INTERVIEW: Salt Ashes

INTERVIEW:

Salt Ashes

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IT has been a while since I last spoke with Salt Ashes…

so it is a good time to catch up with her now - Girls is her new single and I find out what inspired the song. She talks to me about future material and her development; new artists she is compelled by; which three albums mean the most to her – she provides some good advice for new songwriters.

Salt Ashes tells me what it was like sharing the stage with Tove Styrke and Little Boots; what sort of music she grew up on; what she hopes before this year is through – she ends the interview by selecting a rather cool song I had not heard before!

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Hi, Salt Ashes. How are you? How has your week been?

Hey. Great, thanks. It’s been a busy week of sessions and getting ready for the new release.

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

Yeah. I’m an Electronic/Pop artist based in the U.K. and I like gin.

Tell me a bit about your single, Girls. What inspired the song?

It’s about a situation that happens too often, I think…

When someone makes an assumption that you want more than a friendship despite telling them over and over that you don’t. I hate the ‘slut-shaming’ time we live in and hearing that ‘They were asking for it’. It’s bull*hit. We should all be able to be free to express ourselves how we want without someone deciding for you that you want more!

I last featured you back in 2016. How do you think your music has developed since then?

Music should always grow and develop with the new experiences and knowledge you have in life…I don't know; I guess I feel surer of myself as a person now and I think that’s reflected in my songwriting and what I’m writing about.

Will there be more material coming later in the year?

Absolutely. I’m hoping to release a lot of music this year.

Having shared the stage with the likes of Tove Styrke and Little Boots; have you learnt a lot from other artists?

I loved those two gigs!

Yes; the biggest thing I’ve learnt and continue to is to make the music you want to make and be as honest as you can. Don’t follow trends. I see this with certain artists and respect them so much more for it.

What sort of music were you raised on? How important was your childhood tastes to what you record now?

I was raised on a really wide range of music so, even though it, inevitably, has some kind of influence on me, I don't think it directly impacts my writing now. I grew up on music my brother and sister listened to like Madonna, TLC; Lauryn Hill, Nirvana; Oasis and, later, discovered Disco in bands like Change, Giorgio Moroder and Daft Punk…

The media certainly loves your music. Does it give you confidence knowing so many people are reacting to what you write?!

I find it pretty nerve-racking, actually; putting new music out there and waiting for the reaction…especially when the lyrics are so personal and you’ve put a lot of yourself into it. But, not everyone is going to like it and that’s cool with me.

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

Gigs are to be announced soon!

What do you hope to achieve in 2018?

I want to be playing more shows this year and getting more music out.

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

Supporting Say Lou Lou at Heaven was a big highlight for me.

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

Jeff Buckley - Grace

His voice. His delivery. The Sadness. I learnt a lot from him and his songs as I was growing up.

Daft Punk - Homework

This was when my eyes opened to a whole new world of music. I put this on still when I wanna lose my mind for a bit.

A new favourite is Sampha – Process

It has so much depth and intricacies, yet and his voice gets my blood rushing.

What advice would you give to new artists coming through?

Be strong. Stick with your heart. Don’t be influenced BUT be open to ideas.

IN THIS PHOTO: Esther Kirabo

Are there any new artists you recommend we check out?

I’m loving Esther Kirabo at the moment - her song, Kill U, is sick.

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

Music is pretty much my life. But, I like to do yoga and drink gin with my friends. Not at the same time though – although, that could be interesting.

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).

Play that Esther Kirabo tune! I love her

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Follow Salt Ashes

Facebook:

https://www.facebook.com/SaltAshes

Instagram:

https://www.instagram.com/SaltAshes/

Twitter:

https://twitter.com/SaltAshes

Spotify:

https://open.spotify.com/artist/1uX2GtTE1pYPFjEj6wQrhU

SoundCloud:

https://soundcloud.com/saltashes

YouTube:

https://www.youtube.com/SaltAshes

INTERVIEW: Artbreak

INTERVIEW:

PHOTO CREDIT: Rachel Naomi

Artbreak

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TOM from Artbreak has been talking with me…

PHOTO CREDIT: Joupin Ghamsari

about the band’s current single, Soda Can (out on 18th May). He tells me what it was like working with producer Tony Visconti and whether more material is coming up; how the band have developed since their earliest days – how the guys all got together and started making music together.

Tom reveals a favourite memory from music and whether Artbreak have common musical influences; what advice he would give to new songwriters coming through; whether he gets much time to relax away from music – he ends the interview by picking a cool song.

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

Hey! Not too shabby, thank you. 

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

Artbreak are a South London five-piece that attempts to merge angular, disconcerting riffs with Disco-Funk choruses.

Soda Can your new single (out on 18th May). What is the story behind it?

Well. You'd have to ask our lead singer for the full lowdown, but I always read it as a stream of consciousness; a backdoor into the mind of a disturbed narrator.

It is produced by Tony Visconti. How did it get involved with your music?! What did he add to the track, would you say?

We met Tony after a gig we did a couple of years back and he liked the music; told us to stay in contact - so we did - sending him demos, new releases and such. To our surprise, he got back in touch to ask if we'd like to cut a record at his new studio so, obviously, we jumped on the chance.

In terms of adding to the track, I don't think much changed in terms of structure: maybe a bar or two ended up on the cutting room floor but it was mainly arrangement ideas that he contributed; backing vocal stacks in the chorus and sampled sounds to beef up the drum kit.

Is there going to be more material coming? Might you work with Visconti again?

There's more material on the way. As for whether we meet with Visconti again, I'm not sure - he mentioned that he'd like to but you never know.

PHOTO CREDIT: Rachel Naomi

How did Artbreak get together? When did you start playing together? 

Artbreak rose out of the ashes of another band called the Savage Nomads. Four of us had been playing together for a while and the music had started to evolve away from the type of music we had started with, so we decided to rebrand!

You seem to absorb a lot of sounds and influences. Who are the main artists you would highlight as inspirations? 

That's putting it lightly and, if you asked each of us that question, you'd get a totally different answer. The only band I'm sure that we're all into is the (Red Hot) Chili Peppers. Their style is definitely a big influence on what we do.

How would you say you have developed as a band since your start? Do you think you have grown in confidence and strength? 

I think our collective songwriting has gotten a lot better: we always used to come up with good ideas but, now, I think we have a better grasp of what sections fit together well and when it's best to just cut a section in half or remove it entirely. Every decision should be for the good of the overall song.

PHOTO CREDIT: Chris Patmore

Can we see you tour this year? What gigs do you have coming along?

You'd have to ask our manager…

What do you hope to achieve in 2018?

A triple-platinum album would be nice.

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

The time in Liverpool where I'd just finished my first gig. I was incredibly nervous and terrified I was going to screw up and embarrass myself in front of all my mates, and I didn't and it went really well! I was so elated that I tripped over coming off the stage. 

PHOTO CREDIT: Rachel Naomi

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

Oh, man…that's a tough one. I'd probably want to support Roddy Frame of the Scottish indie outfit Aztec Camera. Firstly, cos I'm a huge fan but, secondly, because I think we'd actually get on. As much as I love Led Zeppelin, I can't see us hitting it off for some reason.

As for the rider; I'd just ask for heaps of cocaine. I could flog it on the way home and double my money.

What advice would you give to new artists coming through?

Love prevails. 

IN THIS PHOTO: Organised Scum

Are there any new artists you recommend we check out?

Check out a band called Organised Scum. Don't be put off by the name: it's actually very gentle, emotional music. Also; my mate is in a pretty cool band called Scent. If they ever get round to putting more music out, it'll be worth a listen.

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

Not really. As well as Artbreak, I also gig for a living and, when I'm not doing that, I teach guitar and bass. When I do get some time off, I tend to read about politics, which is not very 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).

Play some Scent. It smells good. 

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Follow Artbreak

PHOTO CREDIT: Chris Patmore 

Facebook:

https://www.facebook.com/artbreakofficial/

Instagram:

https://www.instagram.com/artbreakofficial/

Twitter:

https://twitter.com/artbreakkk

Spotify:

https://open.spotify.com/artist/7vwytpTJRVEDHWBHwZ415x

SoundCloud:

https://soundcloud.com/artbreakofficial

FEATURE: Hippocampus Unanimous: How the Way Music and Memory Interacts Mean We Are Mixing Modern Fascination with Fond Remembrance

FEATURE:

 

Hippocampus Unanimous

 ALL PHOTOS (unless credited otherwise): Unsplash 

How the Way Music and Memory Interacts Mean We Are Mixing Modern Fascination with Fond Remembrance

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A recent survey suggests we are all…

still gravitating towards established and well-known music. Artists like Ed Sheeran and Kendrick Lamar are huge on streaming sites but it seems, when we want that reliable and sensational musical hit, we are reverting back to the songs ingrained in the mind. I will bring an article into play soon but, right now, I have been thinking about memory and how and why certain songs remain in the mind. I must admit; even though I spend most of my waking live reviewing and interviewing new artists: the music I listen to most if older sounds. I always play songs that hold dear memories or have something special about them. That is not to say new music is worse or less affecting than classic music: we all retain those songs that soundtracked our best days or helped us through bad times. I have written about music and memory before – and the role of nostalgia – but it seems, when music is at its heaviest and most full; we are still remembering and proffering songs that have scored important moments and helped us through childhood. For me; my chest of memories seems to start in the late-1980s and runs through to the early-'00s. I tend to find those memories and emotions that come flooding back are more powerful to the ones that come from newer music.

Because the music is fresh and has not had time to settle in my mind; I go to older music because I know it is able to elicit the effect I require. There is a name for this phenomenon – as this article - http://www.bbc.co.uk/news/entertainment-arts-43995542 - explains:

“Research shows that the music of your teenage years is hard-wired into your brain.

There's even something called the "reminiscence bump" - which shows children have superior recognition for songs that date to their parents' and grandparents' teenage years.

And while streaming services fight each other for exclusive new releases, Spotify's own research shows that 40% of songs are streamed more frequently in their second year on the service than their first.

This week, the BPI released data on the "oldies" we played 2017 - showing that songs like TLC's No Scrubs, Toto's Africa and The Temptations' My Girl are still receiving millions of streams.

"Older songs are quietly accounting for a very significant proportion of listening," says BPI analyst Rob Crutchley, who calculates that 30% of the music played on streaming services was released before 2010”.

It is interesting discovering such a large percentage of music played on streaming services was released before 2010. It might not be a shock because the vast majority of music released came before that year. I think there are other reasons why we prefer a good slice of TLC as opposed the latest cut from Young Fathers.

IN THIS PHOTO: TLC/PHOTO CREDIT: Getty Images

It is great to get that new music to the ears and find something original and unexpected. It does what it needs to do but, when the song(s) have bled into the mind and resonated; they tend to pass through as we are exposed to the next batch of artists. The older songs – and the most-streamed of the past few decades – have stuck because of a physical and simple nature. There was less music back in the 1990s and we bought a lot more physical releases. There is a power when we think back to how we purchased and consumed music. It is harder to remember songs now because we are listening through the Internet and exposed to so many different options. That is not to suggest things now are in a worse state: the artists we have are pushing boundaries and there are some tremendous creations coming through. It has been speculated people of a certain age have better memories and find it easier to hold close songs from years ago. That memory subject divides my opinions. Maybe people of my age (in their thirties) have strong memories and we are able to remember further back and those songs we were exposed to as children. My parents’ music taste seems to be more rooted in what they grew up around. I feel, as new generations come along, memories will shorten and we will start to close that gap – listening to more music from the present and not investigating that far back.

I do not think there is anything to worry about for new artists. It is hard to soak in everything that is thrown at us. Music is at its most popular and interesting right now. Whilst we may not stream the same songs multiple times – or keep them in mind years from now – we are more daring and bold with our tastes. The buffet of music is out there and we have the option to hear music from all around the world. Good memory at the physicality of music has been replaced with limitless options and a much wider and deeper palette. The part of the brain that stores memories is more intriguing than any other (part of the brain). We might forget what we did earlier in the day but can, at the drop of a note, remember when we first heard that song and the people who were there. It is no surprise the songs we grew up around are lodged firmly in the memory and we can recall them whenever we need. One can quibble regarding quality – music was better and more impactful then – but the argument is more complex. We cannot truly say whether older music is more popular and demanded than new stuff. There is more music from the past but the streaming figures for the biggest artists of today are immense.

I feel there is a nice balance between the bygone tracks that have established their worth and the bigger, new stuff we have before us today. The fact we are coming back to studied we heard the year before and things are not connecting right away raises questions about modern music and how it takes longer to sink in – given all the competition and availability we have. What comes out of this is how important memory is and how, in an age of streaming, we are still holding onto less-than-new stuff. I wonder how new generations will digest music and whether the dynamics will change. Will we see the music of now overtakes artists from the 1970s, for example, as a preference? Another issue is a generational divide and how our parents and grandparents are not as intrigued by streaming as their children. Spotify and other platforms still find a greater audience from those who are more au fait with technology and grew up with the Internet. This is one of those topics that fascinates me and is vital when it comes to understanding who listens to what music and how memory and sound entwine. That hippocampus importance and how good memory not only affects how we retain music from the past but explore more from the present – I can see this trend impacting listening figures and tastes in years to come. It is important to keep those classics aflame but we must not forget about the current market who are pushing the industry forward and, let’s hope, forming wonderful memories for…

THE young of today.

