INTERVIEW: Anna Pancaldi

INTERVIEW:

PHOTO CREDIT: Curious Rose Photography

Anna Pancaldi

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THE wonderful and sensational Anna Pancaldi…

has been spending time with me to reveal the story behind her latest single, What I’ve Become, and whether we will see any more material in the coming months – she talks about touring in the U.S. and what gigs she has coming up.

I ask the talented songwriter about her start in the industry and the artists who have helped spike her own interests; a few newer names she is vibing to; whether she gets any time to chill outside of her own music – Pancaldi talks about her creative progression and what drives her passions.

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

My week has been just lovely, thank you. Finishing off a three-and-a-half-week tour in Germany, which has been delightful; just love touring here.

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

I’m a singer-songwriter (you’ve never heard those words uttered before. Haha) based in London and have, most recently, been delving into the electric guitar world - which has been a wonderful exploration and inspired new melodies and music. I grew up in Cape Town for a few years when I was younger where I wrote my first song - at thirteen or fourteen - called Do You Know What It’s Like to Be Me. Rather Emo! Haha.

What I’ve Become is your latest single. Can you talk about the story behind the track?

I wrote it from the point-of-view of a person crying out to someone (figuratively speaking) who is no longer around for advice on how to cope with their departure and the loss surrounding it. It has a significant meaning for me but I feel that it can be relatable to us all in some way.

Will there be more material to follow? Are you working on anything else?

I am indeed. I am very excited to be recording my next E.P. in the summer with the brilliant Matt Ingram, ready for release in the autumn; followed by a U.K. and European tour.

You have performed in the U.S. and are an international artist. Do you hope to be back in the U.S. and play over there more?

I love playing the in States! On my first tour there, I was welcomed warmly. I also now have management over in L.A. now, too; so, spending more time their writing and performing is absolutely on the schedule.

Do you recall when music came into your life and what spurred you to write your own songs?

Music has always been a part of me and my family.

My dad is a wonderful singer and performed for a long period in his younger years; a beautiful deep, soulful voice. So; I don’t feel as if I discovered it - it’s just etched within my every part. The writing, however, has been much more of a journey for me. I only properly started writing music when I went off travelling around the world for nine months with my guitar in 2011 - and came back with a suitcase of songs and the tunnelled-vision-focus to move to London to take the next step forward.

Who do you count as musical influences? Which artists are most important when it comes to your own sound?

Definitely Jeff Buckley, Judy Garland and Nina Simone; you can hear the cry and honesty in their voices, lyrics and melodies; an undeniable outpouring of lives lived; complete authenticity with raw truths.

You have gained acclaim from radio stations and music websites. Is it encouraging receiving that sort of backing?

It’s exhilarating because, when you start out writing songs, you never really can be sure how people will react - if it will move or speak to them - so it’s a wonderful feeling to know it’s touching people. There is no greater compliment.

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

I am back out on tour in the autumn: we are just finalising dates, so I’ll be back to you about that one. But, the U.K. and Europe for sure!

Do you have any ambitions to fulfil before the end of the year?

Just to keep creating music that pushes me beyond my boundaries and (to keep) building my fanbase in the States and Europe. World domination, pretty please!

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

My first headline show in London was a sell-out and, honestly, the way that night made me feel was just electric: the love I felt, tears flowed from joy; it was an evening I will never forget. Many others...but that was the first one.

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

Tapestry by Carole King; Surfin’ U.S.A. by The Beach Boys and Coming Around Again by Carly Simon - all of which remind me so much of my childhood. The Beach Boys, especially, as it always takes me back to driving around the Coastal Road in Cape Town to Hout Bay where my family lived for three glorious years….

What advice would you give to new artists coming through?

Write as much as you can before you begin releasing music: that uninterrupted time is invaluable and the most poignant time to hone your craft before bringing in the world of the music business where, then, dividing up time took me a long while to adjust to.

IN THIS PHOTO: Leon Bridges

Are there any new artists you recommend we check out?

I’ve really been enjoying Leon Bridges, Jordan Rakei and Ethan Gruska.

IN THIS PHOTO: Jordan Rakei

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

Not a huge amount (which is no bad thing!) as I think it’s not the kind of job you feel you can switch off from. There’s always something to do, which is wonderful - but, also learning to find balance has been crucial in staying healthy, too...

But, to unwind I love to be with family, read; hike and jog. Being in the outdoors surrounded by natural wonder and silence is a rare solace I find great comfort in.

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).

How Can You Mend a Broken Heart by Al Green

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Follow Anna Pancaldi

 Official:

http://www.annapancaldi.com/

Twitter:

https://twitter.com/annapancaldi

Facebook:

https://www.facebook.com/annapancaldimusic/

Instagram:

https://www.instagram.com/annapancaldi/

SoundCloud:

https://soundcloud.com/annapancaldi

YouTube:

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

Spotify:

https://open.spotify.com/artist/6om1oTl0iSZGBRs52bJEqI

INTERVIEW: Ariahindream

INTERVIEW:

Ariahindream

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IT is interesting looking at debut singles…

and what they say about an artist. Ariahindream has been telling me about hers, Forever, and how it came to life. The London-based songwriter chats about her influences and some albums that have made a big impact on her.

I was eager to know where she heads next and whether there are any live dates; what we can expect from her forthcoming E.P., inDream, and what advice she would offer musicians coming through – Ariah recommends a couple of artists we should spend more time around.

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

Hey. I’m good. My week’s been relatively chilled compared to the past few months: dinner at new restaurants, cuddles with my kitty; catch ups with the fam. It’s been really lovely. It’s so relieving to finally be releasing projects.

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

Sure. I’m a London-based singer, songwriter and producer. I sing, write and produce what I call ‘Indietronica’: Electronic music rooted in ‘alternative’ R&B with Experimental and Ambient influences. My work is often rooted in concept writing and, sometimes, takes shape in videos and photography I make - in addition to and partnered with the music.

Can you talk about your single, Forever, and what the tale behind it is?

Forever is a complicated number. As part of inDream, the upcoming E.P., it represents a single stage in a process of self-discovery that unfolds over each track. Forever is the track that deals with themes of self-exploration and analysis; introspectively questioning an isolated state of being and the ways in which that chosen outlook effects the experience of life. These questions develop and accumulate into a confession of fears - and end with a begrudging acceptance of sadness.

I know you wrote, produced and recorded the song. Did you feel it was important to put your stamp on the song?

I don’t think it’s necessarily about putting my stamp on the music…It’s just the way I work. I find writing, producing and recording my songs a necessity. While creating every aspect of my music is often gruelling and time-consuming, I know what I want and how I want it done.

Much of my writing and composition begins as improvisation - building harmony by ear, rather than by theory. In that sense, my approach to making music is kind of unconventional and not always easy to communicate to more traditionally-orientated musicians. I find maintaining a solitary approach to writing helps to keep an individual nature about the songs.

It is from the forthcoming E.P., inDream. What are the main themes you address throughout?

The inDream concept originated from explorations of the meaning of my birth name. In Italian, it means ‘flowering ash tree. This led me to read into the ash tree and subsequent mythology surrounding it. I found there were interesting tales in Celtic mythology and African folklore exploring its significance - as a tree of life, femininity and healing. In some stories, it operated as a portal to other dimensions due to the specific nature of its three-part anatomy.

This spiritual representation of the ash tree acted as the stages of development that each song on inDream represents. The opening numbers deal with roots: upbringings, influences; pains, sadness and isolation. The trunk, by way of the middle songs, deals with how these themes manifest into a physical experience. The branches, by way of the final two songs - Forever being one - deal with enlightenment, understanding but sadness still.

You hail from East London. How important is the area and its people regarding your music and creativity?

I do. East London is important to me. I can’t say the area inspires me so much; it’s changed a lot over the years. Still, it’ll always be home. I think I’m more inspired by life in London as a whole. I moved about a lot growing up so have had the pleasure of living across the North, East; South and West. In terms of my creativity, though, that often thrives alone, at home in the studio.

I know you have studied music and must have brought a lot of that knowledge into your own music.

Yes. I did choose to study popular music. I’m really glad I did. While I didn’t focus so much on the music theory side of things, learning about music from academic, psychological; philosophical and experiential standpoints has definitely influenced my approach to creating- for the better, I think.

You must have grown up around eclectic artists. Have you always grown up around music and been obsessed by it?

You know; I think growing up my musical tastes were actually pretty generic. In the best possible way, though. I do love R&B music, so listened to a lot of Whitney (Houston) and Mariah (Carey) - my mother played a lot of their music around the house. Through my teens, I got into music that was on the radio: Destiny’s Child, Alicia Keys; Aaliyah and P!nk (while she was on her R&B thing - I hear she didn’t like the music she made at that time. I hope I’m wrong. You Make Me Sick and Moulin Rouge still give me life!). It was only seven-eight years ago, while studying music, that my musical tastes completely diversified.

I started growing interest in artists I found individual; songs and voices that made me feel. Amy Winehouse, Joni Mitchel; M.I.A., Sade; Selena and St. Vincent. Each of those artists, in all their diversities, has influenced my appreciation of music and performance. For the past five years, though, my playlists have been dedicated to my holy trinity of artistry: Prince, Kate Bush and Björk.

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

Yes! I’ll be playing a set for Midi Music Company on Monday, 25th June at the New Cross Inn as part of the Mayor of London’s Sounds Like London campaign. I’m also set to perform on Saturday, 21st July for Bark Presents at The Gladstone Arms - where I’ll debut the brand new Ariahindream band line-up. Really excited for these show - with all the super-talented artists also playing on both nights. These are not events to be missed!

What do you hope to achieve in 2018?

For me, this year is all about getting out there: releasing my music and videos, gigging my music live; delving deeper into music licensing. Really, just sharing what I have and doing all I can to make sure people hear it. I try to be realistic in that it may take some time to garner the kind of recognition I’d ultimately like to gain. But, I believe in what I do, so I’m willing to work until I get there - and beyond!

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

Hmm…there have been loads! The most significant: the moment I heard the completed mixes of inDream. It was such a full-circle-moment. From conception to completion, inDream took three years to make. Generally speaking, that’s a pretty long time for a six-track E.P. Finally hearing my ideas finalised on recordings gave me the biggest sense of freedom and fulfilment. I’m so proud of my work here and cannot wait to share it later in the year!

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

Kate Bush - The Dreaming (1982)

It’s such an intelligent record. From the lo-fi production, to deeply political yet subtly-so songwriting; to the ever-changing nature of the tone and timbre her vocal performance, I love this album because every turn is so brilliantly unexpected. For an album with such diversity from track to track, I love how cohesively this holds together.

Björk - Homogenic (1997)

I love the combination of Classical and Urban throughout this album. The way Björk is able to make two traditionally polarised music styles flow so beautifully together was a real game-changer. Joga is just lush. The volcanic samples turned into drums sound great; especially juxtaposed against the over-romanticized string sections (and that bassss). I could gush on this album and its songs forever…

Prince - Purple Rain (1984)

This album gets me in the feels. Every single time I hear it. The movie version of The Beautiful Ones is one of my top-ten favourite songs and live performances of all time. The guitar solos and instrumental passages in Purple Rain and Computer Blue are out of this world. Darling Nikki is a secret pleasure. When Doves Cry is timeless. For me, Prince really was as complete and unique an artist as I’ve ever seen. From producing every element of his music to mastering every instrument he touched; to supporting the careers of up and coming artists…his legacy is so inspiring.

What advice would you give to new artists coming through?

The same advice I offer myself...

While I’m not new at making music, I am new on the scene as far as releases and things go. The things that help me through that are staying true to what I do; writing songs I like and believe in; not being disheartened by the difficult parts of the process and remembering to celebrate milestones; making time to socialise outside of music - checking in with friends and family…

I definitely need to get better at that one! Taking care of the mind is also really important for creatives. Keeping thoughts clean, positive and productive is so important…

IN THIS PHOTO: Stormzy/PHOTO CREDIT: Getty Images

Are there any new artists you recommend we check out?

I’ll be honest with you: I’ve been so involved with my work at the moment that I haven’t looked outward in a while. I will say that I’m really loving the slightly more experimental tone music in the U.K. is taking at the moment. I love the come-up of Grime; I really enjoyed Stormzy’s album. RAYE is another artist I find interesting. From what I’ve seen of her songwriting, she is so talented.

 IN THIS PHOTO: RAYE

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

To be honest with you, I don’t currently get much time away from music. Making my work is usually completely time-consuming.  There have been times I’ve spent twelve-hour consecutive days working on thirty seconds of a track (check out the song Whosoever, when inDream comes out, to hear the outcome of that particular instance!). When I’m not working, I love to travel.

Before I dedicated my life and funds to music, I travelled a minimum of twice a year. I have a map on the wall in my bedroom with a star system that shows where I’ve been and where I’d like to go. My favourite trip so far is the two weeks I spent touring the South of France in 2016; travelling in St Tropez, Cannes and Nice. It was so refreshing. I’d love to head out on another solitary retreat again soon.

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).

Hmmm. I have two! Björk’s All Is Full of Love for lush, sensual Electronic vibes...

...On the completely opposite hand, Kate Bush’s Get Out of My House for hard-hitting, lo-fi galore. The way she stretches her voice on this one - the combat drums and the intelligent lyric-writing. By the end of the song, she’s turned into a donkey. Just genius.

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Follow Ariahindream

Facebook:

https://www.facebook.com/ariahindream

Instagram:

https://www.instagram.com/ariahindream/

SoundCloud:

https://soundcloud.com/ariahindream

YouTube:

https://www.youtube.com/OrnellaHardie

FEATURE: Decomposition: The Modern Horror Film Soundtrack – and Why Less Can Mean More

FEATURE:

 

Decomposition

PHOTO CREDIT: Unsplash 

The Modern Horror Film Soundtrack – and Why Less Can Mean More

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PERHAPS it is quite in vogue…

PHOTO CREDIT: Unsplash 

and uber-cool these days but more and more musicians are moving into the world of soundtrack composition. I am seeing artists step from their Rock/Pop worlds and score music for the big screen. Whether they pen a chelating soundtrack that tackles tense moments or pen something stirring, scenic and of-the-ocean – it provides a new canvas and a fresh challenge. The phenomenon of popular musicians going more ‘Classical’ is nothing new. Radiohead’s Jonny Greenwood is no stranger to film score and what it can elicit. From Bodysong (2003) to There Will Be Blood (2007) – which was disqualified from the Oscars because the soundtrack included music he had already released – there is much to love about his non-Radiohead cannon. The former film’s score uses limited transposition and impressionistic strings; Stockhausen-inspired movements and exposing Olivier Messiaen's theory of grouping melodies around interval groups. That film was a documentary about the course of a human life: from the unsure start of birth and fresh life right through to death. There Will Be Blood used expressionistically bold strings and sparser piano codas perfectly accompanied Daniel Day-Lewis playing an ambitious and will-stop-at-nothing fortune-maker in older-times America. Greenwood is nominated for this year’s Oscars: he composed the music for 2017’s Phantom Thread and, let’s hope, gets his just rewards. It is ironic I mention a ‘thread’ because it seems like I need to knit faster and come up with something focused.

IN THIS PHOTO: Thom Yorke/PHOTO CREDIT: Getty Images

I reference Jonny Greenwood because Thom Yorke, Radiohead’s lead, has been making the music news:

“The first trailer for the remake of the 1977 cult horror movie Suspiria has been shared online, featuring new music from Radiohead‘s Thom Yorke.

The clip, which you can watch below, features Yorke’s eerie and anxious score against creepy images featuring a levitating possessed girl, blood and maggots.

The film is a remake of Dario Argento’s supernatural movie and stars Dakota Johnson, Tilda Swinton, and Chloe Grace-Moretz. It is being remade by Luca Guadagnino (Call Me By Your Name, I Am Love) through Amazon Studios and is due out on November 2.

It is the first feature film Yorke has scored, although he has had some involvement in film soundtracks before, contributing to Velvet Goldmine and 2013’s The UK Gold, a documentary about tax avoidance”.

I cannot wait to hear how the score comes together and the way it interacts with the music. We think of the great horror film scores and we can do our research.  From John Williams’ Jaws tension to Bernard Herrmann’s peerless chills in Psycho – there have been some varied and interesting soundtracks through the years. Whether you learn towards John Carpenter’s Halloween score – which was composed without synchronising with the picture itself – or like a more expressive and flamboyant take on the horror film score; it seems like a hard medium to conquer. I think film scores are a challenge and a different discipline to ‘regular’ music. It takes different skills and more focus on mood and the visual elements – ensuring your notes fuse with the images on screen and provide something special to the listener. Romantic films and period dramas will have a different tone and objective to scores from action flicks and ramped-up slashers. Whilst I am a fan of the aggressive and cocaine-fuelled string stabs you might find on a horror score; the bulging bass and pizzicato strings that arrive when the murder lurks in the dark – is that type of composition confined to the past? Things of modern horror masterpieces like A Quiet Place (starring Emily Blunt) and Marco Beltrami’s score had a difficult job: trying to partner a film where silence was an issue – any creeks or voluminous motions would incur death and darkness; it is about remaining still and trying to be mouse-like.

