INTERVIEW: Kidd Bayou

INTERVIEW:

 Kidd Bayou

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JOEY and Luke of Kidd Bayou have been discussing…

their new single, Gold, with me and what we will see from them in the future. I ask how they got together and bonded; whether a similar taste in music is what got Kidd Bayou progressing and smoking – the U.S. act look ahead and discuss touring and what they want to accomplish before the end of the year.

I was curious whether the boys planned on coming to the U.K. and whether there are new artists we need to seek out; what their favourite memories from music are – the guys tell me how they chill away from their busy music careers.

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

Joey: The week has been good. Got a couple practices in with the band - really trying to work out the kinks to for our release show.

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

Joey: My name is Joey...

Luke: …and my name is Luke Hall.  We are two guys.

Joey: We are a couple friends who happen to make music together.

What is the story behind the new single, Gold? Is there a background to it?

Joey: Yeah. There is, actually. When I was writing Gold, I think it was one of the first tracks we recorded on the album; I wanted to have this themed album where all the songs were about different historical events that had some significance. I wrote Gold about, hopefully, this is obvious enough, the Gold Rush. There are some lyrics about Sutter’s Mill and James Marshall, the San Francisco 49ers….

I would recommend Wikipedia if you need a refresher.

Lisa Rono provides backing vocals. How did you come to meet her? What, do you feel, she adds to the mix?

Luke: I’ve known Lisa since middle-school. She’s super-talented. At the time we were working on Gold, I was also working with Lisa on her solo project. I played her the track and she hummed some harmonies - and she was gracious enough to sing on it. I think her voice really elevates the song. It’s haunting and beautiful.

How did Kidd Bayou start life? When did you meet one another?

Joey: We met in L.A. at a party. I have told this story several times but I am not sure exactly how it all went down, but we decided that it was a party at my house. I think it was Christmas-themed. I was wearing a onesie and Luke showed up also in a onesie. So, you know, it just clicked. I was like: “I like this dude”.

The rest is history.

Luke: That sounds about right. One of my friends, Tien, was living with Joey at the time. Such a bonus to find a new friend at that party.

It seems, Luke and Joey, you have similar tastes in music. Is that common ground a reason why you are so connected as a duo?

Joey: I think it’s that and we are friends first and foremost: we both are musicians and had our own bands previously.  I was a big fan of Luke’s old band, Dayplayer, as well as his solo stuff, Last Home. So, it was pretty natural for us to start playing together. It was great. There was no pressure. It was just two guys throwing around a few ideas and seeing what stuck. Sticky Stars is what stuck.

Luke: It certainly helps that we share similar tastes. We throw ideas off of each other and, since they are distillations of our common inspirations, they usually aren’t too far off the mark.

I know you are both from different parts of the U.S. Where are Kidd Bayou based right now?

Joey: I recently moved back to Chicago and Luke is still in Portland. So, I guess we are bi-coastal if you consider Lake Michigan a coast. I get out to Portland a decent amount. The last time I was out there me and Luke actually laid down a new track.

So, we are still creating but it’s in fits and spurts.

Luke: Lake Michigan is not a coast…

Joey: Splitting hairs.

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

I am trying to figure that out right now. The plan is to have a release show in Chicago and then hopefully, after that, one in Portland. Maybe late-June for Chicago.

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

That would be ideal. There are no current plans but I would love to do a little tour out that way.

What do you hope to achieve in 2018?

Luke: I hope to live to see 2019...

Joey: Simple enough.

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

The first time we jammed together. It was in a tiny little practice space in L.A. Luke played the drums and I played the guitar. I think we recorded some of it. I think of few little bits may have made their way on the record.

Luke: Yeah, that was the start of something special.

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

Joey: Death Cab for Cutie or The Shins. I think we have a similar sound. They are very influential in my songwriting.

My rider would be honey mustard pretzels.

Luke: Nada Surf!

My rider would have to include some salt and vinegar potato chips.

What advice would you give to new artists coming through?

Joey: Make music because you love to do it not because you want to be famous.

Luke: Exactly. Focus on your art and the rest will follow.

IN THIS PHOTO: Haley Heynderickx/PHOTO CREDIT: Evan James Atwood

Are there any new artists you recommend we check out?

Joey: I am so out of the loop these days. I usually get my music from Luke.

Luke: Haley Heynderickx, Futurebirds; Diarrhea Planet, Now, Now and [E]mpress.

IN THIS PHOTO: Now, Now

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

Joey: I would say the majority of us hanging out is outside of music. That’s why this whole thing is special; music comes second after friendship. I think that’s why it was so easy to make a record: there was no pressure; it’s just two buddies hanging out who happen to make music.

I unwind with a beer and some conversation with friends.    

Luke: …and golf, when I can find the time and it’s not raining in Portland. Golf is a major outlet for me, and Joey too, I think. It’s nice to be outside for a few hours and turn off.

Joey: ...and get frustrated with yourself for four hours. 

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Follow Kidd Bayou

Facebook:

https://www.facebook.com/kiddbayou/

Twitter:

https://twitter.com/KiddBayou

SoundCloud:

https://soundcloud.com/kiddbayou

Spotify:

https://open.spotify.com/artist/62dVJBZNEVA0B2X7Cni37T

BandCamp:

https://kiddbayou.bandcamp.com/releases

TRACK REVIEW: YONAKA - F.W.T.B.

TRACK REVIEW:

 

YONAKA

PHOTO CREDIT: Ryan Saradjola  

F.W.T.B.

9.5/10

 F.W.T.B. is available via:

https://www.youtube.com/watch?v=rDhObIqe_-c

GENRE:

Alt-Pop

ORIGIN:

Brighton, U.K.

RELEASE DATE:

11th May, 2018

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ONE of the reasons I am arranging my reviews…

so that I am making room for YONAKA is to complete a weekend of hard and raging sounds. Yesterday, when featuring Gold Phoenix, I had the chance to look at sounds equivalent to Queens of the Stone Age and Royal Blood.  I investigated the state of Rock in this country and whether venues/T.V. shows, when booking bands to play, are taking enough risks. That is an area I want to reinvestigate when speaking of YONAKA. I will also look at Brighton and why it is an area that infuses the spirit and compels great music; why acts like YONAKA are not only inspiring but deserve bigger focus; reality and genuine personalities in the music industry; looking out for those future stars that will define the scene – I’ll end the section by having a gander at bands’ connection and why YONAKA have a chance to help change the scene. I will come back to Rock and its complexities – like I did yesterday – because YONAKA are a band who can certainly turn up the wick! As opposed to those who play straight-ahead riffs and are all about the physicality of the performance; YONAKA are more concerned with lacing in dark Pop moments and Alternative strands. They are fierce and determined but able to create melody, variation and a sense of drama. I am not suggesting Rock artists are lacking sophistication and compositional nuance: YONAKA are concerned with more than slamming guitars and rousing percussion. The guys work a magical concoction that is starting to take a hold in the industry. The reason I am drawn to the band is because of their passionate and effusive performances. There is something electric and scintillating you get from their music; the layers and genres they splice together is deeply impressive. I guess you could call it ‘Dark-Pop’ or ‘Alterative-Pop’ but there is definitely some Rock and Grunge nods working alongside. I feel something is happening in music where bands/artists who can scare the senses and appeal to a certain ‘demographic’ are being overlooked and not given sufficient focus. That may sound snobbish but let’s think about the type of fan that would go to a YONAKA gig. People like me, with cool taste who knows a great thing, are drawn to them. We may not fit the conventional mould of a friendly and amiable music listener – that would be a rather judgemental assumption!

