INTERVIEW: Only Takes A Day

INTERVIEW:

Only Takes A Day

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THE chaps of Only Takes A Day…

let me into their world and explain the origin of their new song, Reach. They tell me whether modern Hip-Hop needs a bit of a shake-up – the guys highlight a new artist we need to get behind.

Fabien and Shaanvir talk about their love of The Streets and Hip-Hop; whether they each have a favourite memory from their time in music; which artist, if they could choose any, they would support – I ask how they both unwind away from music.

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

Our week has been great, thanks! Always busy trying to balance music and a job at the same time, but somehow make it work…

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

For sure. So. We are Only Takes A Day; a disastrous duo from North London who is trying to scrape a living by mixing Folk and Hip-Hop like oil and water. Fabien is the talent and Shaanvir is the eye-candy (obviously). Best way to get an idea of what we do is to listen to some of our tracks (or come and see us live!).

When did Only Takes A Day get together? What is the meaning behind that name?

O.T.A.D. started at a party about four years ago now. I played his version of Reach to Fabien and that was it. We arranged a jam session and worked on more songs. Back then, we were going under a different name and realised we were so hard to find online so we needed something new. I was going through a bit of a rough patch when a friend invited him out to Glastonbury.

Anyone who has been to Glastonbury knows how nuts it is but, while I was there, I played at the open mic on the Croissant Neuf stage. It was strange but, after that day, everything looked and felt better. I told my friend and he turned around and said: “Only takes a day”.

Can you reveal what inspired the song, Reach? Is it a representation of the contrasts we see in modern-day life?

The whole song was written as a sort of stream-of-consciousness. I was basically pissing around on my guitar and just started coming up with the lyrics. I really liked what was coming up, so I quickly called my brother to the room and got him to write down what I was saying. A lot of it is just what I think and believe on a day to day basis.

A lot of people would like to think they can provide definitive answers but, actually, the world is riddled with insecurity and it is important to acknowledge that but not lose sight of your core values.

Fabien. What was it about the track that compelled you? Do you think it is the finest thing Only Takes A Day have created?

I think it was how lyrically-charged the song was. When Shaanvir first played it to me, I had never really heard anything like it. It was really creative and something I wanted to get on board with. It is definitely one of our favourite songs to perform but would not say it the finest thing we have created.

There is still plenty more to come from Only Takes A Day!

You are influenced by Hip-Hop – it goes against the Americanised strain we see in music now. Do you think Hip-Hop needs a shake-up?

Not really. There will always be subjectively good and bad music. A lot of the music today allows us to carve the little niche we are making for ourselves. Plus, music will always change. That is the nature of it: if you’re not a fan of what is happening now then just be patient.

In many ways, you remind me of The Streets and British Hip-Hop of the early-'00s. Is that a period of music you are influenced by?

Oh, absolutely. I got Original Pirate Material when I was in secondary-school. I saw The Streets at ‘Ally Pally’ when I was sixteen with Mitchell. I suppose, like all musicians, we are hoping to build up our fanbase; write some more music and play more gigs. Basically, do all the things we find fun…

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

I would say for both of us, it was playing at Subsonic Festival a few years ago. There were about four-hundred people on a hill in Wales and we were playing in the woods. It was a great weekend.

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

That is an awesome question. I am not sure. On a global scale, supporting Childish Gambino would be incredible but I would say, as a childhood dream, it would be The Streets. That would be incredible. Neither of us is super-cool so our rider would probably just be a pizza each and some beers. Maybe some computer games. Oh, and some food for my dog…and someone who would deliberately lose at arm wrestles (to us) to boost our confidence.

What advice would you give to new artists coming through?

Just have fun. If you’re not having fun then what is the point?!

IN THIS PHOTO: Joel Bailey

Are there any new artists you recommend we check out?

 Loads. I would recommend anyone to just go and check out their local open mics if they fancy a pint. But, we always enjoy performing with Joel Bailey and Urband Soul. They are awesome.

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

Music is generally how we unwind. We need full-time jobs to sustain us, so playing music is our respite.

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

Dan Le Sac vs Scroobius Pip - You Will See Me

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Follow Only Takes A Day

Facebook:

https://www.facebook.com/OnlyTakesADay/

Twitter:

https://twitter.com/OnlyTakesADay

Instagram:

https://www.instagram.com/onlytakesaday/

SoundCloud:

https://soundcloud.com/onlytakesaday

Spotify:

https://open.spotify.com/artist/18ZwiU4AXEvU5YgA1sz3hb?si=gF1sglw0S6e8TJAx8PxTUw

FEATURE: On a Day Like This: Kylie Minogue at Fifty: The Playlist

FEATURE:

 

On a Day Like This

ALL PHOTOS: Getty Images/Press

Kylie Minogue at Fifty: The Playlist

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I am producing quite a few playlists at the moment…

but this one is rather important. I am keen to mark music icons who celebrate birthdays. I noted Stevie Nicks’ seventieth very recently and now, as she turns fifty, I am at the feet of Kylie Minogue. Whilst I have not followed her newer albums; I have been a fan of her work since the 1980s and note what an impact she has made on music. The Queen of Pop – or is that Madonna?! – continues to reinvent herself and move through different phases. Despite turning fifty; we have not even started to hear the last of Minogue and her music. Golden, released in April, stepped into Country and departed from what we usually associate with her. Seeing as the release of Golden arrived thirty years after her debut, we can forgive the songwriter for wanting to try something different move into new territory. It has been a long and lucrative career for Kylie Minogue that has included awards and honours; high-profile romances and her partnership with Jason Donavon; a cancer battle and constant evolution and change. To mark her fiftieth birthday and honour a hugely influential and stunning artist; I have collated a selection of Kylie Minogue’s hits that spans from her debut to her current record. Here’s hoping there are many more years of music to come…

FROM the Australian legend.

FEATURE: How Did We Ever Exist Before Starbucks?! Are We Becoming Snobbier and Less Egalitarian Regarding Our Music Tastes?

FEATURE:

 

How Did We Ever Exist Before Starbucks?!

ALL PHOTOS (unless credited otherwise): Unsplash

Are We Becoming Snobbier and Less Egalitarian Regarding Our Music Tastes?

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WHILST many argue…

IN THIS PHOTO: Taylor Swift/PHOTO CREDIT: Getty Images/Press 

there is ‘guilty pleasure’ in music, I would defend there is no such thing: tastes are subjective and everything is welcome in the musical Noah’s Ark. I feel, as society has become more gentrify and people hanker after a more ‘desirable’ form of life; music and how we digest it is becoming more rigid. It is impossible to love every type of music out there – we all have cut-offs and genres we are not hot on. I am not big on some commercial Pop and I have never had too much time for anything heavier and louder than Metal. I can appreciate those who do love those extremes but, to me, we are more enriched and informed as a music fan if we embrace as much as possible. Many might say that, being a big BBC Radio 6 Music fan, I am neglecting a lot of music and going after the ‘cool’ and ‘trendy’. Rather than limiting my scope and ignoring everything outside the 6 Music remit, I am exposed to a greater spread than I would if I caught the bigger commercial stations. Whilst BBC Radio 6 Music does not play a lot of chart music and goes for the more credible material; I have discovered so much I would not have done were it not for the station. I have discovered African rhythms and picked up on older bands I was foreign to years ago. My browsing of streaming sites is fairly broad and I like to see what is happening across all music.

Running my own blog; I am sent requests from all around the world and every corner of the sonic sphere. I reject the odd request but, largely, I am open to everything that comes my way. I found myself doing something rather unexpected at the weekend: watching the BBC Radio 1 and 2 feeds of The Biggest Weekend. I watched the BBC Radio 6 Music acts – including Beck and Courtney Barnett – and enjoyed the performances there. I caught some of what BBC Radio 2 was broadcasting but it was when watching a set by Taylor Swift that I got a big shock! I have not really listened to her music because her peers, like Katy Perry and Anne-Marie, have never really floated my boat. Whilst her songs might take a while to bed-in; I was impressed by her stage command and the interaction with the audience. Post-gig, she was being interviewed and came across charming, incredibly friendly and receptive – out of breath but willing to provide good information and quality. I have ignored Swift until now and assumed her music/persona is not worth investigation. Whilst you might not see me at the front of one of her upcoming gigs, I am looking at her music and giving it a fair shot. I have attached myself to Pop talent like Sigrid and Mabel and interviewed a few new U.S. Pop artists whose sound gets close to the commercial core.

I have also extended my psyche to include Country music and genres that, until now, remained dusty at the back of my mind. Whilst I have not lost my senses and embraced everything with no filter, I am becoming a lot more receptive to music’s spectrum. I feel a lot of people are closing themselves and becoming more tribal with their music. The fact we have radio stations that cater to specific tastes/ages often means people find that safe nook and never really venture from it. Even the most broad-minded among us turn their nose up at something. I find a lot of people with my tastes refute anything Pop-based because they assume it is all for teens and those whose ears constantly bleed! There is a lot of crap out there but we are all missing out on music that subverts expectations and could easily find a home – I know we are all limited for time when it comes to searching and study. I can see a link between the way society/music is changing and how we observe music. Most of us rely on technology and want things fast and easily. We tend to stay in more and listen to less ‘physical’ music – C.D.s and vinyl – than we did before…we are browsing online and not as sociable as years before.