The music, as such, could not be a whacked-out and raging score that employed epic orchestration and big bursts. There are some spine-tingling numbers on the soundtrack but, for the most part, it is about heightening and supporting that never-ending sense of being on the edge. Today, scores are about psychology and how the notes create a sense of unrest in the listen. There have been plenty of blood-splattered films where the music has been physically evocative and tried to force the blood down the throat. Whereas classic horror films like Psycho, too, relied on the fear of the unseen and subtle; we always associate horror films with guts and gore – as such, do we feel the score is going to be a minimalist and delicate beast? The 1970s and 1980s sounds were defined, as this article shows, a defined and distinct aspect:

“The 1970s and ‘80s, and the rise of the synthesiser, brought fresh blood to the scene; this phase has also fuelled a recent resurgent passion for horror music. Modern hits such as the Netflix series Stranger Thingspay homage to the era right through to their pulsing electronic sounds. The alluringly eerie original score for the show, created by Michael Stein and Kyle Dixon (of Austin outfit SURVIVE), also evokes pioneers like director/composer John Carpenter (who soundtracked many of his own films including 1978’s Halloween, and 1987’s Prince of Darkness, as well as enlisting composer Ennio Morricone for 1982’s The Thing)”.

IMAGE CREDIT: Getty Images

The score, in a way, is a way of involving the film-goer in the action and providing a sense of surprise. There is plenty of action and suspense in horror but, if you wallop them with blood and punchy musical interjections; that is not as unexpected and impactful as a score that brings you in and pulls you away. Whether there are violent violins or elegant piano notes; a blend of rousing horns or a delicate and eerie viola working away – providing a sonic rollercoaster (or a less wanky definition) is proving more affecting. Modern horror films are also being produced using less money and studio resources. An historical look at horror shows you (the genre) has always been a bit under-the-radar compared to the big-budget flicks that have money to splurge. Composers might have an orchestra to work with but the time and money they have to make music can be restricted. Because of this, composers are getting more innovative and priding psychological impact over sound-force and steamrolling the public. Look at classic films like Halloween and you can see the way simple and everyday instruments are used in different ways to explore all the psychological twists and contortions we’d expect. Exploring the haunt of a creaking door or the disturbed mind of a killer – the biggest delights arrive when the music is more subtle and textural.

I am looking forward to seeing what Thom Yorke does with the upcoming Suspiria. Listen to the haunt of certain songs on Radiohead’s Kid A (How to Disappear Completely) to the beauty and elegance many overlook when it comes to the band – the man knows what he is doing and is not someone who goes for the obvious. I still love those scores that keep things quiet and light before exploding into a cacophony of darting strings and scared pitches. I am seeing modern horror rely more on notes not played – if that makes sense – and creating frights by experimentation and evolution as opposed to volume and might. Some stuffier musicians might feel a mainstream artist is not fit to score films – they might not possess the right education or any sort of formal upbringing. That, to me, is what makes the new venture of Thom Yorke so appealing. He can bring something unique to films and help make the music cross-pollinating and accessible. I know he will throw in some explosive compositions but it is those stripped-back and disturbing sounds that leave the biggest mark. Whether less is really more – can you create true fear and epicness without an orchestra all rising together?! – is up to the individual but I think one can affect someone more overtly by leaving something to the imagination. I am glad the horror score remains as interesting and varied as it was back in the 1960s and 1970s.

IMAGE CREDIT: Getty Images

The 2018 scene might not have legends like John Carpenter and Bernard Herrmann working and creating masterpieces – there are plenty of older and new composers continuing their legacy and producing brilliant pieces. Hereditary, another film that is tussling with A Quiet Place for the best flick of this year gong, boasts a varied and exceptional film. It is one of the most disturbing and genius films we have seen in years and rely on that mix of psychological trauma and big-time frights. Listen to the music and, on its own, it is a fascinating and staggering work. Colin Stetson, the saxophone virtuoso, talked to FACT about composing the score and how he approached the music:

“In this case, that was a joy, as the acting performances in the film are tremendous and really inspired the sonic character of the music from moment to moment. In terms of instrumentation, I relied on a stable of acoustic sound sources almost exclusively. Clarinets were used extensively, both contrabass and Bb, as well as some bass clarinet, as well. Of course the more obvious cornerstones of my signature solo sounds are there in the forms of bass and alto saxophones, as well as deriving all of the film’s percussive sounds from the saxophones themselves, as I do in my solo composition. But I also utilized a bit of the brass world, both french horn and trumpet make appearances and a key melodic and sonic element was provided by the Lyricon, a rare analog wind synth from the 1970s”.

IN THIS PHOTO: Colin Stetson/PHOTO CREDIT: Getty Images

It seems like horror films are still a big draw and bringing the very best out of directors/actors. Even if, for the most part, we have moved away from the classic era and seeing a more eclectic and variable scene – from the cliché horror films of high-school kids getting cut to ribbons to the brilliant psychological pictures that shock the sh*t out of the unsuspecting viewer – the music that soundtracks the films is not dropping in terms of quality. There is a lot to be said for the fireworks-laden compositions but, to me, the sounds that are committed to memory longest are those that take away the breath…

WITHOUT pulling out the tongue.

FEATURE: All That We Should Leave Behind: Taking the Negativity Out of Music Journalism

FEATURE:

 

All That We Should Leave Behind

Taking the Negativity Out of Music Journalism

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ONE of the most upsetting things I witnessed…

this week was seeing a great musician have her work given short compassion and needless insult. Although Megan O’Neill bears no grudges and is not rallying against the journalist – I shall not name the culpable party – it was egregious seeing a short-tempered and crass shot at an album, Ghost of You, which has seen acclaim and widespread love come its way. There is a famous saying that states living well is the best revenge: the fact her record is on top of the iTunes Album Chart is a perfect banquet of delightful revenge. The Irish songwriter’s first full-length record will get an extensive tour that sees her hit the U.K. and Europe. Fans are throwing their arms around her work (and her) and O’Neill is vibing from that compassion. It seems, therefore, an act of petty and ill-educated insubordination should not throw the wheels out of motion. As I said before; the musician holds no bitterness but it seemed rather unsettling reading a review that reduced her work to such a low level. Music is subjective and open to contrasting interpretations: as part of this independence and emancipated openness comes the right to criticise and slight anything. I have been reviewing artists for years and have had to be constructive/tactful at times. When reviewing mainstream albums for the site Too Many Blogs; there have been one or two records where I have had to be a bit unkind – Liam Gallagher’s debut L.P., As You Were, was one that did not exactly blow me away!

What gets to me is how journalists and people feel they can be so mean-hearted and unconstructive. This might sound like me going all Zen and urging a 1967-like Summer of Love: what I am doing, actually, is urging something productive and fair-minded. If you hate a piece of work then why take the trouble to review it?! I guess, in a way, I am guilty of doing the same as journalists. If there is an awful Pop record or, say, Jedward launched an ear-violating piece of ‘music’ to the world; I would smile and chuckle if a journalist threw in some wittily-worded jibes and shots at the twins. It occurs to me that this approach and mannerism is wrong. Even if, by all objective means, an album/artist is horrendous then what value is there informing them as such?! There is something psychologically damaging and upsetting seeing someone ripped apart and devoured by inglorious, egotistical writers. There are albums, naturally, that we all dislike but the solution is simple: avoid them and do not take to the Internet to voice your bile. I have been disappointed by a few records this year – I had high hopes for – but felt best not to launch into a childish and angry rant. Megan O’Neill will survive an aberration of a review and brush off something so mealy-mouthed. What we can extrapolate is how influencing and anger-inspiring anger and negativity is.

PHOTO CREDIT: Unsplash

There was an ocean of support for O’Neill following that bad review and, having listened to her album, I was genuinely struck and affected by it – no idea where this rogue reviewer got his opinions from and what was blocking his ears! O’Neill is not the only one who has to face the unedited and vetted world of professional music. Journalists all around the world are eager to pop a cap in the buttocks of sensitivity and think nothing of ravaging the clothing of dignity. They see it as edgy or part of what they do: if it was all sweetness and love-ins then that would be a one-sided and closed-off representation of music. Every artist who takes to the studio has good intentions and wants to make the best work they possibly can. They are not intentionally trying to piss us off and stoke the fires of critical rebellion. Some albums are, quite obviously, not as good as they should be. Journalists need to review the record and give their take on it – I wonder whether such strong and explicit language should be used when summarising an album. We are in an age where there are more trolls and offensive mouths than ever. The Internet and social media give everyone access to say what they want and, if one looks at YouTube for a few minutes, throw acid and cruelty at anyone with a pulse.

PHOTO CREDIT: Unsplash

I have covered this subject before but, given the amount of aggression and overly-forceful views regarding certain albums; do we need to temporise and edit our words before they hit the screen?! I would say, given what we know of online abuse and how that can affect people, should those in a professional position think more concisely and rationally before they launch their words out there? It is okay to dislike a record but, if you are focused on going after an artist or providing no positives at all; I wonder what the purpose of the exercise is. I will leave this subject be but, before I move on, there is that argument as to whether the music press still holds sway. Many people buy/listen to music based on their own intuition and how many of us look to music journalists for the new recommendations? That might sound damaging for me but, when we look at social media’s power (for good and bad), it seems it is a more powerful and influential parapet. Even the legendary artists and albums received a few dodgy and short-sighted reviews – everyone from The Beatles and Beastie Boys gathered some less-than-loving opinions about their finest records. I want to quote a couple of articles when it comes to seeing the validity of the journalist and why artists can turn their attention to those who smite them. The Hollywood Reporter, back in 2013, opinioned whether we should place stock in the opinions of the critics:

PHOTO CREDIT: iStock

“The war between musicians and their critics has been fought almost as long as so-called “rock journalism” has existed. There is an extensive list of songs penned specifically about how much musicians detest their critics (Taylor Swift’s “Mean,” believed to be aimed at music industry pundit Bob Lefsetz, references a critic who “crossed the line over and over again”) but the omnipresent state of online social media has presented musicians with a no-barrier outlet that could effectively dismantle the role of the music critic.

M.I.A.’s Twitter battle with New York Times writer Lynn Hirschberg is now infamous and a highly-cited example of this direct interface -- one that can be used both defensively and offensively. After NME reported in Dec. 2012 that Jack White had called Lady Gaga “all artifice,” White employed his Third Man Records’ website as a forum to deconstruct the unverified news.

 “If you're going to try to cause drama, at least get the quotes right,” White wrote. “I think journalists should also be held accountable for what they say. Especially publications like the NME who put whatever words they feel like between two quotation marks and play it off as a quote. Maybe somebody with more lawyers can take them to task, but I'll just use the Internet and Twitter instead.”

Has the role of the music critic changed in the era of Twitter, or is it just now easier for musicians to offer rebuttals to articles they dislike? And who, in the era of the Internet, where anyone can be a critic, is qualified to “review” music? As the age-old multi-use saying goes, writing about music is like dancing about architecture -- the essence of a song or a melody is unknowable in words and will inevitably be lost in translation.

 IN THIS PHOTO: M.I.A.

Veteran music journalist Michael Azerrad, author of Our Band Could Be Your Life: Scenes From The American Indie Underground 1981-1991 and Come As You Are: The Story of Nirvana, recently unveiled a new music criticism website The Talkhouse to offer a theoretical solution to the above issue. The site, edited by Azerrad, will feature one post on an album per day -- and each piece is written by a musician.

“Naturally, no one knows more about music than musicians,” Azerrad wrote in a mission statement. “They talk about their own work all the time, but they rarely get to talk about other people's music. That's what The Talkhouse is all about: smart, distinguished musicians from all genres and generations writing about the latest releases. And there's a twist: there will be comments for each piece -- but only from the artist who's being written about. The idea is promote dialogue between musicians who may never have interacted otherwise, and for Talkhouse readers to have a ringside seat to this unique exchange”.

Six years prior to this piece; The Guardian looked at an intriguing option: should we attack and throw grenades back at the so-called ‘experts’?!

“Despite TS Eliot's description of the critic's job as improving public taste, critics don't seem to have as much power as is often suggested. How else can you explain the success of the Crazy Frog? Big Brother has only been detained from obscurity by a barrage of criticism. We're continually told how awful it is to eat at McDonalds, but people still do - are these the same people who buy lousy records? Conversely, critically acclaimed records don't necessarily sell very well.

 PHOTO CREDIT: Unsplash

Critics provide a service to the audience, not the musician. In a way, it almost makes more sense for critics not to have a musical education, because they are reviewing an artist for the benefit of an audience who mostly don't have a musical education either. It has never been easier for musicians to record and distribute their music - a critic's job is to help their readers choose among the vast amount of music available. Perhaps critics would affect record sales more if they were more reliable - how about a way of rating the critics, like a meta-metacritic? Meanwhile, if you want the finer points of your musical prowess dissected, get a teacher”.

There is a lot to digest and discuss – regarding the purpose and strength of critics and whether they do a useful service – but I am still of the opinion that music journalists, regardless of formal education, have a place and should be listened to. I wonder whether we need to investigate those who offer nothing but unpleasantness and, if they dislike a record so much, then perhaps it is best left to someone who can offer a more constructive and pleasing review – even if they express a negativity in more intelligent and balanced ways. I hate being negative regarding music but I know there are occasions where I need to dispense with the nice-nice act and offer that artist something a little bitter – that does not mean I need to strip down and attack them without any chance for a fight and explanation.

 PHOTO CREDIT: Unsplash

The artist who started this piece, Megan O’Neill, has received near-universal acclaim for her Ghost of You album and holds no malice towards anyone who has strongly opposed views on her sound and magic. Oddly exaggerated and aggravated reviews make me wonder whether music journalism is mirroring the problems of social media: anyone can say anything and does not have to think about the effects it has on that musicians. I have studied music journalism dating back to the 1960s and have seen plenty of shocking reviews aimed at biblical and world-changing records. You cannot please everyone all of the time but you can show some consideration towards a musician – even if you do not feel their music warrants positivity and that much space. If you cannot be kind, as wise people say, then do not say anything at all. Artists, especially new ones, work their backsides off and want people to enjoy what they produce. Not everyone will love all their music but there is nothing useful or helpful seeing a review that is insulting or condescending. One of the saving graces is seeing artists singled-out (often by the odd reviewer) and, after that, getting a lot of support and sympathy; that leads to new interest and, ironically, takes their music to new audiences. We all have our views on various corners of music but, when it comes to those who lob snide commentary and ignorant views towards musicians are the sort of people we…

CAN do without.

_____________

ALL PHOTOS (unless stated otherwise): Getty Images/Press/Artist

INTERVIEW: Moscow Apartment

INTERVIEW:

Moscow Apartment

___________

MY attention turns to Brighid and Pascale…

of Moscow Apartment as they discuss their new single, Be You, and what their next moves are; how they started making music together and some current newcomers who warrant some more time and acclaim.

The friends talk about music arriving in their lives and what the scene is like in Toronto; whether there be any gigs coming up; if they have favourite memories from their time in music; whether a U.K. stop-off is a possibility – they reveal what they do away from music.

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

Brighid: We have had a great week. It has been really hectic because we were working on a lot of end-of-year assignments and getting ready for the tour. Last weekend, we got to play the CBC Music Festival which was amazing. We get back from our tour the day before we start exams. But, we get to be on tour with such an amazing band. The Good Lovelies have been incredible to us and we are having so much fun and learning a lot on tour. 

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

We are Moscow Apartment. We have been friends since we were five and six and sang in a youth choir together but we fell out of touch and reunited almost two years ago when our parents had a dinner party with the intention that we might start doing music together. We quickly became best friends and started singing together and writing together almost immediately.

We formed Moscow Apartment in February 2017 and things have been pretty wild ever since. We started off with a very folky vibe and are increasingly more Indie-Rock.

How did Moscow Apartment get together? Were you part of other acts before getting together?

Pascale: Like Brighid said; we knew one another from choir and then lost touch. I went with my mom to see Brighid perform when she released a solo E.P. when she was twelve and then I went to Girls Rock Camp where she had been going and started taking lessons with her music coach Kritty Uranowski.