By that, I mean I am not a Pop fan who you’d find flocking to an Ed Sheeran gig and clapping my hands above my head for the whole show. Instead, when you watch YONAKA, you are treated to a rather more exciting and lively atmosphere. It all comes down to artists who are not boring and predictable. The mainstream is still so concerned with fostering artists inoffensive and conformist. Whilst that helps create a rather nice and incontrovertible environment; artists being elevated to the forefront are not really talking about the realities of life and appealing to a wide audience. There are a few mainstream artists capable of stretching their mind beyond basic love and clichéd themes: we still see too many music tropes and dull songs coming through. YONAKA, because of that, might be seen as outsiders – something they would be okay with, I’d assume. Fans and those with better hearing are demanding bands like YONAKA are given more time and appreciation. The band market itself is a little unsure at the moment. There is still that leaning towards solo artists and what they provide. Look out at what is favoured and the albums voted the very best of the year – the majority will come from solo albums/duos. The new breed are giving me hope there are bands who can challenge the established order and provide some variation to the market. YONAKA are one of those acts to watch because their sound does not copy what is out there; they do not aim for stadiums and try and pander to the critics. I will explore this subject more but it is interesting to see how the underground is shifting focus and starting to prick the senses. We have always been interested in what is happening in new music but now, as the mainstream starts to plateau and halt, we are looking underground and seeing who will come through in years to come. I may be rambling but am a bit stunned by bands like YONAKA and how ready they are to succeed.

The quartet of Theresa Jarvis, George Edwards; Alex Crosby and Robert Mason are a solid unit and one based out of Brighton. I am not sure whether they are still based there – or moved to London – but Brighton is a great area for new music. I was down there a few days back, just after The Great Escape, but had a great look around and saw some terrific venues. Maybe London is still the to-go-to place for big artists and those looking to get the biggest crowds. Most of the labels and big radio stations are based in London but that does not mean there is nothing outside the capital that warrants curiosity. When I was over in Brighton, even though it was a bit overcast, the atmosphere and vibe was hard to fault. Every time I am down there, there is that friendliness and easy-going vibe that is infectious. There is rarely any stress and people are calm and helpful. Whether walking down Brighton Pier or wandering The Lanes/North Laine; you are always in for a treat and in a good mood. There are venues like Green Door Store and Sticky Mike’s Frog Bar that are established and respected. Whilst there is not the same vastness and range you get in London; Brighton seems like a safer economy and one of the most upcoming spaces to discover the best of tomorrow. The vibe and colourful bliss you get from Brighton, coupled with the solid and unique venues, means YONAKA are in a great place to hear their music succeed. They are based close enough to London – and may relocate there soon – but, right now, with the weather warming and the seasons changing; who would not want to be near the sea and alongside the people there?! I wonder whether YONAKA will stick down on the coast and see how far they can get in Brighton. It is a sad inevitability that, the bigger artists become, the lure of the big city wins them. I hope YONAKA stay in Brighton because it is guardians and ambassadors like them that attract labels and radio stations down there.

I will move onto my next point soon but, before then, I will remain in Brighton. Listen to the sort of music YONAKA are making now and it is more enforced by local influence rather than national tastes. By that, I mean the mixtures of darker Pop and Rock seems a perfect fit for Brighton; the band take all the scents, personalities and flavours of the area and put it into their music. I am not saying music from bigger cities lacks personalities but it is harder to stand out and create something vibrant when there are so many people around and there is a certain expectation on the shoulders. Brighton is known for its rare spirit and distinct personality. It is less crowded and, whilst fewer big names are based down there, the local breed is free to create as they wish and produce music that differs from what is out there. YONAKA might relocate in years to come but, right now, they are doing their thing and standing out from the masses. I am not surprised Brighton is inspiring so many great artists and seeing so many native artists hit the big leagues. I feel YONAKA can make some big differences in the music industry and help create development and improvement. The guys are on the rise right now and enjoying music – creating songs that are pure to them and stand out in the mind. I am finding fewer songwriters that showcase imagination and tell stories. You look at a lot of music in the spotlight and there is that commercial sound with lyrics that do not really force intelligence and depth. YONAKA are part of a wave of artists who are making music that provokes imagination and genuine interest. I will come to look at their current single in a bit but I am determined to highlight the band as possible stars of the future.

I feel like there is too much of an imbalance and surfeit in terms of bands. Have a look at the mainstream and you will see few decent bands enduring and evolving. The greatest bands of the moment have been going a while and, if you look at the new acts tipped for glory; the majority of the big names are solo artists. Maybe it is a change of tastes and a phase but I feel there is a slight fatigue when it comes to bands. It is not like we have Fleetwood Mac and Led Zeppelin playing in the mainstream and showing what a genuinely stunning band can come up with. That is not to say the current crop lacks ability and longevity: things are becoming too routine and there is more affection put the way of the solo artist. It will be hard to overturn the dominance anytime soon but I feel, if we allow a passage thorough for bands like YONAKA, then changes will come. We have bands like Wolf Alice and Goat Girl who are splicing darker Pop and Indie with jagged guitars and fierce vocals. They are making headway and there is a reason why both band’s current albums enthralled critics – this is what we want in music and need. It is not as easy as opening the door for YONAKA and letting them change things and help bring about a revolution. The makeup of the market means there is still that core that prefers a certain sound and is unwilling to bend and break from their tastes. That is fair enough but there are so many out there who are scouring record shops and attending small gigs so they can get their fix. By allowing greater opportunity for bands like YONAKA, you will add balance to the industry and mean it is more balanced. I feel like the mainstream Pop market has too much say and money is more important than quality. I opened by looking at music T.V. and why I was keen to focus on Rock/harder sounds this weekend.

YONAKA are the type of band I could see doing a great set on a music T.V. show. Look at current options like Later… with Jools Holland it is a breeding ground for the best of modern music. There is no other T.V. show that gives that chance and, seeing as YONAKA are a bit too new to warrant a slot on the show, I wonder whether it will take a lot longer for them to get where they deserve. The guys are doing some great gigs and putting their music as far as they can. Another reason why I feel the guys are destined for something big is because they are genuine people. There are no guarded words and pre-planned quotes. They are not consulting with their people when answering questions and hesitating from tackling the big topics. Instead, the band is honest and revealing; they have a lot of guts and a sense of humour that comes through in everything they produce. You can hear their honesty and openness when chatting with magazines and radio stations; their music has personality and originality that does not aim for the safe seats and those want things sanitised, radio-friendly and vanilla. That is not to say the band is crude renegades that want to offend everyone and burn bridges. There are so few artists who want to be themselves allowed much of a say in the forefront of music. I know I keep mentioning bands like Wolf Alice and IDLES but, when you look at the quality of their music and how they come across in interviews; why would you hold them to boundaries and not give them a bigger say?! Maybe these band are more comfortable working just-outside-the-mainstream but I feel music’s elite need to take listens from these great bands. Look at YONAKA and they tread the same sort of lines. The music they put out gets inside the head and stays in the mind. It is so hard, with the music we have out there, to keep it all in and remember. That may sound worrying but there is so much choice – how often do we retain music?

I feel the scene will change so that YONAKA and their allies will have a bigger shout and define the next phase of music. The connection and relationships within YONAKA is what pleases me most. There is genuine friendship and an unbreakable bond that makes their music so authentic and strong. Nothing is faked and exaggerated for them: every note is as a result of a deep understanding and a love of music. I am hearing a few bands that are going through the motions or compromising what they do so they can ‘fit in’. Bands are suffering to get proper attention but that does not mean amending what you believe in so you can easily slot into the forefront. YONAKA want to succeed and get as far as they possibly can in the industry – they are doing it the honest way and proving themselves with consistently great songs and incredible live performances. It is their combination of skills and passions that gets to me. I am hearing a lot of effusive chatter regarding YONAKA and what they can accomplish. They are legends down in Brighton but, through bigger showcases, are getting into the national blood. When I discuss F.W.T.B. in a bit, I will look at the story and why it marks the Brighton-based band for big success. I will end this section by keeping on the road of connection and understanding. I listen to YONAKA play and know there are no standouts. That may sound cruel but, by that, there is equal footing given and a chance for each band member to shine. The songwriting brings the best out of each player and you get a sense every note and utterance means the world to them. I wonder how the band will progress in the next few years and where they are headed. On the strength of F.W.T.B., I suspect they will have plans to release more material and capitalise on their momentum.