Once was the time we spent time in shops perusing shelves and dedicating hours investigating what was new and out there. Streaming services and journalists can make recommendations but, with music journalism read faster and not as popular as it was, I feel we are taking little scraps of information and not reading too deeply. There are loads of blogs but so many people dip in and out and the sections dedicated to reviews are not drooled over like we used to with music magazines. So many people have their own identity and seem to see music as what defines them and who they are in the world. Maybe we are fearful of what people will say if we confess to liking something ‘uncool’ and we get a bit defensive about our tastes. I am not suggesting we all throw our records away and start from scratch. We all need to be more daring and less stuffy when it comes to music. I am making changes and not writing stuff off without giving it a fair shot. If we listen to an artist and dislike it then we have tried and given it time. I have gained some new respect for Taylor Swift and Pop artists like Paloma Faith, even if I am not going to buy more of their music and go see them play.

Have we lost sight of parity and providing a fair shot to everyone? I see people in coffee shops with earphones in and demanding the frothiest and most unique/pretentious drink around. They have their playlists and keep to themselves and, if one dare approaches them to recommend some music, there is a fear they’d sneer and walk off. There are those among us who keep their eyes open for everything but I am seeing so much insulting and narrow-minded comments on social media regarding music. If the Biggest Weekend festival has shown us anything it proves what a spread there is available out there. Maybe we prefer one station over the other – that does not mean we cannot check out what is happening elsewhere. Are critics responsible for how we treat music and what we count as ‘good’? An interesting article brought in a North-South divide a certain snootiness when it came to London critics’ viewpoint of northern Indie artists like The Sherlocks:

“…That’s because the Sherlocks are representatives of a growing trend in British music: the straightforward indie rock band who are hugely popular in the north — the north-west especially — but whose fame falls off a cliff the moment you get south of Birmingham. ‘We’d sold 9,800 copies of the Sherlocks as of this morning,’ Korda Marshall, who signed the band to his label Infectious, told me earlier this month. ‘I reckon a good 6,500 to 7,000 of those have been north of Birmingham.’ You can see the relative levels of popularity when you look at the group’s upcoming tour dates: their show at the 2,600-capacity Manchester Academy is long since sold out; there are still tickets available for their London gig, at Heaven — which holds 1,000 people.

 IN THIS PHOTO: The Sherlocks/PHOTO CREDIT: Getty Images/Press

This divide is a real thing. A couple of years ago, I asked Spotify to hunt through its data to see which music was most popular in which of Britain’s big cities, going by its streaming figures. Indie rock was most popular in Newcastle, followed by Manchester and York. The only place south of Sheffield paying any attention was Brighton. Punk and metal were overwhelmingly northern genres, too, with the south preferring hip-hop and R&B”.

 There is that ‘music snob’ that prefers the very best but is still open to suggestions and those who deny everything that they find different and outside of their comfort zone. There is a geographical issue whereby critics in London are less receptive to music from the North; those who write about Rock and Alternative sniff at Pop; those who like Rap and Hip-Hop might not venture into Folk, for instance. Jazz has always been that genre that people love to slag off but, with artists like Kendrick Lamar and Kamasi Washington bringing it into the forefront; I feel like the tide is starting to turn – not as fast and as readily as we’d hope for, though! With all the options and streaming services in front of us, we should all be exploring music more and less narrow as listeners. Maybe the technological grip and the way we are recommended music is backfiring and creating a more homogenised listener.

IN THIS PHOTO: Kamasi Washington/PHOTO CREDIT: Getty Images/Press

If we are ever to see change and big breakthroughs in the industry then we need to look at the way we promote music and why we are becoming snobbier regarding tastes. There is that small sector that has a vast range of music in their collection but few people I know are as varied as they should be. Maybe we can trace back to musical quality in the mainstream and whether there are enough inspiration and icons to really grip the masses. It is a complex tangle but critics should be more accepting and open; we all need to get away from our routines and dip our toes into other bodies of water; the sociability that used to be in music – record store meetings and swapping records – needs to come back in some form or the other. The way things stand means so many of us are passing artists by and shutting doors without hearing a single note! Maybe the Taylor Swift song I am ending the piece with is not to everyone’s tastes but, as recently as a few weeks back, I would never have entertained listening to it and promoting what she does. Whether we spend more time listening to Classic or Jazz or tune into Radio 1 for an hour; have a look at various Spotify playlists and spend a day listening to as much different music, new and old, as possible. It may not change our mindset overnight but it will make a difference and, who knows, we could discover some new treats! Snobbiness can be a good thing at times but, with something as wide and exciting as music, so many people are letting fantastic sounds…

PASS them by.

INTERVIEW: MADI

INTERVIEW:

MADI

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I have been exploring the work of MADI…

and have been talking to a very talented songwriter. She reveals the story behind her new song, Intimate, and who is in her live band; why she rebranded from ‘Maddie Jones’ – what the scene is like where she is in Wales.

I was keen to know whether any gigs were in the calendar; what sort of music she was raised on; how she spends her time away from music; three albums that mean a lot to her – MADI recommends some cool new artists.

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

Great, thanks. I’m off to Budapest tomorrow to commiserate my birthday, so am pretty excited about all the goulash and baths I’m gonna have.

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

I call it ‘Weirdo-Pop’. A posher description would be electronically-tinged Art-Pop. I used to write a lot from the guitar, but I’ve been experimenting with samples and production for the last year or two, which is why I renamed myself ‘MADI’ this year. The live band includes Dan Fitzgerald (Guitar, Pedal Wizardry and Modular Synth), Chay Lockyer (Bass and Things) and Rich Welsby (Drums and Things).

Talk to me about Intimate and what the single is all about. Was it quite an easy song to put together?

The song comes from my feelings about different forms of intimacy...

There’s the intimacy when you first get together with someone and are sort of obsessive; then the playful getting to knowing each other. Then, there are things that come later, like blazing arguments and sitting in comfortable silence - which are just as intimate in their own way. Couples in their nineties are intimate in a completely different way to those in their twenties.

Musically, I was playing with a lot of samples and so I layered up a lot of elements in my version made in my studio at home. I tinkered with it A LOT, then eventually took it over to Charlie Francis (my producer) and we worked on it a lot together, to get the feel exactly right.

‘MADI’ is the reincarnation of ‘Maddie Jones’, as it were. Do you feel like you are a different person as MADI? Is there going to be more MADI material?

MADI is a clear character/aesthetic for me. ‘Maddie Jones’ changed a lot and dipped in and out of different styles because it was harder to differentiate from me and my tastes as an individual. There are two more songs already planned for release in the coming months: All Work and No Play (about balance of responsibility and hedonism, as you can probably guess) and Dirty (Word) (inspired by some of my experiences as a woman and feminist).

What was the reason behind the rebrand? Did you feel you took that part of your career as far as possible?

That part of my career felt like it had meandered a lot and lacked clear focus and direction. Stepping back from performing live allowed me to think about what I really wanted to do and the type of music I wanted to make. I wasn’t satisfied with the way things were. I’ve thought a lot about my goals as an artist - and MADI is the result. 

Is there a big music scene where you are in Wales? What is the local vibe like?

There is an incredibly varied scene here - though I speak mostly from my experience of Cardiff. Womanby St. is a central hub of activity (it was saved from disastrous problems with developers by the Save Womanby St. campaign recently). There are more venues appearing gradually, but we could always do with more. HUB Festival at the end of August is a good snapshot of some of the variety in the scene here.

What sort of music were you raised on? Was music always on when you were younger?

My parents had a great collection; everything from Led Zeppelin to Vangelis to Ella Fitzgerald. I also studied music from a young age, so there was a lot of Classical, Jazz etc. in the mix too. When I started buying more of my own music, I got into bands like Red Hot Chili Peppers, Smashing Pumpkins and Queen (in a big way!). I’ve had big Queens of the Stone Age and Prince obsessions since too.

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

I’m currently developing a new live show to compliment the stylistic relaunch of the music (involving lights, projections and costume etc.). It’ll be launched later in the year.

Is it possible to describe the feeling you get when up on stage? Is it were you feel most natural and alive?

I love being on the stage because I can’t see a bloody thing when I’m in the crowd (I’m five-foot-three). It’s a weird combination of feelings because I’m sort of extroverted but also intensely sort of shy in a weird way. I communicate a lot of my most complex feelings through my songs though, so it is liberating. When everything is right, and the crowd are with you, it’s the best possible feeling.

What do you hope to achieve in 2018?

Record more songs; film LOTS of videos (I intend to have a video for every song); launch and film the live show; start booking up our tour and festival calendar!

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

It would be hard to pin down one! Each album/E.P. launch I’ve done has always been pretty life-affirming - when so much work goes in and eventually pays off.

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

I have to give a nod to Queen as I had a deep obsession as a teenager. A Night at the Opera is my favourite probably. 

I love St. Vincent and her self-titled album is one I played a lot and was inspired by.

A recent favourite is Kimbra’s The Golden Echo after a friend suggested I might like it after hearing Intimate.

What advice would you give to new artists coming through?

Know thyself! You can go through the motions of being an artist but, if you don’t know what you want to achieve, you will work a lot but not feel like you’re achieving much.

IN THIS PHOTO: Dan Bettridge

Are there any new artists you recommend we check out?

Some of my Cardiff buddies!

Dan Bettridge – Sexy-voiced folky vibe.

Junior Bill – A melting pot of vibes you can skank to.

Afro Cluster – Afro-Funk Hip-Hop

Rainbow Maniac - Dirty Rock ‘n’ Roll

Charlie Francis - The Songs for Singers album features a load of different singers from Wales.

IN THIS PHOTO: Charlie Francis

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

Music is pretty much my life! I love good food and cooking! Festivals, travelling; comedy, hanging out with my nutty friends and family. Sounds like a Lonely Hearts ad!

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).

