INTERVIEW: MAYPINE

INTERVIEW:

MAYPINE

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AS I type this…

the talented bodies of MAYPINE are traversing the U.K. and bringing their stunning brand of music to the masses. I have been afforded some time to ask the band about their forthcoming (out on 6th July) E.P., Bend/Break, and what we can expect from it.

They talk about their formation and what Brighton (where they are based) is like for music lovers and normal folk alike; what music/artists they vibe to; if there are any new acts we need to get out ears around; if they get any chance to relax away from music – they each choose a tune to end the interview with.

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

Jase: Very well, thank you! How are you? It’s been a busy week this week. Our new single, Give, was premiered on the Radio 1 Rock Show by Daniel P. Carter! It’s been a dream for all of us for so long so, yeah, it’s been exciting!

Becky: Great, thanks! It’s been amazing to finally release a new song - feels like a long time coming! 

Tommy: It's been great, thanks! Was at Teddy Rocks Festival seeing some of my favourite bands. Feeder and Ash were headlining - my two favourite bands of all time! I discovered so many cool bands, too.

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

Jase: We’re MAYPINE; we’re a five-piece Alt-Rock band based in Brighton. (F.F.O: Decade, Thrice and Lower Than Atlantis).

Bend/Break is your forthcoming E.P. Can you reveal the sort of themes and ideas that are explored throughout?

I had a very rough 2017: overcoming some hardships as a result of a house fire. It definitely took its toll on me, mentally. A lot of the pain and anguish and emotions that I felt at the time are explored on this E.P… 

Becky: it’s been great to explore some new sounds to create different atmospheres on the E.P. I feel like these new songs have allowed us to experiment more, sonically, and to use Jase’s lyrics as inspiration.

Jase: Absolutely. We spent a long time tracking guitars for this record, messing about with effects pedals. Neil Kennedy is a wizard! I feel like the experimentation has paid off, though: these are definitely our most mature and developed songs. We’re all really proud of this record - and it’s been very therapeutic for me!

Tommy: We're not as moody in person as we are on record… 

Is it true the E.P.’s title comes from American football parlance?

Jase: It is indeed! I’m a huge American Football fan (the sport, though; the band are cool, too). I even played a bit at university! Essentially, the term relates to the idea that a defence could give up a lot of yardage to the offence but, if they don’t allow the other team to score, they’ve bent but not broken.

As it relates to the record, it’s a metaphor for the strain that I was under for most of last year. Though I struggled mentally, I never gave in and I’m a much stronger person for having been through that experience.

This will be your debut E.P. – despite the fact you had an E.P. out there. Do you think your previous work is not a fair and appropriate representation of where you are and what you do?

Becky: I think it was an E.P. that did reflect us, musically, at the time, as we’ll always create music that’s authentic to us and what we believe in. However, I think, whilst touring that E.P. and growing in our musicianship and friendships with each other, we changed and developed so much as musicians and people - and I feel like Bend/Break is a reflection of that.

Tommy: I'm not shy about our previous work: it got us into shape to put out the record you'll hear in July, which we are all so very proud of.

How did MAYPINE get together? Is there a story behind the name, too?

Jase: Dan and I started writing together for another project. We knew each other from having played shows together as part of different bands. We found James and Becky on Join My Band (other sites are available…). I knew Tommy from an old band way back in the day!

Becky: My girlfriend and I came up with MAYPINE by putting random words together. We liked the idea of having an ambiguous name; one that didn’t tie us to one specific genre, to give us the room to be as creatively free as possible! 

You are based in Brighton. Is it a perfect place for a band like MAYPINE? What are the best reasons to come down to Brighton?

There’s always something going in Brighton, especially when it comes to shows and music. I love how many friends we’ve made through the scene down here and how supportive everyone is - I think Brighton always has an awesome atmosphere and a buzz! 

Jase: The variety of vegan food in Brighton is insane! Definitely, come to Purezza (vegan pizza) or Happy Maki (vegan sushi). The music scene, as Becky said, is great! There are so many cool venues like Concorde 2 and The Haunt, right down to the smaller venues like The Hope and Ruin, Sticky Mike’s Frog Bar; The Pipeline and Green Door Store!

There’s also a bunch of festivals like The Great Escape, The Alternative Escape and Washed Out Fest…so we’re a bit spoilt for choice here, to be sure! Shout-out to Sugar Free and Indigo Music for putting on such cool shows! 

Tommy: The Brewdog bar…

Do you all share a taste in music - or is it quite diverse in the ranks?!

Jase: We’ve all got quite diverse music tastes. I watched a Trophy Eyes documentary about Chemical Miracle; how they all had diverse musical tastes that inspired the album and it definitely inspired me when writing Bend/Break. James and I are quite big Metal fans; Tommy has an eclectic taste ranging from Fightstar to Elliott Smith; Dan is a massive Blink-182 fan... 

Becky: I love Pop and singer/songwriter stuff as well as some Indie-Rock which was what I’ve been listening to loads at the moment. At the time of writing the guitar parts for Bend/Break, I was listening to Julien Baker and Now Now a lot. 

Where are you heading on tour? Where can we catch you?

Jase: We’re in Bristol on 12th May at Mothers Ruin and Guildford on 13th at The Star Inn with our mates, Evertim! We’ve got a bunch of shows in the pipeline, though, so watch this space…we can’t wait to get on the road and meet as many people as possible, though!

What do you hope to achieve in 2018?

Becky: We’re always striving to play to as many people as possible and share our music with as many people as possible. We always hope that people will connect with our songs and that it takes us to places we’ve never been before! 

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

Jase: Definitely, playing The Haunt recently with Silverstein. That was incredible! It was an honour to open for a band as prestigious as them (and they’re all super-nice!). I’m looking forward to making new memories with my best friends on the road! 

Tommy: Definitely, the show with Silverstein! I remember listening to their song, Smile in Your Sleep, on-repeat as a kid. I also remember supporting Fickle Friends with Jason back in 2012 or 2013. They were just starting out but absolutely blew me away!

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

Jase: For me, it’d be The Wonder Years! As for a rider...we’re quite low-key: I guess, we’d just like some water - and some vegan snacks for me!

Tommy: Jimmy Eat World. I need to give Jim Adkins a hug and tell him that everything is ok. Best lyricist alive today.

What advice would you give to new artists coming through?

Jase: Enjoy it! Make music you love with people that you love. It can be tough to be in a band at the best of times, so those two things are important!

Tommy: Fresh strings and tuner pedals. I've been through far too many guitars/basses over the years and I've finally learnt to treat them right!

Jase: Tommy always bleeds all over his bass! I’m not so sure that’s taking care of it, but hey ho! 

IN THIS PHOTO: Evertim/PHOTO CREDIT: Gingerdope Photography

Are there any new artists you recommend we check out?

Jase: Evertim! Or, if you like heavier music, Tempest! Both are local bands doing big things right now (R.I.P. Idle Shores). 

Tommy: I recently discovered Lizzy Farrall. She's wonderful.

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

Jase: We all work full-time around our music so we’re always pretty busy! Spending time with family and friends is important for all of us! We’re all so passionate about music that it even seeps into our free time! We all go to gigs whenever we can! 

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).

Jase: Pyramids of Salt - The Wonder Years, please!

Becky: T-Shirt Song - Don Broco

James: Rapture - Touché Amoré

Dan: Even If She Falls – Blink-182 

Tommy: A Little Lost - Sufjan Stevens 

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Follow MAYPINE

Twitter:

https://twitter.com/MAYPINEuk

Facebook:

https://www.facebook.com/MAYPINEUK/

Instagram:

https://www.instagram.com/maypineuk/

SoundCloud:

https://soundcloud.com/maypineuk

Spotify:

https://open.spotify.com/artist/5AwwX1P1Saf9dw2nq3oclb?si=1C8To3oCSU2BaynM1PbEhA

YouTube:

https://www.youtube.com/channel/UCEdIDlqdwS4H34UKSc-z3RQ

FEATURE: No Loud Noise Equals a Big Gamble: Should Albums Like Tranquility Base Hotel & Casino Be Punished for Being Different?

