INTERVIEW: Mike Legere

INTERVIEW:

PHOTO CREDIT: Shawn Robertson

Mike Legere

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THIS week starts…

PHOTO CREDIT: Ally May Chadwick

with a look at Mike Legere and his latest track, Yourself. The Canadian songwriter talks about the song and what is coming up; if there are going to be any tour dates down the line – I ask him whether he is heading to the U.K. before the end of the year.

Legere discusses playing solo and as a band member; the three albums that mean the most to him; which new artist we need to check out; whether he has a favourite memory from his time in music; what sort of music he grew up around – he tells me what he hopes to achieve by the time 2018 is through.

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

I’m great! Just getting over a cold – but my energy is coming back and it feels really good. The week has been good; pretty hectic preparing for the release and the tour I leave for tomorrow, but fun and exciting. 

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

I’m Mike Legere. I play Indie-Folk-Rock. I’m releasing a solo record and I play in the bands Century Thief and Places Erupt, too. I do some audio engineering and producing as well.

Yourself is your new single. What is the story behind it?

Yourself is about who we are when we are alone vs. who we are when we are with other people. It’s about how the way people define us gets ingrained in how we see ourselves and the feeling of loneliness that’s created when you separate yourself from the limits of those descriptions.

The first chorus talks about the feeling of standing in opposition and how that can feel kind of futile but then the second one explores the alternative, of embodying that persona and becoming a caricature of yourself - which is obviously limiting. I wrote it on the first Thanksgiving I ever spent alone: coming from a big family that really values our time together, there’s definitely a loneliness that seeped into it.

It is from your debut solo album, Ourselves in Public (out 8th June). Are there common stories and themes that go into the music/songs?

Yeah. The whole record is about social identity and persona. The songs explore those things in different ways from different angles.

PHOTO CREDIT: Shawn Robertson

You recorded the album in various cool spots around the world. Was that to give the songs a more natural and varied feel? Was there a favourite experience/space from that time?

I knew when I started this project because it’s about being around other people and being in public; that I wanted to use a lot of ‘found sound’ to try and place the listener in the world I was talking about. I just was listening everywhere I went, capturing as many different sounds as I could. I was in Paris with my partner and my siblings and we went to this weird part of the city to see a show. I have no idea where it was but, on the way back, the sounds in the subway were just so interesting.

The mixture of the rumble and people talking and yelling- it was both familiar and foreign, so I got a good bit of that and it plays over the end of the album-  though I’ve altered it beyond recognition through effects like pitching and distortion. You can still hear the different elements though - and the fact that it’s all unintelligible makes it better for me.

You play in other bands. What was the reason for doing a solo record? Do you notice differences in terms of discipline and sound?

Yeah, for sure. I was writing some stuff that didn’t really suit the band as well; that’s part of it. I have always been a fan of concept albums and wanted to do a larger project where I could focus on a theme. I figured I would learn a lot about production and arrangement by doing it by myself and get to explore different sounds and play different instruments.

What sort of music did you grow up around? Was there a specific point where you knew music was what you wanted to do?

I grew up around a lot of Folk music and a lot of singer-songwriter stuff. My brother, Stewart Legere, is an incredible musician and has been for about as long as I remember. He knew so many songs when I was a kid; we would sit around with a big group of people and sing all these songs and it was always such a warm and lovely feeling. My siblings would all sing harmonies - those are some of my fondest memories from childhood, and, probably, what set me off in this direction.

I started writing songs when I was like eight. I got into production and recording when I was a teenager but I feel like I’ve always known this is what interests me most: to make a lot of music and explore different ways of doing it. 

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

I leave on May 18th for a two-week tour to the East Coast of Canada, where I’m from. I’m actually playing my hometown on my birthday, which is fun. My tour dates are:

May 18 – Ottawa @ Pressed

May 19 – Orillia @ The Brownstone

May 24 – Charlottetown @ Baba’s Lounge

May 26 – St. John @ Peppers Pub

May 27 – Halifax @ The Carleton

May 29 – Fredericton @ Read’s Cafe and Newsstand

May 30 – St. Andrews @ Red Herring

June 1 – Montreal @ Bar L’Entre Nous

June 21 – Toronto @ The Burdock

Hopefully, I’ll be doing more throughout the year, too; just haven’t gotten that far yet.

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

I would very much love to. It’s not in the works right now, but I’ve never been to the U.K., so it’s something I hope to do eventually when it’s feasible for me.

What do you hope to achieve in 2018?

I want to get my music out there more, have more people hear it and, hopefully, find an audience that’s into it. I’m working on some follow-up material now too. I’ve got an E.P. written which I want to finish and record. Also, my bands have a bunch of things in the works that I’m recording, so I hope to finish that stuff too.

ARTWORK CREDIT: Suse Silva

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

My friends back home would always hang out and pass a guitar around and share new material we were working on. We’d go song-for-song and it was always so inspiring. We still kind of do that when we have the opportunity. I cherish those memories for sure. They stick out as special.

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

You Forgot It in People – Broken Social Scene

I heard that one and Feel Good Lost (I have a Feel Good Lost tattoo, actually) when I was a teenager and they both shook my world and shaped my taste in music a lot - also influenced me to move to Toronto.

Bringing It All Back Home by Bob Dylan

It was an early influence on my songwriting and I still love that one.

The Suburbs by Arcade Fire

I love how it builds on themes and on a concept but, also, explore all these different sonic avenues.  

What advice would you give to new artists coming through?

I mean, I’m still learning, so it’s hard for me to say anything with any authority...

I found one of the most rewarding things I’ve done is to work with a vocal coach, though. My singing teacher Peggy Redmond has really helped me develop as an artist - I think people are afraid of working with vocal coaches and I’m sure not all of them are as amazing as Peggy, but I can’t say enough how grateful I am to her and how much working with someone on my voice has helped me improve as an artist and musician.

IN THIS PHOTO: Kira May/PHOTO CREDIT: Adnan Khan

Are there any new artists you recommend we check out?

Kira May. Her new album, Sense, is incredible.

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

I love craft beer and hanging with close friends and family. I also run and do yoga and I find that stuff helps me keep a clear head.

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).

Kira May – Saturation

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Follow Mike Legere

ARTWORK CREDIT: Suse Silva 

Facebook:

https://www.facebook.com/mikelegeremusic

Twitter:

https://twitter.com/michaellegere

SoundCloud:

https://soundcloud.com/mike-legere-640354053

Instagram:

https://www.instagram.com/mikelegere1

Spotify:

https://open.spotify.com/artist/2p0wgJWCHGuiLWSULh7otT

FEATURE: Dorian Gray’s Daughter Wears Concealer: Do the ‘Classic’ Albums Still Influence and Move Musicians Today?

FEATURE:

 

Dorian Gray’s Daughter Wears Concealer  

IMAGE CREDIT: Getty Images

Do the ‘Classic’ Albums Still Influence and Move Musicians Today?

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I love interviewing various artists…

IMAGE CREDIT: Getty Images

from all around the world and like to drop in this question: "What sort of albums are you influenced by?" The reason I ask the question is to gauge responses and see how various people react. I am thinking back to last year when I was invited to be on BBC Radio 5 Live and talked about the fiftieth anniversary of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. It was an interesting day and I got to hear two people go at it regarding the album’s legendary status; whether it was just and exactly HOW important the album is, fifty years down the tracks. I was interested seeing how Steve Lillywhite (against the notion that it deserves its status) and Howard Goodall (in favour of its celebration and acclaim) argued their points. Lillywhite stated the record was a concept piece but had no real concept – bar the title-track and its reprise. He said some of the songs were twee and weak; it was not the best Beatles record and, when you consider the fact Strawberry Fields Forever and Penny Lane were left off the record – they appear on Magical Mystery Tour – then is it as strong as it could have been?! Goodall asserted (the record) pushed the limits of the studio and saw the band enter a new phase. The iconic album cover blew minds and the way the guys reacted to what was happening in 1967, and created a perfect album for the times, meant it was always going to get big reviews and love.

PHOTO CREDIT: Unsplash

I have been listening to the record today and argue that, whilst I stand by the view it is a masterpiece and enormously influential; how many modern-day artists can you link to that record?! We might listen to Sgt. Pepper’s Lonely Hearts Club Band but how many bands have been influenced to an extent where they have pushed boundaries and tried to create their own version? I was asked, at the end of the interview, which album I felt was overrated and not as influential as it is claimed. My choice was The Velvet Underground & Nico. I am a fan of The Velvet Underground but have never really got the record – why do people drool over it and hold it in such high esteem?! From Radiohead’s Ok Computer to Bob Dylan’s Blood on the Tracks; how many of these stunning albums do we hear in modern-day music? You can argue that there was an explosion and impact in the years following these albums’ release. We saw changed post-1967 and, after each of these records, there were changed and reverberations. I return to my question regarding my interviews and there are albums that keep cropping up – those big records that artists all seem to agree on. I tend to find, if I had to pick one, Jeff Buckley’s Grace tops the list.

IMAGE CREDIT: Getty Images

I can understand why many people love that record – it is in my top-five – but I wonder whether we are mixing the word ‘influential’ and ‘favourite’. If a record influences one then, surely, that must link to their own music and relate to how they write – whereas having it as a favourite does not imply you write in order to mirror that album. Of all the artists who have name-checked Grace as the ‘most important’ of their collection, there are very few who remind me of it; make me feel they have absorbed everything and carrying its legacy on. I can hear flickers of Buckley in others but it is more an impression and taste than a full-on purchase. Do we want to hear artists borrowing so heavily from classic albums? I have to ask whether, when we talk of those albums that are most influential, do we mean in terms of what changes they have made to the industry? Grace has opened up the male singer-songwriter market and, whilst it has not made sensitivity ultra-cool; it has made artists less afraid and bolder with their songwriting; putting emotions into the work and appearing more revealing. I scoff at the notion The Velvet Underground & Nico holds must weight but maybe its role was to make taboo subjects – it is like dining with Caligula when you listen to it – more acceptable and less stigmatised. Certainly, there is experimentation in the compositions and in the lyrics; daring and vivid expression that compelled the likes of David Bowie.

IMAGE CREDIT: Getty Images

I can see how an album’s influence can affect another artist and, because of that, go down as ‘influential’. Do artists, today, look at something like The Velvet Underground & Nico and follow its guidelines? I think more people are moved by David Bowie’s movements – after hearing that record – rather than the original source. I can, maybe, say the same about The Beatles’ masterpiece and musical adventures that came after 1967. Throw in other albums like Patti Smith’s Horses and The Beach Boys’ Pet Sounds. (You can add Joni Mitchell’s Blue into that list). I can see how Smith’s odyssey influenced everyone from R.E.M. and Madonna; The Beach Boys were acknowledged by The Beatles and changed Pop as we know it. These albums have, for sure, altered perceptions and remain faultless to a tee. I am curious whether the influence has stopped or changed drastically since their creation. A lot of these albums we see in the list of the most influential record ever tend to be from the 1960s and 1970s – it is not always the case but these are the decades that feature heavily. Even if we look at a ‘recent’ album like Nirvana’s Nevermind and we have to wonder, today, do we directly link it to another band or album? Maybe there are some Nirvana-like edges here and there but I have not heard anything as immediate, mesmeric and physical as that record since it came out. Maybe a sound-alike record is the only way we can do justice to that 1991 release – that would not be the way to do things and it would put people off.

PHOTO CREDIT: Unsplash

Even if a big Hip-Hop record like Straight Outta Compton (NWA) or It Takes a Nation of Millions to Hold Us Back (Public Enemy) created a wave after its release (both were released in the 1980s) I wonder whether they have aged as well as you’d imagine. Eminem and his peers have picked from those records but he is in a position when his best days are beyond him and his best material seems reserved to the past. I could give you a list of those albums that have started their own revolution but I wonder whether there is enough impetus and preservation intent from the young generation to ensure these titanic records find voice and a role in modern music. You look out at the best albums of the past few years and, whilst they have struck a chord, I do see some missed opportunities. I am not saying a band comes along and replicates Sgt. Pepper’s Lonely Hearts Club Band or Pet Sounds. There are strands from each that can be pulled and provided unique and bespoke colouring. The influence so often is hidden and watered-down to an extreme length. I feel music today is really strong and there are so many original artists changing the game. I argue the only way we are going to see these hugely influential records come now – how many world-class game-changers can you name from the past decade?! – is to take more from those influential giants from decades more and do something huge.

PHOTO CREDIT: Unsplash

It is not lazy or plagiarising to take a lot from these records: they were recorded to influence others and make a difference in the world. Everyone is looking around for something immense to come along that influences future generations. Maybe music is so hectic and vast that we cannot properly slow down and make an album that lives up to such high standard – is it ever going to be possible to unearth a current album that pushes music on the same way as The Beach Boys and David Bowie did?! I think there is enough talent and technology we can see something wondrous happen. It is great accepting certain albums have opened music and led to incredible discoveries. I feel like people either leave it there and do not see how they can move that ball forward – seeing why Pet Sounds changed music and taking it a step further – or are listening to the big-hitting L.P.s and fearful of leaning heavily on them. It is interesting picking apart the argument and seeing if there is a clear answer. I feel there are a lot of albums, from the 1960s especially, that made a big dent when they came out but have diminished in effect after such a long time. It takes me back to a record like Sgt. Pepper’s Lonely Hearts Club Band and, whilst it moved the 1960s’ listeners and was a mind-blowing move from the world’s greatest band; I have to wonder whether its influence, and many like it, has diminished heavily through the years. Are musicians trying to break away and create something unique? Is the influence translating in hidden ways and less overt than we might imagine? I have some doubts and wonder whether, given we have those records out there and they are free to inspire, artists are really doing enough to…

 PHOTO CREDIT: Unsplas

KEEP their memory and importance right in the forefront.

FEATURE: (Untitled): Writer’s Block and Curing a Lack of Creative Flow

FEATURE:

 

(Untitled)

ALL PHOTOS: Unsplash 

Writer’s Block and Curing a Lack of Creative Flow

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ALL of us get into a situation…

where the words fail to come or the ideas we are producing lack the spark that was there before – it is a natural part of being a creative person. I am not putting myself in the mix when I talk about excellence and hitting a near-genius standard: my benchmark is lower and I often find the work I am producing at my ‘best’ is pretty similar to an average day. I am exaggerating but it makes me wonder whether, the more we put out and write, the harder it is to tell whether quality is high enough or we are recording/writing for the hell of it. I have never found myself experiencing an all-out writer’s block but I am having moments where the usual stream of ideas – both good and complete crap – is starting to trickle a bit. Maybe it is the time of year and there are not enough news stories to react to. I pull inspiration from events in music news – big events or anniversaries; stars doing something stupid or a topic coming to the fore – but there are other times where I write about whatever feels good to me. Mixing the timely with personal is a good balance when it comes to journalism – the same can be said of songwriters.

It is a time of year when festivals are around the corner and artists are practising and gearing up for performances. They are not releasing as much new material and, instead, are honing their existing stuff and getting ready. That means fewer interview requests are coming my way and I have less opportunity to sharpen my skills and get something on the page. I, therefore, have to look around and seek work in other corners. There is a quiet period now and, for a writer or songwriter, it can be quite frightening. The ideas and inspiration is there somewhere: a bit of a slump does not mean a degeneration of talent or there is something wrong with you. I am seeing a lot of songwriters looking for material influence but discover, when they put pen to paper, nothing comes out. Even if they sit and wait for ideas to come; they are stuck for a start and it can be a struggle. What do we do when we get into that rut and find the normal stream of ideas/lines will not come?! There is an article that questions whether there is such thing as writer’s block?

“…But it’s not quite right to say there’s no such thing as writer’s block. The real problem, as the psychologist Paul Silvia notes in his excellent book How To Write A Lot, is that it’s a description masquerading as an explanation. It portrays a situation – the one in which you’re not writing – while pretending to say why: because of a “block”. But this adds nothing. It’s like saying the reason for America’s skyrocketing defence budget is that America keeps spending more on defence. Or that you’re sleep-deprived because you don’t get enough sleep.

There are, research suggests, many explanations for the behaviour of not writing, including fear of others’ judgments or excessive self-criticism. (Also: do you even want to write? Or are you subliminally trying to please someone else, such as a parent?) Whatever your reason, diagnosing yourself as having writer’s block, rather than just not currently writing, will make matters worse. “Naming something gives it object power,” Silvia has said. “People can overthink themselves into deep dark corners, and writer’s block is a good example.”

The most important step in overcoming writer’s block, then, may be cutting it down to size: grasping that it’s just a situation, not an underlying condition, and that it’s solved, by definition, the moment you write anything. You could keep a dream journal, as Graham Greene did, or do “morning pages”: three pages of whatever comes to mind first thing. Give up writing in binges, and focus on doing a tiny amount, very regularly, including stopping when time’s up. Oh, and stop expecting writing itself to be pleasurable. (I’m deeply suspicious of anyone who claims it’s fun.)”.

I confront the notion there is nothing like writer’s block. Other professions do rely on creativity but even if you are a mechanic or a kitchen designer; there are times when your brain does not tackle problems the same way and you find a lack of energy and ideas. There are other articles that give compartmentalised guides to tackling that nagging beast.

Writing and performance is a lot different to a profession where your mind and thoughts are made to connect in a different way. I am not sure the exact term but it is easy to see how writers are more prone to blocks than people in other fields. One can look at reasons like lacking sleep or stress to explain why the mind fogs and things sort of dry up. There is so much demand on the shoulders of those in the music business, it can be hard keeping the pace up and creating to the same level. There are some great tips when it comes to helping the ideas come back to the forefront. It may sound counterintuitive but spending time away and putting projects in a drawer is a way of recharging and recalibrating the brain. If you have an album due or are fighting to succeed in the Spotify market; it might be difficult breathing and letting other elements of life come through. You can write in bursts and do timed exercises – penning a certain amount of words and then doing the same the next day. You can keep writing literally anything: keeping the pen going, regardless of whether it is nonsense or good…that keeps the mind working and active. Getting away from the desk and embarking on exercise and relaxation can take the preliminary success from the shoulders and mean you are less tense and freer when you sit down.