My Iron Lung - Radiohead

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Follow MADI

Official:

https://www.madibanduk.com/

Facebook:

https://www.facebook.com/madibanduk

Twitter:

https://twitter.com/madibanduk

Instagram:

https://www.instagram.com/madibanduk/

SoundCloud:

https://soundcloud.com/madibanduk

INTERVIEW: Seaker

INTERVIEW:

Seaker

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I am kicking this week off…

by speaking with Seaker about her new track, Words, and what the story behind it is. She tells me about recording and creating in London; whether there is more work coming along later in the year; why she moved from the North down to the capital – she reveals a few albums that have impacted her in a big way.

Seaker recommends some new artists to look out for and tells me about gigs; what sort of sounds/artists influence her; what music means to her; how she relaxes away from music – she ends the interview by choosing a classic track.

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

Hi, Sam. I'm doing well, thank you; currently treading water in a sea of emails. This is fairly representative of how the week has been so far really, with a rehearsal thrown in. Mind you, it's only Tuesday so the rhythm of the week is yet to fully unfold...

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

I'm Kiran and I make music under the name of ‘Seaker’. I have a home studio In North London (U.K.) where I write, flesh out and record most of the songs and then I get little bits of help from a few trusted musical friends. I know lots of artists will feel this but I find it hard to align with one particular genre. It is Pop at its core.

I like layers of dreamy sounds and harmonies and music that crawls from delicate tiny-ness into a rushing waterfall of big drums, pianos and all that filmic stuff. It's an ongoing journey to get the sound right.

Words is a title attached to many songs. I have heard none that stick in the mind as long as yours. Can you tell me how the song came to mind and what it means to you?

That's kind of you to say - and I'm glad it resonated with you on some level.

I didn't name the song until it was finished. I've always liked the idea of starting with a title and fleshing out a song from there, but it doesn't seem to happen that way with me. I often write songs based on a fragment of a feeling I have and that can come from anywhere. I, somehow, turn that feeling into a story in my head, often with characters. It's very emotion-led and, sometimes, it's like I'm being guided rather than actually coming up with ideas. 

Words emerged after I was chatting with a friend about relationship experiences and, later, I started to think about how, as adults, we never stop being vulnerable and this can manifest in behaviours in relationships that can make us spiky or negative, when, actually, our heart is saying something else or really, in that moment, just crying out for love. This is also a track about wanting to be enough for someone, flaws and all. ‘Words’ felt like the right title - as it's often hard to find the right ones.

It seems people are already reacting heavily to the track. How important is it seeing those great reviews and positive words?

I'm glad it appears that way!

I'm not sure that's how it feels, to be honest. It can be quite emotionally draining when you're doing your own press as, no matter how much you want to intellectualise the process and separate yourself from the track so as not to take anything too personally - in reality, that is hard. I'm such a sensitive person deep down that sometimes it can feel a bit soul-destroying and like you're shouting into an abyss and no one is listening or cares. At the same time, I have had some amazing support from lovely people and I am so grateful for that. 

If you're feeling a little defeated, it feels euphoric when someone takes the time to listen and get back to you with a positive response and there are some really decent, lovely people out there no matter what you might hear about this industry. It's such an honour when you find them and they support you. It isn't the primary motivation, but good reviews help keep you going mentally as well as being a boost musically.

Do you see more material arriving later this year? Is your North London home quite a hive of songwriting activity?

There will be another track in a couple of months-ish, as my aim is to get a regular flow of material happening. I have been the queen of the stop-start approach (not purposefully!) and have had huge gaps between past songs - mainly because I was doing every step from the writing to the press, so it all took ages. I have had a little bit of help with production this time around and it has sped up the process. I hope I can keep some momentum going this time. That's the aim.

When I'm not doing promo with every spare minute, I am writing a lot of the time. I miss it so much at the moment as the past three weeks have been solid admin. I'll get my writing time back very soon though and I can't wait.

What compelled the move from the North down to London? Do you think London is a place that offers opportunities others do not?

I actually went further North before coming South, as I went to university in Edinburgh so lived there for four years. I was on a different path for a while - possibly into Psychology in some way. The yearning for music got too much for me to ignore and I knew if I chose to do anything else I would end up being unhappy so I decided to move to London but saw out my degree as I was over halfway through it by then. A lot of my family live here and I've been visiting regularly since I was a child. Both of my brothers are here so, apart from the fact that it's a good place to be for musical development, it was an obvious place to move to anyway and I wanted to live here.

I think there are opportunities here, obviously, but, as time goes on, perhaps it's becoming easier to manage things from elsewhere. I think that once you're at a certain point in your career you certainly don't need to be in London and can run things from anywhere really. People do so many different things and settle in so many different ways; I think what you make of things anywhere is more down to the individual than anything else. That said, you will probably need to come to London at some point for a meeting or a show.

Give me a sense of your musical tastes – it seems you have a wide range of influences. Who, would you say, are the main role models in terms of sound and aesthetic?

I'm quite a visual writer and thinker, so I think imagery informs my writing as much as other music in many ways. I often think of vast landscapes or war scenes, or anything with an epic filmic vibe when I am writing. Ever since I saw Robin Hood Prince of Thieves when I was a kid, I have daydreamt about scenes from that film and being in them. I sometimes see them when I listen back to my tracks. That film definitely sparked something in me, which is still there in my creativity process now. I was transfixed as a kid and I still carry that feeling sometimes.

Sound-wise, bits and pieces from all over the place influence me. I love the swooning guitar style of Mark Knopfler; the delicate balance of dynamics that Ry X seems to pull off so well, plus his aesthetic is so dreamy, which I love. At the moment, I am obsessed with the drum sounds in a heap of Daughter tracks. They do delicate to epic so well. Bat for Lashes and Lykke Li are two more modern influences as I particularly love their individuality and commitment to the art. The dialogue of Leonard Cohen and the way he could dress up a love song into something melancholic has impacted the way I write and shape sound. I'll always be in awe of that man.

Sade is another big influence, musically, aesthetically and personally. She is musical royalty to me. There are so many others but I have a terrible memory. I apologise.

If you could articulate what music means and why it resonates with you, what would you say? Is songwriting something that lets you be open and free in a unique and beautiful way?

For me, songwriting is cathartic and necessary. My head fills up with so many thoughts that sometimes writing a song feels like the only way I can stay connected to the earth without losing the plot. I get really antsy and nothing seems to make sense to me if I go for a long period of no writing. It doesn't even feel like a choice really…

It's clichéd, but music has transfixed me since I was a small child. My dad is a huge music fan so there was always music around and my whole life is intertwined in one long soundtrack. Certain songs instantly take me back to being seven years old and I can still feel now what I felt then. It is so powerful. Nothing does that to me in the same way. I've been close with some art and poetry, but sound does something extra to me.

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

At the moment, I just have the one booked in but I'm hoping that will change very soon. We're playing at Birthdays in Dalston on 15th June, supporting Gazel. We're doing a bit of a stripped back set. I'm excited - it has been a while since we played a show.

What do you hope to achieve in 2018?

I'd like to put out more music I'm proud of and try to make some new human connections through the songs. I would love to tour. I have this picture in my head of a crowd of people who are waiting to discover my music even though they don't know it yet and it's up to me to go and find them. So, I'll be looking for those people. Knowing the vast emotion we can feel from music and how it can move me so deeply, if I could do that for anyone else, I would consider that a big win.

Earning money to keep making music as much as I can is obviously part of the dream, I can't deny that. It's not the fire behind me, though. If making lots of money was my primary goal, I wouldn't be attempting the music industry.

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

I'm not sure I have a single one as there have been so many varied experiences in different bands and projects that were all special in their own way. A few years back I was working with Talvin Singh, who invited me to convert some Indian poetry into a melody to go over his playing and sing it live with him. That was pretty special.

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

I really don't know how to answer this as I don't have these sorts of lists or ranked albums and never really think of music in that way. I have such varied moods and tastes that it's impossible and I would be here forever. So, I'll just tell you about three that have made a particular impact at the time:

1. Leonard Cohen - I'm Your Man

This was my introduction to Mr. Cohen and we would listen to this as a family when I was young. His voice and particular use of words stopped me in my tracks. I also started to sing harmony by copying the backing singers.

2. Jewel - Pieces of You

I was in the States on a family holiday when this album came out and I bought it on C.D. at Tower Records not knowing who she was. When I heard Jewel Kilcher's voice, I think I almost started crying. The depth of her tone and the way she would put so much emotion in to her songs by using her voice as an instrument blew my mind. Also, as a young girl growing up, I loved all the acoustic guitar-y heartbreak songs. I love that woman. She is still such an inspiration.

3.  Sade - Lovers Rock

Every song on this album gets me and it's like a comfort blanket. I return to this album when I need a musical hug and a reminder that quality reigns in the long-run.

What advice would you give to new artists coming through?

Try to find your inner-instinct and hold on to it. Make music you like yourself and be authentic. You may not feel it, but just who you are is perfect. Get good at your craft and stay curious. Also, remember that once you have your songs ready, you need people to send them to. Make friends. Be nice. Find the good people and stick together. Help each other out. This sh*t is hard and you're not crazy (or you might be, but that's ok too).

 IN THIS PHOTO: Lyves

Are there any new artists you recommend we check out?

I feel like one myself! If it's ok, I will list a couple of friends of mine who are doing their thing and I think are great. Lyves and Robert Ray. Totally different genre-wise but both authentic, great artists. They're both a constant support to me as well so I want to big them up.

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

I'm happiest when I'm writing and (providing I'm not battling the song) I find it quite relaxing to lose hours in the tunnel of creating. I get into nature as much as I can. I love trees. Walking my dog keeps me sane and I do quite a lot of yoga, for my mind as well as my body.

