INTERVIEW: GAZELLE

INTERVIEW:

GAZELLE

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WITH the weather brightening and people…

in a better mood; we are all looking for music that grabs the senses and elevates the soul. GAZELLE has released the exceptional and alluring Stay for the Night into the world. I ask the Liverpool-based songwriter what it is about and whether there is going to be any more material arriving later in the year.

She reveals what the scene is like in Liverpool right now; which new artists we need to get involved with; the sort of music she grew up around; if she gets any time to relax away from music – GAZELLE shares a great memory from her time in music.

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

I’m really good, thank you. This week’s been filled with a lot of music: two festivals in Liverpool at the weekend and then, finally, the release of my track yesterday.

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

I’m a singer and writer of soulful Electronic tracks. I think that’s the best way I can describe it for now…

Stay for the Night is out. It is a powerful and potent introduction. Did it take a while to put together – or was it a natural and instant creation?

It was very natural. I invited my friend round, who isn’t a musician, but I remember being particularly good at writing at school, to help me write a new song. I figured I could do the melody and guitar chords and she could help with the vocab. It all happened pretty quickly from there really; then, I got into the studio and converted it into what it is now I suppose.

I believe there is that love at first sight sensation. Is it true it is based on a friend and an instant click with someone at a festival?

Definitely, yep. My mate met her boyfriend at Leeds festival a few years ago when we were there together. I find it so much easier to write about very specific experiences. The lyrics tend to be far more descriptive that way.

I think the exact story was that he spoke to her in Welsh in the middle of a crowd and she happened to know one phrase in Welsh which was “Shut up and go to bed”, which she replied with (and the rest was history). Pretty funny. I didn’t manage to get that bit into the song, unfortunately.

Have you experienced that buzz and sensation yourself? How much of your own experiences go into the song, would you say?

Yeah, absolutely. Festivals are a magical thing. I’ve met many a people I fell in love with at a festival. I never saw them again, mind! But, we were definitely in love in that moment anyway.

Do you have other material in the tank for this year or are you keen to let the single get out there and make its mark?

I’m working on a few different songs at the moment. Just working out what’s best to follow Stay for the Night. Hopefully, my next song will be out in about a month. I didn’t release a song for six months - and I’m never doing that again!

You recently played The Secret Place. What was that gig like?! How were the crowd on the night?

That was an interesting gig. The crowd were really great. They always are. We weren’t too far from a chef, who was ringing his bell in time to the music. Everyone was getting involved.

I am interested to know when you got into music. Did you from studies to music – or was that flame alight from a very young age?

Well. I played piano and clarinet from an early age; at eight, I composed a song called ‘Jazzy Chocolate’, and had a few singing lessons, too. I then stopped music for a long time and went to university to study Chemistry. It was during a research year abroad during my degree that I decided to take a gap year and moved into an illegal underground arts commune in Paris (long, crazy story).

I then taught myself guitar, started a band and my love for music was reignited then and there. On returning to Liverpool, I decided to immerse myself in music and it's been onwards and upwards since really.

Can you give me a taste of the artists you grew up around? Which musicians compelled you at a young age?

My biggest inspiration has been Nina Simone. We used to listen to her on the way to school and back. I could have sung you the one-minute piano solo note for note in My Baby Just Cares for Me. Since then, it’s artist’s like Erykah Badu, Jessie Ware; Jamie Woon, Rhye; Tom Misch and Jorja Smith.

Liverpool is your home. Is the city still alive and teeming with musical talent? Do you pick up inspiration from the people and sounds of the street?

Liverpool is unbelievable for talent.

You think you’re just about getting to grips with the scene and all the people at the top of their game, then you’ll discover a load more you’ve never heard of. I’m really lucky to be from Liverpool; there’s so much going on and the Soul and Jazz scene is slowly but surely expanding too.

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

Mainly (just) local gigs coming up in the next few months: 19th June, Camp and Furnace; 22nd July on at Liverpool International Music Festival; BBC festival of firsts on the BBC Introducing stage in August.

What do you hope to achieve in 2018?

Ideally, I just want to release an E.P. that I’m unbelievably proud of and introduce people to the type of music that makes me so passionate about music itself.

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

I supported Soul II Soul about a year ago, which was amazing. They’re one of my dad’s favourite bands and he came to soundcheck and saw them sing Back to Life. I think that made his life and in turn made my life.