FEATURE: Under the Overdraft: The Risks of Operating a ‘Free for All’ Policy in Music

FEATURE:

 

Under the Overdraft

 ALL PHOTOS: Unsplash 

The Risks of Operating a ‘Free for All’ Policy in Music

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THE next few months…

will be quite a busy and stressful time for me. I have quit my, frankly, horrid job and decided it is time for a change. Many people do this but, without a job straight to go into, I have left myself quite a task to fulfil. To be fair, a full-time job is not on the cards where I am: I plan on moving to Manchester and working up there. For the moment, then, I am caught between getting some part-time/temporary work – to keep the money coming in – and starting the ball rolling up there. I want to visit Manchester next month and have a look around; check out a couple of flats and, most important, make sure I have something lined up regarding work. It is all a case of balancing things and transitioning without being too short of cash or being unprepared. It is quite a scary time but exciting all the same. Going somewhere new and experiencing ‘foreign’ people is pretty cool. It will be a case of transitioning and settling in but, when it comes to Manchester; one does not have to struggle for company and friendliness. One of the biggest gripes and concerns right now is how few people are willing to pay for musical coverage and subsidise my blog. Part of the plan is/was to work part-time on my blog and do part-time work out in the open.

This is predicated on musicians and labels stumping up a bit of cash for my work. There are a couple of websites I am checking out – one that is run by a label boss – that goes behind the scenes and takes away the middleman. The pitch is put on the site (not sure if I can mention it at this point) and negotiations would take place. The journalist would make an offer to the musician/submission regarding fee and what the interview/finished product would consist. Once the work has been completed and everyone is satisfied; the money would be transferred and that would be it. It is designed to disintermediate and ensure artists who pay P.R. companies and labels a lot of money to promote their work are targeting blogs who can give value for money and ensure the finished product is what they want. So many artists are paying big companies to pitch their material and get as much coverage as possible. It is hard to say how effective a promotional campaign is and whether it is as potent as planned. This site guarantees a good selection of blogs and a chance to compartmentalise and control the overall costs. It sounds great but what I have noticed is this: those who are big and have great artists on their books are not willing to pay for work; those who are new do not, perhaps, have enough money to go beyond what they pay to labels/P.R. firms and give it a journalist.

It is frustrating when you deal with those you know have that budget and money but feel, if they have had work done for free before, they should not pay out. Others do not pay the media for work and, instead, all the money an artist gives them stays within the company. That may sound fair but consider we are talking hundreds per campaign: some P.R. labels will have a couple of dozen clients and several people working for them. I guess you have to take into account wages and time but, when those are taken away, there is still money left over. There are one or two who are willing to pay a donation but it seems, largely, there is a stubbornness among those who want to get everything for free. Before; I took submissions and did not charge anything for them. I was working full-time but it meant I was working about ninety-five hours a week – in order to keep up with demand and ensure I could do both. I found, no surprise, doing that was not economical. What I am now facing is having to do a full-time job working more hours and less time to do work. The trouble I have is I can get anywhere up to forty submissions a day. So much of my time is spent emailing and having my hours calendared. That is fine but, when you have to balance that against work; how many spare hours are left? The perfect option is being able to split work and writing and have some free time to relax.

What I am doing now, or will be, is turning a lot of people away or asking if they would donate a fee – many will turn that down and it means far fewer articles and interviews going up. I explain this to people and, rather than a plea to stop that and a bit of anger, there is that nonchalant shrug of ‘I know what you mean’ and the feeling that, if I did that, I would be forgotten about and it is all part of the machine. Whilst many/most of us in music are part of that machine and demand; every single human being I know in music gets paid for it! Maybe the bloggers do it for free but all musicians and those who submit to my have an income. It is a shame to think I might have to limit my blog and dedicate more time to workaday jobs because of this struggle. I can understand why those less-well-off artists want to keep their money safe and do not have huge budgets. I have been speaking with others in the industry and many go through the same thing: they are writing for free and many have a pay-to-play option. Many venues are charging them money to pay so (the venue) does not lose money and gets something. Others are gigging for petrol money and it seems the money that is in the business is either with the bigger labels/bands or venues themselves.

I wonder whether journalism is a career that anyone can actually have any more?! With such competition and options around; it is seen as something that needs to be done for no financial reward. It seems strange because there are more and more musicians coming into the market. The demand is always increasing and every artist out there needs promotion. I am not going to quit what I do and want to keep my name among the frontrunners of the music world. In order to do this, and keep the blog going, there needs to be money coming in – spending most of my hours on a boring job to make ends meet is not something that appeals to me. If one has a strength and talent then it is not fair they should be doing it for free all the time. Musicians seem to be in the same predicament: there is less money out there and many people are working for very little pay. So many artists are stretching themselves to the limit and it is rather upsetting to see. I guess, with more people coming in, the coffers need to be split and divided. For musicians; they are relying on merchandise and endlessly gigging: journalists do not have many options beyond advertising. My ideal situation would be working for a P.R. label/radio station or somewhere I could do what I do for money and learn some new skills.

For that, I need to have the experience and training and, for the most part, that is unpaid – not viable for a non-student and someone who needs to pay rent. Regardless of talent and prolificacy; it seems the big journalism jobs will be for the middle-classes and privately-educated. It is tough for people like me and, with demand increasing and money a huge factor; other options need to be explored (for now). Advertising is an idea that has been suggested but with the caveat of research and a business plan. If one wants to hit the right advertisers and keep their income consistent and unimpeded; they need a professional pitch and put the hours in. It is a daunting and challenging prospect and, even when you are agreed on terms, the sort of money you will earn is variable. It might take months to get anything slightly reasonable. It seems there is a discrepancy when it comes to earnings and sides of the industry. Musicians vary in terms of what they earn but journalism’s profitability seems reserved to those bigger sites/publications. It is a shame there are so few willing to subsidise writers and ensure they can continue to work. I do wonder why some labels are rigid when it comes to payment and whether, in this day and age, everyone expects everything for free.

Going forward and it seems, in order to keep journalism afloat and ambitious, there needs to be money available. I cannot expand and diversify my site on my earnings as they are. I do not have the time to put in more effort and, to get the best from my site; I need to have a bit of income arriving from those I write for/about. Advertising is an available route but it seems to be a rather tricky and gamble-laden option. We also need to consider musicians and ensuring they are compensated for their time. Too many are working for free or paying venues to perform! That seems ridiculous and unworkable for many. Turning music and journalism from a job to an unpaid passion is a dangerous culture. More people will drop out and fewer will be attracted to go into the industry. This will lead to a privation and detriment none of us can afford. Many might muse where the money is going to come from and how can we fairly pay everyone in the business. That is fair, but I would counter that by arguing that nobody in any industry – unless it is a volunteering role – should be unpaid. What I and thousands out there do is not a hobby or casual thing: this is what we want to do and what we provide every day of the year.

It may be beneficial to labels and artists putting stuff up for free in a timely matter: those who have to sacrifice social hours and struggle for money are the ones being hit. I know musicians who are in the same hole but none, to my knowledge, do every single gig for free – that would be a barbarism and injustice one could not overlook! There are great websites that offer the chance for artists and labels to donate a fee and ensure blogs/sites are subsidised: if everyone/most says ‘no’, then how can one reasonably expect blogs to produce work and feel it is okay?! It is a complicated argument and there is only a limited purse out there. I feel there is a disparity of wealth and I see too many social media posts of bigger labels/D.J.s/writers splashing the cash and not really struggling – many others are living on the breadline and, because of that, have to work two or more jobs and push themselves to the ragged edge. My plans, going forward, very much include my site but I realise I will have to cut back and take fewer submissions on board…otherwise, I will not be able to afford rent and have any options to go out or have any sort of a life.

It is sad but, unfortunately, something many people have to live with now. It is not right or fair and, for those who have been working free of charge for years; it is only right that dedication and excellent work is paid – this goes for journalists and musicians alike. It may be tough for those who organise interviews and work but think about those people you are emailing and the position they are in. Many times, they are doing all the hard work and putting in much more effort. They do this all for free and it seems, at the end of the day, all the money earnt from the artist stays with the label/company – I know it their professional job but it seems unfair to expect every person you contact you work for free. I would like to see this change because, if journalists and musicians have to work endlessly or give up what they love to simply keep the bank balance in the black then that will make music a much…

POORER and undesirable place.

INTERVIEW: Slim Loris

INTERVIEW:

Slim Loris

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IT has been cool chatting with…

the chaps of Slim Loris. Their E.P., Wild & Untamed, is out and I was interested to know about its current single, Hideaway. The Swedish-based band talk about their style of music and how they got together; whether there is more material coming later in the year – they tell me what gigs they have approaching.

I was interested to know whether they get much time away from music and what advice they would offer any new artists emerging; if they could support any artist alive today, who that would be – they end the interview by selecting a song each.

___________

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

Very well, thank you. Been an exciting week, what with our video being released and our E.P. release coming up this week. 

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

We are Slim Loris from Stockholm, Sweden; a four-piece band that plays Indie-Rock mixed with ‘Scandicana’: a melancholic Swedish version of Americana. 

Hideaway is your new single. Can you tell me about it and how the track came together?

It’s a song of finding a safe place or hideaway to get away from the troubled times. 

It started off as a guitar line that our guitar player Robert wrote and presented to me that I turned into a song. We knew from the start that we wanted to do something different with it than our normal guitar, bass and drum setup. We had some ideas that our producer Pecka Hammarstedt took to another level. Very happy with the outcome. 

 

The video is pretty amusing! Whose concept was it? Do you get a big say in how your videos are presented?

It was all our director, Jonas Hong Soo Eriksson’s idea; his interpretation of the song. We know what he is capable of and pretty much gave him free hands with it. 

Is there going to be more material coming soon?

We aim to put out an E.P. a year so, hopefully, next spring there will be new material out. 

How did Slim Loris get together? When did you begin recording music?

It started out as me (Mattias) and Robert getting together just jamming in 2009. 

We´re old friends from our school days and fancied playing a bit together again. Songs started coming together and we recorded a few demos in the early days and felt we needed to take it further; so we added my old band mates from a band called Celebrate the Sun, Leon and Jonas, and recorded our first album, Down to Earth, in 2011.

 

Did you all grow up in musical households? Which artists inspired you to get into the industry?

There was always music around for all four of us growing up and a bit of amateur playing, too. Me and Leon grew up on our dads Beatles collection and – that’s been a major influence ever since. A lot of '90s stuff like Britpop and Trip-Hop with a sort of D.I.Y. mentality has also been a big influence. 

What do you hope to achieve in 2018?

Hopefully, for as many people as possible to get their eyes up for our music and to be able to get out and play live as much as possible: our favourite place to be.  

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

Playing at the Cavern Club in Liverpool and going on a U.K. tour a few years ago was the highlight for all of us. Being influenced by The Beatles and U.K. music, in general; it was a massive experience going up on that stage. 

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

Tom Waits. Just a genius - and makes music like no one else. 

Some local beers, JD and coke; Loka (Swedish mineral water), some lighter food for three of us and stodgy belly filler for our drummer. 

What gigs do you have coming up? Where can we catch you play?

So far, it’s only a few ones in Stockholm booked, but there are more to come. 

On 25th May, we will play at the festival IPO Stockholm; a great festival with lots of brilliant bands (Southside Cavern at 9 P.M.). 

Is the stage somewhere where you all feel at your very best? How does it feel getting up there and performing to the people?

It’s our favourite place to be. Everything else just fades away and you’re in a moment of pure ecstasy, more or less. All the hard work with recording is getting paid off there, basically. 

What advice would you give to new artists coming through?

Just have fun and do what feels right and find the right people to work with that can see your vision and take it further. 

IN THIS PHOTO: One of 2018's IPO participants, Dim Vanilla

Are there any new artists you recommend we check out?

Check out the bands playing at the IPO festivals. We´ve done a few and there’s always a high standard.

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

We´re all family men outside music, so any time not working or playing music is spent without families. 

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).

Frank Ocean (ft. Andre 3000) - Pink Matter 

Pearl Jam – Alive

Prince - When Doves Cry

Massive Attack - Karmacoma

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Follow Slim Loris

Official:

http://www.slimloris.com/

Facebook:

https://www.facebook.com/slimloris/

Twitter:

https://twitter.com/SlimLoris

Spotify:

https://open.spotify.com/artist/4i1M26n7NN5vINKv3VfuHu

SoundCloud:

https://soundcloud.com/slimloris

INTERVIEW: Mondegreen

INTERVIEW:

PHOTO CREDIT: Dave Nelson Photography  

Mondegreen

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YOU can certainly not accuse Mondegreen of providing…

little value and depth when it comes to interviews! I have been speaking with Claire, Leanne and Laura about the upcoming E.P., Change (out on 18th May), and what inspired the songs. They discuss their beginnings and whether they have grown in confidence over the past year; which new artists we need to get involved with – they each select an album that means a lot to them.