FEATURE:

 

No Loud Noise Equals a Big Gamble

 IMAGE CREDIT: Getty Images 

Should Albums Like Tranquility Base Hotel & Casino Be Punished for Being Different?

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THE announcement of Arctic Monkeys’…

IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Zackery Michael

sixth studio album was met with excitement and relief – it is five years since AM and many have been hankering after something new from the Sheffield band. The release of Tranquility Base Hotel & Casino has been met with a mixture of celebration and confusion – people are not quite sure what the make of the record! Look at the collation of reviews so far – taken from Wikipedia – and you can get a sense of the critical impression and thoughts:

“…Thomas Smith of NME noted that the album was likely to be "divisive", describing it as "the band’s most intriguing record to date". He promised the album would "reward deep-diving listeners", concluding that "depending on where you’re sitting, this album will likely either be a bitter disappointment or a glorious step forward".[3] Q described it as "a strange, wonderful album, one that almost feels like Arctic Monkeys have embarked on their own full-band side-project".[23] Uncut praised the album as "low-key but engrossing", but noted that "it can be a little one-paced, and a little withholding".[4] Roisin O'Connor of The Independent described the album as "creative, intriguing and completely different".[21] Spin's Larry Fitzmaurice described the album as the group's "strangest and most alluring", writing that a "sense of heading into the unknown – of charting new and strange artistic territory, accessibility be damned – pervades Tranquility Base Hotel & Casino as a whole, its own adventurousness proving a successful gambit".[9]

 

...For The Guardian, Alexis Petridis praised the album's humour, but criticised its occasional smugness, noting that "a smart guy is sometimes all Turner seems to be", with the album's tracks "feel[ing] like less than the sum of their parts". He concluded that "at turns thrilling, smug, clever and oddly cold, Tranquility Base Hotel & Casino is only a qualified success" and is "evidence – albeit flawed – of a certain musical restlessness".

 That all seems positive and hopeful but, for the most part, people are saying the same thing: there is a lack of riffs and bangers and, for a band who made their mark (in 2003) with classics and sharp gems; fans and followers were hoping for an update of Whatever People Say I Am, That’s What I’m Not. The band were spotty and unknown quantities when they delivered that era-defining record: putting out a record like that twelve years down the line was never going to be a reality. Consider how the band has changed since their debut. They are stadium-sized icons and have amassed a huge wealth of fans – and deep wallets, too. Maybe there is more ego and pretence in the ranks: Alex Turner is not going to write lyrics about kebab shop fights and loose girls shagging bouncers in an alleyway. They documented that side of life for, well…most of their career.

IN THIS IMAGE: The album cover for Arctic Monkeys' 2009 release, Humbug/PHOTO CREDIT: Getty Images

The guys are all comfortably past the stage of life where that sort of thing sounds natural and believable. The fact Arctic Monkeys delivered five albums in seven years gave people hope that roll and determination would lead to a 2015-ish-released record that had the feel and sound of AM or Humbug. Although the bang got a little bigger and weirder since their debut – Humbug (2009), Suck It and See (2011) and AM (2013) are more confident and experimental – the template and ambition is still the same. The albums rely on great compositions with bite and meat; lyrics that poke at ill-doers and wittily transpose everyday situations; feature mundane and anxious social situations with great intelligence and memorability – tight and instant albums that showed/show why the band are one of the greatest of this generation. One cannot realistically expect the same sort of sound and vibe from the band after six albums?! The need to change and evolve comes in every great group’s life. Consider every great from music and you can see the point where they took a side-step or tried something different. Alex Turner is in his thirties and not the same guy who grew up in High Green, Sheffield. He has experienced some high-profile romances and seems rather comfortable in the glitz, sun and glamour of Los Angeles. You can hardly blame the man for indulging and spending some well-earned time and money out in the heat!

If you get famous and your band starts accruing celebrity and prominence; you will go with that and amend your life accordingly. It would be disingenuous writing about the Yorkshire streets and local tarts flashing the lads: a band that has flogged millions of records and are proper celebrities have transplanted from that environment and have moved on. The notion they will retain the acne and youthful looks and return to their debut state is a naïve bet. They could have replicated AM and its mix of Classic Rock and darker magic – that would have been formulaic and not a worthy progression. They took five years and, with that time, had a bit of a rethink. Maybe there are fewer standout guitar lines and Matt Helders (drums) is not as high in the mix. The band stated how they enjoyed the experience immensely – recording Tranquility Base Hotel & Casino – and they made a record that sounded natural and right for them.

IN THIS PHOTO: Alex Turner/PHOTO CREDIT: Neil Bedford

In an article by NME, Turner explained the new direction of Arctic Monkeys and why the album was written in the manner it was:

“Speaking to NME as part of this week’s Big Read, Turner said the life he’s led in the five years along with his work with Alexandra Savior and The Last Shadow Puppetsmade him uncomfortable with repeating himself – and compelled to try something new as the artist he is today.

“This is choppy waters in terms of pretentiousness, but I don’t know how much of a choice in that I had,” Turner told NME of the writing of their new album. “This seems like a declaration about retaining my integrity, which I don’t mean for it to be, but this was all I had. I don’t know what else I could have done, truly”.

If the album had been an epic suck-fest of lazy lines and meagre tunes, we could admonish the band and wonder what the hell they had been doing for five years! As it stands; the sixth record from the band is an unexpected, if delightful, revelation. They have produced a string of hook-driven records and owned that territory: they are changing things up and embarking on a natural evolution. Some see Tranquility Base Hotel & Casino more as an Alex Turner solo album: he took more of a lead in terms of recording and direction; it bridges his solo ambitions with the work he is doing with Arctic Monkeys. Read Turner decoding the songs on the L.P. and you can get into his mind and rationale. It is a fascinating album and one that warrants more time and open, curious eyes...

PHOTO CREDIT: Unsplash

What smears my pepper grinder is a lot of the hardcore feeling the band has sold out and let down the side. If they had delivered a quick-ish follow-up to AM – something a couple of years from its release – and produced the same sort of thing, the best you can hope for is an album that replicated AM and really didn’t move things on. That might have suited those looking for something safe, relatable and familiar: those who want the band to stretch their horizons and keep us on our toes have been pleased by the Arctic Monkeys’ newest release. Whilst the concept and vision of Tranquility Base Hotel & Casino feel paradoxical and foreign to the ethos that brought them to our attention; you cannot deny that central refrain – Turner’s acute and quotable lyrics and a tight, focused band – are still in place. It is a risk going off the known path and recording an album that sounds a little strange and ‘soft’ – it relies more on lyrics and texture as opposed that quick release and conventional structures.Tranquility Base Hotel & Casino is a divisive record and one thing you did not expect from Arctic Monkeys: a ‘grower’. It may take weeks/months before people are fully committed and appreciate what Turner and the guys are trying to do.

I can understand why the band’s biggest fans might feel a little short-changed by the record: expecting something chunky and fierce that tackled the problems of today and unleashed plenty of attack and energy. There are a lot of bands like that today commenting on the sort of things Arctic Monkeys represented back in 2006 – including IDLES, Wolf Alice; Shame, Cabbage and Goat Girl – so there is a risk the slighter older (if experienced) band might seem a little awkward and less relevant when lined up against the competition. The biggest bands of the day – who look at politics and society – have taken inspiration from Arctic Monkeys and carry on their ‘legacy’. If the forefathers continued to write the same music they did on their debut, or on their last album, it would not feel as monumental given the choices we have out there. Maybe Arctic Monkeys’ seventh album will throw the handbook of logic away and see them traversing the Sheffield streets and seeing it through wiser and less rebellious eyes. Whilst we want to see the excitement and raw rush of Whatever People Say I Am, That’s What I’m Not; who among us wants to see anything as unseemly as a thirty-something man pretend he is the same as he was then: a late-teen, early-twenties writer who saw the world through a very different lens?! Many may feel Tranquility Base Hotel & Casino is a weird and rather muted album for a band who built their reputation on different foundations. I can see why there is a bit of split and initial uncertainty but, when enough time has elapsed; we will look at the record and realise…

PHOTO CREDIT: Unsplash    

IT was the right move for the band.                                            

