INTERVIEW: Chersea

INTERVIEW:

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Chersea

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THE fascinating and delightful Chersea is a revelation!

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The Canadian songwriter has been talking about her latest track, Murphy’s Law, and its background. I learn more about her music tastes and what we will get from her upcoming L.P. – she reveals some new artists that are worth our time and attention.

Chersea talks about a favourite memory from music; why Björk is such an idol; what the scene is like over in Vancouver right now; if she has any plans regards coming to the U.K. to play live – she discusses the three albums that mean the most to her and why they resonate so hard.

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

Hi, Sam! My week has been amazing. I just got back from Canadian Music Week in Toronto. Also, I had some interviews and a photo shoot. It was the first time my band and I travelled that far to play three gigs in sixteen hours; so it was pretty crazy but a lot of fun.

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

My music is inspired by a lot of powerful female songwriters. I like to think my music is kind of a blend of Imogen Heap, Enya, Robyn and Sia, to name a few. My elevator pitch is ‘mood stabilizing Electro-Pop for all of your highs and lows’.

Can you reveal the story behind Murphy’s Law and what compelled its creation?

Murphy’s Law was intended to shed light on how it feels to be a victim of manipulation tactics in relationships. The adage ‘Murphy's Law’ means "Whatever can go wrong, will go wrong", especially if you let it. The abuse one feels isn't clear-cut, so the victim is constantly trying to feel their abuser; trying to find the good in the individual. I originally wanted to call this piece Stockholm Syndrome - because I wanted the listener to realize that you're trapped in this abusive relationship, but you have an affection for your captor who, in this case, would be your partner.

I've had first-hand experiences where I've let my partners manipulate me to a point where I completely lose control of myself within the relationship; thus, Murphy's Law comes into play because whatever can go wrong does go wrong…while trying to hold onto something that is inherently awful for your wellbeing.

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There have been many culturally significant lawsuits which question the validity of a victim’s statements because of this reaction. "Why did you continue to text your abuser?", "Why did you continue to pursue the individual"; "Why did you engage in affectionate language and intimacy with the accused?": these are all questions asked by juries and attorneys in lawsuits surrounding physical, sexual and emotional abuse. While we may not have a definitive psychoanalysis as to why this is, we now know that this particular reaction has been experienced by many abused subjects.

My song, Murphy's Law, discusses these emotions and the need to feel ‘you’ - the abuser - in a way that unites victims everywhere.

Your debut L.P. is coming soon. Can you reveal any of the people you collaborated with and the sort of songs we might expect?

I’ve been working with Cody Taylor (of Fiend Recordings) for years now. A lot of the songs on this album have been a team effort with regards to writing, production and mixing. We took our songs to Ryan Worsley (Echoplant) who has worked with so many great acts like Dear Rouge and Derrival. He did some extra production and mixing on a lot of the tracks to make them feel extra-polished and industry-ready. As a multi-instrumentalist who writes and co-produces her own material, it has been amazing to branch out and have this awesome team standing behind me.

On this album, you’ll hear a lot of genre-bending as well as some pretty anxiety-driven pieces that’ll hopefully make you move and feel like your brain is taking you on an emotional rollercoaster. One piece of feedback we got was “This song sounds pretty schizophrenic” and, while I’m not diagnosed with THAT particular condition, I was thrilled to hear that the listener was emotionally jarred by the production and the piece. If these songs can put you in a frame of mind that you’ve barely observed or experienced, then we’ve done our job correctly.

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How important were Fierce Panda Canada through the process? Did they provide a lot of guidance?

They have been incredible. While going through their own massive transitions, they’ve been a wonderful support system. They understand what I want for my music and myself and I feel like we’re building a really great connection through it all. At the end of the day, if you as an artist want to make your label proud just as much as yourself and your parents, you know you’re in a truly lucky position.

Is Vancouver a great city to create music is? What is the scene looking like there right now?

Vancouver is a great place to make music. There are so many talented songwriters and producers. Although we have a great songwriting city, we could use some work in the live scene. Vancouver is a notoriously tough city for performers because the current culture doesn’t really have a demand for live shows. If you’re lucky, you’ll be able to get onto some festival slots which are kind of the best way to get artists out and heard. However, we have some provincial programs that are really helping this struggle; like Creative BC. They fund a lot of projects to give locals artists a break from financial burdens. Then, we have Music BC which aims to place artists in domestic and foreign showcases/festivals to increase our chances of spreading the music. Without these two associations, performing would be quite hard in Vancouver. So, we’re definitely fortunate to have these avenues.

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

I mentioned several above but, when it comes to presenting myself in the business, I’m a big fan of Björk. I love how unconventionally conventional she is. Like, you get those super-experimental songs and then a Pop anthem for the radio. I love music like that, you know, that flexes with the ebb and the flow of the artist’s desires. She is also a queen of marketing imagery: like her music videos and her wardrobe stylings. I am inspired by her approach to cinematography; so much that the video for Murphy's Law will be heavily influenced by It's Oh So Quiet.

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Another woman that falls into this category is Imogen Heap. Her genius in the studio and on the stage never ceases to amaze me. She got me into looping (which is something I was somewhat successful with in the early stages of my career) and introduced me to sampling organic sounds of day-to-day life. It kind of gives the music this realness. Like on one of my new tracks, we spent a fair bit of time trying to find the perfect door slam sound.

I like the idea of music telling a story of what the human condition is like and, by modelling digital sounds over some acoustic realness, you kind of get this nostalgia from tiny bits and pieces of recognizable sounds. I also like the idea of toying with ‘alien sounds’ and creating a lot of soundscapes that feels extra-terrestrial. I guess, ultimately, I want the listener to feel like you have two feet on the ground but your head is in the clouds.

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

I have some festival stops happening all summer and we're excited to improve our stage show as a new band. We’re really excited to share the stage this summer with Brian Wilson (yes, THE Brian Wilson from The Beach Boys) on July 15th as part of Rock the Shores in Victoria, BC. So, that’ll be a very cool experience for us. For the time being, these shows will be limited to Canada, but we're hoping to make moves across the border early in the New Year; especially after my album is officially launched in late 2018.