I also like wine.

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).

Joan Baez - Diamonds and Rust

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Follow Seaker

Official:

https://www.seakermusic.com/

Facebook:

https://www.facebook.com/seakermusic/

Twitter:

https://twitter.com/seakermusic

Instagram:

https://www.instagram.com/seakermusic/

SoundCloud:

https://soundcloud.com/seakermusic

FEATURE: The Class of '98: A Year That Shone Bright: The Playlist

FEATURE:

 

The Class of '98

ALL IMAGES: Getty Images 

A Year That Shone Bright: The Playlist

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BACK in February…

I looked at ten albums that stood out in 1998 – by any accounts, a remarkable year for music! I am not revisiting because it is twenty years since that glorious time: I wanted to show what range and unexpected joy there was in 1998. From Madonna’s career-changing Ray of Light to Fatboy Slim’s You’ve Come a Long Way, Baby; noble offerings from Manic Street Preachers and Neutral Milk Hotel – there was some insanely great music around that year! To end this weekend, I have collated a 1998-themed playlist that brings together all the terrific album music that enthralled critics and stunned the public. The 1990s had some truly great years for music – 1994 and 1997 among the very best – but, twenty years down the line, I look at 1998 and the sort of records that I would have bought. It was an exciting time then and, looking back, it remarkable just how much wonder there was. I will stop japing and present to you the best album tracks (and a few singles) from a year that certainly ranks…

AMONG the very best!

FEATURE: The Masses Against the Middle-Classes? Is There An Identifiable Working-Class Vote in Music?

FEATURE:

 

The Masses Against the Middle-Classes?

ALL PHOTOS/IMAGES (unless credited otherwise): Unsplash 

Is There An Identifiable Working-Class Vote in Music?

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THE last time I looked at the issue of class in music…

was last year - and a time when I was starting to see a few working-class bands working their way into the industry (although, not as many as there should be!). I have been looking at the change in music and whether things have improved over the past few years. It seems 2015 was a pivotal year when a lot of commentators were reacting to the mainstream: too many middle-class artists providing rather boring and generic music. One great article, back in 2015, saw Stuart Maconie write for the New Statesman - an article I quoted when writing about class last September. He addressed the Pop artists gaining most traction and whether their voices reflected the working-class and had an iota of truth to them – or they were geared more towards those with wealth and privilege. His findings suggested wealth and that gaudiness dictates our views and what life is all about:

“…Returning to pop. The piqued Blunt was in the vanguard of a gradual but now almost total cultural shift by which popular music has become as essentially bourgeois as the Boden catalogue. When I worked at the NME in the early 1990s, writers from leafy suburbs would affect proletarian tropes, trousers and vowels to ingratiate themselves with Oasis, New Order or Happy Mondays. Nowadays, adroit navigation of the wine list or the ski slope is probably a more useful way into a band’s confidence…

 IN THIS PHOTO: Florence Welch/Florence + the Machine (although one of music's very best, she seems indicative of the middle-classes who still have a majority say in the mainstream)/PHOTO CREDIT: Vincent Haycock

As the writer Simon Price put it wryly, it’s only a matter of time before a pop version of the infamous Johnson/Osborne/Cameron Bullingdon Club photo surfaces, featuring several leading members of future indie-rock acts looking supremely entitled in frock coats and wing-collared shirts.

This is easily dismissed (especially from above) as chippiness or, in Blunt’s terms, “jealousy”. To be fair, I should point out that I am referring to mainstream rock and pop. Grime, hip-hop and dubstep are still rooted in an urban milieu of zero-hour contracts and pound shops. It has been suggested that as much of 60 per cent of the pop charts of recent years has been occupied by privately educated musicians but this seems highly debatable”.

That piece was written several years back and seemed to nail what many people were trying to say. Whilst the viewpoint then – that the percentage of middle-classes in music was huge – was exaggerated for dramatic effect; there was truth to suggest the profile of the working-class musician was but a memory. There were working-class acts working in areas like Grime and Hip-Hop – talking about their lives and the struggle they faced – but they were/are in the minority. Noel Gallagher, in 2015 too, talked about music and whether he felt working-class artists had a voice:

“…The singer-songwriter, who found fame with iconic Manchester band Oasis has blamed the recession on the reason people from poorer backgrounds struggled to find success in the industry.

He said: “I think with the recession and all that there’s a few things that have happened.

 IN THIS PHOTO: Noel Gallagher (2015)/PHOTO CREDIT: Nadav Kander

"It’s not possible for a working class people to sustain a music career if they don’t make it if they don’t have record labels and stuff.

"That’s become more difficult because of the recession. And you know the smaller type venues and rehearsal spaces they are all closing down now and becoming posh restaurants and flats. And that has taken the spaces for these bands or kids in bands to grow".

Another great article, like Stuart Maconie’s, examined working-class music and the changes we have experienced through the years. The article looked at The Jam as, perhaps, one of the archetypal bands who fought that tension between the suburbs and those in the cities. Those, like The Jam, who located a space just shy of London’s wall and found it hard to find relatability. Whilst we associate The Jam with a working-class Punk aesthetic; is it more complex than a binary view: those who have a certain lifestyle and work in particular jobs; the split between wealth and scraping by?!

“What's clear to me is that all of this gets down to the fundamental question of whether or not art, including music, is a reflection of society or the means of its transformation. The commonsense answer is both, but increasingly it seems that music is valued much less as a transformative force in our pervasively commodified culture.

 What does that mean for working class music? It means a working class that doesn't see or hear its own reflection. It means that the combination of youth, work, community and protest in the Jam's music is less able to escape its past, and that such a combination today faces an enormous challenge if it tries to change the present. There are working class voices, but they struggle to be heard. The first step might be for them to articulate themselves as such, to reclaim by their own terms what it means for them to be working class”.

I am not sure what provoked the raft of class-based journalism but it was clear the mainstream was overly-toff at the time. With your James Blunts and Mumford & Sons whining about love and their wretched lives; where were those artists who were talking about what life was like for those who are less-well-off?! In 2018, I have to re-judge those opinions and ask whether things have changed. There have been few pieces written since then that pitch new angles and hint at improvements. In simple terms, my viewpoint is this: the situation is broadly the same! I feel Pop is becoming broader in terms of its sounds and there are artists at the forefront that are less snooty and off-putting than those that infested the scene back in 2015. Maybe, back then, a certain sense of wealth and posh-ness came from the speakers and in the magazines.

If the voices are less plummy and middle-class then I am hearing no real adjustment in terms of the themes creeping into music. Love dominates, still, and that is a classless subject: you can get sh*tted on whatever your standing and, when it is all said and done, how much is the average listener going to learn about the world that they do not already know?! Genres like Grime and Hip-Hop, that Maconie alluded to, are still on the boundaries and there are few British standouts that are getting their faces on the front of magazines. The U.S. is a political musical nation but there are not the same class-lines and structures we have in Britain. There is the working and middle-classes in America but it is less divisive and notable in music. Here, now, there is a need to rebel against those who have taken us out of the E.U. and voted Tory. We here about the NHS struggling and Labour prophesying how the nation is being geared towards the needs of the middle-aged and middle-classed voter. We are in a more fraught and divided world than 2015 and, in terms of music, there is that desire to articulate the common stress and offer some suggestions. New Punk/Alternative bands like Shame, IDLES and Cabbage are my go-to examples when I look at working-class sounds and something approaching substantial.

IN THIS PHOTO: The Jam/PHOTO CREDIT: Martyn Goddard

I feel the mainstream has turned inwards and prides confession and maturity over anything social, political and daring. Long gone are the throes of Punk and acts like Sex Pistols; where are the modern cuts of The Jam and bands like Oasis – the type that kept it real, tossed one off at the press and actually sung songs that bonded the nation? If the percentage of middle-class musicians has not necessarily increased in the past few years; are we living in an age where class is being blurred and we are viewing music in other terms – its emotional resonance or how it affects us psychologically? I will quote two more passages from Maconie’s examination of the working-classes/music but, right now, take a look at music as an open market and buffet. We are more unwell and mentally ill than we were as recently as a few years back; the sort of political unrest that provoked Punk bands to rise and saw real fire come into music is present in 2018 – so why no rebellion and revolution? Is there a fear that labels will not stand for their artists going ‘off script’ and not conforming with the brief?! Artists are so dictated to and controlled now: every single gets its release date and there are set dates for teaser clips and performances. Music, at mainstream-level, is becoming too synthetic, business-minded and meticulous.

There is little room for an artist to express their own mind and change the game. Imagine is someone like James Bay, not that he would, decided to tackle Brexit and why working-class youngsters felt they were getting stiffed by the middle-aged population who will be dead before the damage caused has a chance to settle in?! Not only would that raise eyebrows but it could signal career death! Stuart Maconie mentioned education and class and boiled it down to this: are we hung up on where someone studied and whether that equates to good/better music?

“Does it matter? Surely Noel Gallagher is no better than Nick Drake just because he went to a Burnage comp rather than Marl­borough? Of course not. But pop culture should reflect the lives of its people in all their vibrancy, challenge and hurly-burly, not the rarified interests and experiences of a few. Most modern indie bands’ lyrics seem to be either turgid chunks of half-digested philosophy or indulgent disquisitions on the singer’s fragile emotional microclimate. It is telling that the last alternative bands to emerge with lyrics that observed the world around them wittily and pungently were Kaiser Chiefs and Arctic Monkeys, both from working-class backgrounds in Yorkshire”.