FEATURE: Wait 'Til the Morning: Why the Death of Frightened Rabbit’s Scott Hutchison Should Lead to Radical Action in the Industry

FEATURE:

 

Wait 'Til the Morning

 IN THIS PHOTO: Scott Hutchison/PHOTO CREDIT: Simone Padovani/Awakening/Getty  

Why the Death of Frightened Rabbit’s Scott Hutchison Should Lead to Radical Action in the Industry

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SOMEONE remarked how it is tragic…

IN THIS PHOTO: Frightened Rabbit/PHOTO CREDIT: Getty Images

we tend to remember certain artists more after their death than we do when they were alive. That reaction came following the death of Frightened Rabbit’s Scott Hutchison on Thursday. I am aware of Frightened Rabbit and have been following the Scottish band for a while now. Listen to albums such as Pedestrian Verse (2013) and it brims with emotion, honesty and exceptional quality. Frightened Rabbit were/are one of those bands who won the critical soul upon their introduction – they have been seducing and entrancing music lovers of all values for fifteen years. Maybe that initial statement is true: we tend to notice an artist and dig into their music following their death. There are icons who have died and their level of popularity has remained high – David Bowie and Prince – and was hot when they were alive. There are others who gain increased fame following their death. That is not the case with Scott Hutchison. He is not a man who hid in the shadows and penned some nice little songs to be exhumed following ill-motivated and delayed public gratification: he is a warm soul whose humanity, humility and passion touched countless lives. I use the term ‘is’ because, to many, the news he is no longer here is too raw and unreal – I have a hard time believing he is gone and we will no longer hear music with his voice on it (no new recordings anyway).

I will bring in a touching tribute CLASH wrote but, right now, a word about the effect and shock Hutchison’s death has caused. Although we know his death is a result of suicide; one cannot fathom and truly know what was going through his mind in the hours that led to his death. I have been in a situation (more than once) where I have been in the bleakest place and panicked about my life – whether I wanted it to go on and unable to rationalise existence. Fairly recently, events and eye-opening soberness have caused a similar shock: the black dog barking in the year with a rusted chain around its neck; the rain lashing its weathered and scared face. You can romanticise and distance the sharp bite of mortality and suicidality all you want – the actual starkness of it is not lost on those who have been affected by it. I will not go into my own experiences but I can, at least, emphasise with Hutchison and what must have been going through his head in the days leading to his suicide. Words he spoke in the days prior to his death painted the picture of a loving man who felt unable to ably and proficiently profess love to those dear; a slight sense of detachment and numbness that was causing him immense pain: a gut-wrenching and shocking revelation from somebody who has provided so much incredible music.

PHOTO CREDIT: Unsplash

As part of Frightened Rabbit; the frontman delivered some of the finest music of his generation. Although the group will, inevitably, garner new curiosity and increased sales following Thursday’s devastating news; I hope people do not solely seek them out because Hutchison is no longer here – or people do not feel weird or strange investigating their music because he is dead. What makes the songwriter’s death so sad is the testimonies and stories being recounted and regaled so warmly and vividly. Journalists, fans and musicians have shown a unified love and positivity from the now-departed Hutchison. One might assume a man who wrestled demons and disturbed thoughts would be a sullen and isolated figure; emerging from the shadows a few times a year and snapping at anyone who came his way. The truth, really, is this: the sheer presence and force of nature that is (I should say ‘was’) Scott Hutchison charmed and affected everyone he came into contact with. If human beings can be compared to albums, then Scott Hutchison is, to me, Rumours: there is complexities and battles going on behind the scenes but the overt and life-affirming pleasures one gets from him remain in the soul forever. His music and melodic sensibilities were complex, universally adored and unique. His look and demeanour has the nature of a warm and cuddly bear and, in reality, that’s what he was. The man never looked down on anyone or judged another human; he was candid but gentle; human but, oddly, immortal and different from all of us.

PHOTO CREDIT: Getty Images

The music Hutchison helped to create (as part of Frightened Rabbit) revealed his inspiring D.N.A. and how his mind ticked. Although a lot of the music had a bleak and afflicted quality; the man who helped articulate those sensational moments was not a fatalistic and doomed figure we would associate with that kind of music. If my thoughts seem tangled and contradictory then you will excuse me – piecing this all together and trying to coherently react to such a figure’s death is a hard thing to do. I want to talk about the wake of Hutchison’s death and why more needs to be done. I said I would bring in a tribute from a writer and friend of Hutchison. Robin Murray, writing in CLASH, provided memories and thoughts about the Scottish icon:

“…Everywhere, though, was this radiant, magnetic personality. Everything Scott touched seemed to exude a pure, instantly recognisable, creativity. Trained in visual arts – he studied at Glasgow School Of Art – he drew many of Frightened Rabbit’s album covers and gig posters, before recently illustrating a book of poetry for a close friend.

Some time ago, Clash invited Frightened Rabbit to send the office postcards from a tour of tiny venues in the Scottish Highlands. Most bands were wary of the invite, but Scott leaped to the task, grabbing the naffest postcards he could find and filling them with obscure reminiscences, ribald jokes, and the odd drawing or two. A lesser noted talent was his beautiful handwriting; Scott could make even the most prosaic sentences leap from the page”.

That is a perfect and no-need-for-amendment expression and representation of Scott Hutchinson. Whilst words like this do proud a man who made so many happy; it is bittersweet because we wonder, given what we know, a human who was beloved by so many would take his own life. I am not here to forensically examine his psychology and what triggered the decision he made last week – that cannot change the facts and bring him back. What I do want to see if greater awareness and support given to musicians. I have written about mental-health and how lives are being lost, possibly needlessly – the last time I wrote about it was after the suicide of Linkin Park’s frontman, Chester Bennington. Although there is not a sky-high rate of suicide in the music industry; there are thousands suffering mental illness and struggling with daily battles. The manifesto of mental-health is a rich, worrying and complex one: it is a spectrum that cannot be defined as ‘depressed’ and ‘happy’. Not everyone who has a mental illness is depressed; not everyone who is depressed can be seen and helped. That may sound like a simplistic and harsh assessment of a battlefield that is seeing too many casualties. Great organisations such as the Samaritans and CALM exist to help those in distress…is this enough?

PHOTO CREDIT: Unsplash

Those organisations do fine work and tirelessly aid those who need urgent help. Whilst their resources are stretched and vital; I have to wonder whether greater investigation needs to occur. One can say people outside of music suffer poor mental-health so we need to cast a new on society as a whole. Music is one of those industries where mental ill health is acute and well-documented. Barely a day goes by without stories of stress, anxiety and self-harm. I do not pick my contacts on the state of their mind: it is an indiscriminate and irresponsible illness that stalks those who deserve happiness the most. We can see the unpredictable nature of mental illness means we cannot help everyone or force anyone to speak. There are bespoke music/mental-health charities that are open to those in the industry but it is tragic and wrong seeing fine musicians take their own lives. I know Hutchison’s situation and worries are different to other people – it is not obvious why he made the decision he did and whether more could be done. He was love and supported by those around him: the decision to end his life was one he felt he has to make…something that may seem incomprehensible to some. Mental illness is a tough thing to comprehend and each person is vastly different.

<

Some beautiful tributes here 💖 ⚡️ “Why Scott Hutchison and Frightened Rabbit meant so much to fans” https://t.co/VKKYQuMPKv

— Lauren Laverne (@laurenlaverne) May 12, 2018

I would like to see more money spent offering help to musicians and raising more awareness. The campaigns and posts on social media – following Hutchison’s death – are heartening but, in a few weeks; have we made progress and sent a message to those in the government. Funding is coming but it is not enough – it is not fast enough. A huge and adored human such as Scott Hutchison had legions of fans and countless admirers. There must have been something going on he felt he couldn’t control. Every notable and tragic death raises questions as to whether music is too demanding or we are lacking necessary resources and focus. I feel we have got to a point where more artists will take their life and nothing will be done. The army of voices out there is not as powerful as the potency of financing, movements and real change. Whatever form that takes, we have to make this declaration: something needs to be done. Hutchison’s music and memory will last forever; his spirit and personality are present in the blood and bones of those he met; his influence and legacy will affect and drive the next generation. There is no doubt the bonny and bright songwriter will fade from public consciousness at any point – let’s hope his death leads to action and proactive change. I, as I have said, have been affected by the worst grip of depression and came out the other end – nobody who suffers poor mental-health is immune and safe from its devastating sting. I, like everyone, want to see improvement and a proper response to the epidemic. It should not take a single person to get the government into action and taking a stand but if the death of Frightened Rabbit’s lead gets the ball rolling to a revolution then…

PHOTO CREDIT: Unsplash

SOMETHING good will come out of a tragic and horrible loss.