We're also applying to festivals in Europe so, if we're lucky, we may get to venture across the pond. I will keep you posted!

Might you come to the U.K. and perform here?

I’ve been dying to come to the U.K. for years! I have some fans out and about so I would love to do that. Hopefully, I get some opportunities that bring me there. As for now, nothing is set in stone.

What do you hope to achieve in 2018?

I hope that people enjoy my creations and that they can feel them in ways that allow them to empathize and accept everyone around them for who they are. If I can make music to promote more kindness and patience around the world, that would make me very happy.

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

It would have to be the first real show I attended. I was fifteen and I went to an all-ages show at the Pacific Coliseum with one of my best friends Kelly to watch Panic! At the Disco. It was incredible. It was all circus-themed and kind of S&M and a little creepy. It was the first time I got to wear eyeshadow as a youngster and I had recently pierced my nose. I was going through a typical teeny-bop phase. Brendan Currie was my ultimate crush at the time and his voice was even more insane live than it was on the album. He also played my favourite Beatles tune, Eleanor Rigby, which just amped up the moment for me.

Eventually, there was a tiny mosh happening and I got bumped and dropped the new T-shirt I purchased. I went to grab it and got elbowed in the nose - with a brand new nose piercing - and my nose started spewing blood. I had to run to the washroom to stop the bleeding but ran back out with tissues in tow. I felt like a total bad-ass and it just gave me more adrenaline to bounce around with the crowd. It’s moments like these where I know I’ll always worship live music. It can change your life in an instant and leaves a lasting impression.

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

1)      One of my favourite album of all times is Age of Adz by Sufjan Stevens

I’m a massive fan of all of his work, but this one really spoke to me. This work is just indescribable. Listen to the whole album from front to back to get the full effect. It is (one of the most) unique creations I've ever heard. You do this several times over and you’ll always find something new and fresh to love about it.

2)      Teen Dream by Beach House

It’s not necessarily my favourite music, but it marks the first time I really fell head-over-heels in love. To this day, I occasionally hop on the piano to play Real Love just to bring me back to that time. It makes me feel full. Spoiler: that relationship fizzled years ago, but we’re still best friends. When we get together, we always put on a song or two to reminisce.

3)      Comfort Eagle by Cake

This band has been so important to me through the years. As someone who plays horn and loves a punchy synth line, these guys know how to do it perfectly while also bringing in complex arrangements that they somehow make sound simple. They are also always constantly ironic and sometimes politically-charged but, in most cases, you really have to delve into their lyrical content and melody to extrapolate their opinions. Unless you follow their Twitter feed...they’re pretty forthright on their socials.

What advice would you give to new artists coming through?

Frankly, I’m still a new artist. My only suggestion would (to) be humble, love your craft and just be you. Gone is the age of Bubblegum Pop personas: people are becoming super-interested in authenticity. Although I write this, these are things I’m trying to constantly remind myself.

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IN THIS PHOTO: Amber Mark

Are there any new artists you recommend we check out?

I recently got into Amber Mark - funnily enough, the above ex-boyfriend suggested I listen to her. Her E.P. is insanely good. This isn’t a new band but I’m obsessed with Department of Eagles. One of the members comes from the infamous Grizzly Bear, so you can hear a little flare coming out of that writing.

Lostboycrow is another project I’ve fallen into because of a suggestion from my fan/friend, Ryann. This is such a cool project that blends super-poppy beats and polyrhythmic drum samples to make a one of a kind listening experience.

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IN THIS PHOTO: Lostboycrow

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

Very little. Ahaha. I’m a musical director for theatre programs and do sound design as well. I also teach kids how to sing and how to write music. My life is endlessly about music. But, I’m one of the fortunate ones who can make a (humble) living doing what they love. If I really need to unwind, you’ll catch me swimming out in nature or making macarons. I love to bake.

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).

I’m gonna throw you a curveball. Maximize your window so that this music video takes up the entire screen of whatever device you’re on. Then, if you’re so inclined, you may imbibe to intensify the effects of this insane artistry: Portishead - The Rip

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Follow Chersea

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INTERVIEW: Zach Callison

INTERVIEW:

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Zach Callison

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IT has been great speaking with Zach Callison…

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about his latest single, Curtain Call. I ask him about his acting work and how that links with his music; what L.A. is like in terms of its influence and scene; what sort of themes inspired his E.P., A Picture Perfect Hollywood Heartbreak – Callison talks about his plans for the remainder of the year.

I ask him whether he’ll be over in the U.K. this year; the new talent we need to keep an eye out for; which artist, given the chance, he would love to support; what advice he would give to new artists emerging; how he spends time away from music – Callison ends the interview with a pretty cool song.

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

Pretty good! It’s been kind of insane lately, but all for good reasons.

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

My name is Zach Callison. I started out and continue to work as an actor and voice actor on shows like Cartoon Network’s Steven Universe and Amazon’s Just Add Magic, and now I’m getting ready to release my first solo music project: A Picture Perfect Hollywood Heartbreak.

Tell me about the single, Curtain Call. What is the tale behind the song?

It’s really part of a larger tale. The upcoming E.P. is one long, continuous story from cover to cover and Curtain Call plays an integral role in the narrative. It’s a climactic moment where the album’s point of view shatters into two separate voices: one from the past and one to carry into the future. While my first single, War!, is very intentionally the ‘theme song’ of one of these voices; Curtain Call shows one violently interrupted by the other.

What can you reveal about your E.P., A Picture Perfect Hollywood Heartbreak? What sort of ideas and sounds has influenced the songwriting?

It’s certainly evolved beyond the typical scale of an E.P. since I started writing it…it now includes way more than the original five tracks and has become something of a short, one-act Rock musical. I’ve always been struck by the idea of a single story being told from top to bottom on a tracklist, with each song, lyric, and interlude serving the greater narrative. I believe I’ve been able to accomplish that in my own way; concept and story-based albums are not a new form of storytelling (Kendrick Lamar’s To Pimp A Butterfly is a recent example of it being done spectacularly), but I don’t know of anyone else who has done it the way me and my team have for A Picture Perfect Hollywood Heartbreak.

