FEATURE: The Musical Big Bang: Why John Lennon and Paul McCartney’s First Meeting Is the Most Important Moment in Music

FEATURE:

 


The Musical Big Bang

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IN THIS PHOTO: John Lennon with The Quarry Men (1957)/ALL PHOTOS (unless credited otherwise): Getty Images/Press 

Why John Lennon and Paul McCartney’s First Meeting Is the Most Important Moment in Music

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YOU will have to forgive the lack of original imagery…

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because, back in 1957, there were few snaps of Paul McCartney and John Lennon! It may not be timely or celebrating an anniversary, but I wanted to look at a moment, I feel, is the most important in all of music. We can argue when music changed forever and what the most important moment is. Some see the explosion of Blues as revolutionary; the 1960s and the wave of fantastic bands that came through – some see more modern innovations and breakthroughs as more vital. I look at the album cover of Please Please Me (The Beatles’ debut) and that famous shot of the quartet looking at the camera from a balcony – from the stairwell of EMI’s base in London. They are all smiles: the excitement of launching their first L.P. and delivering it to the world. That album came out in 1963 and, thinking back; how did the greatest band who ever live come together? Many might say it is when the foursome was complete – after Pete Best departed and the classic line-up gelled – or when the debut album came out. To me, The Beatles’ beginning was back in 1957 when John Lennon met Paul McCartney for the first time. On 6th July, if you are not familiar with the details; this is how the 1960s’ best songwriting duo got together:

In the afternoon the Quarrymen skiffle group played at the garden fete of St Peter's Church, Woolton, Liverpool. The performance took place on a stage in a field behind the church. In the band were Lennon (vocals, guitar), Eric Griffiths (guitar), Colin Hanton (drums), Rod Davies (banjo), Pete Shotton (washboard) and Len Garry (tea chest bass).

The group arrived on the back of a lorry. As well as music, there were craft and cake stalls, games of hoop-la, police dog demonstrations and the traditional crowning of the Rose Queen. The fete was a highlight of the year for the residents of the sleepy Liverpool district.

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The entertainment began at two p.m. with the opening procession, which entailed one or two wonderfully festooned lorries crawling at a snail's pace through the village on their ceremonious way to the Church field. The first lorry carried the Rose Queen, seated on her throne, surrounded by her retinue, all dressed in pink and white satin, sporting long ribbons and hand-made roses in their hair. These girls had been chosen from the Sunday school groups, on the basis of age and good behaviour.

The following lorry carried various entertainers, including the Quarry Men. The boys were up there on the back of the moving lorry trying to stay upright and play their instruments at the same time. John gave up battling with balance and sat with his legs hanging over the edge, playing his guitar and singing. He continued all through the slow, slow journey as the lorry puttered its way along. Jackie and I leaped alongside the lorry, with our mother laughing and waving at John, making him laugh. He seemed to be the only one who was really trying to play and we were really trying to put him off! - Julia Baird, Imagine This

That evening the group were due to play again, minus Colin Hanton, this time at the Grand Dance in the church hall on the other side of the road. They were due on stage at 8pm, and admission to the show, in which the Quarrymen alternated on stage with the George Edwards Band, was two shillings.

While setting up their equipment to play, the Quarrymen's sometime tea-chest bass player, Ivan Vaughan, introduced the band to one of his classmates from Liverpool Institute, the 15-year-old Paul McCartney.

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 IN THIS PHOTO: John Lennon and Paul McCartney (circa 1962/1963)/PHOTO CREDIT: Pinterest/Press

This historic occasion was the first time McCartney met John Lennon, one year his senior. McCartney wore a white jacket with silver flecks, and a pair of black drainpipe trousers.

The pair chatted for a few minutes, and McCartney showed Lennon how to tune a guitar – the instruments owned by Lennon and Griffiths were in G banjo tuning. McCartney then sang Eddie Cochran's Twenty Flight Rock and Gene Vincent's Be-Bop-A-Lula, along with a medley of songs by Little Richard.

I remember coming into the fete and seeing all the sideshows. And also hearing all this great music wafting in from this little Tannoy system. It was John and the band.

I remember I was amazed and thought, 'Oh great', because I was obviously into the music. I remember John singing a song called Come Go With Me. He'd heard it on the radio. He didn't really know the verses, but he knew the chorus. The rest he just made up himself.

I just thought, 'Well, he looks good, he's singing well and he seems like a great lead singer to me.' Of course, he had his glasses off, so he really looked suave. I remember John was good. He was really the only outstanding member, all the rest kind of slipped away” - Paul McCartney, 1995, Record Collector

Lennon was equally impressed with McCartney, who showed natural talent for singing songs that the Quarrymen worked hard to accomplish. McCartney also recalled performing on the church hall piano

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I also knocked around on the backstage piano and that would have been A Whole Lot Of Shakin' by Jerry Lee. That's when I remember John leaning over, contributing a deft right hand in the upper octaves and surprising me with his beery breath. It's not that I was shocked, it's just that I remember this particular detail” - Paul McCartney
John Lennon, Philip Norman

That is a lot of cribbing from the history books – the actual smells and sights might be clearer to Paul McCartney. It seems strange to think that the then-teenagers would start The Beatles and, eight years from their first encounter, they’d record the debut album! It may sound like a long time considering The Beatles’ commercial career lasted about the same length of time. I feel the birth of modern music began when The Beatles’ lead songwriters found one another. If McCartney and Lennon had not met back in 1957 at that modest fete; they might never have ever met – would we have seen the band form at all or would each member record solo?! McCartney was, at that time, a superior musician to Lennon and taught the young Liverpudlian new skills and songs. McCartney’s repertoire and natural skill impressed Lennon. There were amazement and mutual affection between the songwriters during The Beatles’ regency – it sort of died down after the first few years of their career. The teenage eye-opening and discovery drove both of them to dive into music an open their horizons. We can trace music way back hundreds of years and say the likes of Elvis Presley and Buddy Holly pushed music to the masses.

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IN THIS PHOTO: St Peter's Church, Woolton

Everyone has their own opinion as to when the music universe was created. I think the fateful and charming meeting of Paul McCartney and John Lennon started everything. One can smell the cigarettes being dragged and the boys hanging out and sneaking a crafty drink here and there. I guess the 1957 performance by The Quarry Men did not set Woolton alive back then – it did usher in John Lennon as a local fixture and someone who was a cut above his peers. I am not sure how much musical experience McCartney had at the time but it is clear he drooled over records and practiced playing as much as he could. Even though McCartney played bass for The Beatles; he had serious guitar skills from the start and, as I said, was teaching John Lennon a few tricks. The clear affection and respect between the schoolboys meant working together was inevitable. The reason I am writing about The Beatles, now, is a feature that ran on Yoko Ono as she spoke with The Guardian. She was looking back at her life with John Lennon and returning to Liverpool for her Double Fantasy exhibition. The life of The Beatles began way back in 1957 but, with Yoko Ono, Paul McCartney and Ringo Starr still alive and well; there are many more years of stories and memories.

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IN THIS PHOTO: Paul McCartney and John Lennon performing with The Quarry Men

It is strange thinking about the first conversation between a young Lennon and McCartney. It is inevitable Lennon would have had that confidence and been curious about this new star. I guess there would have been jokes but a bit of mutual jealousy, too. How, then, did McCartney come to join Lennon’s band and start playing – the previously-quoted article takes up the story:

“…After the Quarrymen's show the group, along with Ivan Vaughan and McCartney, went to a Woolton pub where they lied about their ages to get served.

Later on, Lennon and Pete Shotton discussed the young McCartney, and whether to invite him to join their group. For Lennon it was a dilemma – should he admit a talented member who may pose a challenge to his own superiority within the group, or should he persist without McCartney, retaining his leadership yet likely consigning the group to failure?

They decided McCartney would be an asset, and roughly two weeks later Shotton encountered McCartney cycling through Woolton. Paul mulled over the invitation to join, and eventually agreed to join the Quarrymen's ranks”.

After joining The Quarry Men; things broke down in the band and, eventually, they mutated into The Beatles. You can picture those early Quarrymen sets with Lennon and McCartney together; both learning from one another and performing a range of cover songs. Although The Quarry Men are still playing; it is the way Lennon and McCartney developed and grew after that time that fascinates me. Their bond and talent outshone everything else and the closeness they shared led to the most successful songwriting partnership in popular music.

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IN THIS PHOTO: The Beatles (circa 1960)

It is debatable the Liverpool legends would have met under other circumstances but does that July day back in 1957 hold an energy and opportunity other times would not have? What I mean is, if they had met a year later in another part of the country; would they have discussed music and playing together – or would it have been a fruitless endeavour? I feel the fact Lennon was playing in Woolton with The Quarry Men and playing Skiffle, on the day he met McCartney, made the difference. Today, we hear about musicians meeting online or at some huge festival. The fact the future-stadium-fillers met at a rather small and, I assume, boring fete makes the tale all the more wonderful and unexpected. John Lennon and Paul McCartney would form The Beatles in 1960: a few short years after the boys joined forces and bounced off one another. I love The Beatles’ early period and the work they produced between 1962 and 1965. I feel that was them at their most free and exciting; before they went psychedelic and pushed the studio to the very limits. Without that meeting and genius songwriters discovering one another; I argue whether The Beatles would ever have come to be. The Beatles and always will be the most important and biggest band in the world. They have inspired more musicians than anyone else – tracing the beginning of The Beatles is when we can see the birth of popular music. There were some great artists in the 1950s but it was The Beatles’ explosion and evolution that changed the world. It has been nearly sixty-one years (amazingly!) since Lennon and McCartney met and had that incredible first conversation. Their foundation might have been modest but, unbeknownst to them, that 1957 seduction would lead to a band…

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IN THIS PHOTO: The Beatles (circa 1963)

THAT changed music forever.  

INTERVIEW: Blackjack Love

INTERVIEW:

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Blackjack Love

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AZZA is the man behind 'Blackjack Love'…

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and I was eager, before I talked about his new music, to learn whether there is a story behind the moniker. The songwriter tells me about his new track, Carryin’ On (Rockin’ and Rollin’), and what it was like working with Jon Astley on his amazing album, Bullets & Blues.

I discover the musicians that influence Blackjack Love and when music came into his life; what he hopes to accomplish before this year is through; his favourite memories from his time in music – he provides some pithy and useful advice for upcoming artists.

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

Yea. Alright, thanks. You? It's been ok. The weather was a bit moody but now the sun is shining, on the righteous, right?

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

I'm Azza; a songwriter/producer/guitarist from Woking.

How did the idea of ‘Blackjack Love’ come to be? What inspired the name?

The idea came from a little E.P. I'd recorded along with (playing some) open mic nights around L.A. and Joshua Tree. The name, on the other hand, came from a racehorse. Haha.

Carryin’ On (Rockin’ and Rollin’) is your new single. How did the song come together? Is there a story behind it?

Well. The whole album is loosely a concept album, set in old times; a Wild West kinda thing. So, the song is a piece of that puzzle. We'd recorded the song and I always had it planned that there would be some piano in it, leading the track. So, we called in an amazing player called Olly Wedgewood to lay several parts down and we cut it up into what it is now.

Bullets & Blues, your debut album, has Jon Astley mastering. What was it like writing and recording the record? What was it like working with Astley?

Writing the record took some time, but only because I had started to record one song, then started mixing it; then I thought that I'd write an album! So, once that was the case, the rest was written in a few months. The song was done in 2015, then I probably ummed and ahhd for a while. Haha. We recorded most of it in a pool room! Some of the reverbs are actually from the room itself! The vocals for Won't You Give It? were recorded at Studio City Sound in L.A., which was cool.

Jon Astley is one of the coolest, nicest guys I've ever met and he did a top, top job on this album.

How did you come to meet your manager – The Jam’s former drummer, Rick Buckler?

I honestly can't remember! I think someone got him to see my old band at a gig, then he put on a gig for another artist he was managing and my old band played. (Or it might have Guilfest; I'm not too sure). So, that's how he became our old manager. That band split a while ago but we remained friends, which is cool.

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When did music come into your life? Were there particular artists that influenced you?

I think music has always been in my life - before I could even play an instrument! My uncle had a wide musical taste and would always have music on in his car, or would buy me C.D.s. Yeah. Noel Gallagher, Josh Homme; Jimi Hendrix, Marvin Gaye and HDH. There are loads.

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

As of yet, no tour; just starting to sort gigs out so nothing concrete yet - but when there is, all the info will be on Facebook etc.

If we came and saw you play; what would the live show consist in terms of material and feel?

Material from the album: some new, some old. Maybe, I’ll throw in a surprise cover somewhere. Straight-up Rock 'n' Roll, baby.

What do you hope to achieve in 2018?

Decent fans, decent album sales and decent shows. Oh, and world domination, of course. Haha.

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

Playing the Indigo at The 02 and supporting Stiff Little Fingers was cool. The best, probably, was recording in Manchester once and going on the sauce with Frank Harper. Haha!

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

Oasis (What's The Story) Morning Glory?

My all-time favourite.

Marvin Gaye What's Going On?

So cool. He's saying a message. It was his kinda growth from a sex symbol to a man with a voice/message.

NirvanaNevermind

It made me wanna play the guitar.

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What advice would you give to new artists coming through?

If it sounds sh*t, it probably is sh*t…so start again. Do what you wanna do and don't lose sight.

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IN THIS PHOTO: Déjà Vega

Are there any new artists you recommend we check out?

Déjà Vega, Birdsworth and Coco La Funk.

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IN THIS PHOTO: Birdsworth

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

Yeah and no. I get time away from the studio, but the music never stops. I don't know how to unwin. Haha.

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).

Inner City Blues (Make Me Wanna Holler)Marvin Gaye

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INTERVIEW: Paige Bea

INTERVIEW:

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Paige Bea

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SITUATED in the suburbs of South London…

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Paige Bea has been talking to me about the scene where she is and what inspired her latest single, Your Echo. The promising songwriter tells me what it was like being recognised by BBC Radio 1Xtra and where she heads in terms of gigs and material.

I ask her which albums have influenced her most and whether there are new artists we need to keep an eye out for; what advice she would give to artists coming through – Paige Bea reveals a special memory from her time in music.

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

Hey! I’m not too bad. It’s been very busy, thanks!

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

Of course. I’m Paige - Paige Bea, if we’re being formal - and I’m a singer-songwriter from the 'burbs of South London. 

Your Echo is your latest cut. Can you tell me what the tale behind the song is?

Most of my songs are an amalgamation of myriad experiences, as opposed to one specific experience. I think I had the refrain in my head for a long time after getting fed up with someone for not caring enough about our relationship - and the verses just kind of spilled out in the studio. Songs about epic love are in the past: our generation is all about people flaking or ghosting, or thinking people and emotions are disposable. 

Tell me about working in The Premises Studios and working with people like Jonjo Keefe, Teresa Origone and KINDER. How important were they regards your sound on Your Echo?

Oh, it was so great. I’d already worked with Leo (KINDER) kind of since the start of the whole Paige Bea project but I think with Jonjo’s slightly more edgy production style and Teresa’s incredible Jazz keys and synth skills, it just went to the next level. The whole thing was pretty spontaneous and felt natural.

We didn’t really go to the studio that day thinking we’d even make anything start to finish…and we managed to write the next two singles. So, yeah, it was a pretty good day. 

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How do you think it builds on Pick Up Your Heart? Are you looking ahead and planning other songs?

It’s an important step for me. I love Pick Up Your Heart; it was one of the first songs I wrote and thought, ok, that’s actually pretty good which is massive for me because, like, ninety-nine percent of creatives, I am my own worst critic. But, Your Echo is closer to where I think I want to be stylistically; I think it pushes towards a more unique sound. 

You have gained support from, among other sources, BBC Radio 1Xtra. How important and encouraging is it getting that backing?

It’s hugely important because, as much as I will always sing and write music for myself no matter what, that kind of support keeps you believing that it’s not unrealistic to think you could pursue it as a full-time career one day, even though the whole thing is definitely baby steps. 

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What is the vibe like in South London right now? Is it a great place to make music in?

Yeah. I mean, there’s a crazy-cool Jazz scene going on in South East London, but I’m stuck out in the 'burbs of South West. I think the mundanity of suburbia is interesting in its own right: the routine, the uniformity; the ‘community’ that’s often just façade and I think it’s important for me as an artist to not pretend I’m from a more edgy, urban place because that’s not my background. I think people respond best to art when they can sense it’s completely authentic. 

Have you always had a passion for music? Was there a moment that compelled you to write your own stuff and get into the industry?

Oh, definitely. I used to (just) sing questions at my mum instead of talking when I was a baby and, back when I lived in Camberwell when I was about four years old, I invited our entire neighbourhood to my flamenco show at our house. Luckily for my mum, no-one turned up.

But, I’ve always been very keen to perform for people, that’s for sure. I think, as soon as I graduated, I had that switch flick of being like, ok, I either write songs and pour myself into this one-hundred-and-ten percent or I go do something else.