INTERVIEW: Laughed the Boy

INTERVIEW:

Laughed the Boy

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A most international interviewing day finds me hopping from…

Iceland over to Canada – having started in New Zealand! I have been settling down with Laughed the Boy and chatting about their new single, Halfway. They reveal what comes next and why video game music is important to them – they tell me whether they plan on coming over to Britain in the foreseeable future.

I ask the guys how songs come together and how they hang away from music; what they hope to achieve before the end of the year; the sort of music they all grew up around – the guys each pick a song to end the interview with.

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

We’re good! After months of extended winter, we’ve finally gotten nice weather this week, so we’re trying to get out and enjoy it.

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

We’re called Laughed the Boy, which are three guys from Whitby, Ontario who now live in Toronto. We like to make honest music that captures a variety of moods but is also fun to play and listen to.

How did Laughed the Boy get together? What was the reason behind setting up the band?

It started as a recording project for myself (Chris) and my friend, Taylor. It later ended up as a solo project I worked on while I was unemployed - and had a lot of time on my hands. I eventually went into the studio with my brother (Sean) and recorded our Out of the Blue E.P. A few months later, we were accepted into Canadian Music Week and needed a live line-up, so we added my friend Brennan to the band and began playing shows.

I believe video games play a part in the decision to form Laughed the Boy! Tell me more about that…

Yea, we all love our video game music. Haha. We actually did a video game music cover album a few years ago. When I was writing the music that ended up being on our first album, I was splitting time between writing songs intended for video games on my MIDI keyboard and songs for my solo project. I ended up combining them: the song, Bell Rock, is a good example of that.

Halfway is your new track. What is the story behind the song?

It came together very quickly. We had been demoing a bunch of new songs then, one morning, I came up with the rhythm of the song and played it until it was structured into a song. We went and recorded it a few days later. The lyrics were based on personal notes and thoughts I came up with while at work.

Did it come together quite naturally? How would a song like that get written? Will one of you bring an idea to the rest of the band?

It usually depends on the song. This one was a pretty rhythmic song; Sean already had a good idea of what the drums would be. Sometimes, I’ll have a song entirely figured out before we even jam it, but other times, if it’s a fresh idea, we’ll jam it out until we all feel happy with it. Sometimes, I THINK I have something figured out, then we rehearse and I realize we have to completely change it.

Can we expect any more music later in the year?

Absolutely. We’re looking to record an album this summer and, even if that’s not out this year, we’ll be putting out at least another single or E.P.

What sort of artists did you grow up around and are influenced by?

I grew up in the '90s, so a lot of one-hit wonders and female singer-songwriters. I think that influenced me into having to have good melodies and hooks to keep a song going. Songs from video games and T.V. shows were also a pretty big influence. I’d make up words to them even if they didn’t have any.

Are Laughed the Boy hitting the road? Where can we see you play?

We probably won’t do a big tour until after the album, so we can focus on that. In the meantime, we’ll be playing a lot around Southern Ontario.

PHOTO CREDIT: Chris Panacci

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

We’d love to! I’ve been there three times and we always enjoy it. I’ve played some open mic nights in Glasgow and London.

What do you hope to achieve in 2018?

Release our album and, hopefully, show some more range in terms of our sound and what we can do as a band. The new album will have more instruments on it and will take more time than Here Is Fine - which was recorded in one weekend.

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

For Sean and I, probably our last show with our other band, Busker Bros. where we played the last big show at a Toronto venue called The Central before it was demolished. We went on at 1:45 A.M. on a Sunday night and it was still a rowdy capacity crowd; pretty wild show. Brennan says our album release show for Here Is Fine or, on a more general note, the first time he listened to Hemispheres by Rush.

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

Tera Melos seem like they’d be fun guys to tour with. My rider would be a charcuterie board with at least five types of cheese and some Gatorade for after the show.

What advice would you give to new artists coming through?

Spend a lot of time around, not just your own shows, but other band’s shows. It’s great to make new friends with other musicians in the same music scene!

IN THIS PHOTO: Blankscreen/PHOTO CREDIT: Tavia Christina

Are there any new artists you recommend we check out?

Blankscreen, Dizzy and Luna Li.

IN THIS PHOTO: Luna Li

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

I watch sports, Brennan and I play video games; we all like being outside at parks and such and hanging out with friends. I always enjoy a good hike…

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).

Chris: Staring by Viva Mars

Sean: Franks Kaktus by Dungen

Brennan: Noel Gallagher’s High Flying Birds - End Credits (Wednesday Part 2)

____________

Follow Laughed the Boy

Twitter:

https://twitter.com/laughed_the_boy

Facebook:

https://www.facebook.com/laughedtheboymusic/

Instagram:

https://www.instagram.com/laughedtheboy/

SoundCloud:

https://soundcloud.com/laughed-the-boy

Spotify:

https://open.spotify.com/artist/43wcEPmyhNHvjA4CnEW6mW

BandCamp:

https://laughedtheboy.bandcamp.com/

INTERVIEW: When 'Airy Met Fairy

INTERVIEW:

When 'Airy Met Fairy

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MY curiosity for international music of the highest quality…

takes me to the shores of When 'Airy Met Fairy. The duo tells me about their new single, Until Your Season Dries, and what its story is. I ask how they got together and whether there are any gigs coming up in the U.K. this year; what the music scene is like in Iceland (where they are based now); what we can expect from their album, Glow (out on 22nd June) – they choose highlights from the record.

I ask Mike and Thorunn if they have prizes memories from music; what advice they would give to new artists of the moment; if there is a new musician we should watch out for; how they unwind away from music – the duo select a track each to end the interview.

___________

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

Mike: We’ve had a terrible week. Our computer is driving us nuts! We’re currently working on a new live set - and this week our MacBook is on strike.

Thorunn: We thought the digital world was meant to make life easier?!

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

We are When 'Airy Met Fairy. We make music for music lovers.

Mike: We write melancholic Pop for the longing.

What is the story behind the new single, Until Your Season Dries? How did the song come to mind?

Thorunn: Until Your Season Dries is an attempt to turn the end of a relationship into a poetic death.  It’s a song about the beauty and the calm after the storm. Two warships sink; one saves himself in a lifeboat to shore, while the other starts looking for dropped off treasures beneath the ocean concrete…

Mike: …Either way, you’ll be fine.

Glow, your debut album, is out on 22nd June. What sort of themes and stories go into the songs?

Thorunn: On this album, we’re trying to catch emotions like apples in a tree. We poured our hearts out while writing these songs and then, in the studio, we stripped it all down to almost nothing.

Mike: The overproduced music environment made us feel like we had to...

PHOTO CREDIT: Tania Feller

Is there a track from the album you both would select as highlights?

Thorunn: I personally love Penniless; Mike’s favourite is Girl. Two completely different songs, but I guess that’s cause I’m female.

Mike: We do keep Sanctify You as the last song when we perform live. So, if we had to agree on a common song, Sanctify You would definitely be our choice. We’ve played it hundreds of times and still like it.

How did When 'Airy Met Fairy get together? What was it that attracted you to one another?

We met at a festival. I was there with another band. I asked myself: ‘Who is that girl who is playing after us?’ When I heard her sing I thought to myself: ‘Wow, that has got to be the most beautiful voice I have ever heard’.

Thorunn: When 'Airy Met Fairy took such a long time to start off because we’ve had so many band members… and now we’ve ended up here, just the two of us…now more electronic than ever, hence the MacBook problems...  

