INTERVIEW: Lauren Lakis

INTERVIEW:

Lauren Lakis

___________

YOU only need to spend a few minutes with Lauren Lakis…

to realise she has experienced much adventure and wonder. I have been chatting with her about her transition into music and what her single, Lead Us On, is all about - Lakis reveals what we will hear on her upcoming album, FEROCIOUS.

She talks about L.A. and how it differs from her home of Baltimore; if there are any gigs booked in the diary; which new artists we should keep an eye out for; why her latest track carries serious emotional significance – Lakis explains how she spends her time away from music.

___________

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

Hey there, Sam. This week has been utterly ridiculous, but I can’t think of a week that *hasn’t* been over the past few months! This week, in particular, I mailed about 430 advance-promo C.D.s to radio stations around the U.S. I can only liken it to watching your child head into their first day of school; you hold your breath and hope that your creation goes out into the world and does something great…

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

Hell. I’m Lauren Lakis. I’m an artist unbounded my any specific medium and find most of my time devoted to performance and expression of some sort - whether it’s music-making, acting in films; shooting photos, or writing. My hope is to make art that helps us to connect with our hearts and each other.

Can you talk about Lead Us On and how the song started its life?

Lead Us On was the fourth song I wrote for the full album; at a time when I was going through the grieving process due to a break-up, as typical as I realize that is. I was vacillating between anger, denial; pain and loneliness and finally found myself in a state of surrender. I was resigned to the idea that, perhaps, I didn’t know what was best, perhaps I wasn’t right in my opinion; perhaps my partner was, indeed, smarter than me and knew something that I couldn’t accept.

The song was my way of declaring: “If this is what you want, then I trust you to lead the way and I will follow…lead us on into the night”. 

FEROCIOUS is your first full-length. What sort of themes, stories and ideas influenced the songs on the album?

Oh, this is definitely a break-up album. It’s all about loss, the dark night of the soul; summoning inner-strength to rebuild and create a life that is even better than what previously was. I explored the full spectrum of the grieving process with this album. It was pure catharsis. I had honestly never been so inspired. 

I was so in love, maybe for the first time with both feet in, and thought I had found ‘my person’. But, that relationship became incredibly co-dependent: we both relied on the other to feel happy and whole. It was bound to implode. My ex was facing some internal struggles and, while I don’t intend to air any of his dirty laundry; he had a breakdown of sorts and became this unrecognizable person to me. It felt like he had died. Looking back, I know that his struggles had nothing to do with me but, at the time, it didn’t seem that way.

I personalized it all. I remember lying in my bathtub, perfectly still, imagining being dead; thinking about who might find me and what people would say. It was all highly-dramatic, but made for excellent songwriting! 

Then, just as I was feeling okay with being alive, my mom was involved in a car accident and suffered a spinal cord injury. So, I immediately flew from L.A. to Baltimore to be with her in the hospital for a few weeks. That snapped me out of any residual self-pity left over from the break-up! I had no choice but to learn how to be strong for my mother.

Needless to say, it was a whirlwind of a year - and I had a lot of material to put into song.

Do you recall the moment music hit you? Why did you decide the industry was the one for you?

I can recall, actually! My mom’s boyfriend’s mother had given me a couple of C.D.s for Christmas one year when I was a kid and, randomly enough (I don’t think she knew much about music - my intuition tells me she picked out whatever looked cool!), she chose Fiona Apple’s Tidal and Garbage’s debut album. Those albums hit me like a ton of bricks. I couldn’t stop playing them and singing along. I wanted to be just like Fiona and Shirley. 

It’s interesting; I don’t know if I decided that the music industry was the one for me until this past year! I’ve been so reluctant to commit to it for so long and wrote my album out of sheer necessity, just for myself. I had no idea it would snowball into what it is. I wasn’t even sure I would record it in a legitimate studio! But, I did, and now I find myself completely entrenched, living and breathing music every single day.

You could call me a late-bloomer…

How vital is Baltimore in regards your drive and sound?

Baltimore city is absolutely vital; it informed me about the world and laid the groundwork for the rest of my life. It’s where I started creating art. It fascinated and terrified me. I’m so grateful to have grown up there as I was never a sheltered child and was keenly aware at a young age that the world could be a very unforgiving place. I have street smarts. It takes a lot to shock me. I’m pretty courageous. Those are all direct results of my hometown. 

I used to always compare Baltimore to Gotham City but maybe that’s a harsh comparison to make. I’m just aware of the darkness that is so prevalent in that city. Perhaps that’s why I’m attracted to dark/moody sounds and imagery. 

Baltimore also has a thriving community of artists working in all mediums - it’s an extremely supportive environment for anyone working in an artistic field. The rent is cheap and there is an actual community, which I miss after so many years in L.A.

Do uncomfortable moments and challenging situations propel and compel songs? You taught English in Prague and hung in warehouses with junkies – writing poetry and shooting the breeze. Do you collate all these lives and experiences when you create songs?

Oh, boy - is ‘junkie’ even a P.C. term anymore?! I guess it is what it is. I think that any life experience can be fuel for song-writing, absolutely. The more experiences, uncomfortable moments and challenges etc. that we face…the more fuel for the fire. I also think that, having had a multitude of different experiences and different ‘lives’, it has helped me to keep an open mind and not be so quick to judge how others choose to live. It’s increased my powers of empathy, which helps me to be a more inspired artist all around. 

Every time you head into the world and experience something new and wonderful. Is it a search for songwriting inspiration or your natural personality looking for new light and colour?!

Ha, ha; that’s just my natural personality. I’m not sure if the credit should be given to my zodiac sign, but I fit the Sagittarius description to a tee! I love to travel, learn about people and expose myself to new experiences. The richness of experience is what makes life so fantastic. I want to die with zero regrets. There is too much to see and do to fit into one lifetime!

Which artists did you grow up listening to? Who do you rank as musical idols?

I know she has a sorted reputation, but Courtney Love has always been a Punk-Rock goddess to me. Her voice and lyrics are so raw, so powerful and I love how she created her own opportunities. I was really into all the Riot Grrrl bands like Babes in Toyland and Bikini Kill. As a teenager, I listened to a lot of Against Me!, Coheed and Cambria; From Autumn to Ashes and Interpol - and got really into all the Alt-Rock of the '90s, even though it was slightly before my time. Portishead and Sneaker Pimps were on-repeat. Trent Reznor is forever a genius, in my book. Elizabeth Powell from Land of Talk is such a prolific songwriter. Peaches was a pioneer…

I’d love to make a covers album of my favorite lady musicians - it would include Cat Power, Hole; Fiona Apple, Björk; Heart, Garbage; Fleetwood Mac, Kate Bush; Juliana Hatfield, PJ Harvey and The Cranberries etc.

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

I’m embarking on a West Coast tour in July. We’re starting here in L.A. with the album release show (June 30th at the Handbag Factory in DTLA) and making our way through NorCal; a few stops in Oregon, Seattle, and then, a Denver show in August. I’d love to plan an East Coast tour after that and, eventually, a Euro tour….and, then, a world tour, if all goes as planned.

Might you come to the U.K. and play here?

That would be a dream. I’ve only ever had layovers at Heathrow: never a proper visit! 

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

Hmmmmm….I try not to get ahead of myself, because I certainly have the tendency to do so and keep my expectations low. However…if I could set high goals for myself I would love for one of my songs to become the theme for a T.V. show and have my songs played on national radio!

I’m also working on the next album, which is currently titled Taiwanese Night Market; so my goal is to spend some time shooting some film and video in that part of the world before the year is over. 

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

There are so many small moments that I cherish. It’s hard to say. Perhaps, my favorite was driving from L.A. to Austin last year with my producer and his sister’s boyfriend (whom I had just met), on a whim, to play a SXSW showcase. We decided, on a Friday afternoon, to leave that evening and drove straight through for about 24 hours. It was hilarious, and difficult, and it bonded us for life. 

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

Hole - Live Through This

Nine Inch Nail - The Fragile

Have a Nice Life - Deathconsciousness

What advice would you give to new artists coming through?

I feel like a new artist myself! But, for anyone else, I would tell them to just take it one day at a time. It’s easy to become overwhelmed when you’re first starting out - and realize how much work you’ll have to put into this endeavor if you’re ever going to get anywhere with it.

Just write for you; no thoughts of how it might be received. Keep doing it for as long as it’s fun and feels good. Keep it simple. Write from the heart, trust your instincts; work hard and be a good human. The rest will follow…

Are there any new artists you recommend we check out?

I’ll use this space to shout out my fellow Gooey Music artists - XHOANA X, MRK and Still Jill…also, Pipe Dreams and Velvet who are joining the bill for my release show.

IN THIS PHOTO: XHOANA X

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

These days? Nope! 

Kidding. Sort of…I love taking day trips - or even longer road trips. Driving on the open road is peaceful to me. I love to read, especially French authors of the 1930s and ‘40s like Jean-Paul Sartre, Antonin Artaud and Anaïs Nin. I also love to escape into (Haruki) Murakami’s stories.