That was about two years ago…

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

I don’t think I’ll be touring yet: I’m still very much in a creative hole just finishing up the E.P. but I want to put on my first headline show at the end of August/start of September. I’ve got a couple of fun support slots coming up. Come along!

What do you hope to achieve in 2018?

I’d like to get to a point where I can see this being a viable full-time career but it’s extremely hard to get that kind of certainty in this kind of industry. So, I think I’d like to play a sold-out headline show, release my E.P. and (just) get more of a catalogue of work on the go. I want to be at the point where I say ‘look at what I’ve done’, not just look at where I’m going to go. 

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

It’s strange. Every new opportunity or good news about my songs I get ends up superseding the last. But, really, for me, my absolute favourite part of the whole process is when I go to the studio with nothing and get into a complete state of creative flow - and just end up writing melodies and lyrics in such a focused and almost subconscious way. You get to the end of the day having created something that didn’t exist before and that other people might enjoy and relate to. That’s, hands down, the best part. 

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

Oh, god; I’m going to say the wrong thing for sure, but here goes…

Joni MitchellBlue

For the lyricism, for teaching me that songwriting doesn’t have to follow rules; for the heartbreak and the timelessness. 

Jeff BuckleyGrace

It’s a little clichéd but I’d be lying if I said I didn’t get that C.D. and literally run it into the ground when I was fourteen. I remember sitting so close to my stereo I was almost hugging it - and I’d hang off his every note. 

James BlakeOvergrown

This was the only album I had in my stereo during my second year of uni. I went through a really rough break-up and it became my catharsis. Our Love Comes Back still makes me teary every time. 

What advice would you give to new artists coming through?

If you keep telling people you’re an ‘aspiring artist’ or that you’d ‘like to be an artist’, it’s never going to happen. You have to tell people you are an artist; you just haven’t refined your art or got the break you need yet. You have to be certain that you are an artist to your core and you have to work at it all the time. This industry is not for the fainthearted: it’s a war of attrition. 

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IN THIS PHOTO: Bad Honey

Are there any new artists you recommend we check out?

Oh, sooooo many. Check out Bad Honey’s new E.P. It’s soothing and infectious at the same time. Also, look at Sabiyha’s Hollow Bones E.P. – her voice could move mountains.

I’ve also just been listening to this guy called Bakar who has released a mixtape called Badkid – it’s the first music in a while that I’m really struggling to categorise. 

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IN THIS PHOTO: Sabiyha

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

Not really! When I’m not in the studio or rehearsing, I’m probably at work or trying to find more work. London life is pretty unforgiving like that. I love to read, though. I’ve just finished reading Donna Tartt’s The Secret History – and I’ve just started Han Kang’s The White Book, which is really moving.

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).

Oh, wow! That’s a tough choice. I’m an incredible indecisive person. I’d make a crap D.J. Let’s go for the song I’m currently blasting out: it’s Night on Earth by Jerkcurb. His stuff is well worth checking out. 

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INTERVIEW: Scott Michael Cavagan

INTERVIEW:

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ALL PHOTOS: Brian Nicholson 

Scott Michael Cavagan

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I have enjoyed speaking with Scott Michael Cavagan

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as he tells me about his upcoming album, 21st Century Love. I have been asking about its themes and why he decided to raise funds through a Kickstarter campaign. Cavagan chats about music in the North East of England and the albums/artists that inspire him – he reveals how music came into his life as a youngster.

Cavagan looks ahead to gigs and tells me what he hopes to achieve in 2018; if there are new artists we need to check out; if he gets time to chill outside of his busy music life – he ends the interview by selecting an awesome song.

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

Hello. It’s been a great week, thank you. The sun has been shining, so no complaints...

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

Yes. My name is Scott Cavagan. I am a singer/songwriter from the North East of England and I’ve been in various bands over the years, but I am releasing my debut solo album later this year. My music is a mixture of everything that has influenced me: everything from '80s Pop/Rock to Manic Street Preachers.

Your album, 21st Century Love, is available for pre-order. Can you describe the themes and ideas that inspired the songs?

It’s a collection of songs that I am really proud of; in many ways, it’s a diary of events that have happened over the last few years. There are a number of songs about fame - people’s obsession with it and how people define it. There are a few songs about heartache and loss but it’s an uplifting album no matter what the subject matter was. It was important to me to make a positive album and I think I achieved that.

I believe it was funded through Kickstarter. How does it feel knowing so many people got behind it and wanted to see it happen?

Yeah. I actually had finished recording the album but it took a long time; I worked with people like Baz Warne, John Waugh; Fiona Brice and Jeff Dunn which meant working around the touring schedules of The Stranglers, The 1975; Placebo and Venom Inc. To avoid further delay in putting the record out, I thought the quickest way would be to do a Kickstarter campaign to help mix it. The reaction has been absolutely brilliant I have to say. I was a little dubious about launching it via Kickstarter because you just never know how these things work, but I am really pleased I did.

The best thing about it is I’ve had a lot of nice messages of support and people say they are really looking forward to its release. It’s nice to know there is actually a demand for my music.

Do you have a favourite song from the album that seems to define it?

To be honest, it changes from day to day. I’m fond of all of the songs in different ways. At the moment, I’m really enjoying a song called Hurts, which is the first song on the album, and it’s really up-tempo. It starts off almost like E.D.M. but turns into a brass-led '80s Pop song.

How do you think you have progressed since the 2015 E.P., Neon Lights? Can you see changes coming into your music?

I would love to think my songwriting has progressed and is always progressing. The songs on that E.P. are actually on the album with a number of changes. Writing those songs gave me the confidence to start this solo project some time ago, so I felt it was important to include them on the album and that they deserved a proper release.

When did music come into your life? Do you remember the artists you grew up around?

Well. My mam and dad used to play music all the time was I was younger. I fell in love with The Beatles because my mam would play them a lot; my dad used to play things like The Stranglers and Fleetwood Mac. All of those bands have so many amazing songs - it would have been impossible not to have been influenced by them in some way.

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County Durham is where you were raised. Is there an active and growing music scene there, would you say?

There have always been brilliant bands from up here and there are some bands making a lot of noise within the industry at the moment. Whether there is a growing ‘scene’ or not, I’m not really sure. I certainly don’t feel part of a scene if there is one. I’m just enjoying making music.

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

I kept my diary free this year to focus on finishing the album but I do have a gig supporting Detroit Social Club in September which should be a great night. My first-ever live gig was supporting David Burn’s (D.S.C. singer) first band and it’ll be pretty much twenty years ago to the day - so I see that night as a bit of a celebration. I’d like to think I’ll play a lot more shows later in the year.

What do you hope to achieve in 2018?

I always wanted to release an album with my previous bands but it never happened for one reason or another, so releasing 21st Century Love will be my proudest musical moment for sure. In terms of the rest of the year, I don’t know. There is still so much I want to achieve musically: in my head, I am still that seventeen-year-old lad who longs to support his favourite band.

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

Ah...there have been loads. I’ve been lucky enough to work with some incredible musicians and play some great shows. Obviously, the solo stuff I’ve done is that extra bit special to me. I think seeing Phillip Schofield sat on a sofa with Holly Willoughby introducing a song of mine on This Morning was one of strangest, yet joyous, moments of my life. 

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

The BeatlesHelp!

Just because it reminds me of being young and discovering music. It’s full of great songs; really fantastic melodies and harmonies.

Manic Street PreachersGold Against the Soul

This isn’t even my favourite Manic’s album, but this album is important to me because it really turned me onto the band. A fantastic album. Not held in as high regard compared to the rest of their albums but a very good Rock album.

Manic Street PreachersLifeblood

This is just a beautiful album. Again, it’s not an album that gets talked about much but it’s glorious. Beautiful vocals from James; brilliant melodies and soundscapes.

What advice would you give to new artists coming through?

I’m not sure I am in any position to give anyone else advice, but I would say just try not to take everything too seriously and enjoy it.

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Are there any new artists you recommend we check out?

There is a band called Sick Joy who are from the North East but based in Brighton. They have been around for some time in various forms but they really should huge. Also, I know you have spoken to her before, but RIDER is making some beautiful music at the moment. I can’t wait to hear more from her.

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IN THIS PHOTO: RIDER

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

I do. Music is something I do as and when I can, but I love nothing more than spending time with my baby son and my wife.

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).

Future IslandsA Song for Our Grandfathers

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INTERVIEW: Midnight Shine

INTERVIEW:

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PHOTO CREDIT: Sean Sisk

Midnight Shine

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ADRIAN Sutherland of Midnight Shine

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has been talking with me about the band’s new album, High Road. I ask what it was like working with John-Angus MacDonald and Tim Vesely on the record and why the band decided to cover Neil Young’s classic track, Heart of Gold.

Sutherland tells me about gigs and whether the group will come to the U.K.; whether the Canadian band has any plans for the rest of the year; whether Sutherland has time to relax away from music – he recommends a new artist that is worth some time and attention.

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

I’m Adrian Sutherland; frontman of the Roots/Rock band, Midnight Shine.

 

Tell me more about High Road. What sort of themes inspired the music?

Our third album, High Road, was inspired by a number of different themes, mostly the experiences of growing up in the remote community of Attawapiskat in Canada’s North. Some of the experiences were not so good, while others were positive. But, the main theme is resilience: standing up and persevering through hardships and coming out the other end fairly unscathed.

What was it like working with John-Angus MacDonald and Tim Vesely?

It was such an honour to work with producers like John-Angus MacDonald and Tim Vesely. John-Angus was very calm down-to-earth and easy-going and was full of ideas. He’s the kind of person that I would like to learn from and aspire to be like someday. Tim was similar but approached the songs differently. He also has lots of experience producing and was able to capture the feel and magic of the songs he produced.

It was a real pleasure learning from and working with both producers.

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The record brings in new musical tastes and elements. Did all these new elements come together naturally? Was it important to push your sound on?

You can say the third album, High Road, is building more on our first album, Midnight Shine, and trying to develop a more mature Roots/Rock sound versus a commercial Pop sound.

For me, it was important to create a sound and lyrical context and themes similar to what I did on the first album for a number of reasons such as wanting to inspire people, finding a place for my emotions and re-directing that energy into something more positive. Overall, it really felt like a healing journey for me. 

 

One of the standouts is a cover of Neil Young’s Heart of Gold. What was the reason for tackling that sound?

We decided to cover Heart of Gold as a sort of a last-minute decision. Neil Young was someone who inspired me many years back to write music of my own. When we were recording Heart of Gold, it didn’t really feel like we were doing anything special at the time. But, we did want to make it unique in a way that set us apart from any other version out there.

After the mixing process was done, it was clear that we had done something pretty cool with this classic song. Neil Young’s publisher gave us permission to make the changes that we did and we are pretty proud of how the final song turned out.  

What sort of artists did you grow up around and are influenced by?

Some of the artists I grew up listening to were Neil Young, Tom Petty; Creedence Clearwater Revival, Nazareth and a few others.

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PHOTO CREDIT: Sean Sisk

It seems like you have some great gigs in Canada coming up. Which dates are you looking forward to most?

I would have to say the gig I am most looking forward to is Skookum Festival in Vancouver’s Stanley Park on September 8.

Might you head to the U.K. at some point?

I’m sure someday we will be making the trip over the big pond to do shows. 

What do you hope to achieve in 2018?

In 2018, we hope to make a lot of racket and win over as many people as we can out there - because we believe we are a band with an important purpose.

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PHOTO CREDIT: Sean Sisk

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

One of my favourite memories in music was getting to share the stage with Tom Petty at RBC Ottawa Bluesfest in July 2017; definitely one of the biggest highlights of my music career so far. 

What advice would you give to new artists coming through?

The advice I would give to any newcomers would be to build a solid team to help you elevate your music and take it to the next level. This industry is a big machine with lots of moving parts, so any help you can get will go a long way...

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IN THIS PHOTO: The Static Shift/PHOTO CREDIT: Joe Miles

Are there any new artists you recommend we check out?

One of the new bands that I really like are called The Static Shift. You should check them out. 

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

I do get time away from music, which is usually time spent with family at home (I have four kids and three grandkids) or out on the land. I spend as much time as I can hunting and fishing - and carrying on our Cree traditions.  

Finally, choose any song you’d like to hear, and I’ll play it here (not any of your music - I will do that).

I’d like to hear Saint Cecilia by the Foo Fighters 

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Follow Midnight Shine

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TRACK REVIEW: Cubs Refrain - Breathe

TRACK REVIEW:

 

Cubs Refrain

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Breathe

 

9.4/10

 

 

Breathe is available via:

https://soundcloud.com/cubs-refrain/breathe-1

GENRES:

Synth-Pop; Eledtroonic

ORIGIN:

Toronto, Canada

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The album, Tell Me You Love Me (Deluxe), is available via:

https://open.spotify.com/album/7rrRZCo3wxN1R9Q8vmo7iw

RELEASE DATE:

6th April, 2018

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IT is back to Toronto…

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I head as I look at a talented young duo. It is a rather interesting time for music so, with that in mind, the unique edges and expressions of Cubs Refrain have caught the ear. I will talk about their latest album/a standout track very soon but, before I get there, I wanted to look at Synth-Pop and songs that drive into the heart; how albums can come together and concepts; Canada and the richness of music coming through right now; music that can lift the senses and keep the energy levels up; media and the need to bring international music to this country – I will end by looking at duos and the male-female bond. I have looked at a lot of Pop artists the past few weeks and they all have their own sound and way of working. I am not a huge fan of the entire genre but there are areas of the genre that fascinate me. I feel like modern music is so wide and expansive that it can be hard to get a handle on everything going on and focusing on anyone. It is great seeing artists arrive and what they are about but there are few that remain in the consciousness for more than a few days. Erin and Jordan are Cubs Refrain and have been working together for a while now. Their music takes the mantle of Pop and then builds in synths and energised elements. It is not as sugary and commercial as mainstream Pop and has enough physicality and maturity to appeal to those who love their music with a bit more depth and clout. The reason I feel Synth-Pop is so appealing is because it is about optimism and motivation. There are Synth-Pop artists who look at emotive subjects but most use the platform to create something with more buzz and colour. I am looking for songs that get into the soul and do something wonderful – music that goes further and remains in the brain is to be commended and proffered.

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There are many artists doing the same sort of work as Cubs Refrain but, with every Synth-Pop act out there, they bring their own take to the genre. This is not the first time I have encountered the Canadian duo but, with an album out there and doing well (more on that later), it got me thinking about their D.N.A. and what their music represents. Pop is a broad style of music that has evolved and altered through the years. Now, in 2018, we are seeing fewer commercial acts come to the fore and a more developed and deep sound. In terms of Electro-Pop acts, something interesting is happening. In Cubs Refrain, and many likeminded acts, I am seeing the sounds of the 1980s come into their work. The decade is often mocked and derided by many – seen as naff, uncool and rather lame. The thing is (that) we are seeing the decade come into modern music and artists of today are digging into the decade to add to their own sounds. Cubs Refrain look a bit young to have experienced the 1980s the first time around but you can hear little touches here and there. Mixed in with the 1980s sounds is modern-day Electro and some of the mainstream Pop tones that gives the overall sound a sweetness and kick. If you stir all of the tastes and colours together, you get something rather heady and compelling. As I say; there are others doing the same thing as Cubs Refrain so it can be hard distinguishing which acts should be highlighted and those that are producing something rather average. It is all well and good delivering music that has punch and energy but, if it doesn’t hit you and add any substance, one wonders whether there is much point to it. Luckily, there are few who are guilty of that but, in the case of Cubs Refrain, they have taken time to ensure what they put out is full of quality and originality.

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Although Tell Me You Love Me has fourteen tracks and is a rather long thing, each track plays its role and the entire record is worthy of fond appreciation. Whereas love, interactions and emotions are part of a personal concept; what interests me most is how the album was recorded and made. In fact, if we track back and look at any concept album; there are risks associated with creating something like that because the words ‘concept’ and ‘album’ cause people to shiver and sniff. We do not see many of them in this day and age but, when it comes to Cubs Refrain’s latest record, it all works out. If it does not have the same intricacies and narrative as something like A Grand Don’t Come for Free (The Streets) you follow the story and involve yourself with all the revelations and developments. I am not sure whether there are particular people that compelled the songs – or it is based on loose experiences taken from Cubs Refrain’s life – but you get a record that collates sounds and ideas from several decades of music and pops them all together. I have described Cubs Refrain as ‘Electro-Pop’ but they bring in Indie and Rock to the palette. You get so many fantastic tones and sounds meshing together and it makes for a really vivacious and stylish album. Erin and Jordan independently spent months record, mixing and producing the fourteen-track album at the home studio they constructed. I imagine the beauty of nature and a rather perfect environment. Imaging all these songs and having that total control. I have tipped my hat to the variety of sounds we hear in Cubs Refrain’s music and how bits of the present and 1980s come together. It is the autonomy and personal input from the duo that makes the album so strong and natural. There are other players on the record, which I shall talk about, but the overall mood and direction of Tell Me You Love Me comes from the duo themselves.