Records almost always have a unified sound that stamps the artist’s signature into the grooves and the whole project unifies under that banner. With my project, I wondered how I could change that norm by creating something that leaves you with one impression of the artist on track-one and takes the listener through a transformation that ends with a completely different impression by the end of the album. I changed tremendously over the course of the past few years since I wrote the first track of A Picture Perfect Hollywood Heartbreak and my goal was to bottle up my coming-of-age story and press it into one, very personal time capsule. I believe we’ve accomplished that.

You are an actor and have appeared on several different T.V. shows. Did music come before acting? Do the two link in any way?

Music, actually, did come before acting! When I was seven and living in St. Louis, my parents put me into singing lessons because of how much I loved singing at school. I ended up auditioning for a production of The Music Man at the local community college and that ended up being my first acting gig.

Eventually, the acting took off, leaving singing and piano as ‘hobbies’ that I did on the side for a while to bolster my résumé. I played in a lot of cover bands and sang for shows like Steven Universe and Sofia the First for years after that - but music as a profession wasn’t a thing for me until the end of 2015 or so.

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Does your exposure and attention from your T.V. work make you more guarded as a songwriter? How much of your writing is enforced by the way you are watched and viewed by the public?

I’d say it makes me bolder, if anything. As an actor, almost 100% of the time I’m working as a mercenary; a hired gun for someone else’s script or project. While that brings me a lot of fulfillment, after a decade of doing nothing but that, I needed something where I could say things I couldn’t project anywhere else. Also, growing up as a child actor, we constantly have people warning us not to ‘go crazy’ or destroy our image by not censoring what we say…it drives you up a wall eventually. I promised myself I wouldn’t censor myself at all on this project, as that would be doing a disservice to myself and my fans.

How vital is L.A. and its people? Is it a great place to create and work?

L.A. is everything. My community of people I came up with and the people I work with now are absolutely everything to me and my work. Almost as important is the culture itself: there is no place on the planet with the same brand of artistic capitalism that this city has. It’s Hip-Hop-style hustle being practiced by a legion of creatives that breathe and bleed their own work, on a scale unrivaled by other artistic centers around the world. In most other places, the artists have to fight to carve out their own corner; in L.A., we already own the whole city…

Do you remember when music came into your life? Which artists do you count as influences?

I can’t really remember because it’s always been in my family and in my surroundings. The furthest back I can recall is watching my dad and uncle play a gig doing Rock covers back in St. Louis at around three-years-old. (I was eating a giant plate of waffle fries…important detail) It wasn’t long before I ended up on stage for the first time at five-years-old performing ‘the worm song’ for a big group of kids while on vacation.

Muse are king; they’re my number-one inspiration, always. Twenty One Pilots is solidly in the number-two spot. After that, it’s a total melting pot…I’ll just name-drop ten in no particular order: Led Zeppelin, Stevie Wonder; Hiatus Kaiyote, Kendrick Lamar; Kanye West, Death Grips; Zedd, Frank Ocean; Sturgill Simpson and Rebecca Sugar. (That last one, most of all).

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

Huge announcement on this is coming very soon! Two big L.A. shows and appearances all around North America after that. Stay tuned.

Will you come to the U.K. at all? Are you a fan of British music?

This is also being announced any day now…two of them! More to come…

Muse are my all-time favorite act and one of the biggest inspirations for Curtain Call as well as the rest of the project. I also came up on a healthy diet of '60s/'70s British classics: The Beatles, Led Zeppelin; Eric Clapton and Queen to name-drop. Radiohead, Gorillaz and George Ezra are few others I spotted just now while scrolling through my Spotify library. Harry Styles’ self-titled (album) was a revelation, as well…he’s got the best style of all the 1D guys post-breakup in my opinion.

I’ve also got a guilty pleasure-type love for the Grime sound. That’s a great scene right now.

What do you hope to achieve in 2018?

In 2018, I want the message of this project to resonate with as many people as possible; whether they be long-time fans or new ones. I want to release more music after this E.P. before the year is out and I’d like to lock-down more acting work this coming episodic or pilot season. I’ve actually been back in acting class getting back to basics for the first time in a hot minute, just to make sure I’m keeping up on that end.

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

Without giving too much detail, I had the honor of being able to bring in someone to work and record on A Picture Perfect Hollywood Heartbreak that is a part of one of my biggest influences and inspirations in all of music. Due to a non-publicity agreement, I can’t name this person, but they know who they are and I can’t thank them enough. It was absolutely surreal for me.

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

I can’t pick any act other than Muse: they truly have one of the best live shows in the world, on a grand scale. Dream arrangement: six continent stadium AND festival tour, full orchestra with brass sections on top of the band and bring out a bunch of awesome guests during the sets. It’s Muse and Zach Callison - so stupidly expensive lighting setups are a must.

Rider must include private charter jet with a full studio suite, a full traveling staff plus three-and-a-half metric tons of champagne - I mean, age-appropriate, non-alcoholic suitably nutritious beverages that have no alcohol…

Remember kids: murder your expectations, not your dreams.

What advice would you give to new artists coming through?

Find your community. It is absolutely essential. These past three years of making my first project have been the greatest challenge of my life and I was lucky enough to already have a supportive group of artists around me that I could go to for advice, critique and referrals. You almost always have to have a tribe of people that you make stuff with.

Also, don’t order three-and –a-half metric tons of Dom Pérignon from BevMo! Even in bulk, it’ll drive your production costs up substantially.

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 IN THIS PHOTO: Grandson

Are there any new artists you recommend we check out?

Grandson are making some pretty dope Rock stuff over trap beats up north right now. I highly recommend. It’s all very politically-charged; a direction I see myself moving towards eventually.

Shout-out to my homie Jesaiah who did the background vocals for a number of tracks on A Picture Perfect Hollywood Heartbreak and has made some cool tracks as a solo artist.