Which three albums mean the most to you, would you say?

The Internet – Ego Death

Miles Davis/Robert Glasper – Everything’s Beautiful

Jamie Woon – Making Time

What advice would you give to new artists coming through?

Do your thing: don’t do what anybody else wants you to do. You gotta be you.

IN THIS PHOTO: SG Lewis

Are there any new artists you recommend we check out?

I’ve recently developed an obsession with SG Lewis - also, Yellow Days. I saw them at Sound City this weekend. Also; listen to XamVolo. He’s the king of Electronic Soul in Liverpool and his voice is insane. Listen to him.

I could go on…one more! KWAYE!

IN THIS PHOTO: XamVolo/PHOTO CREDIT: Robin Clewley 

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

Yoga is a big part of my life at the moment. I’ve recently realised how important physical and mental-health is and how both are so deeply connected. It took me a while but I really make sure I get a good balance and try not to party toooo much!

Trying my hardest to be sensible anyways…

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).

Oooooooh. It’s gonna have to be SG Lewis – Aura.

I just can’t cope when the bass line comes in at the start. I have to do a lil dance when I’m walking somewhere every time. Whole track is just effortless

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Follow GAZELLE

Twitter:

https://twitter.com/thisisgazelle

Facebook:

https://www.facebook.com/thisisgazelle/

Instagram:

https://www.instagram.com/thisisgazelle/

SoundCloud:

https://soundcloud.com/thisisgazelle

INTERVIEW: Sean McVerry

INTERVIEW:

Sean McVerry

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THE rather spiffing Sean McVerry has been talking…

about his latest work, Private Lives. It is an E.P./mini-album and one I was eager to learn more about. The New York-based songwriter talks about the area and its vibe; whether more material will come later; which albums and artists are important to him – I ask whether he is coming to the U.K.

McVerry tells me how he spends time away from music; which new artists we should get behind; why he takes influence from the 1980s; when music came into his life – he provides a rather excellent song to end the interview with.

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

Hey, Sam! I’m pretty good for the most part. Currently on the brink of over-caffeination, which is a state I find myself in almost every day. It’s been a few weeks since the release, so I’ve been on a steady regimen of biking to Prospect Park, writing a few songs a week and trying not to slip into existential dread!

Also, a pipe burst in my apartment so currently there are a few dudes sawing a big ol’ hole in my ceiling. It’s sweet.

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

Nice to meet you. My name is Sean McVerry. Do you want a sip of this iced coffee?

Tell me about the E.P., Private Lives. What themes and ideas inspired the song?

When I finished Hourglass Switchboard I and II (feel free to google those by the way!) I was kind of all over the map, stylistically-speaking. I’m turned on by so many corners of Pop music and never really committed to any sort of genre to focus in on, for better or for worse. When I moved to Brooklyn, I found myself kind of living in these New Wave records and more current-age Dance records from DFA and the like.

I pretty much set out to write a record with the same sort of themes I talk about normally in my music but, through the lens of a late-'80s-inspired Dance record. It really was a creative constraint; perhaps the most fun kind I could think of. 

There are influences of the 1980s in the songs. Is it a decade you are particularly affected by? Why do you think so many new artists are looking back to the 1980s?

Well. I think there are many factors leading to this '80s wave. I could really talk about how genre/aesthetic/style is all this big cyclical nostalgia wheel, but who wants to hear about that?! I think some of it coming down to this resurgence in analog synthesizers and the wave of bedroom producers and artists that have come out with the advent of home-recording in the last decade. I think synth and drum-machine-driven records are having a moment because those two things are so readily available to people.

I’m no exception to this - when I moved from music conservatory to Brooklyn bedroom I was given a smaller and more finite number of tools to create with. It just so happens that I bought Songs from the Big Chair on vinyl when that happened and took a dive into New Wave and Dance records from that era. 

For the next one, I may just jump over the '90s and head straight for early-2000s Pop-Punk. 

Is it true your third album is coming soon? What can you reveal about its progress?

Oh, nice; that last part was a nice accidental segue! I definitely will be putting out more music this year. Album? Maybe not? I don’t know. I am sitting on an ever-expanding pile of songs and ideas that something will happen with. To be honest, with how much everything has changed with streaming (I swear I’m not about to go on a tangent about the state of the ‘industry’), releasing single songs just may be a more efficient way to do things and get music into the ears of your fans.