Glory-twanging guitars and a funky kick mix with a slight flat-pack percussion sound. It is not the violence and aggression you might expect given the song’s title. The band subverts expectations and brings the song to life with plenty of colour and softness. The guitar sound is fascinating in the sense it creates so much melody and rhythm. The drumming and strings combine wonderfully and you start to conspire images and imaginations right from the off. Our heroine comes to the microphone after the drums tense and things rush to the fore. “Shut your mouth for a minute!” she declares and presents a stealthy attitude and lips that “won’t quit”. Listening to the opening vocals and there is that blend of the unique and nostalgia. I can hear shades of classics acts mixed with something unexpected and new. It is that kind of power and instant prowess that means the song gets into the brain. Jarvis is crawling and strutting around the microphone and flipping a two-finger salute to those who say she cannot succeed and needs to limit her horizons. She is not listening to the boss and unwilling to listen to negative words. I am not sure whether the song was compelled by a domestic and normal job or it is a larger look at the music industry and compromising to fit in with their visions. The band, as with their previous singles, mix Pop and its energy with something gutsy and Rock-lingering. The chorus is a big and emphatic shout-out that has plenty of life and fascination; the band provides some stabbed strings and lashings of intensity. The heroine, in the chorus, is the boss and she is sending a warning to anyone that overlooks her or tries to screw. It is a bellicose and direct warning that is a mantra of self-confidence. She has seen so many people mess her around and, in life, she wants what she wants. There is nothing she cannot achieve and, because of that, anyone who gets in her way is in for a serious kick in the nuts!

Maybe it was a bit premature of me to associate YONAKA with Rock – they mix in Pop and Indie with something Hip-Hop-minded. The chorus has that swagger and fast-flow that makes me think of genres like Hip-Hop and Rao but the way the band work around the vocal brings in Pop. It is a mix of darkness and light that is rich and satisfying. The chorus is instantly gratifying and memorable. It mixes the profanity of the title but it is never crude and meant to shock. Instead, YONAKA are sending out a message to anyone that try and trample and dictate. I did not mention female leads in music and how the industry needs to reshape and recast their mind. I have mentioned bands like Goat Girl and Wolf Alice who boast tremendous female voices but, in YONAKA, you have a different angle and equal weight. The band is not trying to follow the crowd but make music that sounds familiar and relatable. It sprinkles in, oddly, elements of 1980s Pop and would not seem too out of place in the mainstream. What differentiate YONAKA from a popular act of the moment is the intensity, personality and quality they expend in every note. They have accessibility but are raw and impassioned enough to alienate those easily scared and closed-minded. Jarvis constantly has her middle finger aloft and is not allowing anyone to mess with her. The song is under three minutes but delivers great punch and declaration in that time. The band turns the guitars up and provides plenty of swagger and punch to back the vocals. There is a great little standout moment where the song changes pace and allows the instrumentation to shine. It gives the track another twist and visual elements. Before long, the chorus is back in and we are heading towards the finishing line. It is the balance of simplicity and complexities of the track that mean it is so memorable. The chorus is the big star and the mission statement that is intended to get crowds chanting and provoke fevered dancing and fist-pumping response. F.W.T.B. is more confident and assured than anything I have heard from YONAKA so far. I am a fan of singles like Ignorance and Bubblegum but it seems like live performances and time on the road has strengthened their core. I can imagine YONAKA vibing from the success of their latest single and taking that ammunition to their next work. Things are hot with them right now and I am compelled to watch them grow and develop as a band. Their latest statement is stronger than most of the stuff out there and ample proof they are ready to offer something different to the mainstream. There are some great acts who balance Pop and heavier sounds with a fresh edge – none that do it in the same vein as YONAKA, mind. I would love to see the band get the chance to headline the biggest stages and you have to say, on the strength of their newest release, they are capable of handling that sort of pressure and intensity. A fantastic time for the Brighton band who, with every new release, show the music world needs more bands like them.

The band conducted an interview session of Facebook on Friday with the fans and revealed all about their world. They launched their single in Brighton last week and it went down a storm. I wonder whether there will be a music video for the song coming soon. It is the kind of track that would provoke a great storyline and some fantastic images. Maybe the band is working on that right now but, with their latest track fresh and gathering love; there is a lot of new attention the way of the band. The single for F.W.T.B. features an Asian woman with the song’s title on it – Fucking with the Boss – and, to promote the song, the band featured these facemasks out to fans at their gigs. There is a distinct edge and aspect to the band. Each song has its own motif and U.S.P. – rather than the bland and overly-engineered promotional campaigns you get with the bigger acts. YONAKA have some gigs booked over the summer but there are spaces in the diary the guys could rock. I know they will be playing up and down the country but there is still that bigger faith and spotlight in Brighton. They are getting lots of local love and thrilling the fans with explosive live sets and phenomenal songs. I am sure the band will go on to great things but, right now, they are cementing their name where they are and amassing some great songs. I think they have released four or five singles so far. That poses the question: Do they go for An E.P. and collate all their songs or release an album and recorded five or six new songs? I feel the former is more likely but the latter would be a good move. It is clear there is inspiration in the camp and they are buzzing off the support they are receiving.

Their Heavy E.P., actually, was out last year so they might have already fulfilled that part of things. It gets me thinking about albums and what their next step is. In Theresa Jarvis, the band have one of the most captivating and flexible leads in new music. She is capable, like Ellie of Wolf Alice, to go from a commanding and empowered scream to something more delicate and teasing. It is exciting watching the band grow and amassing some serious affection. I will end this by looking ahead for the band and where they might head. I mentioned how there are a few bands like them playing that are standing at the boundaries of music. I feel YONAKA have the chance to take their music on the road and reach all corners of the U.K. I feel what they are offering is popular and will resonate with so many people. F.W.T.B. is another example of what they can accomplish and how far they have come. Every new release sees them grow in confidence and assimilate new elements into their sound. They are never compromising and adapting their music to fit in with the mainstream. Maybe that will limit their rise to the big leagues a bit but, when they get there, they will do so on their own terms! It is wonderful seeing YONAKA take strides and gain the respect they deserve. They are one of Brighton’s best acts and, in a part of England that is producing some pretty fine artists, that is no mean feat! If you are immune to the wonders of the band and what they are producing then make sure you get your mind around F.W.T.B. It is a stunning work from a band who are inching their way…

TO glory.     

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Follow YONAKA

Official:

http://weareyonaka.com/

Twitter:

https://twitter.com/weareYONAKA

Facebook:

https://www.facebook.com/weareYONAKA/

Instagram:

https://www.instagram.com/weareyonaka/

SoundCloud:

https://soundcloud.com/weareyonaka

Spotify:

https://open.spotify.com/artist/3Wcyta3gkOdQ4TfY0WyZpu

YouTube:

https://www.youtube.com/channel/UCzBddYqg5UYiz3U6EhwDCEA

FEATURE: Sweet Dreams: A Music Icon at Seventy: The Stevie Nicks Playlist

FEATURE:

 

Sweet Dreams: A Music Icon at Seventy

IN THIS PHOTO: Stevie Nicks/PHOTO CREDIT: Danny Clinch for Interview Magazine (2017)

The Stevie Nicks Playlist

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IT seems odd to think Stevie Nicks…

PHOTO CREDIT: Getty Images/Press

is even capable of ageing and growing old at all! She seems to have this eternal and faultless aura that preserves her and entrances the senses. Whilst age is only a number; with her seventieth birthday today, I felt it only right to celebrate and mark her extraordinary life in music with a playlist. Nicks has, as part of Fleetwood Mac and a solo artist, crafted some of the most memorable songs from all of music. From the soothe and beguiling beauty of Dreams to the strut and confidence of Edge of Seventeen – songs that show what a versatile and extraordinary talent she is. I have compiled a collection of Nicks' greatest songs that, I hope, do her justice! With Fleetwood Mac touring and still going, we have not heard the last of Nicks by any means. Her talent and essence is timeless and ever-required; an iconic human figure whose brilliant music will inspire musicians and willing hearts…

IN THIS PHOTO: Stevie Nicks/PHOTO CREDIT: Peggy Sirota for Rolling Stone (2015)

FOR decades to come.