Brighid: Oh yeah - and then you started coming to the open mics I was hosting and I was in awe of your songwriting. I have been in a bunch of bands but none of them was long-lived: it is hard to find the right people. You want to have good collaboration and respect and trust. I was in another kid band called Kingdom of Birds. It was much more one person’s project - with other people really there as support, but it wasn’t necessarily clear.

I wanted to be a part of a project that was really collaborative and where we all brought our ideas and energy. This has been so special and I love working with Pascale...

Be You is your new single. What is the story behind the song?

The song is about when you get bad vibes from a stranger. We wrote it about a year ago. I think I came up with the seed of the idea but we had both had similar experiences and wrote it together. It was a super-fun process to write it and it was a true collaboration.

Your music has plenty of passion and intensity to it. Do you think there is enough real expression in music at the moment – or has it become rather safe?!

I think there are lots of really intense people out there making intense music and expressing themselves in every genre. That’s what good music is. I think if it really connects with people; it has that kind of honesty. There is a lot of canned, clichéd music too that follows a very predictable structure and uses tons of clichés, but I don’t think people end up with an emotional connection to that music.

Toronto is where you are based. What is the city like in terms of music and opportunities?

There is a really strong community here and such a thriving music scene. We are both really influenced by this city and our lives in the West End.  Large community.

Pascale: The city is so good in terms of music. There are so many good bands, especially in the young emerging scene: bands like Lula Li, BBQ Pope; the Kitsch, Rikashay; Pins & Needles (before they broke up), Goodbye Honolulu and solo artists like Georgia Harmer and Deanna Petcoff are working hard to make the scene really inclusive and are all going to go on to do amazing things. We do have a challenge that a lot of all ages venues have closed, so putting on shows for younger people has become a bigger challenge.

Can you remember when music came into your lives? Which artists inspired you to go into music?

Music has always been in my life. My parents are both Jazz musicians. My folks inspired me. The artists who have inspired me the most are Joni Mitchell and Big Thief.

Brighid: I think I have always been inspired to go into music and have been talking about being a musician since I was a toddler. My parents took me to a lot of music festivals growing up and I was exposed to lots of different kinds of music. Probably the artists who have influenced me the most are Joni Mitchell, Regina Spektor; Serena Ryder and Feist.

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

We are touring across Western Canada with the Good Lovelies until mid-June and then we have a bunch of shows in Toronto this summer - and we are doing our first show in New York City in July.

Do you reckon you’ll come to the U.K. anytime at all?

Pascale: We would really like to. We love all things British. 

Brighid: Someday, that would be super-cool. We dream of an international tour and stopping in the U.K would be a must.

PHOTO CREDIT: Melanie Gordon Photography

What do you hope to achieve in 2018?

A new album is in-the-works. We are also playing at a lot of festivals and are hoping to do a few videos. We really want to build some new audiences and get to play shows with more of the amazing musicians who have inspired us. 

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

I have been to too many amazing concerts to name just one but, certainly, seeing incredible musicians live is so memorable. Lorde, Metric; Arcade Fire and July Talk are the artists who have inspired me this year.

Pascale: Probably the Phoenix concert at Field Trip last summer. I love performers who create an atmosphere and they are so good live.

PHOTO CREDIT: Melanie Gordon Photography

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

Both: Lorde, Good Lovelies (we are right now!) and Joni Mitchell…

(As a rider) Purple socks (Pascale); a room-full of puppies (Brighid).

What advice would you give to new artists coming through?

Both: We are pretty new artists so we are still getting mentored ourselves but believe in yourself, work hard and find people you enjoy working with.

Are there any new artists you recommend we check out?

Georgia Harmer, Ben Heffernan; The Lifers and Jenny Banai are all young artists we have played with recently. The Good Lovelies and Samantha Martin are incredible and have mentored us really well!

IN THIS PHOTO: The Lifers/PHOTO CREDIT: Nicolette Hoang 

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

Brighid: Bike riding, photography. Walks in nature (Pascale). We both love T.V.; sometimes, even trashy shows. Painting my nails and skin care (Brighid); Playing with Neko, my little brother, who is not quite two (Brighid).

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).

Brighid: Funeral by Charlotte Day Wilson

Pascale: Sick Bug by Rolling Blackout Coastal Fever

__________

Follow Moscow Aparrtment

PHOTO CREDIT: Melanie Gordon Photography 

Official:

https://www.moscowapartment.ca/

Twitter:

https://twitter.com/moscowapt

Facebook:

https://www.facebook.com/moscowapartment/

Instagram:

https://www.instagram.com/moscowaptband/

SoundCloud:

https://soundcloud.com/user-444943915

Spotify:

https://open.spotify.com/artist/2IwSOO9bV4ZwvpnNk9f6lN

YouTube:

https://www.youtube.com/channel/UC1ehQQOn12aDw9Ev3ympS9w

INTERVIEW: J. Kas

INTERVIEW:

PHOTO CREDIT: Pishi Modaressi

 J. Kas

___________

I have been shooting the breeze with J. Kas…

as he tells me about his new single, Vogue. The talented Rap artist talks about the scene in the U.K. and whether modern Rap here can compete; which new artists we need to throw ourselves behind – he tells me about his influences and favourite artists.

J. Kas looks forward to gigs and plans; whether there are ambitions left to fulfil this year; what advice he would give to musicians coming through; a few albums that mean the most to him – J. Kas ends the interview with a cool song!

___________

Hi, J Kas. How are you? How has your week been?

Hi, guys; thanks for hosting us. I truly appreciate your time and support. It’s been a blessed week. The weather has been kind to us and life is good.

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

My name is J. Kas. I’m a rapper and songwriter from the Steel City of Sheffield, U.K.

Vogue is your new single. What is it all about?

Vogue is about doing things in style and having fun with it.

It seems like the video was fun to shoot. What was the experience like?

The video was an adventure. It was filmed on location in the beautiful city of Lisbon, Portugal. It’s an amazing city. The weather is beautiful; it’s a city that exudes creativity and energy and the people are welcoming and friendly. It was the perfect backdrop to capture the Mantra-produced beat.

Might we see more material from you later in the year?

We may put out another four-five projects, if not more, before the close of the year.

Is there an artist or moment that compelled you to get into music? Did you grow up around a lot of good music?

I’ve always had an interest in music from an early age. Me and my sister would create dance routines and have singing competitions against each other just to past time. Also, growing up in a household where the music selection was wide, I would listen to likes of Whitney Houston, Bob Marley; Michael Jackson, Madonna; Sting, Jodeci, Beres Hammond; Phil Collins, Foreigner and Annie Lennox are just a few to mention (as the list is endless).

I wouldn’t say there was a specific moment: I think I was already in it.

The U.K. Rap scene is busy, but few are in the mainstream. Do you think Rap is a hard genre to integrate into the mainstream? What do you think of the genre right now?

U.K. Rap is widely popular around the world and continues to grow, so I guess it’s mainstream. New and existing artists are pushing creative boundaries and I see international artists looking for that U.K. collaboration - and this adds value to the genre.

You have received a lot of praise from various sources. Is it encouraging knowing people are reacting to your music?

Yeah. The likes of Charlie Sloth and DJ Ace of BBC Radio 1Xtra; Huw Stephens of BBC Radio 1; Tom Robinson of BBC Radio 6 Music and BBC Introducing Sheffield presenter Christian Carlisle. It’s good to know that they enjoy my music and feel that it’s good enough to play and talk about it on their respected platforms.

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

In July, we start the Dreamlife Summer Jamz tour in Porto, Portugal for twelve days. It will feature Portuguese rapper Duplo of Rockit Music and singer Carolina Ferriera - who I met during filming for my forthcoming music video, Blueberry Schwag. There is Tramlines music festival, Sheffield on 21st July and Elevate Young Minds festival in September.

PHOTO CREDIT: Jodie Blackburn

Do you have any ambitions to fulfil before the end of the year?

I’d like to collaborate with more artists, whether they are from the U.K. or abroad. Also; I want to put myself in as many places as possible so people are continuously bringing me up in conversation.

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

Headlining the Elevate Young Minds (Lisbon, 2017). That performance was different. The whole place was on fire - and the energy between myself and the crowd was crazy. It was one of those moments when you find yourself in a totally different space that is unexplainable.

PHOTO CREDIT: Pishi Modaressi

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

Tupac Shakur - All Eyez on Me

Jay-Z – The Blueprint

Mary J. Blige – Share My World

What advice would you give to new artists coming through?

Be consistent - because consistency is a major key.

IN THIS PHOTO: Cellar Door Moon Crow

Are there any new artists you recommend we check out?

A few Sheffield artists’ I recommend are Inna Vibe, Ruell (who features on my tracks Cali Dreaming and Snapchat); Cellar Door Moon Crow and Audio Phaze.

IN THIS PHOTO: Audio Phaze

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

I enjoy going to the gym. I go walking. I watch a lot of films and T.V. shows. To name a few, I’m currently watching Krypton which is about Superman’s grandfather. I watch Lost in Space, Star Trek: Discovery; Stranger Things, Luke Cage; Jessica Jones, Runaways; Unsolved: The Murders of Tupac and the Notorious B.I.G. I’m sure you can tell I’m a big Marvel fan…

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).

Lady Leshurr – OMW  

__________

Follow J. Kas

PHOTO CREDIT: Jodie Blackburn 

Twitter:

https://twitter.com/JKASMUSIC

Facebook:

https://www.facebook.com/jkasmusic

Instagram:

https://www.instagram.com/jkasmusic/

SoundCloud:

https://soundcloud.com/jkasmusic

Spotify:

https://open.spotify.com/artist/01dYkuDzh6stoW4Ai5z2ft?si=eRH88HFDR56xsmj7-mc3fA

YouTube:

https://www.youtube.com/channel/UCBjjMhFxQ5kfue9SYdbdNYA

FEATURE: The June Playlist: Vol. 2: In Love, a Family Man with No Shame…

FEATURE:

 

The June Playlist

 IN THIS PHOTO: Lily Allen 

Vol. 2: In Love, a Family Man with No Shame…

 __________

THIS is a great week where…

IN THIS PHOTO: Jorja Smith

two of music’s biggest female artists have released new albums – both are at very different stages in their careers. Lily Allen has returned with the lauded No Shame: a record that has got critics on her side and singing her praises. Jorja Smith, on the other hand, has released her exceptional debut, Lost & Found – one of the most impressive introductions in recent memory!

Alongside a cut from each album is new work from IDLES, Anna Calvi; Gorillaz, James Blake; Snail Mail, Interpol and Rick Astley! It is definitely a wide-ranging, interesting and quality-rich selection of songs to get the weekend off to a flying start!

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

___________

Jorja Smith – The One

Lily Allen – Family Man

Anna Calvi - Don't Beat the Girl Out of My Boy

Amy Shark – Don’t Turn Around

IDLES – Danny Nedelko

PHOTO CREDIT: Curious Rose Photography

Anna Pancaldi – What I’ve Become

James Blake – Don’t Miss It

Bugzy Malone – Warning

Boy Azooga - Breakfast Epiphany

Christina Aguilera (ft. GoldLink) - Like I Do

Hooverphonic - Romantic

Daughtry – Deep End

GIRLI – Day Month Second

Gorillaz – Sorcererz

I See Rivers – I Don’t Know

Kim Petras – Can’t Do Better

Lykke Li – last piece

Snail Mail – Stick

The Smashing Pumpkins - Solara

Tom Grennan - Barbed Wire

Marshmello – TELL ME

Miles Kane – Coup De Grace

You Me At Six – 3AM

Eleanor Tomlinson – I Can’t Make You Love Me

PHOTO CREDIT: Shai Franco

Noga Erez – Bad Habits

Unknown Mortal Orchestra – Hunnybee

Rick Astley – Beautiful Life

Isaac Gracie – Running on Empty

The Internet – Come Over

Selena Gomez - Back to You

Meghan Trainor - Let You Be Right

Interpol - The Rover

Say Lou Lou – Ana

TRACK REVIEW: Sharon Lazibyrd - Half Shame and Half Glory

TRACK REVIEW:

 

Sharon Lazibyrd

Half Shame and Half Glory

9.5/10

The track, Half Shame and Half Glory, is available via:

https://sharonlazibyrd.bandcamp.com/track/half-shame-and-half-glory

The album, Half Shame and Half Glory, is available via:

https://sharonlazibyrd.bandcamp.com/album/half-shame-and-half-glory-album

RELEASE DATE:

8th June, 2018

GENRES:

Folk; Singer-Songwriter

ORIGIN:

Somerset, U.K.

_________

EVERY new review request that comes my way…

provides the chance to delve into the artist’s sound and personality. I love getting inside a song and discovering where it came from and where it might lead. In the case of Sharon Lazibyrd; the music she provides has been recognised by some big radio names and celebrated by many. I will look at the title offering from her recent album in a bit but, before then, I wanted to address a few things. I will look at that D.J./big names side and why kudos like that can give confidence to an artist; extremes of music and how you can get such a range of sounds and possibilities; Sharon Lazibyrd and how she can bulk and expand her social media; Folk and the striking power of the voice; a bit about evocative sounds that bring you close to the world and make you think hard; local names building a platform and splicing that together with cooler festivals. That is quite a selection of subjects so, when returning to my point about Lazibyrd and being recognised by some big names; it is not a surprise to see why. A lot of the artists that come my way have been highlighted by D.J.s or fellow musicians – that is one of the reasons I get involved with them. In the case of Sharon Lazibyrd’s music; she has had the likes of Chris Hawkins and Georgie Rogers adding their praise – two BBC Radio 6 Music stalwarts who certainly know what they are talking about! Not that a nod from BBC Radio 6 Music is like getting licked by God: what I mean to say is (the station) is a credible and much-respected avenue that only plays the very finest music – that may be a subjective conclusion but there is no shortage of fantastic music on the station! I am a big fan of both those names and, for the past few years, have been seeking out musicians based on their recommendations.

It can be hard getting praise and recognition with so many other artists out there. Whilst I contend the most talented and able will get their rewards and recognition; sometimes, people do get overlooked and you have to work extra-hard to find them. In the case of my featured artist; she has worked solidly and with a committed heart for years. Rather than succumb to T.V. talent shows or craft something commercial and cheap; she has produced music that resonates inside her own heart and feels natural. THAT is a reason why these big radio names have taken her to their hearts and expounded some kind words. Not that she can sell her house and retire on the strength of those acclaimed quotes but there is every reason to suggest Sharon Lazibyrd will continue to grow and become a fixture on a station like BBC Radio 6 Music very soon. With her album, Half Shame and Half Glory, out; I predict songs (from it) will get spins and accrue some more heady praise. The songwriter has also played a session for Bob Harris – on his BBC Radio 2 show – and has reached a whole new audience. It is amazing to think how far she has come and the sort of people who have gravitated towards her music. The industry is so competitive and packed that every nod and bit of great feedback should be seen as a great thing. I know the fans’ love is just as important but, if you can get radio industry figures listening and backing your music; that can lead to some fantastic things and put you on the radar. I am sure Sharon Lazibyrd will continue to build on that foundation and reach new ears. The fact the likes of Harris, Rogers and Hawkins, among many others, have put their thumbs-up to her cause is deeply impressive. I listen to her music and realise there is an extreme and vast landscape out there waiting to be discovered.

I listen to an album like Half Shame and Half Glory and can see why so many people have raved about it. There is that Folk sound but, knowing how strong Lazibyrd’s voice is; you get that isolated shiver and that endlessly fascinating instrument comes to the fore. There are artists out there who mix their voice in with the music and do not feel it is strong enough to capture the imagination. The opposite is true here: we get that vocal high in the mix, summoning some serious emotions and making the listener buckle. I have been listening to a lot of harder, raw sounds recently and neglecting genres like Folk. Not that this is a sign of things to come. For the past few years, I have been featuring some of the genre’s best new artists and immersing myself in everything (the genre) has to offer. Now, with Sharon Lazibyrd, I get to look at another angle and why brilliant songwriters like her should be heralded. It is the poles and extremes of the music industry that keeps me hooked. I have been diving into great Punk bands and Rock artists; looking at the brilliant new work by Kamasi Washington and digging what is happening in the world of Pop – expanding and growing from what we consider the genre to be all about. So much colour is bursting and the industry is showcasing some seriously amazing talent. If you look at the softer, more engrossing sounds coming from singer-songwriters in Folk; you are being given a different sensation and brilliant impressions. It is still a genre that does not get its full esteem and, if you consider Sharon Lazibyrd to be Folk/Singer-Songwriter; you cannot deny she is a perfect example of why we need to shine a light on her fellow artists. I have been following her work for a while and can see her fanbase building. I wonder why we choose to concentrate on what is deemed ‘popular’ by the media and overlook certain sides of music.