Naps are vital...

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

I would love to play a show with Emma Ruth Rundle someday. Here’s one of her tracks - 

______________

Follow Lauren Lakis

Twitter:

https://twitter.com/LaurenALakis

Facebook:

https://www.facebook.com/Lauren-Lakis-147064835905359/

Instagram:

https://www.instagram.com/laurenlakis/

SoundCloud:

https://soundcloud.com/laurenlakis

Spotify:

https://open.spotify.com/artist/1lb2A86IQoaWDc57lUT7Qy

INTERVIEW: TWOGOOD

INTERVIEW:

TWOGOOD

___________

THERE is so much colour and fun in the world…

of the fabulous TWOGOOD. The duo consists of Tom and Jon, who have been talking about their brilliant new single, Raindrops, and working with Maddy on it – and the unusual circumstances behind her involvement!

I ask the guys (Tom fields the questions) what the scene is like in Bristol and whether we’ll get more music; how they formed way back and who they count as influences – they share some advice for new musicians and reveal what they have planned for the remainder of 2018.

___________

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

Not bad, man; been cracking on with lots of new music. We had a show in Nottingham last night. Stopped for breakfast on the way home and somehow ended up in a cat café. Turns out those places actually exist.

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

We’re Tom and Jon, A.K.A. ‘TWOGOOD’. We are a producer duo residing in Bristol, striving on providing new-school funky jams. 

How did TWOGOOD get together? When did you meet one another?

We both became residents for a night in Leeds. On the opening night, Jonny ended up breaking one of my decks during my first-ever D.J. set. (That kicked things off nicely). Safe to say I thought he was an A-star pr**k for at least six months. After I eventually came round and the dust had settled, we decided to write a track together.

The rest is history…

​​​​​​​

Talk to me about the latest single, Raindrops. What is the song all about?

Jonny was going through some heartbreak at the time so we figured we could use some of this as a stimulus to write something a little different to our usual upbeat party tunes. I suppose the song is just about a classic heartbreak situation. Textbook, but it’s always good to draw from your own experiences. 

Was it cool working with Maddy? How would you define what she brings to the recording?

Yeah. It was great, actually. With all of our previous tracks, the featured artists come prepared with their writing ready to record. But, with Maddy, she encouraged us to sit down as a team and collaborate. It was a totally new experience for us and changed our approach to collaborations for the better. 

I believe you met Maddy on the dodgems! Is it true she attacked you guys?!

It is. We were at a festival last year enjoying a casual ride on the bumper cars when we were attacked from behind by what appeared to be the smallest woman on the ride. We made it our mission to make sure she suffered at least third-degree whiplash by the time the five minutes were up.

Is there more material from TWOGOOD later this year?

This is just the beginning. We’re sat on about twelve unreleased original tracks - just need to set out the time to get them finished. Planning on having another three/four out this year, so hold tight. 

You are based in Bristol. Is there a good music scene in the city right now?

Yes, of course! It’s Bristol! It was pretty much the only persuasion strong enough to coax us out of our comfortable life in Leeds! By the time we were leaving, the whole city had gone pretty Techno.

Moving to Bristol was a breath of fresh air. The scene is diverse. Dig deep enough and you’ll probably find a night that caters for your tastes. 

I know you have opened for the likes of Grandmaster Flash. Which artists do you count as idols?

Nile Rodgers, James Brown; Todd Terje, Disclosure; FKJ…the list goes on.

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

We’ve got a jam-packed summer with over twelve U.K. festivals in the bag and a European tour is in discussion as we speak. Especially pumped for our debut appearance at Shambala this year. We’ll be releasing our whole summer schedule in the next couple of weeks, so keep an eye on our socials to get the full breakdown. 

What do you hope to achieve in 2018?

Get rid of Donald Trump. Maybe put out a few more tunes if we have time.

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

One that jumps to both of our minds was our delayed exit from AMP Lost & Found due to Jonny launching a twelve-pound burrito at a shuttle bus after the night had ended. It's safe to say that security was not very forgiving. Jonny's not been the same since.

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

Probably, Nile Rodgers. Not only do we have the utmost respect for him, but we’re also pretty sure he could tell a few good stories in the green room after.

Rider? Dunno…anything to convince him into recording a hit single with us that very evening. A couple of bottles of Patrón XO Cafe and several Valiums would surely do the trick. 

What advice would you give to new artists coming through?

Network as much as possible. Be seen. Infiltrate. It’s all about who you know. Also; never be afraid to ask people further along the line than you how they do things. We’ve harassed countless artists in an effort to pry golden nuggets of information from them. Try it. You’ll be surprised how many people are willing to help. 

Are there any new artists you recommend we check out?

Nope. Just us…

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

The truth is, no, we don’t. The thing about being an artist is it’s never finished; there is no end. So, it does take up a lot of our time, which is okay I guess because we do enjoy what we do. If we’re not having a good day, gluing pound coins to the pavement outside our house provides sufficient relief. 

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).

Richard Cheese - My Neck, My Back

We found ourselves in a caravan after jamming at a festival with our nearest and dearest when our ears were suddenly blessed by this seductive re-imagining of an all-time classic.

______________

Follow TWOGOOD

 Official:

https://www.twogoodofficial.com/

Twitter:

https://twitter.com/twogoodofficial

Facebook:

https://www.facebook.com/twogoodofficial

Instagram:

https://www.instagram.com/twogoodofficial/

SoundCloud:

https://soundcloud.com/twogoodofficial

Spotify:

https://open.spotify.com/artist/0734HdQDEd3Mc0olQ4DsCt

YouTube:

https://www.youtube.com/channel/UC5KSeWgPz4na9dWK0RK6HaA

FEATURE: A Century of Suffrage: The Empowerment Playlist

FEATURE:

 

A Century of Suffrage

PHOTO CREDIT: AP 

The Empowerment Playlist

__________

TODAY marks the one-hundredth anniversary…

PHOTO CREDIT: Unsplash

of women (some) being granted the right to vote. Up and down the country, there have been marches and rallies; women have been out in force to commemorate this landmark occasion. Even one-hundred years down the line, many argue there is a long way to go regards equal rights for women. There is a long way to go, to be honest, but look back one-hundred years and developments have been made since then. This article, published in The Guardian, highlights what has been happening today:

“In glorious sunshine the streets of the capitals of England, Scotland, Wales and Northern Ireland filled on Sunday afternoon with marching, cheering, singing, chanting women, rejoicing in the centenary of some women winning the right to vote in 1918 – and vowing to continue the struggle for true equality for all.

The events were both a commemoration of the mass marches and demonstrations of the suffragettes’ campaign, a celebration of their ultimate victory, and a reminder that there is still more to do at a time when women’s rights in Northern Ireland are a burning political issue.

The veteran politician Shirley Williams, observing the many men who did not march but stood on the pavements cheering on friends and family in the processions, told the BBC: “There has been a staggering leap forward and all we have to do now is persuade the men to leap forward to join us because they haven’t got there yet”.

PHOTO CREDIT: Reuters

Lady Williams said: “We’re slowly getting equality, but the next step is recognising the equality and the decency of all human beings, women and men”.

To mark an historic day; I have collated a playlist of empowering songs that provide a perfect soundtrack on a day like today – where voices have been united and women have been out in force. There is, as I say, a long way to go but there are hopes things will continue to improve – so long as there is activism and action. Take a listen to these defiant songs of strength and remember those, over one-hundred years ago, who fought so hard to…

PHOTO CREDIT: Getty Images

ENSURE women were granted the right to vote!

INTERVIEW: Glassmaps

INTERVIEW:

Glassmaps

___________

AS it has been a little while since…

I last spoke to Glassmaps; I felt it was right to poke my head around the kitchen window (if that works as a metaphor…) and see how things are! Joel Stein (also of Howling Bells) has been talking about his latest single, My Head My Heart, and its personal origins.

I ask the Australian artist (based in Brighton right now) how naturally the song came together; whether he has had a packed and hectic last year; where he heads from here – Stein tells me how life as Glassmaps differs to being part of Howling Bells.

___________

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

Hi. I’m good, thanks. My week has been colourful…

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

I’m awkward in social situations, but, I will give it a go…

I grew up in Australia where my first band, Howling Bells, was born. After touring and playing with Howling Bells for some time, I eventually felt the need to pilot my own ship, thus giving birth to ‘Glassmaps’.

My first album was recorded in Las Vegas in the rehearsal space of Mark Stoermer, the bassist from The Killers. I am currently in the process of recording my second album and can’t wait to finish it. I believe in the truth and being able to express it. To me, art is one of the most powerful forms of self-expression and self-realisation.

Can you tell me about My Head My Heart and what the origins of the song are?

The song is, literally, about my own personal battle between the head and the heart. I was in a destructive relationship. The beginning riff of the song was conceived on a phone app called Bebot in a hospital waiting-room in Germany. The rest of the song was written in my home that night (until the early hours of the morning). It was a long night...I wanted it to be as forthright as Arcade Fires’ My Body Is a Cage.