An album is always on my mind and I have a whiteboard and handful of journals amassing and sculpting some larger concept for that at all times. In the meantime, though, expect more songs. 

How do you think your work has developed since 2016’s Hourglass Switchboard 1 and Hourglass Switchboard 2?

The craziest thing about those first two records was that some of those songs had been around and finished since, roughly, 2013.

I think, at my core, not a lot has changed in terms of how I write (or aim to write). I find myself constantly seeking a more efficient way to create. That’s been a journey I’ve been on since I started writing and one that I don’t think I’ll ever be totally completed. My taste has changed I guess? My pace in which I write has changed as well - and I’ve stepped in more as a producer now as well. I’m still learning so much or putting myself in a position where I can learn. 

Which artists did you grow up around? Who inspired you to get into music?

I grew up in a small town in Connecticut called Middlebury. I’d say it’s like growing up in a bubble but that would be an understatement - so I’ll say it’s like growing up in a bubble that is inside of a hyperbaric chamber. Until the internet came along, I listened to whatever I heard on the Classic Rock stations, or a few choice selects from my parents (who have great taste, thank God).

As soon as I had the know-how to set up my dad’s record player, I would listen to my mom’s Jethro Tull records, (Bruce) Springsteen and a bunch of British Invasion bands. My mom is also an incredible pianist and got me into piano when I was in elementary school. My dad sang in college and VERY loudly in church growing up, much to the dismay of my sisters and I - I was lucky to grow up in a very musical household, though.

I distinctly remember having Kazaa and literally typing in ‘indie music’ when I was like a seventh grader and downloading the first ten albums I saw. That’s how I got into Spoon, Kaiser Chiefs; The Shins and The Strokes. I also, simultaneously, had an affinity for Hip-Hop. I think the first C.D. I ever bought with my own money was from this Def Jam rapper Keith Murray (it holds up still). Going to SUNY Purchase, though, opened me up to a whole other realm of incredible music I probably wouldn’t have found otherwise. Freshman year of college was transformative for what I was listening to. I’ll take the time in case she read this - that my friend Ashley Sosa was responsible for hipping me to great music.  

Brooklyn is where you are based. Can you describe what it is like for a songwriter there? Do you take a lot of strength from the people and neighbourhoods around you?

You can ask my girlfriend and she will tell you I am literally a walking commercial for the borough of Brooklyn. I love living here. I’ve been in my apartment for a few years now and am lucky enough to have neighbors that don’t hate music. Obviously, there are so many great bands to see around the city and I feel like we are always subconsciously listening to each other. I do believe your environment will always a find a way to influence or make its way into your art.

As I bike around on a Sunday and hear a handful of church bands, the guy biking through Von King Park blasting Sam Cooke, and music coming out of every window, I feel like I got the pretty ideal environment to create. 

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

Setting up a few shows in May and June, currently. Playing in Asbury Park on the 23rd, opening for Tor Miller; then, May 29th at Pianos. Lining up a little tour up the East Coast for the end of June - more on that you can find at my site. 

What do you hope to achieve in 2018?

Tour a lot, meet a lot of new folks; write some great music and make some big, incredible stuff. 

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

Being an independent musician comes with its particular brand of anxiety and it’s easy to overlook the positives. I will say that I’ve been fortunate enough to have a pretty incredible last couple of years filled with memories.

Touring the first E.P. is pretty tough to beat; particularly the show in Toronto at the Drake Hotel. That show was electric and one of the few times I felt truly present and grateful in the moment. 

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

Oh, man. Uhhh...

I’m going on my Spotify right now because I feel like this answer is always changing. In my mind, right now, I would say:

Talking Heads - Remain in Light  

David Byrne’s career arc is my goal. 

Sufjan Stevens - Illinois

I could say the same for Sufjan, but this record has such a gentle power to it. It lasts about a million years, but I’ve listened through to it probably more than any other record. 

Beach Boys - Pet Sounds

I’m seeing, now, the theme with these records is that I am drawn to people who push the boundaries of what Pop music can be…

What advice would you give to new artists coming through?