That is not to say Lazibyrd has been lacking: her music has reached some big ears and spread around the world. I feel there is a general ignorance of some music because, wrongly, people feel it lacks weight and aplomb. Maybe it comes back to that issue of ‘cool’ and whether we see music as fashionable or not. I am part of a group of people who opens their mind and embraces everything the business has to offer. Music is at its strongest when we all succumb to its breadth and allow every note to sink in. If we close our minds and alienated genres then we deny ourselves the opportunity to become better educated and discover brilliant artists. I love how I can investigate a big Brighton band one week and then feature a Somerset-based musician the next – someone who differs entirely and creates very different music. I am very committed to exposing every brilliant artist out there and bringing as many genres as possible to the fore. Before I move onto the next subject; I want to look at why music like Sharon Lazibyrd’s should be augmented and studied. She seems quite modest and ordinary on paper but, when you listen to the songs unfold, you realise here is an artist that has serious clout and nuance. I am sure, in time, she will be playing bigger festival stages and rise to the level of a mainstream artist. That may seem extreme but, when you look at how music is changing and the need for artists pure and honest – can we claim someone like Sharon Lazibyrd will remain (relatively) underground and local? The industry is strongest and most profound when we open up the doors and move away from the ‘cool’ and ‘popular’. I can imagine Lazibyrd recording (her album’s songs) at Orchard Recording Studios in Somerset and working with some great talent – performing with a range of musicians and bringing all those ingredients together.

One of the reasons I feel Sharon Lazibyrd will be a big success/name in years to come is her hard work and determination. I say this of a lot of artists – and can be chided for it! – but feel getting the social media accounts bigger and more visual can add new dynamics and chances. Lazibyrd has her music on Bandcamp and Spotify; she is out there and updating the fans – maybe a few considerations can come in. Photos and images always come to mind and something I am keen to promote. If an artist has a sharp array of images then it lends for a more visually-pleasing article. Lazibyrd has a few great shots – among candid snaps and live photos – but, given where she is based, a great photoshoot in the open would be amazing. Maybe there could be an album-themed shoot that brings together ‘shame’ and ‘glory’. Working with a great photographer; they could work on some ideas that contrasts and connects the album’s title and shows a new side to the songwriter. The image I have used as a thumbnail (the album’s cover) is great but more of these kind of shots/quality images would bring a new aspect to the music. Social media is about selling yourself as much as the music. Sharon Lazibyrd provides great information about herself – a few new galleries, without breaking the band, would attract more journalists and help bring her profile to new people. The music is the master (mistress) when it comes to winning hearts but one must not overlook aspects like social media and visuals. Her fanbase, as I said, is growing but there are new clans and eyes that are, as yet, unaware of her music. Not that photos will get all of that missing estate and bulk: it is a useful step and something that could be considered. Having all the social media/streaming links on her official site/Facebook would make it easier to navigate and, if anything, some ‘behind-the-scenes’ features would add another angle to her music. People are intrigued how the music comes together and where she takes influence from.

Every artist needs to look at the complete package and see how they can bring their music to more people. Modern music is about the product and the cosmetic makeup of an artist. The actual songs are most vital but we are looking for those that can provide extra elements and strike when it comes to information and visuals. The reason I being up this (controversial) subject is because there is huge validity and potential regarding Lazibyrd’s music. If she were small-fry and meagre, I would not spend my time looking at new ways to promote herself and gain new opportunities. The festivals are coming up and, when you are a promoter/organiser, you are looking for a number of things regarding possible inclusions. The artist needs to be strong and original but they need to touch all the senses and stay in the mind. One gets that with Sharon Lazibyrd and, when you delve into her music; it stays with you and compels long-term investigation. Her world and look interests me. You have this songwriter whose voice summons big scenes and causes the heart to skip. Projecting that in visual-form would be very interesting to see. I know there will be a lot more music coming from her through the years – it will be great to witness how her profile builds and what direction she takes. Maybe I have argued too strongly regarding social media and its importance: for me, as a writer, I include lots of photos and like to make my pieces as stimulating and attractive as possible. Lazibyrd is someone who attracts the camera and, like her voice, brings the listener close. It is not a big recommendation or consideration but, maybe, as we head through the year the multi-talented artist will supplement what is out here with some more snaps. Let us return to what is vital and most prominent when it comes to Sharon Lazibyrd: that incredible voice and wonderful music!

I have discussed Folk and the voice but, when you listen to an album like Half Shame and Half Glory; listen to the notes and the way Lazibyrd projects them. She is someone who wrings the maximum amount of potency and beauty from the subject matter. Here is a person who has been in the industry for a number of years and taking a lot from her live performances. Reacting to the crowd and getting that experience; the artist has gained confidence and experimented with what she does. You can hear all that experience and desire come through with every sentiment and syllable. I am impressed by the way the music gets into the heart and how physical it sounds. You are never left to piece things together and figure things out. Lazibyrd puts the songs right into the foreground and ensures they make an impression. She has, as I mentioned, a range of great musicians featuring on her new album. You combine Sharon Lazibyrd’s voice and those brilliant performers working alongside one another and the effect is quite profound. I had to listen to certain songs, including the title-track, a number of times for everything to settle and register. I am always fascinated by the voice and think it is the most important side of music. You get potency from lyrics and instrumentation but, with a powerful and beautiful voice, you can make an average song sublime. If, like Lazibyrd, you have brilliant songs to begin with, then a sumptuous voice can bring them to rarefied heights! If you have a stirring voice that can move the listener than it is easy to exploit that and lack discipline. Sharon Lazibyrd is someone who keeps a level head and uses her voice economically. That may sound strange but, by that, I mean she blends her tones with the musicians and does not needlessly over-exert and underplay what she sings. It is a perfect balance and sound that compliments the music and ensures each line shines and strikes.

Whilst Lazibyrd spends time in various parts of the U.K.; it is Somerset I associate her with. I have not featured many musicians from this part of the world – as it has a particular ‘sound’ and is quieter than many parts – but there is something about the idyllic sights and geography that leads to music that possesses tenderness and soothe. I can imagine, when writing her album, Sharon Lazibyrd was taking from the views around her and compelled by the natural world. Although Half Shame and Half Glory looks at personal emotions and complex sides to the human psyche; every single song has that warmth, intimacy and sense of the beautiful. Maybe it is the performances or Lazibyrd’s voice that makes that happen. To me, the studio itself and the setting around it adds something extra to the music. I listen to songs that have been made in expensive studios in the capital and there is something fabricated and fake. You get a polished piece that is slick and radio-friendly but does not convey any sort of reality. Look at all the best music and there is something inside the notes that stands out. In the case of Sharon Lazibyrd; she seems to bring her surroundings and home into the music. There is this brilliant ecosystem and world of sound that mixes the natural world with the technical; the range of emotions we all feel but something deeply personal and unique. It is a stunning brew that cannot escape the memory. You listen to the work of the experienced songwriter and are included. Rather than take a passive approach to the music; one gets engaging and reacting to what is being sung. There are plenty of city-based artists who can do this but one of the reasons I feel Sharon Lazibyrd draws the listener in is down to the where she is based and how she sees the world.

Instruments and notes on Half Shame and Half Glory bring you close to the land or take you high into the sky. There is that contrast and range of extremes that elevates the senses and causes something quite wonderful. I do not have time to review the whole album but, as the title-track shows – and I will show in my review – there is so much to love and recommend. I will end this piece by looking at the remainder of the year and where Lazibyrd might head. Before then, it seems the songwriter is going to have a busy time of things. With a new album out in the ether; will see head on tour or promote the songs as much as possible? I feel there will be that need to get to the local people and start from there. She plays a lot around the South West but draws acclaimed sighs from all over the U.K. I mentioned how Sharon Lazibyrd has been lauded by BBC Radio 6 Music – she has also played at their festival a few years ago. I predict, this year, there will be new opportunities and festivals to play. The music of Lazibyrd sounds brilliant through the speakers and captures something strange and wonderful. I feel her sounds are strongest when you see them close and in the flesh. It is interesting to imagine how her songs translate on the stage and whether they employ all the musicians on her album. I have not seen her play but so many reviewers have expounded the virtues of her live set and how great she comes across on stage. Let us move on and get to the song in question: the brilliant title offering from the L.P., Half Shame and Half Glory. I hope the ‘adverts’ and ‘features’ – leading to the main picture and featured presentation – have provided information and revelation regarding Sharon Lazibyrd’s music and what she is all about.

The heroine casts herself as a bird-like figure in the opening of Half Shame and Half Glory. Maybe the title-track is the most personal and representative song on the album. By that, I mean it is a track that brings together all the album’s themes and is the perfect definition of what Sharon Lazibyrd is all about. One gets the impression of a rather reserved and scared figure in the corner wondering whether she should approach. She asks questions as to whether approach (or remain in the shadows). It is that classic case of half-shame and half-glory: feeling critical of herself and foolish but willing to stride forward and stride forward. The words put me in two minds as to the subject matter. One can interpret the song as being about success and taking what you can from life. If you remain quiet and timid then you might be overlooked: if you are too bold and cocky then people might be put off. Perhaps that half-and-half approach is the best way to do things?! Maybe there is an aspect of love and taking passion?! If you are reluctant to speak and make a grab then you will be overlooked. If you take the opposite attitude then that can be off-putting. I am just speculating because, right from the off, you are engrossed in the performance and the amazing vocals! There is “Half sweat and half rapture” from the heroine – suggesting love and success might be entwined and one of the same – and she wonders where her story will lead. The wordplay is clever and deft; there is a poetic quality and ambiguity that makes the brain conspire and draw its own viewpoints. Instrumentation is fairly minimal and this allows the full power of the vocal to come through and impact. One gets shades of classic Folk songwriters and some of the most potent voices ever. You hear Sharon Lazibyrd sing and you are transported back to the 1960s and 1970s. She has a very modern aesthetic but you cannot help but look at nostalgic elements and find familiarity. That is a wonderful thing to experience and one that keeps the listener involved and gripped.

There are half-tears and smiles that show different sides to the heroine. She wonders whether a sensitive side should be shown. Maybe being bolder and more overt is the way to go? You get the sense, the more the song goes on, we are looking at a personal conversation and dilemma. Whether (the song) is about love and unsure how to act around someone, or a confusion as to how the world needs to see her, these contrasts and contradictions make the song so vivid. That is a clever device: one line about glory and one about shame; a human caught between the waves and the shore, as it were. Sharon Lazibyrd is a superb writer who can pen songs that have agility, economy and, at the same time, immense passion, depth and intelligence. That is a skill many songwriters lack – every song the heroine produces stuns the senses and gets under the skin. Strings start to come in before the half-way mark and adds bristle and evocativeness to the piece. The heroine continues to question and wonder what is expected of her. Introducing other players to the song keeps the listener guessing and takes you by surprise. The flowing, twisting strings summon visions of the ocean, oddly. You get romance and moonlight but there are Celtic shades that come through. A passionate and intoxicating sound gives the song new light and summons up new images. Half Shame and Half Glory is this endlessly questions and conflicted song where, maybe, there are no clear answers. Sharon Lazibyrd is unsure how she should act and who she should be. Our girl asks whether (the hero) wants a second look – he can read her like a book, it seems. It is easy to see why so many people have fallen in love with Lazibyrd’s music and why it remains in the mind for so long! The song grows more powerful and impassioned as time elapses. The strings get heavier and hotter and it seems like the waves are crashing. Growing from an intimate and subtle start to a near-crescendo to end; we have moved through the stories and witnessed a definite and defined passage of time. A marvellous song from Sharon Lazibyrd and perfect representation as regards Half Shame and Half Glory’s sounds and definitions.

There will be gigs and local opportunities for Sharon Lazibyrd this year. With Half Shame and Half Glory picking up acclaim and pricking up ears; it is only a matter of time before she gets bigger festival bookings and more radioplay. I will try and see her perform but I feel the chance to get out there and spread her fabrics around the U.K. is now. There are cities - like London and Manchester - that would love to see her. She could get gigs up in Scotland and embark on a great tour. I am not sure whether that is already planned, or there are financial restrictions, but one feels the British masses would love to see Lazibyrd live. I am a fan of her music and have seen it grown the past few years. Every new offering provides fresh revelations and sides to the music. It is amazing to watch her grow and see those incredible sounds register. Going forward, I know there will be a lot more coming from her and those names I mentioned earlier, who have supported her music, will add fresh kudos. It has been an active and productive year for music so far. We have witnessed some great albums and brilliant new artists emerge that have made their mark and shown what a force the music industry is. If you have not heard Half Shame and Half Glory then make sure you take time aside and dedicate yourself to the wonders and colours within. I have been amazed and buckled by the emotions running through. Lazibyrd is an amazing artist and continues to grow stronger. Back this tremendous artist and see why so many respected radio names have had their say and got behind her. Even if her music is not normally what you go for; give it a bit more time and patience. I have ignored Folk and Singer-Songwriter realms for a bit but, with Sharon Lazibyrd, am determined to show more attention. It has been brilliant investigating Half Shame and Half Glory (song) and an artist who puts her all and everything into…

EVERY song she produces.

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Follow Sharon Lazibyrd

Official:

http://lazibyrd.wixsite.com/sharon-lazibyrd

Twitter:

https://twitter.com/SharonLazibyrd

Facebook:

https://www.facebook.com/Sharon-Lazibyrd-324663394401783/

Bandcamp:

https://sharonlazibyrd.bandcamp.com/

SoundCloud:

https://soundcloud.com/sharon-martin-37

Spotify:

https://open.spotify.com/artist/0VbJAjioekbd8TXP0DmYqo

YouTube:

https://www.youtube.com/channel/UC7MclQ3cFxU9PBHxdDVsM1A

INTERVIEW: DESMOND

INTERVIEW:

PHOTO CREDIT: Konrad Tosti 

DESMOND

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STEPPING into the weekend with a confident stride…

ALL OTHER PHOTOS OF DESMOND: Rasmus Kongsgaard

can only mean a chat with the fantastic Danish band, DESMOND. They have been telling me about their new single, Cardboard Palace; what we can expect from their upcoming album; how they got together – the guys answer the question regarding possible U.K. gigs.

I ask them about new acts to look out for and what they hope to achieve before the end of the year; what the scene is like in Copenhagen right now; whether they each have a favourite memory from their time in music – the band members select some cool songs to end the interview with.

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

It's been good! It’s always exciting to release new music into the world. So far, the response to Cardboard Palace has been great. We’re looking forward to releasing the whole album, which we are very proud of. (It will hit the stage on 17/8).

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

We are a Copenhagen-based band who plays a mixture of Synth, Indie and Pop-Rock. You know; it's always been difficult for us to categorize our music with a specific genre. 'Genre' is relative and is, therefore, dependent on the ears who listen. We just create the music that we love.

Cardboard Palace is your latest single. What is the story behind it?

Cardboard Palace is this story about this stockbroker-kind-of-guy who had everything in life: the family, house; car, big career etc. but he flew too close to the sun and lost everything. Still, he refuses to acknowledge this new reality and ends up constructing a reality of his own. Even though he lost it all, this rich wolf of Wall Street-kind-of-guy won’t take off his fine suit and suddenly he finds himself living in a cardboard box, calling it his ‘palace’.

We released Cardboard Palace first because we think it encapsulates a lot of our ideas on the album, especially contrasts. The track is kind of upbeat and happy - for a sad story about a guy who hit rock-bottom. All four of us know about the feeling of losing something precious on our own behalf: the story is about how you deal with it. To what extent do you suck it up and start over vs. resisting, fighting and burying yourself? It’s about not realizing that you sabotaged yourself and then you accuse your surroundings (for) the ‘injustice’. We wanted to tell that story, both lyrically and musically, in a fun and maybe kind of tragicomic way.

The song is from your upcoming album - released later this year. Can you tell me what sort of songs and ideas will feature?

Contradictions, as a concept, is good for telling stories and communicating specific moods. Contrasts are a big part of what we like to examine in the universe of DESMOND - both lyrically but, also, musically. (But, always with a sort of balance). Balance is also something it took us years to finally embrace. We have finally discovered that it's the track that dictates what we individually play and not our ego.

It's always: what is best for the song and not some drum pattern that Alexander (drums) spent hours constructing. If it doesn't suit the track, it goes into the bin. Everything we do has to feel balanced and natural. We hope that the album will reflect this.

When the lyrics for our E.P. were written, a character was suddenly created; a man who ventured out to seek his purpose. At the end of the last track of the E.P., he stood at a crossroad - to end or extend his journey. No one really knows what happened to him, but he might have slipped unto the album….

