INTERVIEW: Saarloos

INTERVIEW:

Saarloos

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MY focus turns to the Dublin boys of Saarloos…

as they discuss their debut single, Changes. I learn more about the scene in Dublin and what it has been like supporting some huge names (including Bon Jovi) – they look ahead at gigs and where we can catch them play.

I ask the guys how they got together and how they spend time away from music; whether they are coming to the U.K. to play; what it feels like having a debut single out there; if there is more material coming later in the year – the guys end the interview by selecting a song that means a lot to them.

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

Hi! It’s been great. We’ve been busy promoting the single and we’re blown away by the response it’s getting.

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

We’re a three-piece band from Dublin. We’ve been together about six months. We all have similar tastes in music and have known each other a long time. Andy and Craig went to school together and Brian and Craig met on the pub scene in Dublin (Craig likes to think he brought us all together!)

Talk to me about your debut single, Changes. What is the story behind it?

Like every great story, it started with a cup of tea! Literally, Craig was making a cup of tea when the chorus just popped into his head. He recorded it on his phone (well; after finishing the tea). A couple of days later, him and Brian sat down and it was finished within a couple of hours.

Is it exciting putting the song out there?! Did you know, instinctively, this song was the first you wanted to be released?

Yeah. It’s exciting/nerve-wracking! We put a lot of work into the song and we were really happy with how it sounded but you never know how it’s going to go. We knew straight away we wanted this as the first single because it was a new sound for us: going from an acoustic act to a full band.

Might we see more material coming in the future months?

We’re currently working on an E.P. and we’re in rehearsal rooms most days writing and practising for the upcoming tour.

What is the craic like in Dublin? Is it a great place to play music – with lots of like-minded folks?

The craic is 90! Dublin’s great for music; Brian and Craig spent years bashing the guitars in Temple Bar. There are loads of great places to play original songs in front of live audiences - Ruby Sessions and Zodiac Sessions are two well-known open mic nights that have always been supporting up-and-coming artists.

How did Saarloos get together? Was it love at first sight?

Brian and Craig were two solo singers doing their own thing. After doing years of cover gigs, they decided to create a band. Andy was a late addition to the band, he knew the guys a long time, so he fitted in nicely. We’re very fortunate that we get along together – it makes it easier when you’ve to spend ten hours a day in a room going over and over songs.

You have already supported big names like Bon Jovi and Daniel Beddingfield! How much of an impact has that had on your ambitions and confidence?

Great question! Playing in front of that many people is terrifying and amazing. It drives you to be better and work harder to get the opportunity to do it again. At the same time, it’s great to come back and play small shows and connect with the audience.

Do you all share musical tastes? Which artists do you count as influences?

For the most part, our tastes are very similar. Brian probably has the most eclectic taste whereas Craig has always liked the sound of an acoustic guitar so stuck to the likes of Coldplay and Snow Patrol. Andy is a massive Dolly Parton fan!

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

We’ve a busy June planned! We start in Belgium at the end of May and finishing up in Zurich and playing shows in Germany, the Netherlands; Milan, Paris and Copenhagen. Super-excited!

Do you reckon you’ll come to the U.K. and gig here at all?

Yeah. We just got back from London playing Never Fade Sessions with Newton Faulkner. We’re playing in London’s 02 Shepard’s Bush Empire on 9th June. We’re hoping to do our own headline show there soon.

What do you hope to achieve in 2018?

By the end of the year, we hope to do our own tour around Ireland and add in shows in places like London, the Netherlands and Germany.

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

Last year Craig and Brian got to support Gavin James in the 3Arena in Dublin. Playing in front of 16,000 people was surreal!

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

We’d love to support Coldplay, but Andy’s holding out for Dolly Parton! As long as there are a few cold Coronas in the fridge we’re happy!

What advice would you give to new artists coming through?

Don’t be afraid to put yourself out there. Never turn down a gig…and enjoy it!

IN THIS PHOTO: David Keenan/PHOTO CREDIT: Benson Portrait Studio

Are there any new artists you recommend we check out?

There are tonnes of amazing Irish Acts coming through: David Keenan, Talos and Tim Chadwick to name a few.

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

Craig is a pond aficionado - seriously, he loves them! Andy loves the outdoors. You’ll find him on a bike in the mountains most Sunday morning. As for Brian?! He couldn’t be more chilled!

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).

Craig: JCB Song - Nizlopi

Brian: Time - Tom Waits

Andy:  Islands in the Stream - Dolly Parton and Kenny Rogers!

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Follow Saarloos

Twitter:

https://twitter.com/Saarloosmusic

Facebook:

https://www.facebook.com/saarloosmusic/

Spotify:

https://open.spotify.com/artist/5PkPEYDAzPR5pJhiqPCy6y

INTERVIEW: Lindsay Kay

INTERVIEW:

Lindsay Kay

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IT has been really revealing and interesting…

speaking with the L.A.-based songwriter, Lindsay Kay. She has been talking to me about her latest track, Invited, and the inspiration behind it. I probed Kay about her upcoming album and what the reason was behind hiring an all-female team – she reveals to me the artists and albums that have impacted her the hardest.

The Canadian-born talent tells me how she spends time away from music; what her favourite memory from music is; why she relocated from Canada to L.A.; which new artists we need to keep our ears peeled for; what she hopes to achieve before this year is through – Kay ends the interview by selecting a song perfect for the sunnier weather!

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

Hi! I’m doing well, thanks for asking. My week has been really nice. The weather in L.A. is super-beautiful right now - it’s that end of spring/beginning of summer vibe where it smells like jasmine everywhere and still isn’t too hot and it’s staying light out later and later…the best time of the year!

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

I’m a Canadian singer-songwriter based in Los Angeles. I play and write quiet, melancholy; acoustic-based music with a subtle Jazz influence and I’m currently finishing up my debut, full-length album.

Invited, your new single, is out. Can you talk about its story and what influenced it?

I wrote Invited, and a big chunk of this album, in the fall of 2016…right before the Women’s Marches and the #MeToo movement popped off, but right in the midst of the pussy-grabbing chaos of Trump’s campaign and eventual election. So, there was a definite stirring in the air amongst women happening. One particular night, when I was walking down Hollywood Blvd, I passed a group of men and one of them started hassling me and wouldn’t let me pass.

He touched my arm and pulled on my shirt and was just really in my space and whispering whatever in my ear. This is certainly not an isolated incident: this type of thing happens to me and all women daily, weekly, etc. But, this guy just caught me on a bad night and, because of the climate politically and socially, I was starting to awaken and realize that normalizing these events was the opposite of normal.

I was examining my experiences as a woman more whereas, prior to that, I was just letting these things roll off my back and barely acknowledging them because, if women allowed ourselves to feel every event like this, we would just unravel, because they’re so frequent. I just remember feeling really upset and so violated and thinking to myself: ‘Why is this a difficult concept to grasp? Why do you feel entitled to my time/space/body/energy? Why do you feel no need to ask me if I want you near me? Do not touch me unless I INVITE YOU TO DO SO’. I wrote Invited the next day and it kind of felt like taking some semblance of my power back by being able to articulate this very simple idea in a concise, well-organized song form.

I know you have an album coming out. Is it true it was created, top to bottom, by a female team? Is that a reflection of the album’s themes and meditations?

Yes, that’s true. The album centers around women’s experiences and the way in which we compress ourselves for our masculine counterparts and stay quiet; pretty and do what is expected of us and many other things pertaining to femininity. I had to enter into a really vulnerable space both to write the music and to realize it on a recording, and I simply didn’t feel comfortable putting those songs into the care of men in any sense.

I wanted to be understood in the studio and not challenged or undermined because of my gender. I wanted the songs to be understood by people who had lived those same feelings and who could really connect to the words. I wanted to see if it made a difference; if I’d be able to hear that authenticity in the music and I really believe that you can! It’s subtle but it’s tangible. It felt so wonderful to be surrounded exclusively by feminine energy in my creative life for an extended period of time.

How was it putting an album together? Did you learn anything about yourself when recording?

This was my third go at a studio project (I have two independently-released E.P.s out under my given name) and, with each, I have learned so much and refined the process a little. This was definitely the most successful endeavour thus far, and I feel like for the first time I was really able to make an album that sounds like me. This is my voice, this is my sound; this is my message and it hasn’t been muddled or messed with in any way.

I self-produced and am the sole writer on the album, which felt very empowering and important to me - and I did all of the arranging and handpicked all of the instrumentalists myself. There were so many wonderful folks involved that helped me bring the album to life and who offered their collaborative efforts and expertise and, while I certainly couldn’t have done it without them and their incredible talent, I am really proud of the fact that I maintained complete creative control and saw my vision through exactly the way I wanted.

The main lesson I learned while making this album is that this is truly what I am meant to do with my life – this is what I was built for. In the past, I may have lacked the confidence to give myself the credit where it was due or to walk into a studio and really feel at ease and like I had business being there. I always felt like I was faking it, or like I had something to prove (to men). But on this project, because so much of the creation of it was on my shoulders, and because I am truly so proud of the music that we made, I started to finally see that I absolutely do belong and that I’m really good at my job. Certainly, there are always moments of doubt and stress and feeling stuck – days when you’re exhausted and burnt-out and unsure of if what you’re making is working or if it’s ‘good’. But, on the whole, the experience was so creatively-fulfilling and really instilled in me a sense of confidence in my abilities that I was lacking on previous projects - and which had been holding me back creatively and otherwise.

When did music come into your life? What was the reason for taking it up?

I started singing when I was really young, just along with songs in the car or at home and my mom noticed that I had an affinity for music and enrolled me in some children’s choirs and provided outlets to channel that into. There was no rhyme or reason to taking it up except that I just loved singing so much. I can’t remember a time that I wasn’t singing on a daily basis…I’ve been fortunate to be actively doing the thing I love most for nearly my entire life! I started playing the guitar around the age of twelve as a means to begin writing my own songs and, from there, it really started to feel like a career path.

When did you move from Canada to L.A.? Are there big differences in terms of sound and the feel of the place?

I left Calgary when I was eighteen-years-old to go to Berklee College of Music in Boston and lived there for five years before eventually moving to L.A. in 2016. Canada has a wonderful and thriving music scene and, sometimes, I feel a little sad that I’m not as actively involved in it as I could be, simply because I’m not physically there and haven’t been in a long time. The fabulous thing about the Internet is that it makes the world so much smaller and so I am able to be actively part of the scene here and still keep up with what’s being made in Canada. I always felt drawn to being down here in the U.S. I don’t know exactly why, but I had this feeling, from a pretty young age, that it was where I was meant to be and I followed that intuition.

I love the music being made here right now. It’s an exciting time for music in L.A. It feels like anything is possible. It’s hard for me to pinpoint whether there’s a distinct difference in sound and feel between the places, but I will say that Canadian artists do seem to have this community and camaraderie and support for each other that is very special. I’d love to see more of that here.

Which artists would you count as influences?

So many…I find myself being influenced by a lot of music that sounds absolutely nothing like the music that I make, and yet, I still learn deep lessons and store away information from them for my own work. Solange Knowles, Leonard Cohen; Sufjan Stevens, Kendrick Lamar; John Mayer, Joni Mitchell; Esperanza Spalding, Bob Dylan; Chance the Rapper, Chris Thile/Punch Brothers; Herbie Hancock, Cardi B; Frank Ocean, Harry Styles; Sampha, SZA; Elton John, John Coltrane; Miles Davis and Ryan Adams…just to name a few off the top of my head.

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

As I’m still finishing up my album and have yet to set a release date (late summer sometime!), we haven’t booked a tour as of now. However, I will, of course, perform an album release show here in L.A. and in my hometown of Calgary when the time comes and I am in the beginning stages of conceptualizing and planning a live show, which I intend to be very visual and perhaps even a little theatrical. So, I’ll be spending the next few months plotting that and am looking forward performing again very soon.

What do you hope to achieve in 2018?

My perfect 2018 looks like: I release this album, it resonates in a meaningful way with women and female-identifying people, I play some shows, someone somewhere pays me money for it and I have some very good meals.

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

Wow; this is a tough one…

There have been lots of great moments, but one is coming to mind. I seem to remember being a very quiet, socially-anxious teenager in high-school and feeling a little invisible and generally unsure of how to relate to my peers. There was some sort of an open mic thing happening at a coffee shop in town and everyone at school was going. I decided to go for it. I’d been playing out around town a lot, but no one at school really knew I played music. I was sort of living this double life: going with my mom to open mics on school nights and being exhausted the next day at school because I didn’t get to play until like midnight; recording demos on weekends, just doing whatever I could…but I hadn’t yet played my songs in front of people I knew.

I was terrified, but I got up there in front of everyone and played one or two of my own songs and people were shocked. I remember, just for this one night, feeling like people finally saw the real me and feeling appreciated and special. It was a nice moment and one of the first instances I can remember where I fell in love with performing my own music in front of people because it enabled me to be my truest self and made me feel like I had a superpower.

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

John Mayer – Continuum

Sufjan Stevens – Carrie and Lowell

John Coltrane – A Love Supreme

That was a very hard question to answer!

What advice would you give to new artists coming through?

Get good first.

PHOTO CREDIT: Pisces Dreams/COVER DESIGN: Mark Nubar

Are there any new artists you recommend we check out?

Yes! My dear pal Alec Watson has a solo project called DPCD – he makes super beautiful acoustic music and has a truly stunning album out called Good Visions. It’s a must-listen. My friend Elizabeth Goodfellow, who is an amazing drummer and played the drums on my album, just released a fantastic album called Silly Sun. It’s the perfect summer album – super groovy, lots of synths; great balance of fun and depth.

Lara Somogyi, who I was also so fortunate to have play on my album, is an incredible harpist and she does a lot of really innovate things on the harp…she plays with pedals and different effects, ventures into electronic production; incorporates movement and just generally does a lot of unexpected and beautiful things on the instrument. Highly recommend checking out her work.

IN THIS PHOTO: Lara Somogyi

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

Yes, I definitely do. Although I do work really hard, I try to make a point of checking in with myself often and making time to relax and unwind. I’m really introverted and need quite a lot of alone time to feel good and I love being in my little apartment and cooking delicious meals.

I can get burnt-out quickly with music if I’m not feeding my creativity in other ways; so I try to consume a lot of art outside of music by going to galleries and museums frequently, going to the movies; seeing live theatre, reading lots; watching T.V, and spending quality time with my friends, who are an amazing group of creatives who understand this weird lifestyle and can commiserate and ease some of the pressure.

Routine is also really important to my well-being, and I have my little daily and weekly rituals that help me stay balanced (hiking, coffee-making; going to the farmer’s market, podcast listening etc.)

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).

Sister Golden Hair – America

A classic bop for this current L.A. weather!

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Follow Lindsay Kay

Official:

http://lindsaykaymusic.com/

Twitter:

https://twitter.com/lindsaykaymusic

Facebook:

https://www.facebook.com/lindsaykaymusic

Instagram:

https://www.instagram.com/lindsaykaymusic/

Spotify:

https://open.spotify.com/artist/0l4R9iqx4fRbJkCRcCKJkX

BandCamp:

https://lindsaykay.bandcamp.com/releases

FEATURE: The Rise of the ‘Superfan': Those Keeping Vinyl Sales Burning Bright

FEATURE:

 

The Rise of the ‘Superfan’

ALL PHOTOS: Unsplash 

Those Keeping Vinyl Sales Burning Bright

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THERE is a good reason why I return to the subject…

of vinyl and its popularity. Over the weekend; I will explore radio and getting into the industry – collating guides and pointers from those in the industry. Today, an article caught my eye that deconstructed the purchasing habits of those who love their vinyl. Record collectors spent more than $200 million (£147 million) at the online marketplace last year. The Beatles’ promotional seven-inch single, Love Me Do, was the top request: Pet Shops Boys and Prince were included in the top-five. An article published by the BBC laid out the statistics:

“A hardcore of 'superfans' buy more than two-thirds of all the vinyl records sold in the UK, according to new data.