It is tough getting into the groove if you have a rather static and unmoving creative space. Customising an area so that it impacts and promotes creative fertility is a good measure. Getting into a routine where you can do the same thing every day and keep disciplined retrains the mind and can unlock what is hidden away – that flame that once burned but has now retrenched. It is frustrating, to me, suffering from lags and struggling to keep up the pace and standard I am used to. External factors can create issues and impact on your writing environment. Whether you are experiencing problems at work or going through a breakup; it is natural those type of things will leave their mark. Songwriters rely on certain tragedy and upset to provoke ideas and lead to terrific music. For journalists, it is not only a source or scrap of an idea we are looking to: the content has to be interesting, relevant and readable. It is ironic that, since starting this article, I have found ideas for other articles that I will carry out next week. Maybe that is a way of overcoming a specific dry spell: write a short story or yourself; pen something about your day and turn that into a tale…keep going and do that several times through. If that does not work then think of another approach. The mind is like a muscle that can atrophy or sprain. You need to massage it and find ways of bringing it back to full health. Stress is one of the biggest reasons why artists and writers reach a brick wall and cannot get through it.

It can be unproductive working through the storm and writing half-arsed sentiments. Rather than write mediocre content for the sake of keeping busy; eliminating those deferential isotypes is a much more prudent long-term solution. Tackling the underlying cause, even if it takes time and money, can pay dividends down the line. Little adaptations and tweaks can make a big difference. Playing music – if you are used to silence or T.V. – can help; drinking less alcohol or allowing yourself an hour a day to get in the sun or watch a comedy…that can relax the body and, with it, the stresses start to melt away. Sometimes, for people like me, the cause of writer’s block can be idiopathic. We are not sure what is causing it and, for that reason, it can be hard to diagnose and cure. What to do when the engine starts to flag and provides no warning or resolution?! To me, at least, there is this standard I need to keep and a level of work that needs to be produced. That is another point to consider: does the fact you are producing less or not to the high standard of before constitute writer’s block? The bigger you get and the more ambitious your horizons are, naturally, there will be dips that occur. One is unable to plough like a machine and keep cranking an endless production line of songs/articles out without some fatigue or bad days – even machines break and slow down, you know!

There is a stigma around writer’s block and, in an industry like music, the competition is fierce. Everyone is expected to be endlessly visible and have this never-ending capacity for work and quality. The more we expect of creatives then that will lead to burn-out and needless stress. If you are not comfortable shouldering so much work and feel the pressure is too much; loosening that grip and working to your own beat can often be a long-term fix. We assume we always need to be putting it into the ether and pumping work out: it may seem damaging to go against the grain but working to a more pragmatic mean. If you have tried all the ‘solutions’ – it is worth reading the articles sourced – then it might be worth conferring with someone in the same position. That sort of compatible and judgement-free dialogue can get to the root of the issue or, at the very least, find ways to move through and break down the drought. I want to leave with an article I found in The New Yorker that looks at writer’s block and the internal/external pressures we digest:

“It may be that learning to do creative work of any kind—not just direct imagery exercises—may help combat writer’s block. Scott Barry Kaufman, a psychologist who is the scientific director of the Imagination Institute at the University of Pennsylvania and a co-author of “Wired to Create,” says, “When one feels writer’s block, it’s good to just keep putting things down on paper—ideas, knowledge, etc.” In 2009, Kaufman co-edited a volume called “The Psychology of Creative Writing”; during that process, he became convinced that allowing for error—and realizing how nonlinear a process creativity can be—was an essential step for overcoming blocks in writing. “I think one must trust the writing process. Understand that creativity requires nonlinearity and unique associative combinations,” he says. “Creative people do a lot of trial and error and rarely know where they are going exactly until they get there.”

That, in the end, seems to be the main message of research into writer’s block: It’s useful to escape from external and internal judgment—by writing, for instance, in a dream diary, which you know will never be read—even if it’s only for a brief period. Such escapes allow writers to find comfort in the face of uncertainty; they give writers’ minds the freedom to imagine, even if the things they imagine seem ludicrous, unimportant, and unrelated to any writing project”.

The good thing to realise is writer’s block/lack of creative spark will come to an end and it is important to realise that – rather than let it obsesses you and feel it is the end of the world. One of the most effective short-term solutions is to keep writing anything that comes to mind. Keep the fingers and mind nimble and thinking. If you cannot think of ways to remedy the burden then look at the internal and external factors, physical and psychological, that might be playing a role. Think about the last time you wrote/wrote well and what was happening. Examine the events following that and see if there is a correlation between that business-as-usual-buzz and the unexpected sensation. It can be scary to think you have hit a bad patch and this might lead to permanent emptiness. Even if you are experiencing temporary downturn then have no fear: it will end and, with patience and motivation, you can turn it around. It can seem impossible to regain that productivity but, if you stay strong and think ahead before you know it, you will…

BE right back on the horse.  

FEATURE: The A-List: The Best Tracks of 2018 (So Far)

FEATURE:

 

The A-List

ALL PHOTOS: Unsplash 

The Best Tracks of 2018 (So Far)

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WE are still in May…

but there have been so many good songs out already. From every corner of the musical landscape; they have dropped from the sky and taken the breath away. I have assembled the tracks that, I feel, are the very best of the year so far. Among the singles/album tracks are efforts from Childish Gambino, LUMP; Courtney Barnett and Gaz Coombes – stacks of terrific cuts that have added so much to the musical landscape. Enjoy the rundown and think about those songs that, in your mind, are the absolute top of…

THE year so far.  

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Kamasi Washington - Fists of Fury

Childish Gambino – This Is America

Leon Bridges – Bad Bad News

CHVRCHES – Miracle

LUMP – Curse of the Contemporary

Cabbage – Arms of Pleonexia

Unknown Mortal Orchestra – American Guilt

Boy Azooga – Loner Boogie

Courtney Barnett – Nameless, Faceless

Kacey Musgraves – Space Cowboy

Noga Erez – Sunshine

First Aid Kit – Fireworks

Florence + the Machine – Hunger

Father John Misty – “Mr. Tilman”

Hinds – The Club

Let’s Eat Grandma – Hot Pink

Janelle Monáe – Make Me Feel

Nils Frahm – Forever Changeless

Sigrid – Raw

Jorja Smith, Kendrick Lamar – I Am

Goat Girl – The Man

Young Fathers – Toy

Gaz Coombes – Deep Pockets

Jack White – Over and Over and Over

Jordan Rakei – Wildfire

INTERVIEW: Dhruv Visvanath

INTERVIEW:

Dhruv Visvanath

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EVERY new week exposes me to…

a fresh part of the world. I have been speaking with the Indian artist Dhruv Visvanath about his musical upbringing and his latest single, Wild. He talks about his early years and why he considers Bombay to be his hometown – I ask about New Delhi and what it is like being there.

Visvanath talks about the three albums that mean the most to him; whether there are any gigs coming up; what he would advise new artists coming through; if he has any plans regards coming to the U.K. – I ask whether there is more material coming before the end of the year.

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

Hey! Well, the last week has been rather hectic, actually! I’m finally traveling the world bit by bit! I’m currently in Canada and had a great time playing at the Canadian Music Week! I’m now in Montreal and looking forward to enjoying a few awesome performances here before I head off to New York for a nice holiday!

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

I’m a singer-songwriter and a percussive-acoustic guitarist. I’m a solo percussive acoustic guitarist (or S.P.A.G. for short) and I love making music! I currently live in New Delhi, India and I hope to make music that touches people’s lives all over the world.

Wild is your current single. Can you tell me how the song came together and what inspired it?

Well, to be honest, the song was just a simple idea I’d held on to for over a year. The chorus was something that would keep repeating itself over and over again, through every little moment of my day, for over a year. When I’d finally sat down to finish it off, I knew that, no matter what I wrote, I knew that the story that would be Wild needed to hit me square in the chest every time I heard it.

What was it like putting the video together? It seems like it was a fantastic experience? Where did the experience of using sentient mops come from?

To be honest; every bit of creative thought and energy that went into creating the video was all thanks to my director Tanvi Gandhi. The video was shot and filmed in Mumbai while I was in Delhi or touring around India. The idea of the mops in today’s world was all her idea and filming the mops was definitely an amazing experience. With the crew having gone through a lot of effort to make functional prototypes of the mops, the entire video is worth it!

Is there going to be more material coming down the line?

Well having just released an album in April I think first things first I’m going to take a little holiday! But, I’ve got more material in tow and I want to try to take a bit of a break and recharge the batteries before I get on tour and start recording more new material again!

New Delhi is your hometown. Tell me how music came into your life and what form it took. What is the city like in terms of sounds?

Well. I live in Delhi now, but I’ve always considered Bombay to be my hometown, to be honest. Music has been in my life for a very, very long time. I was seven-years-old when I started playing the piano and I’ve spent a lot of my childhood in many different parts of the world. I feel like I’ve l learnt to absorb different sounds and sensations from every environment I’ve been in! Being in Delhi has given me a lot of stability, of course.

I’ll always be grateful to the city that gave me my first start!

Did your father’s passing, when you were sixteen, impact your course and reason to stick in New Delhi?

Well. He passed away in England when we were living there - it was only after that when we were forced to move on and try to start our lives (my family’s) all over again. It was hard, but being in the city really allowed us to focus and start all over again. Losing my father was difficult, but my mother has been a pillar of strength and she singlehandedly changed mine and my brother’s life. I don’t know what I’d do without her.

Which artists would consider as influences in terms of the music you make?

I always look up to artists like Andy Mckee, Antoine Dufour and Don Ross for their musicality. However, as of late, I’ve really come to appreciate the talent and skill that John Mayer possesses. I honestly think that he’s the best singer-songwriter in the world. I also love bands like Snarky Puppy, and Foals - and my all-time favourite, Alter Bridge.

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

Well. I don’t know about outside the country, but I hope to set up a nice auditorium tour in India with a possible international tour in 2019. I want to do it right and be patient. I’ve worked hard to put my music out there and give it the best possible platform to be heard; I just want to make sure that when I do go on tour, I want it to kick ass!

Might we see you in the U.K. at any point?

I can’t say for the moment, but I do hope the stars align!

What do you hope to achieve in 2018?

I really want to recharge my batteries and get to writing newer songs and making some great soundtracks! I really want to get to tour internationally and properly this time! I do hope that I can make it to the U.K. and Europe! There’s a lot to look forward to already; I don’t want to jump the queue!

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

One of my favourite memories is when I’d just started playing the piano and my mum and dad both sat on my bed while I played utter nonsense on a toy Casio keyboard. They smiled and jumped with joy when I’d figure out songs in front of them. I’ll never forget that day or that feeling.

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

One Day Remains - Alter Bridge

It completely changed the way I looked at the guitar. Hearing Mark Tremonti kill it on the guitar completely made me want to shred like anything.

Meteora – Linkin Park

The first album I bought with my own money. I’ll never forget that they were the first band I ever saw live. What a thrill they were to watch live and at the best possible point of their careers. I feel super-lucky.

Phil Collins - Hits

By far my favourite artist of all time. To me, this man can do no wrong, and listening to Another Day in Paradise would always make me feel so sad. I wanted to be like him; I even covered In the Air Tonight in my own way. He’s always going to be at the top of my list.

What advice would you give to new artists coming through?

I think I could use plenty of advice, to be honest!

The only thing I can really say is that one must always be prepared to work hard and really, really create the best work that you possibly can. Writing as many of your ideas down and making as much music as you can will always keep you happy! Always take some time off when you can!

IN THIS PHOTO: Roosevelt

Are there any new artists you recommend we check out?

I really like Roosevelt and Kacey Musgraves. Actually, the latter’s latest release is amazing!

IN THIS PHOTO: Kacey Musgraves

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

I do spend a lot of time at home, sending emails and working a lot! However, my favourite thing is to play video games! I love being the protagonist and traveling through a world filled with lore and quests and, of course, eating some amazing food.

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).

Wait Up – Roosevelt

___________

Follow Dhruv Visvanath

Official:

https://mrdhruv.com/

Facebook:

https://www.facebook.com/mrdhruvv/

Twitter:

https://twitter.com/mrdhruvv

SoundCloud:

https://soundcloud.com/dhruvvisvanath

Instagram:

https://www.instagram.com/mrdhruvv/

Spotify:

https://open.spotify.com/artist/5npIe0yBbHoAwQ5XYVVEwn

YouTube:

https://www.youtube.com/channel/UCZRWNL5Atmx7FLElr5Qjmlw

INTERVIEW: Century Thief

INTERVIEW:

Century Thief

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THERE is a lot to learn about Century Thief.

I have been finding out about the band and their E.P., Deaf Beneath the Waves. I ask whether there is a track from the set they favour; what the stories behind the songs are; why they isolated themselves in a cabin to create the songs – they reveal the future in terms of gigs and what they want to accomplish before the close of 2018.

The guys tell me how they got together and when they started making music together; whether the Canadian band is coming to the U.K. to play; how they spend their time away from music; the advice they would give to new musicians – they select some cool songs to end the interview with.

___________

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

O: I’m good, thanks! It’s been a busy week. I’ve been rehearsing a bunch because I’m going on tour with two acts - and I’m playing the guitar in one band and bass in the other. I’m also moving downtown Toronto in the middle of the tour. But, it’s all very exciting and I can’t wait to get goin’!

M: Great, yeah! One of those bands is my solo project, so I am in a similar mode. I’m also moving Omar downtown, which I’m excited about. Also, it was Canadian Music Week, so we played a showcase and I got to see some great shows so I’m inspired and excited!

K: I am busy, good; getting over a cold, feeling the warmth of spring...

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

M: Hey, world! We are Century Thief. We make moody Rock music.

O: We often use ‘Trash-Lounge-Folk-Prog-Rock’ to describe ourselves. A Montreal sound engineer described us as that once and it seemed fitting so we stuck to it.

K: What Mike said…

Deaf Beneath the Waves is your latest E.P. Can you talk about the inspiration behind the songs and how it came together?

M: A couple of years ago, we did this project for In the Soil festival in St. Catharine’s where we worked with some artists; our filmmaker friends Brandon Benoit and Greg Francis and visual artists Suse Silva and Tony Darling made a film to accompany our set and built an installation. We had this idea of how places change over time and our relationship to places, and we each developed a song around that. That kind of morphed into the material we have now, including these songs and our upcoming stuff. 

O: Yeah. We’ve been working on a slew of songs for a couple years (around twelve) and we’ve decided to release the songs in sets of three-four-song E.P.s. These songs just seemed to fit together well. There are three principle songwriters in the band and we think it’s important that each E.P. showcases each songwriter. This helps keep things interesting for the listener: I hate getting into a record or E.P. and getting bored because every song sounds the same.

K: Science of Solace came out of some youthful rumination of the way our lives go that only seems to resonate more as I get a bit older. You can’t logically say steps A, B and C are going to get you from point A and B and that’s why it eventually ends in a wash of noisy celebration. Our songs tend to hit similar chords (pun intended, maybe), philosophically, and it made sense to put these three together. We didn’t know they fit until In the Soil, though. Happy accidents.

Is there a song you each gravitate towards as a highlight?

O: There are only three tracks, so I’m hoping people can listen to all of them and choose their favourite. Haha. We chose 406 as the single and I’d say you should listen to that, but I think they’re all great.

M: Yeah. I think they work well together; listen to them on your morning commute. 

K: Whatever one my mom says is her favourite. That’s to be determined…

Did you isolate yourself in a cabin/farm when recording the material? What was the reason for this?

O: Our first record took so long to record, largely because we had to balance six members’ schedule, plus the producer. By going to the farm, we dedicated a full week to recording and we got a really solid foundation laid for the rest of the record. It was also so cool recording in such an old structure. The reverb in that house was amazing. We set up a microphone upstairs in a wooden hallway to capture the reverb on the guitars and it sounds so cool.

M: I think we kind of had a romantic idea about it as well. It was really nice to just shut all the distractions and requirements off and solidly focus on making something together for a little while. I look back on that week fondly, although I immediately (also) remember how sleep-deprived and loopy we all got by the end of it. It was late winter, too, so we were basically indoors for a week.

K: I was pissed off about how we recorded our last album. We had very little control. It was cathartic to write and record on our own for the first time. As a band that’s been playing together for so long, it felt right to be isolated and enjoying each other’s company.

How did Century Thief get started? When did you all start jamming?

O: Well. I went to school with Mike and Kathryn at York U. and we’ve been jamming for around eight years. We used to lock ourselves in my bedroom and practice all day, once a week. Haha. We’d bring a ton of food and beer and other fun things and just work on stuff till it was perfect. A couple years later I met Adam at a coffee shop we worked at together (Coffee and All That Jazz) and he, shortly, joined the band.

Then, Colin and Dante are friends of Adam that, over time, have just become a part of our collective friend-group. Colin and Adam are also in a band together (since forever) called Honesty.

K: We started as backing bands for each other’s solo music in, like, 2010 or 2011. Then, we found out it was fun and challenging to play as a single band - and we worked well together so we’ve been doing that!

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

O: We do; we bond over Radiohead, Arcade Fire; Broken Social Scene and so many more. With six of us, obviously, we all have our own influences and, for example, I listen to a lot of Rap that other members wouldn’t. So, when writing, we all have our own influences to draw on. Bonus: Adam has the best taste in music and is always showing us amazing new bands.

M: Adam has designed my personal life-soundtrack for the past eight months. His recommendations are really on-point.

K: Almost all musical tastes are shared except…I don’t really like some of Omar’s Emo classics. (Sorry, Omar) Makes for almost-perfect road trips.

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

O: We just played Ottawa, Montreal and Toronto a couple weeks ago which is becoming our usual circuit. We have a show in St. Catharines on July 6th at the Warehouse with our good buddies in Fat Moth. We’re hoping to go out to the East Coast of Canada in the fall, so keep your ear to the ground.

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

We’d love to. It’s not in our immediate future, but the U.K. is in the list!

K: I’d love to!

What do you hope to achieve in 2018?

M: We are self-producing this batch of material and it’s getting smoother as we go. I want to do more experimenting, figure out new ways to present these songs.

O: We’re hoping to continually release new content that engages and grows our fan base. We’re also hoping to play cities within that seven-hour drive from Toronto more consistently to really grow our fanbase outside of Toronto.

K: Make and play more!

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

O: It’s hard to choose one: we’ve been playing for so long and I feel like I’m trying to constantly create new positive and memorable moments in my career. There are two things I can remember specifically: we had a P.R. campaign for Pillar which was the single off our first record, Reverie, and that was the first time people were really talking about us and listening to our music. I remember reading some of the reviews and just feeling so happy people were into the music we make.