I asked the trio whether any gigs were in the pipeline; which artists they are inspired by; what they do when they are not making and playing music; if there’s any advice they’d give to new artists – a few great songs are picked to end the interview.

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

Claire: Hello! Our week has been okay. We've been busy shooting the photos for the new E.P. which is coming out this month - and we have been organising our E.P. launch gig too.

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

Leanne: We are Mondegreen; an Indie-Folk-tinged Acoustic-Pop band from Widnes (shout out to Widnes) based in Liverpool and Chester. We're big on harmonies and like things to sound pretty.

Tell me a bit about your upcoming E.P., Change. What sort of themes inspired the songs?

The last E.P. had a more traditional Folk style based around the theme of the small town: this one has a little more attitude; it's a bit more female power-driven and we've been able to experiment with a different sound and use some new instruments.

Laura: We were also inspired by the focus on women in the music industry recently as a result of the Time’s Up initiative. So, one night, we just sat down and wrote about those experiences we’d had ourselves; the times where we had felt as though we were treated differently to male musicians or belittled. This is us standing up to that.

Will there be a single from the E.P. before its release?

Claire: We previewed the first song from it on Record Store Day. It’s called Sometimes and was the first song we all sat down and wrote together as a trio. So, that was quite exciting because it is a slightly new sound for us and we were looking forward to sharing it and will be even more excited when the whole thing comes out.

You have had a pretty busy past year or so. Have you noticed a growth in confidence since this time last year?

Laura: Playing festivals like Folk on the Dock and at The Atkinson in Southport, which is a wonderful big venue for us, really helped us grow in confidence. It was probably because it was the first time that we had people coming up to us and wanting to buy our C.D.s, so that was really special.

Leanne: The loveliest part of Folk on the Dock was that there were little girls there who wanted to get their picture taken with us, so we were living our girl band dreams that day! I think we have also gone down new avenues in the way that we write. Recording the first E.P. last year was actually a turning point for us because we heard the songs how we wanted to hear them for the first time and that pushed us to go on and try new things and to make us sound better, particularly when playing live too.

That was the first time that we had ever gone to a recording studio and we were lucky enough to be able to go to Post Electric Blues in Edinburgh and record with Rod Jones, which was pretty cool…and we were so happy with the way the songs turned out and how they developed so much that we went back again to do this E.P.

PHOTO CREDIT: Mike Burns Photography

Mondegreen is based in the North West. Is there a pretty varied and buzzing music scene there right now? Do you think many of us ignore the area in favour of London?

Laura: I don't feel that we are ignored in favour of London and honestly, I’m not sure the Liverpool music scene (the closest to us) even cares about that because it’s kind of in its own little bubble. It’s definitely varied: there are festivals for pretty much any kind of music over here. For us, though, we play in Liverpool quite often; we've often found it hard to break into those circles whereas when we’ve gone somewhere like London, people have been very receptive.

But, it’s all about knowing the right people and places to go to get gigs and then it can be great - and there are some great venues/communities like The Atkinson, which hosts bands from all over the world and over in Chester - where there seems to be a regular audience who want to come and support the music scene.

How did you all get together? When did the band start to play?

Claire and I met at primary school and became best friends. Our teacher used to play the guitar during assembly and started putting on guitar lessons so we started learning to play the guitar together. We played as a duo for years (ten, to be exact!). Leanne is my sister and she has been playing by herself and in various bands but would always just hang out when we would practice and started singing along so two became three!

PHOTO CREDIT: Mike Burns Photography

Which musicians do you all count as favourites?

All: Idlewild…

Leanne: But, we also have to be honest and say we love Idlewild as much as the Spice Girls.

Claire: For me, it's Jason Isbell. Sheryl Crow is a favourite amongst us, too. Leanne's a fan of No Doubt and Sunny Day Real Estate and Laura would like to actually be Kacey Musgraves.

Laura: We've all grown up in very musical households. Leanne and I would always have our mum and dad’s music on in the car or in the kitchen; whether it was Elton John, ELO or the War of the Worlds’ soundtrack.

Claire: There was always a bit of Shania Twain or the Bee Gees going on in the Smith Household.

Leanne: We've all got quite varied music tastes, but it's quite similar at the same time. Like, Claire used to play Cher’s Believe on-repeat through her PlayStation 1, whereas I used to dress in leopard print and dance to it on my cassette player!

PHOTO CREDIT: Mike Burns Photography

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

Laura: This is a difficult one because the list always grows. I could listen to The Remote Part on-repeat forever. Idlewild is the band that really got me into music because it was the first band I was introduced as a teenager.

Claire: I'm going to have to say Anastacia’s Freak of Nature, because that was the one that I used to always listen to in my old loft bedroom at the top of my voice - and is probably the thing that made me want to do all this!

Leanne: 100 Broken Windows. I probably heard this album quite late having discovered Idlewild in the same way as Laura and Claire, but the first time I heard it I just thought that this was on its own level of good.

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

Laura: Yes, we do! So; we have our E.P. launch coming up on 18th May at The Studio in Widnes and that's part of their monthly Authentic Acoustic night. We're quite lucky because we have The Studio in Widnes which is a great venue and everyone who works there is friendly and willing to try new things; there is (just) such a good community there and the audience are always very willing to listen.

Leanne: I think, if you have something like that on your doorstep, you should make use of it. There was the worry, recently, that they may have to cancel one of their monthly nights because not enough people were coming and it's a shame because they are always great nights, but the word probably just doesn't spread far enough.

Claire: We're also playing a few places in Chester including Chester Live, Telford’s Warehouse and, also, in Liverpool. Then, we're back in Widnes again at The Snig, so we have should have a nice little summer of gigs lined up!

PHOTO CREDIT: Mike Burns Photography 

What do you hope to achieve in 2018?

All: Glastonbury for the following year! Ha.

Laura: Honestly; we would really love to be able to play some festivals that maybe we've not had the chance to before and to build on from last year. Last year was the first year that we really felt like we gave the band thing a proper go - and we're just really trying to do that again but ten times more.

Leanne: We just hope that people like these songs and they reach people who've not heard of us before. It would be really nice to think that someone stumbles upon our C.D. and then hears something in it that they like…

Claire: ...and, of course, to (just) get some more songs written for the next E.P.!

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

Laura: Definitely, playing Folk on the Dock last year. It was a big show for us anyway but when we got off the stage there was a line of people waiting to speak to us and buy C.D.s, which was something that had never happened to us before. So, that blew us away slightly and still makes us feel excited when we look back on it.

What advice would you give to new artists coming through?

Leanne: The most important thing I would say is to make friends with people who are doing the same thing as you. If you're just going out to an open mic then go out with the intention of having a good time and playing is just the bonus, because it can be easy to forget that and just think that you're only there to play and go home. Because, it's not just playing, it's everything. It's the people who are there and the place you're in. I think, if you play like you mean it too, then people will listen.

IN THIS PHOTO: Dawn and the Embers

Are there any new artists you recommend we check out?

Laura: Yes. Strangers. We have played a few gigs with them and they're great. Dawn and the Embers because they are also a female trio and have really great songs (and are just lovely ladies).

Claire: White Little Lies. We played with them recently and their harmonies were, again, just lovely.

Leanne: Also, for no particular reason, we must also give praise to Gary Maginnis & the Like, Catherine Hardman and Careering.

IN THIS PHOTO: White Little Lies

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

Leanne: Honestly, this is how we unwind. We're all quite busy people anyway and this is what we have to sandwich in because we love doing it - and Laura is far too obsessive about it to ever take a step back. Claire is an avid baker and the only other thing I enjoy doing is Arrowwords.

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).

Claire: Jason Isbell – Speed Trap Town

Laura: Sorry, but, Spice Girls - Move Over (it’s an album track, at least!)

Leanne: KC and the Sunshine Band - Give it Up…

Laura: …I think that captures us pretty well, actually.

Thank you!

____________

Follow Mondegreen 

PHOTO CREDIT: Mike Burns Photography 

Official:

https://www.musicglue.com/heymondegreen/

Facebook:

https://www.facebook.com/heymondegreen

Twitter:

https://twitter.com/heymondegreen

Spotify:

https://open.spotify.com/artist/3UQgMgQkX9ENhOqZOMYmat

SoundCloud:

https://soundcloud.com/heymondegreen

INTERVIEW: Lack of Afro

INTERVIEW:

Lack of Afro

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IT is time to speak with Lack of Afro…

about his current single, Back to the Day, and what he has planned for the future. I ask whether styles like Disco and Motown are influential when it comes to songwriting; what the main changes to the music are since 2016’s Hello Baby; what gigs are coming up – Lack of Afro recommends a new artist to watch carefully.

I ask him what we can expect from the album, Jack of All Trades (out on 18th May) and what he hopes to achieve this year; how it feels getting positive reaction from the press; what advice he would give to new songwriters – Lack of Afro shares a fond memory from his time in music.

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Hi, Lack of Afro. How are you? How has your week been?

Hello! All good, thanks. It’s the first show of the new album tour this Sunday, so everything is in total overdrive getting ready for that…I’m exhausted and we haven’t even started yet!

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

I’m a producer and multi-instrumentalist from the South West of England. My music is a blend of the old with the new and I’m about to release my sixth studio album called Jack of All Trades.

Back to the Day is your new one. What is the story behind the song?

That one was written with Elliott Cole who sings vocal, plays guitar and bass on the song. I’d wanted to do a track with a Jackson 5 vibe for a while and so we gave it a crack – luckily, it turned out pretty well.

It has summer written all over it. Did you set out to pen something people could get down to?

Definitely! That was the brief really: it had to be dancefloor-worthy and it had to make people feel good.

I hear shades of Disco and Motown legends. What sort of music/artists do you vibe from?

Yeah absolutely – that track has The Jackson 5 all over it. I guess I wanted to see if I could do the genre justice. As a producer, you’re always learning. I’ve definitely learnt a lot since the last album and it’s always nice to try out genres you haven’t attempted before – experimenting with different styles, songwriting and instrumentation is kind of where it’s at for me these days...

Generally, though, it completely depends. I’ve never really stuck to one genre: I like to mix it up so I tend to be influenced by a lot of different artists working in different styles. I listen to a lot of Hip-Hop (Piñata by Freddie Gibbs is on heavy rotation at the moment), Disco (a recent favourite is Harvey Sutherland’s Expectations E.P.); Soul (Otis Redding’s Otis Blue; anything by Sam Cooke, Motown; Stax and Atlantic), Rock (forgot how good Pinkerton by Weezer is); Jazz (Cannonball Adderley’s Somethin’ Else), some amazing modern Funk and Soul by Vulfpeck; Sex & Food by Unknown Mortal Orchestra, which has a bit of everything in it and last, but by no means least, two of my all-time favourites: Tapestry by Carole King and Aja by Steely Dan.

That’s what I’ve been listening to recently. I’ll be compiling an ongoing Spotify playlist in time for the new album’s release, so people can check out what I’ve been listening to.

Elliott Cole is on the track. How important is it having him in the mix?

Elliott is amazing. He’s got it all really – an awesome voice, a great bass player; a fine guitarist and, to top it off, he’s a lovely bloke too! I feel very fortunate to be able to write songs with him, to be able to record his voice and I get to play live with him also. He’s just an incredible all-round musician.

Jack of All Trades is out on 18th May. What influences did you bring into the album? Were there particular themes that compelled the songwriting?

The sound I’m able to get now (together with the way of working) has changed since the last album. I have a new studio in the basement of my house that has a separate live room, as well as a 1970s ex-broadcast mixing desk in the control room that everything was recorded through. The addition of the separate live room has meant a much tighter sound when recording the drums, piano; vocals and percussion and it has allowed me to be able to experiment with the drum sounds in-particular.

All the instruments are mic’d up and ready to go which makes such a difference too – if I have an idea I don’t have to worry about setting up microphones as everything is already good to go.

With every album I do, I always set out to better the last one - at least to me, anyway. That’s always the songwriting brief: to progress and just write better ones!

Is there a song from the album, you feel, defines the album?

There isn’t, actually. I think you’d be hard pushed to pick a song from any of my albums that defines that particular record as, musically, they’re pretty much all over the place! I like to think though that, despite the disparate musical styles present in each one, that they all have certain coherence to them.

In the past; you have been lauded by radio and publications. Is that sort of backing important?

It’s important in that it can give you a certain confidence to keep on doing what you do. This industry can be very tough at the best of times, so hearing a track of yours on BBC Radio 6 Music (for example) can really give you a lift. Likewise; when you see your music in a film or T.V. show. I guess it’s a form of validation. As an artist, it’s vital to make music that you feel passionate about but to be able to make a living from it means that other people have to respond to it too.

Jack of All Trades is a good example of the rollercoaster. One minute, I’m thinking it’s some of the best material I’ve produced, to the next, then thinking that no-one is going to like it. It’s how it goes!