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Any concept record that arrives needs, ideally, to be experienced as a complete piece. One can listen to Cubs Refrain and their music – you can enjoy the individual tracks and get a lot from them. If you take an album that has an overriding theme and story behind it, the biggest benefit is listening to everything at once and letting it all sink in. I get these romantic visions of Erin and Jordan conspiring and imagining the songs that we hear on Tell Me You Love Me. I get the impression there is personal relevance to the music and each song relates to some aspect of their lives. There is so much going on the songwriting is uniformly excellent. I am excited seeing how Cubs Refrain develop and what their next album might contain. What we get now is something that has huge professionalism and personality coming through. The duo have taken care of all the creation and production and have made an album that means a lot to them. Each song has its own skin and one, Death of the Grand Piano 2017, Scissors on Wire, looks at the dismantling of a treasured grand piano. Throughout the album, you get so many wonderful stories and moments, it is impossible to put down. I shall move on from this point but admire the duo for taking charge and making an album that needed few other bodies. The cellos, drums and electric guitar we hear were all recorded acoustically. I am not sure whether all instruments were played solely by the duo but you get so much richness and imagination throughout their debut L.P. Lesser acts might be hard-pressed to make an album that ties different years, genres and themes together and make it work. Ambition and lofty ideals can crash and burn artists and critics can be rather cruel. There was little chance of that happening with Cubs Refrain. They have worked hard on this record and released something that steps back in time but it sounds perfectly organic in the current scene. Cubs Refrain are influenced by acts like CHVRCHES and you can hear similarities between the Scottish band and the Canadian duo.

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Yesterday, I was in Toronto and reviewing For Esmé. I shall not repeat what I said then but, when looking at her music, I explored the scene in Toronto and why it is so alluring. The city holds so many treasures and there are fantastic venues to be found. Cubs Refrain are different in tone and nature to For Esmé but both have that distinctly Canadian sound. You could say the whole of Canada has an excellence and quality you cannot fault but, like any nation, each different area has its own vibe. The music coming from Toronto is different to that being made in, say, Montreal or Quebec. The reason I keep coming back to Canada is the variety and how consistent the artists are. It is a country that does not get the same oxygen as the U.S. – that is something that galls me. I love the music coming from America and there are few ‘mainstream’ artists from Canada. You have the likes of Drake, I guess, but more of the big-hitting acts are from America. It seems like the media has an obsession with what it deemed ‘popular’ and trending. I am not one of those people who values music in commercial terms: newer music that has more soul and originality is much more worthy. I think the nation warrants more celebration because, in my view, there is more happening compared to the U.K. and U.S. By that, I mean Canadian music is wider-reaching and more nuanced. You have the same commercial Pop acts but, in terms of other genres, all the boxes seem to be ticked. What I love about acts like Cubs Refrain is how they can add their own voice to Electro/Synth-Pop and not repeat what is already out there. Cities like Toronto stand in the mind because of the supportive nature of artists and the sense of community. You have that love and respect running through the area and the fantastic venues mean artists get a chance to cut their teeth in some spectacular spaces.

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Canada has produced some legends through the years – including Neil Young – but the modern breed emerging are more intriguing. I feel we will see future legends coming from Canada that can match the best of the U.S. I am drawn to Cubs Refrain because I sense they want to remain in music for the long-run and inspire others. This is their debut album phase and the duo is keen to carve out their own landscape. Jordan and Erin have that connection and trust in one another and are a really solid unit. I feel the media needs to be more proactive when it comes to promoting music that falls outside of their comfort zone. Many British and American sources look at what is happening at home and they do not really take the time to explore anything coming from other nations. Maybe there is limited time to be too ambitious but, for U.S. journalists, Canada is right across the border. I wonder why few of the best new acts get highlighted by U.S. sites. I know there is a good local press in Canada but so many artists are being denied prominence and exposure – a trait the industry needs to stamp out. I feel Cubs Refrain will succeed and get where they need to be but it irks me so many good artists need to work tirelessly to promote their music. A lot of artists are quitting or getting disheartened because media sources overlook them or do not have time to cover them. I think more eyes and ears should be tuned the way of Canada and all the incredible music that is coming from there right now. In a busy and packed world of music, Cubs Refrain are worthy of bigger respect and, in time, will get that. Tell Me You Love Me is picking up good reviews but, like many artists, gigs and playing live is the way they will get their music to the people.

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I compressed a few different points into the last paragraph and will finish on a couple of points. I hinted at the eclectic nature of Cubs Refrain and how the music gathers from various corners and explores a wide plain. If the variegation and scope attracts the mind and gets people curious; the energy and rush of the music gets the body involved and motivates movement. Synth-Pop is a genre that is gathering a lot of steam and is perfect for the summer months. Although Cubs Refrain are ripe in every season, what they have released on their debut album can soundtrack the warmer climate and get people moving. I am not certain whether the duo are heading around the country and involved with many festivals. There will be gigs coming up but, to me, there needs to be that contrast of more intimate venues and bigger spaces. Tell Me You Love Me is a record that, by its name, has intimacy and tenderness but the way that is expressed, at times, is bombastic and sparkling. Because of this, you need to witness the album in various-sized locations. I hope the guys get the chance to play some outdoor events and the people fall for them. They are picking up acclaim and traction but, to get it to new heights and countries, it is those all-important gigs that are most important. I hope the duo come to the U.K. and find the time/money to play some dates over here. Canada is a vast nation that has some wonderful venues that could easily house Cubs Refrain. I love their music and can hear the determination and strength right from the off. What amazes me is how confident and controlled their debut album sounds. They have taken great pains to make the record in their own visions and ensure there are no loose edges and sloppy tracks. Each expression is perfect in form and the brilliant production brings the music alive. The attack, intelligence and motivation you hear bouncing from the speakers infuses the blood and gets you excited.

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I think there are some wonderful duos out there and, in terms of demographic, they are overtaking bands in terms of potential and quality. I get to experience many are whether they are of the same gender or not, it is the friendship and relationship at the heart that makes the music pop. Many of the male-female duos I experience are in relationships. That can be hard to balance and ensure there is no bleed-through that can impact the music. By that, that relationship can be strained if the duo spends too much time together. Home life and domestic life can spill into the music but, when they can get the balance right, you get some incredible music. The duo of Cubs Refrain, I assume, are not involved and it is the solid friendship and respect that means the music stays with you. I am not saying bands and solo artists lack that ability to infect the senses of awe but there is a different approach from the duo. The reason I love the formation is because it is tight and there is a second body. Solo artists have to shoulder a lot and they only have their own views and opinions. Bands can be democratic but, for the most part, the control comes from one person/the lead and their stock, in general, is waning – there are fewer big bands ruling in the market right now. Duos are not breaking into the mainstream that quickly – aside from the likes of Royal Blood and a few others – but the underground is sporting so many wonderful and interesting options. Let us think forward and look at why Cubs Refrain will get a lot of love. It is the skill, connection and intuition Erin and Jordan share that makes their music so incredible. There is the risk that, if they spend so much time together, there can be disagreements and debates – that is natural for any musician. You listen to their debut album and get the sense they were on the same page at every single step of the process.

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Breathe is a perfect example of what Tell Me You Love Me is all about and what Cubs Refrain can produce. The song comes at the half-way point of the album and begins with delightful, high-sounding blips. There is a racing series of notes and something that percolates and delights the taste buds. The heroine comes to the microphone and delivers a smooth and breathy vocal – one that has sweetness and a sense of questioning. She is breathing in the afternoon – feeling this too soon. That might sound oblique and disconnected but it is an interesting way to open the song. Rather than come in with something rather vague or cliché; you have an expression that gets the mind working and forensically seeking. Maybe there is the headiness of love and a premature sense of affection; perhaps a contentment has come along as more caution should be imposed. Without too much revelation and explanation, you start to figure the song out and where it might head. The need to end a fight and resuscitate things is evident. It seems the sweethearts have been squabbling and fractured and they need to step back from the carnage. Whilst the lyrics look at tensions and a need for relief, the music keeps that alacrity and sense of upbeat high. The vocal carries weight but remains sweet and agile throughout. The Pop vibes keep the song from being too weighty and downcast; the arresting and bubbling synths add a seriousness and adult tone that takes the mind away from mainstream Pop. The duo combine vocals and give the song an extra layer. There is a conversation occurring that expresses two viewpoints but the truth has unity: the need for things to change and get back to a good footing. The composition gets more arresting and bold as the song progressed. The notes have that twinkling and spacey quality; it gets packed and brighter and, with it, takes the mind away. Jordan come to the microphone and wonders if the winds will change – so this fight can end and things can get back to normal.

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It is when Erin and Jordan combine their vocals you get the biggest rush. They have different sounds and personalities so it is good hearing them working against one another and melting together. I guess one might need to look back on the Tell Me You Love Me to get a sense of why there is a fight and what caused this breakdown. The duo are determined to end things as they are and find something more positive. The vocals get more determined and they want to remain in each other’s lives. There is an addictive quality to Breathe that means you are invested throughout and keen to see where the story heads. It seems like things were great but now things have gone sour. Maybe the sweethearts want different things and they are on different pages. Perhaps the relationship hit a rough patch and, rather than talk and spend time apart, they have been too involved and unable to repair things. That passion and sense of physicality keeps the song above the parapet and keeps the mood lighter. It might sound strange but you never feel depressed or too anxious hearing the song. Even though the words express something broken and frayed; the listener is treated to a composition that keeps its head up and its body racing. By the end of Breathe, you wonder what will happen and whether things can be salvaged. Although the song deals with something routine and commonplace; the way it is expressed and delivered means things are never ordinary and predictable. Many will relate to what is being said in the song. It takes a few listens for the song to get into the head as there is a lot happening throughout. There are few artists that can balance the cheeriness and adventure of a composition and serious lyrics and make it work. The song is never cheapened and you are always rooting for the couple to get back together. Rather than accuse and throw acid at one another; there is that dialogue and need for repair and discussion. Although things night not return to what they were; maybe they will be able to find some sort of compassion and dispense with the bitterness. It is a strong and authoritative effort from the Canadian duo and the highlight from Tell Me You Love Me Breathe is a song that will get into the mind and leave its impressions for weeks to come.

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I have talked a lot about aspects of Cubs Refrain: where they come from and what music they make; why their debut L.P. is exceptional and where they might head. I feel like there is a lot of room they can gain and momentum is in their favour. I wonder whether they will come to the U.K. and what dates they have in the diary. Tell Me You Love Me is a record that can adapt to any market and venue. Even though there is a lot of spirit and energy throughout; that does not mean it is restricted to big locations and the summer. There is intimacy and revelatory tenderness at times and music that can be pared-down and made acoustic. The duo have the option to ramp things up and add more players; they can strip their music to the bone and have that adaptable quality. Music is such a crowded place and it is always hard keeping track of everything happening. There are artists that slip through the cracks and it is disappointing to consider after all the effort they put in. That may sound rather defeatist but music is so open and vast there are going to be casualties along the way. In terms of Cubs Refrain and where they can go, there is a horizon ahead of them and a lot of exciting days. I know there will be international dates coming up and the duo will get a chance to amaze different nations. I will end this by highlighting the benefits and qualities of Cubs Refrain and their new work. I have focused on one track but, as I explained earlier, a concept album like Tell Me You Love Me needs to be viewed as a whole. Songs work when they are isolated but take on a different quality where they are part of a complete story. Erin and Jordan have created something compelling and, in the process, announced themselves to the world. It may take time before they truly get into the top flights but they are working hard to put their music out there. The scene is changing and, as said, the band market is not as profitable as it once was. Duos are starting to come through and, alongside affection for Synth-Pop and the music of the 1980s, this all works in the favour of the Canadian duo. Make sure you grab Tell Me You Love Me and let it get inside your head. It may only be the debut album from Cubs Refrain but it shows they have the promise to…

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BECOME a big success.

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Follow Cubs Refrain

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FEATURE: Gone Kerouacin’ (A.K.A. The Pop Singer’s Love of the Pollen Count): The Simple and Fundamental Pleasures of Life on the Road

FEATURE:

 


Gone Kerouacin’ (A.K.A. The Pop Singer’s Love of the Pollen Count)

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ALL PHOTOS (unless credited otherwise): Unsplash 

The Simple and Fundamental Pleasures of Life on the Road

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NOT everyone is sold on the notion…

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touring is all brilliant and the best thing you can do as a musician. It may be romantic/naïve to assume there are no downsides to gigging and it is a fantastic ride. One of the unavoidable factors of modern music is the realisation that all musicians need to rely on the revenue from touring. There was a day when music was dominated by the mainstream – very few unsigned artists made their way to our thoughts – and we associated their lives with big stadium gigs and something rather soulless. Now, with the industry wide-open and everyone able to have a say; there is that necessity to get out there and play to as many people as possible. I realise there is the stress of having to make ends meet by playing so many gigs and relying on people coming out to see you play. It can be daunting getting few opportunities or seeing venues closing down. I know there are other drawbacks to touring. Being crammed into cars and vans with kit and crew can be constraining and lead to arguments; being shuttled between venues can tire and depress; even bigger artists feel the strain and wish they could get some time off. It is harder and harder making enough money to live and being able to get some proper downtime and relaxation. Whilst the journey (an actual one) can be draining and hard-going; the destination is what makes up for it.

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I have heard a lot of musicians expose the pleasures of driving through countries and meeting people along the way. The idea of British touring usually involves rammed motorways, sad pitstops and nothing that really buckles the senses. With few artists able to afford international travel, is touring and being constantly on the road all it is cracked up to be? For many, the reality is being stuck in sweaty lounges and vehicles; having the fatigue and pressure of physical exertion and being away from home for long spells. The lack of relationships and anxiety can take its toll; the health risks of heavy lifting, high-intensity performances and straining the voice are obvious. An article published a few years back took testimony from artists and musical figures:

Touring can be destructive on a musician, it was destructive on me, that’s for sure,” former XL Recordings artist Willis Earl Beal tells me over the phone from his home in Washington State. “I’d come home from tour, and I’m back to feeding the cat. My wife at the time – I don’t have a wife now – worked 12-hour shifts, so I was cooking the dinner all that sort of shit. There was a lot of tension, because I’m thinking to myself, ‘I don’t deserve this, I’m a big star’ and that was one of the contributing factors in ending my marriage. This fucking career, the striving towards something that never existed and doesn’t exist.”

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 IN THIS PHOTO: Kate Nash/PHOTO CREDIT: @katebellm 

A breakdown of personal relationships is common, with many musicians feeling alienated from loved ones back home. Kate Nash, who rose to fame while still in her teens, says that the contrast between her life and that of her friends was hard to get her head around. “I was still living in a tiny bedroom at my parent’s house. Your friends are studying and you’re doing something very different. Even though that’s exciting, you can feel lost. You’re young and you’re not taking a normal path.”

Zohar agrees: “Relationships are compromised, partly because it becomes difficult to relate to people with a more stable lifestyle. Your problems and cares become radically different to the other people in your life.”

For some, however stressful and chaotic touring can be, it is preferable to daily life at home. “Touring institutionalises you and it can make normal life feel mundane,” says Vaccines singer Justin Young, recently returned from a handful of dates in the US. “You end up with a lot of expectations from life that aren’t always fulfilled in everyday tasks like going down the shops for a pint of milk or even going for dinner with friends. It’s hard to replace all that adrenaline”.

There are obvious realities and problems being a musician – many come from outside of touring and sitting in front of a laptop. I understand there are dangers to life on the road but, more than that, so many people prefer the open highways, great venues and new faces.

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Modern music is becoming less and less sociable: we are spending more time sat in front of laptops and too knackered to have a drink and get into the open. Touring, for many, provides all the release and sociability that is missed every other hour of the day. I have painted bleak strokes (above) but the fact is touring and multiple gigs can strengthened artists and make a huge difference. Gigs provide the chance to get in front of tastemakers and create a reputation; it sharpens performance skills and can set a career alight. Everyone has to go through touring and, when you look back at legendary artists, you get regaled with anecdotes and wonderful memories from the road. Think about the likes of The Beatles and Led Zeppelin. In some cases, that thrill and sense of excitement come from other sources – drugs and sex, I am thinking... – but is that tangible and direct connection with the fans. If you want groupies and want to blow/be blown every night then that is your decision. Modern music has stepped away from the excess, to a degree, and debauchery we associated with the biggest artists back then. Although there are sexual accusations and dirtbags infesting the industry still; they are in the minority and we are actually seeing consequences when it comes to disgusting behaviour.