The album contains stories and moods that all four of us can relate to. We like the idea that our lyrics contain parts of all of us...or at least a story that we can share with one another. The album consists of various themes, e.g. songs about difficult relations but also songs about a space odyssey and a cool diamond thief. We like to think of our DESMOND-universe as vast and with no limits. If the story has integrity or is just plain good fun - or both, for that matter - it will be told. You will be taken on a ride with this album…and we can’t wait to unveil it.

How was it working with Carsten Heller on the record?

Carsten is this super-cool guy who did all sorts of things that we admire. The fact that he agreed to work with us was huge. We were kind of nervous in the beginning, but he turned out to be the most relaxed, hardworking guy who just loves music. He has great ideas and is always a servant of 'The Track’. Carsten has this ability to figure out exactly what we want without even telling him.

Carsten and his team have had a huge impact on the Danish music scene and have received great recognition. It’s an honour to work with these guys. We’ll never forget the first early versions of our tracks that Carsten sent us. It was unbelievable.

How did DESMOND get together? When did the magic start?

Three of us, Christian Snorgaard (Guitar), Andreas Snorgaard (Bass/Synth) and Alexander Topsøe (Drums), are childhood friends and we grew up very close to each other. We listened to groups like The Cure and The Police and used to jam to their songs. As we grew older, we turned the tempo up a nudge and devoted ourselves to music like The Killers, Bloc Party and Phoenix. All of us have gained a lot of different musical experiences throughout numerous band constellations.

Eventually, we took a couple of years off the stage to finish our individual educations but decided to restart our music two years ago back in 2016 - that was when we ran into Asbjørn Storgaard (Vocals). Asbjørn was a perfect match to the first compositions and sound in general and he quickly became a part of the group.

You are a Copenhagen band. Is there a good and growing music scene there right now?

Very much, indeed! The ‘competition’ is sharp but, actually, it's not competition per se as there is plenty of room for everyone. Good music is always appreciated: bands like Minds of 99 are doing great, great things. They are very inspiring to us as they always keep things ‘real’. They have this very defined sound but are not afraid to stray through different genres, if the track dictates it. Also, the band When Saints Go Machine; they have the same spirit.

Denmark is a small country with a lot of talent - and we have lots of music festivals and venues which provides new music to the people. The Danish people are used to going out to concerts which is important if you want to reach people with your music. There is some sort of cohesion among the Danes that music should be experienced, not streamed.

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

We really want to go abroad and are, therefore, planning and raising the money we need to get going. Of course, the U.K. is a top priority for us. A lot of our musical inspirations come from the U.K. and we would love to perform our show there – and, hopefully, this interview can contribute to that. Until then, we are focused on the shows we have here in Denmark and we’re planning our first tour here as well.

Our next gig so far will be 17th August, together with the album release.

Might you come to the U.K. before the end of the year?

We really want to - and we’re working on it! That would be a dream come true.

What do you hope to achieve in 2018?

Hopefully, the album will be well-received and give us as a group the boost we want to go even further. Even now, we have new material on the way. We’re also working on some really cool ideas for music videos that we hope we’ll get to shoot in the near-future.

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

At the beginning of the Desmond journey, we played a gig at Christiania in Copenhagen which was really overwhelming as there were more than two-hundred people attending the concert. That was a really big deal for us at the time as we were still brand new back then.

But, the one memory that neither of us will forget is the feeling we got when our producer Carsten Heller sent us the first productions of our tracks. It’s a weird feeling hearing yourself like that: it made it real and we got even more motivated to reach our goals.

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

We all hold the group Phoenix in high regard. Their compositions and their shows are just marvellous and they always seem to develop themselves between their albums. We really respect that.

What advice would you give to new artists coming through?

Don’t sign the first and the best deal that comes your way: consult professional people like a union. Believe in your work and don’t let people tell you otherwise. Work hard: you gonna’ regret it later if you don’t….

IN THIS PHOTO: Klippenberger

Are there any new artists you recommend we check out?

The Danish artist Klippenberger just played a fantastic show at the upcoming music festival SPOT in Aarhus, DK. That was breathtaking…you should check them out. If you’re into Black Metal, we can recommend our friends from the band, Morild. They are conquering the Danish Metal scene at the moment and are rising stars.

IN THIS PHOTO: Morild

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

Well. We chill when we’re WITH music, not away from it. But, actually, we all love football, especially the Premier League, so we can’t deny streaming a game or two during practice.

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).

Thank you; we really appreciate it!  

Christian: The Police - Bring on the Night

Alexander: M83 - Midnight City

Andreas: Phoenix - Fior Di Latte

Asbjørn: Kashmir - Bewildered in the City

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Follow DESMOND

Facebook:

https://www.facebook.com/wearedesmond/

Instagram:

https://www.instagram.com/wearedesmond/

SoundCloud:

https://soundcloud.com/user-832314517

Spotify:

https://open.spotify.com/artist/36TckHSlGMKCWBKNG4GAqj

YouTube:

https://www.youtube.com/channel/UCHx25qIV3798QkYKtOQdjbg

INTERVIEW: Daniel Liam Glyn

INTERVIEW:

PHOTO CREDIT: Lucy Ridges Photography

 Daniel Liam Glyn

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IT has been fascinating talking with Daniel Liam Glyn…

about his album, Changing Stations, and living with synaesthesia. He tells me how music and imagery and combine; how his way of seeing the world leads to unique and highly illuminating music – whether there is a track from Changing Stations that stands out to him.

I asked Glyn about sourcing London commuters and the intricacies of the Underground on the album; how his home of Manchester is faring in terms of modern music; if there are albums that have impacted him heavily; if there is a new artist we need to look out for – the songwriter looks ahead and gives me an impression of how his future will pan out.

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

I’m great thanks! My week has been productive - it’s mostly been spent doing some preparation work for a future music project I’m hoping to start soon.

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

I’m Daniel Liam Glyn and I’m a composer from Manchester, U.K. I’m probably most known for combining my music writing with my neurological condition synaesthesia.

Your album is called Changing Stations. Can you talk about the sort of themes that inspired its creation?

There are so many themes that inspired the album at its inception.

I’d say the earliest influence was The Planets suite by Gustav Holst, which is a series of orchestral works based on each planet in our solar system, along with their corresponding astrological character. For years, I was interested with the idea of creating a collection of piano pieces based around characters within a concept, all of which to be composed in different key signatures. I read a lot of literature dating back to the 1800s regarding the different types of light and shade that different key signatures can possess and cross-referenced them with my own thoughts and opinions.

Being a lover of graphs and maps, I found that the London Underground not only had a fascinatingly complex design, but each Tube line was colour-coded and I began to be drawn to the different routes and the history behind them. Musically, I was inspired by the simplicity of Erik Satie's piano works of the late-1800s, but I also wanted to push it further into more modern times with the use of twentieth-century techniques (such as John Cage and Steve Reich).

I know each of the main lines on the London Underground is covered over the eleven tracks. Do you have a favourite line/track from the collection? 

I'd say Abode (Northern Line). I used to live in Kentish Town on the Northern Line, so that quickly became my favourite. Mainly, because it reminded me of going home to my flat after work but also (to) heading to Euston to catch the train back up to Manchester. The opening couple of minutes of the track feature the main compositional theme which I composed when I was eighteen and I've always wanted to use it within a composition.

The track was remixed by my friend Damion O'Brien (Designer Thumbs) last year and released as a standalone single along with an accompanying video shot by People Staring production company.

How difficult is it conceptualising and recording music with synaesthesia? Are there challenges that you face? Is it true you recorded Changing Stations using grapheme-colour synaesthesia? 

I'd say the main setback to using synaesthesia in the creation of composition is the not so obvious connection between what's real and what's not. Synaesthesia isn't something that is finite and the connections between the colours and what you have assigned them to is mainly involuntary; so it can make little sense to the person who has it.

With this project, I just wanted to assign the Tube line to the key signature in my mind, going off the colours of the alphabet. A = Red = Central Line; E = Pink = Hammersmith & City Line; F = Green = District Line…and so on. Another main challenge is that the listener might feel alienated because, on most occasions, the colour associated is distinctly unique to the creator.

Synaesthesia is visualising and associating numbers with colours. Does that association seep into people and colours? Do you view humans in the same way you look at numbers? 

From what I've read, there are hundreds of different forms of it and it can be either mild or severe on the synaesthetic spectrum from person to person. For me, personally, it's less about how I perceive humans and more about colours that I have assigned to numbers, words and letters. I also have spatial sequence synaesthesia, so I visualise all these things in my mind, too, almost like I'm looking at a celestial map of space.

Every month of the year is represented as a planet with a designated colour, illustrated in an uneven circle. I move from day to day coasting through the map and, when the circle is complete, it leads onto a new year and then the orbit begins again. People like me with spatial sequence usually have a long-term memory; remembering dates and random events through the year.

What did you learn when writing about London commuters and collating the impressions/sounds of the city’s rush? 

I've learnt that anything can be music! If you take a journey on the underground and close your eyes, you will begin to hear music in everything: the rhythmic beat of the tracks under your feet; the rush of the air flying through the tunnels and into the carriages through the open windows - even the swooshing and beeping of the doors opening and shutting.

It was important for me to not just rely on these recordings of sounds on the underground, but to also make sure I imitated these sounds and beats using rhythmic and melodic techniques during the composition of the music. It was fascinating hearing from different types of commuters, about their journeys; their destinations and their attitudes towards the different Tube lines.

I felt like I wasn't alone with the thought that each Tube line possessed a different type of atmosphere and feeling. In most scenarios, the commuters I spoke to agreed with my affection and disdain towards certain Tube lines and also how different journeys made me feel in regards to how I composed a particular track. For example, the District line felt lethargic; the Jubilee line looked pretty but didn't go anywhere exciting and the Central line felt mad-busy with such a fast rush as it cut through the city centre. 

You are a Manchester-born artist. How much of Manchester’s music and history do you take influence from? What sort of music did you grow up around? 

Manchester is known for its industrial and cultural growth and Changing Stations is a nod to the London Underground's history and its evolution into the modern day. It was important to me that recordings for the album took place between Manchester and London because they had both been my home and I liked the aspect of travel being involved with its creation.

We recorded sounds and noises through the use of computers and mobile phones, which pays homage to the revolution in technology on the London Underground over the years. I've always felt really proud to be a Mancunian and the city has been through some difficult times over the past twelve months, but I've been really proud of how everyone has come together and it's a testament to how strong the people are as a city….

Although there are many fantastic music acts from Manchester; I feel like most of my musical influences growing up came from the music my parents listened to. I think it’s possibly because I'm from a generation where I had so much music available at my disposal from all around the world via the Internet; that I didn't invest as much as I maybe could have into local music. The Beatles and The Beach Boys were bands that my dad liked. They both taught me about chordal structures, melodies and harmonies.

The same can be said for Motown acts that my mum was fond of - Diana Ross in particular. Kate Bush was someone who I always knew (of) when I was younger, but it wasn't until I was sixteen when I began to notice her for her incredible songwriting. Goldfrapp was a group who also grabbed my attention in my teenage years and I've stuck with them ever since.

I'd say I take influence from artists who aren't afraid to rely on their strengths, but also know when to throw tradition out the window and try new things. When I look at the back catalogues of acts like of The Beatles, Kate Bush and Goldfrapp; I notice such incredible growth and progression from their early works right up until their later albums. 

What do you hope to achieve in 2018?

I'm due to work on a new project with my long-term collaborator Katie (Tavini) and I also want to start work on my next album. I have several ideas so far but nothing set in stone, so I'm excited to see what the outcome is. I'm also trying to get Changing Stations and its remix album, Changing Stations: Derailed, in front of as many people as possible. The C.D. and vinyl are now stocked in Piccadilly Records, so I'm hoping to get it stocked in other record stores nationwide.

 

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

It's so difficult to just pick one - but I'll probably say my album launch was an incredible evening. Changing Stations was funded through a Kickstarter campaign, so the launch night was the perfect opportunity to thank all the people who pledged for it to be a success as well as inviting local members of the press to join the evening. 

I think Alison Goldfrapp writing me a letter to say she had a copy of my album was quite an astounding moment too!

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

Possibly the most difficult question! These change from time to time, but (in no particular order), I'll say:

Goldfrapp - Black Cherry (2003)

Woodkid - The Golden Age (2013)

Kate Bush - Aerial (2005)

Lyrically, musically, and concept-wise, these three albums have inspired me on so many levels. I'm drawn to music that builds in motion, with layers of incredible harmonies and non-traditional structures. They've each taught me a lot about how I approach making music - not just the music itself but the concept and the imagery. 

What advice would you give to new artists coming through?

Never give up. Nothing happens overnight and sometimes, the biggest setbacks will feed you with an even bigger determination to make something work. Stay committed and take advice where you can, but be sure to trust your own decisions during the creation process. Also…be nice! Credit where credit is due: it's important to respect other musicians and producers you work with along the way. 

 IN THIS PHOTO: Toya Delazy

Are there any new artists you recommend we check out?

One who springs to mind is Toya Delazy. She's not necessarily new but is probably unknown to a lot of people. Her latest album is called Uncommodified.

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

Making music isn't my full-time job so, when I do get time to chill and unwind, it's usually music that I aim to focus on. Though, when I am busy with making music and I feel like I'm working on a project that consumes my every minute, it's good to take a break because there is only so much creativity you can conjure up. Sometimes, taking time out to listen to genres of music that you think you wouldn't necessarily be influenced by can actually surprise you. 

I'm someone who can easily get caught up in the world of social media; so having a blackout from all my apps and putting my phone down can be a perfect way to unwind and get away from the world.

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

I'm going to go for the new Goldfrapp track, Ocean, featuring David Gahan from Depeche Mode.

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Follow Daniel Liam Glyn

Facebook:

https://www.facebook.com/danielliamglyn

Twitter:

https://twitter.com/DanielLiamGlyn

Instagram:

https://www.instagram.com/danielliamglyn/

SoundCloud:

https://soundcloud.com/danielliamglyn

Spotify:

https://open.spotify.com/artist/2DRlXuH2hzB0s9B7PWZNmd

YouTube:

https://www.youtube.com/channel/UCc1Cb9vtxrr1Gu2M_guwCEA

INTERVIEW: Marcus Alan Ward

INTERVIEW:

Marcus Alan Ward

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MY current interview…

is with the arresting and promising songwriter Marcus Alan Ward. He has been revealing the story behind his new single, Faster, and who he counts as idols; whether there is more material coming along this year – Ward reveals when music came into his life.

I asked him what the music scene is like in Cleveland (U.S.A.) and what gigs are approaching; whether he is coming to Britain during 2018; whether there are any goals/ambitions to tick off the list before the end of the year – Ward ends the interview by selecting a classic!

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

I’m Marcus Alan Ward; Electro-Soul musician from Cleveland, U.S.A.

Your track, Faster, is getting some love and attention. Can you remember how that song started life? What is its inspiration?

The lyrical inspiration behind Faster stems from being around/in love with a self-destructive person. It's kind of like watching a car crash: it's a terrible image but you can't really take your eyes off of it. It’s a simple metaphor that I feel like resonates across the board.

Musically, I was inspired by the idea of summertime. Faster was actually written in the dead of winter, so I wrote this track in preparation for summer 2018.

Are you writing quite a lot at the moment? Might we see more material later in the year?

I’m always writing and actually working on a few collaborations at the moment, which is a change for me because I haven’t collaborated much historically. We’ll be releasing content about once a month, starting with Faster…so lots more coming.

I can hear tones of singing legends in your voice – you have your own style and mix it all in. If one were to look at your record collection, which artists might we find in there?

Vocally, I take cues from legends like Sade, Björk; Marvin Gaye, Sly Stone; Thom Yorke and so many others. In my record rotation, currently, you’d find those and lots of other artists spanning genres Funk, Rock; R&B, Disco; Electronic, Folk and beyond.

Do you remember why you got into music? Was that talent and passion always in you?

When I was younger, I tried lots of different things as any kid does. I asked for a guitar for Christmas one year and it just stuck from there. I learned Jingle Bells on it the first day I got it. Everything else I was doing (skateboarding, organized sports etc.) just kind of fell by the wayside after that.

You are based in Cleveland (U.S.A.). Is there quite an active music scene there? What sort of sounds might we hear around the city?

Here in Cleveland, we have lots of active musicians but not much as far as infrastructure goes (labels, booking agents etc.). You really have to get out and travel/tour if you want to make it out of Cleveland. I’d say, sonically, it mostly just mirrors what’s going on in the rest of the country.