Maconie looked at education and grants today – “The children of the middle and upper classes are beginning to reassert a much older order. In the arts generally – music, theatre, literature for sure – it is clear that cuts to benefits, the disappearance of the art school (where many a luminous layabout found room to bloom) and the harsh cost of further and higher education are pricing the working class out of careers in the arts and making it increasingly a playground for the comfortably off” – and the reason I liberally take from his article is because it rings true to the present-day. The mainstream should be a market where everyone can express themselves freely but, with such a predisposition towards confessional lyrics and the same shallowness that has reigned for decades, there are no big movements and shifts.

Rock/Alternative, once the bastion and pulpit of working-class anger and one-finger-to-the-man music is no longer viable. Guitar music is dying and bands, more and more, are experimenting with sound and trying to take music in new directions – rather than exploring issues that affect the working-class. There are, to be fair, working-class artists in music and a few who manage to speak about subjects like unemployment, the Government’s greedy hands getting into every crevice and lack of funding for the arts. Whereas we lure after wealth an in an Instagram-ready, filter-heavy society of pouting photos and big advertising; that sits on the face of the dirt-stained working-class ideal of labouring hard and earning an honest day’s wage. The struggle is still there (in society) but it seems the breakthrough and coup we need is still in the distance. Tastes have shifted so we no longer have a Britpop movement – where working-class bands like Oasis could strike – and the former leaders like Arctic Monkeys have got richer and can no longer legitimately talk about things they did back on their debut. Throw into the agenda the fact artists seem to be poorer and it is harder to make a living – has streaming helped us? – venues are closing down and the working-class are being priced from areas where the music scene is strong (thus, not being heard) and it all contributes.

There are other reasons to suggest music is still for those with more wealth and social standing. At the very least, those working-class artists with a true voice and something meaningful to say are at the edges and working hard to make some in-roads. The more and more we hear of Brexit and our P.M. spouts off about ‘promises’ and what she can do for this country, the more I yearn for bands and artists to come along and give her a musical kick up the arsehole. Money and labels still have too much say on what artists perform and how they sell themselves – that whole business of ‘selling themselves’ makes me rather unwell! I am a working-class writer and feel the only way I can get heard is having a blog where I do not get paid. I cannot get hired by a paper like The Guardian because I do not have the relevant education and contacts to get a foot in the door. The press is still, largely, comprised of the well-educated and middle-classes. Music is not much better off and the reason I wanted to re-examine class and social change is (because we) are in a moment when the working-class feel more anonymous and voiceless than ever before.

Do we refute class labels and insist on more fluidity and less labelling in music? Is the fate of the working-class improved and starting to gain traction? Is enough being done by the masses to ensure we have a more balanced and inspiring market? I would say that, if anything, we have taken steps back since 2015 (a year that saw a lot of class-based anger) and are in greater need of reprisal and improvement. I do not think working-class voice and respect will change music and make the world a better place. It is not about radically shifting the globe and trying to live in the past. I know Oasis, The Jam and The Beatles – who seemed to define what a working-class band is all about – can never exist in this time, regardless of who rules the nation. What I DO want is a foot – my shoes are getting a lot of sh*t on them! – up the bottom of those at the top who have the power to redress the issue and vaccinate against the vapid and calorie-less mainstream that could do with an overhaul. Those who struggle to pay the bills or are seeing their liberties removed; the lives of the young men/women on the London streets; the fight people have in the North to get attention from the politicians in the South – where are their stories being told?! Whilst we might pass on to the next generation some good music and genuine quality; how many important and relevant songs/artists will we offer them? Will they listen to modern music and feel like artists get who they are (the working-class) and have their finger on the pulse of Britain?! Is it more likely, though, that, as we get more and more divided and poor as a nation; music is getting more obsessed with ‘likes’, wealth and those who sing about themselves/cliché love stories?! I have the feeling that, three years from now, I am going to be writing the same article again but, this time, with tears in the eyes and a deflated heart. For my sanity and hopes for music, that rather Dystopian and bleak prediction is…

HORRIFYING to imagine.

INTERVIEW: Early Hours

INTERVIEW:

Early Hours

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THE guys of Early Hours started life in South Africa…

but are based over here in the U.K. now. I ask Jake and Adam about their formation and what they can reveal regarding the new single, Blink. They tell me what they are doing next and if there are any gigs lined up now they are in the country.

Early Hours recommend some new artists and tell me what the scene is like in Cape Town right now; if there are fond memories they have from their time in music; whether they get time to chill outside of their musical life – the guys reveal what they hope to accomplish before the end of the year.

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

Been a busy old week! Jake just flew down from America and we got to see each other for the first time in four months (we’ve taken the first half of the year off as Jake studies songwriting in Boston and Adam is studying Production in Liverpool, but we’ve relocated to the U.K. for the next three months). So, there’s been a lot of catching up, rehearsing and listening to the new Arctic Monkeys album.

We’re a combination of jet-lagged and excited for this summer we’re about to spend together.

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

We are Early Hours, an Indie-Afropop band consisting of Jake Bennett and Adam Rothschild; bred in Cape Town, South Africa and now based in the U.K. seeking out world domination on a budget…

Blink is out now. What inspired the song?

Blink came about through a period of uncertainty. We put out a song called Smells Like Summer as we finished high-school, which went viral online and became the first track in our country’s history to get over a million plays on SoundCloud. We felt like the world was ours for the taking but South Africa is a small place and it’s tricky and expensive to escape from.

So, while we wanted to be out seeing the world and meeting all these fans we’d generated through the power of the Internet, we felt a bit stuck. Blink is about that period and about that feeling that the world is passing you by but with a silver-lining of hope that, despite all the worries we have, the best parts of this world might be sitting right in front of you.

The track is perfect for the summer! Was it written with festivals and celebration in mind?

Oh, absolutely. We come from one of the most beautiful, sun-kissed and joyous countries in the world and it’s always been our goal to bring a slice of that cake to the rest of the world. The irony and the beauty in Blink is that it’s coming out right as we get the chance to do just that. We can’t wait to take it to every festival and celebration the U.K. will let us into!

Might we see more material coming later this year?

Absolutely. We can’t say when, but our advice is don’t blink.

Jake and Adam. How did you find one another and form Early Hours?

Jake was born in England and moved to South Africa and Adam was a South African with a fascination with the U.K. music scene. We met on our first day of high-school and bonded over a mutual love of Arctic Monkeys. We formed a lifelong friendship out of that singular conversation. The band is pretty much just a product, and an extension of that friendship, paired with a dream to get back to the U.K. and be a part of that scene we’re both so in love with.

You have achieved worldwide acclaim and worked with some great producers. Do you think travel and great collaborations make your work stronger and broader?

Without doubt. The reason this partnership works is because we push each other...

But, the real magic is formed when we combine that competitive spirit with the outside world; whether it’s life on the road informing the lyrics or a general fascination with other country’s music scenes. One person in particular that changed our sound and our way of working is an Australian producer named JP Fung, who we emailed out of the blue because we were a fan of the Australian music scene and, in particular, a band called Last Dinosaurs (who he produced).

We didn’t expect a reply, but he liked our music and we’ve been working and writing with him ever since. He’s our biggest collaborator and he feels like a very close friend - even though we’ve never even met face to face.  

You hail from Cape Town. What is the music scene like there? Is it quite easy to get gigs?!

It’s small but deadly. The relative lack of bands and venues mean those in the scene have to compete with each other for the country’s affection. But, at the same time, it comes with a feeling that we’re all working towards the same goal of having South African music recognised – be it by the world or by the local community who are lost in the Billboard Hot 100 Chart.

That feeling, and the hard work it takes to achieve that goal, builds a pretty nurturing family spirit. There's always a great sense of pride when someone from your community breaks the boundaries and starts to take off. Jeremy Loops is the country’s latest and greatest export and we’re all firmly behind him, while furiously trying to catch up.

What do you hope to achieve in 2018?

We feel like landing in the U.K. last week was an achievement in itself as it was kind of the culmination of eight years of our friendship and playing music with each other. Now, the goal is to connect with as much of our U.K. fanbase as possible and play in the venues and the spots we’ve dreamed about since high-school. We also hope to achieve a pretty profound knowledge of what makes a good English pub.

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

As we said earlier; when we were in high-school, we put out a song called Smells Like Summer which took off online and led to us jumping on a plane the day we finished our final exams; leaving our hometown together for the first time and flying to New York to record a song. That feeling of escape, and our first leap into the great unknown, will stick with us forever. It’s a feeling we try to tap into with every show we play and every song we write.

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

Arctic Monkeys was the band that we bonded over in the first place, so that would be pretty sweet. Though there is that old saying about how you should never meet your heroes - so maybe that could be a risky business. We got the chance to tour with The Lumineers last year when they came to South Africa. They were a band we didn’t know much about but really got into as a result of that experience.

As for the rider, we’re pretty easy to please. A few bottles of tap water, some fresh towels and 2000 Smarties hand-sorted into different colours is all we ask for.   

What gigs do you have coming up? Will you come to the U.K.?

Just arrived! We had our first show in London at the O2 Academy this week and we’re off to Bristol in June. Other than that, keep an eye on our social media (Instagram and Twitter handles are @earlyhoursband) to see where we’re popping up next.

What advice would you give to new artists coming through?

Make sure you only eat the orange Smarties.

IN THIS PHOTO: Shortstraw

Are there any new artists you recommend we check out?

We’ve been enjoying some other South African bands recently. If you like your music kissed by the sun make sure you check out Shortstraw and Beatenberg.

IN THIS PHOTO: Beatenberg

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

We grew up underneath the watchful eye of Table Mountain and that instilled a great love for the outdoors. Running up there, or just getting out of the house and into Mother Nature’s pocket, has always been a great way to unwind and a wonderful source of inspiration.