How far do you think you have come since 2016’s Hello Baby? Are you a more confident artist?

I would say so, yes.

Generally, you tend to grow more comfortable in your own skin as you get older, which is definitely true in my case and I think that has had an effect on where I am as an artist. I like to think that I’m making some of my best music these days and despite being over ten years in, I still have lots to say. I’m grateful to be able to have my own label which means there’s an outlet for any project I’d like to do.

What do you hope to achieve in 2018?

Honestly; I just hope that people enjoy the new album! By the way, hats off to any artist who makes an album; puts it out there and stands by it, as it’s one of the hardest things you can do.

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

There are so many – hearing your first single on national radio for the first time was very special (Wait a Minute, way back in 2006).

Recently, though, I had a text from Madlib who said he liked my music, which was incredible. He’s been a hero of mine for years - I remember reading interviews with him when I started out and buying all his L.P.s on Stones Throw (his Yesterday’s New Quintet project was the direct inspiration for my Unity Sextet series. I stole the idea, basically!).

We’ve actually chatted quite a lot since and I’ve learnt a lot from him. To have someone like that respond to what you do is more than you can hope for. There’s even talk of us working together, which would be insane!

What advice would you give to new artists coming through?

Stick to your guns, be honest with yourself and always have faith in your ability.

Are there any new artists you recommend we check out?

The Fearless Flyers – a Vulf Records offshoot!

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

I’m a husband and a father too, so a lot of my time is spoken for! I love the beach though and sea swimming is definitely good for the soul. I’m a rugby and cricket fan too and watch both whenever I can.

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).

A Brighter Darkness by The Mighty Mocambos

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Follow Lack of Afro

Official:

http://www.lackofafro.com/

Facebook:

https://www.facebook.com/lackofafromusic

Twitter:

https://twitter.com/lackofafromusic

Instagram:

https://www.instagram.com/lackofafro/

Spotify:

https://open.spotify.com/artist/5e3Z7HYpiVcP3TlU0a4yap

SoundCloud:

https://soundcloud.com/lackofafro

INTERVIEW: Justine of Holy Roar Records

INTERVIEW:

Justine of Holy Roar Records

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IT is a busy time for Justine of Holy Roar Records…

so I was lucky to catch some time with her and ask all about the Label Lodge. The Label Lodge is a collaboration of Soho Radio, AIM and Jägermeister. For more information on events, artist announcements; scheduled performances and residency details for the Label Lodge visit the Soho Radio website, the AIM website or keep an eye on #JagerSoho on Twitter.

I found out about the event and all the goings-on; how Justine got involved with Holy Roar Records; what advice she would offer anyone looking to set up a label; what it is like working alongside Jäger Soho – she tells me whether her band, Employed to Serve, are releasing new material and whether working for a label impacts and aids her music.

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

Good, thank you! I’ve been dipping in and out of the studio recording vocals for my band’s (Employed to Serve) third album and setting up the Holy Roar Label Lodge pop-up!

I am interested knowing more about Holy Roar Records. Can you tell me how it came together and what inspired you to join the fold?

Alex started the label back in 2005 and started releasing CDs for local bands and friends’ bands he liked. The label is named after one of his favourite band’s songs, Holy Roar (by Torche). I started working for the label after I finished uni in 2014.

Holy Roar was releasing Employed to Serve’s first E.P. and Alex asked me if I wanted to intern. I started interning and worked my way up to being the full-time label manager.

This week in the #LabelLodge at #JagerSoho we've got @holyroarrecords bringing everything they've got.

Join us, @sohoradio & @AIM_UK in checking out some of their merch and musical knowledge! pic.twitter.com/JpwNC1Pi60

— Jägermeister UK (@JagerUK) May 7, 2018

You have a pop-up week coming. What is the idea behind it? Where can we come and see that?

Soho Radio and Jägermeister have very kindly lent their space, Jäger Soho, to us for seven days. Each year they run the Label Lodge in association with AIM (Association of Independent Music) where they have pop-up shops from different labels from all genres for a week each - and give them a great space to sell their releases and host acoustic in stores.

Which artists will be playing? What is the main objective of the event/pop-up?

The main idea behind it is to give the label a face, so to speak.

It’s nice for our followers to be able to see the people behind the label and also great for us to meet them! It’s easy to feel detached when everything is online-based. We have acoustic sets from our bands Modern Rituals, Apologies; I Have None and Serena Cherry (Svalbard).

How does it feel working with Jäger Soho? Are you excited to collaborate with the brand?

Very excited. They’ve been very welcoming and we feel very lucky to be given the opportunity to occupy such a great space!

How would you define the work Holy Roar does – what is the ethos of the label? Who are the best new acts you have on the roster?

We release bands we love, not because we think they will ‘sell’, that’s the very core of our label. The label and our roster are very close-knit and help each other out: it’s more like a community as opposed to a business. Our most exciting newcomers at the moment are MØL, Giver; Modern Rituals, Boss Keloid and Garganjua. We have also released awesome new albums from Rolo Tomassi and Conjurer this year!

If anyone wanted to set up a label or join one; what would you say are the biggest advantages and pitfalls, perhaps?

One of the biggest advantages is doing something you love; meeting great new people and helping bands you love succeed. The only pitfall is, sometimes, releases don’t do as well as you’d hoped, which can be frustrating when you absolutely love the album! Apart from that, it’s a really gratifying thing to do but it’s not easy so expect to put in a lot of time!

You get out of it what you put in.

There are a lot of great labels sprouting up at the moment – most coming from larger cities like London. Do you think the openness and accessibility of music, and rise of streaming, means there is greater viability?

I think accessibility is a gift and a curse: it’s harder to stand out but at the same time easier for people to hear your music. Another great thing that’s come from streaming/digital is that a label can start by releasing bands digitally first to gauge people’s interest in buying physical albums. This means labels can start with a much smaller startup cost.

Employed to Serve is your band. How did the group get together? Do you think your work with an upcoming label positively impacts your music – giving you a better understanding of the industry and what the daily realities entail?

The band started off as a two-piece consisting of myself and guitarist Sammy Urwin and we used programmed drums for our first two E.P.S. We started to gain a great amount interest despite not having ever played a show and decided to add a (real) drummer, bassist and guitarist in the mix…two albums later and here we are!

Being in a band and working for a label really helps to understand the way the music industry works as you get both perspectives from both sides of the industry and how everything works.

Is there going to be new material coming from the band? Are you working on stuff at the moment?

As of this week, we would have finished recording our third album and we can’t wait for everyone to hear it!

I understand you have a column in Kerrang! Do you think print media is still in a stable condition? What are the biggest assets of working for a reputable and solid publication like Kerrang!?

I think print media is doing well at the moment, especially when the quality of the magazines are so great! It’s really awesome to have a platform for me to yell about the bands that I love - that’s the best thing about it.

What advice would you give to new artists and creative-minded people coming through?

Work hard and be nice to people. Honestly; I can’t stress enough how this industry is all about going out of your way to chat to people. You’ll meet some lifelong friends doing this.

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

Awesome!

Homewrecker - Fade to Oblivion

Thanks for having me!

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The Label Lodge pop-up dates:

23rd - 29th April: 1965 Records

30th April – 6th May: Distiller

7th – 13th May: Holy Roar

14th – 20th May: Acid Jazz

21st – 27th May: Wah Wah 45s

4th – 10th June: Women In CTRL

11th – 17th June: Wichita

18th – 24th June: 4AD

25th June – 4th July: Communion 

2nd – 8th July: Sunday Best

9th – 15th July: Partisan

INTERVIEW: Hollow Coves

INTERVIEW:

PHOTO CREDIT: Sean Jones 

Hollow Coves

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THE rare force of…

Hollow Coves is one you do not want to be without. The Australian duo have amassed a passionate fanbase and no surprise as songs like Ran Away and The Woods have struck a chord and are fantastic pieces of work - they explain the story of the former; I ask about the video for the later.

Ryan and Matt talk about forming Hollow Coves and picking up success; when they are hitting the road; the advice they would offer new songwriters emerging – I learn when music came into their lives and what they hope to accomplish to before the end of the year.

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

Hey! We are very well, thanks. Our week has been good. Just finished up a tour opening for Tom Walker at ten shows throughout Europe. Now, we are in England making our way up to Leeds before the Live at Leeds festival this weekend. 

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

We’re an Indie-Folk duo from the East Coast of Australia. We write chilled Acoustic songs.

What can you reveal about your new song, Ran Away? What is the story behind it?

I think the story behind Ran Away is a story that is familiar to a lot of people: it was written about a lost friendship/relationship. What was once a close friendship slowly drifted apart and, over time, this person started heading in a different direction in life and started making bad decisions - and in the process became almost unrecognisable. It was something we had both experienced with different people in our lives. 

You have released the video for The Woods. Can you tell me about how it came together and what it was like creating it?

Matt had a mutual friend from the Sunshine Coast who was a producer and, after showing him the song, he came back with this really cool idea for the video and we loved it. The concept told the story of six characters that are all living different lifestyles; all doing different things to try to feel fulfilled.

As the story progresses; you see that each character is not fulfilled and it builds up to them eventually running and leaving it all behind. Then, in the end, they all meet around a fire where they feel the joy of community with others.

He had an amazing team of guys that he put together for the video. He also intertwined some shots of us singing and playing and used some really cool visual effects to overlay images of the locations of each of the characters. 

The E.P., Wanderlust, has proved very popular. Have you been surprised by the success it has accrued?

Yeah. We can’t believe how much support the E.P. has received. We definitely weren’t expecting it...

Will there be more material coming later this year?

We’re going to be in the studio in the next couple of months working on new material so, if all goes well, we should hopefully have some new material to put out (*fingers crossed*).

Ryan and Matt. How did you meet one another? When did Hollow Coves come to be?

We met each other in 2013 and, I guess, that’s when Hollow Coves began. Although, it wasn’t really anything then: it was just the two of us writing some songs out of the love of music. We met through a mutual friend. We had both been doing music stuff separately and then, one day, we decided to meet up and have a jam...and it just kinda worked.

PHOTO CREDIT: Jordy Merry

Did you both grow up in musical households? Can you remember the first album you each bought?

Matt:  Everyone in my family played an instrument while I was growing up - actually, they all still do. The first album I bought was a punk band called MXPX. 

Ryan: No one in my household played an instrument when I was growing up but there was always a piano in the house and my parents are music lovers, so there’s was always music in the house. I have a terrible memory so I can't remember the first album I bought. I think it might have been Blur or something weird like that. 

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

We are heading down to London and we’re playing at Omeara on May 15th. Then, heading down to Brighton for The Great Escape festival on May 17th; then, we have some studio time after that. Then, playing Bushstock in London on June 23rd; then, a bit more studio time before heading back to Australia in August for a headline tour. 

What do you hope to achieve in 2018?

World peace...we're going to be working on a lot of new music as well. 

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

Ryan: The one that came to mind first was actually quite a recent memory from our show in Montreal. We were heading toward the end of our North American tour and Matt and I were both kinda tired. We were backstage before the show and we were both feeling pretty flat. Then, as soon as we went out, the crowd just gave off so much energy. Everyone was singing along and going wild for every song.

The room was absolutely jam-packed and it was just such a beautiful night. Definitely, a memory that I will cherish for a while.

Matt: Travelling through Norway and working in a studio on the coast outside of Bergen. 

PHOTO CREDIT: Sean Jones

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

Maybe Mumford & Sons. I saw them live a few years ago and the energy in the crowd was amazing. For the rider; we don't need a lot. Just a good healthy meal and some water would do us just fine. Oh, and Matt wants a sausage dog to play with backstage. Haha. 

What advice would you give to new artists coming through?

Don't settle for anything you're not happy with. Have fun with it. Love music. Try to keep pushing when you think you've hit a wall. Be a nice person. 

IN THIS PHOTO: Austin Basham

Are there any new artists you recommend we check out?

Austin Basham, Riley Pearce and Alexander Biggs. 

IN THIS PHOTO: Alexander Biggs/PHOTO CREDIT: Ash Koek

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

Lately, it’s been pretty full-on. On the road, we have been playing a fair bit of Monopoly Deal. That’s always a good time. Back home, when we have time off, Matt is usually out surfing and I used to skateboard a lot but, these days, I just catch up with friends and go explore somewhere beautiful and take photos. 

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).

Ryan: Austin Basham - All Is Well 

Matt: Oh Wonder – Ultralife

____________

Follow Hollow Coves

Facebook:

https://www.facebook.com/HollowCoves/

Twitter:

https://twitter.com/HollowCoves

Instagram:

https://www.instagram.com/hollowcoves/

Spotify:

https://open.spotify.com/artist/7IAFAOtc9kTYNTizhLSWM6

YouTube:

https://www.youtube.com/channel/UCXXtcdTIu-usD7rrq1w0TAw

SoundCloud:

https://soundcloud.com/hollow-coves

INTERVIEW: Parker Matthews

INTERVIEW:

Parker Matthews

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FROM Italy…

it is over to L.A. for a chat with Parker Matthews. The Pop artist tells me about his new single, Hit and Run, and how he manages to balance a contemporary, accessible sound with something unique – he talks about his experiences of being bullied and why it has made him more determined.