FEATURE: Profit and Loss: In Spite of the Money in Music, Where Is the Soul and Equality We All Desire?

FEATURE:

 

Profit and Loss

ALL PHOTOS/IMAGES (unless credited otherwise): Unsplash 

In Spite of the Money in Music, Where Is the Soul and Equality We All Desire?

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SOCIAL media can be a great barometer…

IN THIS PHOTO: Carly Wilford/PHOTO CREDIT: Tom Jamieson

when it comes to opinions regarding the music industry. A D.J. contact of mine, Carly Wilford, noticed the (vast) amount of money in the music industry and came to a conclusion: there seems to be a lack of soul that needs to be counteracted. Apart from the most profitable and popular musicians; there is a lot of other money coming in that shows a divide and split. I will look at class and how there is a gulf between working-class acts struggling and wealthier talent gaining traction and having the most influence – that will come later tomorrow. Streaming services and revenue on sites like Spotify meaning the music industry continues to grow and has continued to experience growth. Early last year, when streaming hit a peak and helped create a turnaround, the figures and facts were laid out:

“The once-ailing music industry has hit a “historical tipping point”, recording its second year of growth and revenues of $15.7bn (£12.2bn) in 2016, according to a report.

An in-depth look into the health of the music industry by the International Federation of the Phonographic Industry (IFPI) has shown that in 2016 there was 5.9% growth, mainly attributed to the mass adoption of streaming across the world.

It is a vastly different story from the previous 15 years, where record labels saw a decline of 40% in revenue as piracy took its toll, physical sales declined and record shops went out of business.

In its early years, streaming was derided by many musicians and observers as the final nail in the industry’s coffin. However, with 112 million paying subscribers to services such as Spotify, Apple Music and Tidal, which ensured growth in streaming revenue went up by more than 60% last year, it has now been hailed as the saviour of music.

Executives in the industry said a “spirit of optimism” had emerged, as they witnessed the rapid increase in people willing to pay for streaming services, which cost an average of £9.99 a month”.

It is good to see streaming services succeed and the music industry overcoming its once-ailing status.  Vinyl sales are up and more revenue is coming in from gigs and festivals. We know more people are going to the biggest festivals and it seems, despite the fact some venues are closing, there is an appetite for music in the open. The fact, too, people are balancing the digital with physical makes me hopeful the industry will keep on growing and expanding. Record sales are going up and we are at a point where the black days are past – even if there are still hurdles and a way to go before there is big profit and security. If you think smaller music labels are gaining more traction then there are findings (released last year) that show where the wealth lies:

“If you're a music fan, it probably seems like there are literally hundreds of music labels out there scattered across the world. New record companies are created every day to cater to niche audiences and music styles, right? Yes, but...

These companies are just subsidiaries of major labels. In reality, there are just three major record labels. All the others actually live under their corporate umbrellas.

There used to be four major labels—EMI was once one of them—but Universal Music purchased EMI in 2012. So where once there were the Big Four, now there's just the Big Three.

The Big Three

The Big Three record labels are:

Sony BMG

Universal Music Group

Warner Music Group

These labels can make up almost 80 percent of the music market or even more depending on the year, although it was estimated to be about two-thirds in 2016”.

There are takeover talks and movements all the time – the legal and industry-wide ramifications of illegal or unwise takeovers can be huge:

“Universal Music expressed interest in purchasing EMI in 2012 and made an offer of $1.9 billion. Consumer watchdog groups released a report encouraging the government to halt the deal on June 14, stating that the buyout would cause major issues within the industry. They felt that this new mega power would be able to disrupt pricing, costing consumers significant amounts of money.

A congressional hearing was held on the issue, and it was examined by European authorities as well. After several months of debate, American and European regulators approved the takeover of EMI. Universal Music gained access to the work of some significantly major artists, including the Beatles, Pink Floyd, Lady Gaga, and Kanye West”.

I still see the music industry as a reverse of Robin Hood: the rich seem to keep taking and profit and never give to the less-well-off. Maybe it is not a reverse of Robin Hood but something that needs a heroic figure to balance the scales. I do not judge the richest musicians like Taylor Swift, Kanye West and their like – they have earned their money legitimately and continue to succeed and push the industry forward.

There is that aspect of mainstream commercialism that links to T.V., film and advertising. Long-standing commercial acts like Justin Timberlake have been the subject of endorsements and deals since he burst onto the scene. Is there a danger of this commercial success – does it mean other artists lose out?

“Value is subjective, and discounting artistic endeavors because they are popular and earn a lot of money implies that the consumer’s preference is wrong. Maybe consumers do sometimes get it wrong, and there are otherwise brilliant works that never really see the light of day. But art is not a zero-sum game, where one’s success comes at the expense of everyone else’s. The artistic merit of work that experiences commercial success, such as that of Timberlake or any number of modern pop stars, is not diminished by its profitability”.

I have not talked about technology companies and how they profit from music; the sort of riches that we see from deals behind closed doors. You can argue this money is all earned fairly and the artists/companies who generate big money have worked hard to get it. That is a debatable proposition but, setting that aside, there is that huge chasm between the biggest artists/labels and everyone else. A lot of the money earned is going back into the business but so much is lining pockets and being used on advertising and needless developments.

You have to wonder how a deal involving a big artist doing an advert for a technology company, which earns everyone loads, profits everyone else in music. My concerns around music’s disproportionate wealth distribution mirrors the revenue gained by giant companies like Google and Samsung. They make an ungodly amount every hour and even come out and say they struggle to spend the money and do something good with it. We all know there are these titans making money and that is true in the music industry. I am not suggesting there is equal distribution with regards profit but there is cheapness and shallowness that leaves a bad taste. There are benevolent artists who give money to charities/causes but what are the companies and big labels doing?! Music is all about soul and feel: I feel it is being lost and there are so many people struggling to do their best work because of lacking funds. The U.S. and U.K. are the two biggest music markets in the world and our industry is in no danger of struggling anytime soon. Although last year’s profits are not immense; there is enough money circulating that can aid and benefit music. From funding mental-health study and help for musicians to helping finance more music programmes in schools; provide education around race and gender in music and establish a foundation that financially assists musicians who struggle to make ends meet and succeed – all of this is achievable and would give music more heart and nourishment.

I feel every corner of music has cracks and paper that needs fixing and reparation. Every week we read about some venue struggling to stay afloat or another controversy; some cause that could benefit from some money and love – who is there to bail them out and provide that recourse?! Musicians themselves can do their best to give soul and passion to the people: they are only capable of so much and cannot do it alone. I am seeing these big divides and wonder whether, by making small compromises, the big labels and companies – who earn a lot from endorsements and advertising – could pledge a small cut of their profits to a benevolence fund. Maybe a bespoke charity could be set up where money is distributed to a variety of people/causes and help make a big difference. The industry will only survive and inspire if the people making the music, the new generation specifically, are able to keep their footing and find support. We keep hearing about sexism in music and race issues; the gap between the poorer newcomers and those at the top of the tree. Money could be invested to provide better education and awareness to those perpetrating sexist/racist ideals; a safety net given to those musicians who feel the pinch. I know there is not enough money to help everyone but there is a soullessness and crass sense of exploitation that is going unchallenged.  Advertising and big-money deals are part of the music machine- they always have been and, sadly, always will.