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).

Jake: way it goes - Hippo Campus

Adam: South of the River - Tom Misch

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Follow Early Hours

Facebook:

https://www.facebook.com/EarlyHoursOfficial/

Twitter:

https://twitter.com/EarlyHoursBand

Instagram:

https://www.instagram.com/earlyhoursband/

SoundCloud:

https://soundcloud.com/earlyhours

Spotify:

https://open.spotify.com/artist/7opSSXbFHlnoN8edZUv2YD

FEATURE: Vinyl Corner: Supergrass – In It for the Money

FEATURE:

 

Vinyl Corner

ALL IMAGES/PHOTOS: Getty Images/Press

Supergrass – In It for the Money

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THIS is a feature that recommends albums…

that sound perfect when you buy them on vinyl and let a record player bring the glorious grooves to life. It may sound odd, you’d think, to include Supergrass’ In It for the Money in that category. The album is only twenty-one-years-old but, in my mind, it is a modern classic. I am a huge fan of the band and was sad to see them split after Diamond Hoo Ha (to be fair, a stupid name for an album!). In 1997, after the success of their debut, NME were ready to call In It for the Money “More fun than watching a wombat in a washing machine”. Whilst that imagery seems cruel to the point of calling in the authorities; it does provoke a certain smile! I was alive and bonding with music when Supergrass released their debut, I Should Coco. In a year where Blur and Oasis were battling it out for chart supremacy; Supergrass came into Britpop with their own brand – something that sat outside the camps of Blur and Oasis. Recorded in Cornwall, two years after the band started life together, it was an instant hit and resonated with critics. That early success, in some part, would have been down to the incredible success of Alright – a song that not only soundtracked the summer but seemed to define the generation.

The bands influenced – Buzzcocks, The Jam and The Kinks – can be heard in the album’s best moments. From the stomp of Mansize Rooster to the stabbed and nervy guitars of Lenny – it is a packed and explosive album with so much invention and life. Although it is a top-heavy album – all five of its singles are included in the opening six songs – there is plenty to recommend in the closing half. It gets trippier and more mind-bending when you reach songs like She’s So Loose and We’re Not Supposed To: an album of two halves that sits together wonderfully. The three-chord, fun songs that went into their debut sat nicely with the signs of the time. Oasis had their sophomore release whilst Blur were entering a new phase of their career post-Parklife. It was a competitive and exciting time in British music – Supergrass were the new boys and, as such, could have easily mimicked what was at the forefront. After I Should Coco scored big and gained legions of fans; the band could have traded off the songs and toured for many years. There was pressure to follow up on their debut and, in the process, keep their sound true. In It for the Money, in 1997, if you compare it with what was happening with Blur and Oasis seemed to carry on their work.

Both bands were changing (Oasis less successful than before; Blur embracing U.S. Rock and getting darker) and Supergrass were thinking about their own sound. Whilst there are similarities between the two albums; In It for the Money is a more confidence and daring album than the debut. One might think they’d embrace a darker and more adult sound but, if anything, there is even more fun and juvenile energy than I Should Coco. Supergrass had disruptions and problems when recording. Sessions were interrupted with their drummer Danny Goffey going back to London – they recorded in Sawmill Studios, Cornwall – to play with his and Pearl Lowe’s band Lodger caused some problems. Supergrass' management was unhappy and told Goffey it was unacceptable. Gaz Coombes, Supergrass’ lead, and Goffey were arguing in the press regarding the lyrical meanings behind In It for the Money’s standout (in my mind) track, Going Out – whether press intrusion and privacy inspired the words. Only two songs were written prior to entering the studio and the band spent an age coming up with the album’s title – the final decision might have been a cheeky nod to their status and what they were in music for! Early tensions and delays could/should have ground things to a halt. If anything, that sort of energy motivated the band to produce something close to a masterpiece!

In It for the Money is slightly less top-heavy than the debut and starts and ends with bigger bangs. In It for the Money and Richard III are perfect one-twos that get you invested and prove their debut album was no fluke – the latter became a big hit and was always destined for singalong festival crowds. Those looking for a similarly-gleeful Alright found plenty to love in songs like Tonight and Going Out. Tonight has that party atmosphere and seems to burst from the speakers. Few bands would have been bold enough to add a variety of instruments into the traditional guitars-bass-drum set-up. Tonight sees horns parping; organs can be heard on Going On – Late in the Day has acoustic guitar; piano can be heard in other moments. The album’s opening trio of songs gets the mood up and seems to set up the party. Late in the Day, track-four, comes after-dark and is the young band showing maturity and tenderness. It is a beautiful number that showed the range and sense of flexibility the band were employing in their work. From there, it is on with a new day and plenty of fun! Going On is a pure Beatles-esque blast of imagination. It has big horns and organs; the chorus is catchy and the lyrics cryptic – you’d have to ask Gaz Coombes to see what the true meaning is!

Later songs like Cheapskate and Hollow Little Reign are minor hits but show the band were not all about punchy songs designed for summer raves and parties. Supergrass could have displayed a boyish charm and rebellious sense of mischief and won plenty of hearts that way. Even on their opening two albums, they were keen to show they were more than style and the sort of glee Alright sported. With fewer weaker turns and bigger performances from the band; In It for the Money was a huge success and outsold I Should Coco (Gaz Coombes, you’d imagine with tongue slightly in cheek, said it meant the band could sleep at night!). The guys would follow In It for the Money with their eponymous L.P. in 1999 – another creative turn that did not impress the critics as much; little of the energy that we saw on the first two albums – and had the public on-board. The depths and qualities of the record are perfectly distilled in a review from AllMusic:

“On its second album, the cleverly titled In It for the Money, Supergrass brought the songs to the forefront, slowing the tempos considerably and constructing a varied, textured album that makes the band's ambition and skill abundantly clear. From the droning mantra of the opening title track, it's clear that the band has delved deeply into psychedelia, and hints of Magical Mystery Tour are evident throughout the album, from swirling organs and gurgling wah-wahs to punchy horn charts and human beatboxes. In fact, Supergrass has substituted the punky rush of I Should Coco for such sonic details, and while that means the band only occasionally touches upon the breakneck pace of its debut (the hard-driving "Richard III"), it also deepens its joyful exuberance with subtle songs and remarkably accomplished musicianship. There might not be a "Caught by the Fuzz" or "Alright" on In It for the Money, but that's not a problem, since the bright explosion of "Sun Hits the Sky" and the nervy "Tonight" are just as energetic, and the album features introspective numbers like the gorgeous "Late in the Day" and "It's Not Me" that give it substantial weight”.

The reason I love In It for the Money is (because it) was a brilliant revelation back in 1997: in 2018, we mourn the loss of Supergrass but find new layers to enjoy in the band’s sophomore record. I am including it in my Vinyl Corner feature because it gains new energy and wonder when you hear it on a record player. Drop the vinyl on and get some good speakers. Lay back and close your eyes…let all the music wash over you and bask in the glories of Supergrass. Oddly, all that bristling tension and management dissatisfaction seem to come out in some of the songs. You picture the band recording and the kind of mood at various moments. However you view the album and whatever significance it holds to you; it is worth exploring it with new eyes now. Some albums from the 1990s have not dated and seem a little out-of-step in today’s market. Supergrass’ second album not only defines the times back then but seems to sit perfectly comfortable in the here and now. I feel more band should take guidance from In It for the Money. It seems rather sad to think we might never see anyone with the talent and personalities of Supergrass in music. If new acts can take strands from Supergrass’ finest album and work it into their own material, it would make music so much more interesting. I will leave things there – because I am keen to get back to the album! – but would recommend everyone get In It for the Money on vinyl, find forty-three spare minutes and…

LET it do its work.

FEATURE: Spotlight: Mabel

FEATURE:

 

Spotlight  

 Mabel

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WE have been promised this wave of Pop…

PHOTO CREDIT: Jamie Morgan for DAZED

that is supposed to eradicate the sugary and inane stuff you hear on some radio stations and replace it with something more personal, appealing and deep. I am a fan of newcomers like Sigrid and Billie Eilish – two names that keep coming up on these pages – and am a new convert of Mabel. If you think you recognise the face then that might be because of her mother: the legendary Swedish-born artist Neneh Cherry. Mabel McVey, the twenty-two-year-old, is mononymously known as ‘Mabel’ and inherits a lot of her mother’s talent. Both performed at this week’s Biggest Weekend and it showed the offspring of Neneh Cherry possesses the same fortitude, command and talent as her mother. It might not be a surprise to find Mabel is already on the road and travelling intercontinentally. When Neneh Cherry was growing up, she moved around Europe and was used to living in different environments: Mabel has that sort of D.N.A. in her blood that means the transitions and travel is part of who she is – even if the jetlag, according to her Twitter feed, is a bit of a bitch! So far, after being born in Malaga; Mabel has lived in Sweden and is based in London. It is a rather hectic and busy time in her life: she will see even more countries and people. All of this might sound like I am pitching Mabel to be the next Michael Palin but, in truth, it shows how worldly and cultured she is.

