INTERVIEW: Fergus

INTERVIEW:

Fergus

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THIS is one of those interviews…

where you delve into an artist’s heart and really discover what drives them. Fergus has been telling me how music enriches him and what it means; what the story is behind his current single, Sinking; he tells me how it improves/differs from his debut, You or Nothing.

Fergus talks about overcoming hard times and which artists have inspired him to go into music; which three albums have made the biggest impression on him; a few new artists we need to keep a watch over; what he wants to accomplish before the year’s end – he leaves some helpful advice for songwriters emerging.

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

Hello! I'm well, thanks. Been soaking up some sun this week, working on a couple of songs and getting ready for hitting the studio again next week.

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

I'm Fergus and I'm a singer-songwriter. I write based on my mood and tend to find a lot of my imagery and inspiration in nature. It’s a cathartic process for me and I hope people can also find some catharsis of their own within the songs.

Above all, I want to make something beautiful.

Sinking is your new track. What is the story behind it?

Sinking is really about feeling helpless and not being in control. I wrote it when I was feeling directionless, personally, and also very much under someone’s control. It’s an intimate and scary song full of stormy imagery to evoke an inner-turmoil with an end in sight - but not the one you want.

It follows your debut, You or Nothing. How do you think you have developed since then?

I'm growing in confidence all the time for a start and taking more risks; evolving the sound through experimentation. Sinking is a much darker song with more going on in the production - definitely a sign of things to come.

Will there be more material arriving later in the year?

Yes, absolutely, there will be another two singles coming out of what is now going to be a half album, due to release end of summer/early-autumn. Can't wait!

The music industry is busy and competitive. It can be stressful. What is it that keeps you pushing and aiming high?

I think, deep down, I’ve always had very lofty dreams and fiercely-guarded ambitions. I have spent a lot of time thinking about them and imagining doing the stuff I want to do so vividly it gives me goose bumps. Sometimes, I feel like I'm crazy and the obstacles to overcome are insurmountable but I remember that feeling and it keeps me going, keeps me hoping. I've received a few knock-backs in my time - and will many more I'm sure - but I'm at the point now that all they will do is fuel me.

My relationship with music is just that - a relationship -: sometimes I don't love what I do, but it is what I have to do and I think that complexity comes across in the songs. Someone once asked me: “So, is music what gets you out of bed in the morning?" and I said: "It's what keeps me up at night”.

I notice there is a certain emotion and melancholy in your music. Is it true you used to perform with choirs? What is it about a sense of inner-investigation and wistfulness that attracts you?

Yes - my musical background is in choral music. I spent my childhood and adolescence performing around the world. Amazing experiences, amazing training; did miss out on some kid stuff though. After all that was over, I was suddenly an adult with no idea who I was or what I wanted to do. I spent years soul-searching, drifting. It helped that I'm a classic over-thinker and spend most of my time going over things in my head, reliving bad moments...it's not so much that it attracts me; just the way I’m wired.

I spent most of my life feeling numb, so now I feel things very deeply but often struggle to rationalise them and digest really what I'm feeling and why. It's important for me to get outside and see the bigger picture.

Which musicians inspired you growing up? Did you grow up in a musical household?

I always gravitated to singer-songwriters growing up: KT Tunstall, Natasha Bedingfield and Norah Jones. My mum can sing and play the piano and my sister's very musical too. My dad is the biggest music fan - but sadly can’t play or sing at all! The house was a filled with everything from Classical to Punk.

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

Yes. Stay tuned for some announcements there (smiles).

What do you hope to achieve in 2018?

I can’t wait to get the half-album out - we’ve done some interesting things on it and I think it will really tell a story. Then, I’m getting some gigs under my belt and building a fanbase. 

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

Yes! A few weeks ago, I was in the studio and Jake wanted to record this song I'd been sending him little vids of me singing (such a tease). I'd only written the chorus though, so Jake spent about forty mins making this amazing beat to go under it while I wrote the verses.

I saw my parents that night and played them the song. My dad said to my mum: “Look how happy he is!". We're putting the finishing touches on it next week and it'll hopefully be the next single (smiles).

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

Al Green - Let’s Stay Together

This was always playing at home in my earlier years. Hearing it takes me back to those days: when times were simpler and we were all together. It’s warm, full of life: timeless. Always brings a smile - happy or sad.

Sharon Van Etten - Because I Was in Love

Sharon is my favourite artist. This album can be hard to bear sometimes, which is a good thing! It’s incredibly cathartic. Her voice is rich and heavy with emotion but still soars. Her songs are raw and vulnerable and still sweet. I love her completely.

Rhye - Woman

An education for me - that it was not only ok, but actually sexy, to have androgynous vocal vibes going on. The songs and arrangements are so luscious. When The Fall dropped…it was life-changing.

What advice would you give to new artists coming through?

I think, for hungry artists, knowing when to be patient and when to be impatient can be a tricky thing: impatience is great when it drives you to reach higher and higher but, equally, you can’t run before you can walk…

As with most things, timing is everything. Frustration is a feeling you can actually use that everyone has had and can relate to. At this stage, feeling like you are keeping busy can be tough but it is important to embrace some downtime and look after yourself; to keep from burning out. Before long, you’ll be fighting to carve out some time for yourself anyway! Write as much as possible but don’t force it: some songs need time to form and settle and decide what they wanna be.

Everyone is different, but if you are planning to have a very long career (like I am!) I think you have to be willing to let things take their time to build up more naturally and reach your true fans.

Be open to and supportive of others, we’re all in the same boat - paddling is more effective when you’re doing it together.

Are there any new artists you recommend we check out?

Jade Bird. Loving her song, Lottery; already well on her way to being huge. The Modern Strangers. I caught these guys a few weeks ago at Birthdays in Dalston; great, catchy tunes, THICK live sound. My mates The Shantics have their first E.P. coming out around June/July and it’s gonna be a good one! Stevie Nicks gets me going.

IN THIS PHOTO: The Modern Strangers/PHOTO CREDIT: Stew Capper

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

Honestly, it's never really not on my mind - head full of songs! Now the weather's nicer, I'm spending a lot of time outside which really helps me gain some clarity. I do like to watch T.V and love films. Sillier the better if I want to unwind (smiles).

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Follow Fergus

Facebook:

https://www.facebook.com/intofergus/

Twitter:

https://twitter.com/intofergus

Instagram:

https://www.instagram.com/intofergus/

SoundCloud:

https://soundcloud.com/intofergus

Spotify:

https://open.spotify.com/artist/1ftEZp05l2lczXUxg27fyK?si=huaPSh7vSSSdOztee1l1rQ

FEATURE: The May Playlist: Vol. 4: That Day in February…

FEATURE:

 

The May Playlist

 IN THIS PHOTO: Jorja Smith 

Vol. 4: That Day in February…

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IT is good to see…

IN THIS PHOTO: Maggie Rogers

a new tune from Jorja Smith come out this week. February 3rd is her latest offering and it sits in a playlist that promises a lot of diversity and quality. Alongside Smith's track are cuts from Maggie Rogers, SZA and Anderson .Paak; there are videos from LUMP and Lykee Li; Agnes Obel and Chvrches have some great material out there, too.

Whilst the weekend weather is a bit dodgy and unpredictable; you can guarantee there are some great tracks here to keep the ears busy and entertain the brain – settle down, turn the volume up and enjoy the latest edition of The May Playlist...

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

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Jorja Smith – February 3rd

PHOTO CREDIT: Christian Joy

Maggie Rogers – Fallingwater

PHOTO CREDIT: Venla Shalin/Redferns 

James Blake – Don’t Miss It

Anderson .Paak – Bubblin

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

Lykke Li – deep end

SZA - Garden (Say It Like Dat)

Tyler, the Creator – 435

LUMP – Late to the Flight

PHOTO CREDIT: Raymond van Mill

Pip Blom – Pussycat

Ben Howard - Murmurations

John Mayer - New Light

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

Bastille - Quarter Past Midnight

Silk City (ft. Daniel Merriweather) - Only Can Get Better

Chloe Kohanski – Come This Far

PHOTO CREDIT: Greg Gorman

Jake Shears – Creep City

Crystal Fighters – Boomin’ in Your Jeep

Echo & the Bunnymen – Seven Seas

Grace Savage – The Hunger

James Bay & Alicia Keys – Us

PHOTO CREDIT: Lauren Maccabee

Emily Burns – Cheat

Lauv – Bracelet

Maddie Poppe - Going Going Gone

Agnes Obel – Bee Dance

Chvrches – Graves

PHOTO CREDIT: Lukas Gansterer

Mavi Phoenix – Bite

Jenny Hval – Spells

Jessie  J – Someone’s Lady

Shawn Mendes – Why

Chelsea Cutler – Water on the Bridge

Vistas - Tigerblood

Polar States – Roads

YUNGBLUD – Psychotic Kids

Goldfrapp (ft. Dave Gahan) – Ocean

Call Me Loop – Love the Lie

Fangclub - Knife

KWAYE – I Go

Jade Bird – Furious

TRACK REVIEW: Gold Phoenix - Black Bullet

TRACK REVIEW:

 

Gold Phoenix

 Black Bullet

9.4/10

Black Bullet is available via:

https://soundcloud.com/gold-phoenix-1/black-bullet

GENRE:

Rock

ORIGIN:

Surrey, U.K.

The E.P., There’s No Illusion Here, is available via:

https://soundcloud.com/gold-phoenix-1/sets/theres-no-illusion-here/s-qNHCT

RELEASE DATE:

7th May, 2018

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THE nature of change…

is something that comes to mind today. I do not usually review artists I have featured before – as I am repeating myself hugely and it is incredibly hard finding a new angle - but, in a couple of circumstances, I am making exceptions. I will be covering ground I have already explored with Gold Phoenix but there are a couple of new aspects that come to mind. I will chat about relocation and the best place to be for a band like them; gentrification and how it is affecting music industries; a nod to development in a career and how determination and focus keeps them together; an investigation of the current scene and whether there is enough ‘edge’ around – I will start by looking at Rock and what its current state is. This might be something I tackled in the last review of Gold Phoenix but I want to circle back and explore how the genre is faring in today’s industry. We are seeing some great Rock artists emerge but the genre has split and is heading in other directions. If you look at bands like Arctic Monkeys, Shame and IDLES – people I mention a lot – then you have a Rock ambition but there it is not what one might expect. If you think of the riff kings of past generations – Led Zeppelin spring to mind – then there are not many likeminded modern equivalents. So many Rock acts are putting Pop and other genres into their sound in order to accommodate wider demands and accrue some sense of credibility. Maybe it is a shift we are seeing but I wonder whether we have lost that Rock sound and it is left in the past. Certainly, the mainstream is boasting fewer and fewer of these bands right now. I am straining my mind but, apart from a few here and there, there are not as many as you’d like. Guitar music, in general, is finding it hard to get the same footing as other types of music right now.