Write every day. Listen to yourself/body. Stay off the internet. Wear earplugs 

PHOTO CREDIT: Denitia/PHOTO CREDIT: Kat Slootsky

Are there any new artists you recommend we check out?

Oh, yeah; check out Denitia. She’s an amazing artist I’ve been producing with. Also, this artist, Lady Wray (listen to the song, Guilty).

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

Famously bad at unwinding, but I try to stay on a consistent exercise schedule. Also, since we are FINALLY coming out of winter in Brooklyn, you can catch me biking anywhere/everywhere/all the time. 

Also, cooking. Oh boy, do I love cooking. 

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).

Yeah. Go listen to Sick Beat by Kero Kero Bonito 

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Follow Sean McVerry

Official:

https://www.seanmcverry.com/

Twitter:

https://twitter.com/seanmcverry

Facebook:

https://www.facebook.com/SeanMcVerry/

Instagram:

https://www.instagram.com/seanmcverry/

Spotify:

https://open.spotify.com/artist/7sAXoFldVGlGtZ5LPVtAYD

SoundCloud:

https://soundcloud.com/seanmcverry

INTERVIEW: Irene Greene

INTERVIEW:

Irene Greene

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WITH a debut single out there…

I have been speaking with Irene Greene about the amazing Platinum Baby. The American songwriter discusses new artists to look out for and some albums that mean a lot to her; whether there is going to be any material coming a bit later in the year – she reveals whether there are plans to come and play in the U.K.

I ask Greene which musicians she idolises and what she has planned for the rest of the year; what gigs she has coming up; if she gets time to unwind away from her music career – the songwriter ends the interview by selecting an awesome song.

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

Just had an amazing cup of Joe, so life is good.

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

I’m Irene Greene and my hobbies include eating lots of pasta and feeling sorry for myself! 

Platinum Baby is your debut single. Can you talk about the background of the song?

Platinum Baby is an ode to my partner - who is way too good for me. I wanted to explore and underline how love tends to be that line between admiration and obsession. 

I hear a lot of greats and legendary songwriters in your tones. Which artists did you idolise and follow growing up? Do you have quite eclectic tastes?

I would say my favorites include David Bowie, Fiona Apple; Ella Fitzgerald, Kate Bush and Marilyn Monroe. 

You were born in Philadelphia. What is the area like in terms of music? Is it quite a vibrant and appealing area for music?

To tell you the truth; I grew up in this small town called Berwyn, PA (I was once asked if I lived in the state of Philadelphia so wanted to make it easier) but I played a lot around Philly growing up. In Philly, they have great Punk and Jazz scenes, respectively (although, Punk-Jazz sounds awful and great), so I sort of teetered somewhere in the middle of those. Berwyn has choir, which I was in for four years, thank you very much. 

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

I have a spooky, 1960s-inspired music video for Platinum Baby dropping later this month and a full E.P. to come in the fall. 

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

I currently have no gigs lined up; working on the E.P. for this summer. 

Will we see you in the U.K. at all? Have you played over here before?

It would be a dream come true to play in the U.K. I have never played in the U.K. but you can bet your butt I’ll try my darnedest to play there! 

What do you hope to achieve in 2018?

In 2018, I hope to work on loving myself and writing a sh*t-ton of music. 

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

A moment from music that has stuck in my mind was the first time I performed solo in my high-school auditorium in front of the whole school. I sang and played Rhiannon by Fleetwood Mac and I remember everyone being so supportive and loving, even though I missed some of the chords. My heart was very full that night. 

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

My three desert island albums include Tidal by Fiona Apple, Summerteeth by Wilco and From a Basement on the Hill by Elliott Smith. All of them are robust, beautiful masterpieces from start to finish and, if you haven’t listened to them, do it now. 

What advice would you give to new artists coming through?

For a new artist coming through; I would say make sure you are practicing and writing every single day, remembering to eat, and staying authentic. Don’t write something because you think it will be a hit: write it because you want to. 

IN THIS PHOTO: Mason Summit

Are there any new artists you recommend we check out?

For a new artist, I would recommend checking out Mason Summit, BAUM; Rett Madison, NoSo; Jensen McRae and Common Ground - because they are all amazing and talented people. 

IN THIS PHOTO: BAUM/PHOTO CREDIT: Shervin Lainez. 

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

Unwinding for me is a lavender-scented bath, a spooky movie and a cuddle with my love, Mason Summit. 