You are a Nordic duo. How does the music scene where you are differ to that of, say, the U.K. or U.S.?

Most connoisseurs can hear that I’m Icelandic. What most don’t know is that I live in Luxembourg. I miss my home country so much that I feel I have to sing to my people in order to fill that geographic gap in between us; a bit like whales do underwater.

Mike: She’s a killer whale for sure! But, music is not a country to me: it’s a universal form of expressing yourself. Nothing more or less.

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

We’ve just come back from Portugal and we’re planning a ‘behind the session’ gig at Rockhal in Luxembourg. After that, we’ll be playing at The Finsbury in London.

Thorunn: We’re super-excited about that as we had such a great experience at The Great Escape two years ago. A wonderful audience that can only be matched by the Japanese.

Will you come and see us in the U.K.?

Mike: Yes! At The Finsbury, 7th June. Come see us!

Thorunn: We’re Great Britain lovers. I always dreamed of buying a cottage in the North of England, getting some sheep and selling wool. English people are the friendliest, most polite and helpful in Europe. They’re the only ones apologizing when you bump into them.  

What do you hope to achieve in 2018?

Mike: Tour the U.K., perform on KEXP in Seattle; sell millions of records, business as usual.

Thorunn: …I’m in!

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

The first time I performed, I covered an old Elton John song at a cinema in Reykjavik. I was so nervous-bad but the crowd cheered and gave me a standing ovation. It was out of pity but, in a weird way, I felt warmth and respect.

Mike: The first time I played at a birthday in a pizzeria. We performed in the bowling area, Big Lebowski-style. It was amazing. We ended up not getting paid: the bill at the bar was bigger than the fee we got.

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

Nick Cave and the Bad Seeds.

Thorunn: Radiohead! Huge Thom Yorke fan.

What advice would you give to new artists coming through?

Mike: Never give up. It’s not over till it’s over…

Thorunn: …The wisdom of Lenny Kravitz.

Are there any new artists you recommend we check out?

Mike: My head is blank…

Thorunn: GOSTO from Amsterdam! Such a talented guy.

IN THIS PHOTO: GOSTO

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

Mike: We play tennis and ride our bicycles.

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).

Mike: My Lady's on Fire by Ty Segall. Thank you!

Thorunn: Please play Heart It Races by Architecture in Helsinki

____________

Follow When 'Airy Met Fairy

Official:

http://www.whenairymetfairy.com/

Twitter:

https://twitter.com/WAMFmusic

Facebook:

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Instagram:

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YouTube:

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Spotify:

https://open.spotify.com/artist/0gZcwIpx8SmDEPhnoGuw0s

INTERVIEW: Louis Baker

INTERVIEW:

PHOTO CREDIT: Richard Parsonson 

Louis Baker

___________

THIS might be the first time I have…

featured an artist from New Zealand. There might have been others but, for the life of me, I cannot think of any right now! Louis Baker talks about the New Zealand scene and why his new song, Black Crow, came together so quickly.

I ask whether there are tour dates ahead and which artists he counts as idols; what comes next for the songwriter; what advice he would give to new songwriters coming through; if he gets chance to relax away from music – Baker tells me a favourite memory from his time in music.

___________

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

Doing well, thank you! The week has been super-busy with interviews, but really exciting to see my new single, Black Crow, go out.

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

My name is Louis Baker. I am a singer-songwriter from Wellington, New Zealand and I love what I do.

It has been a year or so since your last single, Addict. Was that gap down to the need to create something worthy of following such a strong song?!

I appreciate that, thanks. To be honest, the time frame wasn’t planned. It was just about writing until something struck me…

Is it true that Black Crow was written in six hours in Sydney?! How did it come together so fast, do you think?

I don’t know. Some songs are like that and you can’t understand why.

Steve Rusch produced the song. What was it like working with him?

Steve is the man - super-relaxed and open to ideas. He’s a proper mix engineer, with a huge knowledge of using outboard gear, or mixing in the box, not to mention an absolute ninja on Pro Tools (and a top producer).

I do not get to speak with too many New Zealand-born songwriters! Is there quite a large and varied music scene in the country?

There absolutely is. I think because of N.Z’s geographical positioning, we seem to take on a little piece of everything. There’s no doubt that there is a huge diversity here.

Which artists do you count as idols and guides? When did music come into your life?

Music came into my life at four-years-old. My idols include The Beatles, Jimi Hendrix; Michael Jackson, D’Angelo; Joni Mitchell, Jeff Buckley; Al Green, Marvin Gaye; Allen Stone and Jamie Lidell etc.

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

Definitely.

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

I’m at the airport now. I’m heading to London to do nineteen dates through U.K./E.U. and finishing my new record in L.A. on the way home.

What do you hope to achieve in 2018?

A new record (released) later this year; two tours through the U.K., E.U.; Australia and N.Z.

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

Meeting Q-Tip in N.Y.C. at the Red Bull Music Academy.

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

Electric Ladyland - The Jimi Hendrix Experience; Grace - Jeff Buckley and Voodoo - D’Angelo

I picked these three because they have all equally influenced me to be the artist I am today.

What advice would you give to new artists coming through?

Work hard, find management; practice every day, write down your goals; learn and listen from the best, have a clear and tangible idea of your message and the kind of artist you are; know your audience, take care of your friends and family.

Are there any new artists you recommend we check out?

Leon Bridges (Bad Bad News) and Allen Stone (Unaware).

IN THIS PHOTO: Allen Stone

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

Not really. Netflix and chill.

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).

Leon Bridges - Bad Bad News

Much love; thanks for having me x Louis.

____________

Follow Louis Baker

Official:

https://www.louisbaker.co.nz/

Twitter:

https://twitter.com/louisbakermusic

Facebook:

https://www.facebook.com/LouisJBaker

Instagram:

https://www.instagram.com/louisbakermusic/

SoundCloud:

https://soundcloud.com/louisbaker/tracks

YouTube:

https://www.youtube.com/louisbaker

Spotify:

https://open.spotify.com/artist/6cKB91cRebrHboAUTx5uUy

FEATURE: The May Playlist: Vol. 2: Chaos and Tranquility

FEATURE:

 

The May Playlist

 IN THIS PHOTO: Childish Gambino 

Vol. 2: Chaos and Tranquility

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THIS week has been a rather big one…

IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Zackery Michael

and raised some surprises along the way! I am still getting over the incredible video from Childish Gambino – This Is America has been doing the rounds and dropping jaws! In addition; there is a new – and much-discussed – album from Arctic Monkeys. Tranquility Base Hotel & Casino is dividing fans and critics but one thing is for sure: there is nothing boring about their new one!

Also included in this Playlist are new ones from Jordan Rakei, LUMP and Anne-Marie; Johnny Marr, YONAKA and Miles Kane – plus, some good cuts from Justice, Years & Years and Beach House.

ALL PHOTOS (unless credited otherwise): Getty Images

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Arctic Monkeys – Golden Trunks

Childish Gambino – This Is America

LUMP – Late to the Flight

Jimmy Eat World – Love Never

Anne-Marie - 2002

Carrie Underwood – Cry Pretty

Ina Wroldsen – Remember Me

PHOTO CREDIT: Mitch Lowe

Justice – Stop (WWW)

Maisie Peters – Worst of You

Beach House – Dive

Christina Aguilera - Twice

>

Jungle – Happy Man

>

Miles Kane – Loaded

Jordan Rakei – Wildfire

Greta Isaac – Undone

Wye Oak – It Was Not Natural

Years & Years – If You’re Over Me

Sea Girls – Too Much Fun

YONAKA – F.W.T.B.

GOAT – Friendzone

Ruby Francis – Twice

Meghan Trainor - Can't Dance

PHOTO CREDIT: Tim Saccenti

Chromeo – Bad Decision

Tallia Storm – Girls Are Changing the World

Chasing Abbey – Choices

Johnny Marr – Hi Hello

Girlhood – Milk & Honey

Rita Ora (ft. Cardi B, Bebe Rexha & Charli XCX) - Girls

Skepta – Pure Water

Delta Goodrem – Magic

Luke Haines – Oh Michael

Bastille – Quarter Past Midnight

RuthAnne – Take My Place

Nina Nesbitt – The Sun Will Come up, The Seasons Will Change

THE HUNNA – NY to LA

Kara Marni – Love Just Ain’t Enough

Alice Boman – Heartbeat

TRACK REVIEW: Hollie Haines - Except for You

TRACK REVIEW:

 

Hollie Haines

Except for You

9.3/10

Except for You is available via:

https://soundcloud.com/hollie-haines/except-for-you

GENRE:

Alternative-Folk

ORIGIN:

London, U.K.