I am a bit worried music is getting a bit too experimental and softer; it is doing well when it comes to depth and originality but one wonders where those Rock pioneers are – pushing the music of the past to the generations of the future. Gold Phoenix are a band who take their lead from classic Rock gods but look at modern artists like Queens of the Stone Age and Royal Blood. I am not too fond of the latter because, to me, they are all about the live performance and chunky riffs. That may sound great when you watch them live: the listener at home demands more variation and nuance from a duo that has produced two albums now. It is okay having a certain sound on the debut: by the time you get to the follow-up; you need some more range and new elements. You might think that contradicts what I am saying and goes against the argument. If you look at a duo like The White Stripes and they were able to produce pure Rock and energised jams and mixed in other instruments and softer moments – a fuller and more studied form of band. Gold Phoenix are making strides and are part of the underground movement that has the potential to recharge Rock. I am speaking to a lot of acts in the genre and asking them whether they think people still hanker after it. They always agree they do but it is harder to get a footing in the market right now. Gold Phoenix are not going to compromise and, like current slammers like Queens of the Stone Age; the boys can blend knuckle-bruising lines with twists, turns and odd moments. It is a brew that we need to see right now. They have a good local following – I will come to that soon – and have a great live reputation. Gold Phoenix have that solid and established sound in their pocket; they fuse this with great energy and command on the stage – the songs bounce from the speakers and get the crowd going! Let’s hope they get a passage to the mainstream in years to come…

I am writing a piece later that asks whether modern music has lost its edge. More specifically, I will address music T.V. and whether executives are afraid of anything with an ounce of speed, aggression and danger. There is an unpredictability allowing a raw band onto the screen if you are filming live. They could smash up amps and swear; they might jam for a minute and then destroy the stage – or they might go on forever and play whatever they want. There is this perception that Nirvana are still around: a trio who had the balls to rip up the rulebooks and, in the process, create some memorable and shambolic T.V. appearances in their career. Whilst this sounds like a nightmare recipe for British T.V. executives; this is the sort of thing the public wants to see. We look at the modern spread of music T.V., shallow and limited as it is, and we have very few chances to salivate and have our eyes opened. Even if there is a Rock/Punk act playing; their performance is quite neat, controlled and close to what we hear on record. If you hark back to an act like IDLES; their live set has spit, swagger and plenty of carnage. If they tried to bring that to T.V., I wonder how that conversation would go. It is that genuine spirit and authenticity that seems to be lacking on the screens. I put that back into the industry as a whole and wonder whether there is much room for a band that wants to create mischief or, at the very least, stick a couple of fingers up. Gold Phoenix aren’t the types to steal a purse from your grandmother and take a leak against the wall of a pub – they are good lads but their music is not to be shackled and honed. There’s No Illusion Here is an apt title for an E.P. that shows what their ethos is: they are pure and honest in their endeavours; not to mess around with fine tunings and appealing to a Pop demographic.

It seems the industry needs a bit of a slap in order to awaken its senses to the potential of Rock and what it represents. Some argue the quality has been sucked from the genre. That may be true of those stadium-aiming artists whose choruses are flabby and trite; their songs calculated and forgettable. There are many artists who are being lumped in with those bands and suffering because of it. For Gold Phoenix; they are not motivated by commercial needs and, instead, follow their own minds and desires. I will come to look at one of their E.P.’s tracks in a minute but, if I can circle back to that issue of sanitisation and a lack of edge – is this creating long-lasting damage to the industry? Time will tell but, from the evidence in front of us, name a slew of great mainstream Rock bands that are changing the game. There are some fantastic Punk acts but, for the most part, they are playing second-fiddle to the bigger Pop artists and other musicians. This may sound doom-laden for the boys of Gold Phoenix but the opposite applies: they are trying to kick-start a revolt and have the chance to occupy some precious landscape. I get to view and listen to some great Rock acts most haven’t heard of and know, before long, they will get their due and succeed. The industry needs to be more ruthless when it comes to commercial Rock acts and those who show little improvement between releases; give credence and attention to acts that change the rules and switch things up. Gold Phoenix have been playing for a few years now and have made strides since their inception. I can see them getting bigger and bolder the more time progresses. It is clear there are doubting tongues regarding Rock’s cardiological state: can it still mix it with the masters of old?! Whilst Led Zeppelin, Jimi Hendrix and The Who have gone and have few like them in music now; that does not mean their like is a product of the past. I am hopeful there will be that explosion and the promising guns like Gold Phoenix will draw blood. Their music warrants serious acclaim and focus.

I will talk about their current music in a bit but, right now, a few suggestions for the lads. I am looking around and seeing towns and cities gentrified to the point of destruction. So many good music venues are suffering because, invariably, luxury flats are being erected and no consideration given to the established and popular pubs/venues that have been there for years. I tend to find the middle-class is responsible for this kind of ill. The working-class need somewhere to live but few are able to afford the sort of flats that are being put up. Although I hate where I work, in Surrey, and really can’t stand the people; there are a couple of good music venues that are under threat. I am hearing about high-end flats being planned and, with that, the future of a certain pub is threatened. It doesn’t surprise me the stupidity of planners and the selfish greed of those who move to the area outranks the needs of those who already live in the area. More and more, it seems planners and the better-off are strangling the lifeblood of live music and compromising the stability of great artists. This, again, sounds like I am mordent and unable to cast sunshine the way of Gold Phoenix. Their music, as you’ll see, will get a rather hearty tug in the trouser-area when I arrive there. I am building up a case around their music and painting a picture of what they must be experiencing. Your local boozers and long-standing venues are looking over their shoulders and checking their bank statements by the day. I feel there is that battle between bands/artists people actually want to see and the stuffy and ridiculous sensitivity of the people who move near to venues. The latter is a subject I will tackle later down the line but, here, I want to look at the quality and value of artists. There are many who want to go and see live music but are not being lured by the standard of performance on standard.

I want to go and see some live music but I feel there is that shift away from Rock and bigger acts and more acoustic-made sounds. Maybe that fits into noise abatement and trying not to piss off those within listening distance of the music. I feel solo artists and acoustic-led music is getting more prominence than bands and Rock artists. That might come back to quality and few having the ability to grip the senses. Gold Phoenix have terrific fire and ammunition when they take to the stage. Their recorded music is fine and gutsy; when they bring it to the crowds, they are able to add extra oomph and kinetic energy. I am excited to see how far they can go but I do wonder whether the capitalist motives of planners and middle-classes will marginalise them and restrict their gig movements. A solid and explosive band will always find a willing crowd and survive the test of time. When the nuclear bombs destroy everything but cockroaches and Home Counties posh with sticks up their arses; the Rock band that turns the volume up to eleven will be there to smash them away and keep the electricity buzzing. The boys are playing around the Surrey area and, to my mind, that is one of the riskiest places to be a musician. There is a lacking music scene there and facilities like ACM (Academy of Contemporary Music) are not producing the quality and potential they should be – aimed at commercial charts and the Pop-based radio stations. There are a few decent venues who cater to good musicians but, largely, it is boring and middle-classes who have more of a say; the music scene is rather lipid, boring and insignificant. London and Brighton are near enough for Gold Phoenix to strike and succeed. I would say London is their best bet when it comes to getting a footing and finding a crowd. The capital is packed and expensive but the benefits of staying at it are clear.

I know the guys are settled where they are but they need to think about their movements and where they can get more gigs. Not only are more venues threatened where they are and the scene becoming more beige and weak – as artists relocate and all that is left is something tepid – but there are fewer people coming out and watching gigs. I am not sure what their financial situation is like but I can see Gold Phoenix succeeding in London and getting much more business there. I have seen some great Rock bands fail in the capital – Los and the Deadlines among them – but with some great similar-sounding bands around London, like Duke of Wolves, they would have support and ammunition. There is a demand and hunger that needs to be satisfied and taken advantage of. Maybe that is in the future for the band (relocating and moving on) but I want to see them go from the smaller local gigs and thinking about the bigger stages. The boys have played in Europe and now, with a new E.P. out, more ears and eyes will come their way. With the biggest festivals a few months away; it is a great time to step out there and get your music in front of the masses. I wonder what the schedule is like for Gold Phoenix but next year is a big one for music. Glastonbury returns – it is a fallow year in 2018 so the greenery can return and give the land a rest – but many acts will vibe from that return and be in the mood. Gold Phoenix make terrific music and are one of the best acts I have heard in years. We need to embrace those musicians who are doing something different and want to succeed. Let’s go back to the sound of Gold Phoenix and see where they go from here. I am stunned by their E.P., There’s No Illusion Here, and the firecracker that is Black Bullet. I am sure there are bigger venues that want to get the boys on their stage and, with people throwing their weight behind the E.P., it is the time to get out there and take opportunities.

I wanted to focus on Black Bullet because it seems to epitomise and distil all the colours and aspects of the Gold Phoenix sound. The to-and-fro nature of the introduction gets the feet tapping and the crowd pumping. The guitar, bass and drum swagger and wind like a hissing viper in search of blood. The muscles flex and the tongue is out and ready to cause a bit of chaos. It is an addictive and scintillating opening that gets the blood boiling and the mind ready. If anything, maybe stripping a bit of the production away and putting the drums higher in the mix would give it an extra punch. The track is great because it has a raw and gusty quality that removes sheen and polish. The guitar gets the mind racing but it the percussion, a little higher up, would give it a bit more kick. That is the only (minor) flaw I can see when it comes to the introduction. What struck me is how the riff gets into the head but does not remind you too heavily of anyone else. You can hear a bit of Queens of the Stone Age’s boulder-sized cool but, for the most part, this is the Gold Phoenix brand taking a step up and hitting new peaks. Some of the earliest material from the band clung quite closely to their idols. Here, there is more unique spirit and confidence in their own minds. They are bold enough to let the introduction stretch and campaign for a while. They are exceptionally intuitive players and have that brotherly connection whereby they elevate one another and nobody steals the limelight. There is a pleasing little bit of early-era Jack White in the vocals from our lead. Jamie Tipson has experience of working solo (as Second Hand Poet) but brings something different to his Gold Phoenix role. There is that whine and pleasing anger in the voice that balances Jack White/Royal Blood but you Tipson annunciates and articulates in a very different way.