I am not proposing a bloodless coup to rectify this disparity and extravagance: a greater conscientiousness from those in power would help see a smoother lineage of redistribution and help affect a trickle-down economy in music. At the moment, it seems the majority of profits are at the top of the pyramid; there is scant finance at the bottom and those in the middle fare well or badly. Artists are struggling more than ever and, if they are stressed because of low payment and lacking paid gigs, they are unable to attend gigs and make their best work. The financial pot of music is a complex and ever-changing brew: one moment it is healthy and fired; the next sees trouble and ominous warnings. I can bandy words like ‘soul’ and ‘heart’ around all I want but they mean a lot – the lifeblood and essence of music is not money and popularity but the human and psychological cogs and motions that go run from the wannabe Garage band in the U.S. to those embarking on worldwide tours to millions. I see the richest and most prominent sectors of music as a flaunting and sexy woman who teases people and gets what she wants because of her looks. There is that same shallow-minded approach to people and not giving a f*ck regarding those struggling and worse-off. Maybe that is a poor metaphor – but gets the mind working! – but I am tired of seeing something essential being sucked out of music. Greater distribution of musical wealth will not solve every problem and lead to a revolution – it may, in fact, only see small changes to start. It is that START that needs to happen as, right now, all the money in the world is not being given to all those in the world. So many good things can happen if we look at the gaps in wealth and tackle those who have the power to change things for the better. If we ignore that, and assume things will solve themselves, then the industry we all know and love…

GOES begging beyond the point of true dignity.

FEATURE: Education in Reverse: Twenty Years of The Miseducation of Lauryn Hill – and Why Its Author’s Presence Is Needed at the Forefront of Music

FEATURE:

 

Education in Reverse

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

Twenty Years of The Miseducation of Lauryn Hill – and Why Its Author’s Presence Is Needed at the Forefront of Music

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IF you have bought a ticket for this article…

IN THIS PHOTO: Lauryn Hill

thinking it is nostalgia-free and low in sugar then I am afraid there are no refunds – I can give you store credit or give you a discount on the next piece! It is not all nostalgic, mind: I want to look at an album that turns twenty later this year and still, in 2018, draws sighs of affection among new artists. There is a disclaimer when it comes to explaining Lauryn Hill’s absence and lack of activity in the years following her debut solo album – tax issues and a spell in prison is hardly going on a resume that includes some of the best music of this generation. I remember when the album came out – 25th August, 1998 – and being strange to that world. I was fifteen when the album arrived and newly open to the power and potency of a woman who seemed to lust after change and consciousness. The fate and life of the American black population in the 1990s was, if anything, less fraught and unsure compared to today. The Miseducation of Lauryn Hill is not only about social injustice and the quest for morality. It deals with victory in love and not being trampled on; purity and religion; a better world and the importance of teaching – a veritable life-lesson and seminar from someone who, at the time, was twenty-three. Such a confident and complete album does not usually arrive from someone so young: the fact Hill has recorded two albums with the Fugees (1994’s average introduction, Blunted on Reality, and 1996’s masterpiece, The Score) gave her a good grounding to step out on her own.

Look at the classic cuts from The Score – Ready or Not, Fu-Gee-La and Killing Me Softly – and Lauryn Hill is at the forefront; it is her voice and authority that gives the songs so much presence and scintillation. It is a shame the Fugees split: the fact Hill continued on her own was no surprise to anyone. Before I go on to dissect her solo album and why the twenty-year gap has been notable; Lauryn Hill has announced plans for a tour to promote the twentieth anniversary of The Miseducation of Lauryn Hill:

 “Lauryn HIll is celebrating the 20th anniversary of her landmark album The Miseducation of Lauryn Hill with a tour of the UK and Europe.

The rapper will begin in Oslo, Norway, on 15 November and take in dates across Belgium, France, the UK and Ireland, Luxembourg, Holland, Denmark and Sweden.

"This album chronicled an intimate piece of my young existence," Hill said. "It was the summation of most, if not all, of my most hopeful and positive emotions experienced to that date. I loved and believed deeply in my community's ability to both love and heal itself provided it received the right amount of support and encouragement.

"Our world today, both complex and changing, is in need of the balance between moral fortitude and cathartic expression. I hope the love and energy that permeated this work can continue to inspire change with love and optimism at the helm”.

PHOTO CREDIT: Anthony Barboza/Getty Images

Those plans sound great and the interest garnered will ensure some sell-out shows and a triumphant return. I wonder whether that moment back in the limelight will provoke Hill to get back into the studio and record again. There are other impassioned black artists who are talking about their nation and the need for change – Beyoncé, Kendrick Lamar and Childish Gambino among them. We are in a time when the tones and reflection on Lauryn Hill’s debut solo album are still inspiring musicians today. I am interviewing a lot of musicians and, either nostalgically or presently, they are learning and being enriched by the record. It has that glorious sense of the past but is ever-relevant and wonderful. The Miseducation of Lauryn Hill looks at the breakup of the Fugees and Hill’s pregnancy – with Jamaican entrepreneur Rohan Marley – and was recorded, mainly, in Kingston. The album won numerous awards and, as of 2013, it had sold more than nineteen-million copies worldwide. In addition to winning five Grammys; the record numerously appears in the ‘Best Albums of the 1990s’ and is seen by some as one of the finest records ever. Although there was some legal wrangle surrounded creative rights and accreditations of New Ark (Vada Nobles, Rasheem Pugh; Tejumold Newton and Johari Newton) – that was settled in an expensive lawsuit – the album promoted Hill to a new level and meant the world’s eyes were on her.

Hill’s incredible delivery skills and her songwriting clarity meant (the album) resonated with critics. Not only is social balance and women’s rights present in the album; faith and the presence of God weave its way through every track. Laying the groundwork for the Neo-Soul genre/rise and putting Hip-Hop into the mainstream; songs like Doo Wop (That Thing), Lost Ones and Everything Is Everything were radio favourites and are played regularly today. Lost Ones is a battle against a cheating man – or possibly someone used to getting their way – as Hill, almost boxer-like, weaves and throws her punches. It is a tough and swaggering song that shows Hill as a passive, if victorious, party; Doo Wop (That Thing) has those blissful horns and sense of bliss- the standout of the record and, perhaps, Hill’s definitive cut. Some truly underrated/reviewed tracks such as When It Hurts So Bad and Every Ghetto, Every City show their brilliance twenty years forward and prove what an intelligent and mature Hill was. Of the fourteen tracks on the album, ten are solely written by Hill – she solely produced twelve of the tracks off the record. It is a command and impressive confidence that meant few other voices tampered and temporised her voice. Setting aside legalities and how many other musicians contributed music/words – Hill’s viewpoint was that contracts were meaningless; it was all about love and collaboration – it is her vibrancy and endless curiosity that makes the record such a milestone.

In a year where Madonna’s Ray of Light, Beastie Boys’ Hello Nasty and Massive Attack’s Mezzanine awed critics and enthralled the world; it would have been easy to overlook and relegate an album from Lauryn Hill (Fatboy Slim, Garbage and Elliott Hill released near-career-best records in 1998). 1998, like so many years from the '90s, was a staggering year for albums. You only need do a quick Google search – ‘The best albums of 1998’ – to realise how good we had it. Lauryn Hill’s sole solo album stood aside because of its spirituality and sense of keen observation. It competed with the great albums of that year – I forgot to mention Robbie Williams, Neutral Milk Hotel; Beck, Pulp; Manic Street Preachers… - and inspired new songwriters to go into the business. The Miseducation of Lauryn Hill is personal and seeking but looks outward and embraces the wider world. Larger themes, such as bitter romantic tangles and personal enlightenment, could be easily understood and digested. Hill’s rhythms and raps go from fired and on-top to soulful and tender. Maybe the ‘womanist lens’ of the record, retrospectively, is more empowering and purposeful regards female artists…but that would be limiting and ignorant. The record, then and now, brought everyone in and was about everyone.