PHOTO CREDIT: @littletrousers

It sounds like the song came together in parts. Was it easy to put together – or was it a long process getting it all right?

I guess it did come together in parts. To be honest, some songs are like trying to get water out of a stone: you can hear it all in your head but just have to find a way of extracting it. This song was like that…

You have been busy the past year. How has life been since your debut album came out? Have you had a chance to rest and reflect?!

Life has been pretty much the same…except I just bought a yacht. Just kidding. Now, seriously, I don’t really rest; I’m an addictive writer. I get high on it. Music is everywhere. Ahhhh!

I believe you played The Great Escape Festival. What was that experience like?!

I loved playing The Great Escape. It’s a brilliant festival and I would love to be part of it every year.

Is there new material arriving later this year do you think?

Well. I would like to release new material this year but I’m not sure about releasing an album or an E.P. - I love a full body of work rather than just singles. Even though most of us listen to albums or music in fragments, I still believe in a body of work.

Still thinking…

PHOTO CREDIT: @littletrousers

How does life as Glassmaps differ to your work with Howling Bells? Has it been a learning curve working solo?

One day there’s four of you and then, all of a sudden, you’re stuck with the man in the mirror. I’ve always been comfortable working alone: now, I just do more of it. There are pros and cons. I mean, you can create anything you want without anyone else’s input. On the other hand, it’s a great thing to have someone else’s eyes and ears: sometimes, it’s hard to see the wood from the trees.

What comes next in terms of material from you? Might we see more before the end of the year?

I’m not sure what the plan is. I might make a phone call after this interview.

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

Hopefully, there will be a tour this year...

What do you hope to achieve in 2018?

I’d love My Head My Heart to get a massive synch on an awesome movie that breaks box office records. That would be cool. Oh…and also quit my day-job.

PHOTO CREDIT: @littletrousers

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

There have been some really surreal and big moments. I’d have to say the first Howling Bells tour was with a band called Forward Russia. One night after a show we were all jammed on our little tour bus called Road Runner...

We were all drinking apple juice listening to music as loud as possible and dancing all within an inch of each other; the windows were shut. It was pure energy. It was pure fun from the heart.

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

Sketches of Spain – Miles Davies

OK Computer – Radiohead

TNT – Tortoise

What advice would you give to new artists coming through?

If you don’t believe in yourself then no one will.

Are there any new artists you recommend we check out?

Andy Shauf – although, I’m not sure how new-new he is.

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

Not really. I love being with music. I run to unwind and I like to read. I’m reading Born to Run (Christopher McDougall); man, that book is insane! I also just read The Dude and the Zen Master. Absolutely brilliant.

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 about Andy Shauf again - with a song called The Magician. Cool melody and groove.

______________

Follow Glassmaps

Official:

http://www.glassmaps.co.uk/

Twitter:

https://twitter.com/Glassmaps

Facebook:

https://www.facebook.com/GlassmapsMusic

Instagram:

https://www.instagram.com/_glassmaps/

SoundCloud:

https://soundcloud.com/glassmaps

Spotify:

https://open.spotify.com/artist/1eDfQB7xs0fXoGpJoZkXjx

YouTube:

https://www.youtube.com/channel/UCpE9goxrMmOnBat2R_t3jwA

Bandcamp:

https://glassmaps.bandcamp.com/

FEATURE: Halfway to a Hit by The Hollies: There’s Something About Mary Anne Hobbs

FEATURE:

 

Halfway to a Hit by The Hollies  

IN THIS PHOTO: Mary Anne Hobbs/PHOTO CREDIT: Laura Lewis

There’s Something About Mary Anne Hobbs

__________

I am kickstarting a series that investigates…

PHOTO CREDIT: Laura Lewis

and highlights women in radio. A few inalienable facts remain unflinching and stubborn in my mind: the lack of women who are hosting drive-time shows on national radio is among the most alarming (fact). If one looks at the BBC stations and the bigger players in the market...you will know most of the best and hardest-promoted shows have men at the helm. It seems a strange and outdated construct that is unwilling to listen to the voices decrying music’s sexism. The reason I have started on this subject is that Mary Anne Hobbs, an icon and stalwart of the music industry, seems like a perfect voice to guide the stressed and weary commuter home from a day’s labour. The former Queen of BBC Radio 1; Hobbs now hosts the weekend morning slot on BBC Radio 6 Music – bringing her inimitable style and passion to the people; curing aching hangovers and educating minds in need of stimulation. I will come to an interview, conducted back in 2009, that showed how far the D.J. had come and why radio was a natural fit for her. Through my series, I will introduce female radio figures who are making a big impact or have endured for many years. One can talk about the natural progression for D.J.s – Mary Anne Hobbs went from XFM (now Radio X) to BBC Radio 1 – and how they, inevitably wind up on BBC Radio 2 or a somewhere where the demographic is a little less energetic.

What strikes me about Mary Anne Hobbs is how ageless and broad her appeal is. She is, I hope, someone who will not feel the need to retreat and resign to a lesser radio station: her natural home seems to be BBC Radio 6 Music and the freedom she has there. Surrounded by a great team – including Helen Weatherhead – it brings me back to my original thesis regarding radio’s gender-imbalance: why are we not promoting great D.J.s like Mary Anne Hobbs and putting them a lot higher up the family tree?! She loves where she is but (her talent) proves how great female D.J.s are as potent and influential as their male peers. There are a few things – I shall come to interview and biography later – that makes Hobbs one of the best D.J.s in the country right now. Today, I tuned into her morning show and it was filled with treasures. There was a report about Paul McCartney playing back in Liverpool, for one! It seems The Beatles legend played a secret gig at the Philharmonic pub in front of a modest selection of fans – he performed a Beatles-career-spanning set that was free from promotion and pomp. With James Corden in tow (no idea what his role was: he always seems to rile me!), the Liverpudlian icon delighted those lucky enough to be in attendance.

PHOTO CREDIT: Getty Images/Press

Hobbs’ show also celebrated two-hundred-and-fifty years of the Royal Academy and, as always, brought the listeners into the frame. Messages were read and she, like the best D.J.s around, made those listening feel involved with every movement and song. The passion and intrigue Hobbs has for music and its endless shape-shifting is what gets to me. Whether it is a tender and beguiling revelation from Nils Frahm – a favourite artist of hers – or a hard-cutting offering from Kendrick Lamar; there are no limits when it comes to her musical tastes. It seems rather insulting and stereotyping to say those who have been in the music industry for a certain time lose their edge and tend to focus on music that lacks bite. Hobbs would have the cool and quality-driven aspect were she not employed by BBC Radio 6 Music: the fact the station encourages those spectrum-pushing D.J.s who open minds mean she’ll be where she is for many more years. Every D.J. on the station provides incredible musical variety but Hobbs manages to unearth rare gems and opens the vinyl crate to fresh and initiated listeners alike. Because of her, I have stepped up my ambition to create a music T.V. show and put a lot of time into a new music website. One of my ambitions is to have a one-off show on BBC Radio 6 Music and, as impossible as it seems, I always conspire and think which artist would kick off a three-hour show (I think a selection from The White Stripes’ sophomore album, De Stijl, would be perfect!). I listen to Mary Anne Hobbs of a morning – and her 'Recommends' shows – and am staggered by her knowledge, love of music and how varied her tastes are...

She is like the ultra-cool aunt (that is not meant to be ageist or insulting: she is a young woman but is older than I...) and someone who takes pleasure in heightened the listeners’ senses and giving props to the finest new musicians around. One cannot escape another golden facet of Mary Anne Hobbs: that incredible voice. It is a mix of, maybe, Joanna Lumley and a film heroine from the 1940s. There is a richness and chocolate-rich sultriness that strikes the mind, heart and…well, you can fill in THAT blank. It is comforting and calming; incredible sensual and engaging – which means you are hooked and would stay with her…even if she were reading Piers Morgan’s diary entries! The ‘Mary Anne Hobbs Package’ is completed with a tight twine fastening and beautiful bow: that mix of studio-played music and how she seeks out artists away from the studio. I have seen social media posts where she has spent an evening catching Kendrick Lamar enthral a Manchester audience – she is based up there – or frequent a sweatier, bladder-kicking band that demands their fans move every bone and molecule of their body. I have mentioned Nils Frahm and, given the gulf between him and a Thrash/Metal band; that sort of wide-ranging taste is hugely impressive. Hobbs does not limit herself to the studio and only do her day-shift: music is her life and, alongside a love of culture and the arts, her mind and body can be found hunting down the tastiest and most vivid performance around.