The second is that installation Mike mentioned earlier.  It was so much work to organize but we played a set in front of the film and had the installation as set design and it all came together really well. It was also in front of my hometown crowd in St. Catharines.

M: Going out to the East Coast a couple years ago was really exciting. We hadn’t done anything like that before and we were definitely in party-mode. It was so much fun; we always have a good time playing out of town together, but that was extended and it just felt great. 

K: Definitely our trip to the East Coast.

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

O: Probably Feist. There are others that come to mind but she’s just so amazing. My rider would include smoked meats and cheeses, salads – but, like really, really good salads. Nothing too heavy before you sing (and good beer).

M: Yeah. Fruits, veggies; hummus and craft beer for the rider - Wye Oak for the artist.

K: Probably Little Dragon! For rider: coffee, Baileys; beer, sparkling water and chicken wings. I’ll steal some of the healthy stuff from Mike and Omar.

What advice would you give to new artists coming through?

O: I always feel weird giving advice because I’m still learning so much myself. I used to say I never stop playing ever. Always try and better yourself. It is still true, but I think I’d probably say don’t wait for someone to do the work for you; don’t wait for a booking agent, a label or a manager etc. Book it yourself, promote it yourself.

Being a musician is a business and you need to treat it like one. Most people who are successful have worked their ass off away from their instrument to get to where they are.

M: Yeah. Make stuff happen for yourself. Book shows you’d want to go to: those are the ones that always turn out best for us.

K: Keep positive and an open mind. Talk to people. Find mentors. Play a lot. Record a lot.

IMAGE CREDIT: Marin Leong

Are there any new artists you recommend we check out?

O: Again; Adam’s the guy to ask but I’m listening to a lot of Lucy Dacus and Remo Drive.
M: Little Kid. Their album, Sun Milk, is another Adam recommendation.

K: Big Thief – also, another Adam addiction.

IN THIS PHOTO: Big Thief/PHOTO CREDIT: Shervin Lainez

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

O: I cook a lot. I love cooking and I find it’s almost meditative for me. Besides that, it’s mostly music-related things or late -night video games (currently, I’m playing Star Wars II and NHL).

M: Music is definitely a really big chunk of my life - but I like to run and I love having a good beer with some family or friends. Also, television and video games help with unwinding.

K: My friends and family, my pets; beer, binge-watching shows and video games.

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).

O: Addictions - Lucy Dacus

​​​​​​​

M: Slow Death in a Warm Bed - Little Kid

K: Drifters - Patrick Watson

_____________

Follow Century Thief

Official:

http://centurythief.com/

Facebook:

https://www.facebook.com/centurythiefmusic/

Twitter:

https://twitter.com/centurythief

SoundCloud:

https://soundcloud.com/century-thief

Instagram:

https://www.instagram.com/centurythief/

Spotify:

https://open.spotify.com/artist/5eipvIKT77CIIz6iHEwv2W

BandCamp:

https://centurythief.bandcamp.com/

INTERVIEW: My Brothers and I

INTERVIEW:

My Brothers and I

___________

I have been speaking with the Portland band…

My Brothers and I about their new single, When You’re Ready, and what they have planned coming up. I ask how they started making music together and what the scene is like in Portland and whether they are coming to the U.K. – I ask who they count as idols and which artists they are inspired by.

The guys discuss what their favourite musical memories are; what they hope to achieve before the end of the year; some new artists worth looking out for; whether they get time to unwind away from music; the advice they would give to any new artists emerging – the guys each choose a song to end the interview with.

____________

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

Good, good. We’re traveling on a few tour dates right now and having fun playing in some cities we haven’t played before.

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

We’re a band that writes and plays Pop music with soul. Compiled of three brothers and our childhood friend; we go by the name My Brothers and I. We had some success with our debut album, especially with licensing and sync, but we’re super-excited for our next couple of singles leading up to our sophomore release that will be a six-song E.P.

When You’re Ready is your latest single. Can you tell me what the background to that song is?

It’s about falling for someone but they’re not planning or ready or looking for love. Sometimes, you find the right person at the wrong time but you feel you’re still going to end up together.

It is from a forthcoming E.P. What sort of songs and themes might we see featured on there?

Musically, we wanted to create a hybrid sound; blending real instruments with more synths and samples than we’ve used in the past; pushing ourselves and our sound while maintaining organic elements that leave a unique sonic fingerprint. Lyrically, our songs are about relationship, love and loss. We view relationship, romantic or otherwise, through the lens of our faith in God.

How did My Brothers and I start playing music together? Erik, Scott and David, as brothers, was it an inevitable decision (to join with Jordan)?

Jordan and Scott started their first band in 7th grade, like seventeen years ago. When Erik entered his teens he joined and then I (David) joined. When we signed our first record deal I was still in high-school. The band took many forms and many name changes, but we feel that we’ve found something special with these new songs. We’re discovering our own sound and we feel that the rhythm we’re in right now is rare.

Which artists inspired you to make music? Who do you count as idols?

We’re huge music fans and have been inspired by many different artists. As individuals, we bring such a variety of influences, from James Blake to Chance the Rapper; Kevin Garrett to Adele.

Portland, Oregon is where you hail from. What is the music scene like there?

Just like everything in Portland, it’s weird. It’s a little bit of everything, accordions; bagpipes, Doom Metal and Jazz clubs - bands with two drummers, two bass players and two lead singers, that sort of thing. It’s very much a come as you are music scene…

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

Yeah. We’re currently touring with what we call our 'stripped set', or acoustic set. We perform with a Cajon box-drum, acoustic guitar and electric guitar: no keyboards, synths or backing tracks; just playing raw. So, right none, we’re in L.A. for a few days before heading south-east to Austin, Dallas; Nashville and Atlanta.

Will we see you come over to the U.K.?

We would love nothing more than to tour in the U.K. It’s one of our goals and we’re a pretty determined bunch but, right now, there’s nothing in the works.

What do you hope to achieve in 2018?

Honestly; our biggest hope is to make this a sustainable career.

We feel like 2018 is our year to get over the hump and become a full-time, year-round and profitable business. We hope to play a lot more shows, appear in more television shows and, most of all, up our social media game. We’ve been a little shy with social media: we’re starting to get more comfortable peeling back the curtain and letting people in; letting others see who we are as people beyond the music.

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

The memory that’s stuck in my mind forever is the letters we’ve received from fans expressing how our songs have impacted their lives. One fan said our song, Scars, helped them through depression and attempted suicide. Another fan wrote us that Stay helped her and her husband fight cancer.

Those are moments you never forget. It’s a reminder of the weight a song can carry. Bruce Springsteen once said something like: “A three-minute song can change someone’s life” and we’ve always been motivated by that.

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

Beyoncé, duh. We don’t need much, though - Diet Coke and coffee is about it.

What advice would you give to new artists coming through?

Perform live as much as you can. It’s the only way to develop all the different skills you need to succeed in the music industry. Talent will only get you so far: you have to learn how to work with people and build up a team around you.

IN THIS PHOTO: John Splithoff

Are there any new artists you recommend we check out?

John Splithoff, James TW and our buddy from the Pacific Northwest, Allen Stone. He’s been around but, if you haven’t heard him, you have to check out Allen Stone!

IN THIS PHOTO: Allen Stone

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

We unwind with Xbox, mostly playing PUBG, right now. I’m (David) ranked top-fifty on North American servers (no big deal). We also play basketball, read a lot and watch movies.

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).

Kevin Garrett - Little Bit of You

Chance the Rapper - Blessings

John Splithoff - What If She Wants You

Shawn Mendes - Lost in Japan

 

___________

Follow My Brothers and I

Official:

http://www.mybrothersandiband.com/

Facebook:

https://www.facebook.com/MyBrothersAndIofficial/

Twitter:

https://twitter.com/mybrothersandi

Instagram:

https://www.instagram.com/mybrothersandi/

Spotify:

https://open.spotify.com/artist/01pbsrLZgBLuMIoU10Ypyb

YouTube:

https://www.youtube.com/channel/UCCmE98B3q3xazR99eJ2K4hQ

TRACK REVIEW: Brandy Zdan - Get to You

TRACK REVIEW:

 

Brandy Zdan

Get to You

9.6/10

Get to You is available via:

https://open.spotify.com/album/6k1kyAZwxPdXPyvniHraAn

GENRE:

Rock ‘n’ Roll

ORIGIN:

Nashville, U.S.A.

The album, Secretear, is available via:

https://open.spotify.com/album/1DnApX62Z3WSNbnLav1n1E

RELEASE DATE:

11th May, 2018

_________

IT is nice to be able to come back…

to another American artist and discuss a different side of music. I will speak about Brandy Zdan in a second but, right now, I have a few other things to cover off. I will come to look at Rock ‘n’ Roll and why so many new artists are tackling it; Nashville and how the city is proving popular for many from this country – and continues to be a source for inspiration among U.S. artists. I will then look at artists who have a varied history and experience and mutate to do something more personal; shifting cities and finding a comfortable place; language and how that inspires songs and albums – I will then look at domestic situations and how a secure and happy life can be the key to creating fantastic and compelling music. Maybe I am doing this out of order but it seems Zdan is an artist who has found her niche and is making music that means a lot. I look at her online pages and there is a lot of information and some great photos. She wants to keep the listener and fan informed and goes out of her way to produce as much depth as is possible. I am impressed by the level of depth and detail you get on social media. One can discover her entire career and how Brandy Zdan arrived in the U.S., from Canada, and has moved through various stages. I am stunned to see an artist so young with so much experience in her back pocket. I will look at that in a bit but, as we are here, it is worth checking out what style of music she is producing. I guess it is the move to Nashville but I notice a blend of Rock ‘n’ Roll and Country. There is the yearn and heartache; that plaintive and romantic nature – together with harder edges and some raw, older Rock. It is fascinating seeing it all come together and the stunning sounds mixing alongside one another.

There is a big difference between simple Rock and Roll ‘n’ Roll. The former, today, is defined by bands producing big songs made for arenas. You get subtler Rock acts but the genre has gone through a bit of a transformation. I used to gravitate towards it because it had that quality and stuck in the mind. Now, I hover to other styles of music and feel few artists bring something new to the plate. Rock ‘n’ Roll, on the other hand, has that vintage quality and, if fused with contemporary strands, can be electric and nuanced. I have been looking around for music that has the passion and drive or Rock but whips up images of 1950s artists and takes me back to another time. Zdan manages to bridge the modern and historic and brings her own voice into the mix. Rock ‘n’ Roll has a place in various corners of U.K, music. You can hear it in various avenues and it is making a comeback. It seems more prevalent in areas like Nashville and Austin. I will look at Brandy Zdan’s move from Austin to Nashville but, now she is based in Nashville, you have an artist embracing all the past sounds; looking ahead and creating her own style. Look at the Rock ‘n’ Roll pioneers and performers like Elvis Presley and Buddy Holly – they are less influential than decades ago but are still making a mark. Zdan splices Country shades inside the Rock ‘n’ Roll and you get an effusive and fascinating blend. One hears songs from Zdan and you get views of leather-clad men and rebellious women; some U.S. sun and scenery that sticks in the mind and gets the heart pumping. I have seen an evolution and change in Brandy Zdan’s music. She has covered a lot of ground already and continues to add new dimensions to her sound. Secretear, I shall look at later, is her latest album and one that crystallises and cements that incredible sound. I hope, the more and more people who hear her music, will look back on the classic sounds of the 1940s/1950s and discovers the artists who have influenced the U.S. star.

PHOTO CREDIT: Alysse Gafkjen

Brandy Zdan is a vivacious and bright character. She is photogenic and stunning; there is that star quality and image that stands out and marks her for glory. One might look at her and think she is an all-American artist. Zdan began life in Canada. There have been other moves but now, this minute, she is down in Nashville and vibing from the surroundings and myriad sounds. Like Manchester and London in this country; Nashville is proving a lure for so many artists. New York and L.A. are still popular but it seems like Nashville provides something different. You do not get the beach and physical climate of Los Angeles; New York has the five boroughs and bustle that is hard to disconnect from. Nashville is a perfect blend that provides eye-catching vistas and charm; there are lashings of beautiful spots and, alongside that, you have a lot of cultures and people packed together. Nashville is a calmer place and friendlier than somewhere like New York. Alongside that, you have so many different artists playing together. We assume Nashville is all Country and nothing more. The city has a vibrant scene that caters to all tastes and proclivities. Brandy Zdan has gone from Canada and, after spending time in Austin, she moved to Nashville and seems to be making music that sounds right and perfect for her. I could list all the bars and venues that are great to perform in; the top-ten artists in Nashville and all the wonders you can discover. Rather than being a musical TripAdvisor; I thought I would concentrate on why artists relocate and move here. I am seeing a lot of British artists play in Nashville more and more. It is expensive traveling that far but so many people go there for the environment and sensation that drips from every wall and gets into the blood.

PHOTO CREDIT: Alysse Gafkjen

I can understand why Brandy Zdan has gravitated there and feels comfortable. The history and legacy of Nashville is established and so many different labels and studios are based here. It is a great place to record music in and, as I hinted at, there are venues and spaces that have their own identity and colour. The people are responsive and receptive; the place has a calm and comfort but there is plenty of hustle and adventure if you know where to look. The weather is, for the most part, great and you have a wonderful climate/geography down there. All of these aspects come together and make this near-perfect location for the musician. It is not a million miles to New York and L.A. and Nashville has Texas to the south-west and Illinois to the north. A lot of British artists cannot afford to move to Nashville because of air travel and having to get a job down there. Many U.S. artists start life elsewhere and work their way down to Nashville. They take up smaller jobs and make ends meet and play as many gigs as they can. For Zdan, her life started up in Canada and she has plotted her way to the South of the U.S. and is making a new life there. Alongside her husband; there is that sense of a new lease of life and the next stage. I have mentioned changing cities and how movement can be quite common. Few of us find our feet and home that quickly: we all move around and it takes a bit to get to a point where we are secure and feel rested. Brandy Zdan has moved around and now, down in Nashville, she is embarking on the next phase of her career and, who knows, maybe there is another move yet. I can understand why she has come to Nashville and how the city’s past and present has led to where she is now.

PHOTO CREDIT: Alysse Gafkjen

You look at Brandt Zdan and think about where she has come from. It has been an interesting past few years and, in that time, there have been creative and geographical shifts. Nashville is where this unique brand of music is being created. The sound she is producing now is different to what she was coming up with whilst in Canada and Austin. There is a lot to unpack and look at when you are faced with Brandy Zdan. She has been a busy soul and picked up a lot of knowledge and experience along the way. She was part of a Gothic duo and released two albums – one in 2008 and 2011 – and were nominated for Juno awards (the ‘Canadian Grammys’); Zdan hooked with an all-girl band when in Austin and started to play with a range of different musicians. This seems to be where she is now and who she is most comfortable being. There are other musicians and people supporting her current work: the voice you hear is hers alone and it seems Zdan has more control over her output. The city is the perfect backdrop and the history as a songwriter means there is that ammunition and experience under the belt. Zdan has played for over a decade and released a series of albums – several of them as part of a duo. This, now, seems to be her first solo outing. Secretear is a solo outing but can you really count it as a debut? In terms of her new stage of life then it is: look back at all the work she has created and there has obviously been a lot of other stuff put out there. It seems all of the past material and experiences are the warm-up to the actual event. That may sound insulting to the people she has played with but it takes various different movements and configurations before you find who you really are. That backstory and knowledge has paid off when you listen to Zdan’s confidence and expansive songs. I have labelled her music as ‘Rock ‘n’ Roll’ but there is Indie, Country and Rock itself mixing inside of that.

There are many artists who shift around and never really find their calling and who they are meant to be. Others do not really take any risks and end up regretting that. Brandy Zdan has taken some risks and she has covered a lot of ground. It is impressive seeing her commitment to music and that curiosity rule. Zdan could have easily stuck in Canada and played the sort of music she was writing when she was growing up there. She embarked on a trip to the U.S. and has picked up bands and various albums along the way. Now, down in Tennessee, she has embarked on the next phase and it seems like this is the real deal. Brandy Zdan, then, has unveiled her debut solo album and I get the feeling she is not done yet – there will be many other albums and experimentations along the way. I will address some of the inspirations behind her latest album but, at this moment, I wanted to look at that development and past C.V. Starting in Winnipeg as a half of the duo Twilight Hotel, that has stuck in her mind and you can hear darker shades and the maturity that was present then. Look at the softer and Rock-inspired sounds on Secretear and you can trace that back to Austin and the music made there. Everything she has done before leads to this moment and enforces the music she is coming up with. The Spanish language, which is much more common in America’s South than Canada, is more prominent in terms of Secretear’s title and the sort of passions you hear running through the record. I shall move on from this subject but it is fascinating looking at Zdan and how she has moved along. Things are definitely hotting-up and it is wonderful discovering a fantastic young artist grow and find her place. I wonder whether there are more changes and moves coming from the Canadian-raised artist – maybe we will see another creative and personal change coming.

PHOTO CREDIT: @chrisphelps

I wanted to look at domestic situations and languages as spurs for creativity and inspiration. Brandy Zdan is married to Aaron Haynes (of The Texas Gentlemen) and some of the material on Secretear has taken its guidance from their courtship and little conversations they had. I Want Your Trouble, a single from the album, got its start from a text Zdan received from her husband – the title is what the text said; an odd thing to write but something that led to an incredible track. Haynes has co-written with Zdan and played the drums (on that track). Even though this is a solo outing from Zdan; she has other bodies on the record and it is a collaborative experience. It is similar to a piece I was writing on Jack White’s debut solo album, Blunderbuss. He was part of The White Stripes for all that time and played as part of The Dead Weather and The Raconteurs. His first solo album was not his first record but it is the truest assessment and distillation of who he is. That record addressed his recent divorce (from Karen Elson) and investigated cheating, doomed romance and, well, some cheerier things! He recorded that record in Nashville and it seems, with a group of great musicians and singers behind him; that album seems to be him hitting his stride and producing his finest material. I can see someone like Brandy Zdan hooking up with Jack White or finding her way to his Third Man space – crafting something on vinyl and enjoying freedom in his space. Domestic bliss and challenges make their way into Secretear. The album’s title derives from a Spanish term that refers to confidential talks and interactions and seems appropriate given the intimacy and passion you hear throughout. Given the fact she is (seems) very happy where she is in life right now; that could suggest all the songs are about her marriage and how she is settling into Nashville.