The Entertainment Retailers Association (ERA) says these collectors fork out more than £400 every year, accounting for 72% of sales.

With the average LP costing £20.31, superfans are each purchasing at least 19 albums.

The figure illustrates how niche the "vinyl revival" is, despite record-breaking sales over the last few years.

In total, 4.1m vinyl albums were sold in 2017, the highest number since the 1990s.

But the format only accounts for 3% of the total music market, and in 2015 a BBC/ICM poll found that almost half (48%) of the vinyl records people buy never get played”.

We can extrapolate a couple of things from the statistics: the fact the majority of vinyl purchases are by ‘superfans’ means other people are less interested: maybe there are spearheading a mass army that is bringing the honesty and physicality back into music.

I would split my mind between the two: the fact so many buy an arm-full of records each year means they want to keep the passion alive and connect deeply with the music; there is still the need to recruit others and create a better split between digital and physical. I am one of those who spread themselves across all formats. I have wallets full of C.D.s for the car; I am on Spotify, YouTube and SoundCloud when reviewing and at the laptop; I have my case of vinyl for when I need to unwind and experience music at its very finest. The article I quoted above stated the ‘superfan’ dominates the Blu-Ray market: there are fewer when it comes to D.V.D.s and C.D.s. Maybe it is the sheer size and force of a record. It is like carrying home a new-born baby to obsesses over and have. The C.D. is great – I am keeping the market propped-up on my own! – but it is easy to chuck them away and not really drool over them. Digital music is great but we take a much more casual and fast-paced attitude to the format – playing loads of songs and skipping through without digesting what is being said in some cases. With Record Store Day still in the memory; it seems the communal shop experience is vital to record lovers.

The price of vinyl, as I have said before, can be damning and eye-watering. I have been looking around for some new records and, even if they are not mega-successful and popular; they can cost anything over £20. What amazes me is how much one can spend when they get to a record shop. You go in looking for one thing and then, before you know it, you have four or five other L.P.s under the arm and are spending anywhere close to a hundred quid! Maybe the trip down to your favourite vinyl spot is a rarity: when you do go down, you are spending a lot and buying quite a few records. That is a different dynamic to buying C.D.s or D.V.D.s, for instance. It would be good to see more pressing plants so we can produce a lot more records. I am not sure what the costs are involved with making a record but the extra money coming into the industry – can we not build more spaces, factories or local presses, when we could make a record more effectively and cheaply? I appreciate it is a big process making a record and printing on the sleeve etc. but I wonder if the high costs are excluding those testing the waters – the ‘superfans’ are still the ones who will overcome anything to get their hands on some vinyl.

I wonder if there is a pragmatic way of lowing production costs and ensuring we tempt more buyers in. If you look at a C.D. and the size of it – is it too unreasonable to ask £20 for a record when a C.D. costs only half that?! I know the ‘superfans’ will not mind shelling out but some in-store loyalty programmes could be implemented where they get discounts for bulk-buying and loyal custom; promoting seven-inch singles and smaller vinyl so that people can get a taste and bond with the format. We have to ask ourselves, over the past few years: who are the ones buying vinyl? A 2016 article found some interesting results:

“Those who have recently purchased a vinyl album are most likely to be aged between 45 and 54, apparently. In fact, those in the 18-24 age group are the least likely. It is not just an act of hoarding by hobbyists, either – it has emotional significance: older vinyl buyers are slightly more likely to keep their feelings to themselves (56% of vinyl buyers versus 53% of all UK adults) and enjoy being alone (69% of vinyl buyers versus 66% all UK adults)”.

Fortune followed that up a year later:

“The demographic responsible for the comeback is actually 18-24 year olds, an interesting age group given that they likely grew up buying digital copies of music rather than physical ones, unlike older generations.

 One in four people in the 18-24 demographic said they had purchased a vinyl record in the last year, with a good number of those indicating they purchase a new vinyl each month. 83% of the age group has purchased some sort of physical media in the past year (DVDs, books, CDs, records), which is much higher than the 76% average across all age groups”.

It seems the shift has gone from the middle-aged to the younger listeners: those who grew up around their parents’ vinyl collection are carrying on that trait and spending their cash on records. Whilst there is no real age and profile of what a ‘superfan’ constitute, some worrying research shows that nearly half of all vinyl purchases are not being listened to:

“…But new research suggests that while more people, notably young people, are buying into vinyl, a lot of them aren’t actually playing the records.

An ICM poll, shared with the BBC, says 48% of people who bought vinyl last month have yet to play the record. Some 7% of those surveyed said they didn’t even own a turntable, while a further 41% said they have one but don’t use it. We humbly suggest people could rectify this situation with one of our recommended turntables”.

It is concerning so many people have vinyl as a piece of art or never actually putting it onto a turntable – does it matter what we do with a record and how we see fit to display it?! Maybe we should recommend turntables as heavily as vinyl. Does that mounting expense put people off buying an L.P. in the first place? Are the younger generation more concerned with nostalgia, a lost beauty and physicality – the middle-aged and older buyer continuing as they did as children and unwilling to bend to the digital dominance?! Those loyal and much-reliable fans are pushing up vinyl figures but it would be good to see more money provided to the industry so we can keep record stores alive and expanding. The perfect experience would be to see a singular space for everything vinyl – records ordered according to gene and hardware (headphones and turntables) in another section; have singles and rare memorability in another part. Having a nice and clean décor would attract in those younger listeners but, rather than them walking away with vinyl as a fashion piece – they would learn about all the components and have someone, you’d hope, in the store who could talk about the tech and turntables. I guess, regardless of what people are buying records for; the fact they are popular and still resonating is the main thing!

Those so-called ‘superfans’ are the people who, through economical high wind and rain, are coming out in droves and scouring through racks and crates of vinyl. I am glad all ages are engaging with records and we can mix streaming and digital tastes with the physical and long-playing. Kudos to those who continue to keep vinyl alive and in rude health. I am confident this side of the market will continue to swell and expand as time goes on. It is that loyal core that helps keep the figures impressive and hopeful. It would be good to see more people actually play records. I can understand it is quite a cumbersome and energy-consuming – compared to digital means – but the experience is wonderful and ever-lasting. I will end things here but I cheered to hear about the continued success of vinyl and those hardcore fans who will accept no alternatives. I want to see all physical means survive – vinyl has a particularly fond place in the heart and is a combined artistic and audio experience. If we can encourage growth across all ages and enhance the necessity of playing records – in addition to sporting them as items of art – then that will encourage a wave of interest that will last for generations. Respect to the ‘superfans’ who, whilst they do not wear capes, have a love and curiosity that is impressive indeed. Seeing that kind of hunger and loyalty makes the news is…

DEEPLY impressive indeed.

INTERVIEW: Austel

INTERVIEW:

Austel

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THERE is a lot to digest in a song like Lost At Home…

and its messages will connect with everyone. I have been discussing the track with Austel and what it means to her. She talks about filming its video and working with producer Adam Stark; if she is looking ahead to gigs and any other songs; which albums she courts as favourites – she recommends some new artists to have a good look at.

I asked her whether a change has come into the music; whether Austel has any plans for the remainder of the year; which artists she counts as idols; how she spends her leisure time – Austel provides some sage advice for new artists.

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

Hey! It’s been good, thanks. Busy, but good! Enjoying the sun.

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

Austel is a new music project combining dark, moody songwriting with ethereal electronic soundscapes. I’ve been working both as a solo artist and in other bands for a few years, but the new direction in sound and songwriting for this project deserves its own platform. I started working with Adam Stark - my producer and bandmate - a couple of years ago and Austel is a combination of my singer-songwriter, Classical and Indie background with his experience as a composer and music technologist.

Lost At Home is your new single. Can you talk about its origins and story?

I wrote Lost At Home at a time when I was feeling very isolated and disconnected - from my surroundings, from other people and from myself. It’s about the uncomfortable realisation that the place you’ve tried so hard to convince yourself is where you belong is actually wrong and you’re compromising a huge part of yourself to be there.

The video interests me. Where was that filmed? What was it like to shoot?

The music video was directed by my friend, Matt Bell, who’s an incredible photographer and filmmaker. Matt followed me walking around London for two days with a camera and perfectly documented my experiences of feeling anonymous in the city.

It was a really cathartic video to make, as I retraced a lot of old footsteps and memories - visiting places I hadn’t been for a long time; making peace with unanswered questions and realising that what I’d been looking for was actually right here, within myself.

You are working with producer Adam Stark. How did you come to meet him? What does he add to the creative process?

Adam was one of the first people I met when I moved to London, which was pretty lucky! I was performing alongside his band Rumour Cubes at Glastonbury in 2013 and we quickly became friends. We started working on my music together in 2015 and it just worked really well - we totally understood each other’s ideas and share very similar influences. His background in composition, performance and music technology has added something (very) unique to the sound and sculpture of the songs.

He’s invaluable to the project; not only for crafting my songs with me and adding so many beautiful ideas to the production but, also, as a bandmate, all-round collaborator and friend.

Have you noticed a change in you as a performer and writer? Do you think Lost At Home is your most confident work so far?

It’s funny, because the sentiment of Lost At Home is the opposite of confident: in fact; a lot of these songs document a time in my life when I was feeling really insecure and rudderless. However, through the process of writing, recording and releasing them; I feel like I’ve finally found my wings and started to let go of the things that I felt were holding me back. I’ve learnt so much over the past five years - both as a musician and a person - and am very excited to continue that journey.

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

Yes! We have a debut E.P. on the way, which will be out in July. There might also be another single coming before that. Watch this space…

When did music come into your life? What was the reason for taking it up?

As far as I’m aware (and I know this is the biggest cliché), it was always there. I honestly can’t remember not singing or not being interested in music. My parents were both musicians and music lovers - there were always records playing at home and in the car.

I learnt piano from the age of five; went to a musical theatre school and performed in my school Jazz band and choir - so it was pretty inevitable that I’d end up writing my own songs and forming bands. It’s always been a very natural part of who I am.

Which artists would you count as influences?

Eva Cassidy, Radiohead/Thom Yorke; PJ Harvey, Goldfrapp; Daughter, Bon Iver; The National, Bat for Lashes; Patti Smith, Jon Hopkins; Cocteau Twins/Elizabeth Fraser; London Grammar, Bonobo; Fever Ray, Nils Frahm; Jeff Buckley, Nina Simone; Johnny Cash, Martha Wainwright and Leonard Cohen…so many more!

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

We’ve just announced our E.P. launch show at The Finsbury, London on 23rd July! That’ll be our big show of the summer and then we’re lining a few things up for later in the year.

What do you hope to achieve in 2018?

We’re releasing our EP, Unfold, in July alongside the launch show, so I’d like to see that do well and for people to enjoy it! Then, we want to continue making music, playing great gigs and meeting new people…this is just the beginning. We’ve got so many ideas.

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

I’ve had so many brilliant memories: it’s hard to choose just one! Most of my favourite memories of music involve being on stage singing songs and having a great time with people I love. It’s the best feeling in the world.

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

This is the hardest question ever…but I’ll say:

Eva Cassidy – Songbird; Radiohead - The Bends and Bon Iver - Bon Iver…

PJ Harvey - Stories from the City, Stories from the Sea, Goldfrapp - Seventh Tree; The National - Trouble Will Find Me, Tracy Chapman - Tracy Chapman; Starsailor - Love Is Here, The Clash - London Calling and Elliott Smith - Either/Or are all strong contenders, too.

What advice would you give to new artists coming through?

Stick to your gut, trust your own ideas; don’t compromise yourself or your art but, equally, don’t be scared of trying out new ideas. Surround yourself with good people who have your best interests at heart. Take a moment every now and then to zoom out, because it’s easy to forget how far you’ve come if you’re constantly looking ahead.

Don’t give up - there’s often something brilliant just around the corner; you’ve just got to keeping walking to get there.

IN THIS PHOTO: Bryde

Are there any new artists you recommend we check out?

If you haven’t already, definitely check out my pals Amaroun, IDER; Bryde, Marie Naffah and Mono Club. All brilliant artists making amazing music.

I’m also totally obsessed with the new Middle Kids record at the moment.

IN THIS PHOTO: Middle Kids

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

Ha. My friends and family will all tell you that I’m terrible at switching off: I’m a bit of a workaholic!

It sounds simple, but one of my absolute favourite things to do is go for a long walk and listen to a record. It’s my time to think and get a bit lost in my head. I also draw a lot, write poems; read books and go to a lot of gigs, exhibitions and brunch dates with friends.

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).

Shortwave by Yo La Tengo - close your eyes for five minutes and escape.

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Follow Austel

Official:

https://austelmusic.com/

Twitter:

https://twitter.com/austelmusic

Facebook:

https://www.facebook.com/austelmusic/

Instagram:

https://www.instagram.com/austelmusic/

Spotify:

https://open.spotify.com/artist/7jMnfga7535wl3kJmUlRvq

YouTube:

https://www.youtube.com/channel/UCxgw5LIraJ31LpTjSHqJXOw

INTERVIEW: Dámì Sule

INTERVIEW:

Dámì Sule

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WITH such a vivid and interesting road into music…

I was keen to chat with Dámì Sule about his album, Rough Canvas, and some of the things that inspired the songwriting. He talks about growing up in Nigeria and moving to the U.K.; whether music holds spiritual sway and power; which artists he considers influences – Sule reveals plans for touring.

The songwriter tells me which three albums are most important to him; if he spends any time away from the rush of music; what advice he would give to new songwriters of the moment; a couple of underground acts we need to get involved with – he ends the interview by selecting a song that is in his mind right now.  

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

I’m good, thank you. My week has been very eventful.

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

I go by the name of Dámì Sule. I am twenty years of age. I write poems and I make music - born and raised in Nigeria for ten years and now living in Manchester. I would best describe my music as emotion-filled and, in some ways, thought-provoking.

Rough Canvas is your first full-length. Can you tell me about the ideas expressed and what influenced its creation?

The whole idea of Rough Canvas is about portraying everything perfect yet imperfect. It is about finding your flaws and making it a canvas for everything beautiful to be made. I try to play with the ideas everyone can relate to, as well as drawing from my own day to day experiences. I try to believe my work is an embodiment of me; as to say I am my own influence in terms of sharing my lived experiences and putting it into my creation.

Chains seems to be a bit of a standout. Does that hold personal relevance and a special place? How did that track come together?

Chains is all about breaking free. It holds a lot of relevance in my personal life in terms of breaking the burdens ahead of me. As well as this, when writing for Chains, I tried to put myself in the shoes of the millions of common men and women I walk past in each day. I tried to put in words the problems we all face and reflect how restraining our problems can feel.

You are Nigerian-born. Do you take a lot of the music and spirits from Nigeria and put it into your work?

I definitely believe I am influenced by my upbringing in Nigeria, although I believe it's largely an unconscious process. However, in the future, I do aim to intentionally to induce the sound Nigeria carries into my music; in my pursuit to create something unique and closer to me.

Which artists would you count as influences? Did music come into your life at an early stage?

It is really hard to consider which of the artist I listen to are influences as it isn't my aim to draw from other artists. I try to embody my own personal experiences into my music in order to make them relatable to the masses. Making music did not come to me at an early stage: I only understood the depth of my talent and how I could use it for good about a year ago.

I started writing poetry from my college days and, from then on, I began to understand what I was actually doing and what I could make it into - which is what I am doing today.

What, to you, does music mean? Does it hold a spiritual and awesome power?

Music is absolutely spiritual. That is why I aim to only create and preach positivity. I believe we listen to music in very spiritual ways in terms of when we are jubilant, sad etc.

How do you think you have grown since 2017’s (E.P.) Crayons? Have you noticed changes in your music?

I think, since my Crayons E.P., I have discovered more ways to use my voice in terms of playing around with different sounds and not sticking to a genre, B.P.M. etc. I am not the same person since making the Crayons E.P. - in terms of the fact I am older and have experienced different things since then; it has impacted my music by adding more depth.