The man lets it be known there is a black bullet with your name on it – whether he is directing that to an enemy or someone who has displeased him. What separates bands like Gold Phoenix from current acts like Royal Blood is the production and presentation. There is no polish and shiny corners when you listen to Gold Phoenix. It is professional but, at the same time, you feel like this comes live from their bedroom. The song was recorded, like the E.P., in Wales at Rockfield Studios and Leeders Vale Studios with Nick Brine officiating – mastered by Pete Maher. Between them, they have worked alongside Seasick Steve, Jack White and The Rolling Stones. It is hardly a shock the guys should be able to get the best from the band and give the song an expert blend of unpolished and professional. What amazes me is the way the song sounds live but has enough nuance and strength to get you listening again and again. The vocal has a brilliantly conversational and off-kilter manner that stands aside. Tipson delivers one line in a certain way and the next might be a different speed. He didn’t catch the person’s name, who the bullet is aimed at, and he brings mystery and intrigue to the setting. Some of the words are muted and others more refined. It is a characterful and inspiring way to bring the story to life. That central motif, not catching their name and the anonymity of vengeance, is elongated and impassioned in the lungs of the hero. You are trying to guess the song’s origins and who is being ascribed in the moment. The band come together to provide constant energy and physicality. The song is not a simple dead-head that delivers aimless riffs and mind-numbing volume. The band contorts and jumps; the song goes in different directions and it is a thrilling ride.

It is amazing seeing how the song grows and builds from that catchy and intense introduction. You can hear little nods to favourites and popular acts but Gold Phoenix never step too closely into their manor. What you get is a skirting around the edges of commercial appeal and stadium Rock but there is that local and modest sound that means originality overtakes and outweighs everything else. It is pleasing seeing tight performances dominate but, in it all, a ruggedness and loose swing. There are not many bands at the moment that take a risk and produce something that has a dirtiness and lack of manners. There is exceptional personnel guiding the dong but they have not made the band compromise their ideals and try and become more ‘popular’. Gold Phoenix have been given room to do what they want and play the song in a way that seems right to them. Because of that, Black Bullet gets into the head and under the skin. The riffs bang their heads and the percussion clatters. There are those moments where the instruments step out and get a chance to cover ground. Our hero’s intoxicating and fired vocals match the volume and stun of the composition and gives the song so much life and lease. I wonder how Black Bullet will sound in the live environment. I can imagine the guys give it some extra welly and spit, for sure. In the final moments of the song, the percussion gets the chance to stand out and roll; the riffs spark and saw; the song steps in another direction and surprises the listener. There is that pleasing mixture of oblique lyrics and straight-ahead sounds that mean you can bond with the song instantly but will come back and try to unpick the words. If, at time, the band strays too closely to the sound of Royal Blood, it is when they throw in their personal D.N.A. things become really interesting. What separates Gold Phoenix from the likes of Royal Blood (or others like them) is their way with words and diverse musical mindset. Black Bullet always moves and never sounds obvious and predictable. I was struck by it’s the first time around but found new glory and possibilities several spins down the line. It is a confident and passionate song from a band that is getting more strident and bold with every new release. They are growing in stature and songwriting ability and have the potential to get bookings on the biggest festival stages before too long.

Gold Phoenix are among the hardest-working bands around and I know they will get to the biggest stages in years to come. I mooted the possibility they could move to London and ensure they get bigger gigs and find a more loyal audience. I can see them succeeding in the U.S. and doing well there – maybe the move will compel great visibility. Whatever they have planned for their base and objectives; the music is doing plenty of shouting right now. It has been a little while since we heard new music from them but the guys have been busy and crafting something that moves from their 2014 debut and draws in fresh influence. The connection between the players is stunning and the music has that balance of familiarity and unique edge. You can detect Band of Skulls and Queens of the Stone Age in various moments. The guys push further than most artists and have a sound that echoes in the ears for a long time after digesting it. I wonder whether there will be more material this year or (the band) favour touring and a more ruthless assault on the stage. Anyone who fears the appetitive of Rock has put on a dog collar and is quoting scripture needs to get their lugs around Gold Phoenix! The boys, instead, are ripping the clothes off a bountifully-portioned girl; throwing her onto the bed and breaking her in half. That may sound a bit explicit but my point is this: they have the gnarl and snark Rock needs and the public desires. I know the boys put on an exhilarating live show and that is what people want to see right now – a proper live show and experience that gets you talking for days after. Make sure you get your ears involved with There’s No Illusion Here and drink in every chorus, note and meaty guitar line. It is a big time for the band and one of their busiest years to date. I know they will involve themselves in the summer gigs and look to give their new songs a proper airing. When winter comes and they are thinking about their next moves; maybe there is going to be thought regarding big festivals and international gigs. The guys have recent touring experience abroad and are ready to command the big stages. I know they will get where they need to go very soon and, right now, they are impressing those around them. Gold Phoenix are solid and shining; they have risen from the ashes and, in doing so, provided Rock the jump-start and quality…

MANY say is lacking right now.     

___________

Follow Gold Phoenix

Twitter:

https://twitter.com/GoldPhoenixBand

Facebook:

https://www.facebook.com/goldphoenixband/

SoundCloud:

https://soundcloud.com/gold-phoenix-1

Spotify:

https://open.spotify.com/album/4iuMwL64g7TH4rzBdKvb5A?si=wC_raqh2RbqDj9rHcX-tng

BandCamp:

https://goldphoenix.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UC-2yB7igh-azwF8_TIDS3Hw

INTERVIEW: Escapade

INTERVIEW:

Escapade

___________

MY final interview of the week is…

with the Leicester-based band Escapade. The guys tell me about their new single, Take My Love, and what we will see in the coming months; whether this year is going to be the one where they break through and conquer – they reveal what gigs they have coming up soon.

I ask how they all got together and what the music scene is like in Leicester; what one might expect from their live shows; how they all spend time away from music; which new acts we should get involved with – the guys end the interview by picking a song each.

___________

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

Were all good, thanks – just getting prepared for a weekend full of gigs for us! Hometown show is in Leicester on Saturday and then off to Liverpool to play two shows at the Cavern Club and Cavern Pub.

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

We are Escapade; a four-piece Brit-Rock band from Leicestershire! We have Sam Wyatt on Vocals and Rhythm Guitar; Adam Bailey on Lead Guitar; Jordan Alleston on Bass/Backing Vocals and Martin Wenham on Pots and Pans.

Take My Love is your new one. Is there a story behind the song? How did it come together?

No story behind it: it’s all in the title; maybe a little bit of rejection thrown in there. It started off with a riff that Sam played that sounded a little Country-style so we jammed it like that for a while. Then, Adam came up with the picking part you can hear in the background; then it came to what it is now, after a lot of stripping back and rewriting.

Is there more material due from you guys? What is the spirit like in camp?

There’s plenty of new material to come. We will have a second single released before we bring out the full E.P. Even then, we have been writing some new songs that we are looking to record towards the latter end of the year.

You have enjoyed success already this year and seem to be on the way up. Is 2018 the year for Escapade to dominate and strike out?

We hope so! Every gig seems to get bigger and better for us. We recently played the O2 Academy2 in Birmingham for SoundWaves music competition, which was a near-sellout crowd and it just blew us away! We just want to spread out across the U.K. and get our name out there and get new ears to our music and gigs.

How did you all get together? How important is/was Leicester and the scene there?

Sam and Adam both started as an acoustic duo (just) performing originals and covers around the Leicester music scene. We soon outgrew that and felt we needed to form a band. So, we recruited Jordan through a friend who recommended him and then Martin via the ways of social media. That is Escapade!

There are some great Rock and Alternative bands coming through. Do you think they are genres that are struggling for exposure and direction at the moment?

Guitar music, I feel, is struggling to get much airplay at the minute. You can get whatever genre of music out there if people like it.

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

Well. We have no plans to go on tour yet but, if we win the overall U.K. finals of SoundWaves music competition, then that is one of the prizes! We are keen to go on/win as we just want to get out and across the U.K. The final for that is June 23rd at O2 Institute3, Birmingham.

If we came and saw one of your shows; what could we expect in terms of the set and experience?

The set is going to be loud! With the good audience response, we will cause a tremor!

What do you hope to achieve in 2018?

The same as any year for us: more exposure, new fans and the chance to play bigger venues. We would love to jump on as a support act for a major band - that would be the ultimate goal!

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

It would have to be the regional finals of SoundWaves competition at the O2 Academy Birmingham. It was a rammed night and we were on second-to-last, so everyone was well-oiled. We came on stage to a roar of fans chanting “Escapade!” We smashed the set and the judges’ comments just blew us away!

One judge said we should be headlining Glastonbury Main Stage with that performance…

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

Adam: Probably someone like Noel Gallagher, as I think our music would go down well with him and the crowd. (For the rider) Pepperoni pizza, deep pan; stuffed crust and lager

Sam: Kasabian for me. The rider would be beer, water and cigarettes.

Martin: The Rolling Stones! On my rider would be Fanta Orange, Hop House 13 Lager; Kripsy Kreme doughnuts and possibly a stir-fry.

Jordan: The Libertines - Xbox, Fortnite and SOUR SUCKERS!

What advice would you give to new artists coming through?

Adam: Keep the momentum going; gig as much as you can; practice hard and build a loyal fanbase. I think the rest will sort itself out.

IN THIS PHOTO: Wooly Mammoths

Are there any new artists you recommend we check out?

I’m massively into a band we went and watched earlier this year called The Brew - definitely worth checking out! It’s probably one of the only gigs where I just stood there in amazement for the whole set!

Sam: Wooly Mammoths, RedFaces and Annabel Allum.

Martin: The Interrupters.

Jordan: LEONTAS from London.

IN THIS PHOTO: Annabel Allum

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

Adam: I like to go fishing with my dad.

Sam: Listening to music.

Martin: Chilling at home in front of Sky Sports and playing some Xbox.

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).

Adam: The Brew – Johnny Moore

Sam: Wild World by Cat Stevens

Jordan: The Music – The People

Martin: Like a Rolling Stone – Bob Dylan

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Follow Escapade

Facebook:

https://www.facebook.com/escapadeuk/

Twitter:

https://twitter.com/EscapadeUK

Instagram:

https://www.instagram.com/escapadeukofficial/

SoundCloud:

https://soundcloud.com/escapade-uk

YouTube:

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

INTERVIEW: Dan Rawle

INTERVIEW:

Dan Rawle

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LEADING me into the weekend is Dan Rawle…

who has been talking about his upcoming single, Matter of Opinion (out on 3rd June). I ask the Oxford-based songwriter about the track’s story and whether there is more material coming before the end of the year.