PHOTO CREDIT: @maryannehobbs

I will wrap up my feature soon but, before I conclude, I mentioned I would source an interview - that authoritatively documents Hobbs' path into the music industry. In the interview, conducted by Joe Muggs, the early life of (the curious) Mary Anne Hobbs was alarming and stirring:

“…As a young kid, I was way into punk rock, but my dad, who was an extremely violent alcoholic, had completely banned all music from the house. So if you wanted to buy a record, you would have to go to Mears Toyshop and place an order, and then one seven inch single would take nine weeks to reach the shop. At 12, 13, I was really really into punk, it was massively appealing to me. I cannot tell you how thrilling it was to sit in a class at school and be told in very grave and serious tones about how the Sex Pistols were literally on the brink of destroying civilised society as we knew it”.

Mary Anne Hobbs has written for various music publications, including NME, and that dream of getting to London was always in her mind. A rural village-dwelling music nut growing up around a violent and Punk-hating father – the youngster would flick between radio stations and see her records smashed and destroyed by her father. John Peel, it seemed, provide sanctuary and revelation – a tastemaker whose passion for music inspired Hobbs to take charge and follow her dreams. When she was kicked out of her home as a teenager; she was part of a band and worked crappy jobs to make ends meet. Food supply was grim – a bag of chips a day for a long spell – and dwellings were modest and cramped. It was a rebellious and unsure existence that, whilst money-lite and unhealthy, provided independence and those all-important first steps.

IN THIS PHOTO: The late, great John Peel (who Mary Anne Hobbs saw as a 'second father')

For me, living in a much more comfortable and secure environment; there are, however, some similarities. I am starting my rebellion later in life but there is me, now, living in a rather narrow and close-minded part of the world (pretty dull, too) and that ambition to move to Manchester and become much more involved in music. I have a list of rather dour and pointless jobs on my C.V. and there is that thing that keeps me going: knowing that music is where I belong and what gives me meaning and pure contentment. Mary Anne Hobbs’ path saw her overcome hurdles and make a huge success of her life. Her life, ideally, would be suited to a big-screen adaptation. One can imagine a brilliant soundtrack and the tale of a young girl eager to escape her small-town life and go where the action is. The last segment I will source from the interview (fascinating and engrossing) relates to Hobbs’ time at BBC Radio 1 and its male-dominated ethos:

“…So, yeah, that's the story. Anyway, I'd come out of that culture, so I was very feisty when I first came to Radio 1, also because I'd come from this very male-dominated culture at the NME where everyone was so well-educated and I had left school at 16 and gone to work at an egg-packing factory with no A-levels or qualifications of any sort. This was the era of Stuart Maconie, David Quantick, Danny Kelly, James Brown, Andrew Collins, Steve Lamacque, the list goes on: a tough environment for women to operate in without a doubt. And it was that era where everything was just that much more confrontational – so when I came to Radio 1 that was the culture I'd come out of”.

The reason I performed some 'noise thievery' (to quote a quality banger from The Streets' debut album) regarding the interview above is to illuminate how vivid and fascinating Mary Anne Hobbs’ life has been. Now, if you were unaware, you’d think there was nothing out of the ordinary and she has had a conventional road into the business. Not only is she one of the toughest and most enduring D.J.s in the business; she is that evergreen and endless promoter of music from all around the sonic globe. She involves herself with Dubstep and Metal; she throws her arms around modern Experimental and Folk music and seems like this is her calling. There NEEDS to be a Mary Anne Hobbs film at some point (I know the ideal star...) – to show what a role model she is and that incredible modern-fiction, battle-against-the-odds fight! Fast-forward to 2018 and the ever-wonderful Hobbs continues to raise awareness of gender inequality and what changes need to happen in the industry. She is part of a studio with greater equality than most: there is that need, still, to put their female D.J.s – including Lauren Laverne – higher up the order and set an example to the rest of the industry. BBC Radio 6 Music is the best station out there because of what Hobbs was denied as a child: freedom to express and to traverse music; play great music loud and not be fearful of repercussions and judgement. She is the figurehead and fountain that continues to better lives and make us all feel better and more connected. The Lancashire-born icon has brought brilliant music into all of our lives – I found Nils Frahm through her – and every weekend is a sheer delight. The Muse and radio heroine, we all hope, has a few more decades in her radio career – who knows how much further she can go and the changes she can help make! Mary Anne Hobbs kicks off my women in radio feature for a number of reasons. I feel I have covered plenty of ground and given plenty of rational but, yeah…

PHOTO CREDIT: Laura Lewis

DID I mention that voice?!

FEATURE: Survivors’ Gilt: Why Decades-Lasting Artists Remain At a Time of Brevity and Uncertainty

FEATURE:

 

Survivors’ Gilt

IN THIS PHOTO: Tony Hadley/PHOTO CREDIT: Getty Images/Press

Why Decades-Lasting Artists Remain At a Time of Brevity and Uncertainty

__________

THE ‘Gilt’ part of this feature’s title…

IN THIS PHOTO: Spandau Ballet (with their new lead Ross William Wild, centre)/PHOTO CREDIT: Denis O'Regan

refers to the act of making something golden/gilded. It is an appropriate piece of wordplay – pat on the back for me! – because one of those bands that refuse to quit is Spandau Ballet! Tony Hadley is no longer with the band after a particular vicious towel-whipping incident permanently bruised Gary Kemp’s right testicle (although, the official cause of his replacement is different!). Even if four-fifths of the new-look band are greying/older – except Martin Kemp’s McCartney-esque trick of draining the supplies of Just for Men! – there is a reason why Spandau are still around and making new music. With a new singer, Ross William Wild, we might not see the Hadley-led belters like Gold. Maybe there will not be a True 2.0 or anything that scored our 1980s scene: the fresh incarnation, as this article shows, is going to be somewhat different:

“British pop group Spandau Ballet introduced new singer Ross William Wild in a small club show at London's Subterania on Wednesday (June 6) night. Wild was selected as a replacement for Tony Hadley after the longtime frontman departed the band last year, and is helping to usher the famed '80s musicians into a new era.

"This is a rebirth of the band," guitarist Gary Kemp told Billboard ahead of Spandau Ballet's performance. "But it still feels like the band. It still sounds like the band. The energy is the same. We've still got the main songwriter. We've still got all the same musical protagonists. And now we've got this new guy who is filling us with new vitality. He's really stepped up to the plate with a lot of talent and passion and knowledge."

The British group, which formed in London in 1979, released six albums during their heyday in the '80s before splitting up in 1990 due to disagreements over royalties. They reunited in 2009 with a new album and two global tours, and have continued to perform and write music since. When Hadley announced via Twitter last July that he was leaving the group there wasn't any doubt as to whether Spandau Ballet would carry on, largely because the musicians didn't feel finished.

"We felt that only one fifth of the group left," Kemp said. "We wanted to make it work. We really felt we couldn't let this one go. It hadn't run its course and there are still people out there who want to hear the songs played by the original guys. We just had to find a guy who would sing it".

There is an argument to suggest bands like Spandau Ballet have survived for so many years because their existing fanbase has been with them from the start. They fell for the music in the 1980s and, whilst looking for alternatives, found nothing that was as pure and memorable. Whilst modern Pop music seems to be cramped with overly-energised and throwaway tunes; Spandau Ballet refuse to modernise – lest they look limp and out-of-step – and are making a more mature and slow-burning variety. Many might see the word ‘mature’ as a synonym for ‘crap’.

IMAGE CREDIT: Getty Images

I am a fan of the group and loved the work they did back in the 1980s. I feel, although they are Hadley-less, that is not to say they will feel limbless and lighter. Ross William Wild's introduction seems like a lateral move and the band knows trying to live in the past is a bad move. Tony Hadley is planning his own album and it seems, like his former bandmates, there is stock and appeal to be mined. A lot of the bands from the 1980s have gone the way of Hitler because, oddly, the ‘fashions’ and trends of the decade have died. It is easy to see some of these legendary bands remain whilst others, who have just started, have struggled and are going out of business. Does that lead to guilt and a sense of blame? I feel like there is a place for every artist and the market is varied enough to accommodate everyone. Duran Duran are another band who have stood the test of time and keep making music – they are not the only ones. ABC and other 1980s bands are operational and artists who have been around even longer, like Elton John and The Rolling Stones, are pulling in the masses! It is interesting discovering bands of the 1980s still going and making new music. What surprises me about, say Spandau Ballet and Duran Duran, is the fact their core is not entirely middle-aged. They are bringing in young listeners – that does not shock me...

PHOTO CREDIT: Unsplash

So many new artists are, without irony, revisiting the 1980s – or experiencing the sounds for the first time. Big acts like Madonna and Talking Heads are being updated; you get plenty of new Pop that reminds one of the 1980s’ best, too. One can understand why epic groups like The Rolling Stones and The Who have managed to last this long. They are not subject to the same machine and demands as new artists – they have leeway and rights that exempt them – and there is not the same need to get gigs in and comply with the Spotify-minded process. The music they made back in the 1960s and1970s still sounds fresh and there is someone, somewhere that wants to go see them. Look at the 1990s, too, and artists like TLC, Steps and Shed Seven are still making music. En Vogue released an album, Electric Café, recently and Destiny’s Child made a rare appearance at this year’s Coachella – led by Beyoncé and blowing the audiences away! I will look at that side of music soon but it seems like current demand and a wave of nostalgia is providing oxygen to older icons. Music, good or bad, is dictated by fashions and a sense of style. One can assume certain artists would find limited scope today because of their looks and sound. Spandau Ballet and ABC, let’s say, are not making the same music they did decades back; great bands of the 1970s and 1980s, whilst popular then, appear outdated and a bit tragic at a time that is very hip and modern.