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

I am collaborating with The Pit LDN and Relentless Energy Drink to create a show called Introducing Dámì Sule with my live band The Youth Club. It is a show about introducing my sound to new ears. The date for the show is 21st June in Manchester – at the Zombie Shack - and tickets will be available through my website and Dice.fm.

What do you hope to achieve in 2018?

Growth. Growth has always been my aim each year. Everything else I consider as further blessings.

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

The Score by Fugees, Dear Daisy: Opium by Kojey Radical and The Paradox by Jacob Banks are albums that I have indulged (plus, a couple more).

What advice would you give to new artists coming through?

To stay original.

It is very easy to sway towards the desires of others or what's the latest trend. Being original leads to longevity…and that's what I have learnt in my short time.

IN THIS PHOTO: Indigo Dee

Are there any new artists you recommend we check out?

I would highly recommend you listen to ChinaLilly and Indigo Dee, who will be my special guest at my show on 21st June.

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

I currently juggle university, placement and my part-time work away from music. So, in my very little downtime, I’m on my Xbox being LeBron James on NBA 2K18.

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).

Dry Cry by Wretch 32, Avelino (ft. Stacey Barthe)

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Follow Dámì Sule

Official:

http://damisule.com/

Twitter:

https://twitter.com/damisule1

Facebook:

https://www.facebook.com/damisule1/

Instagram:

https://www.instagram.com/damisule/

Spotify:

https://open.spotify.com/artist/6XE4Nnt9XkRoh4iSi1rTa9

YouTube:

https://www.youtube.com/channel/UClcdq6bE-M6Q8UJgZpJw5ZA

INTERVIEW: Hannah Scott

INTERVIEW:

PHOTO CREDIT: Simone Lezzi 

Hannah Scott

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HER album, Pieces of the Night, is out on 22nd June…

so I have spent the time speaking with Hannah Scott about its stories and messages. She tells me how she is adapting having been diagnosed with ankylosing spondylitis; what gigs she has coming up; if she has a favourite memory from music – Scott recommends a couple of newer artists worth some time and energy.

Scott talks about Stefano Della Casa’s role in her music and how important her time in Italy was; whether she gets any time to detach away from music; what she hopes to achieve by the end of this year; the artists she counts as idols – the young songwriter ends the interview by selecting a stunning track.

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

Hi! I’m not too bad, thanks. A busy week leading up to the release of my new single, Boy in the Frame!

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

My name is Hannah Scott. I perform ‘Contemporary Folk’ music with thoughtful lyrics and a distinctive voice (so I’m told!). I work closely with my creative partner, Stefano Della Casa, and we make, tour and release all the music just the two of us.

Pieces of the Night is your album, out on 22nd June. Can you reveal the inspiration behind the album and the moods contained within?

I would say these are honest songs about the human condition and human connection in an increasingly hectic world. These are songs inspired by family, hope and self-belief. I think, on first listen, it could come across as downbeat, but I hope there are positive messages to be taken from the lyrics.

Is it true you were recently diagnosed with a form of arthritis? Has this made a big impact on how and how often you perform?

Yes. I was diagnosed with ankylosing spondylitis (impressed if you can pronounce it: I’ve only just learnt to spell it…) about three years ago. In hindsight, I should probably have taken a break to look after myself, but I’m not very good at stopping. There have been times when Stefano has had to help me up and down from the stage! He always carries all our equipment and ends up looking like a roadie rather than an artist!

I feel guilty making you type some replies! Has that diagnosis, in a sense, made you more determined, or are you a bit more selective regarding what you write?

More determined, definitely. I try to use my physical pain to drive me forwards, even though it is tough at times. I would say I am probably more selective regarding the shows I do because travel is hard on my body. In terms of writing, I think I have a new perspective, but I’m not sure I’d say I was selective regarding what I actually write.

Many commentators and media sources have complemented your arresting vocals and beautiful songwriting. Did it take a lot of experimentation to get to where you are now?

I would say time, rather than experimentation. I’ve learnt my craft by doing it over the past ten years or so; I’ve learned how to be on stage by regularly getting up on stage and learned how to write (hopefully) good songs by getting my head down and writing.

Who would you count as influenced regarding your own songwriting?

My early influences were artists such as Counting Crows, Ryan Adams; Ray LaMontagne - and I continue to listen to them today. Some of my favourite current artists include Christine and the Queens, John Smith and Foy Vance.

PHOTO CREDIT: Simone Lezzi

How important is Stefano Della Casa with regards your music and progress? When did you two meet one another?

Paramount, I would say!

We met through a mutual contact when he was first moving to London and just started jamming together - and it went from there really. It’s possible we met years prior to that though because, when I lived in Italy, I regularly passed through the train station he was working in at the time! Over the past five or so years, we’ve been working very closely; all the songs on the album have been written together and I definitely wouldn’t be the artist I am without his input and presence.

Italy is where you spend a lot of time and split your time. Is it a great country to play and create in?

Yes. I’ve been in love with Italy ever since I went there just after my A-levels and decided to change my degree course to include Italian. I lived there for a year as part of my degree and that year was so important to the choices I have made and the direction I have taken. I love spending time there, whether it’s to write, perform or just be.

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

Yes! Lots of festivals coming up over the summer. We have an album launch party on 21st June at The Nave on Bishopsgate in London and we’re also making our way north as far as Preston (Winedown, 14th June) and to Wales (Blue Sky Cafe, Bangor on 15th June). You can find more dates at my website.

What do you hope to achieve in 2018?

I’m looking forward to putting the new record out, getting on the road and meeting new people. I hope we reach some new ears with this music!

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

I would say one of the highlights was performing live on Radio 2 on Dermot O’Leary’s show. He had played a previous single of mine, Hurricanes, on his ‘Some Mother’s Do Indie’ feature the previous week and it went down so well that they invited us into the studio for a live session the following week.

I also feel very privileged to have travelled with my music - not only to Italy but also twice to the U.S. (with funding from PRS Foundation and thanks to a successful PledgeMusic campaign) and Germany.

What advice would you give to new artists coming through?

Play live as much as you can, write as often as you can; see it as a journey rather than a destination.

IN THIS PHOTO: IDER/PHOTO CREDIT: Lottie Turner

Are there any new artists you recommend we check out?

I’ve been enjoying listening to IDER and Talos recently - definitely worth a listen!

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

Ha! Occasionally! Yoga and swimming - and the moment to try and keep my body moving…

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).

Sara Bareilles – Satellite Call. LOVE this

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Follow Hannah Scott

Twitter:

https://twitter.com/hannahscottuk

Facebook:

https://www.facebook.com/hannahscottuk/

Spotify:

https://open.spotify.com/artist/7GYb6inSvyPyZABFFI29Qt

YouTube:

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

INTERVIEW: D.A.N

INTERVIEW:

D.A.N

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I have been chatting with D.A.N about…

his fantastic new track, 0300 (Human), and its nocturnal inspiration. D.A.N discusses new material and why he relocated from Northern Ireland to London; how it feels knowing his music is connecting with the public; what gigs he has lined up – I ask what music he grew up around as a child.

The multi-talented musician discusses his upbringing and bonding with music; which three albums mean the most to him; if he gets time to chill outside of music; the advice he would offer new songwriters emerging – D.A.N ends the interview by picking a pretty ace song.

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Hi, D.A.N. How are you? How has your week been?

I’m good, thanks. My week’s been pretty busy. I'm organising some upcoming things for the next few months.

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

I’m an artist from Ireland, but I moved to London when I was eighteen. I’ve been playing and writing music since I was young – started on piano, classically, but I now create in an electronic, soulful world with a big focus on songwriting.

 

0300 (Human) is your latest single. I believe insomnia is at its heart of it. Is it based on your personal experiences?

The song is based on personal experiences - I’m definitely a person who likes staying up quite late and I think it’s in those hours when you really start to delve deep into your thoughts. The track is an admission, really, that, sometimes, I’m not totally strong and, like anyone, there are times where I break and don’t have everything together. But, by writing the song and being honest about that, it had a positive effect and it made me feel stronger.

That hour, '3.A.M.', is when we shift from consciousness to dreams. What is it about that time/mindset that compelled you to write? Is insomnia, in a way, conducive to inspiration and creativity?

I think the song’s quite autobiographical – 3 A.M. happened to be the time when I wrote it and the lyrics are the narrative of everything that was going through my mind.

PHOTO CREDIT: Cora Hamilton

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

There’s definitely more music happening this year…pretty soon, actually. I’ve been living with it for a while, making sure it’s the best it can be and that it feels right, so I’m really looking forward to finally putting it out.

You are Northern Ireland-raised but live in London. What is the scene like there at the moment? What provoked the move?

I moved to London when I was eighteen - I always wanted to live here. I’d been a few times when I was younger and it seemed like the best place to pursue my music and work with the people I was inspired by. It’s such a fast-paced environment that it really teaches you to focus on what you’re doing and drives you to take it to the next level. I studied Popular Music at Goldsmiths for three years, too, and there’s always lots of stuff happening south of the river as well. I think there’s pretty much something for everyone here.

Your music has proved popular with fans and the media alike. Does that (popularity) drive you forward to keep reaching and aiming high?

It definitely reinforces that people might like it, which I’m really grateful for. But, I think the main thing that motivates me is the connection people have with the songs. When someone relates to a subject that I’ve experienced or written about, it’s the best feeling because you feel like you’ve expressed something that people can share and take comfort in.

Give me an impression of the artists you were raised on. Was your childhood home a musical one?

My family wasn’t overly-musical but we definitely had our car trip favourites – it was a mixture of everything from Björk to Damian Rice to Shania Twain. I’d say I always really gravitated towards Pop music too and I loved a lot of that; artists like Gwen Stefani, Marina and the Diamonds - that kind of vibe. Then, I studied piano and violin classically until I was eighteen, which was a good discipline for understanding music in a different way; some of these traits I probably then transferred when making Pop music.

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

Some summer gigs are being confirmed at the minute, so I’m excited to announce those soon…

 PHOTO CREDIT: Joe Hunt

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

Lorde – Melodrama

I think this one of the best Pop albums. It’s so instantly gratifying on a listening level but its lyrical content is what makes it so relatable. It’s a really beautifully crafted album, too. It has intricacies no other artists ever really discuss or looks into, lines like: “I overthink your punctuation use” and “I care for myself the way I used to care about you”. A modern twist without feeling overdone. Writer in the Dark is one of my favourites on it.

James Vincent McMorrow – We Move

I really love this album because of how delicate it is, but also because it knows the right moments to swell and blow up; a lot of moods to it. I’ve been a huge fan of his since We Don’t Eat and If I Had a Boat. I think this album pushed things to a new level, too, in terms of production: it merges Pop sensibilities with attention to songwriting. My favourites are One Thousand Times and Get Low. 

Jessie Ware – Tough Love

Tough Love feels like a really sophisticated Pop record. It’s got that understated voice with really luxurious production throughout. I’m a big Jessie Ware fan, so all of the albums hold a big place in my heart. Say You Love Me is one of those perfect Pop songs. It absolutely hits the nail on the head; every line means something and has a purpose – it’s strong but entirely vulnerable at the same time, which is a quality I really love in songwriting.

What do you hope to achieve in 2018?

In 2018, I hope to keep putting out and making more music that I’m proud of, more live dates and, hopefully, reaching more people that find a connection with it too.

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

Being able to work with Dave Okumu has created some of the most beautiful experiences I’ve had in music  - he’s been at the heart of so many of my favourite songs, so I feel really blessed that he’s a part of mine too.

What advice would you give to new artists coming through?

Do what feels right and plan as much of it yourself as possible. Work with people who make you a better artist and who give you good energy.

 IN THIS PHOTO: Nilüfer Yanya

Are there any new artists you recommend we check out?

There’s an artist I really like called Jamie Isaac. He’s releasing a new album soon - the song, Wings, is great.

I also love this artist called Nilüfer Yanya – the track, Baby Luv, is definitely one of my favourites.

There’s an Australian artist called Alexander Biggs. Very chilled and I really love his track, Out in the Dark.

Definitely, Grace Carter. I’ve been a fan for a while, but everyone should listen to her track, Silence. It’s one of those songs I wish I’d written.

 IN THIS PHOTO: Grace Carter

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

Yoga and walking are really great ways to take a step aside from everything for a while. I also love designing visuals and reading magazines (too) for inspiration.

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).

George Michael – Faith

This is one of my favourite songs. It’s one of those tracks that feels completely Pop but also discusses a subject matter that everyone probably can relate to at some stage. It’s a man being completely honest, which makes him a stronger character in the end, all at the same time making you feel great and helping when you listen. A genius Pop song.

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Follow D.A.N

Official:

https://www.danmusic.co.uk/

Twitter:

https://twitter.com/dan_online

Facebook:

https://www.facebook.com/danonline95/

Instagram:

https://www.instagram.com/dan_online/

Spotify:

https://open.spotify.com/artist/6CtWl0QypaiAQ0XbMe3CMa?si=-0Bo8XFmTl6vCS6e53IYWA

YouTube:

https://www.youtube.com/channel/UCv_O5b-VxuGEb54Pn5xUblw

FEATURE: We Are United: The Mental Health Awareness Week Playlist

FEATURE:

 

We Are United

ALL PHOTOS: Unsplash 

The Mental Health Awareness Week Playlist

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THIS week…

is an important one we should all mark. It is Mental Health Awareness Week and many people are reflecting and sharing their story. I am one among the millions affected by a mental-health problem: so many people have to live through a daily regime of anxiety, stress and depression. The subject and nature of mental illness is a spectrum that many people misconstrue – it is not as simple as someone being ‘depressed’. We cannot treat mental illness as a binary thing in 2018! Even though, for many, talking does little to resolve the enormity of their burden; there are options out there but the solution is a lot more challenging than most assume. There still is a stigma attached to mental-health and fighting illnesses like depression. This week is intended to help those who are going through bad times and raise awareness of a problem that is growing larger and more severe. Organisations and charities like the Samaritans are available to talk to and are free-of-charge. Music is there for people and a way of coping with the worst sides of mental illness. I have compiled a list of songs that either address mental illness or lift the mood – designed to, at least. It is important, as the week goes on, to keep the message alive and use the hashtag #MentalHealthAwarenessWeek. There is not an easy and quick answer to the epidemic of poor mental-health but the more we raise awareness, the quicker we will be able to…

SOLVE the problem.

INTERVIEW: Auld

INTERVIEW:

Auld

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THE music industry needs more artists…

like Auld right now. I have been speaking with him (Thomas Pitts) about his sound and what he can reveal regarding his new song, Bugs in my Gut. He explains why he chooses to be genre-fluid and unlimited; how it felt seeing the positive reaction to his E.P., Curriculum Vitae – I ask whether there will be any gig dates approaching.

Auld talks to me about albums that mean a lot to him and his musical tastes; whether there are any new artists we should look out for; what we can expect from one of his live shows – he ends the interview by selecting an impactful and emotional song.

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

Hello. I am pretty good; thanks very much for asking. I’ve just had a meeting with the new ‘Auld’ mascot. I am yet to get a manager or label so I’ve settled for a mascot. What he lacks in industry contacts and know-how he makes up for in morale-boosting. 

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

My name is Thom and I am Auld. I make brooding, Electronic; Alternative, Indie-Pop.  

If applied accurately, each song should make you wanna dance and make you wanna cry; ideally, at the same time.  

Your music is genre-fluid and wide-ranging. Do you think too many artists are restrictive and narrow when it comes to their sounds? Do artists need to be a bit broader with their music? 

I can’t say what other artists should do with their music. I’ve always tried to be different because that’s what excites me and I’ve never been very good at copying what others do. That’s why I’d be rubbish in a wedding band - I hear that’s where the money is though…

Can you tell me about Bugs in My Gut? What is the inspiration behind it? 

My mascot will tell you It’s about being a sh*t person that wants so much love and respect from people but gives so little back to the world. 

I would tell you it’s about social anxiety. 

Your E.P., Curriculum Vitae, is out there. Have you been pleased with the response to it? What was it like putting it all together? 