Rawle tells me whether he thinks he has evolved over the past year; what he wants to achieve in the coming months; the three albums that mean the most to him; some new artists worth looking out for – he talks about future gigs and tells me how he relaxes away from music.

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

Hi, Sam. I’m well, ta. I have been a little under the weather but I’m on the straight and narrow now, so it’s all good. Just been working and gigging a fair bit.

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

Sure thing. My name’s Dan Rawle (you’ve probably gathered that by now!); I’m an Oxford-based singer-songwriter with a guitar and a little songbook. I grew up in Abingdon, not far from Oxford, and have pretty much just stuck around! Musically, I've got a simple, honest sought of vibe I guess and have been likened to Passenger shaking hands with Jack Johnson at a Beatles show.

Matter of Opinion is your new single. Can you reveal the inspiration and story of the song?

So. The new single, Matter of Opinion, is a song that’s very close to my heart. It’s a song for my dad, of whom we lost to cancer when I was five (I’m now thirty). I’ve written it to say that, even though he’s not physically here anymore, he is still around in so many ways…in the belongings he left behind, in our memories and stories and in my sisters and me.

Without getting too soppy, it’s about never forgetting a loved one that’s not with us anymore...

There are hints of classic Pop and modern Acoustic in the song. It relaxes the soul and nourishes the listener. What do you hope people get from the song?

Well. I’d be really chuffed if people can connect with the song in some way and maybe even find it helpful if they’ve lost someone close. Or, simply, I hope people just enjoy listening to it.

Your 2017-E.P., It’ll All Come One Day, was well-received. Do you think, since then, you have evolved as a songwriter and learnt anything new about yourself?

Hmm. I’ve definitely learnt things about myself that seems to be happening slowly but surely over the years! In terms of writing, as any musician will know, you try to better yourself each time: a better hook, a better lyric; more this, less that! But, I’ve got a few songs on the go that I’m really excited about and that’s a most important thing I reckon.

Do you know what the next step will be in terms of material?

With the new songs, all I know at this stage is that I’m working closer to the band (Sarah Morgan and Patrick Foley) to really punch them home. There’s a subtle change in the style, which is gonna keep things fresh and new.

When did music arrive in your life? Who did you follow as a child?

I think I was always a bit musical, which was probably down to my wonderful mum. She’s always sung and played the guitar, so at least one of us four kids was going to follow suit! The first album I bought was, ahem, Britney Spears. I’d say I’m embarrassed, but I’m not. It was a tour de force! Ha. Later, I got into a lot of Pop-Punk, Oasis and then The Beatles.

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

There are a few shows coming up this summer, namely Cowley Road Carnival on 1st July. We’ll be at The Cape of Good Hope from 1-ish. Then, WaddStock on 28th July. I’m going back to basics as well through June and doing a cheeky little open mic tour of Oxford, just for a bit of fun, and to shout about the single.

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

Being on stage is wicked. It feels weirdly natural and exhilarating. But, there’s nothing better than playing to a crowd that is having a bloody good time and singing along! It’s hugely flattering.

What do you hope to achieve in 2018?

This is like a midyear resolution list! For 2018, I’m hoping to get the single out, obviously; buy a new car, get a new flat; see some new places and generally have a good time. Oh, and cheesy alert: think less and feel more.

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

Ooh, that’s tricky...

If I had to pick, it’d be the launch gig at The Library for the E.P., It’ll All Come One Day. I was so happy with how many people came and when they all sang the chorus of the title-track back at me I nearly shed a bloody tear! It’s a simple thing I know, but it means a lot.

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

Three albums...let’s go with Passenger - All the Little Lights; Michael Jackson – Thriller and The Beatles – Help!

What advice would you give to new artists coming through?

I’m hardly one for giving advice here, but I would say this: believe in yourself. If you want to go somewhere, work your arse off. Don’t worry about being too self-promoting (no-one else will do it for you...unless you pay them loads). Try to be yourself and have your own little thing, even if no one else is doing it. From a writing point of view, try to hear your music back as a listener, not a writer. Get as much constructive feedback as you can; it’ll help focus things to a strong point.

That’s actually quite a lot of advice!

IN THIS PHOTO: David Ashworth

Are there any new artists you recommend we check out?

They’re not really that new anymore, but my good pals David Ashworth and The Steady Letters are damn fine musicians and writers. We’ve shared a lot of inspirations and drunken ideas - and the results can be heard for sure!

IMAGE CREDIT: Victor Hensel Photography

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

When I get a little time away from music, I love to lie on the sofa and watch a good show. I’m smashing my way through Friends right now! I spend time with my girlfriend, head down the pub and I’m reading a bit, too. Currently, I’m half-way through an incredible book called The War on Women by Sue Lloyd-Roberts: a must-read.

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).

Ooh, nice; a personal request. The song that gets me jumpin’ about is Pata Pata by Miriam Makeba. One of the happiest songs I’ve ever heard.

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Follow Dan Rawle

Official:

https://www.danrawlemusic.com/

Facebook:

https://www.facebook.com/danrawlemusic

Instagram:

https://www.instagram.com/dan_rawle_music/

BandCamp:

https://danrawle.bandcamp.com/releases

Spotify:

https://open.spotify.com/artist/10WyjmBDW1sw5FNiWQ8OQW?si=dTbA4kmkSoqgMQm_tzKLlA

YouTube:

https://www.youtube.com/channel/UC50pZ7MQGWTrdozqfqbkEVQ

FEATURE: Pregnant Pause and Ultrasound: Should Subjects Like Abortion Be Taboo for Musicians?

FEATURE:

 

Pregnant Pause and Ultrasound

ALL PHOTOS (unless credited otherwise): Unsplash 

Should Subjects Like Abortion Be Taboo for Musicians?

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TOMORROW is a historic day…

PHOTO CREDIT: Getty Images

not only for Ireland but the world as a whole! The Eighth Amendment to the Irish Constitution is in the news and causing a lot of discussions right now. For anyone who needs clarification and explanation (as to why abortion is illegal in Ireland), it can be explained thus (thanks to Wikipedia):

“…Abortion had been subject to criminal penalty in Ireland since 1861; the amendment ensured that legislation or judicial interpretation would be restricted to allowing abortion in circumstances where the life of a pregnant woman was at risk. It was approved by referendum on 7 September 1983 and signed into law on 7 October 1983.

The amendment was adopted during the Fine Gael–Labour Party coalition government led by Garret FitzGerald but was drafted and first suggested by the previous Fianna Fáil government of Charles Haughey. The amendment was supported by Fianna Fáil and some of Fine Gael, and was generally opposed by the political left. Most of those opposed to the amendment, insisted that they were not in favour of legalising abortion. The Catholic hierarchy and many lay Catholics supported the amendment, but it was opposed by the authorities of other mainstream churches.[1] After an acrimonious referendum campaign, the amendment was passed by 67% voting in favour to 33% voting against”.

There are exceptions to the law – when the life of the mother is at risk – but the strictness of the Eighth Amendment means many pregnant women have fled overseas to have an abortion. One can look at religious arguments and why many consider all life to be sacred.

That may be true for many people but not ALL life is sacred and precious – not all life is wanted and planned. By forcing women to give birth to unwanted life and, perhaps, raise a child they did not ask for seems to contradiction the notion of ‘pro-life’. If you value the life of all people then the mother should have a say what happens to her body and life. In more rational parts of the world, there is a clear line when a foetus can be aborted – it is a medical and philosophical line that weighs up the danger to the mother and that debate when a foetus turns into a ‘life’. For the most part, the law puts the mother’s life and well-being ahead of moral and religious forethought. Section 1(1) of the Abortion Act 1967 makes it clear when abortion, in England, Wales and Scotland is legal:

"Subject to the provisions of this section, a person shall not be guilty of an offence under the law relating to abortion when a pregnancy is terminated by a registered medical practitioner if two registered medical practitioners are of the opinion, formed in good faith -

(a) that the pregnancy has not exceeded its twenty-fourth week and that the continuance of the pregnancy would involve risk, greater than if the pregnancy were terminated, of injury to the physical or mental health of the pregnant woman or any existing children of her family; or

(b) that the termination of the pregnancy is necessary to prevent grave permanent injury to the physical or mental health of the pregnant woman; or

(c) that the continuance of the pregnancy would involve risk to the life of the pregnant woman, greater than if the pregnancy were terminated

(d) that there is a substantial risk that if the child were born it would suffer from such physical or mental abnormalities as to be seriously handicapped".

In Ireland, there are different debates and concerns. The nation is much more religious and devout when it comes to the moral and religious aspects of abortion – the fact it is seen as a sin/murder seems to shout louder than the mental and physical considerations of the mother. It seems strange that such an archaic and one-sided law has been on the books for so long. Voters will cast their opinion tomorrow and decide whether abortion will be legalised across Ireland. I am desperate to see the law banished and consigned to the bin of history. There is a reason why we have a twenty-four-week cut-off for abortion in this country: the loss of any life is sad but, if a woman has not planned the pregnancy, it is her right to decide whether she wishes to continue with it! I will, as I have done a lot, bring in a recent piece by The Guardian – who spoke to musicians tackling pro-choice and abortion debates – and why artists are speaking out and not remaining silent. There are certain areas of music that struggled to find oxygen and acceptance in the mainstream. In fact; things are tougher than that:  a lot of listeners and radio stations seem to wince when certain subjects are explored in songwriting. I remember when Jenny Hval’s album, Blood Bitch, arrived a couple of years back.

IN THIS PHOTO: The Dublin trio of Sissy (who have addressed and tackled the stigma around women's reproductive rights in their music)

It looked at, among other things, menstruation and periods and I recall a lot of reviewers questioning whether it was ‘right’ to talk about something so personal and (to them) unpleasant in music. I can understand why subjects like rape, abuse and race are discouraged if the intent is to offend, shock and divide. Artists like Eminem have spoken freely about rape and domestic abuse: many know it is part of a persona; others wonder whether it is questionable allowing songs that seem to revel in violence and sexual assault to see the light of day. Abortion and childbirth have been used in songs for many decades now. I would say the purity of life and new birth is much more common: can you recall many songs that look at abortion and, especially, the choice of the mother to terminate a life?! Given the sort of division abortion creates; many songwriters have skirted the issue by employing euphemism, oblique imagery and side-stepping explicit reference. In Ireland, particularly, artists have been reticent regards tackling an issue that has split the population. Given the fact women have to go to other nations to have an abortion; what are the penalties for a musician that freely sings about aborting a foetus and seems to ‘normalise’ something in a country that has very strict morals?!