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 check out Mason Summit’s song, Alone with You!

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 Follow Irene Greene

Facebook:

https://www.facebook.com/irenegreenemusic/

Instagram:

https://www.instagram.com/irenegreenemusic/

Spotify:

https://open.spotify.com/artist/2ifw3lbEzaMzTJd5LUB8uM

SoundCloud:

https://soundcloud.com/irenegreenemusic

INTERVIEW: Johnny Powell and the Seasonal Beasts

INTERVIEW:

 Johnny Powell and the Seasonal Beasts

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YOU get those bands that come along…

and provide fascinating music, wonderful insight and complete depth. That is the case with Johnny Powell and the Seasonal Beasts. I speak with the band – Johnny takes up most of the responses – about their new album, Twice, and some of the inspirations that go into it.

I ask the band which artists they grew up around and why Twice’s recording and creative process had a unique edge; if they have precious memories from their time in music; why this week has been an emotional one for the band – they tell me how they got together and what their future holds.

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

Hi, Sam. It’s been an unusual week for us...

Our percussionist is moving to France…today! So, it has been an emotional period for us all. We had a farewell (for now) curry together on Monday evening and it is the first Tuesday evening we haven’t rehearsed at the cabin for quite some time. Things are changing…

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

Well, we are Johnny Powell and the Seasonal Beasts (the other members being Ffion Atkinson, Roger Burnett and Paul Mill) and we play what is becoming known as ‘Modern Folk’, music it seems. There has been a string of strange genres thrown our way from ‘Freak-Folk’ to ‘Outsider Indie’. It must be hard to pin down.

We try to be very mindful with the music we produce and the lyrics are particularly important. The ‘Seasonal Beasts’ reference is taken from the beautiful Sea Song by Robert Wyatt. I hope he doesn’t mind.

Heave-Ho is a song you uploaded to BBC Introducing earlier this month. What is the story behind the song?

Heave-Ho is a reference to generating motivation during tough times. It’s like a war cry I guess; a physical and verbal method for shifting your mindset from feeling low, scared or tired, to being ready to face consequences or to see some humour in a very dark situation. Part of the lyrics are based on my own mother’s mental-health, which was incredibly difficult to understand.

It is from the album, Twice. Can you reveal the main themes of the album? Why did you decide to record in a cabin in the Pennine moorlands?!

We used to rehearse in a huge semi-derelict mill on the moors in Old Town, above Hebden Bridge, which was an incredible experience but, literally, sub-zero temperatures – you could see the water vapour pouring out of our mouths as we sang and played on all of the videos.

All the tenants were evicted for development and shortly after our percussionist, Rog, moved to the cabin and allowed us to play regularly and record at his home. It felt like our home, too, in many ways: we would cook for each other and sit on the floor and eat by the fire…imagine having a real fire after playing at the mill! We felt very fortunate. The sound and atmosphere of the music were like nothing else and we wanted to recreate that on the album, which is why much of it is recorded live.

The tracks on the album deal with a wide range of subject matter, but all of the tracks seem to emphasise the power that the mind has to destroy and create something beautiful. Working with it sensitively, developing and understanding it; digging up old memories and observing present thoughts and considering their value - trying to make use of it in this precious life whilst protecting it against our usual tendencies and bad habits. There is, also, an element of coping with separation from those you love; the deep bereavement you feel when a long-term relationship ends and learning to lead a life with a completely disintegrated basis.

That sort of experience and retreat reminds me of Bon Iver. Did you find the recording and writing easier and more natural there?

Yes. We were very much at ease there. In all honesty, I think it was a sanctuary for us all in many ways. It was so conducive to the development of the strong friendships we have made. We would often arrive in the snow - the tracks unpassable by vehicle; so we would have a long snowy walk under starlight along the moorland hill to the cabin; arriving back to Rog cooking us a meal. I (Johnny) had my own pair of woolly socks hung up there that I’d ritually put on upon arrival.

The log fire would be going and we would rehearse by candlelight. We wanted to record exactly as we performed in hope that the connection we had would come across on the album. Hopefully, it has. We left most of the natural background noises in the recording, too.

Which artists did you guys all grow up listening to? Do you have similar tastes?