I’ve been very pleased with it. It’s the best work I have done and it has had some very lovely write-ups. It was a pleasure to create. Writing is my favourite part of the whole process and trying new and different ways to structure songs is something I am finding very exciting now…I don’t get out much  

Did music come into your life early? Which artists struck your tender ears? 

My earliest music memories are listening to Bruce Springsteen and Tom Petty in the car with my parents on the way up to Scotland. It must have been when I was about five or six and I don’t have the greatest memory as a rule, but I remember that very vividly.  

It was when I was obsessed with the Spice Girls that I started writing songs. They were nearly all Pop bangers and they were about Boy Power and boys’ rights.

I was ahead of my time… 

Do you already have more material brewing? How far along are you looking? 

I am currently recording two E.P.s, which will make a full album. The album will be out by the end of the year. The first E.P. should be out by July. It’s not as electronic as this E.P: it’s gonna be a full band set up like they did in the early-noughties. 

Can we see you tour this year? 

October is tour time.  

What gigs do you have coming along? 

Just doing some acoustic gigs over the next few weeks and looking for London shows for when the E.P. is out. 

What form do your live shows take? If we wanted to come along and see you play; what might we see and experience? 

We have been playing full band recently. There are six of us. We try to make it just on the edge of uncomfortable viewing so people stay interested. 

When it’s too difficult to get the band to join me, I play solo with samplers and guitars and synths. I just try to look as busy as possible. 

What do you hope to achieve in 2018? 

My main aim is to just get the music out there to as many people as possible. If I could start paying the rent with my music then that would be a good start.

I’ve got to get better at the whole social network game, as just having really amazing, superb songs aren’t enough anymore. This is why I have brought in a mascot/sponsor/marketing man to help me. 

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

Someone once said my stage presence seemed quite ‘threatening’. I’m one of those boring people that people describe as ‘too nice’, so it was a dream come true to come across as threatening. 

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

The first three that popped into my head were:

Arcade Fire - Funeral

Franck Ocean - Blond(e)

Tom Waits - Rain Dogs 

Rain Dogs always comes to mind whenever a question like this comes up and Funeral has definitely had the biggest impact on me over the last ten years or so; more than any other album. Blond(e) I choose because it’s the only album I’ve had downloaded to my phone for the last year and a half and the album as a whole is beautiful and unpredictable and, after a year and a half of listening to Nights and White Ferrari, I still get shivers of joy every single time. 

What advice would you give to new artists coming through? 

Don’t eat meat.

Be the best.

If you become successful, always remember your old pal ‘Auld’.

IN THIS PHOTO: High Hazels

Are there any new artists you recommend we check out? 

We supported the High Hazels a couple of weeks ago. They are from Sheffield and they are beautiful: if Beach House were four lads from Sheffield then that is High Hazels. I hope that’s a compliment it is meant to be…

I am also very excited for Self Esteem’s album. It’s Rebecca from Slow Club’s solo project. 

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

When I’m not doing music, I’m working any job I can get to pay for rent and recording. 

I’ve worked at every tourist attraction in London and I’m now doing some office work, just to get that full nine-to-five horrible commute experience I’ve heard so much about. It’s all good inspiration though. 

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

Frightened Rabbit - Fast Blood 

A superb songwriter, a beautiful human and a huge loss.

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Follow Auld

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INTERVIEW: Madison Ryan

INTERVIEW:

Madison Ryan

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SHE is a teenage star-in-the-making…

who is turning heads in the U.S. I have been learning more about Madison Ryan and her debut E.P., Primary. She tells me about the scene in Harrisburg, PA, and which albums influence her most – I ask whether there will be any tour dates coming and if she will pop by and see us in the U.K.

Ryan tells me when music came into her life and what advice she would give to new artists; if there are any artists she recommends we check out; how she spends time away from music; what she hopes to accomplish before the end of the year – Ryan selects a rather quality track to end the interview with.

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

Hello! I’m doing great, thank you! My week has been pretty relaxed and slow so far. 

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

My name is Madison Ryan. I’m eighteen-year-old Pop/Rock artist from Harrisburg, PA! I just released my debut E.P., Primary. 

 

What can you reveal about your E.P., Primary? Are there consistent themes and ideas that inspired the music?

This record is me in a nutshell.

A lot of the themes on this E.P. have to do with relationships; not just romantic ones but ones with myself, my peers and my goals. I chose to call the record 'Primary' because this is my beginning. It’s such a strong and bold word to me and I really wanted to capture that vibe with all the songs and the E.P. as a whole.  

Was it a good experience putting it all together? Are you excited to get it out there?

It was such a great experience putting it together. I learned a lot about myself, not only as an artist but as an individual as well. It’s definitely been a long time coming and I’m so excited to finally be able to share it with the world. 

You are from Harrisburg, PA. Is the area quite busy in terms of music – or is it difficult getting your voice heard?

I’d say Harrisburg has an up-and-coming music scene. It’s pretty small but I love that: everyone knows everyone and we all work together as fellow artists. It’s really cool to have a community of artists that feels like a family. 

When did music come into your life? Which artists influenced you to write your own stuff?

Music has been in my life since before I was even born. I grew up in a musical household; it was always present. I’ve been influenced by so much over the years. To pick one main influence that inspired me to write my own music, it would definitely be Taylor Swift. I always admired how she told stories through her songs and could describe things so perfectly and cleverly. 

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

At the moment, I have nothing lined up tour-wise. But, I do have a packed summer! I’ll be playing SummerFest in Milwaukee this July as part of the Emerging Artists Series on the Johnson Controls World Stage as well as some other cool festivals and hometown shows. 

Might you come to the U.K. and see us here?

I would LOVE to come to the U.K. It’s on my bucket list! 

You have played some great festivals and dates so far. Do you find yourself growing in strength with every performance?

Each show is a definitely a learning experience. I grow each time, mentally and physically. After every show, I look at how I can make it better for myself and my audience. 

What do you hope to achieve in 2018?

In 2018, I hope to write more, play as many shows as possible and continue to grow as an artist and as a person. 

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

My favorite memory so far was seeing Primary chart on Billboard. I never thought that was possible and I’m so grateful for all the opportunities I’ve been given. It’s truly humbling. 

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

Abbey Road by The Beatles, 1989 by Taylor Swift and Mister Asylum by Highly Suspect

While these three albums don’t have much in common with each other, they have influenced my songwriting so much. These have stuck with me over the years. I can listen to these albums front-to-back, nonstop and never get tired of them. As a songwriter, that’s something I hope to achieve someday. 

What advice would you give to new artists coming through?

To new artists, the most important thing (as cliché as it sounds) is to never give up. There will be so many times, at the beginning especially, where you just want to throw in the towel. But, it’s all worth it. The highs, the lows…everything. Never stop working hard and always be kind. 

IN THIS PHOTO: The Aces

Are there any new artists you recommend we check out?

I’m really into this new girl group right now called The Aces. I’ve been listening to them a lot lately. Definitely, check them out! I’m also really digging Tove Styrke lately. She just released a new album and it’s amazing. 

IN THIS PHOTO: Tove Styrke

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

Music is my life, even when I’m unwinding I’m always still thinking about music or at least listening to music. But, if I do get time to relax, I’ll usually just wrap myself in blankets and binge-watch Netflix shows while drinking coffee. 

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).

Hard Feelings/Loveless by Lorde!

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Follow Madison Ryan

Official:

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https://twitter.com/MadRyMusic

Spotify:

https://open.spotify.com/artist/5XkeErjiTIPdC0flcUEdIx

INTERVIEW: Alex Dingley

INTERVIEW:

Alex Dingley

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I have been aware of Alex Dingley's music for a while...

so it was cool to chat with him about the track, Not Alone in the Dark. He tells me about his lauded album, Beat the Babble, and releasing it in the U.K. through Libertino Records; what it was like travelling to the U.S. to record it - he reveals his favourite song from the album.

I ask Dingley what it was like working with Cate Le Bon on that record and what comes next; the musicians he counts as idols; whether there are going to be any gigs coming up; whether he gets time to unwind away from music - he selects a couple of new acts to get behind. 

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

Great thanks. SUNNY. I think I may have heatstroke!

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

Hello. I'm Alex Dingley.

Not Alone in the Dark is out and about. I have heard the song. Can you reveal the story behind it?

Ummmm. I'm probably the last person you should ask...

I can lose track of where songs come from and my writing process can get quite convoluted before I filter it down again. I guess that one possible answer (of many to this question) is that I'd been watching a lot of Twin Peaks and went down a David Lynch YouTube rabbit hole; ending up where he was talking about his meditation and where thoughts come from; how they start off as 'a feeling' and bubble through the subconscious as garbled strands of half-formed mental data (I'm desperately paraphrasing here); being filtered by memory/experience/ego before emerging in sharp focus as an idea that can be expressed.

I had a notion of writing a song using these principles as a kind of lyrical template. Not necessarily THIS song but, in the end, the song and the idea fitted together. My theory was always that the 'feeling' of the song needed to be strong enough to carry the idea. Whether it worked or not, I guess isn't for me to say.

It is from the album, Beat the Babble. Birth Records put it out in the U.S. How come it is only now getting a U.K. release (via Libertino)?

Sometimes, we're all just drifting on the sea waiting to get caught by the right wind!

Is there a cut from the record that stands out to you?

If I Asked You to Dance. Everything was live, nothing was added; nothing was taken away. It’s just the sound of those people (Cate, Tim and myself), in that room, on that day and at that time. It's like a photograph. For this reason, I find it very evocative.

Tell me about Cate Le Bon’s involvement in the album? How did you come to meet her?

Cate and myself come from the same area of Wales. She's one of my oldest and dearest friends. She's so busy these days that doing something professionally together is the only way I get to see her.

You travelled from Wales to the West Coast of America to record it. What was that experience like? Why did that part of the world speak to you?

I felt that, if making the record was an adventure, then I'd make a better record. San Francisco was the adventure. I'd been a big fan of Kerouac, and his descriptions of California are so vivid and tangible. It was a thrill to be in the land of so many of my favourite books. We were in a place called Stinson outside San Francisco and the coastline was just jaw-dropping and so primal. I kept expecting to see a pterodactyl fly out from behind the trees.

On my day off from the studio, I went hiking through the Redwood forests, which led all the way down to Muir Woods. There were signs along the path warning you to make noise as you walked so that you wouldn't surprise a Mountain Lion out in the open – in which case, it could turn on you. I didn't take any chances and walked through this beautiful, giant; primaeval, empty forest singing nonsense at the top of my voice and clapping my hands. I passed a couple of old walkers who thought I was demented. I don't think I've ever been so happy!

There are various influences working in your music? Do you have particular musical heroes and early memories of experiencing music?

Ummmm. I dunno. For some reason, I find it hard to settle on a musical hero for any length of time. I think it's because it can be such an ephemeral medium and, possibly, gets distorted by fame more than any other art form. Today, though, it's Vivian Stanshall, Tom Waits; Graham Coxon and Euros Childs. One of my earliest childhood musical memories was listening to Lola by the Kinks and having that dawning moment of realisation about what it was on about! It felt like a rite of passage into a more adult world.

I’ve always loved music that promises to reveal some important secret to you. It gets harder to find as you get older, but it's still out there.

Do you think there will be any more material coming later in the year?

Hope so. There's an album clanking around in there somewhere. I just need to get it out.

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

The album launch is in Cardiff on 16th June. We're going to be putting some more dates together. Keep an eye out at the Libertino webpage for details as they come in.

What do you hope to achieve in 2018?

Learn to speak Welsh. I go to classes. I'm getting better!

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

Oh, God! There's a question. Most of my favourite moments wouldn't mean much to anyone else. One of my happiest memories is sat in the back seat of a car with the sun coming through the window on the way to a gig, and another adventure with Ween blasting out through the stereo. All excitement and possibilities!

I'm still a sucker for those feelings of togetherness that you can get from playing music with other people. I'm very lucky to have met so many amazing people through music.

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

HA HA! This is one of those 'fantasy' questions yes?! I'm afraid I'm not very good at these. I've never bought into the nostalgia gig scene. My favourite time to see an artist is just before they reach their peak; when they're still pulling up trees to get there and it's exciting for everyone. You get to see them in better, more intimate venues too. Things get so sanitised and impersonal in those big places.

My favourite new album of the last year was Baxter Dury’s Prince of Tears, so I guess I'd love to support him to hear that record live. I don't really care much about a rider (red wine/olives/pistachios/bananas for luck) - what I'd really love is to have someone drive me to the gig, set up my gear; pack me up afterwards, drive me home and break the infernal cycle of carrying amplifiers up and down stairs!

What advice would you give to new artists coming through?

Don't listen to anything I say: I'm the worst person to give advice.

If you asked me again, though, and really pushed me, then I'd probably say:

As far as I can tell, every doubt about your own ability, about the worth of what you do; about the point of it all has been shared by pretty much every creative person, in every creative medium throughout the whole of mankind’s creative history. Keep at it.

IN THIS PHOTO: Accü

Are there any new artists you recommend we check out?

Accü is amazing. She’s also found a home for her new record at Libertino. We're all a bunch of mongrels, really.

Farm Hand is great, too. It's Mark from Islets’ solo project. It's really interesting stuff. His gigs are always so incongruous. I love it!

IN THIS PHOTO: Farm Hand

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

I think that music probably IS the way that I unwind. I take my frustrations and pent-up aggression out on a guitar or a piano. My house is full of half-destroyed instruments. The angry sessions can be the most fertile, because your brain turns off and your subconscious takes over. Otherwise, I like to read. My favourite thing is to find an author that I like and to read everything they've done. Cate introduced me to Kurt Vonnegut last year and I've almost finished his novels. Next up are his collections and short stories.

H. Hawkline introduced me to Richard Brautigan the year before that and I did the same thing with him. Brautigan shot himself in Bolinas, which is the community next to Stinson where we recorded Beat the Babble. The people in Bolinas were known locally for being reclusive and they must have been so PISSED at a world-famous author killing himself in their town.

Now, they're known GLOBALLY for being reclusive! They keep ripping down the road signs which, at one time, must have made it a difficult place to find. I don't think it's such an issue now people have sat nav on their phones...

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).

Thank You! I'd like to choose Corner Shops from Cate (Le Bon) and Tim Presley's (DRINKS) Hippo Lite album

Many Thanks!

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Follow Alex Dingley

Official:

https://www.dingleydingley.com/

Twitter:

https://twitter.com/beatthebabble

Spotify:

https://open.spotify.com/artist/75qX48HI3ci503BmaSxgZc

INTERVIEW: EazyMan

INTERVIEW:

EazyMan

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WITH his latest smash out there…

I have been speaking with EazyMan about Hurdy Gurdy and its story. He discusses the albums that mean a lot to him and the sort of music he was raised on – I ask whether there will be more material coming later in the year.

EazyMan talks about a new artist he has just found and what advice he would give to new artists; what he wants to achieve by the end of the year; what it feels being backed by DJ Target (BBC Radio 1Xtra); what he does away from music – he shares his favourite memory from music so far.

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

Hi, guys. I’m all good, man! Had a great week; the weather has been 10/10.

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

I am a U.K.-based rapper who goes by the name EazyMan.

 

Hurdy Gurdy is your new one. Is there a story behind the song? 

Well. When I was growing up, the Nokia was the phone to have and I always used to rap to the Hurdy Gurdy ringtone back in the day, so I just thought I would get a track built based on it. My friend, Wisper, is a big U.K. underground producer so I went to him and he built this masterpiece. I instantly started writing to it once I heard it and the track just came together.

It is an 8-bit, ringtone-inspired track. It is quite nostalgic in a way. Do you often look to the past when it comes to music influence?

I look everywhere for influence:  the past, the future; old artists, new artists; anything can inspire me. I just listen to the instrumental a few times and catch a vibe. My most important thing is to feel comfortable when I’m making music.

What is it about those Nokia ringtones and the phones of the past that stuck in your mind? Did you have any embarrassing moments where your phone went off or caused blushes?