PHOTO CREDIT: Unsplash

Is there, then, a set of rules and configuration – schematics, for instance – that dictates which artists remain and which are best left in the past?! Should the reformed and enduring artists feel a sense of guilt when they see promising newcomers split and struggle in the industry – given the fact they are not as concerned about finance and starting from scratch. It is not their fault the industry is so hard and, if anything, the durability and evolution they have shown (older acts) should provide guidance and heart to newcomers. You can easily explain why bands like Erasure and Depeche Mode remain relevant; why Gary Numan is still making music. They were lauded in their day but, as children, we revelled in their sounds and thought, if we become musicians, we’ll follow their path. These children are grown up and are paying tribute to their heroes. Because of that, we are seeing a modernised version of Synth-Pop that means the original creators are still relevant and demanded. Maybe a ‘return’ of the 1980s is short-lived and will go in cycles. The Beach Boys and Queen (sans Freddie Mercury) are kicking it and U2 are not showing any signs of being aged – other acts like KISS, unfortunately, are still playing music.

I have talked about 1990s bands like Steps and Shed Seven and why they are back in the limelight. The Charlatans are still recording and, a couple of decades since they hit their peak, there is that curiosity and loyal base that will not wane. It is interesting seeing these bands survive given the fact their current music, in my mind, is weaker and less potent than their heyday best. Kylie Minogue recently turned fifty and on her latest album, Golden, she has gone Country and is a different artist to the one in the 1980s whose sugar-sweet and memorable brand of Pop that inspired a generation. Maybe that is the secret to a rich (in more ways than one…) and successful career: not only moving with the times but not trying to live in the past. There are decades-old bands living on past glories but, for the most part, the existence of the legends is down to knowledge of what the market wants. Their audience may be on BBC Radio 2 (as opposed to BBC Radio 1) but they are able to hold their own and still show huge enthusiasm. Modern music is using elements of every decade, and so, it is understandable some of the artists who were around the first time would fascinate sapling ears. Look at Destiny’s Child, for instance – the ‘Survivors’ part of the feature’s title could easily apply to their hit of the same name – and how 1990s Pop/R&B holds weight.

All Saints are recording still and, again, it is less sassy and young than their original run. I am glad certain artists are able to continue at a time when we are seeing so much premature extinction and loss. Maybe having that reputation and sense of national trust means it is not shocking discovering bands we thought were through come back up and return to form. I am worried that modern music is about conforming to platforms and certain moulds; being part of a process and not really existing in any organic and personal form. Even though music was not as streaming-driven and competitive back in past decades; established artists from back then are able to adapt. Maybe these groups/songwriters are a little creakier and grey; they are not as cool as they were and a little outside the nucleus of relevant and fantastic. They should not feel bad artists with spunk and great songs should suffer and struggle to keep their heads above water. The industry is tough and it was pretty brutal back in the 1980s – look at the mullets to realise artists had more than enough on their shoulders! I am glad we still have Spandau Ballet playing and thrilling the young and not-so-sprite alike. Their durability, strength and sense of ambition has, like their peers, ensured they have a voice today and are planning on a long future yet. It may not be Gold for the altered Spandau Ballet but, to paraphrase a famous quote…

IN THIS PHOTO: The original (1980s) Spandau Ballet line-up (with Tony Hadley, centre)

NOT all that glistens has to be gold!

INTERVIEW: Caspar Leopard

INTERVIEW:

Caspar Leopard

___________

THE past couple of weeks…

have been pretty busy for Caspar Leopard! Not only is the man about to get married (unless he already has!) but he has released his new single, Is This Real? He chats about the song and its stop-motion video; how he is juggling new responsibilities whilst keeping his eyes focused on future music – Leopard talks about treasured albums and artists.

He provides some advice for artists coming through and reveals his ambitions for the remainder of the year; how he dedicates his space away from music; why he tackles the big questions about life in his music – the songwriter chats about his filmmaking work and composing the score for the film, Through the Gates.

___________

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

Good, thanks - if a little overworked. I’m getting married at the end of the week; just released a new single and the deadlines, for various composition and film projects I’ve been working on, have somehow all ended up being due this week! – but, I’m looking forward to the wedding and some downtime...

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

Sure. I’m an Alternative solo artist, film composer; producer and filmmaker based at Baltic Studios - a recording studio I run with my brother in London. 

Is This Real? is new. How did that come to be? What started the process?

As a song, it actually manifested pretty quickly. I was messing around on a guitar and it was one of those nice moments when a song just appeared pretty much fully-formed. I went into the studio with Luke Smith and we recorded it in two days and that was it.

The process for the video we’ve made for it was a little more complicated - but I’ll come on to that in sec….

I know there is a look at the big questions in life. Was writing about quandaries and big issues a good way of solving things out for you?

I’ve written quite a few songs that are trying to work out what life’s all about: I’d be lying if I told you I’ve found the answers. I’ve always wanted to work out life’s mysteries, but part of what makes them alluring is the fact that we’ll never find the answers. I reckon the most we can hope to do is make peace with this and enjoy the journey. I’m getting there - give me a few more songs (smiles).

You deal with philosophy and existential concerns in your work. Is that a result of your musical tastes and readings? Do you study a lot of these subjects away from music?

I read into these subjects a bit - especially neuroscience, yoga; spirituality and science fiction. My wife to be is a yoga teacher; my uncle’s a physicist and one of my best friends is training to be a psychoanalyst. I’m lucky to be surrounded by people posing questions like me - and that inspires me to explore my own. 

What was it like working with Luke Smith on Is This Real? Did he bring new aspects and elements into our work?

He’s an incredible producer and has become a good friend. I’ve learnt a lot working with him on my first few releases for this project and also engineering for him on other projects in the past. We share a vision for trying to make music that’s a bit off the beaten track and had a lot of fun making this one. 

Tell me about composing the score for Through the Gates. How did that offer come in? What was it like putting the music together? 

I’ve actually just finished the score this week. The director, Stella Corradi, got in touch having heard some of my previous work. I totally connected with the direction she wanted to take the music - and it was a pleasure working on such a great film.

I love the way there are so many ways to interpret a story, sonically, and it’s refreshing for me to take a break from my solo work and compose in a different way. Getting out of my head and into the characters - and responding to the picture - is a nice change of scene. 

What comes next in terms of material from you? Might we see more before the end of the year?

The big thing on the immediate horizon is a stop-motion animated video for Is This Real? which is coming out next week. It’s been a privilege to collaborate with ex-Aardman animator/director Stefano Cassini (Chicken Run/Wallace & Gromit/Tim Burton’s Corpse Bride). It’s been a long labour of love, as stop-motion animation is a hugely time-consuming process - very much looking forward to sharing it.

I’m also just putting the finishing touches on a surreal, dark fairytale drama which I’ve co-written and co-directed with Hannah McKibbin - and scored by me - which will be hitting the film festivals later this year.

 

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

I decided I wanted to spend this year focusing on writing and recording solo work; making films and composing scores. (Which hasn’t left me any time for touring). The plan is to start doing some shows early next year supporting the release of my second E.P. 

What do you hope to achieve in 2018?

Finish the film and composition projects I’m working on and get stuck into my second E.P. – but, more importantly, enjoy life with my new wife (smiles).

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

I’m a bit of a futurist, so I don’t look back that much. If you push me, though, I would say the tours I did with my last band (Get People) supporting Metronomy and Crystal Fighters for their Star of Love Tour stand out. We had an old, beat-up Mitsubishi van and drove around exploring the U.K. regional towns for weeks on end; nursing hangovers from the previous night’s after-show party, trying to find our way to the next city for the next gig.

A lot of fun had – and it brings a smile to my face.  

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

Many great new albums out there, but the ones that mean the most are the ones I’ve listened to the most. Here are three of them: 

Kid A – Radiohead, Wish You Were Here - Pink Floyd and Demon Days – Gorillaz.

What advice would you give to new artists coming through?

I still feel like a new artist myself so don’t feel fully qualified for this question. But, the one thing I’ve learnt is the only way to make a mark on the music industry is to be resilient and stick it out. These days, there’s no fast-track; especially, in Alternative music. 

IN THIS PHOTO: Digby

Are there any new artists you recommend we check out?

Digby - in the Berlin Electronic scene

HÆLOS and Middle Child - in the London live scene 

I’m also really into the L.A. Psychedelic-Rock scene: Unknown Mortal Orchestra, Vinyl Williams etc. 