I will bring in that promised article that looks at the role of church and state in Ireland; how far the nation has come in the past few years:

“When the same-sex marriage bill passed in 2015, thanks to an enthused Yes campaign, it revealed how far modern Ireland had come. The result marked a break with a past in which church and state were essentially indivisible, and proved that power lay with the people. The Repeal campaign has channelled the momentum behind a similarly charged issue – and it’s a fight to which Ireland’s musicians have given voice”.

The article looks at high-profile musicians speaking about the Eighth Amendment vote and pro-choice; others have been guarded and seemingly distanced themselves through fear of reprisals and commercial depreciation. It is the unsigned/underground artists, who have less concern regards commercial pressure and label tyranny, that are speaking up and having their say. There is a passage from the article that stood out:

“High-profile artists including Sinéad O’Connor and Hozier have expressed their support, while others, such as Ed Sheeran, have made more cautious statements. But it’s emergent and unsigned artists who have captured the pro-choice mentality in song. Among them are Dublin feminist garage punk trio Sissy, whose single Sail and Rail tackles the struggles that Irish women face regarding reproductive autonomy. Titled after Stena Line’s Ireland-to-England fare, it’s a fist-clenched, three-minute blitz: “Me and Enya on the sail and rail / Two unwanted pregnancies / But soon we’ll be bikini-ready”.

You do not need to travel far and do too much research to know there are complications associated with stress during pregnancy and leaving things too late. Many women have died, who hail from Ireland, after travelling abroad and having to have abortions performed in unsafe settings; not terminating until late in the pregnancy or suffering incredible stress that has led to a miscarriage. The fact that many women have no choice in the matter makes me wonder, again, whether Ireland has an irony blind-spot when it comes to ‘pro-choice/life’ and what that means. Surely, the life of the mother is as important as the unborn foetus? Their voices and bodies are not considered when they are forced to give birth to a baby they did not want – it is not their fault and it seems appalling they should go to desperate lengths to have an abortion. The fact many Irish artists are dealing with the subject in explicit and eye-opening terms is a good thing. The stubborn and dictatorial grasp of the DUP in Ireland means such a historic vote has garnered such importance and relief. Even if, God help us, the law remains come this time tomorrow; I hope many realise there are people out there who are opposed to the abortion laws and do not want to remain silent. I am hearing about performances in Ireland where bands like Sissy have performed songs (that look at abortion) and it has sparked conversation, education and transparency.

One imagines cloistered and monitored conversations in Ireland: a Big Brother-like state that tuts and spits whenever someone dares to utter something as wicked as talk of abortion! Whilst this is an exaggeration; musicians are unwilling to code their messages and restrict themselves to clandestine gigs due to pressure from government/opposed factions. There is a hard-line sector – driven by religious outrage – who will fight the repealing voices tooth and nail; the kind of people who have caused anxiety among many in Ireland. I raised an argument that asked where we draw the line concerning ‘controversial’ issues – whether we can talk about domestic abuse and rape if its intention is to condemn and halt. Artists who sing about these subjects with ill concern and a sense of vainglorious confidence – why should they find success and applause when artists singing about abortion – which is legal in the free world – are chided and judged?! It seems like a contradictory and fucke*-up logic that has led to an explosion and a rebellious urgency. I will end this piece but want to revisit The Guardian’s article and a sector of songwriters one wouldn’t assume would write about abortion: men:

“Male artists have also rallied behind the cause. Focusing on the experiences of the women who have to travel, often alone, to access abortion clinics abroad, Your Body by Dublin indie rock threesome Shrug Life aims straight for the Irish government’s jugular:

Ill-equipped with unnamed burden
Options blocked for paths unplanned
At age 19, made to understand
Advice goes no further than the law will allow it
And you’re on your own if you need a way around it.

 Frontman Danny Carroll says: “Rather than just sloganeering, I wanted to put some narrative and detail around that initial lyric – ‘Your body is not your body / It’s the property of church and state.’ I tried to imagine the tragic absurdity of being on a Ryanair flight home, being surrounded by hen and stag parties, being sold scratchcards by flight attendants and asked about your holiday. After the emotional strain of deciding to undergo that medical procedure, hopping the hurdles of our archaic legal system, it struck me as an acutely Irish indignity”.

I hope the vote goes the correct way – the amendment is repealed and women will have the same rights as those in other parts of the world – and the subject of abortion is no longer stigmatised. It will be a hard transition and I am sure there will be revolt and calls for a recount. I feel women and men should be free to oxidise the subject of abortion because it warrants debate and expression. Even in England, where abortion is legal if seen as wrong by many; artists are afraid to address it in music because they feel they’ll be criticised and see their songs alienated from the airwaves. The brave and fed-up artists we see taking the perversion and indignity (in the sense they are crushing stupid moral arguments and archaic laws) out of the issue – mainly in Ireland – have helped highlight a portion of Irish law that has caused a lot of damage through the years.

I was only four-months-old, in 1983, when Ireland voted whether abortion should be allowed if there was a risk of death to the mother – two-thirds allowed that stipulation…a rather modest and insignificant allowance. It seems the art of songwriting is a powerful and affective way of cleaning up polluted waters and bringing something, long-shadowed and temporised, to a wider audience. We do need to have guidelines when it comes to songwriting and subjects that should not be explored – or, the way the artist explores that issue – but music is a pulpit that should encourage freedom of speech and political discussion. However tomorrow’s vote goes down; we should not suppress artists, like those we are seeing in Ireland, who want to talk about things like abortion and a woman’s right to terminate. This week is not only historic in terms of democracy and giving inalienable rights to women (in Ireland); it is part of a process that is seeing bold and motivated artists speak up and refuse to be silenced. Power to them because it opens up dialogue and takes away the stigma of abortion. There is change and evolution in the air right now – whether that will translate into a sensible vote decision remains to be seen. Musicians, at least, are having their say and, when it comes to the once-taboo subject of abortion and its moral issues, they are repealing….

SUCH ancient laws.

INTERVIEW: World Machine

INTERVIEW:

World Machine

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MY final interview of the day…

finds me speaking with the awesome World Machine. They consist of Jack Shea and Naz Kalsey and have created a stunning song in Affection. I ask the guys about their musical start and tastes; whether there is going to be more material coming down the line – they recommend new artists to investigate.

World Machine reveal what touring plans they have and how they spend time unwinding; what they would tell new artists coming through; what they have planned before the end of the year – they end the interview by selecting a couple of rather excellent songs.

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

It’s been busy. Getting ready for the video release and our debut show on 8th June at The Islington.

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

We are World Machine from London, England. We consist of lead vocalist and lyricist Jack Shea and Naz Kalsey, the songwriter and producer of the band. We also have Luca Romano on drums for our live shows.

Affection is out. Can you talk about the song and how it came together?

Affection grew from a major transition period for the band. We wanted to change everything from what we were previously writing and recording. Our early tracks were darker and electronic-sounding with the lyrics becoming somewhat unreal and not connecting with us personally - like some of our early material in our previous band.

So, we decided to write a track that related to a more tender side of our writing and, by doing so, entered us into a completely different place.

Its video is out. Was it cool to film? What was it like working with Charleen Meredith?

It was extremely exciting working with Charleen. When we saw the footage she was featured in, we both were knocked out by not only her beauty but also her excellent portrayal of the female lead (for the Affection video).

It was also amazing working with Rob U., who directed the video. He understood our vision of how we wanted to illustrate the video and went far beyond this to produce something we both found to be astonishing.

Both were very fun and easy to work with.

Is there going to be more material coming for you?

Yes. We are currently working on our first E.P., EAN01, which will hopefully be out by July this year.

How did World Machine form? Do you remember the moment you met?

We first met in an Indie-Rock band we were in called Smashing Lights. After we started writing together for the group, we soon realised that we had the same taste musically and that this was completely different to what the band was releasing and playing at the time.

After nearly a year into the musical collaboration, we decided that we wanted to make a completely new sound and explore more contemporary Pop and R&B ideas. This was when World Machine was born.

Can you give me a sense of influences and the artists who impact your own sound?

Definitely by, literally, moving pictures and art culture. We try to incorporate this into our sound. Growing up listening to a lot of Garage, D&B; Soul and R&B also help put us outside the box when infusing it to our Indie-R&B-Electronic sound.

Some artists that influence our music are (definitely) Michael Jackson, Luther Vandross; Prince and Marcus Miller. We get a lot of influences from where we are and what we experience.

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

We are playing our debut show at The Islington on 8th June. 

What do you hope to achieve in 2018?

To get our first E.P. released and to start travelling around the U.K. playing shows to the people.

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

I think (just) playing our songs live to people is our biggest thrill. You start to hear the songs differently when you see people react to a track that you have spent months writing and recording...it’s a great feeling and memory.

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

Jack has an affinity for The 1975 and would love W.M. to support a band like them, purely on visual aesthetics and sound - which is amazing live! Also on the list would be Ellie Goulding (what a voice).

On our rider, we'd ask for a pony to ride us all on stage (and, also, tons of food). Jack loves fruit, so maybe a basket of fresh oranges and grapes would be his dream. Vegan/vegetarian snacks for Jack and Luca. Naz will eat anything (hopefully not the pony), so he'll be happy regardless.

What advice would you give to new artists coming through?

Let the music do the talking and the rest will come.

IN THIS PHOTO: Kudu Blue/PHOTO CREDIT: Gingerdope Photography

Are there any new artists you recommend we check out?

There are a couple of underground London bands that we like: Kudu Blue and Pelicandy.

IN THIS PHOTO: Pelicandy

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

We like to keep busy as much as possible. Learning and observing from others either in music, film or art.

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).

Naz: Metrik - Chasing Sunrise

Jack: Instupendo - Boy

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Follow World Machine

Official:

http://www.worldmachineband.com/

Facebook:

https://www.facebook.com/worldmachineband

Instagram:

https://www.instagram.com/worldmachineband/

Twitter:

https://twitter.com/worldmachinetw

SoundCloud:

https://soundcloud.com/worldmachineband

Spotify:

https://open.spotify.com/artist/2a1XRkQc2RTbjGjthBrIZJ

YouTube:

https://www.youtube.com/channel/UCXyt8Z69vYY_TB0m1SqhzCQ

INTERVIEW: The Classic Kids

INTERVIEW:

PHOTO CREDIT: Cory Ingram 

The Classic Kids

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I am staying in America as I chat with The Classic Kids.