What you get from her record is much more than simple love and contentment. It seems natural to suggest she takes from her love life and there is that domestic inspiration. Zdan takes from others and the atmosphere; she borrows from music’s chest and sprinkles in her past life and experiences. It is wonderful seeing someone so young have that confidence and sense of direction. I have mentioned how Zdan has moved around but right now, it seems things are really starting to take off. Her online spread is fantastic and there are brilliant images to see. Zdan has produced some great information for newcomers and you can tell where she came from and the music she has already put out there. It is hard getting an idea of what an artist is about when you look at their social media. So many people keep things held back and there is not a lot to go on. Although Zdan’s music does a lot of the explaining; you look at her social media and one discovers all the history and the movements. I love the fact Zdan has taken risks and she has not easily settled. I mooted the fact she might move on still but you look at her current material and it sounds so solid and assured. Nashville might be a long way to come for some but, when you look at Zdan’s current music; all of the people she has met and what she has learned has gone into the music. Secretear is a summation of all her past sounds and movements but it is very much about the present and where the young artist is looking. You can read all of my words and theories but you need to look at the music to get a real feel of who she is all about and where she is headed. This is a big moment for Brandy Zdan. Her album has been out for a couple of weeks and, over the next few weeks, it will spread a lot further and reach so many more people – all will fall for it and discover their new favourite artist.

Get to You gets right at it from the start. There is a strange allure and sexiness from a groaned electronic note. It kicks the album off superbly and then bonds with a tense and riffling beat. Zdan steps to the microphone and puts out her declaration: it is going to take a long time to get to her subject. Given that, two tracks after Get to You is I Want Your Trouble, about her husband’s text; I wonder whether the opening track is about courtship and that flirtation. You can certainly hear the sweat drip and the heat rise from the initial seconds. The vocal is slightly processed and it adds a rawness and sense of intensity to the fold. I was invested right from the start and was hooked by the gravitas and passion coming from Brandy Zdan. There is a brief step-back where the heroine takes in all of the thoughts and impressions surrounding her. The chorus/title is repeated and there is that sense of calm. The beats come in and there is a sense of impending motion and unleash. We get Zdan looking around and searching for answers. When the song kicks up another gear, there are questions asked and a sense of discovery. The heroine asks who the man is; the need to know more and find out about this person – the first step to satisfaction, perhaps? You get a real sense of the bar and the sort of space she is in. The heroine is sitting across the room and watching the man walk in. She has been looking and watching; picking her moment and wondering what is happening. You get a view of the man and can imagine he is in a Nashville joint and drinking a beer. Maybe Zdan is drinking a beer as well and waiting for a girlfriend – or she is alone and looking to unwind. This man has come in and there is that traction and intrigue.

Sweet, energised backing vocals (wordless) add layers and physicality to the song. It is a thrilling and cool-as-crap song that has swagger and a drunken mind. That might sound odd but you get the impression our heroine is putting a few away and knows what she wants from this encounter. Spotting the man from across the other side of the room; maybe there are furtive glances and some sly winks. The chorus comes in and it is instantly recognisable. The sound reminds one of classic music and, I don’t know, it seems to remind me of music at its peak. Maybe that is Brandy Zdan showing how good she is: listen to the chorus and you get that rush of satisfaction and an instant hook. She is searching for something tonight but knows it will not be easy to get to the man. The song has a great live-sounding production aspect that makes it seem like you are listening to Zdan put out this song in the moment. You get rumbling and smacking beats; there is a groan and electronic bass that drives the song and adds sass and swivel to the thing. Zdan wants to get things turned up and wants to get what she wants. You never get anything too explicit and obvious with the song. Rather than go for the groin and present something quite juvenile; there is a mature yet exhilarated profession that is palpable. The heroine will lie – but only to herself – and wants that kiss. She can feel the electricity circle and there is a desire to have her way and get her man. The heroine twists words and elongates. It seems like the performance is a seduction and her body is contorting and grinding in a vocal sense. It is sexy and teasing; there is a hunger building up but we know things will not come together as quickly as hoped. It is frustrating but Zdan is biding her time and not being too hard on herself. I am not sure whether Get to You is about her husband and that first meeting. Maybe there is fiction involved but the song seems to have a special place in the heart of Brandy Zdan. It is a fantastic song that gets into the head and perfectly starts Secretear. Make sure you get familiar with Get to You and an extraordinary artist.

PHOTO CREDIT: Alysse Gafkjen

There are not many current musicians like Brandy Zdan playing right now. There is that rush of Rock ‘n’ Roll and something cool and sassy. The production throughout Secretear is clear and concise but allows enough natural light and manoeuvre to come through. Zdan is the star of the show and embraces and connects with every song. The ten songs vary in length but most of them are around the three-minute marker. Get to You is one of the shorter songs – I Want Your Trouble, at less than two minutes, is the shortest track on the album – but it delivers so much and packs quite a punch! The record is tight and focused and has so many different moods working alongside one another. Zdan played in Nashville a couple of days back and she is heading through the state and will play various gigs this spring and summer. The U.S. is a huge nation to play in and there are so many options for her. Canada is there and is where she came from – gigs back there must be in the back of her mind. I wonder whether Zdan will come to the U.K. and play over here. There are many people who would like to see her perform and get a first-hand account of the music. It has been a busy past year or so from the songwriter and things are going to get even better. As the summer looms, I imagine she will want to get out there as much as possible and play some gigs. There will be opportunities and many will flock and see Secretear’s songs live and in-person. I hope my words have done justice and represented Brandy Zdan in a fair light. She is a complete package and artist who is growing stronger and bigger. I know there will be challenges along the road but she will handle them with aplomb. The next phase of her career will be the most interesting. There is an album out there right now and it is stunning; how she follows this and what new sounds/inspirations she brings in will be interesting. Make sure you wrap your ears around Secretear and sensational songs such as Get to You. I chose to feature the opening track as it is one of the most immediate and intense. It is a fantastic workout and crystal from an album that has so much to love and dive into. I am still listening to the album and, the more I hear it, realise we are hearing the wings stretch from one of America’s…

PHOTO CREDIT: Alysse Gafkjen

STRONGEST young artists.     

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Follow Brandy Zdan

PHOTO CREDIT: Alysse Gafkjen

Official:

https://www.brandyzdan.com/

Twitter:

https://twitter.com/brandyzdan

Instagram:

https://www.instagram.com/brandyzdan/

Facebook:

https://www.facebook.com/brandyzdanmusic

SoundCloud:

https://soundcloud.com/brandyzdan

Spotify:

https://open.spotify.com/artist/3IbpBuf1QrkXMYmAyfhepe

YouTube:

https://www.youtube.com/channel/UC3xU2Mrn51R_oyuoDE24OWQ

INTERVIEW: Robert O’Connor

INTERVIEW:

Robert O’Connor

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HE is one of the most passionate and determined artists…

I have encountered in quite some time! It has been great learning more about the Irish songwriter Robert O’Connor and how he has progressed the past few years. He speaks with me about his latest track, You Found Me, and how it came together; why he took a break from music; where he heads from here – I ask how important Ireland is in regards the tone and nature of O’Connor’s music.

He tells me about gig plans and a favourite musical memory; albums and artists important to him; a newer act worth checking out; the advice he would give new artists coming through; how he wants to spend the remainder of this year - O’Connor talks about working with Stuart Gray on his new song.

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

Hey, Sam. I’m great; happy to have another opportunity to bang on about my music! This week has been good. Since I kicked off this new single campaign, the first thing I do every morning is to check my emails and my social media before I even get out of bed. I’m sure it’s massively unhealthy but I’m in tunnel vision-mode right now. I was chosen for The Best New Indie Single of the Day today so that’s a good start to the day, for sure. I was just saying how every day one good thing d has been happening and that’s enough for me to feel encouraged and keep my motivation up!

Last night ended well, too, because my track got played on a radio station in Nashville. I’m loving listening to all these radio shows I’ve never heard from around the world.

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

I’m yet another singer-songwriter. I look through the music blogs now and can’t believe how many under-the-radar male singer-songwriters there are. I suppose my unique selling point would be that I don’t have a guitar. Haha! I started out with more of a Pop-leaning and, when I started out as a songwriter, I was very much inspired by the music I would hear in the background of American T.V. shows growing up; all those teen shows brought some great bands to my attention like Death Cab for Cutie and Arcade Fire.

I’m gonna say, that right now, my sound is ‘Nearly Nashville’: there are Pop hooks, a bit of a Soft-Rock framework, but there’s definitely a Country influence.

You Found Me is your latest track. Can you explain its story and how it came together?

Lyrically, the song is about losing your way in life and sort of going off the deep-end a bit and then a moment where you have an awakening and realise, sh*t; this isn’t a dress rehearsal, what am I doing with my life; is it what I want to be doing?! I think, for me at least, I didn’t realise that I was dissatisfied entirely, it was a slow thing - like I say on the line “slipping slowly like a landslide” - but I woke up one day and realised that I wasn’t on the right path. The ‘You’ in the song isn’t really about someone else: it’s kind of about having an out-of-body experience, where you are looking in on yourself and, in that moment, seeing everything clearly...

A friend of mine, who went a bit off the rails with drugs recently, told me that they related to the song on a profound level because they felt the exact same way, for a different reason! I love to hear those stories…

You sort of took a step back from music and are back now. What was the reason for taking some time out?!

I really regret that time-out. I try not to, but I do, and the only way I can console myself is by saying “I’m back now”. The last time I was releasing music was back in 2013. I released a remix E.P. with a bunch of underground producers and, from that, came a really commercial track called Too Late which was definitely a different vibe for me – it was like an Avicii or Swedish House Mafia track but with a Pet Shop Boys vocal – at least that’s what people were saying back then. I didn’t have the funds to promote the track and it wasn’t the sort of thing I could really gig on the live scene here in Ireland.

I was very, very frustrated because I believed in the song and I suppose I was already quite disappointed by my last proper E.P., Resistance, which came out a year beforehand. I had recorded that and had a guy who was shopping it around to labels but it was a really weird time in the industry pre-streaming and nobody really knew what they were doing.

No deal came through and I released it independently, but half-heartedly, and played a one-off gig that ended up probably being my best gig ever…and then that was it. I couldn’t afford to be hiring session musicians to go on tour; I had no-one to turn to and ask ‘So, what now?’ I gave up but, far back in my mind, I had hope that it wasn’t the end. Those five years have been a rollercoaster: I went back interning as a journalist and eventually got a job writing for a website and doing social media management.

The site I was working for then closed down and I was working in nightlife as a security guard - that was an eye-opener, I can tell you! While I was doing that, I took a business course and I never thought a year later I’d be using the business tips I learned to run, basically, my own business with this music project; doing the day-to-day management radio plugging and P.R. I don’t have as much money now as when I was working full-time but I am much happier to be finally back where I belong.

Tell me about Stuart Gray and how he came to work with you. What does he add to You Found Me?

I rang Steve Hogan, who produced four songs on my first album, to see if he’d like to work together again. Turned out he’d packed up his studio and was working full-time as a drummer - but that phone call was a turning point. Before that, I’d been talking to producers here and I just couldn’t find someone that I connected with. Steve recommended Stuart Gray, who had a studio in a rural part of Ireland and he said he’d set up a meeting.

I was nervous about going into a room and singing these new songs for someone – it’s tough at the best of times but especially when you haven’t been in a studio in seven years and been living in a different world basically. That first meeting was casual and really nice. We talked about what I liked and didn’t like musically; Stuart played me some tracks he’d produced for other artists – and when I heard what he’d done for some Nashville artists, who were coming to Ireland to work with him, I knew Steve had got it right.

It was right before Christmas; we had two writing sessions in quick succession and regrouped in the New Year for two afternoons of vocals. It was a very quick process - and that was appealing to me because I’d been in situations before where it had taken months and I was feeling very eager to get back out there as soon as possible!

Will there be more material coming later this year?

There will! It’s almost time for me to start making decisions about the second single. The track is already in the can; it came from the same sessions as You Found Me – but I don’t want to just chuck it on to Spotify and hope for the best. I want to do absolutely everything in my power to get the song heard around the world. The song travels a little further down the country path and, previously, I was saying to Stuart and Steve that, maybe, I should be kind of focusing on servicing mostly American radio with this, but now the whole Country trend is happening and even the most ‘Pop’ artists like Kylie (Minogue) and Justin Timberlake are getting on board the Country train - so hopefully being ‘on trend’ will go in my favour!

I’ve been writing way more often since I stopped working as a journalist, which is kind of ironic! I think it’s because I have a purpose for the work and I’m a little bit boosted by the positive reaction to You Found Me.

Dublin is where you were born and raised. How important is the city in regards your music? Is it an exciting place to find great music?

I’m gonna be totally honest: it’s not massively important or influential on my music. I have always been much more inspired by American music and, actually, I really like a lot of what’s coming out of the Scandinavian countries too – like First Aid Kit and Say Lou Lou; they both have very distinctive sounds. In saying that, it is an exciting place to find new music. There are countless open mic nights and, so, there’s an opportunity for everyone. I’m going to test-drive my own new material at those in the near-future. A lot of the Irish bands who tend to do well, though leave Ireland for London and often what happens then is, after they’ve found some success on the live circuit in the U.K., the Irish blogs and media all want a piece.

I don’t know. It’s a weird concept to me that you have to be validated abroad for Ireland to really take ownership of you - but I guess that’s what happens when you take cues from a bigger neighbouring country.

Which artists do you take inspiration from when it comes to your own sounds?

I have an ever-expanding palette of influences! If we start out old-skool; I have to mention Fleetwood Mac. Then, in my teens and twenties, it was all about Death Cab for Cutie, Coldplay; Arcade Fire, John Mayer; Pet Shop Boys and Dido. Right now, I still listen to those but I’m even more passionate about discovering new acts – so I was excited to hear the Country/Urban fusion from the likes of Sam Hunt and Brett Young and I love Dream-Pop, so acts like Swimming Tapes, Few Bits; St. Lucia, Empire of the Sun and The Pierces.

Right now – and I didn’t foresee this coming at all - I’m obsessing over the new Charlie Puth album, Voicenotes. The Pop hooks are so instant you remember them after one listen and the whole record is self-produced with this kinda Hall & Oates vibe. No matter what I’m doing, I’m listening to music while I’m doing it and, if I’m not, I’m making songs up in my head…

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

I really hope so! There’s no tour in place, but just this morning I reached out to a promoter about a meeting to discuss opportunities. I always knew I wouldn’t be ready to gig around You Found Me, but I’ve been offered gigs and it’s my number-one priority now that the single is out there in the world doing its own thing. I have never gigged outside of Ireland and that’s something I’m desperate to do this time around. With the likes of SoundCloud and Spotify Analytics, it’s become easier to see where your listeners are and so, really, you can use that data when deciding where to play live.

For me, the U.S. seems to be where the listeners are for the most part, but they’re building up in the U.K., France and Germany too. I would love to get on a few support slots to increase my visibility and just feel out how people respond to me.

How does it feel being up there on the stage? Can you describe the feeling?

It’s been a while for me, but you never forget the feeling. The songs really come to life and when you can engage the audience, that’s really special. It can be difficult when you’re playing new music because it’s not familiar to people and I suppose that’s where covers come in, but it really is a balancing act. I’ve played a lot of acoustic gigs in the past and, while that can be convenient, what I’m really excited for is to play with a full band again.

I want to bring a show that’s really energetic and has an atmosphere. I think all too much you hear ‘male singer/songwriter’ and you think ‘boring’ - but it doesn’t have to be that way!

What do you hope to achieve in 2018?

I hope that I can build on the support I’ve had from the radio with the first single. I hope the second single resonates with people because it really is a from-the-heart song: it was written in minutes and it’s a simple song but I think it’s timeless. Actually, one of my friends said to me, “How confident are you, on a scale of one-to-ten about this single?” and I said “Conor McGregor” because I’ve never felt more confident about a song, I really do believe it’s ‘the one’.

Hopefully, Spotify and Apple Music will get on board and add me to some playlists - because that’s really the way to reach listeners now. As much as I’ve enjoyed managing myself in making this comeback actually happen, from organising the recording to reaching out to radio and all the follow-ups, I would love to have someone fighting my corner with me. If I could go into 2019 having released the three best singles of my career I think I’d be pretty happy because, at the end of the past five years, my thought has been ‘I wish I’d released music this year’ and it really made me sad no matter how content I was feeling in other areas of my life!

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

It jumps out straight away...

I had just had the day from hell where I was interning in a P.R. company in Dublin where the girls were bitchy and the boys were worse (think The Devil Wears Prada, except everyone wants to be Miranda Priestly). I didn’t fit in at all and each day felt like a month. At the end of this particularly awful day, I got home, opened my laptop and found an email from my then-record label – an indie in London – saying that Universal Music had been in touch and wanted to distribute my album. To go from such an extreme low to such a high was really quite a rush.

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

We’ll. Get the cliché one out of the way first and say Fleetwood Mac’s Rumours

I think if you can make a record that’s as timeless as that is, and have it click with so many generations, you’re really doing something right.

Dido - No Angel

It came out for me at a time when I think I really needed it – it was in my stereo for over a year and the way she told stories in her songs really appealed to me and made me consider song-writing as a form of therapy. It was also the beginning of my love of Trip-Hop. I loved that there was an Electronic influence: it wasn’t a straightforward middle-of-the-road, singer-songwriter album.

It’s really tough to say just three, and I do seem to be going back to albums that I heard when I was barely a teenager, but Madonna’s Ray of Light…

I think will always be one of the best bodies of work from a Pop singer and it’s been a reference point for so many artists since. I just saw, last week, that it’s twenty years old now which blows my mind. The level of reinvention on that record was phenomenal and William Orbit’s guidance was profound.

I love that she sang about fame on Drowned World/Substitute for Love - and the way they used samples from obscure underground tracks and built upon that. Like Kanye West said recently: We need to be less concerned with the ownership of ideas: it’s exciting to borrow elements from different places and make something new out of it.

What advice would you give to new artists coming through?

Fasten your seatbelts; you’re gonna feel bipolar for this ride...