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IN THIS PHOTO: Jesaiah

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

My time away from music is usually spent acting and vice versa…there’s not a lot of spare time these days, which I prefer, but sometimes I have to have to surrender and go watch baseball or meet up with some friends. Technically, it puts me much closer to the music (literally) but I also rave a lot. The SoCal festival scene is tops and I’ve got a great circle of friends in that now too.

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).

Twin Sized Mattress - The Front Bottoms has been getting me through some stuff lately. It’s anthemic. New friend of mine showed me it recently; you know who you are…

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Follow Zach Callison

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FEATURE: One Year On: Remembrance and Recovery: The Manchester Playlist

FEATURE:

 


One Year On: Remembrance and Recovery

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ALL PHOTOS/IMAGES: Getty Images 

The Manchester Playlist

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TODAY is an emotional day…

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as we cast our minds back one year and remember those who tragically died in the terrorist attack at the Manchester Arena. Twenty-two people were killed, and scores wounded, in a horrific incident that shocked, not only the population of Manchester, but the whole world. The senseless and barbaric bombing left scars and tears on a proud and strong city. Many are gathering to remember those who died on that eventful night - and providing silence and respect in their honour. To mark the city of Manchester, and its people; I have collated a playlist of Manchester musicians, including an honourary track from Ariana Grande, whose concert it was so many people attended a year ago, not knowing what was to befall them. We remember those who died and were affected by the violence last year and, as we all come together, know that recovery, although far away, will happen and bring us all…

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CLOSER together.

FEATURE: Let’s Be Friends… GDPR and What It Means for the Music Industry

FEATURE:

 


Let’s Be Friends…

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ALL PHOTOS: Unsplash 

GDPR and What It Means for the Music Industry

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MANY of us have received…

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emails from various companies and people regarding GDPR and changes to the way our data is held/treated. These emails, largely, give you all the spiel and ask if you can reply back – stating it is okay to keep you on file and contact you in the future. Being in the journalism game; I have received a few of these. I am concerned how my data is held and wonder, when I get emails from P.R. labels and recruitment agencies, just what are they doing with my email address and contact information – is it being used by third-party companies and those who wish to target me through marketing and calls. I will bring in an article that explains what the GDPR regulations mean for those of us in music; when we receive emails asking if we are happy to remain in contact – it can be quite confusing. A couple of problems have arisen from the new laws and how organisations are reacting. There is no need for a person to confirm, verbally or written, to say they are happy for someone to keep their data and be contacted. It is not a stipulation and, although it might be a courtesy, it can backfire quite a lot. I am seeing social media posts where people are receiving dozens of these emails and ask the same thing: Can I not have an out-of-office or message that confirms a ‘yes’ so I do not have to reply to these people one-by-one?!

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I have not been barraged with these communications but have received a few that ask me is it okay to continue as before. The thing is; unless you are well-versed and boned-up regarding the new laws and what it means, you are likely to say ‘yes’ without thinking about it. There are complications and mistiness but, going forward, many are worried about their data and how it will be used. Given the Cambridge Analytica scandal with Facebook recently; many are paranoid their banking details/contact details and social media activities are being monitored and sold. Musicians provide their details to venues and promoters; they might have a P.R. label or a record deal – lots of sources who communicate with them and they do likewise. When they embark on a contract or send an email to a venue, let’s say; there is that implication it will be a secure market and transaction; that there will be transparency and equity – there will be no subterfuge and obfuscation that could mean musicians’ data gets into the hands of someone who has not requested it. I said I’d source an article that helps explain how GDPR changes impact music and the way data is held:

“The regulation means that businesses need to protect the personal data and privacy of EU citizens within EU states. Personal data includes things can can identify a person, so name, address, web data, health data, etc.

Even if you have no idea what GDPR is (a new data protection law) then you’ll no doubt have had your inbox burned with email after email after email asking you one thing in a manner of different ways…

“Would you like to hear from us again?”

“Please give us permission to contact you after May.”

“Let this not be the end – click here to stay in touch.”

… and about 100 other versions of the same very simple action – Opting in!”

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The fact that none of us needs to consent to the emails/agreement makes me wonder what the ramifications of being passive are. I am sure I have received tonnes of the buggers but have not had time to read the emails separately. There is so much to digest and, at the end of the day, it boils down to this: whether we want things to stay as they are. There are no dark arts and duplicitous crevices implemented in the new laws that mean things will shift and the data subject is being conned. It is, in essence, dotting the ‘i’ and crossing the ‘T’ to an insane degree. I worry I have forgotten to respond to a few emails and have been taken off mailing lists. I rely on contacts and emails from P.R. agencies so I can keep working. If there is an email that has been sent to Spam or Junk or it has been buried about all the others; I wonder whether I will know who I have overlooked and whether I will hear from them again! The article covers the same ground as me with regards the mass of emails one will receive:

“50% won’t open the damn thing and then you’ll lose them. Those occasional openers are bound to get binned. What if they wanted to hear from you but didn’t open that email? They’re gone.

And then… then there’s click rate! The avg. click rate is less than 4% so you’re effectively killing off 96% of your 50% list.

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If you had 1,000 people on your list, and you went down the opt-in route, then chances are you’re going to end up with 20 people left!

20! And those are probably a few employees, your friends, and your mum.

If they’re an individual, and an existing customer, then provided they’ve been able to always remove themselves from your list then the soft opt-in applies under PECR, and as we’ll see you don’t need consent under GDPR. You don’t need to delete them.

And here’s the thing, if you haven’t emailed already, you’re way behind those who went early when this was all new and you’ll mostly likely get deleted before you’re opened as we’re all sick of it”.

There is a lot to take in and it brings me back to the earlier point regarding streamlining and making it easier for people to say ‘yes’ to everyone. If we are on a mailing list or signed up with an agency/venue, for example, we have done so for a reason and are capable of removing ourselves when we feel fit. If we are confused regarding compliance with the new regulations; are we losing vital contacts – there are those who we have not signed up for and will email us in an attempt to get our personal details.