Matthews discusses albums and artists who are important to him; whether there are any gigs locked down; whether he gets time to chill away from music – and, more importantly, whether new material is coming down the road.

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

Hey. I'm doing great. How are you? My week has been super-busy, but good!

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

What’s up, guys? I'm Parker Matthews.

Hit and Run is your new song. Can you explain how the song came together – what started the ball rolling?

Hit and Run came from the idea of me wanting to give someone more than a one-night stand. 

It is a contemporary Pop song but not polished, needlessly, for the mainstream. Did you work hard to ensure it had some commercial appeal but kept its edge and unique flavour?

Yes. I wanted to song to have some edge to it while still being able to be looked at from a commercial eye. 

What comes next in terms of material? Will we see an E.P. later this year?

So; I am going to be releasing a lot of material this year and am going with standalone singles, because I want them each to stand on their own.

Talk to me about your experiences with bullying. Did you face a lot of torment growing up at all? Did that compel you to align with anti-bullying and suicide-prevention charities?

I did. Growing up was a terrible time for me and going to school was something I dreaded each and every day. However, learning that it truly does get better has influenced me to grow and align with several suicide prevention groups. 

Obviously; supporting the L.G.B.T.Q. community is a big thing for you. Do you think a lot of artists in the community are overlooked because of their sexuality?

I think the idea of artists being overlooked because of their sexuality is becoming less and less as we, as a country, progress.

Which musicians did you grow up around? When did music come into your life?

I grew up being inspired by so many artists, especially my hometown girl, Christina Aguilera. Music is something that has touched me ever since I can remember. It truly saved my life.  

Is Los Angeles a great place to make music? How important are the people in terms of your music and ambitions?

L.A. is a great place for music. Really, it's between L.A. and N.Y.C. but, for me, the weather out here had me sold! Also; it's great to go to the beach and write, and also, the people I've added to my team out here have really made the process amazing.

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

I am set to perform at a few Pride’s this summer. More info to come soon!

What do you hope to achieve in 2018?

I want to engage with as many fans as possible; really grow as an artist over this year and tell the world my story. 

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

I think my favorite memory is a writing session I had and during that night. I was sitting in the same chair as (Lady) Gaga when she uses that studio. That was truly an inspiring moment!

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

For sure, Stripped by Christina Aguilera

Because every single song on that album has such an incredible message behind it.

Really; any of Sia's albums, because she takes most other songs other artists turned down and makes a masterpiece out of them!

What advice would you give to new artists coming through?

I'd say to keep your eye on the prize and really focus on your vision and who you are as an artist.  

 IN THIS PHOTO: Camila Cabello

Are there any new artists you recommend we check out?

Camila Cabello. Her music is great!

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

I don't have much downtime but, when I do, I am always with friends or having a movie night at home.

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).

Beautiful by Christina Aguilera

____________

Follow Parker Matthews

Official:

https://www.officialparkermatthews.com/

Facebook:

https://www.facebook.com/OfficialParkerMatthews

Twitter:

https://twitter.com/_ParkerMatthews

Instagram:

https://www.instagram.com/officialparkermatthews/

Spotify:

https://open.spotify.com/artist/0ooRSJF7rQhoaLpHq0VBtb

YouTube:

https://www.youtube.com/channel/UC_LNvn4Vmhnt3n7mK-Esqtw

INTERVIEW: Forbidden Seasons

INTERVIEW:

Forbidden Seasons

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JUST after mentioning a lack of Australian content…

on my site, I am faced with an Italian band! It seems like this is a day for exploring and investigating artists from parts of the planet some of us take for granted. The guys of Forbidden Seasons have been telling me about their latest track, Wormhole, and its evocative video.

I ask what it has been like receiving praise for this debut album, Promise, and what they have planned for the rest of the year; they select a new artist to check out; whether they get much time to detach away from music – they each choose an album that means a lot to them.

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

Hi, to you! Everything’s fine, thanks. We had a normal week: practising and working like always.

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

We are Forbidden Seasons; a Metalcore band born in 2016 in Turin. Our music is both melodic and aggressive; a great mix for everyone approaching Metalcore for the first time. We just released our debut full-length album, entitled Promise, so make sure to check it out!

Tell me about Wormhole and the story behind the song.

Wormhole is our last single off the new album, Promise. The song is a halfway between Metalcore and Pop culture. Keys and synths are the main protagonists, developed on a main melancholic and dramatic violin track. The chorus was written first, very open and epic: “I've got your demon inside" means a lot of things in different ways and, for this reason, the song is developed between F minor and A# major, to describe the anger and the hope.

We wanted to create a Pop sound and, at the same time, powerful and strong parts; to catch all those people facing Metalcore/Post-Hardcore for the first time

 

The video is explosive and raw! What was it like filming it? Was it a fun shoot?!

We really enjoyed filming the video; the entity was played by one of the two directors of the video - and it was really funny shooting those scenes! We also loved the playback scenes. The location was on the top floor of a huge villa, without an elevator, so it was very hard to bring all the backline and instruments up and down the stairs. Anyway; it’s been a really cool experience!

Wormhole is taken from your debut L.P., Promise. It has gained good reviews already! Has it been encouraging seeing people react so positively?

Of course, yes. All of the work we’ve been doing is for our fans and people who don’t know us yet; so, when we see positive reactions, we couldn’t be happier. It means that the song is working!

Are you already looking ahead to another album – or concentrating on touring your debut album?

Both. We never stop composing new music, but now we’re focusing on creating a perfect live show, to tour and promote the new album. 

You are a Turin band. What is the music scene like there? How did Forbidden Seasons get together?

The scene is not so good…at least not for Metal music. There are many good Rock/Metal bands in Italy but the music industry focuses on Pop and Rap artists, so it’s hard to emerge.

We are five guys from the same town, with the common dream of being musicians, so, we decided to create this band…

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

We all grew up with different kinds of music; so each of us put his influences in our songs. 

The most inspiring musicians for us are Jason Richardson, Luke Holland; John from the band Northlane (we bought his sound-pack for our Kempers), Lucas Mann from Rings of Saturn and Corey Taylor from Slipknot.

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

Fede: Sempiternal by Bring Me the Horizon

Danny: Ultu Ulla by Rings of Saturn

Paul: All Our Gods Have Abandoned Us by Architects

Symon: Mesmer by Nothlane 

Mark: Sleepless by Adept

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

We have to focus on few other things right now, but we’re always working on tours planning. So, as soon as we have any news we’ll let you know.

What do you hope to achieve in 2018?

For 2018, we want to travel as much as we can to share Promise with people and, of course, we’ll start to think about new songs for the future.

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

Each of us has had their own way/route into the music world: many memories are good, others are bad. I think I speak for everyone when I say that the best memory was our first gig plus; a meet-and-greet as Forbidden Seasons in Moscow (2017). We will never forget that moment - and we can’t wait to be back!

What advice would you give to new artists coming through?

To every new artist out there, we want to give you this advice: follow your dreams and never give up because life is only one and you have to live it, filling it with your passion. Also; never stop practising and improving skills with your instrument!

IN THIS PHOTO: Cry Excess

Are there any new artists you recommend we check out?

Follow Cry Excess. We’re close friends here in Turin and they’re a great band with a huge attitude in the music business!

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

We love to spend as much time as we can in the studio - and in our practice room - to train our skills; we love playing and we relax doing it. For sure. We have free time and we spend it with our friends or parents... 

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).

Here are our favourite songs:

Paul: Gravedigger – Architects

Symon: Drown – Bring Me the Horizon

Fede: Dispossession - Northlane

Danny: Senseless Massacre - Rings of Saturn

Mark: The Sinner - Memphis May Fire

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Follow Forbidden Seasons

 Facebook:

https://www.facebook.com/forbiddenseasons

Twitter:

https://twitter.com/forbiddenssns

Instagram:

https://www.instagram.com/forbiddenseasonsofficial/

Spotify:

https://open.spotify.com/artist/4DEqzD90ksjSAR74KfrMgQ

YouTube:

https://www.youtube.com/c/ForbiddenSeasonsOfficial

INTERVIEW: Harrison Storm

INTERVIEW:

Harrison Storm

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THERE is a part of the world that deserves…

greater exposure on my blog: I am spotlighting far fewer Australian artists than I’d like! Luckily, Harrison Storm is here to quench that thirst! He discusses his upcoming single, Feeling You, and what it is about; what themes influenced his E.P., Change It All (released last year) – I ask about his childhood and how early musical experiences impacted his career and ambitions.

He talks about dropping out of university to pursue his dreams; what tour dates he has coming up; the three albums that mean the most to him; whether he has a favourite memory from music – Storm reveals what his plans for the remainder of the year are.

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

Hello! I’m great, thanks (smiles). The week has been really cool. I’m in the U.S. for a bunch of songwriting sessions, so it’s a busy but a super-creative time.   

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

I’m a singer-songwriter from the Mornington Peninsula, Australia (Which is about an hour south of Melbourne) and I play Indie-Folk.

Feeling You, your upcoming single, is out on 25th May. What is the story behind the song?

It’s a song about being captivated by someone for the first time...

Your E.P., Change It All, was released late last year. Were there particular events and inspiration points that compelled the music? How personal are the tracks on the E.P.?

All the tracks on the E.P. (each) have their own stories and meanings to me. The thing I love about songwriting is that you capture a moment in time in sound form and, for me, the emotions that I decide to capture are always so varied.

The title-track, Change It All, was written when I was quite down about a lot of things…and is a song about facing those darker thoughts with a different perspective.

Is it true, when you were twenty, you organised an acoustic night near your home in Victoria (Australia)? What was the reason behind that?

It is true! Some of my favourite memories of music are from those nights. I got a call out of the blue from a friend of a friend who found out I played music and wanted me to book the live music for a new night they were starting. 

At first, I was reluctant, in part, because I didn’t know any other musicians and I’d only played music for my friends and myself. But, I took the plunge and it turned out to be a really popular night, with people lining up for hours to get in at its peak. I was booking local artists and we built a cool musical community where we’d share our original songs. It’s still going, five years later, although, at a different venue and with a different booker. But, it’s still a great place for new artists to play for the first time!

You left to university to follow music; you started busking to develop your craft. Did you expect to go from where you were then to the man who put together a debut E.P. in 2015? Was it a rather nervous leap?!

Leaving university was a tough time for me. I really liked studying Engineering; although my passion for music was stronger. So, leaving was something I won’t regret. Everything that led up to putting together the E.P. was quite surprising. Everyone that is a part of it appeared in my life from putting myself out there. It all fell together in such a weird and special way.

It seems your childhood was quite idyllic – living near the beach and learning to play an Ibanez guitar. What are your memories of that time? Which musicians did you aspire to be like and follow at a young age?

My family’s property, growing up, had a creek running through the back of it, which led to the beach. So, my friends and I would always be exploring the creek, building little forts and spending time at the beach. It was awesome. Yeah, my mum had a beautiful acoustic Ibanez guitar lying around. She taught me Blackbird by The Beatles and we’d always listen to Neil Young, Fleetwood Mac and The Beatles.

I guess I just wanted to be like those artists at a young age: strumming the acoustic guitar and singing.

What is the music scene like where you are in Australia? Do you find there are a lot of varied and interesting sounds bubbling around?

There are a few bands on the Mornington Peninsula who are making some cool music, which is all pretty varied. But, if you drive an hour north to Melbourne, that’s where all sorts of stuff is going on. As much as I love Melbourne, I like the peace and quiet of the Mornington Peninsula...especially for writing.

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

I have a bunch! I’m playing some showcases in North America this May and then I head to the U.K. and Europe for some touring with New Zealand artist Louis Baker at the end of May and into June. Check out my website for dates.

What do you hope to achieve in 2018?

I’ve been writing a lot lately, so I’m feeling quite creative. I really can’t wait to share some of these new songs and visit places I’ve never been before, playing some shows!

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

It was probably my first ever headline show in 2015. We booked this really cosy room in Melbourne and didn’t really expect many people to come...

Anyway; my guitarist Justin Lewis and myself busked three-four times per week leading up to the gig as promotion and we ended up filling the entire room on the night. Think it was just shy of three-hundred people…and they were singing the words. I won’t ever forget that.

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

Neil Young – Harvest

A lot of memories are tied to this album - from my parents playing it when I was growing up. A true favourite.

Ben Howard - I Forget Where We Were

This album lived in my car’s C.D. player and I think its the album I’ve listened to the most. It never gets old for me.

Jeff Buckley – Grace

One of the greats - and this album is pure gold to my ears.

What advice would you give to new artists coming through?

I think busking is such a great way to get your music out there in a really organic way. So, get onto the streets!

IN THIS PHOTO: Hollow Coves

Are there any new artists you recommend we check out?

I am a big fan of Hollow Coves. Beautiful, beautiful music.