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I hear from musicians who love traveling around and seeing different areas. Whilst the waiting and endless driving/flying can wear the senses and lead to some dissolution; there are downsides and problems in any industry. It is about getting the balance right and highlighting all the great things associated with touring. Getting to new towns and countries expands the mind and helps build new fanbases. Social media is great in doses but cannot compensate for good old-fashioned grafting and the instant reaction of the crowds. Many yearn for the big festivals and that undeniable ecstasy of hearing thousands of people chant songs and cheer! If you tabulate all the bad points of touring and counteract that with the performance and lessons learned; can you really say things are that bad?! I love journalism but get the biggest thrill when I go to gigs and watch artists play their stuff. Travelling between venues allows new sights and smells come to the mind. You get a mini-holiday and it can be wonderful chatting with new people and seeing fresh sights. The reason I wanted to augment the delights of touring is the real and raw basic: getting into a venue and throwing love out to the people. Whether you are an acoustic performer playing to a few dozen people or a sweaty band owning a horde of moshing fanatics – there are few experiences that match the giddiness and excitement.

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With more and more venues facing peril and unsteady futures; I wonder whether documentaries should be made, aimed at those in power, that shows what the fabric of the music industry is all about. That elemental and possible-life-altering pulpit of live music has transformed people and led to explosions in music. In spite of some drag and darker elements to gigs; musicians go on the road because they want people to hear their music and love what they do. The necessity of subsidisation and survival is an unavoidable cost of being a musician. So long as artists take a pragmatic and disciplined approach to health and rest on the road – eating as healthily as possible and sleeping as much as possible; keeping clean and not playing when you are ill – then life can be a lot more beneficial and pleasurable than some claim. I am always pleased when I see gig snaps and positive statuses from musicians who have basked in the buzz of a set or seen a new town that has blown their mind. These moments should be cherished and are greater motivators to get into the industry than money and fame – for those who value music and are not sell-out phonies.

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Touring and its pluses can be subject to scrutiny but I still feel there is plenty of beauty and joy to be found taking music on the road and getting involved in a physical and very real way. The irony is that, the more popular an artist becomes, the more people want to see them play. That can lead to some burn-out and problems but there is that need to be sensible and give yourself necessary breaks. The industry is growing and expanding by the year and, with that, many are eager to get out there and rock the crowds. Festivals are in swing and there is that tangible eagerness radiating from the Internet. Artists are gearing up and, whether it is the electricity of the masses or the delights of going somewhere new; there are big smiles on the faces and huge ambition! I am angered venues are facing closure and we have to read bad news all the time. Maybe more people are staying in but, when you ask musicians, they want to be out there and seeing as many people as they can.

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We are, in music, becoming more anxious and less happy. The demands placed on us and the way we conduct business is making us more isolated and fulfilled. I feel so much of this comes down to the online world and the inactivity many of us take for granted. I appreciated gigs can come from the Internet but the psychological upsides of live music and vibing with a crowd can do so much. It has its side-effects but there are those easy and clear benefits that can enrich musicians and lead to inspiration. Even if the car trip is a little delayed and stressed; turning up to a happy crowd and playing a great set makes everything worth it! Perhaps there aren’t the thrills and hedonistic exploits of Jack Kerouac’s On the Road but, when all is taken into account, does anything beat the live performance? It is the best aspect of music and, if you ask musicians, the majority will say it is an experience that is…

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IMPOSSIBLE to beat.  

FEATURE: Roses with Plastic Petals: Why Is the Drive to Create Gender Balance at Festivals Taking So Long?!

FEATURE:

 


Roses with Plastic Petals

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ALL PHOTOS (unless credited otherwise): Unsplash 

Why Is the Drive to Create Gender Balance at Festivals Taking So Long?!

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EARLIER in the week…

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IN THIS PHOTO: Annie Mac (who has campaigned for change regarding festival gender bias)/PHOTO CREDIT: Getty Images

I got downhearted because I was receiving so many requests regarding male artists – I still am, to be fair! It is disappointing seeing so many emails arrive that want me to spotlight male musicians: one wonders if there are female artists working and, if so, why they feel reluctant to come forward! The truth is much simpler: the agencies and labels who bring music to my view prefer male artists and there is this culture that suggests male artists/bands get more attention than anyone else. It seems there is still that commercial drive for male bands and, even in an industry where the solo artist is king; so many female performers are going alone and making their own way through music. I am happy to contact female musicians but I like people coming to me. There is no problem my end – I hope – but, when they see a website that puts out male artists routinely; are they willing to approach and ask to be featured? I feel music should be that equal footing where there should be a fifty-fifty split in terms of male-female focus. If sites lean too heavily either way then it risks that sexist scent and a rather narrow mindset. I am determined to get more women on my blog but am finding it hard to recruit. It is ironic seeing the male solo artist rise because, in my view, the best of this corner of music are female.

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IN THIS PHOTO: Florence + the Machine (an artist who could easily headline a major festival)/PHOTO CREDIT: Getty Images

They are on the same planet and making music that is as strong, if not stronger, then their male peers. There is comparatively little celebration and, unless they established and famed; how often are they going to get to the biggest stages and have a bigger say in music?! There is an argument that suggests the plan to get an equal split on the festival bills is a little long-sighted – or should it be short-sighted? It is ironic that the target for parity on the headline stages is 2020: one feels this ‘perfect vision’ and realisation has come too late and, if anything, is too delayed. Why does it take so long to get this balance right and redress things?! You can rearrange Glastonbury and the big festivals and make sure there are female headliners across the range. It is not a case of compromising ideals and pandering: there are artists ready to tackle the festivals that have, until now, been placed under headliners. Established artists like St. Vincent and Laura Marling could take the reins; legendary performers like Björk and Beyoncé would be perfect for 2019 inclusion. Right there, you have four performers, all different, who could create incredible headline sets – none of them will be in the mind come this time next year. It seems sad we even need to have this debate!

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IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Getty Images

I know I am treading old ground – and keep documenting the issue of sexism – but my problem comes with small evolution and delayed gratification. Maybe there are slow developments and steps being made; nothing that suggests anything anywhere near good enough. In fact, looking at a BBC article from February this year, the target year for this equality is 2022! It is four years away and one wonders what needs to happen in four years! If it was rebuilding a nation and a radical change then it would forgivable. Being Britain, given the rate we get things done, I am not shocked it takes so long to make simple changes. That article laid out the facts and showed why the statistics are so shocking:

The days of male-dominated music festivals could be drawing to a close, after 45 events pledged to achieve a 50/50 gender balance by 2022.

Brighton's Great Escape, the Cheltenham Jazz Festival, Liverpool Sound City and the BBC Proms are among those who have signed up to the initiative.

It is supported by Garbage star Shirley Manson, who recently called the music industry's lack of equality "insane".

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Last year, 80% of festival headliners were male, a BBC study discovered.

The commitment to gender equality was drawn up by Keychange and the PRS Foundation, with the aim of creating a "better, more inclusive music industry for present and future generations".

"Last year, on average, women made up 26% of the festival line-ups in the UK, so we're talking about doubling that in a five-year timeframe," said Vanessa Reed, CEO of the PRS Foundation.

"That's quite ambitious but it's achievable."

The pledge has been adopted by BBC Music Introducing, which hosts stages for new artists at festivals including Glastonbury and Reading & Leeds. However, those festivals have yet to sign the pledge on a wider scale”.

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IMAGE CREDIT: @lilyallen

The poster above is from Lily Allen; she took out all the male names from the mentioned festivals to show how few females were included. We are not even talking about headline slots: this is simple inclusion! It is sad to think that, come 2022, we will be no further along. People can sound off and make pledges but there is a confusion between festival line-ups and headline slots. I am appalled Glastonbury’s return (next year) is unlikely to see any female headline; the biggest festivals of this year are penis-heavy and, if you are lucky, you may see some female artists hustling near the top of the posters! I can see more women coming into festivals and, given the draw and influence of social media/streaming sites; there is more visibility and a greater opportunity to accelerate female artists to the masses. There is hope that more reinforcement and fight is coming to back the need for gender balance:

“…The initiative is being driven by Keychange, a movement from the PRS Foundation that wants to achieve real change in live music.

The opening spell of festival announcements this summer have indicated that this conversation still needs to be had, with many major events still hopelessly male dominated.

The new pledge finds 45 events aiming to achieve gender equality on their line ups by 2022, with featured festivals including Liverpool International Music FestivalPop-KulturCanadian Music Week, and BBC Proms.

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 PHOTO CREDIT: Victor Frankowski

The new additions join partnering festivals Reeperbahn FestivalWay Out WestThe Great Escape and more, all of whom have pledged to gain gender equality on their bills within five years.

Vanessa Reed, CEO of PRS Foundation said:

“We support diverse talent across every programme we run at PRS Foundation. 40% of our grantees in 2017 were from a BAME background and 53% featured female artists. Our focus on gender equality in 2018 aligns with the centenary for some women being given the vote in the UK...”

There are the black-and-white facts and these pledges; there are angry voices coming and the need for more immediate change. It keeps me coming back to the disturbing underline: 2022 is four years away! I am in a bittersweet position where I get to see brand-new artists come my way and what is happening in the industry as a whole. The downside is the few females that get pushed to me and how hard it is to get labels/P.R. firms to open their books and be more proactive regarding scouting. I am not buying the assumption (so few women being promoted) is because they want to be D.I.Y. and not have anyone else butting in. Every week shows great female talent, of all varieties and tastes, hustling and proving they have the fascination and complexity to win hearts for years to come. If anything, the band market is dying away and the solo corner, stronger in female hands, is taking a bigger portion of the pie.

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It moves me to think that realisation and reality is being ignored and refuted to make way for the predictable stubbornness of male promoters. There are many opposed to the hegemony but is those most powerful and wealthy that are withholding breakthrough. We are seeing some sexist voices that say music is about quality and what is the problem with more men being on the bills – nobody is making too much of a noise and there is no harm seeing that disparity! Whilst there is not protest in the stress; there are plenty that is shouting and getting in the faces of those in commanding positions. The biggest journalists and tastemakers are men and, in an industry that is not making huge leaps anytime soon, the need and call for change are coming from female commentators and figures – they are being drowned out by silent and muted souls; ears that are unwilling to bend. Every way you look at that statistic – festivals being equal by 2022 – seems wrong and baffling. I am listening to the biggest radio stations and, in terms of the music they play, it is almost equal regards the gender split. Look at independent and underground options and they are committed to equality. One looks at Spotify and streaming services and female artists are being featured and celebrated. We all hear great music and these stars of tomorrow but, when it comes to booking festival slots and organising the line-up; why is there such a majority of men?! You look at modern wonders like Jorja Smith and Kacey Musgraves; Goat Girl and Phoebe Bridgers and you have somewhere to start – you could stand there for a long time naming female artists who could easily appear on festival bills!

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IMAGE CREDIT: Getty Images

Women feel like they are being held back and overlooked by those who have the power to make these positive changes:

Leading female musicians and industry figures say the intimidation and exclusion begins in childhood, with girls not being encouraged to play guitar or join bands. Many shared anecdotes of the frustrations and vulnerabilities they’ve felt as female artists: “An old manager told me that he wouldn’t be sending out my music, he would just send out my photo to labels,” recalls writer and musician Emma-Lee Moss, known as Emmy the Great. “But you just have to battle through that.”

“If you prevent women from seeing any examples of them achieving, then it prevents them from believing they can achieve it,” says guitarist and singer-songwriter Laura Marling, who addressed gender inequality and its effects in her podcast Reversal of the Muse.

“In my experience there are surface visible things, like touring on my own and then realising that all the people I perform with are men. Or that I wasn’t encouraged as much to play the guitar as men,” says Marling. “For women to achieve they have to go around that bump; they have to be as good, if not better, than their male counterparts”.

Is it only festivals where there is this alarming injustice and inequality? Look at other sources and you need only look at the charts and award ceremonies to see the issue is systemic, widespread and galling:

In an analysis of the top 600 songs from 2012 to 2017 — defined by Billboard’s year-end Hot 100 chart for each of those six years — the study found that of 1,239 performing artists, 22.4 percent of them were women.

The numbers are much lower among people behind the scenes. Of the 2,767 songwriters credited on those songs, 12.3 percent were women. Female producers — the people most responsible for the sound of pop music — are even rarer, at just 2 percent in a subset of 300 songs across this same period, the study found”.

I am looking at the drive-time/evening slots of the major radio stations and there are no female anchors. You only need look at record bosses, editors and those running P.R. labels and there is that huge male majority. The greatest disparity arrives when you look at the studio and those making music: men are still the common entity and there are only gradual moves towards closing the gaps. It seems a festival breakthrough is taking so long because right through music’s marrow, there is this male majority and ignorance towards change. I am glad there are articles coming out that shame those at the top and urge progression.

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In closing, it seems like someone needs to come in that can offer a sharp and sustained boot to the arse of the industry. Our Government are not interested in music and have no idea what is happening. The men are making the big decisions - very few are as active and outraged as female artists/figures. This sluggish and endless fight is going to continue and, even if there is a fifty-fifty festival split in 2022, it begs the question as to why it takes so long. I am cynical all the forty-five festivals committed to change will comply and uphold their end. Would protest and female artists refusing to play lead to quicker change? Do we need to get on the street and literally shout about the sexist attitude? Do festivals needs to account for their behaviour and justify their decisions? I feel these are all worthy steps but it seems like, even if millions come out in shock, that would not get people making changes. The quality and variety of female talent speaks for itself which is, I am afraid, the major problem: there are relatively few male supporters and not many willing to take drastic action to effect actual action. Life on the road, as I shall document later today, is wonderful indeed: so many female performers are being denied that or forced to play small venues to get their music heard. It is 2018 and, the fact we have to sit and wait for four years (to see equality at festivals), it gets me rather angry. I am glad to see people are not sitting down quietly and satisfied with the way things are. Let’s hope, the more momentum builds and the more research put out into the world, it will open eyes and minds to the fact that the industry, right now, is really not…

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IN THIS PHOTO: Lily Allen/PHOTO CREDIT: @lilyallen

DOING as much as they should.  

INTERVIEW: Darren Campbell

INTERVIEW:

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Darren Campbell

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AMONG the busy world of the singer-songwriter…

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there are those who stand out and remain in the memory. Darren Campbell is one of those artists with the range and talent to endure and compel. He tells me about his latest track, Wherever You Are, and how it feels having it out there; how he has progressed as a musician – he tells me when music came into his life.

I ask him about gigs and influences; whether there is more material coming later this year; how it feels picking up impressive acclaim and support; if there are any new acts worth following – Campbell ends the song with an awesome song choice!

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

Hey, Sam. I am doing great, thanks. This week has been pretty hectic as I am in full swing of promoting my new single! I am also planning a trip to the States for my brother’s wedding - so that’s fun!

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

Of course. My name is Darren Campbell and I am a twenty-four-year-old singer-songwriter from Scotland. I am now based in London and spend my time playing in venues around the city to promote my music and meet like-minded musicians.

Wherever You Are is your new single. Can you tell me what its story is and what inspired you to write it? 

Wherever You Are is inspired by the need to travel and see what’s out there in the world. I have older brothers in the States, great friends living in different countries and my parents back home in Scotland. With this song, I captured the feelings I had regarding the need to get out of your comfort zone and experiencing life whilst still feeling close and connected with the ones you love, even if they may be half the world away!

I see it has picked up a lot of acclaim – including a spot on a prominent Spotify playlist! How does it make you feel knowing the song is connecting with people around the world?!

This is honestly the best feeling a musician can have. When you take into account the fact the song has gone from only me playing it in my room to being produced and put on the Internet, and now being heard by people across the world…

It’s quite an amazing feeling.

Will there be more material coming later in the year? What are you working on later this year? 

Yes. I am working on a music video this summer, so watch this space!

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Dundee is your hometown. Is there quite an active scene there at the moment? Do you think the mainstream media overlooks Scotland when it comes to musical talent? 

I’m honestly not too sure about the state of the Dundee music scene at the moment. I reckon London has more opportunities going for musicians: I guess that is the reason I moved here in the first place. I don’t really think Scotland is overlooked either. For example; there is The Edinburgh Fringe festival in August!

Do you recall when music came into your life? What might we find if we searched your record collection? 

I don’t recall a specific date. But, the first album I ever bought was by a band called Ghosts; it was called The World Is Outside. I loved that album and played it constantly! Nowadays, I listen to lots of style/genres. My top-three (artists) at the moment are Gregory Alan Isakov, Harbour and The Wonder Years

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

My next gig is at Roadtrip & The Workshop on 2nd June in London! I am supporting a band called Mercy Mode (from L.A.).

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It seems, to me, the stage is somewhere you love to be. Is performing live your favourite part of releasing music would you say? 

I love most aspects of being a singer-songwriter: performing on stage is an incredible feeling and I always walk off feeling great. I also love the idea of people listening to my music in their homes and on their phones!

What do you hope to achieve in 2018? 

This year, I will be working endlessly to get people’s attention on to my music. I am confident now that I have Wherever You Are recorded. I’m so happy with the finished product.

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

One night, I brought my speaker down to Leicester Square in London and performed live on the street. I drew a large crowd and everyone began dancing to the songs. It was a brilliant night that I will always remember - and something different to what I am used to.

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

Only by the Night by Kings of LeonThis Empty Northern Hemisphere by Gregory Alan Isakov and War Paint by The Dangerous Summer.

What advice would you give to new artists coming through? 