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

I’m in the process of booking a tour on the back of my E.P. release in September. I haven’t announced yet but it’ll include cites New York, Atlanta; Chicago, Nashville and many others.

Are you coming to the U.K. at any point to play?

No plans for the U.K. at the moment, but I’d love to!

What do you hope to achieve in 2018?

At this point, we’re planning for 2019 - but the rest of my 2018 will see the release of my E.P., Beast, and more touring.

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

Tough to say, but off the top of my head:

Marvin Gaye – What’s Going On

The Mars Volta – De-Loused in the Comatorium

TV on the Radio – Return to Cookie Mountain

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).

Sly & the Family Stone – If You Want Me to Stay

This is the first thing that popped into my head as it’s my preshow warm-up tune.

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Follow Marcus Alan Ward

Official:

https://marcusalanward.com/

Facebook:

https://www.facebook.com/marcusalanward/

Twitter:

https://twitter.com/MarcusAlanWard

Instagram:

https://www.instagram.com/marcusalanward/

SoundCloud:

https://soundcloud.com/marcusalanward

Spotify:

https://open.spotify.com/artist/7vaVHucaokI1K9NDZUqcB2

YouTube:

https://www.youtube.com/marcusalanward

INTERVIEW: Luca Fogale

INTERVIEW:

Luca Fogale

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IT has been interesting discovering…

more about Luca Fogale and what makes him tick. The Canadian songwriter has been telling me about his latest track, What I Came Here For, and what it is all about. He talks about the music scene in British Columbia and whether any tour dates are confirmed – including a trip to the U.K.

Fogale explains his favourite albums and musical tastes; what advice he would give to new artists; if there is a musician out there we need to keep our eyes open for; when music came into his life – the songwriter ends the interview with an awesome song choice.

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

Everything has been great lately, thanks! I hope the same for you.

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

My name is Luca Fogale. I’m a singer-songwriter from Burnaby, British Columbia (Canada).         

What I Came Here For is your latest song. I believe it was inspired by your grandmother. Can you tell me about that?

I wrote the song after hearing a story from my grandmother about surviving an air raid in her hometown in Italy during World War II. She told me that one of her family members was killed in the first few moments of the attack and so she and the rest of her family and friends (that she was with at the time) realized that there wasn’t anything that they could do to stay safe - so they just held onto each other and hoped that they would make it through alive.

I found a parallel to my own life inside of that story; that at certain moments in time it can feel as though the only thing one can do is stay close to the people that mean the most and stay patient and positive until things get better.         

Is it a song that a lot of people react to and connect with?

It is! Playing the song at shows for the past few years, it always seems to be one that people in the audience resonate with.

I’ve spoken with people who have been through similarly traumatic experiences as my grandmother had; people who listen to it to help them fall asleep at night or wake up in the morning; people who decided to reconnect with a past partner after listening to it - and seemingly endless other reasons. It’s such a wonderful feeling to know that, if nothing else, I’ve written something that makes sense to someone.

Might we see more material coming down the line? What are you working on right now?

Absolutely. I’m currently in Montreal working on my second full-length album.

You are based in British Columbia, Canada. Is there a vibrant music scene there at the moment?

I think the British Columbia music scene has been getting better and better in the past few years, especially with an emergence of house concerts and multi-use-venue shows that have been becoming more and more popular because of a push-back against the more popular massive shows that happen when international touring artists come to town. When I was starting to enter the Vancouver scene six or seven years ago, it could be difficult to get people to shows unless they had already heard of your music and there still isn’t much of a culture around venues having a built-in audience. But, I think we’re moving in the right direction!

When did music come into your life? Was there an artist or album that lit the fuse?

Music has always been in my life since I started piano lessons when I was seven, but it never really held an important space for me until I found Bob Dylan and Joni Mitchell’s music and realized how much power songwriting can hold. Once that happened, music became the thing that fills most of my time and thoughts, and it has been that way ever since.

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

Yes! We’re currently working on a tour for the fall and I can’t wait to get back on the road. The next gig I’ll be playing is at an incredible small festival in B.C. called Tiny Lights (Festival).

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

Hopefully, very soon! Touring the U.K. and Europe has been at the top of my list for a very long time…

What do you hope to achieve in 2018?

I’m really excited to finish the album that I’m working on right now. I’ve been feeling more connected to music than ever and think that that sentiment is carrying through into these recordings.

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

A lot of my favourite memories have come from touring Canada and getting to meet an endless amount of amazing people across this country that I love so much. If I had to pick a notable memory it would be of a conversation I had with a girl in New Brunswick who bought a guitar after hearing my album, Safety, and she had started writing songs in response to mine. It was one of the most humbling experiences of my life.

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

The Freewheelin’ Bob Dylan - Bob Dylan

Hejira - Joni Mitchell

In Rainbows - Radiohead

What advice would you give to new artists coming through?

Tour and tour and tour…and when you’re not on the road, write music as honestly as possible. Both of those things are essential to connecting with someone who needs the specific music that you’re able to create and perform.

Are there any new artists you recommend we check out?

Not necessarily new but very new to me! - Perfume Genius. He’s got a new record called No Shape that I can’t stop listening to.

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

Haha. Music plays a lot of different roles for me, so I’m usually just playing or writing - but one other thing that I love to do very much is to cook.

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).

Right on!

Sam Weber - The Heat

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Follow Luca Fogale

PHOTO CREDIT: Nishi Shinjuku 

Facebook:

https://www.facebook.com/lucafogalemusic/

Twitter:

https://twitter.com/lucafogale

Instagram:

https://www.instagram.com/lucafogale/

SoundCloud:

https://soundcloud.com/luca-fogale

Spotify:

https://open.spotify.com/artist/3GKdEPHUSBp3iNT4SG2Med

YouTube:

https://www.youtube.com/channel/UC-3vRjhcMf8_BoYwwbHrR2A

INTERVIEW: Dossey

INTERVIEW:

Dossey

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MOVING us gracefully and seductively…

through the middle of this week is the incredible Dossey. She has been telling me about her latest cut, Heartbeats, and what more we might expect later in the year – she tells me why the music of the 1980s is so important and influential to her.

Dossey reveals albums that mean a lot to her and how her solo work differs to that she creates with Indian & the Jones; whether she’ll come to the U.K. this year and perform; musical memories that stand out in the mind – the Austin-based songwriter recommends some local new artists to check out.

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

Hi! Thanks for having me!

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

My name is Sarah Dossey. I play Electro-Pop music in Austin under the name ‘Dossey’. I’ve played in a few different Folk/Americana/Bluegrass bands, but this is my first Pop project - and I’m having so much fun. I’ve always loved Electronic music and also am crazy about creating catchy hooks and ear-wormy songs…so Dossey has been a super-fun experiment for me!

Heartbeats is your new song. What is the story behind the track?

I co-wrote the song back in Nashville in January 2017 with a couple songwriter buddies of mine, Adam Palmer and Lainey Wright. Conceptually, we wanted to write a song about a real love - something that can withstand the test of time or trials and just feels natural and normal. It’s hard to find that!

Since then, the song has taken many forms. I began working on it in June with a producer friend in Austin, Taylor Webb. He and I worked on the song for several months - seeing several renditions, arrangements etc and finally landed on something that is this surprisingly nice (in my opinion, at least!) blend of '80s Pop and current E.D.M.

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

Yes! I’ve got another single coming out in August/September and, most likely, one or two more before the year ends!

Did you always know music was where your heart is?! I get a sense the music of the 1980s is important to you…

I think I’ve wrestled with it a lot. I grew up in a family where music was definitely important, but not exactly portrayed as a viable career option unless it was as a Classical musician. The first musical production that I know of was when I played a goat in a farm musical in first-grade - which I had always thought was my first taste of music but, according to my family, I’ve been making up songs about pretty much anything and everything for as long as they remember….

As far as the '80s is concerned; I think it’s honestly less of an obsession with the music of the decade than it is the cultural feeling (of the decade). People experimented so much with art in the '80s! It was, like, anything goes - in fashion, everything was loud and fun. Very extreme prints were always lined up next to one another. Music was so dramatic. Pop music, especially, had such fun melodies and concepts.

Austin, Texas is where you are based. What is the music scene like there at the moment?

Austin is, and has always been, a guitar town! As you might imagine, Country/Americana music will always be king here, so there’s a ton of that happening. The Rock/Psych scene is super-prevalent as well. Not much Pop going on here, admittedly, which can be a challenge but it only makes me hustle harder. The music community here is actually really tightly-knit - we all support one another at shows, we write together; we’re in each other’s music videos.

I’m actually working on several different projects with people from different bands right now…

How do you think your solo material differs to the work you do/did with Indian & the Jones?

It literally differs in every way, except in the songs. As I mentioned before, I’m a huge song nerd. I don’t naturally sit in a room and start making sounds first and add the lyrics and melody on top: I prefer to hash out every detail of the song itself before it gets to the computer (smiles). That’s definitely how Folk music has always been made.

With I&TJ, we do have several instrumentals but the other songwriter in that band, Jesse Schaefer, is also super-nerdy about writing meaningful, well-crafted songs…so we work well and hard together. I’ve loved being in both projects in tandem - it feels like I get to use both sides of my brain; I feel it stretches me and makes me more creative.

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

At the moment, I’m focusing mostly on local or Texas-based shows, but I do have some one-offs to some key American cities in my sights as well. I try to play in Austin about once every three-four weeks. I’ve got a release show for the Heartbeats music video (!) at a place called Swan Dive here in Austin on 6/30 with some really awesome artists (Jane Ellen Bryant, ALKI and Loud Bird) joining.

Will you come and play the U.K. this year?

I’m actually trying to! According to Spotify, you Londoners are listening! T.B.H., most of my influences are from your part of the world (ABBA, The Knife; Massive Attack and Fickle Friends), so I can see how that can funnel into the sound. Know anybody that can help me get over there?!

What do you hope to achieve in 2018?

At the moment, I’m just trying to work as hard as humanly possible. I don’t want to ever say ‘no’ creatively. I’m experimenting a lot with different sounds, working with a lot of new people; trying out any and every format of my band/solo live set I can think of and just hustling in general.

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

Honestly, the most amazing memories from making music have been when I have been given the amazing opportunity to help others through it. For example, I’ve traveled to China with a local organization called Austin Sound Exchange, where we spent over a week playing shows for a ton of college students every night and working with those in music and English classes during the day. It was, and continues to be, incredibly rewarding.

The other favorite moment was when myself and my buddy Tanner Evans (from Indian and the Jones) had the chance to play music for evacuees from Hurricane Harvey in September of last year. The city of Austin invited us to walk in to a shelter and play soft music during breakfast one day and it seemed to be so peace-giving to the people there who had, quite literally, lost everything the week before.

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

EASY - but I have to say four:

Rumours (Fleetwood Mac); The Immaculate Collection (Madonna); Wildflowers (Tom Petty) and Graceland (Paul Simon).

What advice would you give to new artists coming through?

Hustle Hardest! At a certain point, who ‘makes it’ or who ‘doesn’t’ has little to do with talent, but mostly to do with some strange, secret blend of Working the Hardest and Luck.  At least, I think that’s it?! Haha.

Are there any new artists you recommend we check out?

Yes! I’m all about Austin bands, of course - especially ones with ladies at the forefront. Check out Shy Beast, Jane Ellen Bryant; Sweet Spirit, Go Fever; Signy, The Wild Now; FINLAY and Jaimee Harris.

All these ladies are KILLING IT right now (and based here in Austin).

IN THIS PHOTO: Jane Ellen Bryant

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

I swim! (We have a natural spring, Edwards Aquifer,  that comes up from underground and makes for some really amazing spots to swim around town (The Greenbelt). I also do Bikram Yoga almost every day, and lately, I’ve been taking some evening spins around my neighborhood on my bike. Otherwise, a delicious meal with a glass of Zinfandel can calm me down almost immediately.

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, fun! Lately, I’ve been listening to How Will I Know by Whitney Houston on the daily.

____________

Follow Dossey

Official:

http://dosseymusic.com/

Facebook:

https://www.facebook.com/dosseytx

Twitter:

https://twitter.com/dosseytx

Instagram:

https://www.instagram.com/dosseytx/

SoundCloud:

https://soundcloud.com/dosseytx

INTERVIEW: Scarlet Sails

INTERVIEW:

Scarlet Sails

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THE fantastic Olya and Brian…

from Scarlet Sails have been talking about the video for their track, Hideaway, and how they met one another. I was eager to know whether the American group has plans for more material and whether Olya and Brian have any precious and special memories from their time in music.

Brian talks about life away from The Dresden Dolls (he is one half of the famous duo) and what Scarlet Sails hope to achieve before the end of the year; if there are plans to come to the U.K. at any point – Olya recommends some new artists worth watching out for.

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

Olya: Heeey! This week’s been crazy! The Hideaway video came out and we’ve been receiving an amazing response on it so far. also just spent last two days on set waking up at 4 A.M. and celebrating my eighth New York Anniversary in Brooklyn shooting our new music video for our next single, Upside Down.

Brian: I am a veritable flower of elation. This week has been an insane confluence of things in the works for many months and they all bore themselves nearly at once. We had the premiere of the new Scarlet Sails video for Hideaway; we signed with United Talent Agency booking - which gives a huge step forward touring the U.K. and Europe. The Dresden Dolls' shows at Troxy for Halloween were announced and the pre-sale sold out in fifteen minutes and we’re preparing the next Scarlet Sails video shoot. Bonanza.

The video for Hideaway is new. What was it like filming it? Was it a lot of fun?

Fun and slightly harrowing, as the original person we hired to film it bailed two days before the shoot and Olya’s very good friend and director/videographer, Karina Kandel, swept in and saved the day like a hero at the eleventh hour - with about seven of our friends who helped out with everything from production to costume design. Video shoots always, without fail, leave me feeling lucky to have the awesome people around us that we do...

Olya: Yes. Something that could have been a disaster turned into a miracle thanks to the wonderful, magical people around us. We pulled it together at the last minute and I consider myself extremely lucky to collaborate with such incredibly talented, resourceful and hard-working people like Karina and Brian - and the rest of the crew who showed up on a short notice and made it all happen.

Is there going to be more material from the band later this year?

Brian: Absolutely. Olya’s been on a writing streak over the last few months and we’ve been amassing demos here…so you can count on it plenty of new songs, especially at our live shows.

Olya: Yes. Like I mentioned earlier, we just finished shooting a video for our next single, Upside Down, which will be A LOT of fun. There are many new songs in the making and we like this new material so much that it is hard to pick which one has to come out next. It is a blessing and a curse of an independent artist: you make all of the decisions on your own. (More of a blessing, of course). No, total blessing, but a pain in the arse sometimes. Haha.

Can you reveal how Scarlet Sails got together? How did you find one another?

Brian: I had all but given up on the idea of finding someone until one night I found myself at a Black Flag tribute show on the Lower East Side at a club called Bowery Electric and, after the show, I was not just ‘shot’, but maimed by Cupid’s arrow, upon seeing Olya and talking with her. A friendship led to courtship and soon we began playing music together, working on her songs.

Since she told me it was her dream to pursue music for her life, and the amazing foundation we’d developed together, we knew that we could share our dream together and found the right person in each other - rather than feel at odds with a partner who couldn’t relate to our passion to play music.

Best fu*king thing that’s ever happened to me.

Olya: BOOM! I think Brian’s answer sums it up perfectly. Haha. I feel the same way. ALL THE WAY…

Brian. You are half of The Dresden Dolls. Was it easy transitioning to life in a band like Scarlet Sails?

It was absolutely second nature by this point. There are so many parallels in terms of the passion, commitment; the focus and the creative process involved, especially when one feels a stake in a band’s mission as a founding member and not just a sideman to help achieve an end, that it spoke as an absolute extension of my life, rather than switching gears.

Ironically, it was Violent Femmes that I left to pursue Scarlet Sails (not The Dolls) and the Femmes were, in many ways, the same situation as a new band because they hadn’t released an album for nearly fifteen years…so there was a lot of work to do, interpersonally and logistically, when I joined them...just like a new band starting out.

The most crucial thing for me is feeling like I’m working to my capacity with other people who equally invested in creating music we love. It’s very rare, so I appreciate the fact I can share that experience with Olya, Mark and Kevin in Scarlet Sails.

Brooklyn is where you are based. What is the music scene like there? Is it the best area of New York to discover hot new artists?

We’re actually based in Manhattan and the music scene across all N.Y.C. is diverse and fragmented; always in flux with bands, venues and neighborhoods hailed as the next cool thing that people flock to. I lived in Williamsburg, BK in 2007 and have lived at this crazy, huge old rent-controlled brownstone since 2008 and I absolutely love it here as a home base - though I’ve always looked internationally when it comes to music. 