IMAGE CREDIT: Vinyl Williams

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

I’m very bad at unwinding. I’ve promised myself I’ll take on a bit less after my wedding and live more of a normal life. There’s been a lot going on in 2018 and I miss the pub.  

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).

One song…tricky. Well… here’s one of my favourite tracks for a headphones moment:

The Rainbow - Talk Talk

______________

Follow Caspar Leopard

Official:

http://www.casparleopard.com/

Twitter:

https://twitter.com/casparleopard

Facebook:

https://www.facebook.com/casparleopard

Instagram:

https://www.instagram.com/casparleopard/

SoundCloud:

https://soundcloud.com/casparleopard

Spotify:

https://open.spotify.com/track/6J2XdCyz4OVA0FZhlY2Cf9

YouTube:

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

INTERVIEW: Beverley Beirne

INTERVIEW:

Beverley Beirne

___________

NOT too many Jazz artists pass my way…

so it is good to learn more about Beverley Beirne and covering the songs Too Shy and Cruel Summer. She talks about the album, Jazz Just Wants to Have Fun, and what it was like working on the record; what Yorkshire is like for a talented and busy musician – Beirne tells me about upcoming gigs.

I ask her how the music has developed since the early days and what we might expect from her live sets; if there are newer artists we need to keep an eye out for; how she spends her time outside of music – Beirne talks about covering Pop songs from the '70s and '80s on her new album.

___________

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

Hi there. Great, thank you! Super-busy. I’m launching my new album, J.J.W.T.H.F., next week and things are hotting up. I’ve just spotted our music is on Amazon’s Hot New Releases too which is really great.

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

My name is Beverley Beirne. I’m a Jazz singer from Yorkshire and my new album, Jazz Just Wants to Have Fun, is a bit different. Not your usual Jazz standards but twelve '70s and '80s Pop tunes that I’ve played with and done Jazz arrangements for.

Give me a sense of the artists you experienced growing up. Which musicians stand in the mind?

It was very eclectic. My parents loved music but their tastes were very different. Dad liked Classical and Jazz and Mum liked Country, '70s and '80s Pop...so we’d have Ravel’s Bolero, Tchaikovsky; Ella Fitzgerald and Erroll Garner - and, next, we’d have Glen Campbell and ABBA.

Talk to me about recording Too Shy/Cruel Summer. What led you to record the tracks?

These two tracks are part of my new album, Jazz Just Wants to Have Fun. I chose these tracks, like all of the tracks on the album, with a lot of joy to start with because they’re great tunes but they also had to transpose into a Jazz format. So, quite a lot of tinkering at the piano and partying to these tunes…

It seems like Jazz is a big part of your life. Is there something about the history and genre that captivates you?

The music was a part of my life because Dad was a big fan but I also loved all the old black-and-white movies and, of course, a lot of those Fred Astaire movies and Rodgers and Hammerstein films were the original source of the songs that we now call ‘Jazz standards’ in the Jazz world.

Might we get some more material later in the year?

The full Jazz Just Wants to Have Fun album comes out on Friday, 15th June, so that will be available for people to check out if they like the idea of this. But, I’m also recording another album which is a bit more full-on Jazz this summer and I have one in the can that I also recorded at the same time as .J.J.W.T.H.F. called Dream Dancer - so that’s one to look out for too.

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

I’m launching at Ronnie Scott’s on Thursday, 14th June and planning an autumn and spring tour this year. But, you can also see me at Ilkley Jazz Festival this year performing the project I’m recording in June, The Ilkley Suite. 

But, keep a look out for tour dates for J.J.W.T.H.F. on the website.

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

It depends what project I’m performing. J.J.W.T.H.F. is very upbeat and fun but it is Jazz with a definite Jazz vibe. The Ilkley Suite is an original- composed piece which is more improvisational Jazz and will include me using my voice as an instrument in wordless form.

Dream Dancer is a mixture of upbeat and mellow tunes; very atmospheric. But, whatever I perform, I love engaging with my audience: the audience is very important to me.

How do you think your material has progressed since the start? Is Yorkshire and its people/geography a source of influence for you?

I’ve definitely grown as an artist without a doubt. Some of that is time and just experience really. I’m a lot more experienced. But, yes, I do think your surroundings have an influence on you. It’s no secret that I love Yorkshire and my hometown of Ilkley, which is very beautiful - and I love the wildness of the moors and we definitely get ‘weather’ up here. It can make you a bit insular, sometimes, I’d say.

But, then again, the Yorkshire folk are some of the friendliest people on the planet so, as soon as you step outside your door, there’s always someone to say ‘hello’ to.

What do you hope to achieve in 2018?

More Jazz; more singing! Now we’re getting the new album out there, I want to head off and perform as much as I can wherever any good people will have us (and just really enjoy that). I love performing and I get a real kick out of it, so now’s the time to really do that with this great music we’ve created.

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

I have so many! Being in the studio for J.J.W.T.H.F. and Dream Dancer, which we recorded in one week, has to be up there as one of the musical highlights of my life. We recorded J.J.W.T.H.F. first and Jason Miles, an amazing N.Y. Grammy-winning producer, had come over to produce the albums for me. Me, Jason and the band were in Red Gables Studio, London and we were totally immersed in this music. Two days of J.J.W.T.H.F. and two days of Dream Dancer - with a couple of days listening back to J.J.W.T.H.F. 

The legend saxophonist Duncan Lamont is guesting on Dream Dancer for two of his songs I sing and he came in to play on them - and that was pretty special too. It was a totally magical week. Some great memories.

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

There are way too many, but here are three I love that has been in my collection for some years…

Sketches of Spain - Miles Davis

So atmospheric and amazing musicianship.

Soulcall - Nnenna Freelon

I saw Nnenna at Ronnie’s many years ago and she’s a great artist.

Candyfloss & Medicine - Eddi Reader

Fantastic original music, great lyrics too - and Eddi is another great artist.

What advice would you give to new artists coming through?

Follow your heart and your own gut instinct. No matter what. Get out and perform as much as you can, as no amount of study can replace practical learning and experience. Saying that...always be prepared; practise and practise (and practise) so you’re really comfortable performing.

IN THIS PHOTO: Nnenna Freelon

Are there any new artists you recommend we check out?

I love Nnenna Freelon. She’s a great singer. Also, Tierney Sutton and a young singer called Aubrey Logan (who is fantastic).

IN THIS PHOTO: Aubrey Logan

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

My unwinding often consists of a nice bottle of wine with my husband and listening to great music. But, I also really love reading, so I do read a lot of books. I like walking in the beautiful countryside too. I also love going to the pictures.

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).

Any song! Hmm; let me think. Right now, I’d say Aubrey Logan’s song, U Can’t Touch This (MC Hammer); a Jazz cover from her new album, Impossible.

This resonates with me as my own new album is full of these kinds of tunes (that I’ve also done this kind of interpretation for). So, I really appreciate what she’s done with it. Fantastic artist.

__________

Follow Beverley Beirne

Official:

https://www.beverleybeirne.com/

Twitter:

https://twitter.com/BeverleyBeirne

Facebook:

https://www.facebook.com/BeverleyBeirneMusic/

Instagram:

https://www.instagram.com/beverleybeirnejazz/

SoundCloud:

https://soundcloud.com/beirnesmith/tracks

Spotify:

https://open.spotify.com/artist/6VdHxrjrpiuIvaKr66n5bU

YouTube:

https://www.youtube.com/channel/UCrkMnhrHiC373w7oAqz2LWw/featured?view_as=public

INTERVIEW: Essa Weira

INTERVIEW:

 Essa Weira

___________

AFTER asking Caz where the moniker of ‘Essa Weira’ came from…

I wanted to know about the track, Malo (Ripple). He discusses upcoming material and what it is like splitting time between London and Manchester – Essa Weira reveals a few albums that have made a big impression on his life.

Looking ahead, the songwriter talks about ambitions and gigs; whether he gets time to unwind away from a busy music life; a new act we need to show some love for – I discover why life in the city is so conducive to creativity and sustainability.

___________

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

Hey. I’m well, thanks. It’s been a chilled-out week.

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

I’m Essa Weira and I’m a London/Manchester-based producer. I write electronic songs using a variety of instruments, samples and voices. I collaborate with singers and rappers but it’s mostly a singular effort.

How did the moniker of ‘Essa Weira’ come to pass? What is the tale behind it?

‘Essa Weira’ originally came about after I travelled to Morocco. I stayed in a place called Essaouira, where Jimi Hendrix allegedly wrote Castles Made of Sand (one of my favourites). It was a cool place and it left a lasting impression, hence the moniker…

Malo (Ripple) is out. Can you talk about the inspiration that goes into the song? How did it come together?

Malo (Ripple) was inspired by a few factors…

The word ‘Malo’ is a mix of Manchester and London, as living in both cities has inspired my recent creative directions. Another factor was a psychedelic experience; I wanted to recreate some of the same sensations I felt that day in this tune. The song really started coming together after I sampled the sound of a Zippo lighter and used it as a percussive part of the beat. An idea like that, for me, can spark a whole tune.