There are a lot of ups, and often a lot more downs, and you can’t let yourself lose focus. You have to believe your own hype because, if you don’t, no-one else will. (The last time out I wasn’t confident the way that I am now). Maybe it’s because I’m happier with my product, who knows, but I firmly believe that it’s not so much about luck but rather the ability to hang in there and hustle as damn hard as you can. My motto from the outset of this era was ‘Do something every day that will put you out there’, so, every single day since the end of January, I have been sending my single to bloggers, radio stations and promoters all over the world.

I’ve read countless articles about how best to approach bloggers and how to submit your music to D.J.s because I really wanted to get it right this time - and I knew no-one else was gonna do it for me! Most days I’ve had an email back, whether it’s to do an interview or it’s a play for the song on a radio station, somewhere in the world. (The last time I stuck to Ireland and that was a big mistake). Use the internet, that’s what I’d say; make yourself look as good as you can on social media and engage with other artists and any fans you pick up along the way. I have a lot to learn, though, so I’m far from an expert! Ask me again when I’ve got a hit record!

IN THIS PHOTO: First Aid Kit

Are there any new artists you recommend we check out?

They’re not brand new but I really rate First Aid Kit. I think their single, Fireworks, is monumental and really moving. I love that it’s a bit nostalgic – generally, if it feels like the '80s or '90s, you can be almost certain that I’ll be on board.

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

I find it really difficult to switch off. I’m constantly thinking that I could do more and that’s not good, I know that…but I have an insatiable hunger for success right now. The only time I can switch off (to a point) is when I’m doing something physical, like weightlifting, and it focuses the mind and you come out of it feeling physically sore but mentally a lot lighter.

I haven’t been doing as much of it as I should lately but I’m going to get back on track any day now! I had good progress last year when I really went at it and I do think that with physical strength comes mental strength.

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).

Can I have Twin Shadow’s Saturdays (featuring HAIM)?

I heard it on a French radio station that was playing my single and it put me in the best mood. Just like that, he had a new fan because I was straight on to Apple Music to listen to his album, Caer. Again, it’s quite nostalgic, I’m still not sure who it reminds me of…maybe Bruce Springsteen. It sounds like an '80s movie - and that’s the way to my heart!

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Follow Robert O’Connor

Official:

https://www.iamrobertoconnor.com/

Facebook:

https://www.facebook.com/iamrobertoconnor

Twitter:

https://twitter.com/robertoconnor

Instagram:

https://www.instagram.com/iamrobertoconnor/

Spotify:

https://open.spotify.com/artist/3cGgPditxbsHzV6v6jRAXC?si=QB3D9HbuRpGw28y27FMnyg

SoundCloud:

https://soundcloud.com/iamrobertoconnor

YouTube:

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

FEATURE: Vinyl Corner: Jack White - Blunderbuss

FEATURE:

 

Vinyl Corner:

ALL PHOTOS/IMAGES: Getty Images/Press

Jack White - Blunderbuss

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IT only seems natural to include an artist…

in this feature who belongs on vinyl; a man who devotes his time to music’s roots and producing the best sound possible. I have been a huge fan of Jack White since the early days of The White Stripes. When he was recording alongside Meg; the duo created their own colour scheme – red, white and black – and believed in the power of three: that extended to instruments and was a rigid set of rules that made the music both natural and disciplined. The final album from the duo, 2007’s Icky Thump, was a sad moment; a time to say goodbye to one of my generation’s great acts…with it, the temporary absence of Jack White from the spotlight. I followed his career when he stepped into The Raconteurs and The Dead Weather: a couple of side-projects that, although White was part of a group, still seemed to shine because of his command and voice. Whilst some great songs came from those bands; there was nothing that really matched the heights and delights of The White Stripes’ glory days. In 2012, when Blunderbuss was released to the world, the Third Man Records-released record made a big impact and gained huge reviews. It sold 138,000 copies in the first-week sales and the single, I’m Shakin’, was nominated for Best Rock Performance at the 2014 Grammy Awards.

The inception and acorns of Blunderbuss have their roots in White’s explorations whilst recording with other Third Man Records artists. He was in contact with Wu-Tang Clan’s RZA and, when he could not attend a session, White used the musicians booked to work on his own material – why not, eh?! The musicians helped White lay down several of the songs that would go onto the record – all of which were written in 2011. The album, as you’d hope from a White Stripes man, was recorded on an 8-track analogue tape. Hired guns and readily-available musicians meant White had greater freedom to produce the music he wanted to and experiment. Unlike his time with The White Stripes, there were no strict deadlines and White had available others to make the songs come alive and stretch his imagination. The songs were all started from scratch and not designed to be sung or performed by anyone else. Although the album was leaked nine days ahead of its official release (on 15th April; it was due on 24th) it did not diminish the impact and sense of surprise.  Despite the fact people had heard material from the record prior to its leak; nobody could really predict what the album as a whole would sound like. Love Interruption, the first single, was a good one to release to give a taste of the album. It is not an all-out rocker but has plenty of passion and White’s assured and characterful writing. Sixteen Saltines, released on 13th March (2012) took listeners more into the realm they were familiar with: snarling and big riffs, confident vocals and a memorable chorus.

Freedom at 21, released on 1st April, carried down the same road but did not replicate what Sixteen Saltines laid out. The latter was a saucier – see the video for the song! – and oblique number; a was more groove-and-thrust than its predecessor – Sixteen Saltines a raw and fire-minded cut. In any case; the trio of pre-release singles provided some scope and impression of what was to come. If anything, the remaining nine songs on Blunderbuss took bigger steps and new ventures for White. The intuition and excellent production skills White began honing on The White Stripes’ early albums were evident on his debut solo L.P. Missing Pieces, a good song but not one of the strongest, is then elevated by the three singles; the title-track comes next and, after five songs, you are breathless and awed. Two of the thickest and boldest tracks have been unveiled and you get the Country swoon and ache of Blunderbuss. It is amazing how many motions and genres are covered before the first half of the album is complete. It is a brave move putting three of the best-known songs from the album that far up the running order. If the rest of the album was a muted and meagre affair; it would be a case of poor programming or prove White had come too soon, as it were.

We all knew White, as a songwriter, had a fondness for Country and Blues. Look as recently – compared to Blunderbuss – as Icky Thump and Get Behind Me Satan and there are examples of Blunderbuss’ (song) tones (White Moon and Little Ghost) among them. Two piano-heavy and gorgeous tracks came after. Hypocritical Kiss - “Loud words never bothered me like they do to you” – looks at love’s cheats and lies; the way the heart and soul are controlled and manipulated. It is a song that nods to, perhaps, White’s former wife, Karen Elson (they divorced in June of 2011). Elson, in fact, provides some backing vocals on songs further down the album; perhaps there wasn’t the acrimony and frost one would associate with a newly-divorced couple. Weep Themselves to Sleep is my favourite selection from Blunderbuss. It has pomp and jump from the out. The piano flows and rolls with delicious dance and wink. White swaggers in with a half-rapped vocal that waltzes with the piano and is punched by percussion. It is constantly energised and intriguing; the chorus is fantastic and it is a song both familiar and new: it could appear on a White Stripes record like Icky Thump but has new lease and innovations working away. It shows, without limitations and a set ‘sound’; White at his most free and unshackled could produce music that confounds and stuns at the same time.

Trash Tongue Talker is another delicious number but it is the same that comes before it that compels more: the fourth single from the album, I’m Shakin’. Rudy Toombs wrote the original decades ago – an odd choice one would think; quite natural for someone who covered Blues numbers when playing in The White Stripes. The song adds extra wiggle and oomph to the original: a full-on hip-swiveler that has some yelps, gutsy riffs and a pretty cool music video! The final three tracks on the record – I Guess I Should Go to Sleep, On and On and On and Take Me with You When You Go – transpose the more urgent and physical tracks that open the album and provide contemplation, paen and profession – White showing he is just as effective when going into romantic and tender territory. Blunderbuss proves itself a more rounded, deep and expansive record than anything White had put out before. In fact, I argue it rivals Elephant (The White Stripes’ finest moment) in terms of quality and nuance. It is White’s employment of additional musicians – hiring an all-male and all-female band when performing and doing T.V. appearances – that adds flesh, colour and flexibility to his visions. I have missed a song from the rundown: Hip (Eponymous) Poor Boy. Its title might seem unwieldy and child-like but it is a song that, in my mind, reaches the heights of Weep Themselves to Sleep in terms of its affect and hit.

It is a track that bridges the brutish and masculine Rock numbers and the Country-like offerings. It has melody and rhythm; it is cute but has plenty of bite. There are lyrics that refer to White’s past life – taking a dig at Meg White in some moments – and that need to move on and not play to expectations. In terms of lyrics, it is one of the most rewarding and interesting. It is a fantastic little number that some might have passed by. I feel the track order is perfect to keep the audience hooked and create hits of quality right until the end. You get the release and that sense of relief right near the top and discover new sides to White as the album goes on. The reason I have included in this segment is the fact it is one of those ‘modern classics’. It is only six-years-old but, with White’s third solo outing fresh in the mind, shows when his new lease of life began – many argue, including me, his first solo album is his finest. I have bought the album on vinyl and it sounds fantastic. I like the first side a little more but there is plenty of brilliance on the second side. It is a fantastic album and one that stands up to repeated plays and study. White, as a solo artist, has never sounded as authoritative and wondrous. If you have not played and dug into Blunderbuss; make sure you get hold of a copy on vinyl and let its every notch, groove and cut get into the blood and impress the senses. Many expected Jack White, on his debut solo outing, to repeat his White Stripes work and release something familiar. What he did was even more impressive: Blunderbuss matches the genius and variation of The White Stripes but added so much more; taking his music to new audiences and showing White was as far from a one-trick pony…

AS is humanely possible.

FEATURE: The Great Escape 2018: Artists to Watch Closely

FEATURE:

 

The Great Escape 2018

Artists to Watch Closely

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THE assorted talent down in Brighton…

PHOTO CREDIT: Unsplash

will have their mind split between the royal wedding and putting in a legendary performance on a big stage – and enjoying the sun and brilliant weather on the beach! It is a full day and an end to a festival that continues to grow bigger and more important by the year. The sets laid down in Brighton over the past few days will send signals out to the industry; those acts we need to watch and the future, big names we will all be talking about years from now. The conditions have been great and some hot reviews have come in – critics impressed by the talent on show and the standard of the event. I have been looking at acts from The Great Escape and those recommended by others. Here is a list of some of the talked-about bands/artists who have turned heads on another triumphant…

 PHOTO CREDIT: Unsplash

FESTIVAL on the South Coast.

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

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Alex Hepburn

Facebook: https://www.facebook.com/ALEXHEPBURN.OFFICIAL

Twitter: https://twitter.com/alexhepburn

Alicai Harley

Facebook: https://www.facebook.com/Alicaiharley/

Twitter: https://twitter.com/AlicaiHarley

Bad Gyal

PHOTO CREDIT: Alexis Gómez

Facebook: https://www.facebook.com/akabadgyaloficial/

Twitter: https://twitter.com/bad_gyal_pussy

Boy Azooga

Facebook: https://www.facebook.com/BoyAzooga

Twitter: https://twitter.com/boy_azooga

Call Me Loop

Facebook: https://www.facebook.com/callmeloop/

Twitter: https://twitter.com/callmeloop

Dream Wife

Facebook: https://www.facebook.com/dreamwifedream/

Twitter: https://twitter.com/DreamWifeMusic

Ferris & Sylvester

Facebook: https://www.facebook.com/FerrisandSylvester/

Twitter: https://twitter.com/FerrisSylvester

G Flip

Facebook: https://www.facebook.com/gflipmusic/

Twitter: https://twitter.com/gflipmusic

Her’s

Facebook: https://www.facebook.com/thatbandofhers

Twitter: https://twitter.com/thatbandofhers

Hollow Coves

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

Twitter: https://twitter.com/hollowcoves

IDLES

Facebook: https://www.facebook.com/idlesband/

Twitter: https://twitter.com/idlesband

Kate NV

Facebook: https://www.facebook.com/nv4real/

Twitter: https://twitter.com/kattique

Louis Baker

Facebook: https://www.facebook.com/LouisJBaker

Twitter: https://twitter.com/louisbakermusic

Nelson Can

Facebook: https://www.facebook.com/nelsoncanband/

Twitter: https://twitter.com/nelsoncanband

Poppy Ajudha

Facebook: https://www.facebook.com/poppyajudhamusic/

Twitter: https://twitter.com/PoppyAjudha

Riwa Samayama

Facebook: https://www.facebook.com/rinasawayamamusic/

Twitter: https://twitter.com/rinasawayama

RuthAnne

Facebook: https://www.facebook.com/ThisIsRuthAnne/

Twitter: https://twitter.com/thisisruthanne

Suspect

Facebook: https://www.facebook.com/officialsuspectotb/

Twitter: https://twitter.com/Suspect_OTB

Valeras

Facebook: https://www.facebook.com/valerasband/

Twitter: https://twitter.com/valerasband

Wyvern Lingo

Facebook: https://www.facebook.com/wyvernlingo/

Twitter: https://twitter.com/WyvernLingo

INTERVIEW: Mushy Callahan

INTERVIEW:

Mushy Callahan

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IN many ways…

Mushy Callahan remind me of Kings of Leon. The band has that family connection – they are all brothers in Mushy Callahan – and there is always the risk of tension and disagreement. What comes through, though, is incredible music and a deep connection. I have been speaking with the Toronto band about their E.P., Revelations, and the single, Deep Meadow.

I find out what life is like in the band and what gigs are coming up; the sort of music they vibe to and draw influence from; if we might see them in the U.K. at some point this year; if they get time to chill away from music; what the band want to accomplish before the year is through – a great window into a talented group on the grow.

______________

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

We are well! We are just coming off from the release of our new E.P., Revelations, and we are happy to finally share the music we’ve been working on.

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

We are four blood brothers: Noah, Joel; Jacob and Lucas. We’re based in Toronto, Canada and play Alternative Rock with a heavy influence from '60s'/'70s' Classic Rock.

Deep Meadow is the lead-off single from your E.P., Revelations. What is the tale behind the song?

Deep Meadow is a song about running from your past. There are some people and experiences that have weighed me down in the past and given a sense of regret. The concept of the song is about shaking off the past and not looking back.

Can you define your E.P. in terms of its subjects and what compelled the songs?

The songs came from personal experiences. One of the songs came from a feeling of love lost; another was inspired by some moments of a dream I recollected. While writing the songs, the process kind of opened my eyes and the honest style of writing unravelled its meanings to me - so we named the E.P. Revelations.

Mushy Callahan is a band of brothers. Are there advantages and disadvantages of playing as siblings?

I think there are definitely both. Some of the advantages are that we have a long history of playing music together, since childhood. It’s easier to communicate ideas without hurting someone’s feelings in the process.

One of the major disadvantages is that the fights can be tense and the personal stuff can carry into the band…but, this is now our third release so we’re pretty good at working things out.

When did you all start to make music together? Did you all grow up liking the same sort of artists, too?

We all played music together as a family when we were kids. Our parents gifted us instruments as presents (when we were kids) so we all eventually took a liking to it. We had a piano and guitars in the house so we eventually gravitated towards music and all ended starting our own bands before forming this band.

I think the music our parents listened to definitely rubbed off on us: bands like The Beatles, The Doors and Supertramp were introduced to us as kids, so I think that era of music reminds us of being kids. We eventually all found our own favourite band but, at the root of it all, I think it’s the classics that we can most relate to.

What is Toronto like when it comes to making music and gigging?

It’s a good music city. We’ve had a lot of support from the industry here and met a lot of loyal fans. You can find virtually any style of music here and it’s been a good place to establish ourselves and get involved in the many festivals that are hosted here each year.

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

We are likely to do some local dates (in Ontario) to promote the release of our E.P.

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

We toured all over the U.K. a few years ago with a handful of shows which even included a trip up to Wales for a festival. We’d love another excuse to go back and tour as we met a lot of great people and really enjoyed the bands we played with.

What do you hope to achieve in 2018?

We hope to gain some more traction with our newest release and tour as much as possible. We love to be on the road and playing in new places and meeting new people. We hope our E.P. garners some more attention and gives us a reason to get back in the studio.

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

There have been a lot of highlights. We’ve had some festival shows and big stages that stand out for us. But, I think the (most) standout memory is the first time we had our music played on commercial radio. It was years ago, but I remember feeling proud that we’d gotten that exposure from a song we wrote and recorded. It’s always great to have radio support, but that first time was special.

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

The Rolling Stones. I think they’re one of the last great touring bands from an era that we appreciate. Our rider wouldn’t be too extensive; we’re not too picky. As long as there were beer and Canadian Club whisky, I think we’d be pretty happy.

What advice would you give to new artists coming through?

I think the only advice we’d be worthy of giving is to keep plugging at it. We’ve had a lot of ups and downs being in a band and it’s quite a commitment. We have found it’s best not to get discouraged or take things too personally. Music is a hard business to break, though.

Are there any new artists you recommend we check out?

Yes. Always support the bands in your area in shows and social media. Commercial music will be the death of creative expression, since its less about what we feel and more about what we could get people to stream without that same connection. Bands don’t sell C.D.s so, if you hear something you like, ‘like’ it and subscribe to it on your social media - that’s a good metric for a band’s success and costs the fans nothing.

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

Work-life balance is key but, in our non-music time, we like to hang out together. Sometimes, we get together for a work out and others we keep each other entertained with good stories and company. The company seems to be key on long trips from home.

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).

King of the Rodeo - Kings of Leon

Lucas: Band of Skulls – Himalayan

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Follow Mushy Callahan

Facebook:

https://www.facebook.com/mushycallahan

Twitter:

https://twitter.com/mushycallahan

Instagram:

https://www.instagram.com/mushycallahan/

Spotify:

https://open.spotify.com/artist/1WHBWGgfDJT66xsu4SQWNd?si=Y_WHWrUOQnmInn9gGsev6A

SoundCloud:

https://soundcloud.com/mushycallahan

YouTube:

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

INTERVIEW: The Old Pink House

INTERVIEW:

PHOTO CREDIT: Alex Robson

 The Old Pink House

___________

ONE of the best bands…

in the North East right now; I have been chatting with The Old Pink House about their start and where they are heading in terms of gigs; what the inspiration behind Jaded, their latest single, is; what we will get from their upcoming E.P. – I learn what the scene is like in the North East (and where they are based in Newcastle) right now in terms of promising acts coming through.