Well. I grew up with these phones as a teenager, so they will always have a place in my heart. I always keep a couple tucked away for old time’s sakes. I can’t really think of any embarrassing moments that I’ve had with any phone…

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

Yeah, most definitely I’m working towards a project at the moment and should have something ready by the end of the year. For now, I’m going to keep releasing these singles and continue to give my fans the best version of myself that I possibly can.

The likes of DJ Target (BBC Radio 1Xtra) have supported you. How does it feel having some big names behind you? 

It’s a great feeling, you know! I mean, to know that my music is being supported by some of the most respected DJs and figures within the music business is extremely humbling. It makes me feel confident that I’m doing the right thing and to keep pushing. 

What sort of music were you raised on? Do you have any artists you’d count as idols? 

I grew up in the '90s on Hip-Hop and R&B which, I believe, were one of the best eras in music history so, for that, I am very glad. I listened to so many artists growing up. When I was young, I would listen to Snoop Dogg, Biggie Smalls; 2 Pac etc. and then, as I got a bit older, it was Mobb Deep, DMX and The Lox.

My favourite artist would have to be 50 Cent, because he had a really big influence on my life at a time when I was not coping so well as a teenager. Listening to his music made me believe anything was possible - and I still believe that till this day.

What do you hope to achieve in 2018?

I’m just going to keep putting out quality music that people can enjoy and listen to with a smile on their face. I’m 100% sure that that one banger is going to come and the world is going to recognise me one day for my talent but I’m not rushing anything; it’s one step at a time.

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

My favourite moment was, most definitely, last year when I performed at Halo nightclub in Bournemouth alongside Giggs and the crowd really showed me love. The feeling of all those people rocking to my music was just surreal.

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

50 Cent’s Get Rich or Die Tryin’ would be number-one

The reason would be because it got me through some dark nights - and the drive to go and chase my dreams - and I still live with this mentality today.

Second, would be Mobb Deep’s Infamy

I think that every song on this album is a banger! Havoc and Prodigy are two of the best musicians ever in my eyes and, together, their music just does it for me. They also have that hard street vibe which also helped me when I was out hustling on the roads back in the day.

My third choice would be a few so I can’t choose one, but I would say it’s between Life After Death by Biggie Smalls, I Am by Nas; Gangster and a Gentleman by Styles P or It’s Dark and Hell is Hot by DMX.

What advice would you give to new artists coming through? 

Enjoy the journey, be original and make music that you like. Don’t let anyone dictate what direction you want to go in because music has no limitations.

IN THIS PHOTO: Ambush Buzzworl

Are there any new artists you recommend we check out?

Recently, I have been focusing on my own music so haven’t really been checking out any other artists music that much, but I was on Spotify the other day and I came across a guy called Ambush Buzzworl. I have never heard of him before but he has a track called Blood and I like it a lot so go check it out.

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

I believe life is all about balance. So, I always mix things up. You know; too much of one thing can be bad for you. I always spend time with my family. My wife likes to watch films, so it’s usually cinema or something. We are also into our food, so we always out eating or clothes shopping.

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). 

Ok. Play 50 Cent - Patiently Waiting

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Follow EazyMan

Official:

https://www.eazyman.com/

Twitter:

https://twitter.com/EazyManOfficial

Facebook:

https://www.facebook.com/eazymanofficial/

Instagram:

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Spotify:

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FEATURE: Spaß Ist Verboten! Are We Getting the Work-Life Balance Right?

FEATURE:

 

Spaß Ist Verboten!

ALL PHOTOS/IMAGES (unless credited otherwise): Unsplash 

Are We Getting the Work-Life Balance Right?

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ONE of my biggest faults in life is…

spending too much time on the laptop and not really venturing outside. Maybe that is where I am based at the moment - better designed for relaxation than fun and sociability. That is all well and good because, when things get stressful and busy, it is good to step outside and take in some fresh air. I am looking around music and seeing so many people burning out and stressing about things. This is another topic I have written about before but I feel, more and more, we are not cutting loose and giving yourself some time off. The reason I chose the photos I did to lead the article – the thumbnail and main image – is because it is, obviously, quite arousing and eye-catching. It denotes a mixture of relocation and sex; a chance to let things go and close the eyes – I could have chosen a boring stock photo, but I felt the one above better represents what I am trying to say! Maybe a social life is more expensive than previous years but so many people in music are spending their time working and unable to switch things off. Even those who love music are spending their free time listening to music. I do it myself but wonder whether that is the best advice. Should we always be isolated or busy working; when do we really get a chance to step away and actually have a social life?

The more stress levels rise and mental-health problems exacerbate; the harder it is to discover a common remedy and guidance. So many of the musicians and creatives I know are single or in a challenging relationship. Their sex lives are quieter or non-existent and they are getting out into the world a lot less. My average day – whilst I am not working full-time – consists getting up and switching the laptop on at 7 A.M. I will work until 9 P.M. and have few breaks in that time. I am typing a lot and remaining quite distant from other people. There are a lack of young bodies in close contact with my home but I could get away and take a trip to London or somewhere else – drive down to the beach and amble there. I keep writing about issues like social and work balance because we are becoming more and more enslaved by technology and jobs. Musicians are among the hardest-working and most obsessive people out there. So many are turning to dating apps/sites – such as myself – and we are less confident getting into bars and busy areas and talking with people. Maybe it is a symptom of the digital age but music demands so much time of their faithful. Is it easy to switch from an open-all-hours approach and creating a finer balance?

It is hard to go from that full-throttle dedication to music to stripping it back to a part-time basis. Many people are working full-time jobs and doing music on top of it. The reason for this is simple: keeping the money in and being able to do what you love. I respect that sort of loyalty and passion but I wonder whether there is a human toll that is taking too much out of us. Can we quantify the psychological and physical cost of working endlessly and putting pressure on our shoulders?! Not only are we all self-critical and hard on ourselves; the music industry itself sets ideals and guidelines that we struggle to live up to. Many artists are touring every moment they have spare and, aside from the chance to drink after the show, they are moving to the next town and barely resting. We are watching screens and social media figures; work is dominating our lives and any free space we get involves watching T.V. or spending it at home. I have written about musicians and dating: how many have little time to date and there are few spaces/websites where likeminded artists/creatives can find one another. It is a topic I want to revisit because I feel a lack of physical connection and relationships is having a damaging effect. It does not necessarily mean sex or something casual: how many of us think we have time and energy to commit to something real and long-lasting?!

I am among many who struggle to create any sort of peace and fulfilment away from music – which has its benefits and fulfils me in a different way. A piece written back in 2015 is relevant in 2018 – music and its demands are as pressing and obvious:

“While many may envisage the life of a touring musician to be that of a glorified jetsetter, the reality is far from idyllic. A recent study by charity Help Musicians UK found that over 60% of musicians have suffered from depression or other psychological issues, with touring an issue for 71% of respondents.

Singer Alanna McArdle recently announced her departure from Cardiff punk band Joanna Gruesome for mental health reasons, her statement hinting that the strain of touring may have been a factor in her decision to quit.And when Zayn Malik broke the hearts of millions by pulling out of One Direction’s tour of Asia – leaving the boy band shortly after – a source close to the band told the tabloid press: “Zayn went because he’d had enough. Have you ever been on the road for four years? ”

“The classic image of a touring musician would seem counterintuitive to all we know about well-being,” says Isabella Goldie of the Mental Health Foundation. “Drinking in moderation, avoiding drugs, getting sufficient amounts of sleep, and having a support base of close friends and family nearby. These are the bonds that help keep you grounded ... It’s no surprise that some musicians struggle”.

IN THIS PHOTO: Kate Nash/PHOTO CREDIT: Kelsey Hart/Little Ghost

Musicians are spending hours a day in vans and small spaces and being shuttled between airports. There is that transitory and nomad lifestyle that means there is no stable home and many get time to embark on relationships. It can be hard maintaining bonds with people who work different schedules and do not understand the demands of music – I know more musicians who are single than those in relationships. Artists like Kate Nash have spoken about her early career and how she was overworked and did not give herself a break. She has spoken about body-shaming and how she was called unattractive or overweight online or in the media. The need to ‘conform’ and look a certain way, coupled with the pressures of performing and keeping in the public eye could have had a devastating impact on her. She eventually stepped aside and gave herself a break – she is back in full swing now but a slightly less hectic schedule after that early burst has been a life-saver. Nash, in her early career, was living with her parents and did not have much time and space for a relationship. Many have that problem: not earning enough to be independent or, if they are, they feel they need to be working non-stop and ensuring people do not forget about them. The more competitive and open music becomes; the more artists have to push and promote their work.

Touring and having to play so many gigs – either because they do not pay much or you need to put that graft in – can create routine and give an artist a safe headspace. They know where they need to be and there is some sort of order involved. There is, as the aforementioned article says, a danger of the touring lifestyle:

“For many, the contrast between the highs of a successful show and the anti-climactic low that often follows can be hard to adjust to, a phenomenon that has been termed “post-performance depression’, or PPD. Mental health professional John C Buckner writes: “When the body experiences major shifts in mood, it is flooded with several different neurotransmitters, resulting in a biochemical release that leads to a feeling of ecstasy. After these moments the nervous system needs time to recalibrate itself to prepare for another release. After an exciting performance the body starts to balance out the level of neurotransmitters, and therefore it is not releasing the same level that caused the exciting feelings, resulting in the lingering sadness. In normal day-to-day life, biochemicals are released and rest/recovery follow, causing the typical ups and downs of life. In the case of PPD, the process is more extreme with higher highs and lower lows”.

There is a lot to digest and ponder when it comes to the modern musician. We can widen the remit and apply these considerations to others in the industry – from D.J.s and producers to journalists.

There are dark psychological traps and perils that face artists. They have little stability and work fiercely; relationships are lost/not started and there is that odd danger of stopping touring and having that brutal comedown. I have not even spoken about depression and how anxiety can be heightened when you feel you always have to be out there and working. We know the dangers and drawbacks but I wonder how many people are brave enough to take a stand and lead a fight – whether such a rebellion will ruin a career or be met with silence? I know there are artists who get out and socialise; many have healthy relationships there are many, you’ll be relived, who are happy and would not change things. I know many more who have staggering amounts of work to do and tour every day but like what they do. I guess, if you are satisfied and not feeling the strain, there is no real need to worry and change that habit. One of my biggest fears is we are sublimating true feelings to create that façade of content and happiness. I realise I work too long on the laptop and have that desire to put out a lot of good articles a week. My inbox is always busy and demands come in by the shed-load.

I used the image of a pouting, beautiful woman at the top – and a scantily-clad one below – to lighten the mood and, yeah, highlight the sort of fun, relax and sensuality we need to embrace. I am not going all Zen and Buddhist – even though I am sporting some pretty colourful healing gemstones/chakras. Are we all suffering social malabsorption and becoming anaemic? It can be hard finding contact and sociability if you live outside the city. Even if you are there, the cost of a night out can be quite daunting. I am not suggesting we all spend every night on the piss – a more pragmatic and mature approach to fun needs to be adopted. There is so much talk around mental-health and the wellbeing of musicians. Mental Health Awareness week kicks off on Monday there will be discussions around the rise in mental-health issues and its detriment to the industry. It seems like a perfect place to promote wellbeing a better work-life balance. Look at other nations and the way they approach the working week: fewer days being spent at the office and a more organic and healthy life. I feel we should all find a few hours a day to step away and completely disconnect from all technology. We need to find time during the week to go out and not feel the need to be involved with music and working.

Getting into that addiction where we forsake pleasures and fun and spend all of our free space working is not a good thing. Sure, we may love touring, recording and writing. If we detach and suddenly stop that; you will get that cold turkey approach and rapid detox – realising how dependant we are and what a shock to the system that transition is. I suggest a gradual easing which means the mind is focused on music but more time is found to explore the outside world, social elements and a general relaxation. It does not have to be anything as committed as a relationship or a regime/hobby: dedicating some valuable time to bond with others and not feel chained to your world not only benefits the mind but the body too. It is easy for me to say all of this – and will probably ignore my own advice – but I am worried about the plight of artists/creatives and how much is expected of them. They put so much pressure on themselves and feel guilty of if they give themselves a night off. It is understandable but, the more and more we get into that rut; it will cause long-term problems and make it harder to detach from. Make sure, whatever you do in music, to think about the time you put into work and ask yourself this question: do you really allow yourself…

ENOUGH time to breathe?

FEATURE: The New American Dream: Overcoming Hurdles and the Importance of Fulfilling Ambitions

FEATURE:

 

The New American Dream

 ALL PHOTOS: Unsplash 

Overcoming Hurdles and the Importance of Fulfilling Ambitions

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I have been sending emails out to various people…

with regards a project I am working on. I have talked about a music T.V. show and how important it is to get it out on the screens. I have also discussed the importance of keeping dreams alive and not being deterred by any obstacles. That second point, invariably, comes back to mind. I have been affected, like many, by the death of Frightened Rabbit’s Scott Hutchison. Not that this should be a blanket excuse for confession or a re-evaluation but it seems, when a great musician passes, there is a wake-up call and moment you have to look around. Whilst my challenge to transition to Manchester – moving areas and getting a job up there – is ongoing and (slowly) moving forward; music, inevitably, takes focus and keeps me moving in the right direction. A music T.V. show is not the only idea I want to get out there and make a reality. One of the reasons I have been revitalised to fulfil an ambition is an email back from D.J. Chris Hawkins – he presents a weekly early-morning show on BBC Radio 6 Music. I pitched the idea and wondered if he knew anyone (production companies or the BBC) would be interested in it. It is in the concept/early stages but the idea is simple: a show that harks back to The Old Grey Whistle Test and modernises it; keeping the performance element strong and featuring the best and most essential artists of the moment.

The response I got back was positive: to try the BBC – get them to pay for it – as they have commissioning rounds and it is the best place for it. The exchange was brief but it gave me hope that one of the biggest names in radio felt my idea was worth pursuing. I have been questioning the validity and strength of it as, when I pitch to production companies and gauge feedback; they want financing and do not look at unsolicited ideas without all the expense being raised. BBC is different in that they would finance it themselves – getting it commissioning, ironically, usually needs a production company behind it! It might be harder than going directly to the BBC but it seems, in terms of the weight of the idea, it holds plenty of scope and future. I am now determined to see it through to the end and make sure it gets a commission – even if I do not know what the title is of it yet! It got me thinking about other people in the industry that are deterred and deflated at the moment. Mortality and tragedy affect everyone but I think, more and more, the pressure and weight of expectation elevate desire and gets us all thinking loftily. I am seeing many revise their plans and downgrade their ambitions.

It is not the case that only established musicians and radio personnel, for instance, can get things done and make a difference in the world. It is harder for those with less clout/money but it is never lost. We all have to burden a certain stress and self-doubt and it can be hard seeing things through or thinking we are going to make it. What I am noticing is more and more people giving things up and doubting that they are capable of. I think now, in music, ideas and inspiration are needed more than ever. We have a lot of work to do and one is always looking for breakthrough and guidance. Among the plans I have heard from others are businesses to subsidise and keep venues open; a mental-health charity for musicians – some exist but one that is actively going out and helping those in need – and various other schemes. I am always impressed seeing musicians and creative people look beyond what they do and resolve to change things. I, for my sins, are hugely ambitious and want things to happen right away. I have, in the past, aimed to get a music café set up and a music website – which I am still keen on – in addition to a charity and a label. They are all quite lofty and expensive but the reason I wanted/want them to succeed is the gaps in the market.

A music T.V. show ties all of that together in its way and would fulfil all the other dreams. It has focused my mind and, regardless of cost and size, I want to take it step-by-step and keeping on top of it. I am aware other people might be working on similar ideas – just my luck I will get beaten to the punch – but the fact there is clear demand and need has spurred me to reach out and see what can happen. It is important not to abandon ideas and dreams because they seem too hard and appear far-fetched. I have often been downbeat and disheartened by rejection emails or big budgets; people saying it will not happen or there is a narrow market. I will, I hope, realise all the ambitions I have ever had when the ball starts rolling. I know what my first outing is going to be and would give a message to other creatives out there: if you have something in your head, do your research and keep a level head. It can be easy running forward and imagining how things will be and how good it is all going to look. When you do strike a nerve and have that realisation; you want it to be fulfilled and happen right away. I am in that same boat: I have learned to give it time and have faith a good idea will realise itself.