RELEASE DATE:

30th April, 2018

_________

THIS review…

holds significance as I am in a similar position to Hollie Haines. I will talk about her relocation and the doubts she has. Before I come to that, I want to look at artists who bring sunshine and can lift the mood; making amendments to Pop and Folk; concepts and artists doing something interesting in music; why we need music like Haines’ in the market right now; where the talented songwriter can go from here – I will also touch on influences and evolving music. I want to start by looking at sunshine and a more optimistic mood in music. One cannot accuse Haines of lacking spirit and optimism. Sure, there are songs that are a bit more downbeat and contemplative but, for the most part, her glass is half-full. Her track, Keep Moving On, was lauded because of its infectious tones and joyous nature. Although Except for You is not quite as radiant as that effort: what we do see is a musician who always brings something redemptive and forward-looking to the plate. I will come to the song in time but find it interesting that there are very few musicians out there who bring anything positive into their sounds. I am seeing Pop artists coming through but I am looking at the lyrics are there are few who keep things light and offer anything happy. That might seem like a natural state of affairs: most of us have troubles and music is a natural and easy way of getting it out to the people. I can understand the confessional nature of music and why it acts as a comfort and shoulder. Those who go further and provide a sense of shine in their lyrics should be commended. Hollie Haines is a young woman who faces all the same tribulations as her peers: she will/would have had her heart broken and goes through stressful times; challenging situations and doubts about her career and self.

That is to be expected but, rather than lay it out all there like a dead cat stuck in a heating vent; she assimilates those harder questions into the mix but sprinkles in plenty of vitamin C, chocolate and alcohol into the potion – sounds like a disgusting mix but, for the purposes of metaphor and the visual, let’s go with it! I am impressed that someone so young has that desire to improve the listener and put them in a better frame. It seems rather explicit but, as I am writing about him this weekend, Scott Hutchison (of Frightened Rabbit) is in my mind. There has been a lot of sympathy and condolence following his suicide. Few knew about his state of mind – it came as a huge shock to many when news of his death was announced. It goes to show there are those in music – and life – who are struggling and need assistance. Music, to many, is a sense of therapy and help. In a rather difficult and sobering time; I am looking out to the world and looking for something that comforts and aids me. That is what one gets from Hollie Haines. Her music provides a perfect time to escape, reflect and feel better. I have been listening back at her material and finding the sunshine, smile and hug needed to get through things. One cannot underestimate the power and potency of having music like that in the world. I am not suggesting something as basic as positive music would have helped Hutchison in his darkest hour: what we do have, in songwriters like Haines, is a ray of light and someone who speaks for us. She has endured harder times and obstacles along the way. Her words are deep and redemptive; her voice pure and passionate; the compositions are stunning and nuanced. I have been looking for a songwriter who gets every box ticked and make me think. I get a relief and happiness listening to her; a way of easing any burdens and channelling all those negative thoughts somewhere safer and far-off.

Let us look at the genres of Pop and Folk and where they are right now. I have written about both over the past few months and seeing artists do something different and exceptional. Pop, to some, has the image of this sugary and commercial thing that is all processed vocals, inane lyrics and forgettable moments. Folk is seen, by some, as rather plaintive, boring and tame. I do not agree with those assumptions and have a lot more affection for the genres. I do agree there are flaws in Pop at the moment. Too many artists are going for streaming figures and something popular – rather than expending any effort and doing something different. Folk is not as integrated into the mainstream as it should be; there are artists pushing boundaries but dominance is still quite a few years away. Hollie Haines’ music is Alternative-Folk and mixes in Pop elements. I feel there is a lot to love about her music and what she is doing with the genre. Rather than present and play the rather tepid and beige form of Folk that we can hear out there – all finger-picking and calm breeze – she adds something energised and affecting. I have been following Haines for a bit and seen the way her music has evolved. If we keep genres stiff and do not move them forward then that means we are in danger of seeing them die out and lose their inspiration. Pop has had its moments and great times – right now, things are changing and it is becoming more mature and self-reflecting. Folk is challenging for attention and moving away from the one-dimensional and simple sounds we associate with the form. Haines is a bright and engaging songwriter who grew up around music and sprinkles in different elements into the fore. You get classic Folk strands alongside modern Pop and her own D.N.A.

I am always looking for artists that go beyond the predictable and offer progressive and fascinating music. I am a big fan of Folk music and have been following it since the 1960s – musicians from there; I am not THAT old. What I have noticed is how it has mutated from the acoustic-led and calm sounds we jump to a more expansive and broad fabric. Now, in 2018, we have Folk artists pushing boundaries and integrating other genres together. Haines is getting stronger with every release and putting her own identity into the market. I have been looking around and trying to align myself to artists who do something different and go out of their way not to follow the pack. Haines is an artist who could easily negotiate and compromise. Rather than parrot the masses; she is creating unique music that stays in the mind long after it has been heard. I will move on to other topics but I wanted to look at the changing nature of Folk and Pop. Looking forward; I know Haines will continue to make fantastic music and seduce audiences. It is difficult easily defining what Haines does. She plays Alternative-Folk but there is so much more at work. One gets soulful vocals and something spikier; there is that sunny Pop brew but you even get some little kicks of Reggae – not explicitly but in nature and vibes. I am interested seeing where she goes now and what the future holds for the talented songwriter. Not only is Haines’ music addictive and stunning; she will inspire others to get into music and show what you can do with genres like Folk. Many are put off from exploring a genre because artists do the same thing and do not add their own personality into the music. Hollie Haines is different: she goes further and ensures not only is the listener stunned and hooked; other musicians are giving direction and an idea of what can happen if you truly push yourself.

One of the reasons I wanted to look at Haines’ newest song is because it forms part of a song arc. It is part of a concept that has intrigued me. Like the stages of grief – ‘acceptance’ and ‘depression’ are in there: I forget the rest! – there is something real and relatable about Haines’ mission. She is addressing loving, losing; hurting, missing; healing, letting go and loving again. It is a story that is bookended by love and finding something positive. Keep Moving On showed what Haines was capable of and how her music could lift the spirits. Her story arc begins with love and finding someone in the form of Except for You. It is a hauntingly beautiful and crystal-clear song that finds the heroine putting her heart out there and finding something pure. Maybe it is not as vibrant as previous material but there is that aspect of moving forward and looking to the future. Songs along the way will look at loss and hurting; missing someone and having to let go – before coming back to a new love and discovering fresh hope. Haines is putting out a new single each month: Except for You is the first step and a chapter that begins a remarkable and everyday reality. Many people would have gone through the same experiences as Haines. That is what I mean when I said she speaks for other people and brings something hopeful into the music. Although things will get a little darker down the line; the way Haines writes is to find some hope in the shadows and move forward. Even though her current single prides beauty and entrance over serotonin and rush; you have a song that puts your mind somewhere beautiful and relaxes the tensions. Everyone will be able to understand where she is coming from and what she is going through. I have seen a few songwriters try something ambitious when it comes to single releases and concepts. The completed album, that will include all seven songs, will be interesting to hear. Having the introduction out into the world gives you a flavour of what to expect: knowing Haines’ music; one realises you can never predict and assume the next track will be exactly the same as the last.