I ask which new acts we need to look out for; what the band’s favourite memory is; what they hope to achieve in 2018; how it feels being supported by BBC Radio 1’s Huw Stephens; why they look to aspects of 1980s’ music for inspiration – the guys each select a tune to end the interview with.

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

We’re good, thanks!

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

We’re a four-piece Cosmic-Pop band from Newcastle, U.K.

Tell me a bit about Jaded. What is the story behind the song?

The song was born out of the guitar riff, originally. I think I just started playing it in our rehearsal room and Max added in that stomping beat - which just kick-started the process and the rest came quite easily. Lyrically; the song is about dealing with your emotions becoming blunted and weary over time and the need to try to combat that.

It is the current cut from your upcoming E.P. Can you reveal the themes that inspired the E.P.?

I think the over-arching theme in all of our music is guilt in all its different forms...

Musically, we’re quite a sunny, upbeat-sounding band but I always go to darker places for the lyrics and I’m fascinated with the way we deal with negative feelings, which stems mostly from my own problems with self-worth and guilt.

How did The Old Pink House get together? When did you first start jamming?

The band was born out of the break-up of a previous band. Max and I had been in a fledgling act which never really got off the ground and I, in particular, took it pretty hard. I just hid myself away and started working on demos which would become the first Pink House tunes. After about six months of trying to work up the courage to get out there and let people hear it, I found the other guys and we started playing shows.

You are based out of Newcastle. What is the vibe like there? Do you think a lot of people overlook the city?

It comes and goes. We’re in a period now where people are looking at Newcastle again, which is great, because there’s always been talent up here that deserves recognition. There are, of course, some great artists who have come out of the North East like Maxïmo Park and Nadine Shah more recently but, as we’re so distant from the main music centres like Manchester and London, it does feel sometimes like we get forgotten about.

The band has been supported by, among others, BBC Radio 1’s Huw Stephens. Is it pretty strange having someone like that back you? How does it feel to get that backing?

It’s strange when anyone takes notice, really, especially since most of our music comes out of me humming a melody in the shower or staying up all night programming drum beats in my spare room. It’s a wonderful feeling knowing that something you’ve made has impacted someone in any way, really.

PHOTO CREDIT: Alex Robson

Which artists do you count as influences? Is music of the 1980s pretty important to you guys?

We all have pretty diverse tastes which range from the likes of Black Sabbath to Kendrick Lamar. The main artists which inspired the initial spate of songs were probably Unknown Mortal Orchestra and Tame Impala and my own personal favourite band are Grizzly Bear. I think the 1980s sound sort of crept in and we fully embrace it - but I wouldn’t say that many '80s artists actually directly influence the writing of the music.

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

At the moment, we’re focused on our own hometown headline show at The Cluny in Newcastle on 18th August, which we’re really excited for. We’ll also be showing up at Liverpool Calling and Evolution Emerging festivals in June and we’re planning some U.K. dates to be announced later in the year. Keep your eyes peeled!

What do you hope to achieve in 2018?

We just want to write and release music that we’re proud of and, if that helps us reach a wider audience and make new fans, it’s just a nice side-effect.

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

I think, collectively, opening for The Cribs and the Manic Street Preachers was an experience we won’t forget. It’s the biggest stage we’ve played to date and the vibe was just so fun, it was an incredible feeling.

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

For me, it would be Grizzly Bear because I love them. For the rider, I’d demand that the actor who plays Varys in Game of Thrones comes in full costume and feeds us hand-peeled grapes on a golden, ornate divan.

What advice would you give to new artists coming through?

Ignore what other people are doing and concentrate on writing good music that you care about. Don’t let social media engagement or any of that other extraneous crap worry you: as long as the quality is there in the music, and you’re willing to put the time and hard work in, the rest will come.

IMAGE CREDIT: Kitty Hedley

Are there any new artists you recommend we check out?

Some quality North East bands that deserve a shout out are Penguin, Callum Pitt and FEVA. Imogen is pretty amazing as well!

IN THIS PHOTO: Callum Pitt/PHOTO CREDIT: Daniel Stark

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

I try not to let music consume my life, and it can be difficult to disconnect from, but it’s important for my sanity. I’m an avid movie fan and I’ve recently been spending way too much time playing the new God of War game. It will consume your life.

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).

Peace of Mind – The Pale White

Pink Lemonade – James Bay

Hunnybee – Unknown Mortal Orchestra

California Dreamin’ – The Mamas & the Papas

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Follow The Old Pink House

Facebook:

https://www.facebook.com/theoldpinkhousemusic/

Twitter:

https://twitter.com/theoldpinkhouse

Instagram:

https://www.instagram.com/theoldpinkhouse/

Spotify:

https://open.spotify.com/artist/6jd689eTs0lyeBJ4WgHQ3n?si=ygqswn83QmiDEX-JrXbtlw

SoundCloud:

https://soundcloud.com/the-old-pink-house

FEATURE: The May Playlist: Vol. 3: “I Would…It’s Just I’m Not That Good at Being Open…”

FEATURE:

 

The May Playlist

 IN THIS PHOTO: Courtney Barnett 

Vol. 3: “I Would…It’s Just I’m Not That Good at Being Open…”

___________

I am excited…

IN THIS PHOTO: Christine and the Queens

there is a new album out from Courtney Barnett. Tell Me How You Really Feel has been collecting some ace reviews and proves she is one of the wittiest, most relevant and sharp songwriters in the world. Alongside a cut from the Australian songwriter are new tracks from Gruff Rhys and CHROMATICS; Christine and the Queens and Drenge have released awesome works – there are videos from Arctic Monkeys and Sigrid in there.

It is another intense, mixed and bubbling cauldron of works that will appeal to all tastes and curiosities. I recommend you dive in and digest as much as you can – a brilliant pile of musical wonders that will keep you full and satisfied!

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

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Gruff Rhys - Limited Edition Heart

André 3000 - Me & My (To Bury Your Parents)

PHOTO CREDIT: Zackery Michael

Arctic Monkeys - Four Out of Five

CHROMATICS – Black Walls

Johnny Marr – Hi Hello

Drenge – This Dance

Pale Waves – Kiss

 

Sigrid – High Five

Nine Inch Nails – God Break Down the Door

Snail Mail – Let’s Find An Out

Backstreet Boys - Don't Go Breaking My Heart 

Christina Aguilera (ft. Demi Lovato) - Fall in Line

Bella Thorne – GOAT

Black Eyed Peas - RING THE ALARM pt.1, pt.2, pt.3

Christine and the Queens (ft. Dâm-Funk) - Girlfriend

James – HANK

Jennifer Lopez (ft. DJ Khaled and Cardi B) - Dinero 

The Kooks – All the Time

Lady Leshurr – OMW

Lykke Li – utopia

Pharrell Williams x Camila Cabello - Sangria Wine (Pseudo Video)

Stefflon Don – Senseless

Tom Grennan - Barbed Wire

PHOTO CREDIT: Pooneh Ghana

Courtney Barnett – Charity

James Bay – I Found You

Kelly Clarkson - Meaning of Life

The Charlatans - Totally Eclipsing

PHOTO CREDIT: @dalb.y

Laura Jean Anderson - Silence Won't Help Me Now 

Suuns - Look No Further

Years & Years - If You're Over Me

Parquet Courts – Tenderness

Chelsea Cutler – The Reason

Nick Mulvey – The Doing Is Done

HAERTS – Your Love

Betty Who – Taste

The Joy Formidable - Dance of the Lotus

Disclosure (ft. Fatoumata Diawara) - Ultimatum

Migos - Narcos

TRACK REVIEW: Eleanor Friedberger - Everything

TRACK REVIEW:

 

Eleanor Friedberger

Everything

 

9.5/10

Everything is available via:

https://soundcloud.com/frenchkiss_records/03-everything

GENRES:

Alternative; Pop

ORIGIN:

New York, U.S.A.

The album, Rebound, is available via:

https://open.spotify.com/album/0oOqcEOKXsr3f6cfIfZqrX

RELEASE DATE:

4th May, 2018

_________

THERE is a lot to love and admire…

when it comes to Eleanor Friedberger. I will talk about her latest single (and album) soon but, before then, it is worth exploring a few sides to her personality and path into music. I want to talk about the bubble and excitement of New York; those artists who are inspired by great adventure and moments; a look at adding new elements to your career as time goes by; going from playing with a band to recording on your own (more or less); music and artwork that is more personal and self-reliant; getting good reviews from the critics; eyes being opened to new artists that can go really far. I will touch on New York because that is where Friedberger is based. I have reviewed a few New York artists over the years and it always brings me back to one subject: the thrill and excitement of the city (or state, if you want to be precise). It is a busy and adventurous area of the world that always inspires the mind. I have never been myself but have followed the music of New York for decades. It is a vast wonderland and has produced some of the biggest musicians from history. Whereas London is a city with all sort of cultures and possibilities working alongside one another; New York seems even more broad and exciting. I can imagine the sheer busy bustle of the place can be intimidating and scary to many people. What I wanted to highlight was the way the people and streets can compel songwriting. If one looks at Friedberger’s album, Rebound, and you get a lot of personal tales and insights into her mindset – there is influence from the flavours and feel of New York. I have been looking to go to New York to see what makes the music there so immense and compelling. No two artists (from New York) are the same: each one has their own drive but there is that common link and ambition. Friedberger is a mercurial songwriter who absorbs everything from her surroundings and delivers something majestic and pure.

I will look at other sides of her music but, before I come onto that; let’s look at artists who define what a city/area is all about. I love music that has variegation and goes in various directions. I feel, if Rebound were one-dimensional and easy to appreciate, you would not bond with it the same way and take much interest. Friedberger could never create an album like that: she puts her everything into the music and, as I mentioned, collates scraps and impressions from the streets. I do not want to bring gender into the mix but, in a week that has seen Courtney Barnett release an album, it seems there is a lot of attention coming the way of female artists – it is long overdue and, let’s hope, this will lead to something big and evolved. There are many strong female artists out there but, with songwriters like Friedberger and Barnett; you get every box ticked and taken into a wonderful and entrancing world. Both artists look into themselves and put their everything onto the page. Whilst Barnett’s music might be a bit harder and raw; Friedberger is a more passionate and ethereal soul – an artist who has made big strides and is gaining a lot of focus right now. I have mentioned New York and, when you listen to the music unfold, you might wonder how it correlates to the city and the impression we have of it – the traffic noise and the never-ending chatter and clamber. New York is a complex city and state that has so much beauty and richness working in every corner and seam. I will move on from this point but I can hear the vibes and scents of New York working through Friedberger’s album. Even if you do not hear what I hear: you cannot argue there is an immense amount of quality coming from here. London is dear to my heart but we often ignore New York and other areas of the U.S. Let’s hope, with Friedberger’s latest album out, there are more eyes cast the way of New York.

One of the things that has struck me is Friedberger and her 2016 adventures. There, she spent most of the time on the road and immersing herself in Greece and its people. Maybe that was a reason her latest album sounds so natural and confident: that need for rebirth and a sense of direction. Over in Greece, Friedberger was looking for a recharge and wanted to write some new music. This is where the inspiration from the album comes from. The pace of Athens differed from that of New York. In a year where political activation was occurring and change was occurring (not always good); there was tension and discontent in the U.S. Things were not exactly rosy in Greece but there was a different mood coming through. There was fight in the spirit of the Greek people but, alongside that, a lot of beauty and chance to relax. Friedberger asked a friend what she should do before she left. The reply she got was to visit a club called Rebound. It was/is only open after 3 A.M. on a Saturday and a spot that is a 1980s Goth space where people do The Chicken Dance and time, in many ways, stands still. It is isolated away from all the crap and tension going on outside. To go somewhere where people are free to be open and let themselves go; there are no expectations and you can be as silly as you want – liberating and freeing of the senses. You can travel the world in search of answers and that ‘perfect’ moment. In the case of Friedberger and her latest album; that spark and sense of direction came from an unusual and unexpected place. That club was very smoky – despite signs banning it – and there was warped and dark sounds coming from the walls. I am not sure whether there exists any other club like that in the world. It seems to be from a different time.

We are two years down the line and the album that is named after the club is out into the open. It is not only Rebound that goes into the album: there are embers and flecks of Greece you can hear alongside the New York inspirations. It is that balance between the modernity of N.Y.C. and the older, classical shades of Greece that perfectly contrast and conspire. So many genres and years of music fuse together and go into an album that seduces the listener and takes their mind away. Because of Greece and the adventure she took there; Friedberger invents her own little world and brings myriad sounds to the party. The strains in the U.S. and the political fire exploding in the air made her rethink her motivation and reinvent her ambitions. There was that need to escape from the angry voices and find a part of the world that provided magic and a degree of calm. If anything; there is a transposition of moods when you look at albums New View (2016, where she recorded with a band) and her current release. The former is a more serene and touching collection; the latter is a busier and more accelerated record – despite the country that, in many ways, inspired its creation. I guess Rebound is about the various worlds and mystical souls that converged in that space when Friedberger was in Greece. Her adventure was needed and it gave the music she is producing now an extra edge and brilliance. Artists travel and pick up new ideas from wherever they go. I have not heard of someone having such a radical shift and sense of confirmation from a brief trip. Friedberger was keen to find something wonderful in Greece/Athens – she found that muse and has brought all of her visions and memories into her latest smash.

I will look at Rebound and its latest single but, before I come to that, let us look at Friedberger and her progress. I have mentioned her 2016 album and how New View was recorded with a band. That band was the one she toured with and the sounds we hear on both albums are very different. I am not sure whether there was too much clutter on her previous record or there were too many bodies in the mix. I can imagine her head was in a different place and her ambitions were different. The turmoil of the past couple of years, politically, meant a restructure was needed and a chance to streamline things. New View is a fantastic album and one that jumps into the brain. There is great passion working throughout and the music is incredible. You can hear the evolution on Rebound and so many different colours coming into her work. I will talk about that shift from band to solo but, listening to Friedberger right now and you get the sense of an artist who has found her place and is extremely confident. Even though the line-up is different, you can detect fresh ideas coming into the music. Rather than stick with the same sounds we know her for; Rebound is a chance to keep that core strong but try out other ideas and really push things. I have been excited seeing how all the different layers and imaginations come together. It is as though that time in Greece, paired with her time in New York, has changed everything and given new lease. There are not many artists who would take such a leap and make it work. I feel this is the start if a creative attack that will lead to some awesome revelations. The critics are already raving about Rebound (released on 4th May) and throwing their weight behind it – no wonder when you dive in and listen to the tracks unfold.

I have alluded to the fact Eleanor Friedberger recorded her 2016 album with her touring band. Now, in 2018, she has changed dynamics and recorded alongside producer Clemens Knieper. They have worked through the ideas and crafted an album that sounds very much like Friedberger but takes some risks along the way. I will talk more about Everything soon but the song itself is indicative of what you get on the album – brilliant storytelling and music that stays in the brain for ages. Stereolab, Suicide and Lena Platonos are among the inspirations for Rebound. It is a fantastic album that benefits from that singularity and simplicity. Although this album is busier and bolder than anything Friedberger has done before; that is not to say her previous work should be overlooked and seen as a step to where she is now. Her career has been fantastic and, with every work, that confidence has grown. I know there is a lot more in the tank from Friedberger. Whether she recruits a new band to tour with – or has one already – and her writing process changes I do not know. It is good to hear something focused and incredibly immediate from Friedberger. She has taken all of her experiences from the past couple of years and embroidered them into a fantastic story. Each song flows naturally into the next but they all have their personality and place. Here is an artist that does not create songs to be forgotten and skipped. What one gets with every album she brings out is an immersive and fulsome climate that involves the listener in the music and makes them think harder about their own life. The new ambition and sound from Friedberger come from that self-reliance and a desire to cast away any distractions. Journalists have commended Rebound and realise how meaningful the songs are (to Friedberger). She is an artist at the top of her game right now – there is a lot more to come from her.

I will move on to look at her latest single but I wanted to mention a couple more things. I have mentioned personality and how that seems to define Friedberger as an artist. Every song she puts down on paper brims with candour, warmth and a sense of the mysterious. I have been looking out for artists who open my eyes and distract me from my daily tasks. I have been sitting down with Friedberger and finding so much wonder and brilliance in her music. She writes music that comes from the heart but wants to involve every listener in the experience. What you get is a musician who wants her music to touch everyone and reach around the world. That should hardly seem a shock when you consider the bi-continent influence of Rebound and the sort of things that compelled the songwriting. It is fantastic finding an artist who goes that extra mile and really puts their all into music. I am keen to distance myself (to a degree) from familiar sounds and embrace someone who has that unique edge and can hook the imagination. There have been some great albums this year but, to my ears, there have been few huge albums that have resonated and lingered. Maybe we have expected too much or it has been a bit of a weaker year than previous ones. Friedberger might not get the same attention as Jack White and Arctic Monkeys – she has, in my view, created a better album than both and should be given just acclaim. Rebound should challenge the top-ten of this year and be marked as a huge album. I have discovered an artist that will stay in my heart and gets huge respect. I feel other albums have failed to hit the mark and there have been missed opportunities. Friedberger has rocked up with a great album that has gained a lot of love and continues to drop knees and jaws. Everything is a song I wanted to highlight because it seems to distil all Rebound’s motives and skins into one and gets the mind working.

There is a lot to ponder from the first moments of Everything. There are some wonderful notes and a playfulness that gets the brain whirling and the imagination fired. The electronics and beats have a cheerfulness and light side that means you bond with the song instantly and are invested. The heroine is not one to settle, as she says, and wants everything. There is a sense of ambition and motivation that means life as she knows it is not quite that fulfilling. Maybe she has been stuck and, musically, there is a need to expand and move on. Given her success and experiences, one can forgive her for not settling and wanting to get a lot more out of life. She does not care who is right – she wants everything. There is a cryptic manner to the song and the lyrics. You see it, at first, as a song about wanting to get more out of life and chasing dreams. The more it goes on, I get to thinking about other angles and where she is coming from. You can read it from a professional standpoint: that evolution and casting off other people; embracing a new phase and wanting things on her own terms. There are romantic embers and ideas that come to the front. I was thinking about that want of the heart and fulfilling other passions. What I love about the song is it never truly reveals everything and gives too much away. The listener is free to cast their own story and decide what Everything is about. The composition comes to the front after a few seconds. There is a parp and jubilant lift; an additional spritz of light and fun that keeps that sunny and bright aspect alive. The track looks at the wider world and a variety of characters. There is the filmstar and lovers in Europe; people who want their integrity and honour – the brain works overtime and pictures various different ideas.