Will there be more material later this year would you say?

For sure; I’m always working on new stuff. Watch this space…

You divide your time between London and Manchester. What is it about those cities that captures you?

Having grown up in London, I don’t think I could live anywhere that isn’t buzzing with a similar energy. Both Manchester and London are extremely cultural, filled with fascinating people and quite dangerous in parts. I would say experiencing all these aspects has had a huge influence on my sound; instilling metropolitan life into the way I produce.

Of course, the music scenes in both cities are a HUGE blessing: there are so many performing opportunities and I feel very lucky.

Do you like having the different paces and feel when it comes to those cities? How important are the people regarding your music?

For real. Both places are very different in pace and it’s refreshing to jump between the two vibes - so you never get overwhelmed. I also feel it allows for your ideas to remain fresh and interesting. People are the most important thing! Whether it's performance or streaming, the people decide what’s worth a listen.

Are there any musicians from modern music you follow and take guidance from?

I listen to a lot of stuff, so there are many producers (Techno/Ambient/Chillout/Glitch/Grime/Electro) from whom I take inspiration. Despite this, I would have to say James Blake is at the top of the list. His music gets me.

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

I wish. I’m skint and still at university so it will probably just be gigs for a while. Got a show coming up in London on 22nd of June (details are on my Facebook page).

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

I would love to secure collaboration with a popular artist by the end of this year. I’ve been doing a lot of Hip-Hop and Lo-Fi beat collabs recently - and it would be a good progression forward.

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

Probably my first gig. It was at a tiny club in London, completely taken over by my mates.

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

Burial’s Untrue, J Dilla’s Vol. 2: Vintage and Bon Iver’s 22, A Million.

What advice would you give to new artists coming through?

Gig as much as you can and make your online presence as professional as possible. Both are a great way to network and spread your music.

IN THIS PHOTO: Octavian

Are there any new artists you recommend we check out?

I’d hugely recommend Octavian. He has really been doing something special recently. His tropical tunes are a perfect combination of Grime, Dancehall and House.

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

Not really. I study music at university so it's pretty much 24/7. I wouldn’t want it any other way though. I usually unwind by getting outside: the bedroom/studio dynamic can get intense.

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).

Belfast – Orbital

_____________

Follow Essa Weira

Twitter:

https://twitter.com/ccaazzbb

Facebook:

https://www.facebook.com/essaweira

Instagram:

https://www.instagram.com/essa.weira/

SoundCloud:

https://soundcloud.com/essaweira

Spotify:

https://open.spotify.com/artist/3FJgWB5q6PxkgDPhrPKmeQ?si=A4CnpbNTRM2cFn4CUAewvg

INTERVIEW: Michael Jablonka

INTERVIEW:

Michael Jablonka

___________

I am pleased there is a new single out from Michael Jablonka…

so I can catch up and see where he is heading. He tells me about Flump and where the song came from; what sort of music was on his bedroom floor as a child; if there are any new artists worth seeking out – Jablonka reveals a couple of gigs coming up.

I ask the musician about his idols and which three albums mean the most to him; he tells me how a retro piece of gaming provides a great way to unwind; whether there will be more material coming later in the year – he ends the interview by selecting a classic track from 1967.

___________

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

I’m ok, thanks. Just been going to gigs and getting ideas down. Same ol’, same ol’. 

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

I’m Michael Jablonka - or you can call me ‘Jabo’. My band and I play a concoction of loud Indie-Rock music around London. 

Tell me about the inspiration behind Flump. I presume it does not come from the T.V. show or the popular marshmallow sweet?!

Hate to say it, but when my band I started playing it, it instantly reminded me of the sweet. Maybe it had something to do with the tones we were getting in that moment. In essence, though, it’s really just about letting loose: a lot of the music I’m writing at the moment has a theme of idealism in it. 

Do songs sort of start as jams and build from there? How would a typical song come to be?

In Flump’s case, yes. I played the riff to my band and we built it up from there fairly quickly. Usually, I record different variations of a demo at home and then it’s a matter of recalibrating lyrics, structure…

It seems, with every release, you get bigger and more confident. Would that be fair to say?

It’s quite hard to gauge as a writer - I tend to pluck inspiration wherever I can; try and make something of it and hope it gets received well. I’m glad you think so, though (smiles).

Will there be more material coming along? Might we see a new E.P.?

There’s loads of music I wanna get out of my system, but it’s all a matter of timing I guess. They’ll definitely be a new single out during the summer. Fingers crossed an E.P. comes out for autumn.

Take me back to your childhood and the cassettes and C.D.s on the floor. Can you picture what you were listening to? 

Bob Marley greatest hits album, Legend, was always out in the open. The Power by Snap! drove me crazy but was my brothers favourite. Run-D.M.C. vs. Jason Nevis’ It’s Like That was my jam. 

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

It felt like it was always there but I remember, when I was about twelve, my family and I went to a dinner party and my friend showed me the (Red Hot) Chili Peppers album, By the Way, on his MiniDisc player.

The first time I heard Universally Speaking, I think set everything into motion. It made me feel so good and it was around that time I started messing with the guitar - and the thought of making other people happy made me feel like that was what I wanted to do.

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

This year is mainly about creating music but there are a few gigs here and there. Would be nice to branch out of London a bit more. For now:

30th June @ The Finsbury 

3rd August @ Fieldview Festival 

Others dates T.B.C. throughout autumn. 

What do you hope to achieve in 2018?

I wanna create as much as possible and develop a more distinctive sound as a songwriter. 

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

Playing the Royal Albert Hall last year with Michael Kiwanuka is, by far, my favourite memory in music...so far.

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

Ah man; that’s so difficult! Ok…

Nirvana - Nirvana; The Jimi Hendrix Experience - Electric Ladyland and The Avalanches - Since I Left You (a bit left-field but it always makes me happy).

What advice would you give to new artists coming through?

Don’t overthink things - and make music you love…

Are there any new artists you recommend we check out?

The first few that come to mind are...

BODEGA, The Shacks and Boy Azooga.

IN THIS PHOTO: Boy Azooga

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

I think I’m in too deep with music to chill these days. I did recently buy a Nintendo Classic Mini so, if I’m fed up, I’ll play Zelda or Super Metroid and have music playing in the background. Or, I’ll just watch Gilmore Girls…

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

The Velvet Underground & Nico - Sunday Morning

__________

Follow Michael Jablonka

Twitter:

https://twitter.com/jablonka01

Facebook:

https://www.facebook.com/michaeljablonkaofficial/

Instagram:

https://www.instagram.com/michael_jablonka/

SoundCloud:

https://soundcloud.com/jablonka-music

Spotify:

https://open.spotify.com/artist/1IzziurNysvd1Rn66CKZMl

TRACK REVIEW: SIIGHTS - GOT IT

TRACK REVIEW:

 

SIIGHTS

GOT IT

9.5/10

The track, GOT IT, is available via:

https://www.youtube.com/watch?v=rfVaqgn6Xko&feature=youtu.be

RELEASE DATE:

8th June, 2018

GENRES:

Pop; Funk; Alternative

ORIGIN:

U.K., EIRE

_________

THIS time around...

I have been looking at the new single from SIIGHTS. This is not the first time I have assessed the fantastic duo – it is great to be with them again and see how they have progressed. Mia Fitz is from Ireland and Toni Etherson is from Scotland. They are based in the U.K. but spend time in the U.S. I wanted to talk about internationality and spending creative time in the U.S. I will also look at female duos and why, I feel, they have the chance to make huge changes; creating a sound that is indelible and announces the summer; having a chemistry and connection that translates into the music/studio; a bit about fanbase and gaining acclaim – I will end by looking at the future for SIIGHTS and where they might head. First of all, I want to look at the U.S. and why it is a draw for many musicians. SIIGHTS have spent time recording and playing in America and, for my money, incorporate some of that U.S. sound into their own music. Although there is Irish and Scottish blood in the duo; when you look at the music, there is a nod to what is happening in America right now. I have only been to the country once but I know there is a different scene there and Pop/Alternative music has a different sound. What strikes me about SIIGHTS is how they have that British base and grounding but splice in some elements of Los Angeles and the energy coming from there. Fitz and Etherson are talented songwriters who have grown up around a lot of varied and interesting sounds. They pick guidance from all sorts of areas and, in terms of the overall effect, it is exciting and deep. I mention the U.S. because the girls have performed there and spent time writing among some great people. I think they have a definite future there.