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

Yeah. I guess, if music gets too much to me, I’ll go for a surf; a walk or something. But, usually, my decompressor is reading a book before bed. Something really boring like that. Haha.

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).

Jack the Fox – Brother

____________

Follow Storm Harrison

 Official:

http://www.harrisonstorm.com/

Facebook:

https://www.facebook.com/harrisonstormmusic/

Twitter:

https://twitter.com/HarrisonStorm

Instagram:

https://www.instagram.com/harrisonstormmusic/

SoundCloud:

https://soundcloud.com/harrisonstorm

Spotify:

https://open.spotify.com/artist/5Ld19xtpAR80G2boTcHaVx

YouTube:

https://www.youtube.com/channel/UCCD0NCGYWt6k1Dm2kmnRhtA

FEATURE: This Is Childish Gambino’s America: How a Single Music Video Ignited the Internet and Proves the Format Is as Relevant and Powerful as Ever

FEATURE:

 

This Is Childish Gambino’s America

IN THIS PHOTO: Childish Gambino (Donald Glover)/PHOTO CREDIT: RCA Records 

How a Single Music Video Ignited the Internet and Proves the Format Is as Relevant and Powerful as Ever

__________

IT is a little bit TOO hot today to do any real journalistic pounding…

PHOTO CREDIT: Getty Images

but I felt compelled to put my fingers to the keys and express an admiration and shock concerning Childish Gambino’s video for This Is America. Childish Gambino is, as you know, the moniker of actor-and-all-round-genius, Donald Glover: he is dispensing with the sobriquet and, let’s hope, making music under other guises…or, as his regular self. The thing with Donald Glover, mind: he is anything but ‘regular’ and ordinary. The third album from Childish Gambino, “Awaken, My Love!” is, hard to believe, two-years-old now (I swear, it only came out a few months ago?!). The eleven-track record got critics swaying and swooning; it impacted and was a huge hit! Now that Glover has announced plans to put Childish Gambino to stud; many have looked around and wondered where our next hit of passion will come from – now that we will no longer hear from the interestingly-titled-singer-songwriter. Hold right there, you! Like a golden pigeon shot from the sky by a cannon of psychedelic candyfloss – it IS rather hot… - Mr. Glover has shut my mouth and unleashed a new song: the mighty and timely, This Is America. From a black artist living in a corrupt and evilly-ruled nation; the song was hardly going to be a celebratory and proud thing! It is rare to think back and find, in the recess of memory, a music video that made such an instant impact...

I guess Beyoncé, when Lemonade was released a couple of years back, gained plenty of hype and focus – that was more to do with her status and the fact she had an album coming. Childish Gambino’s single has got the Internet exploding and drooling with equal fortitude. I am not sure whether this is the precursor to a final album or a one-off single. Childish Gambino is embarking on the This Is America Tour so one can only assume an album is on its way. One of the reasons so many people have put his name on top for the Twitter trending table is the extraordinary video for This Is America. You only need look at the video (above) to see what all the fuss is about. It is this phenomenal piece that is more performance art and dance than a conventional video. If it consisted multiple locations and something multi-million-dollar and glossy; I am not sure there would be the same level of fever. It is our man Donald Glover, essentially, dancing and weave his way through, what looks like a parking garage; backed and joined by a crew of dancers and extras. The video stays innocently and calmly as we see a black male playing the guitar whilst sitting on a chair. Our hero wiggles his body and starts dancing away as he is joined by choirs and young dancers. The foreground is quite goofy and humorous whilst, in the background, we see panic, cars on fire and police controlling crowds.

VIDEO STILLS: YouTube/Donald Glover/Hiro Murai

The video is, as I said, shot in a large underground compound/carpark, it seems. Everything happens on this one level and the camera does not really move all that much – all the action seems to happen in the single shot; busy and teeming with activity and physicality. Many, myself included, noted how the eye is drawn to the background and the violence and rush you see. One is hooked by Childish Gambino and the dancers: you are split between this alluring and strangely captivating dance and something filmic and dramatic happening behind. Maybe that funny and slightly off-kilter dance is a metaphor for the government’s approach to gun violence and the plight of black America. The song’s messages of gun violence and endless hate are perfectly and potently portrayed in the clip. The camera does a tracking arc where it goes to a level above the ground and shows children, wearing masks, filming the carnage of their phones. By the time the camera swoops back down; we see cars ablaze and a sheer panic. All the while, more intense and popping than ever; our man is unfazed and even more engrossed in his dancing ritual. It is a striking contrast and somewhat flippant response to the desolation and hell that has been unleased. One can theorise and guess as to the messages and symbolism in the video. It is the evocative and brash mingling of light relief and an eye-opening reality that makes the video so strong.

It is amazing to see how it progresses and follows an arc. You might assume such an imaginative and staggering piece is directed by, say, Michel Gondry: it is the sturdy and stunning lens of Hiro Murai that is responsible for what we are seeing. Maybe it is ironic – or not! – that the most startling, relevant and important videos we have seen in the past few years have been from black American artists. You can look back at Beyoncé’s promotional videos for songs like Formation and Freedom; the stuff Kendrick Lamar has released from DAMN. – including its title-track and HUMBLE. Not only are these lavish, meticulous and gigantic creations; they are delivered by incredible black voices who are seeing their people marginalised and overlooked. Of course, the likes of Beyoncé are addressing women and other parts of society who are being forgotten and trampled on. It seems noteworthy seeing these phenomenal artists angrily react to the way America is being run; producing masterful videos that accompany stunning and mind-opening songs. Before we even get to the most memorable scene in This Is America’s video; one needs to take a breath and try and get on top of everything. Even though there is a single location (a large one, mind), the sheer effort needed to put it all together is immense. The foreground choreography is impressive and complex enough: look at what happens in the background and it is, in a sense, its own film! I am not sure how many days and weeks it took to conceptualise and visualise a generation-defining video that has dropped jaws around the world.

It is the depiction of gun violence that has drawn the biggest reaction. In the video, Childish Gambino is shot side-on and pulls, what looks to be a gun up – it is his fingers he is simulating to look like a gun. Everything has slowed and focused – from the frenetic and full-on scenes before – and the hero lights a cigarette and walks to the right of shot…out of the frame and, likely, completing Act II of the video. We return to the opening shot – the black man and his guitar – but the man has a sack tied over his head. Childish Gambino walks over expensive cars and it seems, at this stage, the focus turns to social inequality and racism; the way the white, rich Americans and oligarchies are trampling others; how less-wealthy and prosperous areas are ignored by those in power. It is the scene of Childish Gambino dancing on a damaged car – the runt among the litter of luxury cars – and the camera tracking back that perfectly ends things. The guitarist is still trapped and we see a woman (SZA) sitting on a car to the right of shot. The hero is back in frantic mood and dancing evocatively as the camera pulls away. Just when you think things are over; we have the grand and thrilling finale. Before all of this; we have seen Childish Gambino/Donald Glover as a narrator and someone watching all the violence and terror takes place.

There is a black-out and, when the lights come back on as it were, our man is running for his life. All of the turbulent crap and building tensions of the background have come to the foreground and bearing down on the hero. We see him being chased – a stricken and terrified look on the face – with an assorted crew hounding and honing in on the ill-fated lead. Another twist and narrative has been brought in and brings a fascinating and unforgettable story to an end. The video has accrued over sixteen-million YouTube views and is number-one on its Trending list – I suspect it will be there for another few days at the very least! People are not really talking about new albums and where Childish Gambino is going from here: it is all about the here and now; that striking and biblical video. I mooted before and wondered whether the music video holds sway and importance in this day. We are past the flash and popular cool of MTV and the heady days of music T.V. Now, in a relentless and ever-packed world of streaming and ordinary videos; do we ever see anything that sticks in the mind and challenges the finest videos of all time?! I feel there have been so few in the last decade that could sit on the same planet as the very finest videos of our time.

PHOTO CREDIT: Unsplash

That is not the fault of the artists and directors: it is hard breaking ground and uniting attentions at a time when we are more distracted and less focused than ever before. Not only are we shorter of attention and more demanding; the world is more fractured and frightened – we are not really in a frame of mind to herald videos and talk about that sort of thing. There are great music videos released every year: not as many epic and epochal ones as we saw in the 1970s, 1980s and 1990s. Cultures have changed and we experience music is a different way (to back then). There was not the endless teaser campaign and drip-fed promotions ahead of This Is America. Instead, we had a bit of warning and the thing dropped from the sky. It has been shared, discussed and dissected ever since it arrived a couple of days back. I suspect people will take a while to fully comprehend the magnitude and visceral nature of the video. It is such a strange and phenomenal beast. The world has not seen anything as timely and loud as this in a while. At a time when black America is being pushed down and gun violence is at a shocking high; this is a video that has spoken louder than any politician or celebrity. There has actually been a lot of discussion about where the video is trending. It is top of the pile in Europe and other areas but not, until quite recently, in America.

PHOTO CREDIT: Unsplash

Maybe that is ironic and the perfect proof of what Childish Gambino is saying: important issues are being ignored and reduce to nothing. I know American viewer and listeners have got behind the song: it has made more of an impression outside of the U.S., it seems. It would be unwise to suggest there is racism and a callousness among some of the people – those the likes of Childish Gambino are rebelling against and holding to account. Maybe the message is too raw and real for people to deal with: perhaps the rest of the world is more aware and determined to highlight the state of a once-great nation. It is not only the plight of the black population and those who are subjected to violence and hatred. In many ways, the video looks around America and underlines the wealth divide and how things – under President Obama – have gone from relatively stable and safe to the point where we fear nuclear fall-out and the wet dreams of an unstable and demented leader. Donald Trump is the unseen, unnamed villain and perpetrator who is watching all of this sh*t happen and letting it go on. There is so much to digest when it comes to This Is America and its astonishing video. The song is almost overlooked in many ways.

PHOTO CREDIT: Unsplash

The lyrics are incredible and perfectly mirrored in the video. It is the way a track as angered and truthful as This Is America has been given a huge pulpit and platform to deliver its message. I am not sure how much the video cost but it was worth every dollar! So much has been achieved with the use of actors, a few vehicles and a perfect coming together of director and star. It is the physicality and fluidity; the way light-hearted and fearful weave and play alongside one another; how the eye is sent to the background and why that is – how much the video seems to represent the way politicians ignore problems and they are like puppets distracting the eye from the truth. As I said before: you can pull the song apart and try and decode its every angle and scene. If you have not seen the video before, I would urge you to go watch it – after reading to the end – and realise why it is causing such a sense of excitement and shock. We have not seen a music video come along that has caused such a reaction and amazed the world the same way as Childish Gambino’s This Is America. It would not be an exaggeration to say we will not see a video as astonishing and powerful come along…

PHOTO CREDIT: Getty Images

FOR many years to come.

INTERVIEW: Young Braves

INTERVIEW:

Young Braves

___________

THE boys of Young Braves have been gabbing…

about their newest release, Hunters, and what the song is all about. I discover how Young Braves formed and how their music/ranks have evolved/shifted; what sort of sounds they all listen to and take guidance from – they tell me what sort of dates are booked in the diary.

I ask what it was like (almost) supporting Fleetwood Mac; whether there is a healthy music scene where they are in Shropshire; which new acts we need to get our chops around; what they all want to accomplish before the end of this year is done – the chaps select a cool song to end the interview with.

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

Elliot: Hey, Sam. We’re doing good, thanks. Our week has been quite pleasant: a mixture of working our jobs in between rehearsing and writing new music. We just found out that Hunters is Record of the Week on our local BBC Introducing show, which we’re all dead proud of, and the music video came out on Friday, so that was pretty exciting as well.

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

Ollie: We’re Young Braves (Ollie, Jacob; Elliot and Max); an Alternative-Rock band from Shropshire, England. We’ve been playing music together for around ten years now; starting when we were between the ages of ten and twelve-years-old - and we’ve been writing music for as long as we can remember.

We’ve recently been through a bit of a rebuilding phase, with a lot going on behind the scenes, which includes the addition of our new friend and drummer, Max; so we’re treating this year as a kind of ‘fresh start’ and can’t wait to get back out there.

Hunters is your new song. Can you reveal how it came together and what its inspiration is?

We’ve actually been sitting on Hunters for quite a while, but we all agreed that it’d be a great first track to bring us back out onto our feet again. It was one of those tracks that kind of wrote itself, really. You start with an idea and the next bit just naturally follows...

Jacob: Yeah. Musically, it all came together pretty quickly, to be honest. I was already working on another song, that was going to have three distinct sections rather than a standard structure at the time, and Hunters just started off as the first section of that track. Once I got to what is now the chorus of Hunters, I knew it had to become its own thing.

So; I carried on working on the demo through the night and pretty much had it finished within four hours.

Ollie: It was the same with vocals, too. When Jacob played it to me, that chorus melody was the first thing I sang and I remember saying: “Wait; that’s it, I gotta record that in my phone!”. In terms of the lyrics, the song isn’t based on personal events but a story about being with a girl who won’t let her guard down. She tries to mask her insecurities by saying hurtful things: “It’s so subtle when you say you hate me”/“I feel so lucky when you say I’m useless” and she tries to push you away by being so closed (off) and untrusting: “Admission is tribal, you try to set me up and again you’re tearful/It’s an evil”.

