https://www.youtube.com/channel/UCUiHU9LmgsT-pjJUqEW6JkQ

Spotify:

https://open.spotify.com/artist/2qBpKlbqWE6WwUVeY6WlYz

SoundCloud:

https://soundcloud.com/the-raven-the-fox

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

_________

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.  

___________

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.

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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

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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.

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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

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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.

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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

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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.

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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

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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

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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!

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Follow track not found

Official:

https://tracknotfound.com/

Facebook:

https://www.facebook.com/tracknotfound

Twitter:

https://twitter.com/tracknotfound

Instagram:

https://www.instagram.com/tracknotfound/

SoundCloud:

https://soundcloud.com/tracknotfound

YouTube:

https://www.youtube.com/channel/UChKr1qEF0X4aYihMWJojh0Q

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:

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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.

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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

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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

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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.

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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

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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