Many artists try concepts and get ambitious with their music. That might take the form of something unusual and everyday. If you have a concept in mind and want to do something different in music then it can be hard convincing the listener. I have seen new artists release E.P.s that run the mind through a story of a narrative arc. It is fascinating seeing musicians who take a risk and go that extra step. It is fine releasing singles that form part of an album – with no cohesiveness in terms of their themes – but I like those acts that do something new. I know many albums are defined by a certain tone or story: how many artists do something like Hollie Haines and release singles in the same manner? Not only does the listener gets a nice teaser and is compelled to follow the story all the way to the end; we also get a different vibe and sound with every track. I wonder who it is Haines is talking about when she looks at that new love and finding something pure. I have been thinking about other forms of discovery and revelation when it comes to Except for You and what it stands for. I will come to that in a bit when I look at the song itself. One other reason I wanted to look at Haines and her newest track is that of where she has come from and what she is tackling now. I have heard previous work like The Walls I Built (E.P.) and can see how far she has travelled. She is in a different space right now and looking to the future. Not only has her confidence increased and her songs strengthened; she is taking risks and doing something genuinely exciting. That rate of progressing means, in years to come, she will be tackling the mainstream and mixing it with some of the biggest artists out there. I cannot wait to see what form her singles take as we follow the story through the coming months.

We need to celebrate artists like Hollie Haines in the market because she is doing something new and resists the temptation to do easy and obvious music. I know she will want to get along and succeed in the business but that is not coming at the expense of limiting her scope and narrowing her mind. I have seen some promising acts come along and show early signs of promise. Haines has been tipped by the media and (her songs) have resonated and connected. That boost and backing have given her the confidence to conspire and take big steps with her next venture. Because of that celebration and faith, we have seen Haines explore new ground and set her sights to the future. I want people to back Haines because she has that perfect blend of ingredients one does not find too often. The vocals are wide-ranging and have so many different emotions within them. Her lyrics are personal and meaningful but they can be appreciated and understood by everyone who listens. Rather than push away the public and create something that is only meant for limited enjoyment; Haines writes from the heart but puts it out there for everyone to investigate. You can hear one of her songs and feel like it was written for you. It might not be about love or losing someone in a relationship. You can extrapolate meaning and familiarly whatever you are going through. The ‘complete package’ is something you hear linked with a few artists. I hear that said and wonder whether it is exaggerated or a bit premature. The fact Haines can have that applied to her is no exaggeration. You have the sumptuous and extraordinary voice that can convey sadness and loss but get right into the heavens and bring the sunshine out. There are those changeable and interesting compositions that move from pure Folk to something approaching Pop. One also gets lyrics that step into the avenues of love and loss but can angle into other climbs. Her personality is bright and bold; she has an energy and passion that is infectious and endless – everything you want from a modern-day artist.

I will get to reviewing Except for You soon but, before then, a look at taking a leap and moving to a new area. I am in the process of doing the reverse of Hollie Haines: moving from the South and going to the North. She had questions and doubts when she moved from Leeds to London. I can understand why she was reticent about leaving Leeds and going to the capital: many have spoken fondly about the Yorkshire city and its people. There is great music up there and plenty to love. It is hard getting rid of all that and moving somewhere different. London is bigger and more packed than Leeds; it is a long way away and it is a gamble moving somewhere to make it in your chosen field. For me; I am moving from the South and hoping to get myself to Manchester. London has always been my first choice but I have found few opportunities arrive. It is difficult being able to afford life there and remain sociable. It is hard finding the money to remain there and balancing that work-life agenda. Haines is in a stronger position and is doing great in the city. For me; moving to Manchester has all the benefits of London – the music and energy – but it is a more affordable option. Aside from having to balance things and transition there – finding a job before I get there and being able to spend as little money as possible scouting – it is an interesting and needed move. Haines moved because she wanted to get her music into the spotlight and find more chances. There is a great scene in Leeds but it is a long way from London. A lot of the best artists from Leeds have moved to other places and looked for greater focus and audience. Hollie Haines had great local appeal back home but now, when she is in London; there are those bigger venues and new horizons.

Many people will be thinking of moving and want to find a new life. For those in the music industry; you need to go to other places and where the action is. Haines has realised most eyes are in London and that is where most of the chances lay. Many have gone to the capital and found life a bit hard and expensive – they have left and moved to other areas. Haines has seen her music taken to heart and realised how far it can go. Now, down in London, she has the chance to get into the mainstream and get under the radar of the big labels and venues. I am not sure how many gigs she has coming up but I know the summer will be busy for her. It is exciting looking at Haines and where she is heading right now. I can see her going very far in London and taking advantage of all the city has to offer. Right now, she is penning her album and getting songs out there. Venues will come calling and fans will want to see her perform and put the songs into the ether. I am not sure which part of London she is based in but I know every corner of London will take her to heart and celebrate the music. The coming years will be the most interesting. Now she has relocated and is settled somewhere new; there is that curiosity and desire. Haines is a hungry performer who wants to put her music out and connect with her fans. I know she will be looking further than the U.K. when it comes to gigs. I see no reason why she cannot get her music to European audiences and, soon enough, get some U.S. gigs lined up. I can see the Americans vibing to her sound and really getting a kick from it. The future is bright for Hollie Haines and it seems she is determined to take her music as far as is possible.

Ahead of the next song in the cycle; we have the exceptional and stunning Except for You. It begins with yearning, gentle and rousing strings. The guitars rumble and there is a sense we are walking through town in the night. Things are still and the brooding strings get the mind thinking of imagining. The soft and inviting mood is a warm water you immerse yourself in and wonder what happens next. There are possibilities and visions that come to the mind. Maybe it is the symbol of the heroine embraced in a passionate moment or sitting on a window ledge and looking out at the horizon. The composition conveys so much feeling and passion from the opening seconds. It is interesting hearing the vocal come in because it has a rather distance and haunting quality. Rather than being polished and top of the mix; the vocal is a little further down and sounds like the heroine is singing from a distance. It gives the song a lot of gravitas and sense of the physical. You can imagine her calling from afar – there is a dream-like quality that has a haziness and sleepiness. Our heroine is talking about everyone else leaving and that one person being faithful. It is challenging keeping love and finding true companionship. It seems friends and those close to her have departed or let her down. Rather than give up hope and assume that is the way things are; Haines has found that loyalty and trust. Maybe the love is established and enduring: it might be a fresh romance and something that has come at the right time. Haines is reacting to that faith and glad she has someone who is sticking with her. Lamenting at those who have fled and why people are leaving; you wonder why this has happened and where she is heading. Maybe the heroine has been through some bad relationships and been scarred in the past – a look at those who have abandoned her and broken her heart.

Those ethereal and spectral backing vocals give the song shiver and a rare beauty. I can see why some have compared Haines to the likes of Laura Marling – there is a bit of Enya in there, too (in a good way). The heroine has given her heart to someone and that has been repaid. Rather than run when things get hard and leave her in the cold; the sweetheart has remained true and provided that rock. Everyone else has left and they have caused Haines hurt. Her love has stuck loyal and there are signs things are going to ensure. Knowing how the story will develop and end – the heroine losing that love and having to deal – you cannot help feeling a little bit sorry at how things will go. In the moment itself; Except for You is a moment of serenity and passion that gets into the head. It is amazing to see how Haines can switch mood and the variation she has. She has produced intense and energised moments before but here, on her latest offering, there is a stillness and beauty that still manages to have that hope and uplift. Rather than cheapen the sensation with fiery choruses and chirpiness; we have a song that digs deep and gets into the bones. Strings dive and weave; there is a romance and sense of elegance that causes shivers and smiles at the same time. It is wonderful hearing how the background impacts the centre. The ghostly and tender vocals fuse with the strings and push the heroine forward. The lead vocal has that seduction and beauty that is hard to shake off. The fact everyone else has left and her lover stays true gives her hope things will work out well. It is almost like a cliff-hanger in a way: Except for You has positivity but you know things are going to change. I have loved experiencing Hollie Haines’ latest release and how far she has come. It is an impactful, stunning and deep offering from an artist who keeps getting stronger and more ambitious.