Well. I’m not sure how qualified I am to give advice as I am only twenty-four! But, the principles I am living by at the moment is work, work, work! You have to want to succeed more than you want to relax - and more than you want to go out and get smashed on the weekends. Also; money you earn should be invested back into your music - not on extortionate meals, extortionate alcohol and extortionate fancy clothes, cars and jewellery etc.

Sounds extreme, but that’s what drives me - and I’m pretty passionate about these viewpoints!

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IN THIS PHOTO: Gregory Alan Isakov/PHOTO CREDITBlue Gabor Caleel

Are there any new artists you recommend we check out? 

I’d definitely recommend Gregory Alan Isakov if you are into your Folk music - and also Misterwives (my brother’s band).

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IN THIS PHOTO: Misterwives

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

I set one evening of the week aside from music (usually Saturday evening) to chill, destress and spend time with my friends.

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

Let’s say this one from Harbour...

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Follow Darren Campbell

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INTERVIEW: Run Maggie Run

INTERVIEW:

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Run Maggie Run

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FROM a Chicago force of nature…

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I head to the shores of a band with equal force and fortitude. The Hamilton-based band Run Maggie Run has been talking about their new single, Endlessly, and whether more material will come – the Canadian band discuss their formation and the sort of artists who have inspired them.

The chaps recall fond memories and tell me where they are touring; if international gigs are a possibility; all the new artists we need to get our ears around; whether they have any more plans for the remainder of 2018 – they end the interview by selecting some cool tunes!

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

Peter: We’re great! This week has definitely been a busy one, with the release of the new single and all. But, super-rewarding as well - it really is an amazing feeling to see people vibe and resonate with something that we’ve worked so hard on.

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

Certainly! We’re Run Maggie Run; a group of five Canadian fellas who love making music. We’ve been described as ‘Vaguely haunting Indie Folk-Pop’ before and, to date, we still haven’t come up with a better description of our sound!

Can you talk about the new single, Endlessly? What is the story behind the track?

Gavin: We’re right in the middle of putting together our first album. We had a line-up switch: our first drummer left the group and we sorta floundered in limbo for a month or two before adding Jared, our current keyboardist. It was during this time that we started messing around with some more electronic elements as well - and with all this change there was a lot of uncertainty as to how the band was going to move forward.

Endlessly was the first track we wrote with Jared in the group, and for us, I think it was exactly what we needed. The success of putting this tune together is what gave us the confidence to keep moving forward with this new line-up/approach.

Dylan: This tune began as one of those ‘Let’s-all-make-noise!’ sort of jams, if I recall correctly, and, as mentioned previously, was the first track written with our current roster. This was really a sort of spur-of-the-moment connection between the five of us and I feel it really built a solid foundation and was a great ice-breaker for the tracks that have followed. It has really felt like a rebirth in a sense; a band change that was accompanied by a shift in focus and sound that couldn’t have been more refreshing and inspiring!

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Jared: The verse’s structure came together as a collaboration between Peter and Gavin. I’ll be honest; at first, the three-chord nature with F major opening and closing the sequence was not something I bought in on originally - though I’m all in on it now! I was messing around with a bunch of chord progressions and one eventually led to the chorus. Darren and I also developed the outro, over which Dylan put this killer guitar line with great amounts of delay. All was left to add some Gavin-esque vocals and lyrics - and we had a new song!

Darren: This song had something for everyone in the band: it was a bit of an amalgamation of what we all wanted to write. It is one of the only songs we wrote from scratch as a spur-of-the-moment jam and I think that added so much to the emotion it has. Ultimately, I think it makes people feel the way we wanted them to feel and that was the main goal.

What was it like putting the video together? Was it fun to shoot?

Peter: The shoot itself was definitely a lot of fun - we shot it with our good friend Rohann Agalawatte (of R.O.Creative) in a bowling alley basement after the alley had closed; so the actual shooting was all done around 1-3 A.M. The set and overall look turned out way better than we had ever hoped – however, there was a price to pay and that came in the form of carrying seven massive CRT T.V.s up and down a full set of stairs. Unfortunately, we’re musicians and not powerlifters so that was definitely a bit of a physical struggle!

That being said, the end product was definitely worth it in our opinion and we have to give a lot of that credit to Rohann for being a wizard with the visuals.

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Is there more material coming from you guys? What are you working on?

There most certainly is! We won’t give away specifics for now, but more music is definitely coming - if any folks are interested, maybe keep an eye out around August. Our social media’s will be giving you all the right hints and details at the appropriate times.

Jared: The best previews are given at our shows. We’re continuously writing new material and, presently, this is the only place (apart from the rare Insta-live broadcast) to hear our new repertoire…

Run Maggie Run formed in 2016. How did you guys find one another? Is there a story behind the name?

Peter: Of the original line-up, all of us were students at Sherwood Secondary School in Hamilton, Ontario and had all been friends throughout our time there. Gavin and Darren were in a group called Citizen Kid in high-school while myself, Dylan and our original drummer, Devin, played on our own. After high-school, Citizen Kid ended up disbanding and, after a few months of Gavin using the moniker as a solo act, he brought the rest of us in.

Around the time that Devin left, I went to an Engineering Society Coffeehouse (I was and still am an Eng student at the University of Waterloo) and found out that Jared, who I had known previously, was an absolute wizard on the keys. I asked him to join once we had the vacancy and he accepted!

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Jared: Peter heard me play (and sing - though that was a more of a detractor I think!) at said coffee house. It wasn’t until about two months later that a message on Facebook came through asking if I knew any drummers or keyboardists. I jokingly replied: “Is that an offer (to join your band)?” Turns out I had very similar tastes in music. After a few trial rehearsals in January of 2017, I started playing live with the group in the following month.

 Gavin: As for the name, there’s an old Folk song by a band called The Journeyman, and one of the refrains in it is “Run, Maggie, run/Chase the rising sun”. I used to listen to this song all the time with my dad, so it’s kind of kept a special place in my heart and just seemed super-appropriate as a moniker.

Do you think the material you are making now is the truest sense of who you are and what the band is all about?

Dylan: In this current stage of our musical careers, I’d like to think we are only just graduating into something deeply atmospheric and emotionally-driven. We are really giving our all and going over everything with a fine-toothed comb when it comes to songwriting and planning for future events.

So; I would say our current material is the truest sense of who we are now but would like to add that there can only be progress made from here. We can only really learn to express ourselves deeper and more accurately as time goes on. I guess what I mean is ‘yes’, but this is only the tip of the iceberg…

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

Peter: We’ve got a small four-day tour coming up at the beginning of June around Ontario with some buddies of ours from a band called Swim Team - we’re hitting up St. Catharines @ The Green Room on 2nd and Toronto @ The Painted Lady on 3rd.

If anyone reading is around and interested, stop by and give us a shout!

Might you come and play the U.K. this year? Do you get a chance to gig over here?

As much as we would absolutely love to, international gigging is really tough for us - all of us work full-time to support both ourselves and what we do with the band and even getting the time off is difficult, not to mention the money, permits etc. It’s 100% on the to-do list and we have a few touring grants in our sights to help us make it a reality but, unfortunately, it’s just not practical for us at the moment!

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What do you hope to achieve in 2018?

Essentially, we’re just looking to do what we’ve been doing for the past year: writing tunes and sharing/playing them wherever we can, whenever we can and to whomever we can!

Dylan: I think, for us, 2018 is going to be a very slow and thought-out year of fine-tuning our sound and capabilities as musicians, with the general focus on releases we have planned as well as learning to achieve a more viable work-life balance with all of this. As stated previously, we are all working full-time in order to keep the R.M.R. train going and it is a blast - but some finer organization can only mean for cleaner work!

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

Peter: For me, that’s probably going to have to be music class in grade 12. I had music then a spare as my final two classes of the day in the final term of grade 12, which was absolutely awesome in the first place.

What made it even better, though, was that me and Gavin were actually the only two percussionists in the class; since most of the stuff we did in class was based around scales, we were sorta just allowed to head to the auditorium adjacent to the music room under the pretence of practicing rudiments and just noodle on all the random instruments in there.

So, yeah; I got to spend half of my final high-school term literally just goofing around on piano, drums; timpani, vibraphone and guitar. Definitely, the best semester I’ve ever had.

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Jared: I spent two semesters working at Harvard Medical School in Boston and was fortunate enough to have seats to see the Handel and Haydn Society’s production of the St Matthew Passion by J.S. Bach. Bach’s my number-two composer of ‘Classical’ (or should I say ‘Baroque’?) music. I have no words to describe that performance…

Darren: I think my favourite moment playing music was being on stage in front of over 200 people for our first album-release show. That show was the most eye-opening moment of my music career because of the sheer fact that the people that were there were there for us. It is a feeling like no other.

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

Dylan: To be honest, I think you’ve got me personally on the ropes here. There are just too many brilliant artists that inspire and entertain me over and over again, ranging from local artists we already gig with to long-gone '50s Swing groups and straight-up Deathcore metal bands. Being able to get on stage and support any act using any gear is already a true treasure to me that I think I’d rather wait and see what could happen.

Jared: I hear The National puts on a pretty good party. Lots of keys in there that I could jump on pretty quickly. Also, anything Jonny Greenwood.

Gavin: Definitely J. Tillman, also known as Father John Misty. For starters, his music is awesome. But, even outside of that, I feel like hanging out with him would just be an experience-and-a-half as he always seems to have something interesting to say. That and the fact that any man with a beard like that knows how to party.

Darren: I would have to say John Mayer. John Mayer is one of the most talented guitarists of our lifetime and one of the most versatile musicians around. I would love to just be there with him to learn more than anything.

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PHOTO CREDIT: Ryan Gaynor

What advice would you give to new artists coming through?

Peter: I suppose my advice would be to do what you want to do. If you want to make Billboard top-40-style hits because that’s the music you love, go for it. If you love ambient Polka and that’s what you wanna make, go for it. The farther you go into the music industry, the more you realize it is an industry and, as such, there’s a good argument to be made for creating music with a stronger popular appeal…but I think that, at the end of the day, if you don’t love the music that you’re creating it will show...

Dylan: …and knowing your audience, your sound and how to make your sound fit in well with other bands/acts of the same or similar genre. This is really important towards gaining a decent network fast. In our early stages, we found a small handful of bands that really sounded great next to our music and I think it really helped coax listeners in and definitely helped spread our name as well as the bands we have played with. Knowing your sound and who it caters to and being able to fit into that spot.

Jared: I believe it was Robin Pecknold of Fleet Foxes who says that the coolest thing about being a musician is that you get to pick your fans. I think everyone can appreciate that any particular piece of music will have universal appeal. So, don’t worry about that! If you build it, they will come!

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IN THIS PHOTO: Long Range Hustle

Are there any new artists you recommend we check out?

Peter: There’s a lot of great talent in the Ontario region. I’d recommend High Waters from Ottawa for a more Radiohead-meets-Hey-Rosetta vibe; James Blonde from Niagara for a more Pop-Rock-oriented Muse sound; The Kents from Lindsey for a great Indie-Rock sound; Ellevator from Hamilton for a Synth-Rock/Pop vibe; Long Range Hustle for a more Folk-ier Indie-Rock sound - and Boniface from Winnipeg for some great Indie-Rock tunes. I could go on for hours, but I’ll leave it at that for now!

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IN THIS PHOTO: Ellevator

Dylan: Hobo Johnson; Open Mike Eagle, Lewis Del Mar; Maps & Atlases

Jared: I’ll double-down on Long Range Hustle. I’ll also add Family of Things!

Gavin: I’d give a shout to Rival Consoles or Foreign Fields! They've been around for a while, but I've just recently started listening to them. Nick Hakim and Bill Ryder-Jones as well!

Darren: I would recommend a listen to one of the first groups we’ve ever played with: Birds of Bellwoods.

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IN THIS PHOTO: Birds of Bellwoods

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

Dylan: Aside from my day-job, my life is surrounded by music. Constantly listening and adventuring deeper down the streaming rabbit hole. I really like to just unwind with good food, good music and good company.

Jared: We all are sporting jobs or at school, so hanging out together is usually centred around music. We’re still all greatly interested in what each other has to say about everything sound; so this isn’t a problem for us! As for on my own: I golf.

Gavin: To be honest, I’m pretty much doing something related to music every day. If I'm not playing music with one of the two bands I'm a part of, I'm recording or writing music. If I'm not recording or writing music, I'm probably playing some WoW or Rainbow Six Siege.

Darren: I would say that the best way to unwind for me is to sit out in my backyard and play the guitar for myself with a cold brew. Honestly; music is my way of relaxing. It’s why I love it so much.

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).

Peter: Mercy - Plants and Animals

Dylan: Honeybody - Kishi Bashi

Jared: Bollywood - Patrick Watson

Gavin: Doomed - Moses Sumney

Darren: Bon Iver - 715 - CR∑∑KS

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Follow Run Maggie Run

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INTERVIEW: Birds of Chicago

INTERVIEW:

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 Birds of Chicago

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IT has been a pleasure speaking with Birds of Chicago

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PHOTO CREDITYve Assad Photography

as they tell me about the new album, Love in Wartime. I learn about the album’s themes and where they head next; how they got together and the importance of Chicago to their music and passion – they reveal whether music, in these tough times, is a catharsis.

I ask whether certain decades and periods have inspired their music; what tour dates are approaching; if there is a new artist we should look out for; whether they get the time to breathe away from music – Birds of Chicago talk about playing in the U.K.

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

This week has been nuttier than some, from a travel perspective. We finished a five-week run in Europe with a concert in Shetland, Scotland…then back to London and then on to D.C. One day off (today) to catch up on emails and laundry and then headfirst into North American fest. season with Del Fest and Nowhere Else festival.

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

We’re Birds of Chicago. We’re a collective of about seven musicians. We ebb and flow as far as who’s on the road - but the constants are Alli Russell and JT Nero… 

Love in Wartime is your new album. Can you talk about the themes and inspirations that go into it, thematically?

For me, the mandate for music, and art in general, is to allow you to wrestle with the bleakest, most terrifying or otherwise completely shit*y aspects of being alive on this planet in a way that somehow feels joyful. That’s all Rock and Roll has ever been to me, but that’s everything…

Obviously, Chicago plays a big role in your name – ‘Birds of Chicago’ – but was it vital when it came to the tones and subjects of the album? How compelling was it as a backdrop?

When we chose the name in 2013, I felt it was important to represent Chicago in that fundamental way, because Chicago’s energy - its swirling mass of energies, I should say - has always informed our sound and our poetry in a massive way.

Allison and JT. How did you meet one another? Was there an instant musical connection when you met?  

We met through mutual musical pals. The musical connection was instant and powerful; so powerful that we spent an absurd year or so trying to pretend that there wasn’t anything else between us. We were both scared of messing up the musical bond that was there.

I hear elements of the 1970s and other decades; there is a mix of sounds and sensations. Who do you rank as the most important musicians in terms of your own sounds?

There is no doubt we were channelling some '60s and '70s concept album energy with this record but, at the same time, I can’t think of an album that was a specific touchstone…more a fondness for the ambition to create something with some real peaks and valleys in its scope - and a confidence to bring a wide sonic palette to bear and still imprint our identity upon it. That is something I associate with so many iconic records of that time frame; whether it was The Band, Marvin Gaye, Paul Simon; Joni Mitchell and Sly Stone…

In terms of, politically, what is happening in the U.S. and the state of the world in general; is music both a catharsis and a way of translating frustrations into something productive? Is music a way of rationalising what we are all going through? 

It has and has always been. However rough we think it is now, it’s been a lot rougher - and music has always been that forum that allows one the miracle chance to hold up the bleakest aspects of human existence, right alongside the most fantastic joys and treat them both with something bordering on ecstasy. 

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PHOTO CREDITYve Assad Photography 

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

It will be hard to avoid us! We’ll be touring all-year-long. All over North America and Europe.

I do believe you are stopping off in the U.K. Have you played here before? What do you think of the music here?

Birds of Chicago have played the U.K. several times. We like it very much. The U.K. Americana scene is particularly strong right now. At last year’s Americana conference, the U.K. artists really showed out. Yola Carter, for instance, came in and shut the whole thing down every time she opened her mouth. Exciting times.

What do you hope to achieve in 2018? 

I would like to diversify my portfolio, financially. I am considering moving three or four-hundred dollars from my checking to something financial advisers call a ‘savings account’. I’d like to play a ton of shows in many ports of call and write a bunch of songs. We keep it simple around here

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

We sang Paradise with John Prine for the finale of the Ann Arbor Folk Fest this year. Nothing tops that.

What advice would you give to new artists coming through?

 If you are considering getting a gold front tooth now that you have a little money coming in, probably don’t do that. If you are writing a song that has a little bit of an Island groove; avoid consciously or sub-consciously singing in a fake patois. 

If you feature harmony singing in your sound, try to avoid using the adjective ‘stunning’ in your bio when you describe your harmonies. That’s about all I’ve got…

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IN THIS PHOTO: Raina Rose

Are there any new artists you recommend we check out?