There are some big problems in the music industry and big holes that need filling. It would take a dedicated team to decide all the tangles and formalise improvements to make music stronger and more inspirational. From tackling mental-health issues and providing financial support to artists; I have heard of ideas and plans (from other artists) to do something about it and push things forward. I want to see so many things happen but understand why some people lose a bit of faith when things get rejected or shut down. We are told the American dream is reaching a Promised Land and having opportunities and a wonderful life. We know, in 2018, that fantasy is complete bullsh*t: America is ruled by a dictator and its desirability is debatable and waning. Gone are the days of getting a job and being able to do anything you want to do in the land of the free and the home of the brave. I can apply that to music and the dream that used to arrive into our ears through T.V. and print: you can be famous and make a big name for yourself in the industry. Maybe modern-day reality/talent T.V. shows propagate a modern-day version of that ideal. There is something toxic and misleading promising artists fame and fortune is they put their mind to it – some people can achieve that but most do not.

The biggest lesson we should be teaching is that everyone can make a difference; those smaller and personal ambitions are important and should not be downplayed. I have all these heady goals but something like a music T.V. show is quite modest. It will take time and compromise but I am eager to get it all shaking and have things happening. Others, who are doubtful of their chances, are scrapping ideas and feel they cannot make a success of things. The same goes for many musicians out there. There are those who want to get onto the big stages and get into the mainstream but feel the weight of competition and options out there mean they will never get there. Things take time and an instant gratification and realisation does not equate to failure and hopelessness.  There is a need out there and, if something feels right and promising, it is worth taking up and seeing how far you can get. Even if you are unable to realise an ambition or personal goal then set a new one and start from scratch. Things are hard but perseverance and tenacity are vital commodities. Not being defeated by the first slap of reality is a crucial discipline that can get you a long way. I will keep going with my T.V. show dream and will keep everyone abreast of its progress. To anyone out there who has any doubts and feels they cannot get where they want then take a lesson from me. I am one of those people who can feel a bit hopeless when someone says I cannot do it or an idea I have it too ambitious. Now, as I focus my mind, those doubts are still there – I will not let them dominate and influence my course. Keep a resolve and strong head because, even if you do not realise it now, the music industry sorely needs…

YOUR dreams and desires.

FEATURE: Latin Tongues and Exotic Rhythms: The Best Albums to Expect in June

FEATURE:

 

Latin Tongues and Exotic Rhythms

 PHOTO CREDIT: Unsplash 

The Best Albums to Expect in June

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MAY is still producing…

IN THIS PHOTO: Kamasi Washington

sensational records but, for my money, June is the strongest month of the year so far – if you look at all the quality among the list below. I am, personally, excited to see Kamasi Washington’s Heaven and Earth arrive. It is a double album of Jazz wonder you will not want to be without.

Included in the June rundown are efforts from Let’s Eat Grandma, Father John Misty; Nicki Minaj, Lykke Li and Lily Allen – enough for the hungriest of music fans to get…

IN THIS PHOTO: Lily Allen

THEIR teeth into!

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images

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PHOTO CREDIT: Pari Dukovic for The New Yorker

Father John Misty – God’s Favourite Customer

Release Date: 1st June

Genres: Indie; Indie-Folk

Label: Sub Pop

Ben Howard - Noonday Dream

Release Date: 1st June

Genres: Singer-Songwriter; Alternative

Label: Island Records

Boy Azooga - 1, 2 Kung Fu! 

Release Date: 8th June

Genre: Alternative

Label: Heavenly

Jorja Smith - Lost & Found 

Release Date: 8th June

Genre: R&B

Label: FAMM

Gruff Rhys – Babelsberg

Release Date: 8th June

Genres: Alternative; Indie

Label: Rough Trade Records

Lily Allen - No Shame

Release Date: 8th June

Genre: Pop

Label: Parlophone

Lykke Li - So Sad So Sexy

Release Date: 8th June

Genres: Alternative; Indie-Pop; Art-Pop

Labels: LL Recordings; RCA Records

PHOTO CREDIT: Neilson Barnard/Getty Images

Nicki Minaj - Queen

Release Date: 15th June

Genres: Hip-Hop; R&B

Labels: Young Money Entertainment; Cash Money Records

Rolling Blackouts Coastal Fever - Hope Downs

Release Date: 15th June

Genres: Guitar-Pop; Indie-Rock

Label: Sub Pop

Kamasi Washington - Heaven and Earth 

Release Date: 22nd June

Genre: Jazz

Label: Young Turks

Let's Eat Grandma - I’m All Ears

Release Date: 29th June

Genres: Art-Pop; Experimental

Label: Transgressive Records

FEATURE: By Hook or by Crook: Do Collaboration-Heavy Songs Add Something to Music or Are They Cheaply Commercial?

FEATURE:

 

By Hook or by Crook

ALL IMAGES/PHOTOS (unless credited otherwise): Getty Images 

Do Collaboration-Heavy Songs Add Something to Music or Are They Cheaply Commercial?

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YOU can’t argue against the fact…

IN THIS PHOTO: Rita Ora

Girls, a song that has been in the press recently, boasts some pretty big names. Rita Ora leads the track but is joined by Charli XCX, Cardi B and Bebe Rexha. The single’s artwork (above) is eye-catching and it seems, from the outside, to be a confident and sassy hook-up among four women who at the top of their game. Whilst the song itself is not a complete train-wreck; many have argued it is not worthy of such hype and crowding. I wonder whether Ora could have delivered the song herself or trimmed the numbers you see on the track. I am a fan of Cardi B and she adds a little something to it – the collaborators on Girls seem to be there for the ride. It has been accused, by Hayley Kiyoko of providing a somewhat naïve and ignorant view of homosexuality. Looking at this article in Vulture, you can see her point:

“The topic of girl-on-girl has long been a staple of pop music, but as more openly queer artists make their mark on the industry, the more their perspective complicates the notion of singing about kissing a girl, and liking it, just for the titillation factor. Singer Hayley Kiyoko, whose fans famously call her “Lesbian Jesus,” took to Instagram on Friday to express her concerns about Rita Ora’s new song “Girls” featuring Cardi B, Bebe Rexha, and Charli XCX. The song, Kiyoko says, offers a “tone-deaf” fantasy version of queer and lesbian relationships….

…Pointing to lyrics like “Sometimes, I just wanna kiss girls, girls, girls/Red wine, I just wanna kiss girls, girls, girls,” Kiyoko says in part, “I don’t need to drink wine to kiss girls; I’ve loved women my entire life. This type of message is dangerous because it completely belittles and invalidates the very pure feelings of an entire community.” Writes the singer, “We can and should do better”.

There are some obvious points to take from this. Chief among them is the rather foolish and commercial lyrics. I am not sure who wrote the lyrics – whether the artists themselves penned it – but there is more besides a tone-deaf view of sexuality that stands in the mind. Whilst offence can be detected and addressing a subject like homosexuality needs to be dealt with (with) greater care; the quality of the song is not exactly sky-high. Here are artists of the mainstream who, between them, command millions of fans and inspire legions of fans. Whilst the message of Girls paints experimental and harmless tones – getting a little tipsy and kissing – there is a concern these lyrics are sending a bad message to the fans –  a clumsy and ill-thought-out portrayal of gender and sexuality. One of my biggest gripes concerns quality and the need for so many people on one track.

PHOTO CREDIT: Unsplash

It is more endemic of the streaming age we live in; the fact so many songs have endless names appearing on them. Girls is not the villain and sole culpable when we look at this problem: look at the weekly Spotify playlists – their New Music Friday – and you will see those songs that seem to feature everyone in the music industry! I can see where Girls is coming from: assembled a quartet of confident and popular female artists to perform a song that, in many ways, speaks to the experience of their demographics (the teen and pre-teen audience). I am not a gigantic fan of any of the four singers on the track but I wonder whether feature-heavy songs are a way of racking up Spotify figures and have commercialism in mind. If you were throwing four exceptional names in a song that stuck in the memory for years then you cannot argue: putting together four eminently commercial and of-the-moment artists into one song smacks of money-making and ‘hits’ – seeing how many views and streams we can get for this star-laden song! I guess it would be naïve to mention how commercial artists are more interested in profit, online success and winning the race – they should be more concerned with creating influence and making quality material. Pop music is changing a bit so that new artists are looking inwardly and writing from the pages of their diaries.

Whilst there are fewer collaboration-rich songs around, I still feel the market is too saturated with packed and muddled songs. Look at the greatest collaborations of all-time and one goes to the duet – a big artist brings someone else into their world and has something added to the music. The reason why artists join forces is to maximise quality and mix ingredients that lead to wonderful music. From Eminem and Dido ‘duetting’ on Stan; Elton John and Kiki Dee’s Don’t Go Breaking My Heart; Aretha Franklin and Annie Lennox, Sisters Are Doin' it for Themselves – getting that balance right can lead to something exceptional. Fairytale of New York and 7 Seconds have that perfect blend; Don’t Give Up and Crazy in Love – Under Pressure (David Bowie and Queen) ranks as, perhaps, the best duet. It is not only the duet that appeals: you can create a fantastic song by adding three or four voices together. I am casting my mind back to a collaboration that actually stuck in my mind; one from the past few years that has lodged in the brain. There may have been one or two but, when I think of the best songs around, they are recorded by a band or solo artist (or a duo) – they do not rely on other people coming together.

Look at all those legendary duets – most recorded decades ago – and you can see what happens when you have an incredible song and fantastic artists to deliver it. Now, there seems to be the opposite approach: the quality can be so-so but, as long as you toss so meaty names together, it will sell and start trending. A BBC article, published in January, provided some worrying statistics:

“Nearly a quarter of the current UK top 40 is made up of tracks credited to more than one artist.

There's nothing too new about that, but if the first week of 2018 is anything to go by that could soon be on the rise. Rita Ora, Bruno Mars and Charlie Puth are part of collaborations already released this year, while the likes of Justin Timberlake and Mark Ronson are also set to unleash projects”.

You look at those names and a part of you shivers – they are artists who are now renowned for epic quality and are as Pop as you can get. If one-quarter of the charts is based on hook-ups then you have to argue it is not yielding results. Of course; there are collaborations in other genres – again; I cannot think of any that speak to me or have stood out. Why, then, do Pop artists join forces and inflict that kind of thing on the public? The article explains why record labels and bosses join artists together:

“Simon Cowell's Syco label pairing Little Mix and CNCO last year was a clear attempt to expose both acts to South America and the UK respectively.

Keep an eye out for Justin Timberlake teaming up with Alicia Keys as well as long-time co-writers Timbaland and Pharrell on his new album, while producer super group Mark Ronson and Diplo are set to launch their new project Silk City in 2018”. 

“Streaming now makes up over 50% of music consumption in the UK, more than any other platform…With fans all over the world being more accessible than ever, teaming up with other acts makes a lot of sense…Because these are global artists, or artists with the ambition to be global artists, you have to think about it in terms of having the biggest possible reach and streaming lends itself to that," says Gennaro. "With the right song and artist profile, it can cut through whatever the culture...There's a powerful sense that collaborations enhance your prospects of having a successful song".

I cannot argue against the motives at play. What does get to me is what collaborations seem to say about modern music: it is about boosting profiles, getting money in and all about figures. Where does quality and actual songwriting ability come into this?! All of my favourite songs and albums from the past ten years have been by the artist themselves – none of them has featured other acts at all. Aside from Beyoncé joining with Jay-Z; I cannot think of any collaboration that is natural and needed (maybe the Justin Timberlake song, with Alicia Keys, is as close to credible as you can get today).

I get a bit tired of scanning through the Spotify new releases and having to cancel my plans for the day because it takes so long scrolling through all the names on a single song! Pop, Rap and Hip-Hop are the worst offenders: bringing together crews of names that add nothing but the odd vocal, line or murmur. I have highlighted Girls because it is the definition of wasted potential: if you are going to bring four huge names together then I could think of other options; a better song that was not constructed simply to join fan camps together and get the streaming figures up. Many could argue there is no harm letting artists collaborate and making something a bit different. I support that notion but I wonder whether we need to see so many; if any of these efforts have yielded any decent music – and why all the best duets and collaborations from music are back in the past. I live in hope there will be collaborations that genuinely stand out and do what they are designed to do: create a song that genuinely benefits from having those artists involved. I wonder whether cynicism and business has overtaken genuine passion and curious experimentation – or whether there was commercialism involved with some of those huge duets I mentioned earlier. In any case; it would be good for musicians to focus and, if there are going to be these big-name fusions; let’s make sure the end result is something the music industry…

PHOTO CREDIT: Unsplash

CAN be proud of.

INTERVIEW: Sam and the Womp

INTERVIEW:

Sam and the Womp

___________

I have been speaking with…

Sam and the Womp about the new single, Posh Ragga. It is a busy and blissed track that gets the body moving and the spirits rising. Sam (who plays alongside Bloom in the duo) talks to me about their Bee Sides E.P. and what comes next; what they want to accomplish before the end of the year – what it feels like being compared to Dance innovators such as Basement Jaxx.

Sam tells me what comes next in terms of gigs; if he and Bloom get time to unwind away from the demands of music; the music they grew up around; how they got together and found one another – they each select a track to end the interview with.  

___________

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

We good but manic! Juggling various recording projects and deadlines; promoting the new single and E.P. as well as organising gigs and moving house!

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

We are Sam and Bloom, A.K.A., Sam and the Womp - famous for the hit song Bom Bom back in 2012. I (Sam) play the trumpet and Bloom sings. We both write the music and play various other instruments.

We like to dance and make people dance to! 

How did Sam and The Womp come to be? What was the reason behind that name, too?

I met Bloom on my birthday ten years ago and we jammed and loved what each other sounded like! The band came into being after enjoying festivals back in 2009, where we found a love for Gypsy, Ska and Dance music and thought a fusion would be fantastic! The Womp is the sound the bass makes, and the essence of what we do is brass and bass i.e. Sam and the Womp! 

Sam and Bloom. You have eclectic tastes! Which musicians did you grow up around?

We both grew up loving Radiohead and Miles Davis as well as Beastie Boys and Nirvana!

 

Talk about the track, Posh Ragga. What was the story behind it?

Posh Ragga has its roots in Turkish and Jamaican music. Sam met MC Solomon when on tour in Holland with another band called Brassroots (funky brass band) and got on well, so asked him to collaborate on this track and a few others. Solomon has been involved with the band on and off since the beginning. The rapping adds another dimension to the band, especially live.

It harks back to the sort of sound Basement Jaxx were producing around their debut, Remedy. Do you think Dance music has lost that colour and expressionism?

I think a lot of music, especially Dance music, these days has lost true feeling and is very synthetic. We try to bring real live vibes to the recordings. Basement Jaxx also did this - and we have been compared to them often.

Your Bee Sides E.P. brings together some songs many might not have heard. When did you realise the songs featured on the E.P. warranted further airing?

We have been holding back a lot of tracks which were not really singles but great album tracks or B-sides for a number of years and felt, if we didn't release them now, we never would! These tracks always go down well live. 

Are you looking ahead to further material and what comes next?

Yes! We wanted to build a bit of momentum this spring with the Bee Sides E.P. before releasing our brand new, super-fresh summer single. 

What do you hope to achieve in 2018? 

We hope our new music will be listened to, danced to and played out around the world! We are really excited by it all and looking forward to playing at the festivals this year.

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

Not one but three key moments! Playing at the Secret Garden Party and everyone singing back the lyrics to Bom Bom for the first time was amazing. Going on tour to Australia was even more amazing and playing Wembley Arena to 10,000 kids screaming was unbelievable! 

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

Supporting The Prodigy would be sick as they have such an amazing live vibe! Radiohead would be amazing for Bloom's new project or, if we're feeling jazzy, Wynton Marsalis - my childhood trumpet hero! 