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How does Legitimate Interest help rationalise the quandary and offer peace of mind?

“Legitimate Interest:

“Legitimate interest is one of the six lawful bases for processing personal data. You must have a lawful basis in order to process personal data in line with the ‘lawfulness, fairness and transparency’ principle.” – The ICO

Sending out emails under a legitimate interest basis could well be a better solution for you, but you’ll still need to comply with PECR when emailing individuals”.

The new laws protect those inside of Europe but, given the political transition we are seeing; will we still be protected and ‘in’ come this time next year?! It is a big pile of rules and foreign terms we need to decipher to ensure we are making the right choices and doing our due diligence. I will end this thing soon but, reading another piece that looks at GDPR and it advises those who want to be proactive and safe:

“Ok, maybe I should be doing something about this – where should I start?
First things first: get familiar with the law and nominate someone in your organisation to lead your company through the new requirements. You might need to appoint a data protection officer. Knowing both the relevant privacy laws and how to apply them to business processes is a considerable challenge. Having an appropriately skilled and qualified person in place is a must, and can repay any costs many times over by focussing any additional work only where it is absolutely necessary, whilst making sure full advantage is taken of the opportunity to engage more deeply with customers and fans.

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Knowing what you need to do to comply with GDPR starts with having a proper grip on (i) what personal data you have, (ii) why you have it, (iii) what you use it for, (iv) where it is used and stored, and (v) what rights (consent) you have to hold and use it.

For example, you’ll be relying on consent to market to fans: where is that consent coming from? Do you collect it directly from the fan, or does another company collect it for you? Under GDPR, pre-ticked marketing opt-ins will be a thing of the past. The entity for whom consent is being given will also need to be named (e.g. generic “event partner” opt-ins will no longer be permissible). If you rely on others to collect marketing consent on your behalf, you should ensure they meet the new requirements”.

That is useful advice for organisations and those who have a legal responsibility to get this right – what about us on the other side of the laptop who might be deleting emails or agreeing to stay on a mailing list for the wrong reasons?! A lot of the P.R. companies I speak with know I want to stay in contact and they are not going to use my data in any illegal way. If you do get these emails through – that ask if you want to remain ‘friends’ after May – then check this is a mailing list/firm you have signed up with. If not, then unsubscribe and be asked to taken off their list. If they are legitimate – an employment agency or mailing list for a festival – then do not panic.

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Although you do not have to say ‘yes’; a quick reply with that one word is sufficient. You will not find, once you have agreed, you’ll get a lot of unwanted emails and things will change: this is a new process coming in that aims to protect the data of European citizens and will not compromise your security and rights. We are all a bit nervous after the data scandals on Facebook. It is understandable people are confused and reticent right now. An all-out opt-in might cause some problems and create some loss of contact and entanglement. If you check out this advice from the Musicians’ Union then it should make things clearer. I can understand there is frustration because everyone we are in regular contact with is sending emails regarding GDPR and new legislation. Do not get worried and, if concerned, do your research. New laws mean greater protection for people – things are not going to be made worse; it is designed to create better awareness and security. I am among the masses who is unsure what to do but, let us hope, when these new laws come in it will lead to improvement and better personal security…

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FOR everyone.

FEATURE: The Great Escape: Artists to Watch Closely (Part II)

FEATURE:

 


The Great Escape

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Artists to Watch Closely (Part II)

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FOLLOWING the first part…

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PHOTO CREDIT: Unsplash

of this feature; I was asking around for tips regarding other acts who had played The Great Escape, wondering whether I had missed any out. An erstwhile and passionate music P.R. representative, Hannah Thacker, pointed out some artists she’d seen and would recommend. I have compiled them into the final part of The Great Escape essential rundown – artists who will, soon enough, transcend beyond where they are and ascend to the edges…

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PHOTO CREDIT: Unsplash

OF the big leagues.

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

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Ady Suleiman

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Amaroun

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Benin City

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Billy Lockett

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Declan Welsh & the Decadent West

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Fabrizio Cammarata

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Gengahr

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George Taylor

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Girlhood

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Jordan Mackampa

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Love Sick

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

Twitter: https://twitter.com/thisislovesick

Love Ssega

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Nadia Nair

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Nilüfer Yanya

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Sam Johnson

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Stella Donnelly

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Tamino

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INTERVIEW: Ishani

INTERVIEW:

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Ishani

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I have been given the chance to speak with Ishani…

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and ask her about the new track, Insomnia. She tells me how it came together and why she has a great love of Trip-Hop – I ask about her Asian background and whether that affects her music and mindset.

The songwriter reveals the gigs she has coming up and what new material is coming up; what she wants to accomplish before the end of the year; the artists she grew up around; what advice she would give to upcoming musicians – she tells me why Michael Jackson is a particularly strong influence.

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

Hey! I’m great, thanks. It was my birthday on 10th, so I’ve been celebrating all-week-long.

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

I’m Ishani. I’m a singer-songwriter, producer - and I make Trip-Hop/Alt-Pop music.

Tell me about Insomnia. What inspired the track’s creation?

Insomnia is a love song to people struggling with sleeplessness and anxiety. I wrote it when I was going through it. I tend to sing about my life and experiences as I find it cathartic.

Obviously, there are concerns around sleeplessness. Do you think, with sleep-deprivation, there are positive aspects? Does it aid creativity?

A lot of artistic people feel like they do their best work at night; when you feel like everyone else is asleep. But, it is so important to maintain good sleep hygiene - especially in today's world, where our minds are constantly thinking. Our minds are so exposed to gadgets and other distractions. We aren’t just living our physical lives but a digital one and we have to shut off from both to sleep.

So, sometimes, we fail to maintain healthy boundaries. Sleep is so important for good physical and mental-health and we can take it for granted. I still definitely need a lot more sleep than I get.

What was it like working with producer Dan Clarke (Zaflon) on the track?

Co-producing the song with Dan was fantastic.

He is a great guy and he gets me and what I’m all about. He also works for Key Changes, which promotes positive mental-health through music. I resonated with this approach completely. I’m so glad that we have had this chance to work together. He is so talented and passionate about music. His solo work as Zaflon is really cool and different. Definitely check it out.