Raina Rose. A formidable poet, witch and truth singer. Full disclosure: I am producing her next record!

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

We aren’t ever away from music but, when we are away from touring, I have been doing some production work with my partner, Steve Dawson. Alli has been training in mixed martial arts. She has always been interested in ancient forms of fighting, but she’s specifically focused now on developing the most efficient, brutal combination of many of the old disciplines.

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).  

Stella seed - Sean Hayes (from the album Run Wolves Run)

Anaïs Mitchell - Dyin Day (from Young Man in America)

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Follow Birds of Chicago

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FEATURE: The June Playlist: Vol. 1: IDLES, Saints and a Street Fighter Named Mas

FEATURE:

 

The June Playlist

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 IN THIS PHOTO: IDLES/PHOTO CREDIT: Lindsay Melbourne/DIY 

Vol. 1: IDLES, Saints and a Street Fighter Named Mas

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TO kick off June…

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IN THIS PHOTO: All Saints

we have been treated to some incredible new songs! Not only is there a terrific track from All Saints out there; IDLES and Kamasi Washington have unveiled stunning work for us to get our weekend teeth into – surely enough ammunition for those who love their music varied and pure!

Alongside them are cuts from Tom Tripp, LUMP; Lily Allen, Gorillaz; Kanye West and Underworld (with Iggy Pop) – and a lot of other big names rubbing shoulders in a very exciting and hot week for music!

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

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PHOTO CREDIT: Lindsay Melbourne

IDLES Colossus

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Kamasi WashingtonStreet Fighter Mas

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LUMP May I Be the Light

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The 1975Give Yourself a Try

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All SaintsLove Lasts Forever

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Bipolar SunshineDiscovery

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Catherine McGrath (ft. Hunter Hayes)Don’t Let Me Forget

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Drake I’m Upset

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Gorillaz (ft. George Benson) Humility

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Haley ReinhartLast Kiss Goodbye

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Johnny Marr – Walk Into the Sea

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Kadhja BonetAnother Time Lover

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J HusDark Vader

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Lady LeshurrBlack Panther

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Lily AllenLost My Mind

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Kanye WestAll Mine

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St. VincentFast Slow Disco

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Tom Tripp Medusa

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Mallrat Groceries

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Hayley Kiyoko (ft. Kehlani) - What I Need

 
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Ben HowardThe Defeat

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Rex Orange County, Randy Newman You’ve Got a Friend in Me

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The Internet Come Over

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Natalie PrassThe Fire

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PHOTO CREDIT: Nick Dorey

Lykke Li – two nights

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WeezerAfrica

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Father John MistyPlease Don’t Die

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AKA - Beyonce

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Benjamin Francis LeftwichI Am with You

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Charli XCX 5 in the Morning

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Spring KingUs Vs Them

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Leon Bridges Beyond

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PHOTO CREDIT: Hollie Fernando

Gengahr - I'll Be Waiting

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Beth Orton, The Chemical Brothers I Never Asked to Be Your Mountain

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Underworld, Iggy Pop Bells & Circles

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PHOTO CREDIT: Cal

Wolf Alice - Space & Time

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Goat Girl - Viper Fish

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Ne-Yo SUMMERTIME

TRACK REVIEW: For Esmé - Small Talk

TRACK REVIEW:

 

For Esmé

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 PHOTO CREDIT: Jeff Bierk 

Small Talk

 

9.6/10

 

 

Small Talk is available via:

https://www.youtube.com/watch?v=234-Vvm1_0c

GENRE:

Dream-Pop

ORIGIN:

Toronto, Canada

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The album, Righteous Woman, is available via:

https://open.spotify.com/album/5PHnN0Wtf0KZTC8jAKQ12b

RELEASE DATE:

25th May, 2018

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PART of the reason…

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I have been a bit angry recently – if my posts seem a bit firmer and more spiked – is the lack of female artists coming my way. I have been looking around and, when it comes to P.R. labels that send artists my way; it is disappointing to see the statistics: around 80% of all the submissions I get relate to men. I am not great at maths but the world of new music is not that male-heavy: there are just as many women as there are men. It is baffling why labels and P.R. firms recruit men or put them up for submission; do women feel they will not get a fair deal if they go to firms or are they better off representing themselves?! It is a subject I will touch on later today and, hopefully, arrive at some conclusions. I mention this because For Esmé, alongside a lot of other female artists, are rallying against sexism and expectations. It seems the songwriter’s name – perhaps named for the short story by J.D. Salinger where a sergeant meets with a young girl before being sent to war – is apt when it comes to Salinger and the scenes he painted. There is romance and battle; there is division and the need for improvement – having to cope alone at times, too. I will talk about For Esmé’s new album and the sort of themes being explored; why her music and artistry fascinates me; bringing other players and voices into the mix; why artists like For Esmé have the potential to go a long way; Toronto and why the city is bursting with promise – I will look at what the music world needs in order to progress. Let’s look at the first subject, For Esmé’s, and what Righteous Woman possesses. The record is designed to portray the modern, progressive and open-minded woman and all the challenges that come with that. Martha Meredith (For Esmé’s’ voice and lead) explores self-love and sufficiency; why the inner-voice and sense of courage are more important than the limitations placed by society.

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The album itself mixes the personal and socially-aware. There is a nod to political corners and accusations; confessions and revelations that lets the listener in. Whilst I am not going to review the entire album; it has been interesting looking at the songs and what they represent. For Esmé looks at permission and being allowed to speak; why following the rules of others can be confining; how there are these rules and boundaries placed on modern women – the strike against patriarchy and why strength and courage are important. The record, as I say, is personal and looks at the heroine’s struggles, determination and anger she faces. There are general themes that look at feminism and sexism but, like her moniker, it is literary and fascinating. Songs flow and shine with tenderness; there are rousing strings moments and that blend of light and dark. What stuns me is how the ten tracks (on the album) all have their own skin and separate identity. Every track has its own momentum but they all hang together beautifully. Most tracks are around three or four minutes and the titles are either one or two-worded. It is a rich and rewarding listen that demands repeated study – an album perfect for every mood, season and time. I will move on to a new topic but, in closing, I wanted to urge people to listen to the album and listen to it closely. It is personal in nature but the biggest reaction one gets is that universal and inspiring sound that tackles issues and problems and provides something compelling and substantial. For Esmé gets under the skin and provides songs that make the listener think and look at the world as a whole; settle the bones and make the mind swim. It is wonderful seeing the young artist/band grow and get stronger with every release. I have been following For Esmé’s work for a little while now and can see how strong Martha Meredith has grown as a songwriter. Dave Thiel and James Bunton co-write and co-perform. Although Thiel and Bunton are important cogs and elements in the mix; it is the strength and colour of Martha Meredith that radiates and remains. It is that collaborative nature, mind, that compels discussion.

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PHOTO CREDIT: Vanessa Heins

The Toronto-based artist has worked with Thiel and Bunton and there is deep and collaborative work to show from it. There are some fantastic players that appear on Righteous Woman and it is a great team effort. Although For Esmé’s core help shape the songs and get the record out there; one cannot discount the way every artist on the record adds their personality. The strings that appear add grace and delicacy; there is that strength and rousing passion that arrives in various moments. I am seeing a lot of solo artists and duos that tend to write rather basic and sparse songs. They may be able to create something interesting and deep with acoustic guitar and simple arrangements but I find adding extra elements can expand songs and result in extra nuance. There is never the overriding sensation, on the album, that it is all challenge and blaming those around. For Esmé shows a comfort with being in her own skin and Martha Meredith talks about having her own thoughts and not being ruled by others. Of course, you get that tackling of the status quo and whether we should be following blindly. That conflict and complex cocktail is examined and fleshed out by incredible musicians and writers. Our heroine has that incredible voice and lyrical determination; mixing that with the studied and exceptional players means you get this rewarding banquet and striking brew. Each song, as I said, has its own D.N.A. and voice. Many albums have sound-alike songs and creates little distinction. On Righteous Woman, you have these narratives and chapters that, returning to J.D. Salinger, seems to be part of a bigger picture. It is not a concept album, per se, but each song seems to look at various elements of society, feminism and the self. I am happy with the music out there and what we have before us: seeing For Esmé come through and produce an album like Righteous Woman stands aside and makes you linger and ponder.

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PHOTO CREDIT: Laura-Lynn Petrick

I want to look at Martha Meredith and her individual strength but, before then, I will spotlight the music on the album and why the compositions and lyrics mesh together so effectively. A lot of artists have a talent for words or music: few manage to put them together so beautifully and have that overall genius. I want to bring in a few artists For Esmé reminds me of and why that should give a lot of spark and hope. Listen to tracks To Love and For Others and there is that combination of sprite/energised and swooning/calm. Songs go from gorgeous and entranced to racing without much warning. It might be hard, in lesser hands, to control that gear-shift but Martha Meredith and her band manage to ride the waves and provide something exceptional. Maybe they have been playing together for years – I should have checked my facts! – but it is amazing hearing that intuition and sense of connection between everyone. The production is fantastic and songs stay in the mind for a very long time. So much music today has limitations and songs seem to pass by and rush through. Even those designed to endure can disappear quicker than you’d hope. What you get with Righteous Woman is a record designed to settle in the brain and keep the listener coming back. It has that drug-like quality but, rather than offering a quick high and easy rush; you get something educational, revealing and luscious. I have been hooked on the album and every song on there. Although I am concentrating on Small Talk; you need to look at For Esmé in terms of the ten tracks that appear on the new album. For Esmé’s lead steps out and lets her voice paint a world of wonder and bring the listener into the fold. You are involved in the songs and follow them. It is a physical and spiritual experience that amazes and touches the senses.

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Confection and confession sit alongside one another on an L.P. that addresses the inner-voices and doubts and brings them to the surface. It is strength and overriding motivation that highlights itself. I am hooked by Martha Meredith because she knows what changes need to be made in the world and how we can create a more balanced and progressive space. Rather than protest and sermonise; we have a songwriter who lets people in and has that accessible nature. The songs are fun and physical but that never cheapens the mood. I am reminded of modern-day icons like Joan As Police Woman and Laura Marling. Those two may seem very different on paper but the Connecticut legend (Joan As Police Woman) and British youngster (Laura Marling) are songwriters that challenge the established order and do so intelligently and consistently. I am more drawn to Laura Marling and her approach to music. Listen to For Esmé and the way the notes and musical elements flow into the foreground. The voice, in fact, of Martha Meredith reminds me of Laura Marling. There is that balance of young and mature; songs that are exceptionally developed and thoughtful. I am not comparing the two because it diminishes For Esmé and what is being produced: it is a compliment that shows why Martha Meredith and crew deserve a bigger platform. I get a sense there is stardom and a big future in store for her and the band. What I sense is developing success and that opportunity to get to the forefront. Maybe mainstream assimilation will take a few years to come but it seems like For Esmé will get to the top a lot quicker than their peers. Martha Meredith is a songwriter who can work with others but knows where she is heading. You get the feeling she is not going to rest until she is playing on the biggest stages and able to bring her music to the masses.

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I am compelled by her because you have a strong-minded woman with natural talent. There is incredible beauty and power that comes from her; a knowing of what the market needs and how a musician should deliver. I feel a lot of artists are too commercial or seem to take from a book of clichés. You might get lumpen lines and trite exchanges; some rather mediocre expressions and lines that have been recycled by many others. This is not the case of For Esmé. Rather than give us a rather boring and routine album; we have that multi-coloured and challenging aspect. Songs are thought-through and you can hear the detail that goes into them. Each player and element on the album is crucial and everyone gets equal weight. It has that collaborative degree but one radiates towards the lead. It is that voice and passion one gets that stays in the mind. I may be repeating words and terms here but it is for good reason. It is hard to avoid the brilliance and standout characteristics of a phenomenal artist. I will move on to other themes soon but, before I get there, let us look at For Esmé and Martha Meredith. I have attached myself to some artists from the current market but many of them, sadly, go out of the mind. It is not their fault at all: the music world is so busy and changing, it is difficult remaining focused and keeping people in the heart. There is so much about the Canadian songwriter that makes me come back. It is a teasing and enticing kiss that rattles around the brain and leaves its taste in the brain. You have music that gets into the blood and does something wonderful. Every performance is committed and delivered with nothing less than utmost attention and meaning. The writing is sharp and, aided by assured and commanding production, Righteous Woman is a spellbinding album from a singular talent.

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Toronto seems to be one of those hidden areas that is showing its skin. I say ‘hidden’ but that is only due to the naivety of the international press. If it were not for the artists (from there) who come my way, I wonder whether I would ever know about the area and why it is so amazing. Canada as a whole is stacked with awesome musicians who warrant wider acclaim. I am familiar with Ontario and all the variation one gets there. Hamilton and Montreal have come to my view lately; I am getting some great suggestions from Ottawa and right across the West Coast of the country. Toronto seems to be the leader of Canadian music. It is a vast and diverse landscape that seems to inspire musicians that live there. If London’s motivation comes from its eclectic population and history; Toronto seems to cause wonder because of its landscape and the nature of the people. There is a different vibe here and you cannot overlook the role of the people on the music. The population is friendly and humanitarian (for the most part); there is a native egalitarianism and warmth that helps calm the mind and get you into that creative headspace. The folk are kind and interesting and, aside from the odd rogue element, it is a place you feel safe and connected. I am interesting studying the link between a city/area and how its demographic enforces a particular sound. One can certainly make a case to suggest Toronto’s population and geography leads to wonderful music. I am not sure how long For Esmé has been based in the city but it seems to be a great place to make music and get it out there. In terms of venues and spaces, there are bigger ones like Four Seasons Centre for the Performing Arts and sports arenas; you get Massey Hall and Dakota Tavern; Lee’s Palace and Phoenix Concert Theatre; Baby G and Rebel; The Music Gallery and Lula Lounge. I can go on forever – check out https://www.blogto.com/slideshows/best-live-music-venues-toronto/ for more venues – but it shows what a wealth of great performance spaces there are.

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PHOTO CREDIT: Vanessa Heins

I feel Toronto is flourishing where cities like London are starting to fail. Venues in the capital are having mixed fortunes right now. Some of the bigger areas are surviving but there is always the risk of places closing down. Modern bands and artists have reliable and ‘safe’ venues to go to: there are so many that have shaky legs and narrowing wallets. I guess that is the same for Toronto but you get the feeling the government there is more willing to subside live music and provide a financial bail-out for any venues that struggle. Coming back to For Esmé and it seems like it is a great location to make music. You have that varied live music scene and there are so many talented peers who can offer supporting slots and guidance. It is that open market and rich history that feeds into the soul of the city and promises growth. It is important if you are surrounded by prosperity and promise. Those musicians who live in a rather busy and challenging part of the world are producing the best music. If you are surrounded by mixed fortunes and venues that are closing; this can affect the mindset and have a damaging shock on the music.  Looking forward and I would like to see Toronto brought more into the international forum. I am aware of the artists who play there but there are so many more that get overlooked and forgotten. For Esmé is one of the strongest forces in Toronto and I wonder whether they will remain there. Will Martha Meredith and her players come to the U.K. or relocate to the U.S. anytime at all? Maybe New York will provide more of a stable and chance for riches. I am seeing Canadian artists relocate because they do not get the same acclaim as their U.S. peers. That is no slight at the city of Toronto and a sense of anonymity. The media is responsible for pushing the music of a place and I feel there is a naivety from the U.S. and U.K. that needs to be redressed.

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PHOTO CREDIT: Laura-Lynn Petrick

There is, pleasingly, the sound of the 1980s in the opening notes of Small Talk. That line might provoke images of huge hair and naff clothing; cheesy Pop and Morrissey swinging his gladioli around the stage like a stabbed poet – I am looking, more, at the credible music and artists like New Order. The bubbling and burbling electronics have that nostalgic and retro edge but there is a distinct emotional conviction that puts it in the modern day. What I mean is (the notes) are tailored to the present time and are not meant to mimic what has come before. I was given that rush of remembrance and hints of the 1980s but, if anything, the combination of beats and electronics produces a fascinating figure you worship and lust after. The heroine comes to the microphone and elongates her words. As opposed to the fast-paced and cascading nature of the composition; the words are stretched and given semi-operatic quality. She asks whether you/we have died beneath the hollowness of deep space. If you mind goes there literally then that might provoke different imagery. To me, I was looking at passions and conversational awkwardness. Maybe an haphazard meeting or the routine or being with someone – where things dry out and it seems like the spark has gone. Martha Meredith, as a lyricist, creates lines that compel interpretation and have that poetic edge. She asks whether we dare find solitude and loneliness down in deep space. I was entranced by the vocal power – that brought to mind PJ Harvey and Florence Welch – but tried to untangle those images. Are we talking about being single and not relying on constructs and demands of society? Is it about the benefits of independence or the rush one gets upon that first romantic meeting? I guess every listener will have their own viewpoint but, to me, at that very moment, I sensed a woman who was writing from experience and addressing the sameness of conversation and being left disappointed. The composition has spacey elements and the electronics mix in intergalactic zoom; there is so much working away in the background.