It is the extended ‘career break’ post-1998 that befuddled many. The period between 2000-2001 is explained on Wikipedia:

“Hill began writing a screenplay about the life of Bob Marley, in which she planned to act as his wife Rita.[12] She also began producing a romantic comedy about soul food with a working title of Sauce, and accepted a starring role in the film adaptation of Toni Morrison's novel Beloved;[12] she later dropped out of both projects due to pregnancy.[12] She also reportedly turned down roles in Charlie's Angels (the part that went to Lucy Liu), The Bourne Identity, The Mexican, The Matrix Reloaded and The Matrix Revolutions.[12]

During 2000, Hill dropped out of the public eye. The pressures of fame began to overwhelm her.[12][21] She disliked not being able to go out of her house to do simple errands without having to worry about her physical appearance.[12][37] She fired her management team and began attending Bible study classes five days a week; she also stopped doing interviews, watching television and listening to music.[37] She started associating with a "spiritual advisor" named Brother Anthony.[12] Some familiar with Hill believe Anthony more resembled a cult leader than a spiritual advisor,[12][60] and thought his guidance probably inspired much of Hill's more controversial public behavior.[60]

She later described this period of her life to Essence saying "People need to understand that the Lauryn Hill they were exposed to in the beginning was all that was allowed in that arena at that time… I had to step away when I realized that for the sake of the machine, I was being way too compromised. I felt uncomfortable about having to smile in someone's face when I really didn't like them or even know them well enough to like them."[61] She also spoke about her emotional crisis, saying, "For two or three years I was away from all social interaction. It was a very introspective time because I had to confront my fears and master every demonic thought about inferiority, about insecurity or the fear of being black, young and gifted in this western culture."[61] She went on to say that she had to fight to retain her identity, and was forced "to deal with folks who weren't happy about that."[61]

In July 2001, while pregnant with her third child, Hill unveiled her new material to a small crowd, for a taping of an MTV Unplugged special.[12][62] An album of the concert, titled MTV Unplugged No. 2.0, was released in May 2002 and featured only her singing and playing an acoustic guitar.[62] Unlike the near-unanimous praise of Miseducation, 2.0 sharply divided critics. AllMusic gave the album 4 out of 5 stars, saying that the recording "is the unfinished, unflinching presentation of ideas and of a person. It may not be a proper follow-up to her first album, but it is fascinating."[63] Rolling Stone called the album "a public breakdown"[12] and Robert Hilburn of the Los Angeles Times said the album's title opened Hill up for jokes that she had become unhinged.[64] NME wrote that "Unplugged 2.0 is a sparse and often gruelling listen, but there is enough genius shading these rough sketches to suggest that all might not yet be lost." With the mixed reviews and no significant radio airplay, 2.0 debuted at number three on the Billboard 200,[65] but then quickly fell down the charts[64]and ended up selling less than 500,000 copies in the U.S.[12] Neither the album nor its songs placed in the 2002 Pazz & Jop Critics Poll.[66] Her song "Mystery of Iniquity" was nominated for a Grammy Award for Best Female Rap Solo Performance[67] and used as an interpolation by hip-hop producer/songwriter Kanye West for his single "All Falls Down", as sung by Syleena Johnson”.[68]

Between 2004-2009, Hill did sporadic gigs and some brief tours; On 6th May, 2013, Hill was sentenced by Judge Arleo to serve three months in prison for failing to file taxes/tax fraud and three months house arrest afterwards as part of a year of supervised probation.

PHOTO CREDIT: Unsplash

That is a lot of information to take in but, between maternal responsibilities and some brief appearances, there has been not a lot from Lauryn Hill in the past twenty years. There has been the odd collaboration and one-off song – for various causes and charities – and some cancelled gigs…it takes us to now and the anniversary tours. Maybe it will be another one-off and it will not lead to a follow-up: many are hustling for a response to the brilliance of The Miseducation of Lauryn Hill. The times are different in terms of commercial needs and the musicians around: the political and social situation (in the U.S.) has grown worse and desirous of those songwriters who can assess the troubles and what needs to be done. If Hill, back in 1998, was more focused on spiritual alignment and women’s struggles; there was political dissatisfaction and an acute understanding of the role, or lack thereof, the black population played in the world. Maybe the pressure and celebration of her album caused too much expectation and meant a follow-up impossible – how does one follow such a titanic and important record?!

One can look at artists who have only recorded one album – Jeff Buckley among them – and mourn the fact there is not to be a second from them. Lauryn Hill’s stock has changed and, maybe, other artists are in a better position to articulate the sort of concerns and issues that were explored back in 1998. I feel the experience and backing Hill has should not be overlooked: she is capable of producing a world-class record that stands the test of time. Maybe we should leave The Miseducation of Lauryn Hill in the past and celebrate what it gave to us – a spectacular revelation from a young woman who had few equals back then. It will be exciting to see what form her tour takes and what reception it garners. In 2014, when she toured the album, critics were confused by the ordering of the songs and the arrangements baffling and obscure. Let’s hope these four years have created clarity and Hill is recharged and ready to strike. She is not sitting back and seeing what is happening to the black population and women in the U.S. There is a sense of injustice and discrimination that will get to her and provoke, I hope, a stunning show. The Miseducation of Lauryn Hill amazed us back in 1998 and, although twenty years has now passed, the messages and sermons laid down are educating new artists and still hugely relevant. Although another record may not be on the cards (soon, at the very least) I hope, when Hill brings her tour to the U.K. later this year, she gets to the stage and reminds us why her only solo album…

PHOTO CREDIT: Unsplash

SHOOK and changed the world of music!

FEATURE: Anergy in the U.K. Is a Lack of Edge in the Industry Holding Back Progression?

FEATURE:

 

Anergy in the U.K.

ALL PHOTOS (unless credited otherwise): Unsplash 

Is a Lack of Edge in the Industry Holding Back Progression?

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ONE piece of musical good news…

IN THIS PHOTO: Jools Holland on the set of Later.../IMAGE CREDIT: Getty Images/BBC

is the return of Later… with Jools Holland. It is a music T.V. show that reminds me of a favourite aunty: it is the same reliable and kind-hearted spirit who will never let you down; the chances of seeing any radical redecoration in the house or an appearance change is unlikely. Jools Holland’s long-standing show is unlikely to tattoo its scrotum and have its artists smash the stage up and drink their own vomit! That is good in a way – the complaints coming through the BBC would jam the switchboards – but one looks for a bit of change and movement. I am not going to stick with the musical-T.V.-paradigm here but it deserves an undressing. One of the biggest criticisms of the BBC’s latest music show, Sounds Like Friday Night, is its complete absence of anything resembling testicles. The music, bar a few credible inclusions, is the rank-and-file Pop sounds the wank-a-dial teeny-boppers look out for and clutch like it’s the newest, shiniest iPhone in the shops – all about fashion and little substance; nothing practical, deep or nuanced. Jools’ brand of music T.V. has been going for years and seen some of the finest artists of our time pass through his doors. It is back on our screens and has just seen Björk play her first T.V. show in over eight years. There is likely to be the usual cavalcade of cool and quality-focused artists that are recording on the smarter end of the spectrum. The set-up is unique in the sense nothing else on the box is doing the same thing.

That winning formula has been present since the start: the amiable host chatting with guests and playing piano (wanted or otherwise) on their songs; a polite audience listening with passion and a basic, ornate little stage rotating the artists and seeing fantastic performances. Sounds Like Friday Night was an opportunity to offer a viable alternative to the excellent, if conservative, option over at Jools Holland’s hang-out. Rather than create a Frankenstein’s Monster with bits of The Old Grey Whistle Test and a lobotomy of Top of the Pops; a showering of MTV in the blood and a screwed-on bolt of VH1 – put it through a lab and crank up the machinery and, after some spark-flying and clattering, out would emerge the daunting and strange beast. The newest BBC incarnation is still in its infancy and, two series down, the critics have had their say – the reviews range from mediocre to hate-filled and blood-pouring-out-of-my-ears-angry. I am in the camp that suggests, although the show caters to a certain audience; in nailing in a rather limited and quality-lacking land grab; Friday night is not a sound I want rattling around my ears! The fact there are only two options available to those who want music T.V. to exist is somewhat extraordinary.