I get out to support the bands here I do love here and, otherwise, keep my sites on the big picture for making the best music we can building a connected scene with bands across continents…

Olya: You can discover a hot new artist anywhere. I don’t think it’s fair to say Brooklyn is the destination for it. There’s Lower East Side, there’s Harlem; there are some random clubs in Queens and all over five boroughs where you can hear someone or some band incredible playing. We’re lucky in New York: we just have to provide eyes and ears. Everything else is already here in abundance.

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

Brian: We have a run of headline dates and festivals in the Northeast U.S. in June and July which people can find right HERE - including playing with The Posies in Boston on their thirtieth-anniversary tour, which we’re stoked about.

Might you come to the U.K. before the end of the year?

Yes! As we switched agents just recently, we’re booking a short U.K. tour in the first ten days of November to follow the Dresden Dolls shows. Updates soon. Can’t wait!

Olya: We just got a confirmation from our booking agent that we will be there sometime in November! I love British music and British culture and it’s gonna be my first time in the U.K., so I’m extremely excited for this run.

What do you hope to achieve in 2018?

Brian: Worrying less about controlling the outcome of things and having more trust in everything working out and presenting situations I couldn’t have imagined.

Olya: I hope for us to continue doing what we love and to get to travel more playing shows across the globe.

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

Brian: SO MANY! The camaraderie and friendships that stemmed from the 2007 tour with Cyndi Lauper; the surrealistic experience of recording with Nine Inch Nails on a junk-pile drum-kit I made; stumbling around the majestic setting in the rainforest at the Fuji Rock Festival in Japan.

This might seem a silly one, but one of the best things I ever heard was driving back from New Hampshire after Scarlet Sails first gig there and Olya had her feet up on the dash of the van. Judas Priest cranked on the stereo, munching snacks, and she says with a smile: “This is the life…”. I get emotional thinking of it…

Olya: My new fave is this video shoot we finished yesterday - the time we recorded our new single for Upside Down. Almost every new music memory is my favorite. Haha. I loved touring with Nina Diaz and covering Under Pressure with her...

Loved singing Delilah with Dresden Dolls. Love every show we get to play with Scarlet Sails; headlining Gramercy Theatre was amazing at the end of 2017. Really looking forward to playing with The Posies in Boston and headlining the Not Your Mother’s Music Festival with Drake Bell.

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

Brian: Nick Cave and the Bad Seeds, with an endless supply of noise-makers and Silly String on the rider, for contrast.

Olya: The Killers put one of my fav live shows so they would be great to tour with. Nick Cave is great, too. For the rider, I just need plenty of water, cucumber; strawberries and a massage therapist.

What advice would you give to new artists coming through?

Brian: Don’t spread yourself too thin: pick something you’re passionate about and commit to it and give it all you’ve got; never do it half-assed. Ask around for help and use your resources creatively for everything else. Get people involved around you that care.

Olya: Believe in yourself. Don’t let anyone put doubts in your head. You pick the road, you stick to it. It’s your life and nobody can’t take it away from you…

IN THIS PHOTO: Vista Kicks/PHOTO CREDIT: Anna Maria Lopez

Are there any new artists you recommend we check out?

Olya: I like Woodhead (New York band, really good friends), Vista Kicks (based in L.A.); Kelli Schaefer (Portland, OR), Uni (New York); Starbenders (Atlanta), Fiona Silver (New York) and Luke Buck (New York).

IN THIS IMAGE: Kelli Schaefer

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

Brian: I have pet dogs. I do some gardening, or go to the beach and get in the ocean (or a combination of one and three...).

Olya: Walking, biking; reading, seeing friends; watching movies and traveling for fun.

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).

Brian: Here’s a song more people should sing to relieve stress: 

Fuck 'Em - Shell Silverstein

Olya: Something that was stuck in my head while I was answering the question for this interview: Childish Gambino - Redbone

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Follow Scarlet Sails

Official:

http://scarletsailsband.com/

Facebook:

https://www.facebook.com/scarletsailsband/

Twitter:

https://twitter.com/_scarletsails

Instagram:

https://www.instagram.com/ScarletSailsBand/

SoundCloud:

https://soundcloud.com/scarlet-sails-band

YouTube:

https://www.youtube.com/channel/UCo79HgXPheODvdEj-kmfO1Q

INTERVIEW: Individual Recordings

INTERVIEW:

Individual Recordings

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THERE is that blend of enigma and raw honesty…

when listening to the music of Individual Recordings. I have been talking to Paul, the man behind the music, and how the concept got started; how he came to work alongside Bethany Compson-Bradford and whether there is a chance he will take his work on the road.

I learn how all the fascinating sounds come together and what we can expect from the forthcoming album; when music arrived in Pau’s life and what advice he would give to fresh artists coming through – the talented musician recommends a new act worth some time and affection.

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

Fine. Thank you for asking. I'd say that the week's been an average week…

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

I promote my own music under the banner ‘Individual Recordings’.

I have chosen to describe the music as a kind of dramatic, contemporary orchestral Electronica...that's fairly downtempo.

What is ‘Individual Recordings’ and how did the concept come together?

To be honest, Individual Recordings was born out of dissatisfaction with the commonplace plugging of a particular type of music that appeared happily de-differentiated from the standard - and was certainly not creatively divergent from it.

I thought that I needed to have a go at creating some sort of sound that didn't conform to ‘production house rules’ and that was not particularly concerned with popular expectations regarding song construction, whilst not completely divorcing any work from the mainstream.

Perhaps, a little strangely, I was inspired by the curiosity that is The Langley Schools Music Project and some rather bare and naive recordings made back in the mid-1970s by a Canadian music teacher and an orchestra of students from various elementary schools of the Langley School District in British Columbia. The recordings were very lo-fi but easily found an audience by offering arrangements of a bold selection of classic songs that were interestingly re-contextualised by the simplicity and honesty to be found in the orchestra's recorded performance.

People found that they could relate to the work; an expression of emotion communicated through music that had an unrefined nature and that revealed essentially flawed mechanics. It was music divested of any pretence to be anything other than a sonic capture of the moment; honest and real.

Yep…that's what I wanted to create.

There is a cinematic aspect to the work. How do those sounds come together and form?

Sound can be manipulated in any way these days.

I start with a theme or motif and, then, experimenting with instrumentation, work it in ‘off-centre’ directions  hoping that the result will provide some sort of emotional impact. Generally, I find I end up with some sort of an orchestral core bathed in a constructed ambience...or something like that, anyway.

How did you come to meet Bethany Compson-Bradford? Did her talent and voice add something special to your work, would you say?

Simply, Bethany kindly responded to a ‘shout-out’ for a singer.

She had London West-End stage experience which I thought impressive, and she immediately demonstrated a capacity to alter her vocal style/intensity in precise keeping with my intentions for a song. If the songs that have been recorded meet with a positive response, then it is without doubt largely due to Bethany's vocals: interesting, emotional, beguiling.

I believe an album is out later in the year. What sort of themes and ideas can we expect to find?

Well. It's probably fair enough to say that it will not be hailed as a jolly sing-along experience. They'll be ghost motifs of fragility, underscores expressing unspoken emotion and a tidal rush of orchestral sound. Ultimately, of course, the songs featuring on the album will be whatever people find them to be. I can only hope that a listener finds them engaging, different and deserving of re-play.

When did music come into your life? Were you always drawn more to sounds and composition than conventional choruses?

Probably began to pay attention to music in the mid-teens…

My taste is music has changed over the years. Once, I was easily seduced by guitar-dominant works and found immediate appeal in hook-laden verse/chorus/verse etc. compositions. Whilst I do still enjoy moments of higher-octane/higher-energy music and songs/styles that venture into the anthemic, I have found that, nowadays, I am given to spending more time investigating the way music can convey feeling through generously-detailed and texturally ornate waveforms. I find that, often, the only way to introduce those elements of detail and texture is to visit an idea in an orchestral setting.

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

No touring is planned. I'll wait for the demand! (I won't be holding my breath).

How does an Individual Records performance sound? Is it easy translating the songs onto the stage?

The Individual Recordings sound was designed without any consideration being made of later live performance. Recordings were split between venues/studios and the resulting recording stems combined at leisure elsewhere.

Actually, on reflection, this might turn out to be a good thing as it would mean that, ‘on stage’; with parts re-worked with new instruments, the songs would take on a fresh character.

That sounds exciting!

What do you hope to achieve in 2018?

Some recognition that the music exists…

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

Politely telling someone playing the euphonium to be quiet.

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

Almost impossible to answer: I could give the title of three albums but, if you asked again in another year or two, I wouldn't give the same answer.

What advice would you give to new artists coming through?

Always think about what you could change regarding what you’re producing to better bring originality and individuality to the mix.

IMAGE CREDIT: Half Formed Things

Are there any new artists you recommend we check out?

I would like to recommend Half Formed Things from Edinburgh.

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

If ‘chilling’ is getting excited by sports events, then, yes, by doing that. Unwinding is probably best achieved by spending time doing stuff in the garden (obviously, not when it's raining)

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

I'd like to just mix it up a bit and select a piece of music from Gattaca: Original Motion Picture Soundtrack (1997). Is that okay? The track is The Departure.

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Follow Individual Recordings

Official:

http://www.individualrecordings.co.uk/

Twitter:

https://twitter.com/kindofcinematic

SoundCloud:

https://soundcloud.com/individualrecordings

INTERVIEW: Jordan Mackampa

INTERVIEW:

PHOTO CREDIT: Sequoia Ziff 

Jordan Mackampa

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HIS latest single is an awesome and powerful…

burst of Soul that gets into the mind and lifts the spirit. Jordan Mackampa talks to me about One in the Same and the story behind it. The talented musician discusses his Congolese roots and when music came into his life; whether more material will come along the line – he recommends new musicians we should follow.

Mackampa talks about growing up in the Midlands and what sort of gigs are coming up; what it was like working with Benjamin Francis Leftwich; how he spends his time away from music; three albums that mean a lot to him – he offers some good advice for songwriters coming through.

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

Hello. I’m well, thanks. Feeling a little bit under weather, but I’ll bounce back soon.

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

I would describe myself as a singer-songwriter who blends just the right amount of modern Folk and classic Soul and Blues.

One in the Same is your new track. Can you talk about its origins and backstory?

The song originally started with me messing around with some open tunings on my guitar, until I landed in a key that felt comfortable in. Skip past the hours of meaningless fondling and I had some sections down which could be interpreted as press, choruses; breakdowns etc., but I knew I definitely had the first verse cemented, which I then sent over in a voice note via email to Matt and Ben before our session the following day.

The song is basically about modern day communication and how we take for granted how easily we can text, FaceTime or even call a friend/loved one, which I believe has affected the way we talk to one another - there is a lot to be misunderstood through a phone call and there’s even more than can be misinterpreted through a lack of human interaction. We are all connected electronically, yet distant from each other somewhat physically and emotionally.

What was it like working alongside Benjamin Francis Leftwich and Matt Ingram writing this song?

I’ve known and worked with Matt quite extensively over the past three or so years: he played the drums on my first E.P., Physics; co-wrote Teardrops in a Hurricane on my second E.P., Tales from the Broken, which he also produced and we’ve just maintained a great working relationship and friendship since. Getting to write with B.F.L. was a dream. I’ve been a fan of his work since the early days and first met him at Barn on the Farm last year. We did that typical music industry of saying ‘let’s work together, let’s write something etc. etc.’ - but this time actually followed through with it and produced something I’m incredibly proud of.

Then, all we needed was Cam Blackwood to add his magic touches to it and we were good to go…

Is there more material coming later in the year?

Absolutely. The music I’ll be releasing now reflects the direction I want to take within my career: not just writing music for the sake of it, but giving the music some substance...about daily things we all good through, whether they are good or bad.

Give me a sense of the artists you grew up listening to. When did music come into your life?

Music has been in my life from a very young age: my mum has always said I was singing before I could talk! She told me a story once of how we were at my uncle’s house back in D.R. Congo. He used to hand-make guitars from the trees in his back garden and sold them to customers in his stall. One evening, we were sat in his living room. I must have been very young at the time, nine, maybe ten months, but I crawled over to one of his guitars and plucked a string with such a force and just turned around to my mum with a look of amazement on my face like I’d discovered the secret to life. My uncle said to her: “He’s found his calling” - and I think it was at that point my mum knew I was going to end up doing something with music sooner or later.

Because of my Congolese roots, I grew up listening to traditional music from my country a lot. It was constantly played in the house, especially on Sundays when we had to clean. As I got older, particularly during my teen years, I developed my own taste of what I liked, which is how I stumbled across Folk music and these extraordinary writers like Bob Dylan, Neil Young; Joni Mitchell - writers of whom didn’t need much more than a guitar and an audience to tell a story that could capture hearts and minds within a few words.

How important was your mother and her love of Soul to your roots and development?

My mother’s taste in music definitely influenced my sense of rhythm and melody. If it wasn’t for her and her love of divas and groove - from artists such as Whitney Houston, Chaka Khan; Stevie Wonder, Michael Jackson; Bill Withers, James Brown; Diana Ross, Aretha Franklin and so forth - I wouldn’t understand how pitch, tone and key all play such a part in music - in addition to how they play on the listener’s emotions during a song.

You were raised in the Midlands but have Congolese roots. Do you feel you mix these disparate and diverse worlds into your sound?

I guess you could say so. It is not something I pay that much attention to if I’m honest: I just try to write what I know, taking influences from sounds that I like that I feel could work for that particular song…

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

I’ve just announced my biggest headline tour to date across the U.K. and E.U. in October as well as a few summer festivals.

What do you hope to achieve in 2018?

I hope to have recorded my first album.

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

One that sticks to mind was my first solo show in Brussels, Belgium. It was one of those shows where I expected no one to come and we ended up filling the room - with lots more people eager to come and waiting on the stairs! I ended up playing for an extra hour than I was supposed to because I was having so much fun - and staying behind just chatting with people saying ‘thank you’.

It made me realise how far music can reach someone and the effect it has on them too.

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

This Is always the hardest question to answer! I can never decide because I don’t have three favourite albums: I have about three-hundred!

An album that definitely means a lot to me, however, would be Every Kingdom by Ben Howard. It really influenced the finger style of picking/plucking that I do now, for sure. Mylo Xyloto by Coldplay because it was the first grown-up show that I had saved up for to see and it has one of my favourite songs on the planet on that album, Us Against the World.

I think my final choice is A Different Kind of Fix by Bombay Bicycle Club. Every song, every word; back to front, I know it all. Listen to it and tell me I’m lying…

What advice would you give to new artists coming through?

Trust your gut. Always. It’s never going to steer you wrong, ever. No matter what your label says, managers say; friends say, fans say…trust your gut. You’re the only person in control of your career and your music.

Trust your gut. Always.

IN THIS PHOTO: Fenne Lily/PHOTO CREDIT: Hollie Fernando Photography

Are there any new artists you recommend we check out?

Fenne Lily, George Ogilvie; Million Miles, Mali Hayes; Oliver Pinder, Luna Delirious and Angelboy + the Halos.

IN THIS PHOTO: Million Miles

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

Face masks, cooking good soul food and listening to lo-fi Jazz music. Keeping it simple is the key to chilling out.

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).

Bill Withers - Use Me Up

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Follow Jordan Mackampa

Official:

https://www.jordanmackampa.com/

Facebook:

https://www.facebook.com/JordanMackampaMusic

Instagram:

https://www.instagram.com/jordanmackampa/

Twitter:

https://twitter.com/JordanMackampa

SoundCloud:

https://soundcloud.com/jordanmackampa

Spotify:

https://open.spotify.com/artist/24WPEGLYPvEsmk4GSDFyST

YouTube:

https://www.youtube.com/channel/UCl6F7LtY4TfByEISmpr25pw

INTERVIEW: JOYYA

INTERVIEW:

JOYYA

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THE awesome duo of JOYYA…

moved from Newcastle to London four years ago and, since then, have been making a name for themselves! In a revealing and open interview; Ben Dancer and David Pullen talk about their musical progression and how their new track, Horizon, came to be.

The guys reveal whether more material is coming up and when they started making music together; what life is like in London right now; if there are upcoming artists we need to seek out; what tour dates are around the corner; what sort of music they are influenced by – the boys each select a song to end the interview with.

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

Hello! We are great, thanks. Although, we are both still recovering from running the Hackney Half Marathon on Sunday, 20th May, which we did to help raise awareness and support for the charity CALM (Campaign Against Living Miserably).