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

We are now working on my E.P., Stormy Emotions! Insomnia is the first of four tracks. The next single drops next month. Can’t wait to share it with you! I’m excited!

You lived in the South of England before spending the majority of your childhood in India. How much of your Asian upbringing do you inject into your music, either sonically or philosophically?

Being brought up-between two different cultures, I’ve always felt different. I’m a bit of a rebel. My core family is very supportive but I feel like I’ve had to fight society. I write about taboo subjects that we didn’t talk about in Asian communities. One of my previous songs was about violence against women, for example. I write songs to empower other people.

I’m a self-taught musician and I feel like some of the melodies I write are influenced by the songs I listened to growing up in India in the '90s.

Who are the artists you grew up around? Is there someone who struck in the mind from a young age?

Michael Jackson’s album Dangerous was huge for me growing up. It was definitely one of the albums that made me want to be a musician. As I grew older, I fell in love with Alternative-Rock and then Trip-Hop - bands like Massive Attack and Portishead for example. However, I’ve retained Michael Jackson’s interest in using music for social change and, so, that is a big part of me and my music.

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It is clear you are doing something new with Trip-Hop. What is it about the genre that attracts you to experiment and push?

I love all music, but I find Trip-Hop exceptionally delicious. There is something so sexy about it. I feel like there is some unsaid code between Trip-Hop lovers. I’ve always wanted to be part of that movement but it was over by the time I started pursuing my musical career, so I’m trying to bring it back! In fact, some people hate the term ‘Trip-Hop’ but I quite like it. I’m not sure how my music will evolve but it’s the genre that’s closed to my soul.

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

I’m actually doing a gig next week in Peckham at The Four Quarters. I’m part of EVO (Electronic Voices in Overdrive). I’ve got lots more lined up throughout the year, which you can follow on my Facebook page.

What do you hope to achieve in 2018?

Get my E.P., Stormy Emotions, out there! I’m also working on a side-project, a new band. It’s still pretty hush-hush but we are in the studio working hard.

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

I’m not sure it is my favourite memory but my first gig was to an audience of 3,000 people at B my Lake festival! It was insane. I’d never even played a pub before. The microphone was too high for me and I was nervous as hell but somehow I got through it and loved every second. Now, whenever I’m feeling nervous, I remember that if I could do that, I can do this.

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What advice would you give to new artists coming through?

Don’t give up, always believe in yourself and be genuine and true to your art. Love the people who support you. Give them lots of love back. In today’s world, people consume music in such a different way. It’s easy to get lost in a world of trends and hype. Seek out real people to work with and don’t let the haters get you down.

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

I do yoga to chill. It’s part of my ancient culture and that’s something I try to keep up. Plus, it helps me unwind. I'm also hooked on Mario Odyssey, on my Switch. I love the level, Lake Kingdom. It’s beautiful and soooooo relaxing!

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

I would love to hear Deadcrush by alt-J. Thanks so much!

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Follow Ishani

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INTERVIEW: Sapienn

INTERVIEW:

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Sapienn

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THIS is already shaping up to be a varied…

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and wide-ranging week in terms of music. I have been speaking with Sapienn about his track, This Time. I ask whether there is more material coming up and the artists/albums that have affected his own songwriting – he tells me what tour dates are coming up.

Sapienn reveals what the vibe is like in Glasgow, where he is based, and why he got into music fairly late in life; if he grew up around a lot of music; how he spends his time away from songwriting and performing – he ends the interview by selecting a classic cut.

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

Quite busy gearing up for a single release and launch party. Played a record store, an open mic and a small outdoor festival over the weekend. 

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

My name is Scott Simpson, making music under the name ‘Sapienn’. I'm based in Glasgow and play as solo acoustic act. 

This Time, your new single, is out. What can you tell me about it? 

The current single is a transitional thing...

I'm releasing it off the back of a full-length album that was pretty full-on and difficult on a personal level. This new release is a stopgap until I move onto something new and more positive. 

Do you think more material will arrive later in the year? Are you in a productive and inspired mood right now? 

I've already written another E.P., which I could probably put out before the end of 2018. Beyond that, I have the bones of another album that should be ready by early next year. 

Scott. How did the moniker and identity of ‘Sapienn’ come about? What, to you, does the name represent? 

If I'm being honest, there's no real meaning in it. The name doesn't really matter to me - just as long as the songs represent something. I knew it had to be a single word with the initial 'S’: ‘Sapienn’ just sprung to mind. The additional 'N' is to help optimise search results! 

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Glasgow is where you are based. How important is the city and its people? Do you take a lot from the history and music of the area? 

I've only lived in the city for five years and I've spend most of that time looking inwards rather than outwards. The last album I released had a confessional and insular style of songwriting. I tend to write songs at home with the curtains drawn, instead of sat on park benches. My new material will be more open and living in Glasgow will, no doubt, be a part of that. 

You started taking vocals lessons at the age of thirty – some might say it is quite late. You have made up a lot of ground and worked tirelessly since. Do you look back and see how far you have come? 

It's not cool to say, but I listen to my own recordings often. It's helpful in gaining perspective. Assess what you've done in the past and find ways to improve on it. 

Did you grow up around a lot of music? Which artists compelled you to go into the industry? 

Music was my favourite thing in school and I learned lots of different instruments but I didn't start going out and playing in bands until later in life. Frank Turner has been a big influence in recent times - not necessarily from a songwriter’s perspective, but definitely in the way his career has progressed. 

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

Currently playing gigs to promote my latest single, including a launch show. Beyond that, I'll be taking a break for a while. I have a ridiculous number of songs written and I want to take some time to finish and release some of them. 

What do you hope to achieve in 2018? 

I found a lot of lyrics and ideas on my laptop, some that I wrote up to ten years ago. I'm planning to revisit and rework some of the best ones and put together an E.P. before the end of the year. 