IMAGE CREDIT: Getty Images/BBC

What confuses me most is the difficulty in which one faces when trying to break conventions. I am in the position of pitching a T.V. show to the production companies and am facing resistance by the bucket-load. Many want money and a budget but seem uninterested in the idea I pose. The fact my music T.V. brand would involve more risk – in terms of the musicians and the intense performances – seems to cause a big stumbling block. I am not in a position to pitch to Netflix and Amazon and terrestrial stations are the only way I can get my idea moving. I am a huge fan of the work the BBC puts out and think the perfect place for a music show is there. I worry, when looking at production companies, there is a nervousness going against the grain and green-lighting an idea that strays from the normal path. Conventional shows like Later… with Jools Holland are established and secure; they do their job well and are unlikely to shock the public and change the world. That is all well and good but, considering the likes of The Old Grey Whistle Test ended years ago means we need to update the format and find a modern equivalent. The fact, too, that show was edgy and created some blistering moments means, in many ways, we have gone backwards!

Networks were no less risky and different to how they are now. There have been no major T.V. controversies in music that would justify a level of trepidation and caution that borders on the passive. I will look at a lack of dare that extends beyond T.V. but I wonder whether we will ever see progression and innovation on the screens in the coming years. I may be wrong in my assumptions: somebody may be formulating a T.V. show like mine and it might be close to its first episode. I would be a bit pissed if that were so but glad in a way – having something on the screens that satisfies mine and many people’s needs is better than nothing. There is a definite allergy to a lack of new and inventive music T.V. shows. The cure for this would be to open the mind and not be so restrictive and safe. I can understand how a live T.V. show, given certain circumstances, might cause havoc but, if it was in a later slot, then it would not be seen by minors and those who are impressionable. It would be okay to run a pilot and see what the reaction is. If it is deemed unworkable and a train crash then you could not argue against that.

It is the fact so few people in prominent positions are willing to negotiate and indulge that is holding back new breakthroughs in T.V. You cannot argue there is no need and call for a music T.V. show in a modern age. Many artists rely on that kind of exposure to get a break and have their music reach new people. It (a T.V. show) is a great entertainment and a way of discovering new talent; a relief after the working day and a way of bringing older sounds to the new generation. A broader and multi-limbed music T.V. show could build on what we already have and incorporate all the best elements of bygone shows into a fresh baby. Maybe things will change and executives will take risks. I feel that fear of being edgy and unconventional is spilling into other avenues of music. I listen to the radio and look out at music and there is a chasm of danger. D.J.s are reduced in what they can say and how they express themselves – that does not mean this should spill into music. It seems ancient history looking at the biggest bands and genres explode and change the rules. We have some terrific new artists coming through but the spikiest and most engaging seem to enjoy less airtime and focus than those who keep things simple and soft.

There are guidelines as to what a D.J. can play and how a station operates but I feel, more often than not, there is not enough chance for personal expression and breaking rules. The same seems to come into music: executives and bosses calling the shots; always afraid of the ramifications and results of taking a leap. When I look at criticisms around music T.V. shows and the ‘best’ of the mainstream, it always comes to that rather smooth and serene aspect – nobody really doing anything that would constitute edgy or brash. Why are we living in a time when we need to be so guarded and timid?! There is controversy in the music industry like any other sector; artists are not infallible and there are some who stain the good name of the industry. What greases my jockstrap is the way complaints and feedback comes in but very little changes. I have been pushing my T.V. idea and am not in any position to stop. It may take years but there is a clear demand and outpouring that demands change and something better. Whether that is a Top of the Pops-like show or something with more teeth; so many people are getting discouraged and affected by what we have on our screens and on the radio. Is there a way out of the dilemma?

I feel this antipathy and submission can be abated and reversed. The time has come to answer the calls of the public and start pushing the industry forward. By opening channels for rebellious artists and those with more to say; it will not spoil the status quo and alienate those who like what the mainstream currently offers. There are some great radio stations out there but I feel too much of the playlist is being dictated by markets, brand-new releases and the whims of those who control. I know D.J.s have their own input but there are few who get a big say on what is played and how their show sounds. My biggest gripe comes with music T.V. which is in danger of dying or carrying on without advancement and surprise. I love Later… with Jools Holland and pleased with its longevity and popularity. There is a big enough market for another option; something that builds from what that show does and satisfies the cravings of the people. Let’s hope things change because, where we are now, it is not good enough. It only takes a channel/production company to see potential and understand what people really want from a music T.V. show. If they open that door and let it fly free; it could lead to a movement that spills into other areas of the music industry. If nothing else, it provides a show that the public and critics are calling for. Not answering this protest is one reason why so many people are angry and feel music is unwilling to evolve and bend. Remaining rigid and tepid restricts movement and progress and robs the people of…

WHAT they want and deserve.

INTERVIEW: Chris Tavener

INTERVIEW:

 Chris Tavener

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IT is not often I get to encounter a songwriter…

who mixes traditional sounds with satirical and humorous edges. Chris Tavener has been spending time and telling me about his live album, Is He Joking? ... I ask him which songwriters he takes inspiration from and what it was like recording the album.

Tavener tells me about new artists turning his head and what advice he would give to upcoming musicians; what it feels like being provided kudos by Tim Minchin’s management company; if it is important, given the times we are in, we can laugh as well as provide something deep – he selects a trio of albums that have made a big impression on his life.

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

I'm very well, thank you. My week has been fun so far but very administrative: emailing venues in mainland Europe.

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

My name's Chris Tavener. I am a satirical Folk singer-songwriter using humour and an acoustic guitar to tell social commentary stories about the world we live in. I'm constantly performing live in the U.K.

Is He Joking? ... is your new live album. What was it like filming it in the Three Minute Theatre (Manchester)?

It was brilliant! John and Gina, who run the theatre, are lovely people with an admirable work ethic and they've certainly turned it into a quirky place. There are mannequins tied to the ceiling and an axolotl tank right next to the seats. It's the perfect venue to host an intimate concert - and I was so pleased to perform in it for the album recording.

There are newer numbers combined with older ones. What was the reaction like to the newer material? What was the vibe like in that space?

The reaction to the new material was great. In fact, if I were to do it again, I would have liked all the material to be new to the audience. The first reaction to a song or a punchline is very often the best. Performing that new material for the first time, and simultaneously committing it to a record, was both nerve-wracking and really rewarding.

I can't thank the people who attended that show enough. They created such a brilliant atmosphere and I think you can hear it on the album/D.V.D. now.

Your songs are satirical in nature. Given the times we are in; do you think it is important we can laugh as well as criticise?! Are enough songwriters going beyond the cliché and ignoring the satirical?!

Yes - and even better to do both in one breath! That's just one of the things I love about great satire: it's the ability to be cynical about something while, at the same time, being funny, silly or playful. A lot of people are calling this a great age of satire and I think it's coming back into fashion among songwriters as we come to terms with these dark and uncertain times. 

The album (of the live show) has been well-reviewed and Tim Minchin’s management has contacted you. What is it like knowing it resounds and connects with people?

It's incredibly validating to know that people of that stature are interested in what I'm doing. I've always wanted to write music that connects with people; music that they can relate to. Above all else, that's what I'm striving for. When I get a laugh, that sort of signifies to me that I've touched on something the audience has identified with.

Give me an impression of the songwriters and speakers who influence you. Do you mix a love of classic satirists like Tom Lehrer with traditional artists?

I most certainly try to. I, love Tom Lehrer Randy Newman; Loudon Wainwright III, Bob Dylan and Arlo Guthrie for their lyrics, especially, and I would call them all influences. But, I think I've also been inspired by modern voices like Alex Turner, Courtney Barnett; Paolo Nutini, Laura Marling and, very recently, Jade Bird...