But; it’s also a love story, you know. You care about this girl and you can see she’s hurting and you just wanna be there, and for her to trust you and let you in so that you can help her and make her happy. 

How does a Young Braves song come to be? Do you all write together – or will someone take lead?

Jacob: It varies from song to song, really. It’s a pretty collaborative process. Sometimes, one of us will come in with a completed song and then we’ll all give suggestions if we think anything can be improved. Other times, somebody will come up with an idea and the rest of us will take it, put our ideas in and build it up that way…

Ollie: …and sometimes we’ll just jam something random and end up with some really cool ideas. There is a lot of unused stuff that we always go back to as well. We’re constantly writing new material; so we like to revisit any ideas that we couldn’t quite finish the first time around with fresh ears and, sometimes, that can lead to some great stuff.

You formed in the summer of 2013. Did you all know one another before then? When did you know you had to make music together?

Elliot and I are brothers, so we’ve always known each other, but we met Jacob at an open mic night when we were nine and eleven-years-old, where he used to play a few songs with his friend, and Elliot and I played together. We started out kind of like rivals and it became a sort of competition where we would try to outdo each other. Eventually, Jacob caved and asked us to join a band with him and, funnily enough, we became best friends rather quickly.

Max is the newest member of the band and we met him through a mutual friend. This was only a few months ago - but he’s already part of the family.

Shropshire is where you are from. Is there a substantial music scene there? What kind of sounds are coming from the area?

Max: There was a period, about five-or-so years ago, when there were loads of bands doing bits in the area, but there’s not much going on in Shropshire anymore. There are not even many decent venues here now, so we mostly travel to Birmingham and treat that as our local area, really, because there are so many great venues and bands there. 

What sort of music do you all like listening to? Do you have quite similar tastes?

Ollie: There’s a lot of common ground when it comes to what we listen to. Artists we all like include Pixies, Nirvana; The Maccabees, Kings of Leon; Jeff Buckley, The Smiths…the list is endless. Haha. Jacob listens to a lot of Radiohead, Wild Beasts; Broken Social Scene, Car Seat Headrest, and I also listen to stuff like Kendrick Lamar, John Mayer; Mac DeMarco, Bombay Bicycle Club etc.

Max is mainly into much heavier music, but we’re gradually beating that out of him and giving him playlists of Alternative/Indie bands and songs to listen to that he’d like. Haha.

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

Max: Yeah. We’re trying to get as many gigs lined up as possible at the moment. We’re heading down to London on Wednesday to support Suffer Like G Did with Death and the Penguin in Kingston, and then we’re back closer to home on Saturday supporting Red Rum Club at Albert’s Shed in Shrewsbury.

Elliot: …and we’ve also got a headline show at The Actress and Bishop in Birmingham on Friday, 8th June which we are dead-excited about as well.

What do you hope to achieve in 2018?

Ollie: We had a real tough time last year and we went through some pretty unfortunate stuff, which resulted in last year being our quietest year to date. We’ve spent a lot of time rebuilding the band over the last few months, writing loads of new material - which we feel are some of the best songs we’ve ever written.

We also have a team of really amazing people working with us now and we’re looking to keep building momentum; releasing content throughout 2018 in preparation to make 2019 our biggest and most exciting year as a band…

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

Elliot: I think our favourite memory has got to be when we supported The Amazons at their sell-out show in Birmingham last year. We played at Mama Roux’s, which was a great venue, and the crowd was sick. We spoke to the guys from The Amazons after the show and they were so down to earth and really supportive of us as well.

Hopefully, we’ll get to play with them again sometime in the future.

Is it true you were asked to play a Black Keys show – Fleetwood Mac were also due to appear! Even though the gigs, at Birmingham’s 02 Arena, were cancelled; what was it like being asked after only one single?!

Jacob: Yeah. They were two different shows but we were asked to play on the Forum stage at both the Black Keys and Fleetwood Mac shows at the LG/Genting Arena in Birmingham. The Black Keys cancelled quite a while before the show due to the drummer getting injured, but the Fleetwood Mac show was cancelled just after we’d sound-checked, minutes before the doors opened, which was absolutely gutting as they’re one of our favourite bands!

We were so happy that we were asked, though, and it would have been an unbelievable experience…especially when we were so young as well.

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

There are a few artists that I’d really love to have a chance to support, but I think Radiohead would probably be at the top of that list.

As for my rider; it would be pretty simple, as well: just a few bottles of IPA, a pack of smokes and a decent meal to keep me going.

What advice would you give to new artists coming through?

Max: Rehearse as much as possible and take every opportunity that comes your way.

Jacob: I’d say, make sure that you are all committed to the same goal: you don't want to have one of you pulling all of the weight while the others just show up or just treat it as a hobby, especially if your goal is to make something out of being a musician. It’s a hard thing to achieve; there are lots of ups and downs but, as long as you all have the same passion for it, then there is no reason why you can't make it work.

IN THIS PHOTO: The Golden Age of TV/PHOTO CREDIT: Andrew Benge

Are there any new artists you recommend we check out?

Elliot: There’s a band we know called The Golden Age of TV who are really great and doing really well at the moment. A friend of mine is in a band called Party Hardly and they’re really cool.

There’s Middle Kids; an Australian band who are wicked, and a couple of local bands called Only Shadows and Candid who are also really cool. You should definitely check all of those guys out!

IN THIS PHOTO: Middle Kids

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

Ollie: We do spend a lot of time working on our music, but we all have things that we enjoy doing in the spare time we do get. Me and Elliot have recently got massively into basketball, so we’ll go and play at our local court or watch NBA games. It’s always nice to have a lazy day, just chilling with our girlfriends as well; binging on Netflix series/films and going on walks etc. All that good stuff. Haha. 

Jacob: Yeah. I like to watch a lot of films, too, and go for long drives to clear my mind.

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

The Golden Age of TV – Beast

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Follow Young Braves

Official:

http://www.youngbraves.co.uk/

Facebook:

https://www.facebook.com/YoungBravesUK/

Twitter:

https://twitter.com/YoungBravesUK

Instagram:

https://www.instagram.com/youngbraves/

SoundCloud:

https://soundcloud.com/young-braves

Spotify:

https://open.spotify.com/artist/4c8w2xBAw6zPIwct9wdFkQ

YouTube:

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

INTERVIEW: Louise Golbey

INTERVIEW:

Louise Golbey

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SPEAKING to Louise Golbey…

and one gets that instant sense of place and passion. The talented songwriter tells me about her latest single, Still, and what the story behind it is. I ask her when music came into her life and what it has been like performing with some of music’s biggest names – she reveals a few albums that have impacted her particularly hard.

Golbey reveals what the positive reaction to her E.P., Love It or Leave It, felt like and what her plans are going forward; where we can catch her perform; what she would tell new artists breaking through; how important the stage is to her – Golbey reveals her favourite memory from her time in music.

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

Not bad, thanks. Had a good, but it's been busy week promoting my new single.

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

I'm an independent artist based in London. My sound is Neo-Soul/Soulful Pop.

Still is your new single. Can you tell me what the background to the song is? 

It's a song about unrequited love - but with a hopeful message! 

What was it like working with producer Ross O’Reilly on the single? 

It was great. We are good friends, so it was really nice to finally work with him. He is a very talented songwriter/producer.

Love It or Leave It, your E.P., gained a lot of great reviews. Were you humbled by the reception and love is acquired? 

I was very humbled. It is so nice when you work hard on something and then put it out to the world; hope for the best and it goes well!  

When did music enter your life? Which artists did you admire growing up? 

I have always been surrounded by music as I grew up in a very musical household. My brother got me into Hip-Hop and R&B when I was little, so I grew up listening to a lot of classic R&B and Soul. I loved De La Soul, Salt-N-Pepa, Erykah Badu; Jill Scott and D'Angelo. 

I used to listen to my mum's old Motown records. In fact; that is one of my earliest memories. 

You have performed with some big stars and are one of the most in-demanded openers on the live circuit. Do you think your natural stage presence and experience is the reason so many venues and artists gravitate towards you? 

Thank you! I think my reputation on the live music scene has definitely helped me get the support slots. I'm so honoured to have worked with the artists I have and to have opened for such big names. 

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

My next big gig is in Hamburg in May, then a couple of small London festivals and a big gig at the 606 Club in July with my full band.

Just how important is it getting on stage and putting your music out there? Can you describe the feeling you get being up there? 

It is extremely important. Gigging is great to build your stagecraft and performance skills, work out what songs work well live and what audiences want. Social media plays a huge role, especially as an independent artist, so you have to use all the tools you can to get your music out there.

The feeling I get on stage is why I do this. I love performing and the buzz I get when I’m on stage, and it feels like every single member of the audience is with me, is the best feeling ever.

What do you hope to achieve in 2018?

I hope that the new single helps push my music to a new audience and I hope to continue pushing forward with bigger and better gigs and working on new music. I have an E.P. coming soon, too, and a soulful House track with a house producer which should be out in the summer. 

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

My favourite memory is opening for George Benson at Kenwood House. It was the biggest crowd I have ever played to. Oh…and supporting En Vogue a couple of years ago at Indigo2 was pretty special!   

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

Beyoncé - B’Day

I love Beyoncé, but this first album she did is, definitely, the best one musically and holds loads of memories for me,

The Miseducation of Lauryn Hill – Lauryn Hill

Amazing album. Oddly enough; I have been told my voice sounds a bit like Lauryn Hill!  

D'Angelo - Brown Sugar

The grooves and harmonies are just incredible and it was, probably, my introduction into a Neo-Soul style that I ended up adopting in my own music. The musicianship on this album is incredible, too.

What advice would you give to new artists coming through? 

Keep on keeping on.

It's tough out there but, if you love music and believe in what you're doing, just keep working hard. Do as many gigs as you can, hone your stagecraft; write with different people, go to gigs and support other artists on the same scene as you. Learn from each other. 

IN THIS PHOTO: IAMDDB

Are there any new artists you recommend we check out? 

I went to an amazing AMP night at The Jazz Cafe quite recently. IAMDDB was supposed to be headlining but she didn't do it in the end. The other acts were great - Ms Banks, especially, and she is doing really well at the moment. I think she is touring with Nicki Minaj soon! 

Otherwise, on the live music scene in London, I’m always blown away by the artists I get to share the stage with on unsigned nights...too many to mention! 

IN THIS PHOTO: Ms Banks

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

I’m pretty busy, so rarely find time to chill and, being an independent artist, there is always something I could/should be doing music-wise in my downtime! But, when I do get a chance to unwind, I like relaxing at home. Weirdly, I find writing songs relaxing. If I have time on my own at home, sometimes, that's when inspiration comes!

Also; I love socialising with friends and exercising. I go to the gym a lot and recently started swimming as well - which is quite relaxing! 

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). 

Please play Getting’ in the Way by Jill Scott

Thank you! 

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Follow Louise Golbey

 Official:

http://louisegolbey.com/

Facebook:

https://www.facebook.com/LouiseGolbey/

Twitter:

https://twitter.com/louisegolbey

Instagram:

https://www.instagram.com/louisegolbey/

SoundCloud:

https://soundcloud.com/louisegolbey

Spotify:

https://open.spotify.com/artist/4xy1xjef0tnBthzKjDZzTh

YouTube:

https://www.youtube.com/louisegolbeychannel

INTERVIEW: Koto Kill

INTERVIEW:

 Koto Kill

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I am kicking off this week…

by speaking with the intriguing and arresting Gabriel Ralls of Koto Kill. He has been talking about the new single, Riot at 45, and how it differs to the debut track, Vagabonds. I was keen to understand how Ralls' role as an audio technician and video producer affects and directs his songwriting; how the project of Koto Kill came together; whether there is any more material coming up this year – he recommends some new artists worth getting our ears around.

He talks about talks about gig possibilities and what he would say to new artists emerging; the three albums that mean most to him; what the scene is like down in Somerset (where he is from) – Ralls ends the interview by selecting one of my standout tracks from 2018 (so far).

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

Aside from badly dressing for this week’s schizophrenic weather, I’m doing great, thanks!

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

I’m a producer based in London that likes to make Electro-Rock with an industrial edge: a genre I now call ‘Dystopian Disco’.

Can you talk to me about ‘Koto Kill’ and how the project came together?

Koto Kill was originally planned as a side-project to (former band) Plastique. The idea was to collaborate with many of the amazing musicians we were playing with at the time. The idea didn’t come to fruition but, when Plastique disbanded, I decided to pick it up again.

Vagabonds was my first effort...and it’s been rolling on from there.

Riot at 45 is your new track. Can you tell me what the story behind it is?

It started with (The Actions’ guitarist) Mo Stellato laying down with ideas on some demos I had been writing, which allowed me to see a new direction I hadn’t yet considered. It really snowballed from there: before I knew it I had (Dronningen vocalist and guitarist) Beatrice Bonnano rocking vocals and (former Plastique colleague and Yur Mum frontwoman) Anelise Kunz adding icing to the cake with her bass.