Ffion: When I think of music in my childhood, my head fills up with Kate Bush, who I have never stopped loving. I also have strong memories of my parents playing traditional Folk music themselves, particularly my mum with her Irish tin whistle. She often played it as an escape from my brother and I, which I couldn’t handle at the time (lots of clothes pulling)…but I get it now.

In the band, we have equally wide-ranging tastes but all appreciate integrity. We enjoy listening to a lot of the same artists and, when we disagree or are faced with something new, we are all respectful.

Johnny: Oh; so much to fit in, so I’ll keep it simple! I have an older sister and I remember her walls were covered with NME band cutouts from the '90s, I used to hear all sorts of cool stuff but the most memorable was a tape of Pixies’ Doolittle album which I played to death for years: the loose but controlled anarchy felt so liberating! When I bought my first electric guitar, I think I got a little obsessed and learnt every single track.

PHOTO CREDIT: Sarah Mason

My folks used to listen to '60s’ Rock, mainly - my dad would play and sing me The Beatles’ tracks on a battered old acoustic which I still have. It was so strange hearing the real versions as I grew up. My real introduction to Alternative music was through my friend's parents, a wonderful hippy couple, with shelves of vinyl - I won’t go into that though as I’ll never stop…

Paul: I grew up listening to all sorts. It was the time of Nirvana, Faith No More and bands like that but, also, listened to Kate Bush and Prince a lot. We had a lot of Elvis in the house, too, as my dad was really into him.

Rog: Echo and the Bunnymen, Siouxsie and the Banshee; Talking Heads and Led Zeppelin.

When did Johnny Powell and the Seasonal Beasts come together? Can you recall when you all started playing together?

Myself (Johnny) and Paul have been playing together for quite a few years now but, previously, it was more experimental with Electronica, electric guitars and all sorts of unusual equipment. We started playing with Ffion and Rog in the winter of 2016 and released our first E.P., Five Past Lives, in the spring of 2017.

Rog’s style of percussion is unusually intricate and an art in itself and Ffion has a wonderful voice with delicate inflexions; so it seemed natural to go quieter, completely acoustic and make the tracks barer to allow people to witness the minor detail.

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

With Rog leaving for France, we are hoping to organise a few European tours eventually but, for now, we just have two gigs booked. They sound like fantastic events, though. The first is on Sunday, 17th June at the wonderful Grayston Unity in Halifax at the Acoustica Festival – the owner, Michael Ainsworth, has brought some incredible acts to the town over recent years (Jeffrey Lewis played there last week). It’s a tiny venue, but the day festival is in the courtyard at the back.

PHOTO CREDIT: Rob Lycett

The second gig is in Totnes on Friday, 28th September at the Dartmouth Inn. This is a Blackbird Collective show: a fantastic bunch of musicians and music lovers who have recently started putting on some brilliant shows in Devon.

We will probably book a few more in soon so people can keep an eye out at www.johnnypowell.com if they like.

PHOTO CREDIT: Rob Lycett

What do you hope to achieve in 2018?

We have already started writing tracks for the next album and will probably record later this year…but where?! Maybe France!

…2018 is a little uncertain at the moment. When Rog has settled we will hopefully go over and play some gigs in France/Europe at some point.

A lot of sources have raved about your music and put their weight behind it. Does that give you the drive to keep recording and playing?

It is nice that people enjoy it but it doesn’t offer much drive in that sense. One of the things we’ve realised is that we are a sensitive band and find that we are happiest when we know we are dealing with intimate venues, friendly promoters and, simply, spending time relaxing together.

We have had to turn down a lot of gigs as our music is very delicate and easily los; so it is almost pointless travelling unless we find the right environment and crowd. I believe the thing that really motivates us to keep performing and writing is that we like hanging out together.

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

Johnny: We did a little tour of the South West last year and one of my favourite experiences was staying with our friends, Matthew and Ali in Harbertonford, and sneaking in a wander around Totnes and a trip to the beach, which we had all to ourselves.

Ffion: I would second that; being made to feel so at home with Matt and Ali and walking around Totnes - such a vibrant town. It felt like we were meant to be there…

Our album launch for Twice is what I would choose, though. After a lot of stress and hard work, the night unfolded wonderfully. We created the environment we had envisioned months before: everyone (us and them) was at ease and the sound levels were just right. It was a magical culmination of everything - which was all the more important given Rog’s imminent departure!