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

We are called JOYYA, a duo consisting of Ben Dancer and David Pullen, and we love writing Electronic-Pop music that genuinely gives us a buzz to play and, hopefully, a buzz to anyone who listens to it.

 

Horizon is your new track. It seems to be a double-edged love letter. What sparked the moment the song was written?

In 2014, we both moved down to London from Newcastle and our latest song, Horizon, encapsulates the rollercoaster of emotions we both felt during the move. It was a huge jump for us both and the song definitely draws upon our anxiety, excitement and determination.

What is it like being in the city right now? As musicians; are there more advantages than disadvantages?

On balance, London is amazing - there really isn’t a city quite like it. It’s only when you get here that you really start to appreciate the sheer size of it and how much amazing music is being made here.

How did JOYYA get together? When did you start making music with each other?

We’ve actually been making music together for over ten years now, although this has been through a couple of different projects. When we both moved to London, we started meeting up just to keep playing more than anything and very quickly found ourselves writing new songs that felt incredibly exciting to play.

Therefore, we quickly decided to get our new material recorded and out there…

Is there more material coming from you guys in the coming months?

There certainly is! We’ve written so many new songs now, about half of which we’ve recorded and started mixing. We’re just keen to get them finished and out there for people to hear!

Who would you each count as influences? Did you grow up around a lot of different sounds?

As it happens, both of our dads play in Classic-Rock and Punk cover bands so, from a very early age, we’ve both been immersed in the classic sounds of The Clash through to The Who. I wouldn’t say these influences come through in our music too much, but it does mean we both seem to like very similar musical styles and sounds - which work really well when we write new music together.

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

Our very next live show will be in Newcastle on 9th June at Evolution Emerging and we are very excited to be opening up the BBC Introducing stage. After that, we have a couple of London shows pencilled in but we are waiting to get these all confirmed up before we announce them, so keep an eye out as we have much more to follow.

If we come and see you play; what can we expect in terms of the material played and set-up?

Between the two of us, we try and play every instrument and every part between us. It makes for a more challenging performance but keeps it as live and as energetic as possible. We also always try and squeeze in as many songs as possible whenever we play, as we love playing our songs and trying to cut songs out of a set always feels like trying to pick your favourite child...if we had children that is...

What do you hope to achieve in 2018?

We have lots of exciting things planned for the rest of 2018 but, overall, the main aim is to keep building our momentum through releasing more songs and playing as many more shows as possible.

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

This is a tough one...

Ben’s is when we had the opportunity to perform on the BBC Introducing stage at Glastonbury in 2011 and our first real taste of what it could be like if we kept working hard towards our dream.

David’s is when we recently supported Fickle Friends at the Riverside in Newcastle, as we are big fans of their music and have supported and watched them over the last couple of years - so it was amazing to get to play with them.

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

I think this would have to be HONNE - one of our favourite bands at the moment. The rider wouldn’t be too exotic...just some beers and maybe some scran, too, would be a bonus. 

What advice would you give to new artists coming through?

The main thing would be to believe in yourself and believe in the music you’re making. If you love what you’re doing, the chances are somebody else out there will love it too. 

IN THIS PHOTO: Cape Cub

Are there any new artists you recommend we check out?

We could give you a list longer than our arm...

But, if we had to pick one, we’d definitely say Cape Cub. Such beautiful music - and also incredibly nice lads, too.

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

For both of us, music is our main way of unwinding from our everyday lives as we both also have pretty intense London jobs during the week. However, when we take a break from music as well, this typically involves going away with our girlfriends to somewhere quiet, away from the city.

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).

Ben: HONNE – Sometimes

David: Reno & Rome - Our Love

Thank you so much for the interview!

Speak soon,

David & Ben

(JOYYA)

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Follow JOYYA

Official:

http://thisisjoyya.com/

Facebook:

https://www.facebook.com/thisisjoyya

Instagram:

https://www.instagram.com/thisisjoyya/

Twitter:

https://twitter.com/thisisjoyya

SoundCloud:

https://soundcloud.com/thisisjoyya

Spotify:

https://open.spotify.com/artist/3tbNz9tZJWyHm8221xs3I5

YouTube:

https://www.youtube.com/channel/UCwNCY-7wWS_fq_W87aOanqQ

FEATURE: Charles Darwin’s Final Diary Entry: Damon Albarn: The Ever-Evolving Icon

FEATURE:

 

Charles Darwin’s Final Diary Entry

Damon Albarn: The Ever-Evolving Icon

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WHETHER he is working in Mali…

or performing music with The Orchestra of Syrian Musicians; there is no denying the curiosity and worldliness of Damon Albarn is endless! I remember encountering (through the speakers) the Blur frontman when the band’s first album, Leisure, came out in 1991. That record, whilst not universally well-received and adored, did show the songwriter has a unique edge and an immediate talent. In terms of Blur lineage; one can see the music develop and become more ambitious. From Parklife (1994) and its commentaries on everyday life and ordinary people, through to the more American sounds-driven eponymous album (1997); the diverse and variegated/Morrocan-influenced sounds of Think Tank (2003) – Albarn has been at the centre and orchestrated the band’s finest moments. As a lyricist, he can switch from that keen observer and working-class poet who beautifully articulates Britishness and conversations that happen over garden fences. He can score sweeping and affecting songs (This Is a Low, Parklife) or straight-up Punk punches (Chinese Bombs, Blur). If the band are past their best days, or on a long hiatus, you cannot deny the legacy he left. Whether tussling with the Gallagher brothers in the 1990s – in print form, rather than physical – when Britain’s two biggest bands were vying for regency and respect; making some of the best music of the 1990s or amazing critics with his versatility – nobody can talent the innate and peerless talent of Albarn!

One of the reasons I am so blown away by Damon Albarn is his endless capacity for creativity and passion. He recently conducted an interview with Matt Everitt and was subjected to some good-natured ribbing. More than one source has playfully teased Albarn about his astonishing work-rate: the fact musicians feel bad in comparison and are made to look bad! Albarn retorted with humility and explained how he is only in the studio Monday-through-Friday and works normal office hours. The man spends his weekends doing what he wants and does not slavishly spend time in the studio when there is no need. That, if anything, makes the productivity all the more extraordinary and impressive! I guess the disciplined routine and lack of burn-out means Albarn has the energy to do what he wants and produce stunning work. Blur’s debut album was released in 1991 and, since then, there has barely been a year when the songwriter has been dormant. You can hear that inquisitive and busy mind literally going all around the world and picking up new sounds. He has worked with Syrian musicians and spent a lot of time in Africa. He has assimilated Asian elements into music and explored the very marrow of Britishness. Just shy of a South American odyssey or some Australian magic; Albarn has conquered every continent and collaborated with a host of musicians.

PHOTO CREDIT: Aaron Richter

Blur’s work has inspired countless bands and defined why British music, in the 1990s, was so revered and respected. As a solo artist, he released his debut in 2014 and gained a lot of love from critics. It is amazing when you realise Albarn is part of four different music outlets. He works on solo stuff and Blur’s material; he is part of The Good, The Bad & The Queen and is one of the animated figures from Gorillaz. Albarn worked with African musicians back in 2013 (the album, Maison Des Jeunes, was part of the Africa Express project) and has recorded on various soundtracks, too. He composed the music for the 2015 musical, Wonder.land – an Alice in Wonderland-style project - and continues to work endlessly. He revealed to Everitt, during their talk, there will be another record from The Good, The Bad & The Queen; a further Gorillaz album, The Now Now, and, who knows...maybe another Albarn solo album?! I am not sure whether Blur can follow 2015’s The Magic Whip but who knows when it comes to Damon Albarn – a new record might already be in the can! Jack White, in his career, has worked in four different guises – a solo artist, one-half of The White Stripes; The Raconteurs and The Dead Weather – and recorded slightly less music than Albarn. Both are tremendous innovators and, if you had to look at pure quality and who has made the biggest impact on music…you’d have to give the edge to Albarn.

There are a few other musicians who shift between projects but few have the chameleon-like skill of Albarn and take from such a wide and broad palette. I love the sonic shifts and beautiful moments on Think Tank; I admire Albarn’s hook-up with The Orchestra of Syrian Musicians; his early work amazed the senses and now, at fifty, it seems a perfect time to commend the songwriter and see how far he has come. I can honestly see him recording music into his eighties! The man loves what he does and is always at the forefront of the musical consciousness. Recently, he revealed he turned down a collaboration with Prince (he wasn’t allowed to smoke in the studio - the nerve!) and reacted to Arctic Monkeys’ latest record; he has opinions regarding Brexit and was keen to offer his thoughts on the royal wedding – he is an everyman who understands what is best for the nation and has that political heartbeat. Albarn is a humanitarian and someone who wants what is best for the world. This year will see more material from Albarn and lots of new, exciting offerings. He has, with a sly wink, promised next year will be quieter and he may only release the one album – such a lazy bastard! In addition to passing fifty and gearing up for the next phase in his career; the reason I wanted to highlight Damon Albarn is how he approaches music and the variation he offers.

PHOTO CREDIT: Nathaniel Welch/NY Times/Redux

There have been interviews where that question has been raised: Will Blur record another album?! Albarn knows there are three other people to consider when it comes to studio time – he is easy-going and can make a Blur album when he wishes. I have respected and followed the work of Damon Albarn since Blur’s first single and, being fifteen years younger than him, do not feel that different to him. Albarn has a few more grey hairs but, in essence, has no plans to slow down. It is his infectious desire to convey himself through music that gets to me. So many modern musicians get trapped in a rut and can get rather downtrodden. The industry is hard and people putting in insane hours! Maybe Albarn, if he was coming into music now, would face the same hurdles as everyone else. It might not be easy to stick to a five-day week and have that sort of casual attitude to recording. I think Albarn’s endeavour and versatility should give guidance to people out there. When artists collaborate, it tends to be quite limited and, if they stretch their compositional wings, it is never as far-reaching and fascinating as it could be! Again, maybe Albarn has that cache and access to resources newer musicians do not. I feel it is the way he (Albarn) approaches music and thinks about the world that should be taken to heart.

He is a composer whose ear is to the ground and keen to expose those artists that do not get the credit they deserve. Working with a Syrian orchestra, in these charged times, could have been seen as a bold and risky manoeuvre. To Damon Albarn, it was part of his job and nothing was going to stop him! To me, the Londoner has not changed his perspective on the world and let fame change him at all. Many of Albarn’s peers have lost sight of where they came from and why they got into music to begin with. Excess, wealth and popularity go to their head and they start to lose what made them special. Even if he is not as floppy-haired and youthful as the man who sung She’s So High (Leisure, 1991); there is evidence to suggest the maestro has many more years left in him. From a Bugman to the leader of Gorillaz – the man is constantly evolving, growing and changing musical forms. Not everything he has touched is golden – one or two so-so Blur albums; Gorillaz have had some average reviews along the way – but even a semi-promising Damon Albarn creation is far stronger than most of the music out there! Like the aforementioned Jack White, it is that unwillingness to disconnect from music and be ‘ordinary’ that drives the genius forward. Not willing to stick with one style and voice; switching faces and getting involved with music’s full spectrum means the creative juices keep flowing and the possibilities are endless.

Maybe we will see a Damon Albarn novel or short film along the way; there could be another solo record or he might go back into musical/theastre territory – an operatic piece or a commentary on modern Britain. It seems, in 2018, we are crying out for the sort of Blur observations that slayed critics back in the 1990s. We have few songwriters who can represent the voice of the average citizen with such wit, intelligence and pathos. Albarn is an evergreen influencer whose energy and talent is stunning to say the very least. Maybe his claims of a five-day studio lifestyle are true – I suspect he nips in there at the weekends occasionally – and he gets plenty of time to blow off steam. We have seen various lifecycles and reformations come from Damon Albarn. Even at the age of fifty, one suspects there will be more extraordinary records and movements from a musician who barely seems to tire and age! Keep your eyes out for new material from Gorillaz, The Good, The Bad & The Queen and, I believe, Africa Express. You never know what the man is up to and what an album of his will possess. It may have a vivacious and shimmering electronic fizz or some African-tinged orchestrations; it might be a guitar-laced rave-up or an acoustic number that looks at our interaction with machinery. Albarn’s mind is always working and the breadth of work he has given us is nothing short of phenomenal. So many of his contemporaries have faded and dropped off the radar but, if anything, Albarn is more focused and driven than ever. At a time when we need leaders to come through and inspire the new generation; witnessing Damon Albarn plot, plan and tease is…

PHOTO CREDIT: Gilbert Blecken (1993)

SUCH a wonderful thing to see.  

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ALL PHOTOS (unless credited otherwise): Getty Images

INTERVIEW: Between Giants

INTERVIEW:

Between Giants

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I am ending my interviewing weekend…

with a look at the new music of Between Giants. It is the moniker of Tyler John and I was eager to speak with the Florida-based musician about the new single, Nevemind – he explains how Between Giants came to be and what the project represents.

Between Giants explains hooking up with Kalimur and how music came into his life; whether there are tour dates coming up; if there are any things to tick off a list before the end of this year; some new artists that we need to be aware of – the songwriter ends the interview by selecting a rather nice song.

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

Yo! I am terrible - and this has been the worst week of my entire life. I wonder if anyone has actually said that on here. I’m messing. I am fantastic! Every day I am here is a good one.

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

Absolutely. My name is Tyler John and I am ‘Between Giants’. The sound behind the project utilises many different genres and instruments and brings them together into a coalescence of gritty Electro-Indie-Pop. Keeping fee good vibes with a bite that forces you to really listen…

How did ‘Between Giants’ start life? How did you come up with that name?

Inspiration for the name hit when I was downtown in my city of Orlando and saw a painting of a man lost in the forest. The project began when I felt the need to write and sing my own songs.

Nevermind is the last single from your upcoming album. Is there a story behind the song?

Absolutely. I often have difficulty articulating my emotions for fear of being vulnerable to people. It is a serious problem! Nevermind is essentially my ode to that, pushing people away because it is easier than opening myself up but still yearning to express myself. A walking contradiction, really. The chorus refrain summarizes it well: “By the way, I more than love you – nevermind”.

The band, Kalimur, feature on the track. How did you come to meet them? What was that experience like?

Kalimur was actually a band that I created with my best friend Brett. We started it up years ago and saw great success – eventually, it was time to go our own ways creatively and it was amazing to be able to collaborate with him again through a collective vision.

He adds so much to any creative setting and made the process beyond-amazing. An extreme talent in all aspects of music and an even better human being.

Talk to me about the album and what we will expect in terms of themes and stories.

Thematically, really it all boils down to love, all aspects of it, good and bad; the beauty, the pain and the madness.

How did music come into your life? Did you grow up in a musical household?

Yes! My mother is an artist and always had me involved in some sort of creative field (since I was very young). My father is a world-renowned shower singer as well - so take that for what it’s worth.

Are there any tour dates coming up?

Lining it up as we speak! Check back in a bit for sure and make sure to come out! I love meeting new people and hearing your stories.

What do you hope to achieve in 2018?

There is this new taco place I really want to try…as for the project; I want people to dig the album and also to go on another East Coast tour!

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

Returning to the town I went to college and high-school in on tour and playing the venue I used to go to see shows at. That was a major nostalgia trip, let me tell you. I felt so out of place playing there but, hopefully, I didn’t suck too bad.

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

The Cars, Badlands and A Fever You Can’t Sweat Out.

What advice would you give to new artists coming through?

Never stop, create genuinely and explore.

IMAGE CREDIT: @efekurnaz 

Are there any new artists you recommend we check out?

Definitely check out Kalimur (featured on the track). They just released a new single and have some amazing music. Brandyn Burnette is another artist that is killing the game. The Merks also have a unique sound.

IN THIS PHOTO: Brandyn Burnette

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

Almost none. Between full-time school, work and volunteering, almost all my free time is spent writing, producing or playing shows. Music is my escape, though, so it’s okay that the grind never really slows. As long as I am surrounded by good people, I am always at peace.

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).

Bump that new Kalimur song! (I Will Follow). Thanks for having me.

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Follow Between Giants

Facebook:

https://www.facebook.com/BetweenGiantsFL/

Twitter:

https://twitter.com/betweengiantsfl

SoundCloud:

https://soundcloud.com/betweengiantsofficial

Spotify:

https://open.spotify.com/artist/7BBAmjlRZDHAN8GOhRTQ6K?si=BzbqLo53S9CPQsqQ_stegw

Instagram:

https://www.instagram.com/betweengiantsofficial/

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

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…

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.

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.

 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”

“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.

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.

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.

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…

IN THIS PHOTO: The Beatles (circa 1963)

THAT changed music forever.