The guys talk about their start and what the story is regarding their new single, Better Days. I was curious to learn if more material was being worked on; if Better Days, to them, is their strongest cut; what the vibe is like in New York/New York City – they tell me whether there are plans regards U.K. gigs.

The Classic Kids discuss musical tastes and some newer artists that are worth some further study; how they spend time away from writing and recording; what advice they would offer fellow songwriters emerging – they share with me their favourite memories from their career so far.

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

Hello, Music Musings and Such. First off, thank you so much for having us. This week has been excellent with the release. Just a lot of running around but we are very grateful.

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

Hello. We are The Classic Kids - Eric James, Max Dean; Matty Boy and Mikey G.

Better Days is your new song. Can you talk about its story and inspiration?

Better Days came about through, honestly, trying to nail a positive, happy song. While we do have some songs that are uplifting, we have more recently been living in a more serious tone as far as our music is concerned.

The concept was born of an idea our producers Shep Goodman and Aaron Accetta had initially. We took the concept and made it into what it is now, which is a positive message that you can make your Better Days through your actions and words - that no unpleasant moment is permanent and that adversity can only strengthen your convictions.

Do you think it is the strongest thing you have created? Can you feel the music getting more ambitious?

We tend to treat our songs all equal...

We love this one but we also love all our music. They all are characteristic of that that time in our lives and have defined who we are up to this point. We do feel, though, that Better Days is a song that can be applied to many different experiences and situations.

How did The Classic Kids get together? When did you start recording together?

Eric and Max have been working together for almost ten years now in previous bands. Matty isn’t too far behind that - he also was working with them in some of those acts. Mike joined us back in 2012. So, it’s safe to say that all members have been working together for quite a long time and know each other very well.

Is there more material in the pipeline? What are you working on?

There is always material in the pipeline for us. We absolutely love writing more than anything and probably have more songs than we know what to do with. We have some songs that we feel are likely candidates for our next releases but we will remain silent for now until the time is right.

New York is where you are based. How important is the city and its people in regards your music and creative angle?

New York/New York City is such a creative place to live because you’re literally surrounded by creatively-minded individuals who inspire and captivate the mind. It’s easy to see why we all got into this form of art when it’s literally everywhere. The sad part to us is that not enough really talented people ever get recognized for their efforts but, also, at the same time, a lot of people don’t wish to be spotlighted.

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

Our touring plans at the moment are mainly East Coast (U.S.) but that’ll depend on how far our music reaches. So far, the reception is excellent, so a lot of good things could be born of that.

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

Of course. We love the U.K. and have friends who live there. We love the culture and feel our music would be well-received. It’s something we really hope to accomplish in the near-future!

What do you hope to achieve in 2018?

We hope that our music reaches as many ears as possible in 2018. We have been working so hard for so long and it feels like we're finally accomplishing what we set out to do. Of course, the future is something we can only wait to see unfold - but we’re very confident that 2018 is going to be an excellent year for us...

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

Eric: Oh, man; there are so many memories it is nearly impossible to really settle one. That’s why we love doing this so much. You make stories that stay with you and make you who you are today; from touring to really nailing a song that you feel is truly captivating. One thing that stands out the most is the long-lasting friendships you make along the way. Those stay with you and definitely make for some of the best memories.

Max: All my ‘favorite’ memories usually comes from the touring. Although every tour is different, there are always certain people you meet that are working on the road with you and develop a genuine connection/friendship together and have certain (usually silly) memories together that you will never forget.

Matty: There are so many great memories, but one that sticks out would be the first time we went into the studio as The Classic Kids. We had such a great vibe going into it and we were excited to start the new chapter in our music careers.

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

We would love to do a tour support with The Night Game (Martin from Boys Like Girls’ new project). That would be such an awesome tour together!

As far as our rider list, we are pretty easy-going...all we need is a case of water, Welch’s Fruit Snack; a pizza and maybe a bottle or two of Jack Daniels to keep us going. Oh, and Coke Zero...gotta always have the Coke Zero!

What advice would you give to new artists coming through?

Just put your heart and soul into your work and never miss an opportunity. If you make what you do fun then it will never feel like work. Don’t be afraid to meet people and let them know what you’re all about.

But, honestly, this can be applied to anything in life.

IN THIS PHOTO: Hotel Apache

Are there any new artists you recommend we check out?

There are a bunch - and one plus side to this new era is that new music is plentiful and easily recommended through the apps. Right now, we're listening to a lot of Young Rising Sons, Hotel Apache; KYKO, lovelytheband; Weathers, LUXTIDES and many more.

IN THIS PHOTO: LUXTIDES/PHOTO CREDIT: Betsy Newman

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

We all have diverse interests outside of music when we’re not working together. We try to keep busy but we also love watching movies and playing video games when we have downtime. We also love the beach and getting out because sometimes that can inspire new ideas. We also try to take vacations to get away and decompress.

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).

Of course!

Eric James: Weathers - The Night Is Calling

​​​​​​​

Max Dean: Charlie Puth - Slow It Down

Mikey G: John Mayer - New Light

Matty: Thomas Rhett - Leave Right Now

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Follow The Classic Kids

Official:

http://theclassickids.com/

Facebook:

https://www.facebook.com/TheClassicKids/

Instagram:

https://www.instagram.com/Theclassickids/

Twitter:

https://twitter.com/theclassickids

Spotify:

https://open.spotify.com/artist/45OPmboyE2BRC8yeHwVQub

YouTube:

https://www.youtube.com/channel/UCSyZ8UEcCT74M20uC0F3U5A

INTERVIEW: CJ Teffner

INTERVIEW:

CJ Teffner

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WITH his album out later in the summer…

I have been speaking with CJ Teffner about Stars and what we can expect. He talks about standout moments from the album and what it was like working with Robyn Cage (who sings on the album).

Teffner tells me about his early musical experience and taking to performance whilst at school; what he hopes to achieve before the end of the year; what Phoenix (Arizona) is like for music and venues; which artists we should be investigating right now – Teffner ends the interview with a rather good song suggestion.

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

I’m great! I’ve been busy; always busy with music.

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

Hey, everyone! I spent a long time working as a hired-gun in the studio and on the road, playing and learning many different styles - which I feel has helped me become ‘me’, if that makes sense.

Talk to me about the album, Stars. What, in your mind, defines the record in terms of themes and sounds?

Stars is a bit dark and dreamy, mostly acoustic guitar-based with piano and cello, with the exception of the song Stars itself, which ends up as a full band song by the end. There’s a lot of emotion in the songs, they’re pretty personal, wrestling with my inner-demons and making friends with them.

They’re much better as friends…

Is there a song from the record that stands out? Which do you count as a highlight?

Always a trick question! As a highlight, the song Stars.

The lyrics, that was me being vulnerable, which isn’t easy for me…but is necessary for any artist. Writing all the vocal arrangements and harmonies as well as the instrumentation took a lot of thought to get right. I’m very proud of it.

How did you come to work with Robyn Cage? What was it that attracted you to her work and style?

I worked with Robyn on a previous project and was impressed with her conviction, delivery; emotion and tone - just a very clear and honest voice. When I wrote the song Meant to Fit, her voice popped into my head and I knew she’d be perfect for it - which made her a natural for Please Forgive Me and she really liked the songs and agreed to sing the E.P.

CJ. I believe you caused a bit of havoc as a child by drumming on your mum’s table! Did you have that curiosity and passion for music at a young age? What compelled that spark?

My mom’s father was a famous coronet player; my mom, aunt and uncle are all musicians as well as my father. They were all Jazz and orchestra players so it’s just a family curse. Haha! Music was always on in my house and it was all just natural. I took piano lessons really young and we always had a piano and classical guitar, so I was always just fooling around.

How important were those school years in regards your future collaborations, productivity and desire? Would you be as strong and far along were it not for that early education and fostering?

My 7-12 grade band, Jazz ensemble and marching band were a huge impact and basis for my music. I still keep in touch with my music teacher, Mr. Solt. He encouraged me and supported me so much; he even wrote me notes to get out of study hall so I could jam in the band room! He was one of those teachers you hear about who make a difference in a kid’s life.

Phoenix, Arizona is your base. What is the area like in terms of music and venues?

I love Arizona, but…the music scene is pretty limited. There is some work for acoustic duos at restaurants and bars and a few places that have original acts, four bands a night showcase things (but, it’s mostly covers). There are some great players but, for whatever reason, the pay isn’t here so it’s a challenge to get the great players to come out…

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

I won’t be touring this year: I hope to next year. It’s the age-old situation of finding the right players who believe in my songs and want to be part of the vision.

What do you hope to achieve in 2018?

Stars will be my second release this year: The Cat’s Meow came out at the beginning of the year. I hope to put out two more releases by the year’s end, another one I’m cowriting with Robyn now; it’s totally different to Stars and is slated for the fall.

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

I’ve had the opportunity to work for and play with some top industry people - but the one that was very formative is when I worked with Murray Krugman (Blue Oyster Cult’s producer) and James Ball (engineer for Aerosmith and Joan Jett). I was, maybe, twenty-one; I had written some songs with an artist but then parted ways. I got a call from her months later asking if she could record the songs. I said ‘sure’.

Then, I got a call from her saying no one in the band could play my parts and would I come to the studio. I said ‘sure’ and walked in to meet these guys; I had no idea what I was stepping in to. I learned so much about arrangement and production from those two guys. Two weeks with them was equal to five years on my own.

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

Wow! What a question! While he’s still out and performing, I’d say Paul McCartney. The Beatles were a huge influence on me - and even some solo McCartney albums.

Rider? Just feed me and I’ll be more than happy to play for you!

What advice would you give to new artists coming through?

Try to find someone who will mentor you, in songwriting, the business; how to record - if that’s part of your thing. I help a couple of younger artists because I wish I’d gotten more help earlier on. Also; work in a bubble. Don’t keep asking people if they like this or like that. Be you; figure out who you are as an artist. Basically, lock yourself in your bedroom and record everything.

IN THIS PHOTO: Mika

Are there any new artists you recommend we check out?

It’s about ten-years-old but I just discovered Mika - In Cartoon Motion; amazing Pop album. Also; a duo named The Pierces; kinda dark, twisted Folk - as well as Lenka; beautiful songs and voice.

IN THIS PHOTO: The Pierces

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

I’ve been into powerlifting and bodybuilding for a long time, so that’s my morning five days a week; very therapeutic. Every night, I get to walk with and watch my Doberman Xena run a golf course. She’s just so happy that it makes me happy – and, of course, spending time with my wife and adult daughter.