Paul: I think the South West tour was a wonderful thing to be part of and we played some of our best music then. However; I have memories of the gig in Andy’s piano shop in Haworth and it was just lovely. We played acoustically to a small amount of people and the sun was setting as we played (ok; it was by a road, but it was still nice...). The audience were also encouraged to not clap after each song but to just take on board what we had played and let it sink in.

Rog: Playing in my first-ever band and, halfway through a gig, hearing someone shout “Kill yourselves!" from back of the venue.

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

At the moment, I’m listening to Mount Eerie a lot…so that would be my choice (Johnny). Although, I’m not sure if he’s touring. His work is very penetrating, intensely emotional and carries a great sadness and insight with it on his recent releases.

As a rider; I never really need anything to be honest, but a friendly sound engineer is always helpful.

Ffion: Peter Broderick. He is so joyful, playful and wise with an experimental and open-minded approach to life and music. His generosity is infectious and he can inspire change.

Most importantly, perhaps, I think we would LAUGH.

Rog: Damien Rice and champagne!

What advice would you give to new artists coming through?

I don’t think I’m best placed to give advice as I’ve never had much success...

For me; music always turns into a chore or a job unless I see it in a way where it may be able to help people, including myself. It can be worryingly self-indulgent if you are not aware of the reasons you are doing it. I guess, in light of that, I would say: be kind to your band members and the people you meet, listen to them and try to enjoy what you are doing – take breaks when you need them and don’t be afraid to lose yourself in the music –  that’s where the moments of beauty creep in.

Are there any new artists you recommend we check out?

I have been listening to a lot of Julie Byrne, recently; Leonie Evans, too… and, not so new, but the Neva Dinova back catalogue is on right now. You May Already Be Dreaming is a beautiful album.

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

Yes. I don’t really play much music, to be honest. I run a lot. I study dharma and have recently loved the fact that Belle and Sebastian named their latest trio of E.P.s after one of my favourite Buddhist texts, How to Solve Our Human Problems.

Ffion: Walking and cooking, which I promise to do more!

Paul: Walk: it’s the only thing to do. I always think about music; so it might as well be in lovely settings. If not, then some qi gong.

Rog: Whittling and drinking beer.

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).

Johnny: Clouds – Neva Dinova

Ffion: I Hold Nothing - Mount Eerie

Rog: The Blacksmith - Eddi Reader

____________

Follow Johnny Powell and the Seasonal Beasts

Facebook:

https://www.facebook.com/johnnypowellmusic/

Instagram:

https://www.instagram.com/johnnypowellseasonalbeasts/

Twitter:

https://twitter.com/johnnypowellmus

Spotify:

https://open.spotify.com/album/3UMqU3wOG9tw4V2JJx9V9s

YouTube:

https://www.youtube.com/channel/UC11vkPqT5cPuE3pf5gb8w3A

BandCamp:

https://johnnypowell.bandcamp.com/

INTERVIEW: Mad Hawkes

INTERVIEW:

Mad Hawkes

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WHEN you hear and listen to Mad Hawkes…

you get that confidence, sense of command and bad-ass cool coming through. I have been speaking with the American songwriter about her single, Fantasy, and what we will get from her E.P., Undone (out on 11th May).

She talks about what it is like being based in South Bay, Los Angeles and who she counts as idols; what ‘Babe Rock’ entails; whether she might come to the U.K. and play this year; which new act we need to keep an eye out for – she reveals how music came into her life.

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

Mad Hawkes is a project that has been coming to fruition over the last two years. I used to intern with Parts + Labor Records before they signed me to their label. In the four years I was there I was acting as a fly on the wall; observing everything and learning from other artists. It was super-cool to be immersed in that world. It definitely gave me the opportunity to understand what it takes to make great music and to pursue a career. 

Fantasy is out. Can you talk about the song’s inspiration and putting together the music video?

I wrote this song when I was in a place of self-sabotage, in a sense. It’s one of those things where you stiff-arm the good things in your life for no other reason than feeling like you’re not worthy. It’s a silly mindset to be in; I’m happy it passed. But, I’m even happier I was able to take a s*itty moment in my life and turn out a good song. The music video was a blast!

It was fun to add a new perspective and some type of storyline to the song. It’s always cool to see how people’s interpretations of songs differ: we all take something from it that we can apply to our own lives. 