I have to admit I’m really out of my comfort zone with this ‘fun’ sound, but it’s a song that everyone wanted to be a part of, so it felt right to keep going keep with it and, well, here we are…

How do you think it differs to a track like Vagabonds? Do you try to put a different identity and persona into every song?

Yes, I do. Exactly! Vagabonds is about the political and sociological polarisation of the U.K. post-Brexit vote. Riot… is about a heist taking place in a record store, where everyone is being forced to dance to records.

Pretty easy to see that, in terms of concept, the songs probably couldn’t be more different, yet they still exist in the same universe to me: they both reflect the importance of music in our lives. I’m simply giving less of a sh*t about consistency these days; life isn’t that rigid and we’re all hypocrites.

When did you get into music?

In terms of producing and writing? I was sixteen and just joined college. I had originally planned on doing a computing course, but I resented this - as that’s what everyone expected me to do. So, on my first day, I dropped the course and took up A-levels in Music Technology, Performing Arts and Media Studies, instead. I found I had a knack for these and really enjoyed the process, so I’ve been doing it ever since….

Mostly on a computer, of course.

How do you think your role as an audio technician and video producer aids you as a songwriter?

I generally don’t consider my videos during the process of songwriting - that normally happens afterwards. That being said; the video for Vagabonds was actually filmed before the song existed. I had to work in reverse: start from the video then work back to the song - both were completed in tandem. Emma (Holt, the video’s dancer) gave me some incredibly sexy and powerful movements to work with, and that definitely directed the song’s sound. It was something I’d never done before. I don’t think many others have, either.

When I’m in audio-tech mode, I depend on the sound to carry over the emotion or intention of a song - and I’m always particular about how things need to sound to achieve this.

Does it add extra depth and creativity?

Absolutely. If I just wanted to write songs, I’d get a guitar or piano out and just f*cking do it. But, that’s not my style of songwriting…and nothing to do with the fact I absolutely suck at guitar and piano.

Originally, you are from Somerset. What kind of music were you raised on at a young age?

Somerset isn’t exactly known for its music except, perhaps, the Wurzels (you laugh, but they’re still loved there). But, it is known for Glastonbury Festival, so we were always fluctuating between having no decent music to having the world’s biggest artists in our little corner of the world. I mean; how else could I have seen Bowie on my doorstep?

Despite this, I was mostly raised on a healthy diet of The Beatles and Clannad from my mum and a whole range of Classical music from my dad.

For me, it was always about Michael Jackson though.

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

Right now, the prospect of performing Koto Kill live is - sadly - a logistical nightmare and I really need to focus on finishing the songs first…however; if there becomes a demand for a live performance, I’ll make it happen.

Can you tell us what we could expect from a Koto Kill gig? What does the setup usually involve?

Assuming this happens and I get my way: dancers, lasers and fire. Probably Taiko drums for good measure.

I prefer to make experiences rather than just perform a regular gig but, of course, it’s not cheap - and we’re in an industry that no longer has any money. I would settle for just lasers, but I’d still need to pay the band; so let’s file all the above under ‘someday’.

What do you hope to achieve in 2018?

I have another single ready to go and at least one other video nearly done. Right now, I’m just releasing stuff and seeing what happens. I’d like to release an album or an E.P., but I’m honestly taking things one step at a time and responding accordingly. You will hear more Koto Kill, though. You can be certain of that.

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

I once saw White Miles perform at an Eagles of Death Metal show and they blew us away. I said to Fabio and Anelise (of Plastique): “We need to be supporting White Miles”. After the show, we met them and asked if they’d be interested in doing a show with us. A couple of months later, they emailed me asking if I could arrange a London show for them, with us supporting.

We actually made it happen and it was a night I’ll never forget. It just goes to show that if you don’t ask, you don’t get.

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

I’ll give you the abridged version, as I could be here all day:

1.       Nine Inch Nails - The Fragile

Twenty-three tracks of aggression, synths; guitars and angst. An amazing dynamic between the songs, pianos and cellos and de-tuned acoustic instruments. So many layers to envelop yourself in - both emotionally and sonically. Possibly my favourite album of all time and easily one of my main influences.

2.       Marilyn Manson - Mechanical Animals

While all the other goths were gushing black fluids to Antichrist Superstar and Holy Wood, I was much more in love with Manson's industrial-glam effort. There’s something quite alluring about him when you’re an angry teenager, trying to be a rebel in the countryside - but it made me feel powerful and creative.

3.       The Prodigy - The Fat of the Land

I didn't realise it was possible to mix Dance and Rock music back in 1997, but it was, and I fell in love with it immediately. Bought it on the day of its release; skived off school so I could listen to it all day. Been listening ever since.

What advice would you give to new artists coming through?

Keep writing music. Keep doing it. You gotta do it any way you can because you need to. I mean it. If you’re not prepared to keep on working on your passions, despite years of failure, then don’t bother. It’s hard work putting your heart and soul out there, but it won’t matter because it’s an incredible feeling when it pays off.

Of course, if you just want to become a celebrity singer, go on X-Factor. Or be incredibly lucky.

 Are there any new artists you recommend we check out?

First; I want to shout out to Riot’s collaborators: Yur Mum, Dronningen and The Actions. I’m also loving CHAMBERS, YONAKA; Healthy Junkies, Polly Pick Pocketz; The Pearl Harts and Emily Magpie right now.

Some of my other favourite collaborators are Courtesans and Tokyo Taboo.

 IN THIS PHOTO: Emily Magpie/PHOTO CREDIT: Alison Romanczuk photography

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

Video games, mostly. At this point, I might not surprise you by saying I’ve also worked in the games industry, so there was a time I couldn’t face playing games – but, these days, I try to make sufficient time to do so.

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

Thanks for having me! So far; my most-played song of 2018 has been Hot Pink by Let’s Eat Grandma. Takes a while to get into, but the chorus is incredible.

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Follow Koto Kill

Official:

http://kotokill.com/

Facebook:

https://www.facebook.com/kotokill

Twitter:

https://twitter.com/koto_kill

Instagram:

https://www.instagram.com/koto_kill/

SoundCloud:

https://soundcloud.com/kotokill

Spotify:

https://open.spotify.com/artist/0z9MuuwGZJ9fNJqe2Phovq

YouTube:

https://www.youtube.com/channel/UClbvHfABSUWrvoZQ1NfTMTg 

PHOTOS OF GABRIEL RALLS:

Gergo Kovacsidisz.

FEATURE: Verse 1, Line 2: How Easy Is It to Be Free and Loaded When Chasing a Musical Dream?

FEATURE:

 

Verse 1, Line 2

IN THIS PHOTO: Erin Pellnat/PHOTO CREDIT: Alex Joseph  

How Easy Is It to Be Free and Loaded When Chasing a Musical Dream?

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THE ‘Verse 1, Line 2’ part of this feature…

ALL PHOTOS: Unsplash

refers to the first couple of lines from Primal Scream’s hit, Loaded. Their ‘loaded’ is slightly different to the one I have in mind: more about getting wasted, I guess, than a financial advantage. My point and argument hold firm: we all, in a way, want to be free and do our own thing. Thinking about that Screamadelica masterpiece; it got me thinking about careers and how we often get trapped in the same routine and traps. Hot weather can do strange things to the mind: we can rationalise big leaps and find clarity when the thoughts are clogged and depressed. I have quit my job of two years and embarked on this decision to pursue music journalism as a career – if not full-time then, right now, on a semi-full-time basis. It is daring, I guess, making that decision but is there a perfect time or scenario where putting your all into music is right?! I have come to the point where I know where I want to live (Manchester) and feel confident my work merits financial remuneration and affectation. I am prolific and actually produce more than most other journalists around (comparatively) - and feel my time is being punished by working a full-time job I dislike and cramming unpaid music work into the remaining hours I have left. Trying to redress that imbalance instantly might be like eating a banquet after going on hunger strike for days: it feels right and good but one needs to be wary of the logistics and obvious ramifications.

Maybe that is a bad example, but you know what I mean – one gets to a point where a passion needs to be followed to its eager curiosity. Next week is a rather important and busy one: I am negotiating the heat and staying in (largely) planning a move to Manchester – a three-day trip next month to have a look around – and getting myself out there. I will be finishing up the bulk of my unpaid requests and transferring people to a paid site – I shall reveal more about that in time. I am aware the payoff and profit will not be huge and instant. There will be time to bed-in and it is going to be a little tough on the financial front. A part-time job will fill the gaps, for now, and when I embark on a move – around August-time, I suppose – I hope to be in a position to combine a part-time and productive writing side with some part-time work…retail or something of that sort. That allows me to combine journalism and work and find a good balance of sociability and quiet; paying the rent and making a go of things. When it all gets busier and bigger that will, before long, allow me to focus fully on journalism and make a bigger stab of it.  

Recently; I posted my plan on social media and it was met with encouragement and approval (thanks to all that responded) and I was heartened to know this leap was not foolhardy or uneducated. I have heard some horror stories from musicians recently that make me wonder whether more caution and consideration needs to be applied regards dispending with the mundane and boring. Some artists have seen their music screwed around and scrupulous promoters do them wrong. One contact was lied to by a promoter and lied to when it came to a deposit she was promised. Another has had a bad experience at a gig and met with an unruly and undisciplined crew and technical faults. I know setbacks happen and some artists will witness troubles – does that mean careers other than music need to be considered?! Of course not, but there is an argument to suggest there are obvious risks heading into an industry where financial security is not a guarantee. I cannot well turn my heels and retreat back into the nine-to-five slog after the first obstacle. I know paid work will trickle in and it may take a while to benefit truly. I am pragmatic enough to plan for some short-term struggle and know a fortitude and positivity is the only way to transition any quibbles.

There are many sitting on the fence and unhappy with their current lot. Music is, unfortunately, a precarious business where you can get paid gig and revenue but it is not a loyal and consistent stream: there will be fallow weeks and other times when the work comes rolling in. The profitability and situation for a journalist might be darker, still: only the bigger professionals rake in a proper salary; most of the rank-and-file scribblers are all battling in a rather busy and packed pond! I think one needs to do their homework whatever side of music they are considering leaping into. If you are a musician or D.J. then you have plenty of people to talk to and examples of similar-minded folk embarking on the same route. Journalists are able to investigate and see whether paid work is a reality that lasts beyond a few weeks/months. I have been doing this for over seven years and know the time it will take to earn a proper and secure wage is a little way off yet. The reason I dispensed with the office shackles – among others – is the time wasted in employment that did not fulfil me. Many of us have to do this and that is the way bills are paid and the way we get by. If you have talent, then, should we not try everything to foster that and make it viable?! That is the rationalisation that led me to post notice and embark on a journalistic step.

I have been spurred by others who have cast off their ties and office colleagues for something that is more nourishing and pleasurable – if lower paid and a little less structured. I have noticed a joylessness and sense of anxiety creep into the hearts of many people I know. They are frustrated having to balance working and making music: an impossible juggling act that, more often than not, is leading to undue stress and upset. Everyone needs to be sure of their decision when they decide to make music their lifelong partner – rather than the rather fun flirtation and casualness they had before. You will hear a lot of people suck through their teeth and give you the same sort of patter a builder would when doing an estimate for a renovation or extension on your house. It is all very costly and risky and, you know; do you really need to do it?! In fact; a builder would be less inclined to talk himself out of business – another bad analogy that I will drop. Too many people are hesitating when it comes to moving into music full-time. The downsides of failure are large and could lead to financial struggle: taking the risk is, surely, something you NEED to do?! I got to the point where I was so unhappy with my daily life and being a bit of a prick. Making a decision to move to a different area – somewhere I can feel more ‘me’ and alive – and the possibility of paid musical work has provided new direction and purpose.

Maybe it will be a little touch-and-go at first but, turning thirty-five (on Wednesday) has provided me with a sobering question: am I truly content and excited about life?! The answer was an easy and resounding ‘no’: I feel I am more frustrated and upset than I am optimistic and settled. The all-too-brief moments of music writing I got to do after my daily shift gave me a sense of relief, release and calm. Extending that, naturally, seems to be a good answer to alleviate the sense of unhappiness I have felt. I would urge others who are in a similar boat to taste and test the water before they leap in. Rather than think about what could have been and focus too much on the financial pits – there is always a back-up and option if you need to earn money – consider how meaningful your choice is and what music (or any other profession) means to you. It is all well and good me putting myself in other people’s shoes and confidently walking around without considering their situation and realities. Not everyone will be able to fulfil their dreams instantly: the fact you have made that decision and given yourself that goal recalibrates the mind and will, surely, take a lot of burden from the shoulders. Returning to the Loaded-quoting title of this piece and the question Primal Scream posed back in 1991: even though it documented excess, love and liberation; a line stands out that seems to bed rationalise and explain why people like me ditch the perils of a boring job and aim for the sky: “We wanna be free…

TO do what we wanna do”.

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.