I would like a Sunday roast for the rider with all the trimmings! 

What gigs do you have coming up? What does your live show usually entail? 

We have our first festival on 26th May at HowTheLightGetsIn over in Hay. The audience is always very receptive and up for womping! We will perform trumpet, voice and .D.J (Dan - Sam's cousin) for this one. Bloom - artist name: 'Bloom de Wilde' - will also play a separate solo set on piano/guitar.

Lots of other festivals this summer with this line-up and the full live band is coming out in force later this year at Wilderness Festival. This is the real deal! Bloom, Sam and Solomon, - trumpet, sax; trombone, tuba bass/synth; keyboard, drums and FX!

What advice would you give to new artists coming through?

Be true to yourself - make the music you want to make, not what you think people will like. Be as live as you can on stage! Have fun! 

IN THIS PHOTO: The Comet Is Coming/PHOTO CREDIT: Fabrice Bourgelle

Are there any new artists you recommend we check out?

Check out The Comet Is Coming – an amazing sax, synth and drums trio!  

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

Not much chilling happening at the moment as we are parents, but we have really enjoyed the recent hot weather and going to the fun fair - we went down the helter-skelter on Monday! 

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).

Bloom: Planet Dust - Bad Company

Sam: Dancing with the Moon - Balkan Beat Box

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Follow Sam and the Womp

Official:

http://www.samandthewomp.com/

Twitter:

https://twitter.com/samandthewomp

Facebook:

https://www.facebook.com/SamAndTheWomp/

Instagram:

https://www.instagram.com/samandthewomp/

SoundCloud:

https://soundcloud.com/samwomp

Spotify:

https://open.spotify.com/artist/3tgiOZXeC1DIimfprvfL64

YouTube:

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

INTERVIEW: Sylvette

INTERVIEW:

Sylvette

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SYLVETTE are a fantastic Manchester band…

who have been talking to me about their latest single, Rebirth, and the inspirations behind their album, Waiting in the Bliss. I ask the guys how they got together and what the scene is like in Manchester; the music they are influences by – they recommend some new artists we need to investigate.

Sylvette reveal where their name came from and what they have coming later in the year; where we can catch them on the road; whether they have time to get away from music; what special memories stick in their mind – the guys each select a song to end the interview with.

___________

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

We’ve been great, thanks. We have just finished our U.K. tour, which was incredible, and now Charlie (our singer, guitarist and main songwriter) is on tour with New Order in Italy and Austria; so we are having a short break from writing. We’re all really excited to get back to playing together and preparing for our gig at Dot to Dot later this month!

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

We are a five-piece Art-Rock band from Manchester, taking influence from the likes of Radiohead, Neutral Milk Hotel and Jeff Buckley. We’ve been playing together for just over two years and, in that time, we have done a huge amount of gigging across the U.K. - and we have just released our debut album Waiting in the Bliss.

Rebirth is your latest single. Can you describe what inspired it and the story behind it?

When I started writing Rebirth, I had an image in my mind of a man trapped in limbo after passing away. There he faces images of his past life and after working out the meaning of this he can break away and be reborn. I was reading a lot of Terence McKenna and practicing lucid dreaming during the writing process, which got me thinking about the afterlife and the idea of multiple different realities.

It is from your debut album, Waiting in the Bliss. Are there particular themes that influenced the songwriting? What was the experience like of putting the album together?

The album has a mixture of personal and concept based songs both of which were written across a long time period. A couple of the songs on the album reflect on growing up and the transition into adulthood and then a couple of the other tracks focus on the idea of the afterlife, death and rebirth.

I think it turned out this way because I was reflecting on leaving home and leaving that part of my life behind and, also, my relatives who passed away during the making of this record.

I believe you all come from different part of the U.K. and have wildly different musical tastes. How did the band find one another and coalesce into the cohesive unit we find now?

We all met in Manchester at Music College but Pete is the only Mancunian in the band. Although we all have different tastes; when we play together it just feels right - and it has done from day one. We all have a collective understanding of what we are trying to achieve. Artistically, our musical understanding of each other is getting stronger all the time. We all feel very lucky to have found each other.

Tell me about the real-life ‘Sylvette’: Picasso’s muse, Sylvette David. What is it about her that compelled the band’s name?

To be honest, when I named the band I didn’t think too much about the meaning or context of it. I just saw a Picasso painting of Sylvette that I found very striking and thought it was a really cool name. It wasn’t until a year later, when I was researching it, I realised that Sylvette was one of Picasso’s most prominent muses….

Is it true, Charlie, you have spoken to her?! What was she like?!

Yes, it’s true; I have been very lucky to speak to her on multiple occasions. I remember the first time very clearly. I was excited and nervous to speak to someone I had admired so much but she was so personable and kind that we just had a really chilled conversation. She’s an artist herself and we had a lot in common.

I sent her our music and she liked it so much that she gave us permission to use one of her paintings for the album artwork. We couldn’t be more grateful to her for it.

Who, would you say, are the main musical icons of the band? Whose artistry do you yearn towards most?

All of our musical icons have longevity in common: artists like Joni Mitchell, Arcade Fire; Radiohead, Neutral Milk Hotel; Love, Everything Everything and Buffy Saint-Marie have been huge influences on this album. In terms of artistry; I think that Radiohead have got to be our biggest influence. The have reinvented themselves on every record and never lost sight of what is important (across their twenty-five-year career).

What is the buzz like in Manchester? You guys have quite a fanbase there. How important are the people there to you?

There’s a lot of great music happening in Manchester at the moment and it’s been the perfect place for us to start our band. The people who come to our gigs time and time again mean so much to us. It gives us confidence in our music to see people have such a strong connection to it. Playing to our Manchester fans has been the making of us. 

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

We’ve just finished our first U.K. tour but we are in the process of sorting another one for September. Until then; you can catch us at Dot to Dot festival in Manchester on 25th May!

What do you hope to achieve in 2018?

In 2018, we hope to keep writing music that inspires us and keep steadily introducing our music to new people. It has been incredible to gig in places we have never played before and see how our music connects with people, so we are excited to do more of it!

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

Ashley (the bass player) says his favourite memory in music was the feeling playing the 02 Ritz in Manchester. It is the biggest stage we have ever played and it was awesome to see how our sound translated to that scale. Dan’s (The newest member) favourite memory in music was playing to the Folk legend Izzy Young in Sweden.

Charlie’s favourite memory was the first gig he played with New Order. The scale of the set-up and the energy in the room was unlike anything else. I couldn’t help but visualise Sylvette doing gigs like that in the future!

What advice would you give to new artists coming through?

The advice that I’d give to artists coming through is to have patience and stay focused on making great music. When we first started, we were concerned with trying to ‘make it’, but it’s become clear that it is a long journey and the only way to do it is to stick at it for years and keep making great art.

ARTWORK: Luca Shaw

Are there any new artists you recommend we check out?

Diving Station are a local band we love. We had the privilege to gig with them last year and they’ve released a stunning debut E.P. Go listen!

Other underground bands we love include Mister Twisted, Dave C. Rupert; The Mantis Opera, New Luna and Paige Kennedy. They are all brilliant!

IN THIS PHOTO: Dave C. Rupert

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

We get very little time to chill away from music but, when we do, Pete likes to go to the gym and do martial arts; Ashley is into his gaming and Oz and Charlie love silent films.

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).

Thanks so much! Here are our song choices:

Origami Warfare – Diving Station

10 d E A T h b R E a s T – Bon Iver

The Red Telephone – Love

Streetlight – Dutch Uncles

Don’t Fear the Reaper – Blue Oyster Cult

____________

Follow Sylvette

Official:

http://sylvette.co.uk/

Facebook:

https://www.facebook.com/Sylvetteband

Instagram:

https://www.instagram.com/sylvetteband/

SoundCloud:

https://soundcloud.com/sylvette123

Spotify:

https://open.spotify.com/album/1hC6KagQhr0XUOc3XzDnPH?si=CW5BOXwYR5ie6RnS1G1gtA

YouTube:

https://www.youtube.com/channel/UCMkxv8q_Sonj97wPe1UHgfg/featured

INTERVIEW: Tatum Rush

INTERVIEW:

PHOTO CREDIT: Nora Smith 

Tatum Rush

___________

IT has been a real experience…

talking with Tatum Rush about the stories that go into his E.P., Mini Girls. I ask the songwriter about his music and some of his influences; whether he has a standout from the pack; which artists he grew up around; whether his Swiss and Italian D.N.A. impacts his music and aesthetic – I ask him about gigs.

Tatum Rush revels new artists to watch for; if he gets time to unwind away from music; the three albums that mean the most to him; what advice he would give to artists coming through; what he hopes to achieve before the end of the year – the ambitious and talented artist chooses a song to end the interview with.

___________

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

I won’t be able to complain about my week! I am grateful every morning for making time to do the many things that I love and not much else - I am completely blessed by the Sun God Ra.

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

I am Tatum Rush: singer, performer; songwriter, producer and video artist; cross-pollinating (a word I detest) through today's musical landscape, from Pop to R&B; over to Latin, back to Pop; not without contraband. I am a sane and decent R. Kelly attending a total-reset Osho seminary in Doha. The un-attentive public might, flatteringly, box me as a typical mainstream artist but, if you dig under the paving stones, there’s the beach!

Your E.P., Mini Girls, is out on 1st June. Can you tell me about the themes that inspired it?

Mini Girls was inspired by...girls. Women, to be politically correct. Every song in this E.P. is a direct conversation with a female counterpart inhabiting my social, poetic and libidinal imaginary. Just like a rich girl's limited edition Barbie collection, you will find the princess from a far-away Eastern kingdom; the evangelical Brazilian bride, the Parisian philosophy student going to the club in a Mini Cooper...it is not easy to deal with these sophisticated ladies, not even for Tatum Rush - that's why you will find both turmoil and bliss in every song. 

Talk to me about the tracks. Is there a favourite you would choose from the pack?

Mini Girls is a fortunate track. Everybody I know likes it (or at least pretends to). It's a very diverse set of songs: each one is a distinct aesthetical experience. My secret favourites are Bahiana, a Pop-Latin novella and Imperial Odalisque, an orientalist Dance painting. Both songs were inspired by my past journeys to places that marked me.

I heard a preview of Bahiana (ft. Nancy Deleuze), your next single (out on 18th May). What is the story behind the song?

Bahiana was inspired by reminiscences of images and sounds caught travelling in Northern and Central Brazil. I had in mind atmospheres like the annual ceremony for Yemoja, the Goddess of the Sea, where women in white dresses walk into the sea offering flowers and champagne to the wind. Passing glances of lovers on scooters in the neighbourhood of Santa Teresa, Rio de Janeiro...

I asked the Swiss-French-Brazilian artist Nancy Deleuze (courtesy of Electric Heroes Records) to help me write it - and I think she did something beautiful.

You have worked with other artists before – directing the video for Fai Baba’s track, Can’t Stop Loving You. Do these collaborations give you influence and energy when it comes to your own music?

Fai Baba is my good friend.

We used to be flatmates until a rare Indian bug infestation forced the demolition of the building. It's funny. When I'm in the midst of creating music, at some point, I always try to imagine the possible facial expression of a good friend such as Fai as if he would be listening to it for the first time. Fai always gives me energy and vitality.

You are a Swiss-Italian composer. How does your background and D.N.A. guide your music and tastes?

I am very lucky; I have both American and European cultural backgrounds, plus, I travel a lot. Ticino or Switzerland has a history as a destination for so many great artists...

As I noted in a previous interview, bizarrely, many came to die in Ticino. For example, George Harrison. Today, it's a very strategic place because it is at the intersection of Paris, Berlin; Milan, Copenhagen or any other continental adult-playground EasyJet-listed city you like and, at the same time, it's full of quiet idyllic retreats on lakes and such. I try to keep my artistic intuition intact, safe from too many influences; so, often I'm happy to be able to chill by the lake and drink a Cosmopolitan.

PHOTO CREDIT: Nora Smith.

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

A reduced list in chronological order: Michael Jackson, Riverdance; Robbie Williams, a bunch of Italian rappers; Cypress Hill, Zap Mama; Antonio Carlos Jobim, Joao Gilberto and Bossa Nova Friends; Pat Metheny, Pat Martino; Wes Montgomery, Toots Thielemans; The Beatles, Joni Mitchell; Sly and the Family Stone, R. Kelly; Erykah Badu, Claudio Villa; Piero Umiliani, Jai Paul and Joni Mitchell...again and again.

PHOTO CREDIT: Christophe Coënon

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

I'm presenting my E.P. in Paris at the Olympic Cafè on 27th June! I’m working on a South American tour for next fall...

What do you hope to achieve in 2018?

I really hope something goes terribly wrong with the anthem song they selected for the FIFA World Cup Russia, and that the deciding committee picks my song, Bahiana, to replace it A.S.A.P.

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

Yes. While working as a stagehand at a Jazz festival, I remember my mission to hail a cab for a lady hooker hired by Buddy Guy, the Blues legend, because his manager wouldn't let her ride in the limo with the crew.

During the wait, she shared with me a very interesting and vivid life story…

PHOTO CREDIT: Nora Smith

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

A Trip to Brazil Vol.1 and 2 is a freeway-stop Bossa Nova compilation that made me want to become a musician.

Pat Metheny Group - Still Life (Talking) is the album thanks to which I became a musician.

Erykah Badu - New Amerykah Part Two (Return of the Ankh) gave me the groove.

What advice would you give to new artists coming through?

Stop trying to come through for a month or two; do something else.

Are there any new artists you recommend we check out?

Check out Bauchamp, Nancy Deleuze and Dorian Ravallo.

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

All the time I get to make music is luxury, so no chillin' away from nothin'. Maybe, I'll take a break to have a sip of a Cosmopolitan.

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).

Arthur Russell - Losing My Taste for the Night Life

____________ 

Follow Tatum Rush

PHOTO CREDIT: Juliette Henrioud

Official:

http://www.tatumrush.com/

Facebook:

https://www.facebook.com/thisistatumrush/

Instagram:

https://www.instagram.com/tatumrush/

SoundCloud:

https://soundcloud.com/tatum-g-rush

Spotify:

https://open.spotify.com/artist/47p2js8l70JjDWGS0a1hqr

YouTube:

https://www.youtube.com/channel/UCZSeC8vuHu9CjpW96znivOg

TRACK REVIEW: GAZELLE - Stay for the Night

TRACK REVIEW:

 

GAZELLE

Stay for the Night

9.5/10

 Stay for the Night is available via:

https://open.spotify.com/track/5ujSLrsAoUcnIxDRzDUVQ2

GENRES:

Electronic-Soul; Pop

ORIGIN:

Liverpool, U.K.

RELEASE DATE:

8th May, 2018

_________

I am always looking around for artists...

who fulfil all my needs and give me something to get excited about. I will talk about GAZELLE in a bit but, before I come to her, I wanted to address a few things. I want to talk about musicians who have a spark and true personality about them; bonding with sounds and curiosity at a young age; the music and legacy of Liverpool; fascinating stories that compel stories and interest; artists who are the complete and real deal; female artists and embracing sounds that are perfect for where music is right now. You look at GAZELLE and read her story and there is something about her. Not only is she arresting and stunning but there is a command and sense of confidence that leaps out and hits you. I will talk about her current single in a bit but, when you look at GAZELLE’s biography and where she has come from; you are drawn in and hooked. I am seeing a lot of artists come through but, for the most part, they are not staying in my mind. It is hard standing out from the pack in such a busy and crowded market. Every day, we are exposed to fresh artists and expected to take it all in and understand what they are about. I wonder whether the fact music is so crowded means we do not retain as much as we should and move on to the next artist. You do not want to move on from GAZELLE! She has a blend of cheekiness and vulnerability that implores you to finds out more and get behind her. There is a certain look and sound the Pop market looks for from its new artists: more and more; new acts are rebelling against that and going deeper and breaking with convention. We are seeing fewer processed and generic artists emerge; acts like GAZELLE add an original spin to the genre and put in bag-loads of personality. I have learnt a little about her but so much is delivered and revealed in the music.