Undone, your new E.P., is out on 11th May via Parts & Labor. What sort of things were on your mind when writing the songs? How would you define the E.P.?

The songs on this E.P. have been written over the course of two-three years. It’s really become a story of being in your early-twenties and experiencing so many things in life for the first time. I’ve gone through my first bundle of heartache and loss in this time. It’s been a moment in my life where I am learning who I am and who I want to be.

It’s hard when you don’t take the more ‘traditional’ route in life; sort of feels like you are prone to making more mistakes, which is cool. Mistakes really only mean that you’re trying new things. I’d say Undone is about trial-and-error and the feeling of losing your footing over and over again and just finding new ways to get up and get on.  

You label your sound as ‘Babe Rock’. What does the sound entail?! How important are artists like Karen O in regards your direction? 

‘Babe Rock’ is really just a term I’ve used to describe other female artists that I look up to and that I think are forceful in this industry when it comes to standing for something - and that is the kind of artist I want to be. Karen O is just an example of a kick-ass woman doing her own thing. I want to inspire strength and vulnerability the way these powerful, unique and strong women have inspired it in me. 

Being based near South Bay, L.A.; how important are the beaches and bodies of the area to your songwriting? Do you borrow a lot from your experiences there and the people you come into contact with?

In general, you write about your experiences in life. So, I’m sure that growing up at the beach and living that lifestyle has inspired the music I write. I don’t know exactly how. I definitely used to beach and ocean as inspiration for many things in my life, including traveling. With that, you live more and you write more. 

Who do you count as music idols? Did you grow up around a lot of music?

I grew up with a lot of music in my life. My grampa is a great musician and my grammy is a great dancer. They grew up in L.A. in the '50s-'60s when the music scene was exploding and was exciting. They were running in the Elvis and Temptations circles back then. Their lives revolved around music and that lifestyle was handed down to my mom. She’s always listening to something and excited about something. Some of my bigger idols are Amy Winehouse and Etta James...also, Blondie. Crazy-cool chicks! 

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

We have a show lined up at The Satellite in Silverlake, June 13. Right now, we are working on a West Coast tour. We want to hit the road A.S.A.P.! 

Might we see you come to the U.K. this year? Do you like British music? 

AH, I HOPE SO. If not, then very, very soon.

Course I do! So many killer classics have come from the U.K. Depeche Mode, The Cure! Oh, and I love Arctic Monkeys!

What do you hope to achieve in 2018?

I’d like to put together an awesome tour. My main goal is to play as many shows as possible; get everyone to hear the tunes!

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

My favorite, so far, has been this show we played a while back at The Satellite in Los Angeles. I think it was in March. It was the first time during a performance where I just completely let go. it was almost like a blackout, except not alcohol induced. ha. It was sooo coool to get to that place where you just say ‘fu*k it’ and unleash the beast. 

What advice would you give to new artists coming through?

I’d probably say the same things that I have been told over and over, which is: it’s really f*cking hard, so you have to be pursuing it purely for the love of making music. You just can’t give up. Most people will: you just have to outlast them and work harder than everyone else. It’s the path of most resistance, for sure. Haha. But, once you accept that, it’s the most fulfilling path in life. 

IN THIS PHOTO: Yuma X

Are there any new artists you recommend we check out?

I really love Yuma X. They are a band out of Sydney, Australia. 

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

At the moment, music is all-day, every day. Even when it doesn’t need to be, it still is. But, I usually take a trip to Mexico every year to surf and such. I grew up on the beach, so my downtime is spent there for the most part. Beer is almost always involved. No…beer is definitely always involved. 

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).

Walk by Nicky Blitz

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Follow Mad Hawkes

Facebook:

https://www.facebook.com/MadHawkes/

Instagram:

https://www.instagram.com/madhawkes/

Twitter:

https://twitter.com/madhawkes

Spotify:

https://open.spotify.com/artist/0Mv59KTSCqAQ9GnGJ6II9Y

YouTube:

https://www.youtube.com/channel/UCCzPhW_nv8ux--xSKB6EqTA

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

____________

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. 

____________

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

__________

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

__________

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.

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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

____________

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!

____________

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

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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.

___________

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.

___________

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

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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

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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.

___________

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

____________

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! 

____________

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