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PHOTO CREDIT: Jeff Bierk

Some artists keep the music in the back but For Esmé bring it into the foreground and entwine music, lyrics and vocal together. The more the song goes on, the more light that came in. Our heroine has been clinging onto people for life and love and found something is lacking. Maybe we are looking at love and the routine of small talk and trying to find something deeper. Maybe Martha Meredith has been on dates and it has been a rather shallow and disappointing experience. Perhaps she is looking inside herself and wondering why she chooses certain people and whether love is what she needs in order to become fulfilled and complete. Against the template of women’s rights and conforming with what others expect of women; maybe the heroine has been doing what others have and thinking she needs to blindly fall in love, get married and ‘settle down’. It is annoying to think there are these boundaries and age-old ‘roles’ that women need to take. It might be that Small Talk is a general look at contemporary stresses and how we define ourselves by romantic attachments. She is suspended in something she cannot sustain and there are racing thoughts that are coming to play. You are always gripped by the racing electronics and pulsing beats. The lead tries to untangle lies and eradicate dissonance. There is paranoia at work and a yawning void – people are trying to cure her pain and, through romance and chat, the result is the very same. Small Talk is about cutting out that foreplay, in romance and society, and place fears out there. It seems, the more the song goes on, the clearer the thesis is. Rather than look at romance and the routine of love; it asks people to cut out the meaningless talk and get to the root of big problems. We have problems that are not going aware and we do not seem to be any closer to a cure. Whereas we are focusing on insignificant things are not coming up with any real answers; we need to look at that and wonder what the actual solution is. Small Talk compels questions and thoughts; everyone will look at the song in different ways but it is clear something meaningful and important works away. One listens to Small Talk and is urged to listen again and again. You might need a few spins to understand the various threads and elements working away. It is a busy and full song that will get into the mind, heart and soul and takes you somewhere very special indeed!

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PHOTO CREDIT: Laura-Lynn Petrick

I am thrilled to see Righteous Woman out there and hope I have managed to assess it well enough. I have been looking at the work of Martha Meredith and seeing how she has grown as a songwriter. Following the social media feed of For Esmé and I know there are plans afoot regards touring and promotion. The album is out there so many people will want to see it performed and close-up. I hope there are plans for British dates before the end of the year. It is expensive travelling and getting music out to the international crowds. I think there are enough venues over here that would cater the band and see their music given a healthy reception. I am not sure whether that is planned – or it is reserved for the coming years – but there is a lot of Canadian territory to conquer. After, maybe U.S. dates will come through. Keep an eye on the social media feeds to see what is coming and where you can catch For Esmé on the road. I have loved reviewing Small Talk and looking at the Righteous Woman album as a whole. I have learned a lot about myself and the world as a whole and found, in the album, one of the strongest of the year so far. We are living through a time where gender roles and rights are at the forefront of the conversational parapet. The nature of gender politics is more complex than ever and there are people calling for change and improvement. Whether you see sexism as a problem that needs immediate tackling or are of the opinion that self-sufficiency and self-love (from women) is a way of moving forward. It is clear society places impositions and limitations on women – I will look at this later – and we are not progressing as fast as we should! I shall leave things here but my suggestion is to listen to Righteous Woman what is documented. The album looks at feminism and social problems; it has the personal and universal – much richer and more complex than I am making it out to be. It is a fantastic album that keeps revealing something new every time you listen to it. I will follow For Esmé closely and see what comes next. If Righteous Woman is anything to go by, I feel For Esmé is going to be a name many more of us will hear about…

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ON the world’s biggest stages.

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Follow For Esmé

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INTERVIEW: Virgin Suicide

INTERVIEW:

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Virgin Suicide

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BEFORE I slope into the weekend…

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I have been catching up with Virgin Suicide and asking about their new single, Madonna. The Danish band talk about playing The Great Escape festival and what their next moves will be; how they got together – I ask how the music of the 1980s found its way into their own sounds.

Virgin Suicide talk about a favoured musical memory and whether there are any tour plans; what the scene is like in Denmark right now; what advice they would give to new artists coming through – they recommend a new artist that is worth seeking out.

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

Good! It’s been good. But, we’re maybe a little depressed after haven such a wonderful at The Great Escape festival in the weekend - and before that, the similar SPOT festival in Denmark.

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

We’re Virgin Suicide; a band based in Copenhagen, Denmark. Five people making Indie-Pop/Rock.

What can you tell me about your new single, Madonna? What inspired it and how did it come together?

It’s inspired by a sort everyday social anxiety: the feeling of being misplaced in your ‘favourite environment’. That can be a tough one. Your friends hear to sing, Madonna for instance, but inside you’re blue.

You released your second album recently. Can you see yourself releasing any more material this year?

Yes! We are hoping to let another single go within the year.

How did Virgin Suicide get together? Have you all known one another for a while?

We’re becoming pretty old friends. A couple of us grew up together and we have already played together for five-six years. Within those years we have spent A LOT of time together, so we’re very close.

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It seems like you have a love of the 1980s - but cast your net quite wide. Do you all have quite eclectic tastes and favourites?

Yes, definitely. We all like very different sorts of music.

Denmark is where you are based. What is the music scene like where you are? Might you have time to come to the U.K. this year?

The scene in Denmark is great. Lots of good artists. But, yes, we’re also looking towards playing shows in U.K.

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

We already finished our tour for the album, so now it’s about making the next single. Sorry! But, hopefully, we’ll be back on the road soon. It’s just a single (smiles).

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Is it true you played The Great Escape this year? How did that go?

Yes; it went very well! Such an awesome experience to be and play in Brighton. Had a good show and hung around on the pier playing air hockey for a whole afternoon after the festival. Definitely coming back to play the area as much as possible...

What do you hope to achieve in 2018?

We hope to do a tour in Asia - and release another catchy new single.

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

Playing Roskilde Festival for 6000-8000 people must be it. There’s a special vibe about that festival. So very happy that we got the chance to feel it!

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

Kendrick Lamar.

What advice would you give to new artists coming through?

Don’t be stressed out about the whole SoMe part - and you don’t have to sing Madonna at parties if you don’t feel like it (smiles).

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IN THIS PHOTO: DIET/PHOTO CREDITRasmus Laurvig

Are there any new artists you recommend we check out?

Check out the Danish band DIET. They just released an E.P.

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

We hang out at the beach in Brighton or play quiz games at home. Also, we like to do lunches in nature with beer and snaps.

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Follow Virgin Suicide

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INTERVIEW: Magenta

INTERVIEW:

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Magenta

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A lot of female songwriters exist out there…

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but one gets something fresh and enticing when it comes to Magenta. I have been speaking with her (Hannah) about the amazing new single, Circles, and whether more material is arriving later – she recommends a few artists worth a closer look.

Magenta talks to me about playing with her band and what exciting plans she has coming up; three albums that mean a lot to her; the advice she would offer new songwriters of the moment – she ends the song by choosing a current track for our delectation.

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

Hi Sam! I’m well, thanks. Right now, I’m walking in the Yorkshire Dales and having a little R’n’R time. I have my single launch next week which is exciting - and a lot to sort out ahead of that!

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

Hello. I’m Magenta. I’m an emerging singing songwriter from London. My debut single, Circles, is out on 8th June!

How did the persona of ‘Magenta’ come to be? What does it represent to you?

It’s my middle name, straight up.

Circles is your debut single. Is there a story behind the track?

The lyrics are very personal: about an ex-boyfriend of mine. Sometimes, when writing songs, the lyric and the melody just come together but, in this instance, I’d been writing with an Irish chap Rob Shiels on another song and we had about fifteen minutes before he had to leave for the airport...

I had these lyrics/thoughts on a computer, in no particular order, and he started strumming the guitar, and then I started singing and the song just came out in almost one go…we had a few tweaks when we listened back, but it was pretty fully-formed. Rob came up with the “I try walking in straight lines” lyric, which I think is the clever lyric in the song.

Will there be more material coming later in the year?

Most definitely, the next single will be Look Good in Blue, out in September. I’m also crowd-funding to release an E.P.

I have a song Japan,  co-written with the wonderful Michael Garvin (twenty-three number-ones, including George Benson's Never Give Up on a Good Thing and Jennifer Lopez’s Waiting for Tonight) - out on Michael’s album later this year.

I believe you have been involved in music a while. What enforced the decision to move into music and record your own material?

Actually, I have been writing for fun for the last few years and a friend started training to be a life-coach and, through conversations with her, it emerged that this was something worth exploring. So, here we are!

It took a few weeks for the idea to sink in and them to start visualising what might happen.

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Which artists inspire you most in terms of your own sound?

Joni Mitchell, The Bird and the Bee; The Cardigans, Sigrid and early-Madonna. I really want to listen to more Leonard Cohen.

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

I’m having a launch party for my single, Circles, on 7th June in Shoreditch.  After that event, I’m sure I will want to do it all again! To find out when the next gig will be, follow my Facebook or my join my mailing list.

If we came and saw you play; what would the live show consist of in terms of material and feel?

I’m told I have an “emotive British sound”. Expect well-written songs and a heartfelt performance: think Dusty Springfield, Adele and Barbra Streisand. My band is brilliant - they are predominantly Jazz musicians, so you get these lovely grooves and ornamentation creep into the playing. I’ll name-drop them quickly, too, so you can check out Matt Carter (Piano), Seth Tackaberry (Bass) and Bubu (Drums); Luca Harb (Guitar) and Gillian Mott (Violin).

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What do you hope to achieve in 2018?

Keep on honing my craft and writing songs. Keep my head above water (smiles).

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

I have so many.

When I was younger, I sang in a youth choir and that bedded in so many amazing memories - working with inspiring conductors who showed us how to appreciate music and exposed us to so many great styles of music; making a beautiful and brilliant sound.

For me, it’s always about collaboration.

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

Air - Moon Safari

Every instrumental line in that album is totally sing-able.

Kate Bush - Ariel

The production is just amazing - an album I wish I had made. You can hear the craft coming out of it.

It’s so hard to choose only three; I’d have to say either Joni Mitchell Blue

It’s so lyrically-dense and wonderful - some early-Madonna which is just full of hooks, or Michael Jackson, for the same reasons.

What advice would you give to new artists coming through?

Listen and write as much as you can. Find your tribe of fellow songwriters. Love music!

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 IN THIS PHOTO: Jacob Collier/PHOTO CREDITBetsy Newman Photography

Are there any new artists you recommend we check out?

He’s not so new anymore, but some people may not have heard of the amazing Jacob Collier

Also, a couple of songwriters are working super-hard - Beth Keeping and Emily Faye. Really nice watching them grow and establish themselves (smiles).

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

Not really! I listen to music to unwind: Jazz and Classical. I try to get out into nature and go on long walks when I can, too.

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

At the moment, I’m listening to Charlie Puth’s new album - I really rate him and I love straight-up Pop.

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Follow Magenta

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INTERVIEW: lightcraft

INTERVIEW:

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lightcraft

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THIS is the first time…

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I have featured a band from Indonesia on my blog! It is great to speak with lightcraft about their awesome track, Walk on Fire, and what its origin is. The chaps talk about their musical tastes and share favourite memories from their time in music – they recommend some new artists to look out for.

I ask whether lightcraft will come to the U.K. and they tell me what the music scene is like in Jakarta (Indonesia); what they want to accomplish before the end of this year; if they get time to chill outside of music – they each pick a song to end the interview on.

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

Imam: Hullo, Sam, how are you? We’re good, thanks! It’s been an okay week for us; rather uneventful, though, but it’s been all right. Had a few meetings with potential stakeholders, did an interview and a short set for a local online radio station and we’re playing a semi-acoustic set tomorrow for an opening of an art gallery. Live music tends to take a backseat during Ramadan down here, so it’s good that we’ve still got things to do!

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

Well; we’re lightcraft and we’re from Jakarta, Indonesia. We describe our sound as anthemic Indie-Rock – very wide, very big and straight to the heart; songs to soundtrack anybody’s life at any given moment, basically.

Safarilhaj (Fari): It all began in Kuala Lumpur, Malaysia in 2005, when we were still at uni. By 2006, we decided to try and give it a go at becoming a real band with original songs. We released an E.P. that year called The Modern Seasons and we haven’t looked back since.

Enrico: We’re a band of brothers, essentially; more a family than a musical unit.

Walk on Fire is a big and anthemic song. How did it come together? What is the story behind the track?

Imam: I actually wrote the song about more than a year ago. At the time, a very close family relative of mine had just passed away. Compounded by the fact that there were also a couple of deaths in the family prior to that, and someone very dear to me had been struck down by a serious illness the year before, it triggered this realisation that life is short and we have to make the most of it.

It’s a message that I would like to convey to the listeners; to actually live one’s life to the fullest, always do good and be kind to others and to always look forward rather than dwell on the past.

What comes next for you? Will there be more material before the end of the year?

Yes. Walk on Fire was just the beginning of something that might just be a milestone in our journey thus far - as we will be releasing our new album in August.

Yopi: The last time we came up with a full-length album was 2014, so we’re very excited about it…

Imam: We will be slowly releasing a few more singles on digital platforms prior to the launch of the new album as well.

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How did lightcraft get together? When did you find one another?

It was in 2005, while studying at university in Kuala Lumpur, Malaysia, when our old drummer and I decided to form a band. We played in a band whilst in high-school and fate brought us to the same uni; so we thought we should give it another go. Coincidentally, one of our housemates was Fari (Safarilhaj), who we knew could play the guitar…

Fari: Yeah. So, they asked me to join up and then I roped in a friend of mine to play bass. Another housemate of ours had a mate who could play the piano, which turned out to be Enrico. He permanently joined the cause about a few months later…

Enrico: Then we went and played a battle-of-the-bands festival. We didn’t win the thing, unfortunately, but we discovered that we had the same passion and we were able to create something together. Fast forward a few years later – after many chops and changes in our line-up and a lot of maturing on our side – and Yopi came into the fray…

Yopi: They had just returned to Jakarta and were looking for a drummer. As I was playing in this music project with Fari and another one of our previous bassists, they asked me to give it a go - and I’m still here!

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You are based in Jakarta, Indonesia. What is the music scene like there? Is there a blend of Eastern and Western music?

Imam: Very creative, very dynamic and, also, quite saturated as there are so many bands and musicians here due to the number of our population. The rapid advancement in technology has given the opportunity for Indonesian musicians to shine as there are a lot of platforms for them to showcase their music and, yes, there is a blend of Eastern and Western music, although not as ethnically-sounding as you might think. The two biggest genres here are Dangdut and Indo-Pop.

In terms of childhood tastes; did you guys all grow up on the same sort of music?

Fari: Nope, not at all! We grew up listening to very different music. I was a huge Rock fan – Bon Jovi, Guns N’ Roses et al.

Yopi: I have always been a Grunge-head. My adolescent years were filled with Nirvana.

Enrico: I used to listen to everything, really.

Imam: …and then I came along and got them to listen to my music collection! Then we found a middle-ground and just clicked. I was listening to my mum’s Jazz records and ‘80s Pop when I was a kid. It progressed to Britpop and the ‘Cool Britannia’ era, which then continued to the emergence of the likes of Travis, Coldplay; Starsailor and the likes.

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

Yopi: Most Indonesian Indie bands don’t really go on tour – we go on weekend tours! Musicians down here tend to have day jobs, like us, so it’s quite rare for us to embark on a long tour. Our next gig abroad will be at Playtime Festival 2018 in Ulaanbaatar, Mongolia which is happening from July 6th-8th.

Enrico: I would’ve never imagined that we would be playing an international music festival in Mongolia, of all places! We’re very grateful.

Might you come and play the U.K. this year? Do you get a chance to gig over here?

Imam: We were all set to play Liverpool Sound City again this year – we first played there in 2016 – but our visas were issued after the festival had ended due to a technical mishap, so we had no choice but to pull out. Hopefully, we could come back next year and do a proper tour. Our love for the U.K. and its music knows no bounds.

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What do you hope to achieve in 2018?

Fari: We’re hoping that our upcoming album will become a huge success and propel us towards bigger things. We’re quite confident that it will be able to leave a mark on people.

Imam: We also have a few more domestic and overseas music festival appearances in the pipeline, which we hope could help us create the impact that we need as we introduce our new songs and new concept.

Enrico: Basically, we want every year to be better than the previous year and 2018 is no exception - especially with all the plans that we have in store.

Yopi: Fingers crossed!

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

Performing in front of my parents when I was still in high-school.

Enrico: The first time someone actually approached us and asked for our autographs.

Imam: Probably the first time we played a show abroad.

Fari: In Russia, after we played our set, a girl came over and told me that we made her day. That really melted my heart.

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

Enrico: It would be Muse and, for my rider, I’d like a NORD Stage 3 and a good cup of coffee.

Yopi: Radiohead. As for my rider, as many pints of cider as possible!

Fari: I’d go for Foals and I want my favourite coffee brand, Coffeemix, which is only available in Indonesia.