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).

In the Meantime by Spacehog. It’s in my top-ten ‘happy songs’ playlist.

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Follow CJ Teffner

Official:

http://www.cjteffner.com/

Facebook:

https://www.facebook.com/cjteffnermusic

Instagram:

https://www.instagram.com/cjteffner/

Twitter:

https://twitter.com/cjteffner

Spotify:

https://open.spotify.com/artist/2Rhk2cO90cyNhG5AzvwGY9?si=6JsAicGSTaWm5pOL7aEw8A

PHOTOS:

Brad Olson

FEATURE: Titanic and Beautiful: The Belfast Playlist

FEATURE:

 

Titanic and Beautiful

PHOTO CREDIT: Getty Images 

The Belfast Playlist

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SEEING as BBC Music is taking to the road…

PHOTO CREDIT: Getty Images 

and launching their Biggest Weekend celebrations, there will be many eager eyes and bodies hustling around Titanic Slipways. From Friday (25th May) to Monday, we will immerse ourselves in a (long) weekend of terrific music from around the U.K. Belfast is one of the locations selected and a fantastic city for sounds. I have neglected all the wonders of Belfast-made music and been a bit restricted. Now that BBC is rocking up there; I have been looking at the best music from the city, older and new, that makes it such a landmark. Keep in touch with all the latest happenings (at BBC) and get an idea of all the fantastic acts playing. Belfast is a city that has provided the world truly extraordinary music for many decades – this playlist shows what a rich and eclectic history…

PHOTO CREDIT: Unsplash

BELFAST has.

FEATURE: Pressed for Success: Setting Up Your Own Record Label

FEATURE:

 

Pressed for Success

ALL PHOTOS/IMAGES: Unsplash 

Setting Up Your Own Record Label

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MUSIC is turning into an industry…

where one can make their own fortune and create opportunities - at one point in time reserved only for big stars and those pulling in the big money. Take the act of making music: it is possible to record an entire album and replicate dozens of musicians from the comfort of your room – if you have a laptop/technology that can do that, then you are set and can do whatever you need. Many musicians prefer having that autonomy and freedom to create music how they want and at a lower cost. There is a gamble when it comes to producing and releasing music on your own. I wonder whether you can ever get the music as far and wide without a P.R. label or record deal. There is something about the studio that can add some (good) gloss and extra oomph to a song/album! As much as anything, the D.I.Y. musician has to deal with a lot more and no other voices/hands to offer additional advice/objective feedback – do the good points outweigh the bad?! I feel there are so many positives taking that independent attitude and teaching yourself new skills. A record label, mind, is a different beast to simply producing and releasing your own music. There are financial risks with setting a label up and, if it does not fly and grow, it can mean a bitter loss.

Many artists, mainstream and underground, are setting up their own brand so they can release music how they want and have much of a say. Modern artists are subjected to ruthless and rigid timescales and are part of a machine that means releases, interviews and social media motions are finely planned, honed and directed. Music can, for some, turn into déjà vu and a rather soulless cycle. I understand why agencies and labels affect this policy: they are maximising the music’s impact and working hard to push it as hard and far as possible. Whilst that sense of management and input can make some feel safe and supported; others feel they lack the chance to take time off or do campaigns slightly differently. Having your own label, inevitably, means, when you get a bit bigger you can have other artists on your books and support their music. Bit by bit, you can build the label and push it out into the world. I will source from articles that tackle the business of label ownership and the pros and cons. I am in the position where I’m witnessing new artists with not much money to their name found their label and go out there with a smile and hope. Is there a certain naivety thinking, if you have spirit and a ‘good’ idea, that will be enough to make a label succeed?

I have seen great labels fall and others take years to find a footing. To those who wish to set their label up; be aware of the pragmatic realities and limitations in the short-term. Success will not come overnight and profit might take a very long time. There are some great sites out there that tell you how to set a label up and all the points one needs to consider. This site/article provides a comprehensive and sensible guide for anyone thinking about going into business. Some interesting points come to mind – one is concerning finding a name and cementing a business model:

“…Many indie labels skip this step, at least initially, but it is a good idea to have your record label set-up as a legal business entity from the start. You will need to be an actual, legal business if you want a business bank account or credit card, and it certainly makes tax time a lot more manageable. Likewise, if you are applying for business loans or other kinds of funding, you will need to be a legal business.

The names and specifics of various business frameworks differ from country to country, state to state and city to city (for example, sole proprietorship, LLC, Corporation, etc). You will need to spend a few hours with your computer or at the library to learn about the law in your area and to print up the forms you need to set up your company”.

Many overlook the fact a label will be a full-time thing. It is not an endeavour you can do part-time and think everything will take care of itself. Before even getting to the first point; you need to consider the costs and time demands associated with running a label – is it going to be a possible realisation and daily job? Finding the sort of sound/identity of your label is vital. Do research and look at the sort of labels interested in the same music as you. Whilst there are ample opportunities for those looking to start a label; if you are doing the same as someone else, your appeal and profitability will be relatively limited. Going to gigs and looking online for the sort of music that speaks to you is vital. A label is something that you will have to dedicate your full time and energy to – making sure you are properly passionate about the sounds/artists you’re looking for is vital. The article mentioned raises some interesting questions one needs to ponder:

·         Do you want musicians to deliver a master, or will you go in on recording costs?

·         Will you be paying advances, and if so, how much? (If you have a very small budget, your best bet is to try and convince your potential signings to keep any advance small so there is money left to promote their release.)

·         How will any earnings from releases be divided up? Will your artists get a percentage, or will you split things 50/50? Will the label recoup manufacturing costs and promotional costs before paying?

·         Will the artists get to approve promotional expenditures over a certain amount? If so, how much?

·         How many promos/free copies will the artist get? Over that limit, how much will they pay for additional copies?

·         What is the length of the deal?

·         Is the deal for just one album or several?

·         Will the musicians be entitled to audit your books? How often, and what kind of notice do they need to give?

You can learn more about indie label contracts here. 

A label lifecycle will involve debt and some restricted dreams. You can reach where you need to go but be ready for setbacks and bad days. Transparency with your artists and distribution channels is vital; ensure you have that rhino skin and you can tackle any disappointments and failed releases. The debut release from your label is likely to involve trial-and-error and meagre explosion. It might fail and be a bit muted – this is all a natural process. Look at the article I have sourced as it explains the benefits of digital distribution channels and promotion: you may not have enough money to hire P.R. firms so there will be a lot of in-house promotional and marketing strategising:

·         Digital distribution is much easier to find than physical distribution. Aggregating services like Tunecore will put your music on sites like iTunes and Amazon. You can set up these services from the word go, so you don't have to wait around with good releases on your hand that you can't move at all.

·         Some physical distributors will work with anyone, but your ideal situation is to land a distribution deal with a company that is selective about the labels they work with. These companies will actively get involved in selling your releases to the stores and will often help you advertise your releases. These sorts of companies usually want to know that you've got a busy release schedule planned - they don't like working with a label with one release.

·         Distributors sometimes often M&D deals - they pay for manufacturing up front and recoup it from sales. This helps with your cashflow in the short term, but these deals are becoming more of a rarity.

I will bring in one last snippet from the article I am using an industry bible – there are other points to consider. When you think about promotion and getting your artists to the magazines/websites; make sure you give people enough time to write about the release/artist – giving them a date when they can publish a press release/review etc. will help you when it comes to hitting promotion targets and tying it around release dates. Get in contact with sites and magazines who sell your kind of music/acts. Once you build up these relationships and people know what your stall is all about; not only will people come to you – artists and journalists – but there is that trust and sense of faith. Remember the earlier points regarding expectations: things will take time to heat up and it might not be an instant success. If you have come this far – and are not put off – then how much might it take to start the label?

“…On a more serious note, starting your own record label is to a large extent dependent on your preference and budget. You could budget and spend millions of dollars, or you could choose to spend moderately; far below a million dollars.

• For the purchasing of microphones and head phones, you can go for Neumann u87; it will cost you about $2000 or more.
• For mixers, you can go with Euphonix or any other brand of your choice. But Euphonix seems   great (especially with is sweet sounding preamp and on board compressors). It will cost you about $30,000 or more.
• On the alternative, you can choose to go for purely digital and skip the mixers altogether. This means you will need a good audio inter face with multiple inputs. 12 stereo pairs minimum. The emu 1820m is a good one.
• The cables (nothing else but mogami cables), are the best audio cable in the market for now; you can explore other options.
• You would need to create budget for pre amp. Avalon are perhaps your best bet and you can get it for about $2500 or less.

• You should also prepare a good budget for monitor; monitor is one of the most important gadgets you would need in starting your own record label / record studio. You can go for a Yamaha monitor; it is simply one of the best you can get in the market.
• When it comes to acquiring a computer, you just have to budget for a high end computer designed for such purpose. Your computer should of very large memory, high end graphic card, and 2.6 GHz quad core processor and you can search for a good software to work with.

That might sound a bit scary but there are loans and banks will be able to help. Look online regards business loans and there are crowd-funding sites like PledgeMusic and Patreon that might be a good source when you are setting up. It is important, when you start your label, to have fun and see all the upsides. It can be a lot of work but, as Toby Langley of Transgressive Records said in a feature with The Guardian:

“But the hours can be long and Toby says he has to be careful to avoid burn-out. "I'm often up at 7am and still emailing beyond midnight. But I ensure that when personal time arrives with family and friends, work is blocked out entirely — even if that time is only a day or a few hours. It's crucial to have perspective and space in order to make valued judgements.

He says: "Running your own record label is a lifestyle job and you have to be prepared to make personal sacrifices in order to commit the required time to it. However, the upside of doing something you love is that it's always empowering and exciting".

It all relies on research and putting in the hours. If you set your sights on a realistic horizon then you should be fine. There are financial risks and it might take time to build that reputation – do not be put off by time and money hurdles. Every successful label started from scratch and they had to go through some pretty rough times. Going to local gigs and keeping your ears open is a good way to see what sort of acts are making the music you want to promote. If you are savvy regards the financial considerations – can you afford to take time off work or do this as a full-time job? – there will be fewer nasty shocks. That exciting first release might not be the Hollywood première you were expecting: the fact you have a release out there and are mixing it with all the other labels is a big step. There are, as my favourite article states, some key rules to digest:

·         Don't chase trends. Focus on releasing and promoting quality music, nurturing your fanbase and being good to your artists. Things tend to fall into place when you focus on the basics.