Many have compared Hollie Haines to the likes of Marika Hackman and Laura Marling. There is a little of those artists in her own tones. You get the depth and intelligence of Marling with the verve and youthful ambition of Hackman. It is always hard comparing artists to other because the music is always changing and few musicians stand still. Haines has her own sound and it is delightful seeing how she progresses and what comes next. I have said how Except for You is the start of a seven-song cycle that looks at love and new hopes and then has to accept the breakdown and coping with loss. Things will end with the positivity of a fresh love and new starts. In many ways, that story seems to reflect Haines moving from Yorkshire and settling somewhere new. She has experienced loss and change and it has affected her greatly. It is hard leaving somewhere/someone you love and having to start anew. What is most daunting is losing a life that seemed stable and full of potential. Her story and music will reflect in other people’ eyes and give them heart. I have mentioned how Haines is someone who keeps the mood up and always looking forward. Even when she has to tackle loss and cope with being alone, there is never the sense she is in a pit of despair and things are hopeless. You get that desire to get out of the rut and find something positive. Previous songs have shown she can mix explosive and sunny with something a bit more emotive and moonlit. That is the sign of a songwriter with a broad and developed sound. I am compelled to see where Haines goes from here. It will be a very exciting and prosperous time for a young talent who has already won hearts. Get behind Hollie Haines and follow her every move. She is a rare songwriter who has come a long way but…

PLANS on going a lot further still.  

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Follow Hollie Haines

Official:

https://www.holliehaines.com

Twitter:

https://twitter.com/holliehaines

Instagram:

https://www.instagram.com/_hollieh/

Facebook:

https://www.facebook.com/holliehainessongs/

Spotify:

https://open.spotify.com/artist/3TmWI5f479FgFtRzEcs6DA

SoundCloud:

https://soundcloud.com/hollie-haines

YouTube:

https://www.youtube.com/channel/UCKPCi6Ka9bo-25VmJavrNxg

PHOTOS OF HOLLIE HAINES:

Mara West

INTERVIEW: JØUR

INTERVIEW:

PHOTO CREDIT: Alyssa Justice Photography 

JØUR

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IF one wants an exceptional and unique artist…

PHOTO CREDIT: Mariah Crabb Photography

with a passion that runs deep, then I know someone who ably fits the bill. Rather than being a songwriter du jour; JØUR is someone who will remain in music for years and inspire many others to put pen to paper and get their feelings onto the page.

I have been speaking with her about the new single, American Nightmare, and what she thinks of America under Trump; which albums and songwriters have influenced her; what her next steps are; if she has any tour plans lined up – JØUR tells me what she hopes to achieve before the year is through.

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

The sun is shining and I’ve finally put my winter coat away this week, so I am doing great.

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

Yes, hello. My name is JØUR!

American Nightmare is your new song. What is the story behind it?

I wrote bits and pieces of American Nightmare over a year or so, as a general reflection on my feelings towards the classic ‘American Dream’:  go to school, get a job; get married, buy a house; start a family, grow your kids, so they can do it all over again. It felt really contrary to what I wanted for my life and it seemed like that lifestyle would be more of a nightmare than a dream to me.

Meanwhile, my country unexpectedly elected Donald Trump; Black Lives Matter has been fighting for justice in our generation’s fight for Civil Rights; gun violence is at an all-time high in the U.S. and the #MeToo movement has forced a reckoning for men’s treatment of women across the globe.

I’d be remiss if I didn’t say that the song has taken on new meaning for me in the last two years since I originally wrote it.

How do you see the current situation in the U.S.? Do you think the nation is heading for disaster?

The current situation in the U.S. has, perhaps, already arrived at the point of disaster. I don’t say that sardonically, as much as I recognize that we are in a state of severe imbalance and polarization that has created a lot of unrest.

Rather than heading for disaster, however, I have more hope than ever that our country can break out of the stagnant status quo that has defined it for so long and truly believe in the power of our people to surge forth and create a change in the paradigm that favors our citizen’s well-being and safety. We are in a unique moment as a nation, with the potential to turn the tide with our collective voices.

PHOTO: CREDIT: Hillary Olson Photography

Do you think it is important to fight against oppressors like President Trump?! What does American need to do survive and evolve from this nightmare?

Although I’m not a fan of Trump as President, his leadership has unveiled the true state of our nation. Hate crimes rose when he was elected and after the protests in Charlottesville, we could no longer hide from the truth that there is still systemic racism and hate in our country. Like I said before; we are in a unique moment and hate is largely unfiltered while he is in power...

It’s important for us, as a nation, to see where people’s attitudes truly lie so we can begin to shift the paradigm with this next generation of young people. I think that is possible. These old veins of hate may not ever be eradicated, but many of the people who embody that hate will die soon and our generation is going to be the one running the country with a new vision for what it means to experience freedom in the “Land of the free”.

What is the future looking like in terms of material? Might we see an E.P. later this year?

I can promise you there will be more music coming in 2018.

Which musicians inspired you to get into music?

I distinctly remember obsessing over Whitney Houston’s The Bodyguard record as a young child. One time, I was in the bathroom singing one of her songs into the mirror and, when I came out ,my whole family was standing outside of the door and applauded. I was so embarrassed. I think I was eight.

PHOTO CREDIT: Alyssa Justice Photography

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

I have summer gigs lined up locally in the twin cities of Minnesota. Currently, I have some other ideas in the works but nothing confirmed.

Are you coming to the U.K.? Do you like British music?

That would be a dream come true. Yes. Let’s say that is on my list of goals. Regarding British music, yes, I have a few favourites. I’ll take the heat but I will always love Oasis and truly one of my favourite bands of all time is Led Zeppelin.

What do you hope to achieve in 2018?

I hope to continue down a path of creativity. I create more than just music and I want this year to be (the year) where I can say I gave myself fully to my creative potential in all areas, be it dance, painting; photography, design; music, writing or other mediums.

PHOTO CREDIT: Hillary Olson Photography

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

Yes - I used to tour with HALEY (Haley Bonar) as her synth player and background vocalist and we had an outrageous time in the U.K. Every show was sold out and the people were so kind and supportive. We got to play on Jools Holland with The Temptations, which was a really special experience.

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

Feist – Metals

This record taught me how to use my voice like a paintbrush to make art. It changed the course of my music entirely. I learned that everything matters in a song, even the space between the notes.

Brooke Fraser - Brutal Romantic

Brooke Fraser is a poet. I have always found her music inspiring and this has influenced my lyricism. Additionally, the production on this album is nothing short of brilliant.

Led Zeppelin - BBC Sessions

This set of albums made me understand music as something spiritual.

What advice would you give to new artists coming through?

Find your strengths and use them, then build a team to fill out your weaknesses. You’ll never follow exactly in someone else’s path, so your best friend is yourself. Know yourself, know your strengths and know your limitations.

IN THIS PHOTO: Jessica Manning/PHOTO CREDIT: Jazmayne Lynn Photography

Are there any new artists you recommend we check out?

Two dear friends of mine: Jessica Manning (What If I Run) and Andy Cook (Modern Man). Their latest records are lovely.

IN THIS PHOTO: Andy Cook

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

I am a power cleaner...

My whole world feels brighter when the dishes are done and the floor is mopped. Otherwise, I knit clothes and listen to podcasts. No T.V. in my house.

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).

Feist’s Anti-Pioneer OR Brooke Fraser’s St. Petersburg (IV Fridays). When I heard both of these songs, I felt like they were the last songs that ever needed to be written. I can listen to both on-repeat for hours…

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Follow JØUR

PHOTO CREDIT: Alyssa Justice Photography

Official:

https://jourmusic.xyz/

Twitter:

https://twitter.com/jourmusic

Facebook:

https://www.facebook.com/JourOfficial/

Instagram:

https://www.instagram.com/jourmusic/

SoundCloud:

https://soundcloud.com/jour-music

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 

____________

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!

____________

 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

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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.

___________

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

___________

IT has been cool chatting with…

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

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

___________

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

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

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

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

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

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

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

 

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

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

Is there going to be more material coming soon?

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

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

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

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

 

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

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

What do you hope to achieve in 2018?

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

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

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

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

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

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

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

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

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

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

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

What advice would you give to new artists coming through?

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

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

Are there any new artists you recommend we check out?

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

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

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

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

Frank Ocean (ft. Andre 3000) - Pink Matter 

Pearl Jam – Alive

Prince - When Doves Cry

Massive Attack - Karmacoma

____________

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

___________

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.

___________

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!

____________

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PHOTO CREDIT: Mike Burns Photography 

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