Imam: Coldplay or Snow Patrol. Rider-wise, a supply of cough syrup; a hot cuppa and a bag of crisps.

What advice would you give to new artists coming through?

Enrico: Never give up on your dreams!

Yopi: Always be patient and maintain your creativity.

Imam: Stay humble but be confident.

Fari: Being overly-technical doesn’t guarantee good music.

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IN THIS PHOTO: WYLAND

Are there any new artists you recommend we check out?

Fari: Singaporean indie-electronic-pop band M1ldl1fe.

Yopi: The Melodrama, a Folk-Pop act who hails from my hometown, Tasikmalaya, in Indonesia.

Imam: WYLAND, a New Jersey-based Indie-Rock quartet.

Enrico: JokoinBerlin, an Indonesian Indie band.

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IN THIS PHOTO: JokoinBerlin

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

Imam: Not really. It always haunts each and every moment of my waking hours! I’d unwind by playing a spot of FIFA on the PS4 and play football or futsal. Yes, I am footy mad!

Fari: No. Well, I like to find somewhere quiet to just sit down alone with my thoughts - and I like to play FIFA too.

Yopi: Nope! Even when I do unwind, I would still listen to music. Mainly, I’d spend my free time with my wife and son.

Enrico: Nah. My life now revolves around music. Away from it, I’d find good food and get a lot of sleep!

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).

Enrico: GoGo PenguinHopopono

Yopi: Big ScaryThe Opposite of Us

Fari: Everything Everything A Fever Dream

Imam: The Horrors Something to Remember Me By

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Follow lightcraft

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INTERVIEW: Bouts

INTERVIEW:

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Bouts

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KEEPING this week kicking…

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is the music of Bouts – in the form of the sensational cut, Face Up. Barry from the band tells me about their current song and what we can expect going forward; how the chaps got together in the first place – whether they have moved forward and evolved as a unit since their earliest days.

I learn about some cool new acts; if there is a treasured memory for the group; where we can catch the guys play; what Bouts want to achieve before the end of the year – Barry choose a song to end the interview on.

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

Barry: Our week has been full of intrigue - as we try to agree our upcoming record’s tracklisting and celebrate receiving the finished masters (even though the record won’t see the light of day just yet). So…a mixed bag.

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

Energetic, enthusiastic; melodic, guitar-centric tension and release. It’s like Emo without the melodrama; like Grunge without the moshing; like shoe-gazing without the shoes.

What is the story behind your new single, Face Up? Was it a track that naturally came together?

Yes. it came together very quickly in a remote house in the west of Ireland at the start of 2017. It was almost fully-formed at inception and has barely changed since (we even have the cellphone footage to prove it). We knew it was an exciting track with an immediate hook and, hopefully, by now we have a radar for that sort of thing.

It definitely wasn’t going to allow us to let it slip away like many ideas often do.

The song has already been gathering love and support. Does it give you energy and purpose knowing your songs connect so freely?

That’s a very kind, leading question! We certainly hope our songs connect. It’s more and more of a challenge to grab people’s attention these days. Spotify is such a plentiful environment that our attention spans have reduced as the access to music has multiplied exponentially. Although, having said that, a good song will always stand out.

A cliché but a damn accurate one.

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Is there more material coming later in the year?

A second single from the album will be released over the summer, with possibly a third to follow in the autumn - and the album most likely early-2019.

How do you think you have progressed as a band in the past few years?

We’re more relaxed. Ironically, we’ve grown together as individuals even as our geographical dispersion has become more pronounced (we live in Ireland, the U.K. and the Netherlands). I guess there is a growing maturity. Our slightly frenetic, in-your-face sound of the earlier stuff has dissipated into a more-rounded and concentrated type of approach both stylistically and in songwriting terms.

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How did Bouts get together? Did you all bond over shared tastes?

We all shared very similar and complementary tastes. We liked our Pavement, Pixes; Thermals, Grandaddy and Nada Surf etc. That made things easy at the start for sure. We would often go to the same gigs and a couple of us had overlapped in different projects before we got together. I think, more recently, we listen to stuff like Speedy Ortiz, Francis and the Lights or Blood Orange, but have a soft spot for our old-skool Indie-shmindie.

Is Dublin a great place to make music? What is the vibe like there right now?

Well. Only two of the four of us live there now so we can’t fully vouch for the current vibe. As a place to make music generally, though, Dublin has always been comfortable and supportive. This comfort can be both its strength and weakness. There is an undoubted tight-knit community around each scene and people doing great work as both artists and producers.

It definitely punches above its weight. Everyone knows everyone and frequent cross-collaborations are common. But, its size can be claustrophobic and maybe a little stifling. It’s also hard to find a critical mass audience when playing locally as the audience for independent music is just much smaller. However; bands do break out – Girl Band being just one recent example of that…

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

We’re lining up a few shows in Ireland and the U.K. between now and the end of the year - but expect much more from the beginning of 2019.

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What do you hope to achieve in 2018?

To re-enter people’s consciousness as a group (we’ve been dormant for most of the last four years) and let everybody know that good Indie-guitar music – or whatever label you want to put on it – are far from dead and buried and, indeed, something to embrace as essential again.

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

I probably speak for all the guys when I say that playing after the great Bobby Womack and before Emeli Sandé at a concert in Dublin (in 2013) was probably our weirdest collective memory moment. Also, the Brooklyn apartment we stayed at during CMJ in New York - back in 2012 - had an old Victorian free-standing bath in the kitchen. It was the only way of washing ourselves and certainly made breakfast…interesting.

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

We partially fulfilled that when we supported Cloud Nothings in Dublin a few years back. We are all huge fans of Dylan Baldi…perhaps Stephen Malkmus, though. He’s just such a legend.

A rider consisting of some nonsense, hipster craft-brew beers, hummus; carrots, crisps; salty chocolate and a non-fussy assortment of triangular sandwiches would also do very nicely, thank you very much.

What advice would you give to new artists coming through?

Write, write, write. You may knock out a couple of decent tunes initially through sheer energy, excitement and talent but, to keep doing so consistently, you need to recycle idea after idea, learn to recognise good from bad; develop an internal quality control radar, broaden your influences as much as possible and then realise, after all that, that maybe you can now actually write semi-decent tunes. It takes literally hundreds of attempts (and many bands) to get there though.

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IN THIS PHOTO: Snail Mail

Are there any new artists you recommend we check out?

Now, Now, Snail Mail; Krystal Klear, Forth Wanderers; Soccer Mommy and (Sandy) Alex G.

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IN THIS PHOTO: Soccer Mommy

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

We’re all pretty consistent and heavy travel-addicts – also, badminton. But, maybe I’m speaking for myself there….

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).

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Follow Bouts

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INTERVIEW: Jade Helliwell

INTERVIEW:

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Jade Helliwell

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THE superb Jade Helliwell is one of the most stirring…

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and exceptional voices in British music right now. I ask her about her love of music and the artists who motivate her. She tells me about her E.P., Infatuation, and what themes inspired the work; what gigs she has coming up; whether Nashville is somewhere, given her love of Country, she would love to perform – Helliwell suggests a new artist for us to watch.

I ask whether there are plans for the remainder of the year and what it feels like delivering music on stage; if she has a favourite memory from her career in music; what advice she would give to upcoming artists – Helliwell tells me how she relaxes away from music.

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

Hello. I’m great, thanks. I’m having a lovely week filled with live sessions and writing.

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

Yeah, sure. I’m Jade Helliwell; I live in West Yorkshire. I have been performing for most of my life. I taught myself how to play the guitar when I was nineteen and began writing my own songs and I haven’t looked back.

What can you reveal about your new E.P., Infatuation? What sort of ideas and stories inspired the songs?

The new E.P. is a collection of songs that all link in some way to the feeling of being infatuated by somebody. Some of the songs are fun and upbeat and tell stories of yearning for someone to notice you; others are more sombre and tell the story of heartbreak.

Repeat is the lead single and the idea behind that song was that when you find someone you’re happy with, you no longer search for the perfect love song to describe your relationship as that person becomes your perfect love song.

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Your Forget the Night E.P. resonated and proved popular. Were you encouraged and motivated by the success and attention it garnered?!

Yes. it definitely motivated me to record and release another E.P. The fans took to my music so kindly and asked for more - so it was great to know there were people out there ready and wanting to hear more.

Is the single, Repeat, your favourite song of recent times? Do you find yourself liking certain songs (you have written) depending on mood and situation?

Yes. Repeat is one of my favourites. It’s really fun and catchy so, hopefully, audiences will be able to take to it and join in at live shows. Yeah; I change my mind a lot - it does depend on what mood I’m in and also what kind of event I’m performing at. Sometimes, I love the upbeat songs and other times I enjoy the slower ballads more.

It seems like you draw from a large range of musical sources. Is your record collection pretty eclectic would you say?!

Yes. My record collection is very eclectic. I have music from old Country artists like Patsy Cline and Johnny Cash as well as new Country artists like Carrie Underwood and Luke Bryan. I have C.D.s from the ‘divas’ such as Judy Garland, Whitney Houston and Celine Dion; lots of Pop music (Ariane Grande, Ed Sheeran; Little Mix, Dua Lipa and Anne-Marie); singer-songwriters (Ed Sheeran, George Ezra; James Bay and Hozier). I love Motown music and musical soundtracks and lots more. There are even a few Rap and Classical albums in my collection!

If I like a song, I like it - doesn’t matter which genre it is. To me, I think that’s great and I can use that love of different genres in my own writing.

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Your mind, inevitably, draws towards Country. Have you been to Nashville – is it a place you can see yourself spending a lot of time in?

I have been three times - but each time on holiday. I was lucky enough to perform at a female writer’s night on my first trip and the open mic night at The Bluebird Café. I’m really eager to get back over and book some shows and writing sessions. I would love to become a frequent visitor to Nashville.

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

Hopefully, at some point! I have lots of exciting shows. Throughout the summer, you can catch me at Buckle and Boots, Nashville Meets London and FSA.

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How do you feel when you get on stage and perform to crowds? Is it easy to put that feeling into words?

It is hard to describe how it feels to perform: it’s a mix of excitement, joy and nerves. It’s hard to describe how it feels to put yourself on stage to perform to people and see them singing along, smiling and enjoying themselves. It’s an incredible feeling.

What do you hope to achieve in 2018?

I would like to achieve some success on radio and also to perform for audiences up and down the country.

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

My favourite memory is one from not so long ago. I performed at Buckle and Boots’ ‘In the Round’ at the festival alongside Sonia Leigh and Jenn Bostic. That Friday, I had quit my job as a teaching assistant to pursue music full-time... 

I have been feeling worried that I had made the wrong decision and things wouldn’t work out. When I played the round, the reaction was unbelievable. I felt at home on the stage talking about my music and felt blessed to be in such great company. I remember feeling slightly overwhelmed and I knew right then that leaving my job was the best decision I could have made.

That gig will always stick in my mind as the moment I realised that maybe I could make a real career out of music.

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

All of my releases mean a lot to me for different reasons. Secrets was my first full-length release. It will always be special to me as it was my first introduction to people.

Forget the Night was my first step into the Country scene. It’s also the E.P. that caught most people’s attention due to the aftermath of the viral video I was in.

Infatuation is something I’m incredibly proud of - and I believe it is exactly the kind of music I’ve been longing to make.

What advice would you give to new artists coming through?

My advice would be to be present. Get to as many shows as possible. Meet people; be willing to travel and play for very little to make connections and build friendships within the industry.

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IN THIS PHOTO: Becky Lawrence

Are there any new artists you recommend we check out?

I would recommend Becky Lawrence. She’s got an amazing voice and has a great E.P. out!

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

I do occasionally. I am one extreme to the other. Sometimes, my way of relaxing on a day off is to go out eating and have a few drinks and a night out. Other times, I just want a bubble bath, a dressing gown and a Netflix-marathon in bed!

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).

Ah, thanks so much. I would love to hear Ashley McBrydeThe Jacket. I’ve had it on-repeat all month!

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Follow Jade Helliwell

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INTERVIEW: Jessicka

INTERVIEW:

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Jessicka

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A brilliant new track is out there…

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and I was eager to speak with the woman behind Penniless Fools. The multi-talented Jessicka discusses the track and what motivated its progress; whether its themes of social dislocation and poverty are indicative of the times in which we live – she tells me what it was like shooting the video for the song.

I ask Jessicka what Vancouver is like for music and whether she will come to the U.K. this year; if there are three albums that mean a lot to her; what advice she would give to upcoming artists – she highlights some new artists we need to throw our weight behind.

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

Hello! I’m pretty excited. The week has been great: the new video came out and I’m so happy with how it turned out, so it’s nice to be able to share.

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

I’m Jessicka; an Indie-Pop artist from Vancouver with a dance addiction.

Penniless Fools is your new track. What inspired you to put pen to paper?

It seemed like every time I went back to my small hometown after moving to the city another local shop had closed down and another megastore had opened up. Families I had known my whole life were forced to close their stores because they couldn’t compete with the prices. Watching that transition really moved me; I guess this is my little protest song.

Its video interests me! How did the concept come together – was it fun to film?

This video was so fun to film. I used to spend every summer in Merritt so filming the small-town shots up there was really satisfying; it felt really good to be there. Finally, I got a chance to just be myself in a video, not wondering if I’m going to drown or be constricted to some wacky ballet tutu and a wig(even though costumes are my favourite thing).

Conceptually, we wanted to convey how hard small towns are being hit and the warmth you feel when in you’re in a place like that and contrast it with the harsh glass and steel city feel. It’s a bit of a critique on our little city here and how it’s ‘developing’.

Do you think, as consumers, we are poorer in terms of jobs and opportunities? Have you noticed economic belt-tightening in the music industry?

It’s undeniable that the music industry has tightened its belt: how could it not when you look at the difference in how we consume music? But, it doesn’t make me feel hopeless. If anything, now that the live performance is where you really have to shine and catch your audience, you have to bring it. I’ve been seeing just amazing vocal and musical performances and more experimentation with costume and presentation and, personally, I appreciate that.

As for outside the music world, I’ve felt concern for the middle-class since the first automated checkout. Not to sound apocalyptic but it seemed like the first step in machines replacing people...anyway; this is a can of worms I shouldn’t open here...

What comes next in terms of material? Are you working on new ideas?

YES! My producer, Bradley Ferguson, and I are planning on doing the first E.P., acoustically, on our haunted upright piano. After that, we’re going to start working on new beats for the next record. We have some new inspiration and really want to strike while the iron’s hot.

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As a Vancouver-based artist; how have you noticed the music scene change and expand over the past few years?

In Pop music, yes, definitely. It felt like all I kept seeing was this throwback scene that was obsessed with sounding exactly like The Rolling Stones or Neil Young and, if you used one sample or Auto-Tuned anything on your album they would completely disregard you. So, now that we have groups like Little Destroyer, Tei Shi and Youngblood coming out with wicked Pop music and putting on amazing shows, I feel way more excited about at least this scene in Vancouver.

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

Yep! I’ll be in Ontario doing the Friday night concert series in Brampton and then Hillside Fest in Guelph right after!

Might you come to the U.K. and tour this year?

That would make me so happy. It’s been too long since I’ve been to the U.K. but, so far, it’s mostly Canadian dates.

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What do you hope to achieve in 2018?

Stardom and riches, obviously, but I would love to get on the road and really tweak the live show. Touring would be number-one but I just want to keep creating and get some of this new material off the ground. I’m excited for the next chapter and the new sounds we want to work on.

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

This will sound odd, but a few years ago, I helped put on a tribute to the songs of Disney and played with the string trio, Gentle Party. The event over-sold by a couple of hundred and we packed a local venue to the rafters! It was so fun to sing songs from my childhood to a super-enthusiastic audience.

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

Strange Mercy - St. Vincent   

This was her crossover album: from using lots of concert band instruments to a more Pop sounds. Her use of Moog blew my mind…and those sexy lyrics! Surgeon is a super-sexy tune.

Adventures In Your Own Backyard - Patrick Watson

A gorgeous, engaging album by a wonderful human. This is one of the albums that brought me out of a writing funk.

Anti - Rihanna    

Obviously, this is a more recent choice, but as soon as I heard this album my faith in the Pop world was restored. Songs one-through-eight are perfection to me.

What advice would you give to new artists coming through?

Stick to your vision: only you can do it. Your voice is unique. There was a time when I felt swayed to write specifically for radio and the owner of Light Organ said: “Don’t worry about that. Keep doing what you were doing, that’s why we signed you”. All the writer’s block went away and music was fun again.

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IN THIS PHOTO: Tei Shi

Are there any new artists you recommend we check out?

Tei Shi, Jessie Reyez; Anna Wise, Leikeli47 and LION BABE.

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IN THIS PHOTO: Jessie Reyez

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

Well. I’m a bit of granny and like to get out in nature and look at birds. I’m a bird nerd. Photography is another pastime. It’s great to indulge in visuals instead of audio sometimes.

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).

This is by far the hardest question…

I’m going with an oldie: Hotel - Broken Social Scene

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Follow Jessicka

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