One of the main reasons I feel GAZELLE is bound for big success is the way she adds her personality and spark into the music. Instead of copying someone else or aiming for a certain market; you get a pure and determined artist who dominates her own territory. Apart from a natural beauty and an immense sense of confidence; there is the music itself – it pops from the page and gets right inside the heart. Although Stay for the Night is new from GAZELLE; she has been around a bit and cut a few songs. In the conclusion, I will look at where she might head and what she can achieve this year. I am listening to a lot of older music because of the character and colour I get from it. I love some of the new artists making their way into music but, more and more, my mind shifts back to the music of the past. I look at GAZELLE and see is someone who wants to go very far in the music industry. One receives a real physical expression and delivery from the young artist. It is interesting listening to her voice and the music being produced…you know there is room for manoeuvre and mobility. I hear her sing and one can imagine a natural step to Hip-Hop or Rap; GAZELLE has that love of Jazz so something smokier and more alluring might be possible; she has the ability to step into club-based music and create a Dance smash. There are very few artists around who are able to step into various genres and project so many nuances. Right now, with her single; you have an Electro-Pop smash that is turning heads and getting into the public forum. Maybe my demands are too high but I am disappointed about the lack of real energy and depth coming from artists now. GAZELLE’s history and her present ambitions mean she is truly unique and bound for greatness.

I will come back to GAZELLE’s past and her story in a bit but, right now, a look even further back. We all get involved with music at different stages in life. For me; I think I heard my first piece of music at around two or three – the sounds of Tears for Fears coming from the radio in my first home. It is a spotty memory but the sound of their biggest hit, Everybody Wants to Rule the World, is lodged in my brain. In fact; those twinkling and evocative introduction notes still elicit magic and kiss after hundreds of listens! From there, I fell for bands like T.Rex and was exposed to a lot of Beatles vinyl – building to where I am now and the passion I have. GAZELLE, like many musicians, got involved with Jazz and greats like Nina Simone. In fact…do THAT many people have that great a taste so young? Even though her music departs from the silky and enraptured vocals of Simone; the musicianship, sense of feel and confidence one gets stems from her exposure to Jazz. I can imagine the young girl curiously sat back drinking in all the beauty and genius of Nina Simone. Simone, when you listen to her being interviewed, is a bold and, at times, spiky presence who certainly speaks her mind. I am not saying GAZELLE is anything like that – she seems incredibly sweet and lovely – but being drawn to such a strong figure has influenced what she does not and how her music sounds. The aspiring artist played piano and clarinet at school and fell for all the liberty and opportunity music provided. In addition to Nina Simone, I can imagine other artists coming into GAZELLE’s life. Not to get ahead of the game, but I feel a bit of Ella Fitzgerald and Billie Holiday was there; some Louis Armstrong or Duke Ellington. I can hear the sexuality and fire of Nina Simone; I get hints of the vulnerability and emotion of Holiday; the experimentation and brilliance of Ellington and Fitzgerald.  

In terms of my evolution as a listener; I moved from the 1980s best – and the tastes of my parents – the music of the 1990s. The Dance and club classics of the day are the ones that stick in my mind the hardest. Throw in Grunge, Britpop and all the majesty of the 1990s and you have a broad and eclectic palette. I am not sure how GAZELLE developed from Jazz – she is younger than me – but I can imagine some of the 1990s’ best were thrown into the mix. Like me; the young and hungry artist seems discontent doing anything but music. I can see her, as a girl, sifting through C.D.s and listening to her parents’ music; sitting by the radio and listening to the chart rundown. As the new century broke; she must have been excited to see all the changes in the industry – from the rise of British Hip-Hop artists (like Dizzee Rascal and The Streets) and the more emphatic and bold Dance music that was coming along – like Darude (Sandstorm), Spiller (Groovejet (If This Ain’t Love) and ATB (9PM Till I Come). That mix is a sweatier and more explicit form of Dance/Electronic than one got in the 1990s (where we had everyone from Dr. Albarn, CeCe Peniston and Basement Jaxx keeping us entertained. If you link the two together – GAZELLE’s love of Jazz and the music she would have experienced as a young girl (looking back at the 1990s, too) then you have a heady and rare brew. What I have noticed with a lot of musicians who pick up instruments young is they often move into other genres and dispense with that earlier teaching. I am not sure whether GAZELLE will go more into Jazz in the future but, seeing the talent she has, it would be possible to create an E.P. with traditional and smoky Jazz songs and sunny, rousing Electro-Pop songs. The world is open for GAZELLE and she has so many chances to rule and command.

I will come back to GAZELLE’s timeline but, before then, I will go to Liverpool and have a chat about the music there. I am, in the next few months, moving to Manchester and leaving behind the South. I am looking for the buzz and excitement of the city and the friendliness of the people. Some people do not look beyond London for new music and quality: eyes tend to be blind and we do not quint enough to see the brilliance available in the North. I will chat about GAZELLE and local exposure – it seems Liverpool is a great place for her to make music. Maybe she will sojourn and relocate to London – when artists get big; so many of them come to the capital – but I hope she remains where she is. Liverpool is a great city that mixes cultures, nationalities and tastes. One can easily see the teenage GAZELLE swaggering down town in some new webs and jibbing off some scuzzy lads; having a bifter and ignore the plazzy girls spitting and giving full attitude (I shall dispense with my attempts at Liverpool slang as it sounds completely fake coming from a southern softy!). My point is she has mixed the realness and character of the city with the beauty and culture that stems from every rose, pub doorway and historical monument. I will tip my hat to romantic exposure and song inspiration but, when I was mentioning musical tastes; I was remiss for not mentioning some of the acts based out of Liverpool. More modern – sort of – acts like The Coral (Hoylake lads) and The Cheap Thrills; Clean Cut Kid and Aystar; She Drew the Gun and Life at the Arcade. There are a tonne of boss (sorry!) bands and artists keeping the pure red of Liverpool gleaming and ecstatic. Look at established and legendary Liverpool acts like Cast, A Flock of Seagulls; The Lightning Seeds and Echo & the Bunnymen and there are obvious reasons why Liverpool holds such merit and reputation.

I have not mentioned the biggest Liverpool band of all time: Atomic Kitten…only kidding! The Beatles MUST have been part of GAZELLE’s early life: not because she is in Liverpool but because it is a unanimous and universal taste! When I listen to GAZELLE’s music and the way she expresses herself; I can hear her native tongue and shades of the mop-haired foursome. That might sound like a stretch – my ears are Vulcan-like! – but listen to an early slice of vinyl like Please Please Me (an underrated work of genius from the boys!) and there is SOMETHING one can compare between the 1963 release and what GAZELLE is doing now. Look at all the experimental bands and acts of Liverpool and the great Pop and Rock being made right now - ALL of this goes into her work and demeanour. I sense the young artist can go in any direction she likes. Her Jazz background, tied to Electro Pop could take her down one path; she could easily score a modern Pop jam or something impossible sensual and smoky; some fierce and knuckles-to-the-ceiling rave; a princely Dance banger that has people jumping and hemisphere shifting - the world, as I say, is her oyster! You look at great venues in Liverpool such as The Zanzibar Club, 02 Academy Liverpool; Kazimer, The Caledonia and The Shipping Forecast and there is a solid local foundation. Whereas many venues are closing in London and other parts; it seems the economy and loyalty of Liverpool is preserving venues – apologies if my local knowledge is flawed and any of these spaces have had to close their doors! I can imagine GAZELLE has played these spaces – or some of them – and is keen to explore everything the city has to offer. Toss in Sound City 2018 (that ran between 5th and 6th May) and it seems, I hope, a lot of eyes are turning the way of Liverpool. The aspiring artist has little reason to leave the people and passion of the city…maybe London’s assets and musical wealth will tempt her down?

I will end the introduction section by looking at female artists but, before I get there; I wanted to look at GAZELLE’s life after childhood and her time in France. I am not suggesting her time there involved a lot of drinking, adventure and wild nights – you picture a young woman moving to a new country and exploring every elicit and sexual thrill – but there was an unhappiness when she first moved there. She studied Chemistry during a university exchange of Versailles. The locally-placed Hall of Mirrors (in the Palace of Versailles) would have been an ironic and vivid revelation: the reflection staring back would have been an unhappy and displaced one. Whilst GAZELLE was acclimatising and trying to settle into a new landscape; the revelation of a desperate cry - Sauve mon âme! – meant she joined an underground art commune. This is what I mean about GAZELLE: she already has the life and characteristics of a Jazz legend! France, inevitably, plays a part in anyone’s life who loves Jazz. It seems the passion and the openness of the people embraces Jazz/Jazz-minded more than anywhere else. I could easily see GAZELLE’s life and upbringing turned into a biopic! She would spend her nights singing in a band and working as an Au Pair during the day. She taught herself guitar and fell for Electronic artists like Jamie Woon and their ilk; captivated by new beats and the language of love. This heady concoction kept her buoyant and satisfied. Rather than the cliché chemical and sexual experimentation one would associate with an underground commune – French, at that – instead; you get musical curiosity and a formative moment for the Liverpool songwriter. When she returned home and got her feet back under the table; that new exposure led her to tackle local bars and play guitar there. Acts like Lauryn Hill and India Arie – Gregory Porter and Erykah Badu, too – were new idols and helped craft that unique vocal style. That sort of takes us to now and where the young artist is. She has had that exposure and rare upbringing; an assortment of experiences that all go into her spectacular and rare treasure chest.

Before I get to the song itself; I’ll quickly touch on song inspiration and female artists. There is an ongoing argument that festivals and gigs are not featuring enough women in their line-up. I agree there is oversight and more needs to be done – are tastes and festivals trained towards men; does music favour male artists?! I feel there is that culture where we assume there are few female artists and the biggest draw will come from men. That is wrong because, as you look out, there are so many incredible female artists ready to explode! I feel there is still that sexism and naivety that means ignorance rules and so many great female artists are being overlooked. There are strong role models working away but is there enough reinforcement?! I wonder. GAZELLE is someone who can add her voice in the market and help affect real change and movement. She can handle the pressures of the big stages and has music that we all need to hear. She is getting some great gigs and opportunities right now but I wonder, when she gets proper-big; will the festivals look towards men?! I hope things change real soon. Stay for the Night is inspired by a friend of GAZELLE and a sort of love at first sight (I do not believe in that so let’s replace ‘love’ with ‘attraction’) experience. In an interview I conducted with GAZELLE; I asked about the inspiration behind her new song:

“…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”.

That is a rather charming and lovely story one does not hear too much of! I guess we all have opinions of modern love and how people come together. I asked GAZELLE whether she has had that same spark and festival attraction. She has, like so many, caught eyes and felt that rush – there is that fire but, sadly, nothing materialised into romance. Being at a festival and surrounded by thousands of people; there are countless chances to meet someone and have that blossom of love – or the one night of sex and not going from there. I am glad this story is more than sex and the physical: there is something more material and long-lasting about the festival sweethearts! I am not sure whether the two are still together but it is a perfect inspiration for a song that has a unique eye. It is fitting that a song that could score festivals and summer gigs talks about two people meeting at such an event. Love and relationships often inspire songs and fine moments: maybe, when more material is out, GAZELLE will look at her own lusts/experiences and put them into the music.

I have listened to Stay for the Night a few times now and get a fresh blast of revelation each time I do. I am not sure whether there will be a music video for the track (there should!) but I can imagine GAZELLE and her friends chatting and dancing to the music whilst, across the way, her mate spots the boy – eyes lock and their seduction and connection follows the music. In fact, I can see a Michel Gondry-like video transpiring. The conversations and dance would be in time to the music and it would be a single shot – the camera never loses eye contact – with the sweethearts moving from scenes and locations (at the festival) whilst the night draws in. Rather than leap ahead and pitch the video myself – I might as well direct the bloody thing; such are the ideas coming to mind – you listen to the song and can present your own visions. The track wastes no time getting underway and making its presence felt. There are burbling and bubbling vocals captured under the jar of electronic heat. A warped and processed sound projects images of festival rush and excitement.  The song has that energetic and rousing chest that struts forward and brings the heat. You listen to the first notes and get that view of sunshine and bodies enraptured by the music. When the heroine comes the microphone; you get a soulful and rich voice that has chocolate, sensual entice and commanding tones mingling together. She recounts the story: the girlfriend saw the guy as their bodies were swaying in time to the music. With her lemonade-tinged drink and coffee-brown eyes; the petite woman leapt towards the boy and made her introductions. GAZELLE presents the scene and dynamics splendidly. You get those fine details (the drink and colour of eyes) but are left to explore and wonder other details – which band were on when that meeting happened; where were they exactly. It gives the song a mix of obvious and open-for-guessing that excites me hugely.

The composition is kept fairly unobtrusive as the heroine speaks about that flame and kismet. In the sun, they “started something beauty” and danced the whole night through. That chorus implore – to stay for the night; if only for tonight – comes in and is delivered with intensity and romance. There is less of the cheap thrill – getting your rocks off and having that thrill – and more of wanting to keep the conversation flowing. They have that instant attraction and do not want to leave things. In a way, you have a modern love story that reflects classic films. There are two people natural for one another and bonding over music and common traits. They could go their own way but they do not want to squander something special. GAZELLE, as narrator, reflects this physicality and perfectly articulates the emotions evident from the off. You get funky guitar flecks alongside soulful beats and clicked percussion. The music dissipates as the man kisses the woman on the forehead – they are leaving things where they are but it seems the opposites are attracted. Whereas they danced all night; you wonder whether it was fun in the moment but things are not destined to go past that. It is fascinating seeing all the elements brewing in the song. You start with that Electro rouse and bang before mutating into Soul and Jazz. GAZELLE’s voice is the instrument that stands out the loudest. She has the soulfulness and addictiveness of Lauryn Hill and an instancy that gets into the heart. She can change her tones and projections when the music calls for it – moving from rampant and physical to heartfelt and passionate. Stay for the Night takes the listener into the scene and the dialogue between the sweethearts. In a way; the song is the start of a concept E.P. that needs some answers: did the two remain together (you assume so) and what happened after that first night? Did they start dating soon after and where are they now? The listener will have those questions and want resolve. It is a fantastic track perfect for summer and the busy festival crowds. GAZELLE has entered a competitive market and already managed to stand aside with a stunning and intense cut. Her voice is the magic ingredient that puts the song into the stratosphere! The way she handles and treats words gives the song a realness and sense of personality. You will come back to Stay for the Night time and time again; compelled by various aspects and learning something new each time!

I will end things here and leave you all be – I hope my words have done justice to GAZELLE and what she is all about. I know there have been other moments in her cannon but Stay for the Night is where she is now and her declaration into the world. She has just played BBC Introducing/BBC Merseyside and will be in London on Wednesday for a live Facebook session for Pirate Studios – I might be in the area at the time. GAZELLE has been busy being interviewed and promoting her new track. A lot of new people are turning onto her and the future is very bright. I am not sure what she has planned in terms of touring and material but I can imagine there are those great local gigs and stuff down in London. I can imagine her getting spots further afield and a proper U.K. tour coming together. In terms of material and new stuff; I would like to see an E.P. from her. GAZELLE has such a broad taste and ability – an E.P. from her could be all-Electro or throw in some Jazz and guitar music, too. The striking songwriter is getting ready to attack the summer and, with that, festival demands will be close. I would like to see more people take to her music and give her the stage to shine and resonate. There are wonderful artists out there but none that have the same characteristics and contours as GAZELLE. She is that rare type of human being: fascinating and compelling and born with natural talent and confidence. All of this comes through in her music. I am not sure whether the young songwriter will want to see how Stay for the Night fares before making her next move. Whatever she plans - maybe a quick break to recharge the batteries! – it will be fascinating to see! Stay for the Night is a song that shows GAZELLE, in a good way, is on her bill (sorry – last slang from me!). She occupies a rare space that will inspire other artists and shows, in GAZELLE herself, we have a musician who will…

BE around for decades to come.   

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