From that moment, when thinking about the film industry, something political came to mind – certain reviled figures came in and got me thinking about recent controversies. In any case, there is that look at celebrity and wealth; a certain excess that contrasts from the everyday desires and realities of most. Friedberger is casting her mind around the world and looking at the way various people have different objectives and standards – maybe they are never happy or are always looking for something more. There are people who want nothing and everything; never satisfied and sure of what they really want. One of the most celebrated lines from the song regards houses – wanting two of them after a moment of confusion. I get to thinking about materialism and that sense of extravagance. Maybe people think you need a certain level of material wealth and comfort to make life happy; they are living by other people’s standards and following something false and cliché. The narrator delivers lines about lacking clarity with real personality and humour. Alongside these questions and investigations is the composition. It adds so much story and imagination to the song. It has a simplicity and brilliance that makes you smile and, whilst you are thinking about the lyrics and what they mean; your mind pulls in different directions and comes to various conclusions. Everything is a fascinating song that means something different to everyone. It is clear in the mind of the heroine but there is enough room to wonder and draw your own conclusions. The contradictory nature of people and certain fickleness keeps emerging. People want nothing and then, all of a sudden, they want it all. This is delivered in a song that gets you digging deep and picking apart the words. It is a brilliant creation from Eleanor Friedberger and shows why so many people have been raving about Rebound. I keep listening to Everything and trying to get on top of everything. It is a song that will provoke realisations and make you look differently at the world around you. There are not many songwriters who are doing that right now. A wonderful, sparkling and entrancing song from one of the finest songwriters working at the moment.

I wonder whether Eleanor Friedberger is coming to the U.K. and playing this year. She is playing the U.S. and Canada right now and I do know she is playing Green Man in August. If you are near the Welsh festival, you can go and catch Friedberger bring her sounds to the people. I wonder whether there will be any other U.K. dates either side of that. You can look at her social media channels to keep abreast of all the latest happenings. I am impressed by Rebound and Everything. It is an exciting time for Friedberger and let’s hope she continues to look up. Her record is getting a lot of brilliant reviews and it is all rightfully and richly warranted. I have mentioned New York and Greece and how, in their own ways, they have inspired Rebound and where Friedberger is now. I wonder how she will move from here and what her next album will be all about. The U.S.-based artist will want to take time to tour and then, when it is all done, settle and have a bit of a chill. Music is such a demanding industry that people expect more material straight after you have brought something out. It seems, in any case, she is in a better place compared to a couple of years back. The music seems more immersive and the production clearer; the songs are at their peak and Friedberger has brought more to the party. That bold and innovative approach could have led to sticky and unfocused results. As it is; we have seen a new phase from Friedberger and her finest album to date. I have not had time to review the entire thing but I recommend you get involved with it and investigate every song. Things are hot right now and there are few artists out there who can challenge as hard and proudly as Friedberger. I will bring this to a close but I wanted to congratulate her on a wonderful album that will score big come the end-of-the-year lists. Another incredible achievement from an artist who is captivating and stunning every human being…

WHO hears her music.    

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Follow Eleanor Friedberger

Official:

http://www.eleanorfriedberger.com/

Twitter:

https://twitter.com/eleanoronly

Instagram:

https://www.instagram.com/eleanoronly/

Facebook:

https://www.facebook.com/eleanor.friedberger.official/

Spotify:

https://open.spotify.com/artist/42WJFNdxsAgcn9PfjT61Z3?si=5jhOhnyhR_mbkbqSY4OnOA

PHOTOS OF ELEANOR:

Chris Eckert

INTERVIEW: Ice Baths

INTERVIEW:

Ice Baths

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IT has been a lot of fun…

speaking with the talented Ice Baths. I have been chatting with the guys (Tom takes up most of the responses) about their new track, Relic, and what themes inspired their eponymous, debut album - I ask whether there is a cut from the album Tom feels is strongest.

I learn how the band got together and the sounds that inspire them; what it is like releasing music on Blank Editions; if they have any gigs coming up; how they all unwind away from the stress and demands of music; if there are any new artists we need to check out – I ask whether the guys have special memories from their time in music.

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

Tom: Fairly quiet. Al’s been touring Europe with Specimens, Jack’s working his socks off at a new job - and me and Ed are routinely recovering from hangovers.

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

ASL? Around two/three-years-old; Ice Baths, London? Alex – Drums/Voice; Jack – Bass; Ed – Guitar; Tom – Guitar/Voice.

Relic is your latest single. What is the tale behind the song?

It seems straightforward but it’s a tricky bastard for us. We used a spreadsheet to plan it in the studio; we wanted something tight and minimal that runs away from us into a bit of a mess. We also have a very beautiful video, shot by Lucie Rox, for it.

Your debut album is out. Can you tell me about the sort of themes and inspirations behind the songs?

A lot of the books I was reading around that time and before were hard-boiled and gritty; some classic American detective fiction. I think I wanted to aim for this stark and blunt feeling you get in those types of books.

It is released on Blank Editions. How did you come to hook up with them? Is it quite exciting being attached with them?

We took a look at the roster that David (who runs the label) had and we knew we wanted to go for it - Housewives, Ben Vince; Dairy Classics, Thurston Moore. We sent it over and he didn’t laugh at us.

Is there a cut from the album you’d select as a highlight?

I think I like Alex’s drums on Circuits a lot. Towards the end; the flourishes sound like they are going to break my speakers.

How would you describe the sound of Ice Baths? Who do you draw inspiration from?

I like to think we’re trebly, wiry and sparse but we are probably just a sound guy’s nightmare! I was listening to a lot of Eddy Current Suppression Ring, U.S. Maple and These New Puritans around that time. I think a lot of the one-note playing was me ripping off Eddy Current Suppression Ring.

Can you remember when the band got together? When was the moment you decided to make music together?

Me and Al found each other unglamorously on Gumtree - we probably have the emails! Jack and Al have played in bands together previously; Ed did sound for us once and then we head-hunted him because his other band, Aathens, is awesome.

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

We’re lining up a U.K. tour later this year but, if you’re in London, we’re about to play our album launch show at The Others in Hackney on 19th May with Merlin Nova and Dairy Classics; then, a quick stop at Rough Trade on 23rd May and we’re with one of our faves, H. Grimace, at The Old Blue Last on 13th June.

What do you hope to achieve in 2018?

Not crashing a tour van on the way to Glasgow and trying out a few new tunes on the road later in the year…

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

Ed getting a meal served to him on stage mid-song.

Alex: Finding myself with a morning off on my first-ever U.S. tour in a beautiful lagoon in Sedona Arizona with a guy we met at the gig before. It was his birthday and he wanted to show us his favourite secret spot. There was no one else there and it was incredibly hard to find/get to - it was one of those moments when you know you’d never have visited this place if it wasn’t for playing a show.

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

Lawrence English (because he is living legend and one of the biggest influences on my personal music). As for a rider? Haha. To be honest, Walnut Whips are kinda having a resurgence in my life, so maybe a multi-pack of those and some kind of posh soft drink or mint tea (rock ‘n’ roll, I know!).

What advice would you give to new artists coming through?

Tom: Often, beer tokens are just raffle tickets.

Are there any new artists you recommend we check out?

Alex: Vida Vojić. She is amazing. Not a lot out yet, but she has some great stuff coming up – and she’s incredible live!

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

Toboggan hurling.

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).

Tom: The Prats – Disco Pope

Jack: Crack Cloud - Graph of Desire

Alex: Christina Vantzou - Some Limited and Waning Memory

Ed: Wu-Tang Clan - Wu-Tang: 7th Chamber Part II

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Follow Ice Baths

Facebook:

https://www.facebook.com/icebaths/

Spotify:

https://open.spotify.com/artist/06PCe6OiavknZiaqIGsULW

SoundCloud:

https://soundcloud.com/ice-baths

FEATURE: Digital Witnesses: The Continued Growth of BBC Radio 6 Music and the Digital Upswing

FEATURE:

 

Digital Witnesses

IMAGE CREDIT: Getty Images/BBC 

The Continued Growth of BBC Radio 6 Music and the Digital Upswing

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THIS is, to be fair, my first…

PHOTO CREDIT: Unsplash

real passion-piece about BBC Radio 6 Music since last year! I have shackled my hands and will not do another vacillating and fevered article about the station until, oooh…next month! There is a reason why I am bringing the station back into the spotlight: the latest RAJAR figures are out. Rather than (RAJAR) being a super-spy looking out across the land for the most discerning listeners; it is a slightly-less-cool-and-awesome acronym for 'Radio Joint Audience Research'. We are now in the position where digital radio is more popular than A.M. and F.M. That seems extraordinary given that, as recently as a few years ago, the dominance of the big boys/girls. Over 50% of the radio audience is tuning in via laptops and D.A.B. radios. I will come to look at, what I think, is the leader of the digital market – before I get there; I want to bring in an article that highlights the facts and shows why digitally-produced radio is vibing so hard right now:

“Digital listening has reached a new record share of 50.9% – a landmark achievement for the industry which hopes will trigger action from the Government about the future of DAB.

This compares to 47.2% in Q1 2017 and to 24.0% in Q1 2010 when the Government’s Digital Radio Action Plan, which outlined a programme of work to progress digital radio take up, was launched.

With the 50% digital listening threshold now met, it is anticipated that the Government will undertake a review to assess digital radio progress and determine next steps in due course.

PHOTO CREDIT: Unsplash 

Speaking at the Tuning In commercial radio conference yesterday, Margot James, Minister of State for Digital and the Creative Industries, said “The 50% share will be an important milestone for radio” and confirmed that Government will “work closely with all partners – the BBC, commercial radio, Arqiva, car manufacturers and listeners – and subject to this will make some further announcements.”

Ford Ennals, CEO, Digital Radio UK, told RadioToday: “This is a landmark moment for the radio industry and for listeners alike. Digital platforms now account for the majority of all radio listening for the first time. The digital transition is good news for radio and is helping our industry compete more effectively in a digital age. We look forward to continuing to work with broadcasters, the supply chain and Government on delivering radio’s digital future and the upcoming digital radio review.”

Digital listening share is comprised of listening across all digital platforms – DAB in homes and in cars, Apps and online (which includes the growing number of smart and voice-controlled speakers) and DTV – and this is the first time that listening to digital has been greater than analogue platforms – FM and AM.

Overall, digital listening hours grew by 7.8% compared to Q1 2017. The greatest amount of digital listening takes place on a DAB radio which now accounts for 36.8% of all listening and 72.2% of digital listening, with hourly growth of 8.9% year on year. Online and Apps now accounts for 9.3% of all listening and 18.3% of digital listening, with the greatest percentage hourly growth of 17%. Listening via digital TV meanwhile accounts 4.8% of all listening and 9.4% of digital listening”.

IMAGE CREDIT: Getty Images/BBC

It is unsurprising, given the ultra-technical world in which we live, more and more people are discovering radio through digital means. It does not mean the audience is exclusively young and fewer middle-aged/older people are tuning out – the demographics are shifting and more listeners are buying radios and listening via the Internet. It is easy to understand why digital radio is proving popular and on the rise: the Internet provides vast access to a world of great radio and, the more people that go online; the more people will seek out other options. To paraphrase a running joke of Mark Radcliffe – on his (week)daily show with Stuart Maconie – the average BBC Radio 2 listener might be found drinking sick from a pub toilet whilst a group of chanting drunks weald bicycle chains and scream over the sound of vomiting. The BBC Radio 6 Music listener, on the other hand, is busy inventing the next big breakthrough; curing stubborn diseases and leaving a flaming bag of dog poo on the doorstep of Piers Morgan. I joke, of course: the listeners of BBC Radio 2 are a more sophisticated bunch but it seems, with its cooing vibes and seductive rhythms; the sounds of BBC Radio 6 Music is a preferable option for many. The station has announced weekly listening figures in excess of 2.53 million – it is a station that has benefited from fantastic word-of-mouth and the power of the Internet!

The addictive quality of the station and its ethos means it is hard being even a day without the glorious music and chat. I have started a new job and have to endure another day without my favourite shows from the station – I am routinely screaming and punching a toilet door to cope without the glorious dead air of Shaun Keaveny or a fantastic piece of wordplay from Radcliffe and Maconie; some brilliant tunes and wit from Lauren Laverne, for instance. My daily routine consists of mornings with Keaveny and then the continued northern warmth of Laverne and RadMac – bits of Steve Lamacq and, when I have the time, lashings of Marc Riley and Mary Anne Hobbs. I love a bit of Nemone and Tom ‘Ravers’ Ravenscroft and love Chris ‘The Hawk’ Hawkins – so much personality and passion packed into every show. I have speculated as to why stations like BBC Radio 6 Music have grown and continued to recruit followers at an alarming rate. One listens to the music and the range coming from the airwaves and is inspired to be better and have great ambitions. I, myself, am planning a music T.V. show – it will need a lot of money and patience to get it off the ground – and pushing myself as a music journalist. Many others have changed their horizons and, because of BBC Radio 6 Music, have found a great sense of comfort and familiarity...

IN THIS PHOTO: Lauren Laverne/PHOTO CREDIT: Getty Images/BBC 

The reason I stumbled upon the station was dissatisfaction with my previous ‘favourite’ – I shall not name the station...but it rhymes with ‘Babsolute Radio’. I had been longing for an option where the D.J.s were there for the music and keen to promote the finest new sounds and keep the best of the archives burning and moving forward! I have discovered older acts like Can through BBC Radio 6 Music; glorious new blood like Kamasi Washington, Nils Frahm and Hannah Peel – every week, you find a new sensation and are, in many ways, waiting to hear the greatest song ever. There is that link between producers, D.J.s and other talent on the show: many stations put walls between D.J.s and producers and the experience comes off rather cold and too-formal. We have great music news presenters like Matt Everitt, Georgie Rogers (possibly, the most seductive and purest voice on the station) and Clare Crane; Helen Weatherhead and Elizabeth ‘Alcopops’ Alker, too. Every show, too, has its own identity and sound. Craig Charles favours Funk and Soul; Nemone has her Electric Ladyland; Laverne, Keaveny and RadMac have their mix and particular style. One can navigate the schedules and find D.J.s/programmes bespoke and ready to cater to your every desire – if you want a broader option then there are shows to satisfy and slake. I have professed my love, enough, for D.J.s like Lauren Laverne and Shaun Keaveny; the banter/passive-aggressive love between Matt (Everitt) and Keavney; Laverne’s endless passion and wonder – the way she seems to drink and live music every moment.

You need only look at every D.J. on the station to know their place there is because of that dedication to music and a level of quality you will not find anywhere. I have not even mentioned D.J.s like Amy Lamé, Gideon Coe and Cerys Matthews. If anything, there are little steps the station could take. The website is fantastic but looks like any other BBC radio station page. It is organised to an extent but they could benefit from something with a bit more edge and order – it can be quite hard navigating and honing in on presenters and shows. BBC Radio 6 Music could run and command an award show – one that people genuinely look forward to; recognises the actual best in music! I have been trying to pitch a music T.V. show but, in essence, it would be a visual form of BBC Radio 6 Music: fantastic live performances and a mix of classic music (looking at one legendary album a week) and the brand-new. There are no T.V. options out there like that: a venture by BBC Radio 6 Music could fill the gap and be a prudent and popular move. That may all happen, but I am glad the station continues to find new fans and feed those who love music the most. I have broadened my visions and pushed myself harder through finding the station. I am discovering new gems and wonderful music each and every day.

PHOTO CREDIT: Getty Images/BBC

Whilst the music is fantastic and it is all-killer-and-no-filler; it is the people behind the microphones that keep me hooked. The accents (northern presenters as dominant as southern vocals) and unique voices make the music stand out and, with it, make the listener feel at home a part of the party. BBC Radio 6 Music sees the outsider and welcomes them in; it hugs the senses and keeps everyone safe and warm. It is a festival for those who know their music but are willing to allow someone else to infect their bloodstream and suggest other options. There are other great digital stations out there – one can do their research and surf a bit – but BBC Radio 6 Music is at the top of the tree and is the Grand Master of the Digital World. I will continue to listen and promote the station because it continued to give so much and has made a huge impact on my life. I hear call-ins and regular features on various shows and can hear the D.J.s truly connect and emphasise with their followers. There is that two-way connection and relationship that means new listeners need not be afraid or tepid. They are all welcome to dive in and excited to share their stories and favourite music. For a station that faced closure a few years back; it is amazing to see this huge recovery and dominance – not that the station was ever in any trouble at all or lacked genius! It shows you cannot judge a station by its place in the market and how underground it is. BBC Radio 6 Music is still in the ‘cool’ part of the pie-chart but is starting to compete with the biggest stations in the U.K. For new and old listeners alike; let’s keep the digital waves alive, growing and…

 IN THIS PHOTO: Steve Lamacq/PHOTO CREDIT: Getty Images

CATERING to those who love their music variegated and incredibly good!

INTERVIEW: Volkova Sisters

INTERVIEW:

Volkova Sisters

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THE past few weeks…

have exposed me to musicians from all around the world. I have been speaking with the Budapest-formed band Volkova Sisters and ask how they got together – they have been telling me about their latest track, Faceblind, and reveal its story.

I ask them what the differences are between England and Hungary in terms of music; whether there are any new artists they would recommend to us; if they have gigs coming up where we can catch them; what we can expect from their upcoming album, Slowin Away – they  talk about their upbringing and what the future holds.

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

Dalma: Quite intense, actually: a breakup and general life issues (smiles).

Dani: I see material for a few new songs here…

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

We are a group of people living in different European countries, working together for almost ten years now. We like dark and atmospheric sounds and, as kids growing up in the ‘80s, we were heavily influenced by the music of that decade. At the same time, we always aim to find new and less-explored ways in music.

Someone described our genre as ‘Goth-Tron’.

How did Volkova Sisters form? When did you all meet?

Dalma: We all knew each other from the Budapest music scene. We've been best friends with Daniel for more than a decade now; we also have had a previous band before. When we started Volkova Sisters, we knew that we were missing an element and we really didn't want to be a duo: we wanted to involve other ideas into our world and Geri just came in the right time.

Daniel showed him our first demo and the rest is history. Tibi, our drummer (who is a member of the legendary Hungarian Dark-Rock band, Sexepil), came into the picture roughly two years ago when we were thinking about ways to expand our stage presence.