·         Be creative. Cheap and cheerful solutions to things like artwork often turn into a selling point rather than a negative. It's not about razzle-dazzle and slick stuff - it's about good music.

·         Treat your label like one of your artists. Promote your label name and build an identity.

·         This is supposed to be fun, remember? Enjoy it!

There is a world of information out there: using it as tools for success and guides will help you get the most out of your label and prepare for bad days/successes. More and more people are setting up their own labels so they can support unsigned acts and release their own sounds – avoiding all the timetables and constraints you might get with a bigger label. Think of the excitement of that first release and getting names into your fold; the first time one of your artists/you press a vinyl and see that in a record shop! THOSE are the moments that you need to keep in mind and never lose sight of! Do not be deterred by the hard work you will need to put in: it is all worth it and something, as I said, we all need to go through. Who knows, eh? If you keep at it and remain focused; before too long, you might have a label that is housing some of the biggest new artists in the music world. You should always follow dreams and, if you are determined to run your own label, then go for it and make it happen! It is important to remain realistic and level-headed but you can dream and aim high – the more work and passion you put in, the more you will get out. Start your mind working and get the creative portion active. Today it might be a mere idea; by tomorrow, you could well take the first steps towards…

STARTING your own record label!

INTERVIEW: Elles Bailey

INTERVIEW:

Elles Bailey

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FEW artists have enjoyed the rise and progression…

as Elles Bailey. I have been speaking with Bailey about her incredible debut album, Wildfire, and recording in Nashville. She tells me about the video for Same Flame and what is coming up next for her - she talks about her sound and why she has released a Deluxe version of Wildfire.

Critics and fans have raved about her voice and incredible sound so I ask about her influences and where she sources guidance from; she discusses new material and a return to Nashville; what advice she would provide artists emerging at the moment – Bailey recommends some current artists we need to get our ears around.

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

It’s been good, thanks. I just got home from Nashville after recording my second record, so have a enjoyed a rare couple of days off in the even rarer British Sunshine!

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

Well, hi. I’m Elles Bailey and, in a nutshell, I weave rootsy Blues, Country and soulful Rock!

There is a video out for Same Flame. What is the story behind the song? What was it like shooting the video?

Same Flame is about the passion and pain in love and how both emotions can sometimes feel the same. I got to make the video over in Spain in the desert as the sun was setting – it was pretty magical, although I don’t think I appreciated just how amazing the sunset was until I watched the video back after it was edited!

Tell me about the special edition of Wildfire. What was the reason for bringing it out?

Well. I had a whole load of acoustic songs that I had recorded that I really loved and had recorded some alternative versions of the album tracks; so it made sense to bring them all out at the same time on a Deluxe version of Wildfire. I had all the artwork redesigned as well to make it super-special.

Have you been shocked by the huge love the album has received and how far it has gone?!

As an artist, you do always hope that the music you create is loved by your fans but, honestly, I have been delighted at the response to the album from my fans and from the critics far and wide. I even had Metal magazines giving it glowing reviews, which totally shocked me!

What was it like working and recording in Nashville? Is it very different to the sort of backdrops and studios you are used to?

I feel really lucky to have worked in some incredible studios in the U.K. with some super-talented musicians; however, tracking in Nashville is the most mind-blowing experience. You have to make sure you savour every second as it goes by in a flash - the musicians there work so fast. It’s amazing that, even though they do this day in and day out, they are still so creative!  Nashville definitely has a special place in my heart!

You have been called a queen of the Blues and heralded by many. Has music always been a part of your life? What is it about music that attracted you in?

I don’t know a life without music: it’s something I have always done and my life would be incomplete without it!

Will there be more material later this year? Are you working in new stuff at the moment?

I have literally just got back from Nashville, TN recording a brand new album that I am so excited to share with you soon! Watch this space for a release date!

Which artists do you count as influences?

I listen to such a broad range of music, so it’s hard to pick influences and I feel I’m inspired by so many.  Right now, I’m loving Ryan Adams’ Heartbreaker; Anderson East’s Delilah; Chris Stapleton’s Traveller; Joe Cocker Mad Dogs & Englishmen (Live at Fillmore East) and John Prines' new record, Tree of Forgiveness. John is such an incredible songwriter!

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

I am always on tour - I call it the ‘Never-ending road I call home’! You can find me touring the U.K. and Europe over the next six months with a big tour in October yet to be announced! Check out www.ellesbailey.com/tour for details of my dates!

What do you hope to achieve in 2018?

Another day off would be nice! However; to continue to build on the success of Wildfire would be amazing!

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

Wow, that’s a hard question. I have so many amazing moments to look back on! However, I think the two days spent tracking this last record in Sound Emporium, Nashville last month will stay with me forever! I have never had so much fun in the studio!

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

I would love to open for Mavis Staples. That would be a dream come true!

Rider…as long as it’s got Haribo and red wine on it then I’m happy – but a hot meal for starving musicians always goes down well too! Wow. I’m so Rock and Roll!

What advice would you give to new artists coming through?

Try and be the best you can be. Work hard, then work harder; then work even harder and don’t give up!  

IN THIS PHOTO: Yola Carter

Are there any new artists you recommend we check out?

Yola Carter. She is the complete and utter real deal!  Lady Nade, also, is an incredible soulful artist that you can find touring occasionally with me (smiles).

IN THIS PHOTO: Lady Nade

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

I don’t really get much time away from music: I live and breathe it 24/7 but running does kinda give me a little bit of headspace

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

Levon Helm – When I Go Away. I just love this song!

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Follow Elles Bailey

Official:

https://www.ellesbailey.com/

Facebook:

https://www.facebook.com/ellesbailey

Instagram:

https://www.instagram.com/EllesBailey/

Twitter:

https://twitter.com/EllesBailey

Spotify:

https://open.spotify.com/artist/4NPMwh3kDwi6uVCNtmeUvU

YouTube:

https://www.youtube.com/channel/UC5_0JHwbrDxdqaGvT_qdRpw

INTERVIEW: Chersea

INTERVIEW:

Chersea

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THE fascinating and delightful Chersea is a revelation!

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.

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.

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.

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.

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.

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.

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.

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

Facebook:

https://www.facebook.com/cherseamusic/

Instagram:

https://www.instagram.com/cherseamusic/

Twitter:

https://twitter.com/ccherseamusicc

SoundCloud:

https://soundcloud.com/chersea

Spotify:

https://open.spotify.com/artist/5FanH97MK1FkMhGH0dh7MN

YouTube:

https://www.youtube.com/results?search_query=chersea

INTERVIEW: Zach Callison

INTERVIEW:

Zach Callison

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IT has been great speaking with Zach Callison…

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.

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).

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.

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.

 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.

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

Official:

https://www.zachcallison.com/

Facebook:

https://www.facebook.com/zachcallison/

Twitter:

https://twitter.com/zachcallison

Instagram:

https://www.instagram.com/zachcallison/

SoundCloud:

https://soundcloud.com/zach-callison

Spotify:

https://open.spotify.com/artist/57YFNq46Xx86nl7ETkd1Ei

YouTube:

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

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

FEATURE:

 

One Year On: Remembrance and Recovery

ALL PHOTOS/IMAGES: Getty Images 

The Manchester Playlist

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TODAY is an emotional day…

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…

CLOSER together.

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

FEATURE:

 

Let’s Be Friends…

ALL PHOTOS: Unsplash 

GDPR and What It Means for the Music Industry

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MANY of us have received…

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?!

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!”

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.

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.

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.

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.

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…

FOR everyone.

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

FEATURE:

 

The Great Escape

Artists to Watch Closely (Part II)

__________

FOLLOWING the first part…

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…

PHOTO CREDIT: Unsplash

OF the big leagues.

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

________________

Ady Suleiman

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

Twitter: https://twitter.com/AdySuleiman

Amaroun

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

Twitter: https://twitter.com/amarounmusic

 

Benin City

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

Twitter: https://twitter.com/wearebenincity

Billy Lockett

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

Twitter: https://twitter.com/billylockett

 

Declan Welsh & the Decadent West

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

Twitter: https://twitter.com/DeclanWelsh

Fabrizio Cammarata

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

Twitter: https://twitter.com/fabcammarata

Gengahr

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

Twitter: https://twitter.com/gengahr

George Taylor

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

Twitter: https://twitter.com/iamgtaylor

Girlhood

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

Twitter: https://twitter.com/gurlzinthehood

Jordan Mackampa

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

Twitter: https://twitter.com/jordanmackampa

Love Sick

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

Twitter: https://twitter.com/thisislovesick

Love Ssega

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

Twitter: https://twitter.com/LoveSsega

Nadia Nair

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

Twitter: https://twitter.com/xnadianairx

Nilüfer Yanya

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

Twitter: https://twitter.com/niluferyanya

Sam Johnson

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

Twitter: https://twitter.com/SCJMusic

Stella Donnelly

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

Twitter: https://twitter.com/stelladonnelly

Tamino

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

Twitter: https://twitter.com/taminoamir

INTERVIEW: Ishani

INTERVIEW:

Ishani

___________

I have been given the chance to speak with Ishani…

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.

___________

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.

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.

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.

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!

___________

Follow Ishani

 Official:

http://www.ishanimusic.com/

Facebook:

https://www.facebook.com/ishanichakra/

Twitter:

https://twitter.com/IshaniChakra

SoundCloud:

https://soundcloud.com/ishanichakra

Spotify:

https://open.spotify.com/artist/4a0nY7bXA3v2bJpKg5N4Vf

YouTube:

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

INTERVIEW: Sapienn

INTERVIEW:

Sapienn

___________

THIS is already shaping up to be a varied…

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.

___________

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! 

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. 

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. 

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. 

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 

___________

Follow Sapienn

Official:

https://sapienn.com/

Facebook:

https://www.facebook.com/sapiennsongs/

Twitter:

https://twitter.com/sapiennsongs

SoundCloud:

https://soundcloud.com/sapiennsongs

Instagram:

https://www.instagram.com/sapiennsongs/

Spotify:

https://open.spotify.com/artist/4Pdt4Dd3TfmGtpYhQzYLJd

YouTube:

https://www.youtube.com/channel/UC0DcC2MrgckjNn7y4PfjUig

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

FEATURE:

 

Mos Def? Definitely Maybe!

PHOTO CREDIT: Unsplash 

Why Do Our Musical Tastes Change Over Time?

__________

IF someone asked me to name…

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.

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.

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”.

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”.

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:

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…

PHOTO CREDIT: Unsplash

NEVER fade from my memory.