IN THIS PHOTO: Mabel with her mother, Neneh Cherry

That maturity and strength goes into her music. There is a Venn diagram in Pop that separates the fluffier, commercial brand with the more introspective and independent sort. Mabel, in many ways, is in that intersect – the same sort of blends and brand her mother honed and owned in her early days. I do not like to keep bringing family into things but there is a correlation to the sort of eclecticism found on Raw Like Sushi (the 1989 debut from Neneh Cherry). It has been a busy past couple of years for Mabel. Her E.P., Bedroom, was released last year and found a lot of positive feedback. Like a lot of Mabel’s material; it found willing artists to revisit songs and add their own spin. It usually takes a while for an artist to get to the stage where others want to remix and rework songs: Mabel’s instant and alluring sound has found reinventive passion in Shura, Cadenza and TIEKS. Not only has Mabel stridden proudly alone but she is easily able to hook up with other artists, including Not3s and Kojo Funds and make it work. Whether sparring with someone else or going it alone; the material you get from Mabel is a lot stronger and more nuanced than the normal Pop fare. Fine Line, released earlier this year, was another collaboration with Not3s – they seem like natural sparring partners and, in My Lover, there is contrast and two sides to their bond.

Whilst it is good to hear Mabel have a natural grace and modesty – sharing the spotlight with others – I suspect there is a commercial aspect to hooking with others and getting into the forefront. That may sound cynical but, when one duets or works with others, there is a culture of artists riding high on Spotify playlists and helping one another out – pushing streaming figures up and getting into new markets. I am a fan of Mabel and see that huge potential inside her. When her debut album comes out; it would be good to see the young artist show more of who she is and ride out front. She has a raw and real passion that makes her a much more defiant and intriguing artist than, say, Dua Lipa or Anne-Marie. I am not a fan of the latter and find Dua Lipa’s best work is ahead of her. When I venture into the Pop market, I am searching for something that goes against the commercial and cheap and, in a way, reminds me of the glory days of Pop – back years ago when it was a lot of fun but conveyed a message. Mabel is not someone who writes for a limited audience and is always checking to see how many stations are spinning her music. She writes music that means a lot to her and brings everyone together.

Another collaboration, with RAYE and Stefflon Don, saw Cigarette burn a hole into the senses – a more potent and meaningful than Girls (which saw Rita Ora join with Charli XCX, Cardi B and Bebe Rexha and, in the process, gain controversy because of its apparent light-hearted and cheap approach to homosexuality). Set aside all the collaborations and the defining work, in my view, is her 2017 mixtape, Ivy to Roses. Tight, short titles – like Roses, Passionfruit and Ivy – presented a mixture of romance and anger (Begging and Weapon). It is, in fact, a mixtape that shows two sides to the stunning artist. There is the more alluring and soulful tones that sit with street-level grit. That is unsurprising given Mabel’s background the market. She must have grown up around an array of artists and, living with Neneh Cherry, some of that might have been physical interaction. There is little contrived and calculated when it comes to her projections. The material brings together her childhood tastes and the music she is discovering now. I hear elements of Neneh Cherry in her work but Soul legends and R&B icons like Beyoncé. Her music can be described as ‘Pop’ but you would be hard-pushed to compare it with anything out in the market.

Projecting forward and I think there will be some big changes for the Polydor-signed hopeful. Even if the hook-ups with big artists has been designed, one suspects, to boost profile and get her name among the market leader as soon as possible…I feel it is her own voice and family ties that make her happier and most fulfilled. Her 2015 debut single, Know Me Better, was promising and hinted at what was to come. 2017’s Finders Keepers came with an eye-catching video and her work alongside producer Joel Pott has brought her to new audiences. There are whispers of a debut album but no title and release date has been set. Whether Mabel decides to start from scratch and write ten/eleven new songs for the L.P. or incorporate already-released cuts I am not sure. There are at least four tracks from her mixtape I would have on the album. I would stray away from collaborations too much – maybe one near the middle of the record – but Ivy and Low Key (from Ivy to Roses) would sound great near the top. Obviously, there will be so many different producers ready to work with Mabel but, unless it is an album as complex and hard-hitting as Lemonade (Beyoncé); there is little need to clog the album with too many bodies.

Some personal production from Mabel might give the songs the personality and drive they warrant; maybe writing with one or two others would be a good move – although she is capable of penning fantastic music herself. It is exciting seeing what her album could sound like but, if it is anything like her previous work, it will be a colourful and genre-fusing bag that mixes in 1990s-influcned Soul/R&B with modern Pop and some old-skool vibes. Not to come back to the mother well but Mabel has that family knowledge and fountain of experience. She has her mum to consult with and, who knows, maybe work alongside! I am excited to see what an album might sound like but, in a year that has seen some rather ho-hum efforts, I feel Mabel can make a big mark. Maybe Pop’s new breed like Sigrid and Dua Lipa have made steps and impressed critics. I have listened to their work and there is something charming and thrilling about it. I feel Mabel exceeds their benchmark and adds new light and lease to the Pop market. She is broader and more intuitive than her peers; less needy when it comes to other producers and bodies – even if many have been involved in her career – and crystal in what she wants to achieve and how far she needs to go. The remainder of this year sees her hit festivals (including Wireless) and get her new material out there. I think 2019 will be her biggest year and take her music to a new level. When/if there is an album out, I feel that will show to people she is one of the most promising and original artists…

WORKING in music right now.

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Follow Mabel

Facebook:

https://www.facebook.com/mabelmcvey/

Twitter:

https://twitter.com/Mabel

Instagram:

https://www.instagram.com/mabelmcvey/

SoundCloud:

https://soundcloud.com/mabelmcvey

Spotify:

https://open.spotify.com/artist/1MIVXf74SZHmTIp4V4paH4

YouTube:

https://www.youtube.com/channel/UCodP65FAmmdVWTaGFD5Qz-Q

INTERVIEW: Claude Munson

INTERVIEW:

Claude Munson

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MY final interview before next week…

is with the terrific Canadian songwriter Claude Munson. He has been chatting with me about his record, The Silence Came After. I ask whether he has a standout from the album; which musicians he counts as influences – Munson recommends some new artists that are worth catching up with.

I ask whether gigs are on the cards and what the scene is like in Ottawa; if he is coming to the U.K. this year; how he spends time detaching from music; three albums that mean a lot to him – Munson reveals what he has planned for the remainder of 2018.

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

Hey! I’m good. It’s been a busy and exciting week. I just released my sophomore album, The Silence Came After, via Record Centre Records and performed a sold-out show at the National Arts Centre’s Fourth Stage. Happy that the album is finally out and available for the people - and happy to be performing more live shows.

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

My name is Claude Munson and I’m singer-songwriter from Ottawa, ON. I perform in a five-piece band: two guitars, synths; drum and bass. Whether drenched in crystalline synths or stripped bare, I aim to write songs that tackle modern life and love with radical intimacy.

Some people call my music ‘Impressionist-Folk’ or ‘Art-Folk’.  

The Silence Came After is out. Can you reveal the themes and ideas that go into the album?

The Silence Came After is somewhat of an autobiographical record. I believe I'm trying to convey some truth about myself and my experience. One of the themes on the album is a kind of escapism and a constant need to run away from myself. I think, with this album, I confronted my past and learned more about myself in the process.

My music is also a kind of therapy for me: I write songs to try to make sense of my heart and my head.

Is there a track from the album you’d highlight as a favourite?

Broken Stairs is currently my favourite track.

The music video for it was just recently premiered on PopMatters the day before my album launch.  For the video, we chose the concept of getting lost in your own city. I was inspired by my teenage years of walking and hiking around Ottawa and Hull with my friends. We would go out and discover graffiti walls and abandoned things like the old train tracks that cross the Ottawa River and bridge Ontario and Québec. 

Do you feel the record is your most realised and satisfying work?

I do. We spent a few years making this album and did our best to not cut corners. Whether it was envisioning the album, writing; arranging or recording the songs, everything seemed to take longer than expected. I think it’s because everyone working on the record wanted it to be the best it could be. Each song is its own universe and they’re all treated uniquely. I’m proud of this album.

Which musicians did you grow up around? Who do you count as idols?

There are many, but I’ll try to keep it short! When I was younger, I would listen to old stuff like Billie Holiday and old Jazz records. I think this gave me an interest in singing melodies. In the early-two-thousands, Kurt Vile came to Ottawa and played Babylon nightclub. I was too young and too much of a dweeb to go to the show but I still bought his album, Smoke Ring for My Halo. I would always listen to this record before a writing session.

War on Drugs’ early stuff painted a nice picture for me: I really like what was going on there. The Sea and Cake (from Chicago) had an influence on some of the writing on the album. Something about the momentum in the music really inspired me - this feeling can be found on Broken Stairs. Bruce Springsteen’s Nebraska made me want to write more intimate songs. I would listen to that album a lot. Worthy mentions: Bright Eyes, Mazzy Star; Elliott Smith, Devendra Banhart; Andrew Bird, Patrick Watson; The Shins, Sufjan Stevens; Wilco, M. Ward; Jeff Buckley, Van Morrison; Nick Drake, Tom Petty and Paul Simon.

Sidenote: I’ve always been a big fan of Canadian Indie artists such Feist, Broken Social Scene; Stars, Bry Web; Chad Van Gaalen, Joel Plasket and Jen Grant. 

You are based out of Ottawa. What is the music scene like there? Are there a lot of great local acts?

It’s quite eclectic compared to when I was a teenager. Ottawa is a city that is constantly growing and changing. I’ve seen venues come and go but I think that means there’s stuff happening and people are trying stuff to see what works. There are more music festivals then before (big and small) and more than enough opportunities for bands to book shows and play. 

There is a good musical community here and anyone is likely to find something they like. I think Ottawa needs more medium-sized venues as to attract more out of town acts and maybe some bigger names; that would really draw people out to go see more music. There are many great local acts I would highly recommend: Her Harbor, Scattered Clouds; Trails, Shadowhand; Keturah Johnson, Sparklesaurus and Pony Girl to name a few!