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

Late last year, in the run-up to Christmas, I released my first album and was trying to reach the milestone of one-hundred gigs in twelve months. Every show felt important, even the ones that were poorly attended. It felt like a good way of making up ground, having only been singing properly for a few years. 

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

Frank Turner - Tape Deck Heart

The album was a wakeup call for me. I've never been one to talk at length about myself, but this album showed me it was ok to maybe be a little selfish in my songwriting and put my own experiences straight into a song. 

Jar of Flies by Alice in Chains

It completely changed my view of what acoustic music could be and is a massive influence on my current sound. 

Slaughter of the Soul by At the Gates

This might be my favourite album of all time. As a piece of art, and for what it's trying to be, it's as near-perfect as anything I've ever heard. 

What advice would you give to new artists coming through? 

Have more confidence! I sat around doing nothing for a long time and, while I gained much-needed perspective as a songwriter, it seemed utterly pointless without performing. 

Are there any new artists you recommend we check out? 

At this stage, I think I'm the new artist and more established acts should be recommending me! I've seen far younger singers who are vastly more experienced than me. 

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

I like to cook ridiculously hot curries. Other than that, I play music. That's what makes me happy.

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). 

Two Princes - Spin Doctors 

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Follow Sapienn

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FEATURE: Mos Def? Definitely Maybe! Why Do Our Musical Tastes Change Over Time?

FEATURE:

 


Mos Def? Definitely Maybe!

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PHOTO CREDIT: Unsplash 

Why Do Our Musical Tastes Change Over Time?

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IF someone asked me to name…

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IMAGE CREDIT: Getty Images

my favourite ten albums, I would have the Devil’s time getting a coherent and fixed list. Maybe there is no actual answer to the question I posed at the top – our minds do often attach significance to records one moment and wane years down the line. I am pretty sure Kate Bush’s The Kick Inside will not shift as my number-one album choice but, as it made it to the top of the list recently; who is to say that will be the case this time next year?! I am as passionate and dedicated to music as anyone and do not treat great work with anything less than ardent respect and focus. I raise this point because none of the albums that are in my top-ten is from the last few years – it is not as though something major has fallen from the skies and blown everything into chaos! My life situation is as it was a few years back: why, then, should my mind be split when it comes to clarifying certainty and what resonates with me? I am solidly behind Kate Bush but I have found albums that were in my top-ten recently – such as The Bends (Radiohead) and Blood on the Tracks (Bob Dylan) – have slipped further down and been replaced by other works. I guess we are entitled to change our minds but my confusion is mirrored by many others.

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PHOTO CREDIT: Unsplash

I ask people, when I interview them, to name three albums that mean a lot to them. A lot of them can answer with no hesitation: some find it hard to narrow them down whilst others say the same thing: “This list could change in the next couple of days”. It seems odd many of us are unable to crystallise our favourite music and albums that mean so much; in spite of the fact we have our minds open and are quite decisive. The same can be said of my favourite songs, too. I have a few that are always going to be in the top-ten but, when thinking hard, the same situation occurs as the album quandary: no new entries are confusing things. Is it possible to get that sort of epiphany and clarity nowadays?! My parents and people of their age are pretty unwavering when it comes to their tastes and what means most to them. I do not shift my opinions that much but it is interesting studying why it is hard to be clear and consistent with our musical choices. I mentioned how a few albums have fallen out of my top-ten and been replaced. I have found, in a big move, Paul Simon’s eponymous album and Joni Mitchell’s Blue have come from lower places and made it into the top-ten. I have been listening to the records for many years but have found, all of a sudden, they have connected in a profound way and replaced rather huge albums.

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IMAGE CREDIT: Getty Images

I have found, in addition to individual songs and albums; certain genres have crept into my fashionable wardrobe and others have gone out of style. Many claims our tastes peak when we are teenagers and, from then, we get less cool/fussy and settle, in certain ways. I can get behind that but, at thirty-five, I have noticed big shifts and changes come into my mind. There are no physical and external factors that could have contributed to that oddity. I am not alone in this: many people I have spoken to say they have fallen out of love with a certain album or found a new appreciation for a certain genre. Maybe it is a process of ageing and being open to new suggestions. I do not argue tastes change but it is strange to think we can suddenly go cold on certain albums/sounds and embrace others so immediately. I have been doing a bit of research and found one article that looks at how our tastes change over time:

“In your teens, you blast whatever is considered "popular" at that moment. Then, your interest in current jams falls in your 20s and early 30s before bottoming out around age 33.

That's according to a new study that measured when and how quickly people stop keeping up with mainstream hits.

For the study, Ajay Kalia, product owner for taste profiles at Spotify, compiled the songs that each user of the streaming music service in the U.S. listened to in 2014. Then he cross-referenced that data against user age and the popularity of each recording artist”.

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PHOTO CREDIT: Unsplash

An interesting study added a new perspective:

“New research charting broad shifts in changing personal music tastes during our lifetimes finds that - while it’s intrinsically linked to personality and experience - there are common music genre trends associated with key stages in a human life.

Whereas the first musical age is about asserting independence, the next appears to be more about gaining acceptance from others

The explosion in music consumption over the last century has made ‘what you listen to’ an important personality construct – as well as the root of many social and cultural tribes – and, for many people, their self-perception is closely associated with musical preference. We would perhaps be reluctant to admit that our taste in music alters - softens even - as we get older.

Now, a new study suggests that - while our engagement with it may decline - music stays important to us as we get older, but the music we like adapts to the particular ‘life challenges’ we face at different stages of our lives.

It would seem that, unless you die before you get old, your taste in music will probably change to meet social and psychological needs.

One theory put forward by researchers, based on the study, is that we come to music to experiment with identity and define ourselves, and then use it as a social vehicle to establish our group and find a mate, and later as a more solitary expression of our intellect, status and greater emotional understanding”.