I always make sure that the music is allowed as much care and time as the words. Originally, I'm a musician first: I hope that's what separates me from many comedians who use music. The songs of Billy Joel, The Beatles; Jim Croce and Oasis all influenced me.

 What comes next for you? Will there be more material, live or studio-recorded?

Next is a tour of the U.K. and Europe. It's hard to see past that at this point. I'm thinking about whether a studio-recorded album or live album should be next. I'll probably base it on this release, whether it's a success or not…

I have a couple of smaller releases before then, including a single about the World Cup 2018; a weekly video series and, perhaps, something for Christmas.

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

Absolutely. I'll be touring in Europe in September and the U.K. will have to wait until October to November. I'm travelling further than I've ever gone before. Very exciting!

All details will be at www.christavener.co.uk/events after announcements.

What do you hope to achieve in 2018?

I'd like this album and D.V.D. release to open doors for me that weren't there before. I don't know yet what they'll be but I just keep working at every small idea that comes into my head and every opportunity that comes my way. I have been asked to do a couple of song commissions for a new documentary and a charity organisation this month.

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

So many amazing memories to choose from…

It'd be easy to say the album recording shows, so I won't mention those (even though I have...) and I'll go for something left-field.

I'm always astounded by the generosity of strangers. One of the perks of this job is getting to be around people at their most jolly. Recently, I was playing a gig in London where a group of afternoon drinkers kept buying shots for me. It was eventually decided that I would come with them after the gig to a party. It turned out to be a private birthday party where I had to act casual and pretend I knew whose birthday it was...

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

You do ask some tough questions! All great questions, too:

Courtney Barnett's debut album, Sometimes I Sit and Think, and Sometimes I Just Sit, means a lot to me. I was a follower of hers years before it came out. I have a memory of listening to it while sweeping a floor in my last day job before becoming a full-time musician.

Bob Dylan's Bringing It All Back Home has always been one of my favourite albums of his. Nothing invigorates me more than that opening track, Subterranean Homesick Blues. I can't believe that, fifty years since its release, the song can still do that.

Arctic Monkeys’ Whatever People Say I Am, That's What I'm Not. I played this album into the ground in my late-teens and I still know every word and every note. For partly sentimental reasons, I can't ignore this album's influence.

What advice would you give to new artists coming through?

I often say the same thing but I think it's an important point: look for what makes you distinctive and original. I heard a lecturer talk about a micro-niche in music once and it seems that every famous artist has one.

It's certainly not job number-one if you're finding your feet: it will happen naturally but just try to be aware of how you can differentiate yourself from other musicians. That's the way to stick in an audience's head.

I would also say having some business acumen gets you a lot further in this digital world where artists are much more independent than they used to be.  

 IN THIS PHOTO: Joel Gardner

Are there any new artists you recommend we check out?

If I'm allowed to mention unsigned artists then I could be here all day answering that question…

I think Joel Gardner, Izzie Walsh; Carl North & The Lonely Hearts, Thom Morecroft and Robbie Cavanagh are all very good to name just a few.

I like Superorganism, Jade Bird and Ezra Furman - who are all new artists on their way up. 

IN THIS PHOTO: Thom Morecroft/PHOTO CREDIT: Rosalinda Hindle

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

I don't, and it is something I hope to change; to get a better work/life balance. I enjoy reading, running and travelling when I'm not working on my music.

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).

Could you please play Keb’ Mo’ – You Can Love Yourself. A friend recommended Keb’ Mo’ to me a short while ago. He sounds incredible with his authentic Blues sound and effortlessly poetic lyrics. One day, I'll hope to play like him instead of writing about Cliché Blues...

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Follow Chris Tavener

Official:

http://www.christavener.co.uk/

Facebook:

https://www.facebook.com/ChrisTavener/

Instagram:

https://www.instagram.com/christavener/

Twitter:

https://twitter.com/ChrisTavener

SoundCloud:

https://soundcloud.com/christavener

YouTube:

https://www.youtube.com/channel/UCdIAZgzl1vPUwbGT7PJq73g

BandCamp:

https://christavener.bandcamp.com/

INTERVIEW: Mitch Bradford

INTERVIEW:

Mitch Bradford

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OVER to America I go…

to speak with Mitch Bradford about his new tune, Come Meet Your Lover. I have been chatting with Bradford about his favourite music and which artists have driven him; why he took a job with Google; the influence of California to his career development – he chooses three albums that have played a big role in his life.

I learn whether there will be more material and gigs coming later in the year; whether he experiences a lot of classic songwriters growing up in Texas; which new artists we need to get involved with – he shares a favourite memory from his time in music.

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

Really good! Thank you.

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

I’m Mitch Bradford, an Americana musician from Brownsville, TX. I live in Los Angeles.

Come Meet Your Lover is your latest single. Can you tell me about its story and background?

It’s about the excitement of romance; how the expectation of romance is often more exciting than romance itself. I think that’s what it’s about. But the songs take on a life of their own - your interpretation is as good as mine…

Are there going to be more songs coming later this year? What are you working on?

Yeah. We should have two-three more singles come out. Then, we’ll release the whole record and tour.

It seems like, growing up in Texas, you experienced classic songwriters like Joni Mitchell and Neil Young. How important were those early sounds to you?

Pretty important. I’ve tried to remake Neil Young’s Harvest a couple of times now. Haha! I think it was their mix of melody and lyrics that got to me. Those older songwriters worked hard to write songs that meant something…and that had an impact.

Is it true you worked for a time with Google?! What was the reason for that? Did you learn anything about yourself whilst there – or did it spur you to make more music?

Yes! I think it taught me to surround myself with great people: you’re only as good as the people you surround yourself with. I took that idea into the studio as well. The musicians we had on the record – guys like Matt Ross-Spang, Al Gamble; Ken Coomer, Dave Cousar; Dave Smith, Rick Steff; Scott Bomar, Susan Marshall; Reba Russell, Sam Shoup –were amazing. They elevated the work because they’re such good players.

I believe a sort of ‘epiphany’ moment happened when you were driving down the coast of California? Was that the moment you realised music was what you wanted to do?

No. Haha! It was the moment I knew I wanted to move to California, though...

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

All the folks mentioned; Jackson Browne, Van Morrison; Bob Dylan, Joni Mitchell; Neil Young, Willie Nelson and Muddy Waters.

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

Yes. We’re planning as we speak.

What do you hope to achieve in 2018?

I hope to have this record, Love Is Kind, land well. I’m excited to get it out there.

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

I remember, on the second day we were recording at Sam Phillips, I kind of had a surreal moment. It had been a dream to work on a record with Matt Ross-Spang there. In that studio. It had all come true. It’s hard to describe, but it was powerful. A feeling of agency…and accomplishment.

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

For Everyman by Jackson Browne; Prairie Wind by Neil Young; Modern Times by Bob Dylan.

What advice would you give to new artists coming through?

Follow your heart.

IN THIS PHOTO: Peter Hochstedler

Are there any new artists you recommend we check out?

There’s a lot of good new artists I know. They don’t get much radio play, though. Bland Scott, out in West Texas, is great. My friend Peter Hochstedler has made some killer records. Twiga, a band in N.Y.C., are cool. There are lots of good folks out there playing music - you just need tune in.

IN THIS PHOTO: Twiga

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

I find it hard to relax…

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).

Ready or Not by Jackson Browne

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Follow Mitch Bradford

Official:

http://www.mitchbradford.com/

Facebook:

https://www.facebook.com/mitchbradfordmusic/

Instagram:

https://www.instagram.com/bradfordmitchell/

SoundCloud:

https://soundcloud.com/mitchbradford

Spotify:

https://open.spotify.com/artist/5hBcQGddB3Hup530hw3xGB

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

____________

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

_________

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.     

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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

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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.

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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