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

Most probably! We are currently some shows to promote the album launch. We just played in Ottawa and Montreal this past weekend and we are heading to Toronto for a show at the Burdock on June 5th. 

Might you come and play the U.K. this year at all?

It would be a dream! I love to be on the road and my goal has always been to play everywhere I can. I feel as though people in the U.K. would enjoy the record. Even though my name is Claude, all my lyrics are in English!

What do you hope to achieve in 2018?

For my album to reach more ears, to write more songs; to make more music videos, to take some time off and remember to be human. I want to play some shows in scary America and beautiful Europe - and start recording a new album. I also hope to be a better person every day and give back to the community.

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

I miss the ‘jams’. I used to be part of a French band that busked in different towns in the South of France. We would hitchhike to a town, play in front of the cafes at night to buy food and drinks then sleep on couches at night…the vagabond days, I call ‘em. Those were my richest musical experiences to date. 

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

Buena Vista Social Club - Buena Vista Social Club 

When I was very young living in Asia with my family (my father was CTV News correspondent), we had this album playing with us everywhere we went. Every time I hear any song on that album, I instantly feel at peace and calm. It’s such a musically-rich record, so much talent; there is something very romantic about the album. 

Paul Simon – Graceland

When I was learning how to sing and play the guitar, I made it my mission to learn as many songs off this album as possible. This album was always my feel-good go-to album. I love the way Paul Simon writes songs. I feel like there is a universal message of love and compassion in his music.

Bruce Springsteen – Nebraska

I was listening to this album while deciding which demos I would bring to the band. Time It Takes, the last song of the album, is a bit of an homage to the crudeness of Nebraska.

What advice would you give to new artists coming through?

Believe in yourself. Go for it. The only thing holding you back is that silly voice inside your head. Be patient with your material. Create experiences that build up your self-confidence. Share your thoughts and feelings with others. Help yourself grow. Be proud of what you can do: don’t try to be like others: you can’t escape your own uniqueness so embrace it.

IN THIS PHOTO: Kevin Morby

Are there any new artists you recommend we check out?

I may be late to the game on this one but I just discovered Kevin Morby. Amazing stuff, Singing Saw: great song. Land of Talk from Montreal is also worth checking out. Her music is inspiring and her musicianship is out of this world. Great voice and guitar work. 

IN THIS PHOTO: Land of Talk/PHOTO CREDIT: Matt Williams

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

These days, not really, but that’s what I’m hoping for soon! Nature is a happy place for me so any kind of nature adventure is definitely my jam. In Ottawa and Gatineau we are surrounded by beautiful provincial parks so I try to go hiking and camping whenever I can. As a full-time cook, it’s hard to find the time.

My family has a cottage in New Brunswicka (a province on the East Coast of Canada). I’m hoping to sneak away there for a week or two this summer to decompress, chill on the beaches; read, play the guitar and spend time with my extended family – and eat some lobster. Very basic stuff but very good for the soul. I wrote three songs on that beach for The Silence Came After: Madness, Love Comes Knocking and Sweet Love. 

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).

The Sea and Cake - Any Day

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Follow Claude Munson

Facebook:

https://www.facebook.com/claude.munson

Twitter:

https://twitter.com/claudemunson

Instagram:

https://www.instagram.com/claudemunson/

SoundCloud:

https://soundcloud.com/claudemunson-1

Bandcamp:

https://claudemunson.bandcamp.com/

INTERVIEW: Conformist

INTERVIEW:

 Conformist

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THERE is a lot to unpick when it comes to Conformist…

and I was keen to learn more about his new release, Lifestyle Revised – reworkings of the songs that appear on Lifestyle Bible. He chats about the producers who remixed the songs and what is coming up for him; what the music scene is like around the Cardiff area – Conformist reveals whether he is touring at all or not.

The songwriter talks about new artists to look out for and what he hopes to achieve this year; why he keeps a low profile on social media; how he chills away from music – Conformist tells me the three albums that mean the most to him.

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

Doing fine, thanks; it’s been good. I’m enjoying the sun, reading in the park during the day; working on music in the evenings. I’ve even got a mild suntan.

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

I’m Michael Simmons and I make Electronic music under the name ‘Conformist’. I grew up in a small village in Pembrokeshire, West Wales and now live in Cardiff. I’ve been making experimental music since I was about eight-years-old.

I’ve released two albums: Paid to Fake It in 2013 and Lifestyle Bible in 2016. I’m about to release a remix record on 15th June called Lifestyle Revised.

Tell me the reason behind re-releasing Trust Exercises. How did Man Without Country get involved with the remix?

When I was making Lifestyle Bible, I sensed there were other directions the tracks could be going in but I thought that, rather than do it myself, it would be cooler to get input from other artists and let them take the tracks to other places.

When I first started thinking of artists to get involved with, Man Without Country were one of my immediate preferences to work with. I’ve been a fan of their sound for a long time and I also saw connections with myself and them, in terms of how meticulous and layered their work was. I got in touch with Ryan. I think he, possibly, hadn’t remixed such a ‘random’ track before, so it was perhaps a challenge for him. But, the end result is excellent.

Lifestyle Bible was released in 2016 – Lifestyle Revised takes the songs and pairs them with producers. What has the experience been like?

Really refreshing. When you’re making your own music, you can be guilty of not seeing all possibilities for the direction of a piece. But, having other artists listen to my tracks and come back to me with the versions that they did was quite inspiring. It makes you see a fuller and more focused picture.

Were you surprised by the original album’s positive feedback? Did that give you the desire to see what new life could be unearthed from the songs?

These days, I’m honestly not massively concerned with what feedback my records get. It used to bother me if I got a bad review and, on the flip, if I got a positive review I’d think I was a genius. You can get to caught up in the positive and negative comments. 

Conformist isn’t for everyone. When I realised that, it was really liberating…

Is there a particular remix that stands out to you? Which is your highlight?

I’m really pleased with all of them and grateful to all of the artists for getting involved – so, I wouldn’t really want to single out a (single) track as a standout. They each have elements which I like: the Mark Pistel mix has an old-skool Industrial vibe; Mark was in Meat Beat Manifesto and Consolidated back in the day so can sense that blueprint on the track; the Kayla Painter mix is really abstract and spacey, but has a 140 B.P.M. pulsing rhythm part way through - it works so well. 

The Man Without County mix is huge. It has an evocative, cinematic feel. 

What is the music scene like in Cardiff, where you are based? Which musicians inspired you to take up songwriting/producing?

I’m kind of in my own bubble doing Conformist so I don’t tend to get out to gigs or get involved in the local scene as much as I’d like, but I do know there is a strong sense of community in the scene. About a year ago, there was talk of a few of the coolest venues in Cardiff being closed down to make way for the building of luxury flats...it was pretty inspiring to see everyone banding together at that time to help the cause. It definitely solidified the scene; made it stronger.

When I was younger, I was inspired by watching television and movies as much as by other artists. I’d always liked the idea of taking sounds out of other platforms and re-arranging them - so when I discovered artists like Steinski, I was really inspired.

You keep quiet a low profile when it comes to interviews and social media. Is that so you can focus on the music and what is most important?

I’m not huge on social media: I don’t feel the need to tweet what I’m eating - it often reeks of desperation. I find it a bit sycophantic, seeking others approval, so I try to avoid giving my opinions on topics; don’t directly post on my pages unless it is music-related. I try not to engage.

Interviews are fine. I could talk music all day.

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

I’d like to tour this year, why not, but currently no plans. It’s hard to see Conformist doing a conventional tour but, maybe, some one-off shows. The venue is important. It has to be the right audience.

What do you hope to achieve in 2018?

Once this record is done, I’d like to get a new Conformist E.P. out in the autumn. I’ve got some tracks which are fresh and I really want to get them out before Christmas; maybe five or six tracks, a little longer and more experimental than the last album. Slower B.P.M.s; room to think.

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

Actually, getting a nice email from Chris Carter of Throbbing Gristle was super-cool and a highlight. He was really kind and encouraging of my music; a total gent. I’m a big admirer of his work, so it was a big deal to myself.

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

Meat Loaf – Bat Out of Hell I, II and III!

Nahhh, joking. Ummm. I really like Deceit by This Heat; the White Noise An Electric Storm album and maybe one of the early Public Enemy records...It Takes a Nation of Millions to Hold Us Back. 

All are a big influence on myself, production-wise.

What advice would you give to new artists coming through?

Have perspective: the music you’re making may be important to yourself but it doesn’t mean it’s great. Don’t attempt to mimic other artists. Don’t get mad at criticism. 

IN THIS PHOTO: Kelly Lee Owens/ARTWORK: Kim Hiorthøy

Are there any new artists you recommend we check out?

Kelly Lee Owens is doing some productions which I’m really jealous of. She is excellent. An artist called Accü (I think she is from West Wales). I saw her video, Did You Count Your Eyes?, the other day which I thought was cool.

IN THIS PHOTO: Accü

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

It’s mostly music stuff 24/7. I’m pretty intense about it. But, I’m a massive movie fan and I do quite a bit of running, short-distance stuff, like four K.M. a few times a week. People seem surprised I run: maybe disappointed cos it’s not very Rock ‘n’ Roll...?

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).

Squarepusher - Tomorrow World

Killer melody!

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Follow Conformist

Official:

http://www.conformistmusic.co.uk/

Facebook:

https://www.facebook.com/conformistmusic

Twitter:

https://twitter.com/conformistmusic

Instagram:

https://www.instagram.com/conformistmusic/

SoundCloud:

https://soundcloud.com/conformistmusic

YouTube:

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

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. 

___________

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

_________

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.     

___________

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

__________

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?

__________

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