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PHOTO CREDIT: Unsplash

There is a lot of evidence to say we are affected by psychological and life events: attaching meaning to various sorts of music and albums. I, as I said, have not seen any real changes over the past few years but seem to be dispensing with once-lauded albums and unable to answer the question clearly – when it comes to deciding my favourite song/album. What worries me is how, even though I adore certain albums, I am less committed and passionate than before. Maybe certain radio stations have opened my mind; the fact I feature so many new musicians means I am paying more attention to them. Is my enigma a result of my adolescence and music peaking – songs I cherished because they remind me of better times are being replaced by ones that bare significance now? I just turned thirty-five, and so, I am looking at new horizons and, subconsciously, soundtracks that motivate new thought and dreams. Whereas I have kept a fairly rigid playlist the past few years; the fact I am making changes and adopting a new mental attitude, in a way, has impacted how I view music and what is in favour. A lot of the albums and songs that make up my top-ten/twenty are from childhood and my teenage years. Perhaps I have reached a point where I am past nostalgia and familiarity and ready to embrace new influence. An article published in The New York Times looked at when our tastes peaked and what sort of songs we listen to:

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PHOTO CREDIT: Unsplash

“…It turns out that the “Creep” situation is pretty much universal. Songs that came out decades earlier are now, on average, most popular among men who were 14 when they were first released. The most important period for men in forming their adult tastes were the ages 13 to 16.

What about women? On average, their favorite songs came out when they were 13. The most important period for women were the ages 11 to 14.

Granted, some results of my research are not surprising. One of the facts I discovered is that Coolio’s “Gangsta’s Paradise” is extremely unpopular among women in their 70s. Thank you, Big Data, for uncovering that nugget of wisdom!

But I did find it interesting how clear the patterns were and how much early adolescence matters. The key years, in fact, match closely with the end of puberty, which tends to happen to girls before boys. This also adds one more piece of evidence to the growing scientific consensus that we never really leave middle school and high school”.

Maybe I am getting old and entering a new (if scary) phase of life. I am not sad I have lost the spark for certain albums but wonder if it is as a result of psychological stimulus and environmental factors – or it is a lack of concentration and inevitable fickleness. Unless a record hits that hard and means so much, we are not going to hold it in such high esteem for our entire life. I am becoming more daring with my tastes and listening to music, as recently as last year, I would not normally embrace. The opposite is true: some stuff I loved recently has left a bad taste and my music library is changing rapidly. It is exciting seeing how various styles of music stick in my mind and how my general approaching to music changes. What I do want to happen is a certain clarity come through to ensure those epic and life-affirming albums I hold so dear…

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PHOTO CREDIT: Unsplash

NEVER fade from my memory.

INTERVIEW: Mike Legere

INTERVIEW:

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PHOTO CREDIT: Shawn Robertson

Mike Legere

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THIS week starts…

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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.

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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. 

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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.

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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.

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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

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

FEATURE:

 


Dorian Gray’s Daughter Wears Concealer  

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IMAGE CREDIT: Getty Images

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

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I love interviewing various artists…

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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.

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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.

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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.

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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.

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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.

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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…

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KEEP their memory and importance right in the forefront.

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

FEATURE:

 


(Untitled)

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ALL PHOTOS: Unsplash 

Writer’s Block and Curing a Lack of Creative Flow

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ALL of us get into a situation…

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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.

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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.

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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.

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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.

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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.

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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!

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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.”

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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…

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BE right back on the horse.  

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

FEATURE:

 


The A-List

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ALL PHOTOS: Unsplash 

The Best Tracks of 2018 (So Far)

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WE are still in May…

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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…

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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:

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Dhruv Visvanath

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EVERY new week exposes me to…

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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!

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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!

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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.

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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!

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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!

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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!

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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!

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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

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Follow Dhruv Visvanath

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INTERVIEW: Century Thief

INTERVIEW:

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Century Thief

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THERE is a lot to learn about Century Thief.

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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.

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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…

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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.

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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.

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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!

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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!

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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.

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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.

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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.

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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.

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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

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M: Slow Death in a Warm Bed - Little Kid

K: Drifters - Patrick Watson

_____________

Follow Century Thief

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INTERVIEW: My Brothers and I

INTERVIEW:

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My Brothers and I

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I have been speaking with the Portland band…

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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.

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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.

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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…

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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.

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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.

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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.

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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!

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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

 

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Follow My Brothers and I

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TRACK REVIEW: Brandy Zdan - Get to You

TRACK REVIEW:

 

Brandy Zdan

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Get to You

 

9.6/10

 

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Get to You is available via:

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

GENRE:

Rock ‘n’ Roll

ORIGIN:

Nashville, U.S.A.

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The album, Secretear, is available via:

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

RELEASE DATE:

11th May, 2018

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IT is nice to be able to come back…

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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…

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PHOTO CREDIT: Alysse Gafkjen

STRONGEST young artists.     

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Follow Brandy Zdan

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INTERVIEW: Robert O’Connor

INTERVIEW:

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Robert O’Connor

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HE is one of the most passionate and determined artists…

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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.

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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.

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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.

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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.

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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…

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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!

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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.

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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.

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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!

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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.

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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!

FEATURE: Vinyl Corner: Jack White - Blunderbuss

FEATURE:

 


Vinyl Corner:

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ALL PHOTOS/IMAGES: Getty Images/Press

Jack White - Blunderbuss

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IT only seems natural to include an artist…

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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.

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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.

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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.

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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…

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AS is humanely possible.

FEATURE: The Great Escape 2018: Artists to Watch Closely

FEATURE:

 


The Great Escape 2018

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Artists to Watch Closely

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THE assorted talent down in Brighton…

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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…

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 PHOTO CREDIT: Unsplash

FESTIVAL on the South Coast.

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

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Alex Hepburn

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Alicai Harley

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Bad Gyal

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Boy Azooga

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Call Me Loop

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Dream Wife

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Ferris & Sylvester

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G Flip

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Her’s

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Hollow Coves

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IDLES

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Kate NV

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Louis Baker

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Nelson Can

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Poppy Ajudha

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Riwa Samayama

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RuthAnne

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Suspect

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Valeras

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Wyvern Lingo

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INTERVIEW: Mushy Callahan

INTERVIEW:

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Mushy Callahan

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IN many ways…

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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.

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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.

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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.

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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.

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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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