Is it true you borrowed your name from a William Gibson novel? What struck you about the name?

I'm a big Sci-Fi fan, including all the side-genres, and Willian Gibson is one of my favourite authors. Very easy to read, with lots of action and quite precise future forecasts. When I read his book, Pattern Recognition, I was a mesmerized by this character pair and I thought it really resonates with the way we think about art.

Faceblind is your new single. Can you reveal its story?

Dani: We were in a car in the Hungarian countryside on our way to a week of songwriting in a remote location. It was late at night and we listened to a radio talk show about people who were ‘faceblind’. It's a rare condition of the brain when someone is unable to recognise faces. This, straight away, inspired a whole new range of characters for our mythology. We wrote the song the next day…

It is from your upcoming album, Slowin Away. What sort of stories can we expect to find in the record?

The stories revolve around all the feelings we gathered since we started to live lives less bound to a single geographical location - from feeling lonely in a metropolis to the general angst of our generation that we see from very different angles in different places.

Also; we took some inspiration from the underground Techno scene in London…so expect something more upbeat (sometimes, almost danceable).

You formed in Hungary but are based in England. Was it difficult finding a scene and base in Hungary? How does England compare in terms of its sounds and artists?

Dalma: It was hard to gain attention in our home country but our fanbase is growing, so I'm happy that are native fellows dig our stuff. 

The U.K. still has its distinctive sound. Not from a genre perspective: I'm talking about the mixing and mastering process here. Music-wise; I don't think it's an island anymore: every European country which I've been to had a surprisingly vivid and amazing underground scene. The problem is that, if you're not looking for it, you'll not gonna find it. The markets are still segregated - and underground artist can barely compete with acts signed to major labels.

What music were you all raised on? Did you grow up in musical households?

I was, and Daniel too; both our families had massive vinyl collections and were part of the local underground scene...

Dani: Actually; my parents were part of the scene as musicians, so I spent my very early years already around studios, gigs and rehearsal rooms. Music was always playing somewhere; a lot of '80s Post-Punk, New Wave and Alternative stuff on Jugoslavian-pressed vinyl and cassette tapes copied from my parents' German friends.

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

Dani: We'll play one gig in London this summer – this will be in Birthdays on 2nd June. Apart from a few festival dates in Hungary, we'll spend most of the summer setting up our brand new studio space and start working on some new material.

Our experience in the U.K. so far shows that there's a certain limit to your opportunities for gigs as a D.I.Y. band. To reach further, you need to be supported by a record label or a booking agency. Maybe, we'll get there with the third album (this was an open call).

What do you hope to achieve in 2018?

I think, technically, as a band, we already achieved our goals for the year. Now, it's up to our fans and everyone else out there if they will like what we've done. For the rest of the year, I'd like to chill a lot and take a very slow pace in starting something new; again, with a slightly different approach.

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

Dalma: I can't really pick one particular moment. The most touching thing for me, in general, is when I see people singing our songs. That’s when your vision starts to live its own life.

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

I would love to open for The Perfect Circle. I think Maynard is a genius.

Dani: I'd choose Daniel Lanois. I think Geri would let him play one of the solos on our gig.

What advice would you give to new artists coming through?

Dalma: Very briefly; simple advice: never give up (smiles).

Dani: Focus on yourself and your own art, not what others do or say.

 IN THIS PHOTO: Sidsel Endresen

Are there any new artists you recommend we check out?

Well; I'm not particularly following the new trends…but I can recommend one of my favourite singers, Sidsel Endresen, as she is one of the cultic figures of the Norwegian Jazz scene.

Dani: Peggy Gou's It Makes You Forget has the best bassline of 2018 - so far (smiles).

IN THIS PHOTO: Peggy Gou/PHOTO CREDIT: Dan Medhurst

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

Dalma: It's the opposite for us, I think (smiles). Making music is our chill time (smiles).

Dani: Dalma's right. But, if I need to reset my ears, I always go to the riverside. There's a nice little beach close to our studio, only accessible during low tide.

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).

Etienne Jaumet – For Falling Asleep

Dalma: John Hassel – Vernal Equinox

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Follow Volkova Sisters

Official:

http://volkovasisters.com/

SoundCloud:

https://soundcloud.com/volkovasisters

Facebook:

https://www.facebook.com/volkovasisters

Spotify:

https://open.spotify.com/artist/2R7HJ8U8vfMaHeobFgcdZN

YouTube:

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

FEATURE: A Storm in Every Season: How Willow Smith’s Confession of Self-Harm Should Give Strength to Others

FEATURE:

 

A Storm in Every Season

IN THIS PHOTO: Willow Smith/ALL PHOTOS (unless credited otherwise): Getty Images/Press 

How Willow Smith’s Confession of Self-Harm Should Give Strength to Others

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AS this is Mental Health Awareness Week…

I am exploring a few different sides of mental-health and trying to provide inspiration. I have already covered exercise and physical activity’s role in lifting the mood/creativity; I have compiled an inspirational (I hope) playlist and will, if I find enough time in the schedule, look at discussion...and the ways of making it easier to open up regarding mental illness. A story caught my mind that, to be fair, is common to a lot of people. We have seen musicians talk about self-harm but, for the most part, we absorb yourself in the event and then move on. Maybe it is the timeliness of the revelation, but Willow Smith – the teenage daughter of Will Smith and Jada Pinkett-Smith – has spoken about the fame she accrued following the release of Whip My Hair (back in 2010) and the pressure on her shoulders. She is still only seventeen and so, at such a young age, that sort of focus and pressure, invariably, took its toll. Smith spoke about living in a famous household and having well-known parents. There was that press attention and the expectation to follow such a hit single. Whilst many might assume someone who has wealthy parents should not feel any pressure and has no right to complain; Willow Smith spoke about the transition and disruption in her life – acclimatising to this new world and trying to mix her normal existence with one that included high-profile interviews and huge gigs.

Quoting from NME they have covered the story/Smith’s interview and why she has decided to go public with her admissions of self-harm:

“Speaking on Red Table Talk with her mother, she spoke about how the pressures of fame at such a young age pushed her to extremes.

“It was after that whole ‘Whip My Hair’ thing and I had just stopped doing singing lessons and I was kind of just in this grey area of, ‘Who am I? Do I have a purpose? Is there anything I can do besides this?’,” she said.

Willow continued:  “After the tour and the promotion and all of that, they wanted me to finish my album. And I was like, I’m not gonna do that. And after all of that kinda settled down and it was like a kind of lull.” Explaining why she turned to self-harm, she said: “I honestly felt like I was experiencing so much emotional pain but my physical circumstances weren’t reflecting that.”

“A lot of adolescent girls struggle with self-harm.”

Willow added that she didn’t tell her family about what she was going through, and that only one of her friends knew that she was self-harming.

“I never talk about it because it was such a short, weird point in my life. But you have to pull yourself out of it,” she said.

“One night I was like, ‘This is actually psychotic’. And I just stopped”.

Whilst it is heartbreaking to hear of Smith’s struggle; it seems she is on a safer footing and is looking ahead to the future. Maybe there is less spotlight on her following her debut single – she is an older artist and, even at seventeen, a big music career is seen as normal and routine now. Maybe it was a lot to ask of her at nine years old; taking on all that responsibility and being thrust into a strange and frightening world. It is the way Smith, and so many of her peers, have dealt with that pressure that struck me. Willow Smith is not the only musician who has elevated the stress and anxiety of a busy career with self-harm and physical mutilation. There are many out there who do it routinely; artists like Demi Lovato, Sid Vicious and Richey Edwards – a broad and varied list, I know! – have coped with struggle and stress with self-harm. So too has Courtney Love, Amy Winehouse and Paris Jackson (the daughter of Michael Jackson). I have not written this piece to highlight Smith as a tragic case or someone who outranks anyone else. The reason I have written this is to congratulate her, and other artists, who come out and reveal such harrowing visions. She is not the first musician to talk about self-harm but the candid and human way Smith opened up should give guidance and courage to many.

PHOTO CREDIT: Unsplash

I am not suggesting every artist and musical creative who suffers self-harm should jump the media and embark on a lengthy social media post – self-harm is very private and emotional; it is understandable many would want to keep that information confidential. Smith, as a teenager, has the pressures of school and growing up. She has celebrity parents which, whilst it has benefits, puts an expectation on her back and everyone will associate her with mum and dad, Jada and Wil!. Not that she is living in their shadows or hanging on their apron strings: she has her own career and sibling, Jaden, who is an actor – experiencing the same sort of attention his sister does. A lot of the time, we buy music and go to gigs without realising what an artist does away from the stage. We have seen the suicide of some big names in recent years; one, sadly, as recently as a week ago. People do not go from suicidal without experiencing self-harm and some lower-level form of abuse. It is hard to open up and, for musicians, there is a public image and two sides: the persona and human we see in print/on record and the real human who everyone else sees. That compartmentalisation and separation is not only isolating and confusing but harrowing and exhausting. I can only imagine how someone like Willow Smith must have felt going from a young girl at school to an (almost) overnight Popstar.

PHOTO CREDIT: Unsplash

I am glad she has come through the worst and did not, as far as I know, get to the point of contemplating suicide. She has many teenage fans and girls/boys who look up to her. It would have been easy to remain quiet and put on a façade. Those who do should not be condemned or forced to talk. The fact Willow Smith has will help many and reveals the pressure we put on young artists and musicians in general. It is a week where mental-health gets a rare time to shine and provoke conversation. My great fear is that, as early as next week, the bunting will be down and all the symposiums, forums and articles floating around online will be consigned to archiving. We have to wait another year for more discussion and a chance to put mental illness out to the world. There have been so many positive and informative pieces put out; so many have shared their stories online and someone, somewhere will take inspiration and change their life. It is hard to quantify how many people will be saved and seek help based on the information coming out this week. I wanted to focus on Willow Smith and her story because that, I hope, will give other artists the courage to break a wall and tell their tale. Self-harm is a complex and upsetting reality for many; it is really hard taking that step and opening up.

IN THIS PHOTO: Demi Lovato (who has spoken about her battle with self-harm)

That is not to say, too, that celebrities exposing their worst moments cheapens the severity of self-harm and distracts from the thousands of non-famous sufferers who are unable to find light and reticent about talking to anyone. There are many great mental-health charities but I want to, again, put the Samaritans’ contact details into the ether for anyone who thinks they might be suffering mental illness. I said the subject of self-harm was complex…it very much is. One might self-harm because of pressures at home or broken relationships; stress at work or an exacerbation of depression. There are countless combinations and reasons why an individual would let their tension out in such a way. Having someone famous/well-known step-up and talk about their demons is empowering and, as I also said, will provide comfort to many – showing famous artists are the same as everyday humans. I want this week to lead to change and continued conversation where mental-health is given as much prominence as any other illness. One need only look at the posts on social media and realise the personal and affecting stories of those afflicted by mental illness are not isolated. The issue is growing and we need to oxidise the ever-growing beast of mental ill health. Music is one of those industries that is especially prone to those who suffer psychological issues.

Willow Smith is one of many musicians who, over the years, have told about their struggles with self-harm. I hope her revelation and backstory stays out there because there are many who will be going through the same emotions – whilst the reasons for self-harming are not the same – and require that comfort and guidance. We have seen Willow Smith speak but I wonder whether her, and many other people’s, story will lead to more funding – both here and in the U.S. The NHS is stretched to the limits and I wonder how our Government will adapt to the growing wave of mental illness; a problem that is raging like wildfire. I feel big names talking about mental illness/self-harm are taking big risks. They have record labels (many do) and there is a certain ‘box’ they need to fit into – the commercial risk of talking about mental illness could cost more than money and dropped sales. Instead, more conversations will flare and others, in time, will feel less stigmatised regarding the weighty conversation of self-harm and mental-health. I hope those afflicted by dark thoughts and self-harm will find some light and relatability in Smith’s words – and her musician peers who have had to hide their issues and felt afraid to come forward. It is a nightmare and horrible situation when you are moved to the point of cutting yourself and having to keep that secret. Whilst talking about it might seem embarrassing or upsetting; doing so, to a family member or a profession, is…

PHOTO CREDIT: Unsplash

A very big and brave step.

FEATURE: Running on Empty: Exercise and the Benefit on the Creative Mind

FEATURE:

 

Running on Empty

ALL PHOTOS: Unsplash 

Exercise and the Benefit on the Creative Mind

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WITH the weather changing…

and the sun staying out for longer, there is hope the coldest temperatures are behind us and we will have more sustained periods of warmth. The weather is still changeable and unpredictable – being Britain, we are never too far away from some miserable downpours - but there is a great chance to improve the mood and capitalise on the clement conditions. It is Mental Health Awareness Week, and so, there are many talking about their experiences and how mental illness affects them. Musicians, especially, are prone to mental-health struggles and are under a lot of stress. I am reading so many stories of working endless hours and pushing themselves to unhealthy lengths. The hotter the weather gets, the more (musicians) are prone to widening their ambitions and planning for festivals. That push and drive might take the form of increased gigs or more time on the Internet, contacting venues and getting warm-up gigs booked. I am in a position where I have a new (temporary) job where I will have less time available to review and interview musicians – something that has given me a lot of fulfilment. I will not get a lot of time to be outside and will spend most of my days/hours in an office. I feel we are all spending too much time locked away and not really getting out there.

Maybe longer working hours and the cost of a night out means we are keeping ourselves inside and cloistered. Even if we have some spare time at the weekend, I wonder how many hours we spend outside and getting into the open. I mentioned musicians and wanted to write this piece because of the effects of exercise and physical activity on the creative process. We are all more stressed and in-demand so it is natural we would spend any free time unwinding and chilling: expending more energy seems counterintuitive and a struggle. There are articles available that explain and prove the link between exercise and creativity:

“Feeling good is not trivial. By necessity, studies hew to the quantifiable aspects of the relationship between exercise and creativity, namely defined types of cognition. But creativity, itself a fuzzy term, flourishes in ways that go well beyond divergent or convergent thinking. Certain emotional states, such as feeling good—and thus having low anxiety and fear—helps induce the flow states that are foundational to creative work…And scientists would do well to listen. Because, although the number of artists regularly exercising may not fill a yoga class, those who do illuminate many aspects of creativity that remain unstudied. Beyond mental dexterity, they tell us that creativity thrives when there is emotional balance, models for practice, and an array of tools at hand, not to mention ideas in which the muscles, too, can revel”.

A 2013 article explained on the premise and offered another angle:

“Specifically, researchers noted that regular exercise seems to be associated with improved divergent and convergent thinking, which are considered the two components of creative thinking; the former involves thinking of multiple solutions for one problem, while the latter involves thinking of one solution for a problem.

“Exercising on a regular basis may thus act as a cognitive enhancer promoting creativityin inexpensive and healthy ways,” study researcher Lorenza Colzato, a cognitive psychology at Leiden University in the Netherlands, said in a statement”.

Maybe these findings and facts are not new to us at all. What is known is that regular exercise can aid creativity and lead to clarity and a less stressful mind. If one balances the benefits on the creative mind and the nourishment exercise gives to the body, then we can all justify getting out there and being more active. It does have to be anything as full-on as running and long distances: a brisk walk or routine trek around the block can do wonders. Dedicating a set amount of time each day can get the body moving, mind cleared and the creativity part of the brain working and imagining. Many might argue it is hard to commit to regular exercise and it is hard finding time from their busy schedules. I guess, in many ways, one does not have to leave the house to get some exercise – it might be smutty and explicit, but we can all understand where that train of thought is heading…

What we are all exposed to, in the music world, is an overload of information and a cyber lifestyle. If we are not browsing and glued to phones for most of the day; we are on the laptop working on stuff and on social media. Away from eating and sleeping; are we all getting sufficient exercise and air? One can argue the health risks, for anyone, of spending too much time indoors. Forget the serotonin and mental benefits: ensuring we are physical activity means we can maintain a healthy weight and do not get into bad habits. If we become too isolated and do not exercise then that can have devastating effects on our general health and wellbeing. Music is as physical a job as any out there and (during gigs) requires a lot of energy and physical commitment. In order to maintain a level of fitness that means gigs are not daunting and a shock to the system; it is prudent to get into a regular cycle of exercise to ensure the muscles are kept trained and healthy – so they do not atrophy and cramp. That may sound extreme but the workout and level of commitment need not be that daunting. Rather than running a few miles each day; perhaps walking a couple of miles a day would be a good compromise – getting into the good weather and finding time to detach from all the strains and information of the music business.

I feel musicians, as I said, are under undue pressure and tend to spend too much time online and lacking necessary energy to exercise and take some time out. The multiple benefits of regular activity and exercise are clear: the creative mind is sharpened and the body is afforded care it needs. We are talking about mental illness and stress and cannot do so without recognising exercise and sunshine. I know something that simple is not going to cure depression and provide a cure for anxiety – mental illness is complex and there are a number of things that need to be considered when affecting a cure and solution. It is a perfect time of year to get into a better headspace and promise yourself more time outside. It is hard juggling the online demands and mustering enough energy to get up and remain active. Maybe starting off with a few days a week of fairly strenuous activity and it is a positive step in the right direction. It is wonderful what a brief amount of time out in the warmer weather can do to the mind. Not only is the mood lifted but that creative region is stimulated and primed; the body is touched and every part of you is engaged. If you can throw in a social aspect then that is so much better.

Mixing sociability with exercise, even for a little time each week, can improve mental-health and, if you can form a routine, it is a great balance between time inside/online and being outside in the fresh air. We are all looking about for ideas and solutions when it comes to the mental-health crisis that is before us. There is no single cure for everyone – something as mundane and simple as physical exercise is going to be the answer. Rather than see it as a ‘magic elixir’ then consider it one of the steps to a more improved and healthier mind. There are many I know who have suffered from depression and other mental illnesses and found their mood has been lifted immeasurably by regular exercise. I shall end things here but wanted to urge people in the industry – and in the general public – to have a look at how much exercise they get and how much time they spend inside. We could all probably stand to do a bit more and earmark more time to unwinding away from our screens. It is getting warmer and the days are growing longer: a fantastic opportunity to stretch the legs and blow away the cobwebs. It isn’t a hard-and-fast-rule but the benefits of exercise are proven and are especially helpful to those in an industry like music. Not only does it help you get match-fit and stimulate the creative part of your brain; it helps improve mental wellbeing and can lead a much…

 HEALTHIER life.