I am not suggesting the duo move over there and remain but there is a definite chance they will succeed and find long-term love in America. There is a lot of affection here, as I will explain, but America is a market many struggle to create. I listen to the duo’s new single, GOT IT, and can hear that beautiful mix of sunny climate and a tough, solid sensation. I will reveal more but, before I address a new theme, it is worth looking at America and why it is such a draw. I have seen artists go to the country in order to find new opportunities and speak with record labels/venues there. It does not indicate a struggle here but, if you are an ambitious musician, it is only natural America would come calling. For SIIGHTS, they seem to have a connection with the nation and able to easily blend in there. If L.A. seems like a natural residence for them; look over to New York and the East Coast and what is happening there. I feel SIIGHTS could get a great reception here and grow their fanbase even more. It is hard breaking America and there is so much competition wherever you go. Whilst they might take a few years to get onto the biggest stages; there are some great, similar-minded duos playing in the U.S. that could offer them support slots. Whatever they have planned, I know they will be back in America and exploring what is going down. I hear the vibrancy and sweat of Los Angeles but there is a lot more working away in GOT IT. Fitz and Etherson are a tight and mesmeric force that is determined to get their songs heard right around the world. I have high hopes they will succeed and get some big international acclaim. Let us move on and explore a new subject.

The issue of sexism and gender imbalance always comes up and deserves debate. I am someone who takes the time to view music as a spectrum and equal market. There is nothing to suggest we cannot get parity and equality very soon – right now, female artists are struggling to get the same attention as men. That is, as I always say, the fault of men themselves. Maybe it is the same people in high positions being ignorant but, to me, there is that reliance and obsession with the band market – a corner of music that is nowhere near as strong and commercial as it once was. Duos have always been in music but, if you had to name your favourite five, would you be able to do that?! Most of us grew up around bands and solo artists but, lately, different configurations have played a bigger role. Duos are starting to take some of the weight away from bands and show how powerful they are. SIIGHTS intrigue me as they are a female duo that differs to anything out there. I have reviewed a few female duos, including REWS, and there is a lot to suggest they will take on the music industry and become a huge success. Whilst I feel the balance of men and women will take a bit to redress; female duos are a fascinating dynamic that, I feel, will be headlining the biggest festivals before too long. SIIGHTS are not the same as REWS, for instance: they are more concerned with heavier Rock and sound a little like Royal Blood. SIIGHTS have jagged edges but they are a more Pop-influenced and melodic proposition. In any case, one cannot easily define the female duo and what they are all about. I think bands are struggling for momentum and not as quality-driven and original as once was. Look back at the 1990s, for instance, and it was a time when bands ruled the land and were saying what needed to be said.

We are in a time where political and social divisions are rife and that need for commentary and guidance is high. Bands are struggling to do this – or the ones who are important are not given enough chance to shine in the mainstream – but there is something to be said of duos like SIIGHTS who are providing inspiration and a sense of relief. I am seeing so much vague and empty Pop music that packs a punch but does not really resonate and remain. In the case of Mia Fitz and Toni Etherson; they manage to provide sensational music with lyrics that strike the mind. There isn’t the needless wastage you get with bands – too many players or people fighting for leadership – and there something you do not get from the solo artists. I like male duos coming through but I think their female counterparts are far stronger. I say this because, in terms of sounds and style, there is a lot more on offer. It is the chemistry and closeness you get with SIIGHTS, I will look at soon, and the fact they share a love of the same music that means what they produce is so natural and long-lasting. You get all the personality and commercial draw you’d get with a great Pop solo artist but there is the attack, passion and force one might find in a band. I feel the issue of gender split will be a complex and tough one to resolve anytime soon: the fact we are seeing so many great female artists means people cannot ignore what is happening and why we need to see equality very soon. Let us consider how SIIGHTS came together and why they are such a tight and compelling unit. You only need to look at their latest track to realise they are going on to big things and ready to shake up the music scene.

You only need to look at the music of SIIGHTS to realise they are committed to what they do and keen to explore what Pop offers. Although their music is not solely Pop-based; you do get that vivacious and uplifting sound one associates with the genre. There are Alternative and Indie strikes that makes their sounds so illuminating and complex. It is no surprise Etherson and Fitz have that knowledge and confidence in their music as they spent a lot of time in the Hollywood Hills writing songs for other artists. The duo formed in 2016 and that is how they spent their early life: writing tunes for other musicians and getting a feel about the scene. That might not sound ideal and all that good but, when you look at the complexities and variations in their music; that sort of ambition can only come from writers who have had that start – discovering other artists’ music and what the scene is looking for. Take all that aside and it is the chemistry and friendship of the pair that makes their music addictive. Maybe male duos have a different bond but, for female duos, it is much more sisterly and soulful. I see it in REWS – Shauna Tohill and Collette Williams are so close and connected – and one can pick that up in SIIGHTS. Both Etherson and Fitz have that desire to make great music and they are on the same page. There is no natural standout, in terms of a leader of the duo, and they have that respect for one another. A true love and understanding of one another is hard to find in music: SIIGHTS have this and pour it into every song they create. I feel one of the reasons the best artists remain together is friendship and a trust in one another. Even when times get tough and there are those disagreements; they are willing to spend time apart and reflect; come back together even stronger than before.

I know SIIGHTS will be successful because their two members have a rock-solid fusion and they have so much respect for each other. It is great to see in music and is why duos are so appealing to me. You can exist in a band and have members that dislike one another. We have solo artists but it is quite lonely and can be a struggle. Duos are tighter and cannot exist if the members do not get along. Great music comes from connection and a passion for what you do. If there are tensions and cracks in the foundations then that will show in the music. SIIGHTS are pushing on and always keen to explore new ground. Not only is there no end in sight but there is that desire to conquer and play some of the biggest stages in the world. It is hard launching a single, regardless of talent, and getting it spread and shared. The duo writes all the songs and play instruments in the studio. They are keen not to farm out duties to too many others and want to have their say. That control and sense of identity comes through in GOT IT and, I know, will go on to be a big stormer. It has a readymade sound for the summer and proof SIIGHTS are to be taken very seriously. I have spoken about duos and why they are a great unit; I have looked at Fitz and Etherson of SIIGHTS and why they are so connected. Another reason why SIIGHTS are engaging is because they create music that sounds unlike anything out there. There are, sure, some Pop edges and something that might remind you of someone else – for the most part, you get unique and original intent. I have speculated how SIIGHTS’ sound summons summer and has that sweat-inducing quality.

The weather is, I guess, improving, and we are all want the heat and sunshine to come. It is almost here and, with that, artists are stretching and limbering to attack festivals. I think most of them are already booked but, in the case of SIIGHTS, there will be plenty of opportunities for them. They have that instant and popular sound people want to see in the open. I have listened to GOT IT a lot and, whilst there is emotion and a seriousness working away; you hear the composition and vocals and it gets the body moving and spirits flowing. I love music that goes deep and has a personal sense of emotion but long for music that can form some sense of escape and frivolity. What SIIGHTS have done is produce a song that has a universal message and can be understood by everyone but has a sense of fun that means it will prove popular in the live setting. I am excited to see where SIIGHTS head and what their next move is. The confidence and quality of their latest single sound so effortless. I know the duo works hard but they have been songwriting for years and know what they are doing. To me, GOT IT is the most urgent and alluring song they have ever created. They are in a different phase of their career and have transcended from the local stages and want to take on the world. Because of that, they need to produce a song that can survive in the world and cross language barriers. Listen to the power coming from their single and how it gets into the blood and you know it will get a lot of love from radio stations and fans across the globe. Maybe summer festivals have been overlooked – organisers have a full diary – but SIIGHTS will be tackling venues and spaces and taking their music to the masses. I have seen many artists attempt to write something summer-ready and anthemic – some succeed but there are plenty of weak attempts. SIIGHTS have created a gem that is stronger than most of the material out there and marks them out for great things.

Before I review GOT IT, I will look at how Mia Fitz and Toni Etherson have grown and been taken to the critical bosom. Tastemakers such as Greg James (BBC Radio 1) have backed their music and radio stations have played their music. Working in the U.S., they have plenty of support and visibility there – this combination and transatlantic appeal means they are in a much better position than most of their peers. The fact they have a big backing and on the rise suggests their talent and hunger is in no end of drying up. The duo is always keen to get to new fans and put their all into the music. The music of SIIGHTS has garnered a lot of love in Ireland and has done brilliantly in Scotland; the streaming figures speak for themselves and it seems that life in the SIIGHTS camp is very promising. I know the duo are in the same position as everyone else out there – they have to fight hard and success is not going to come overnight – but the combination of original sounds, experience and close connection makes me feel they will not have to wait too long. Stations like BBC Radio 1 have already backed their music and so, when it comes to new release, they do not have to create awareness. There are other stations out there that, perhaps, have not yet played SIIGHTS’ music. It is exciting to see how far they can go and which markets are yet to own. Fitz and Etherson will be busy getting the single out there and ensuring as many people as possible hear the song. GOT IT has that instant sense of hook and impact so it is quite possible it will rank alongside the best songs of the summer. I am not sure whether BBC Radio 1 has played the single yet but there is every chance it is on their radar. They could get some play on BBC Radio 2 and I am sure there are stations in America that would love to feature the track.

There is Funk and wah-wah cool that comes from the opening notes of GOT IT. Loose and catchy strings and a clicking beat get the kick going and elicit sunshine. The funkiness reigns and compels the listener to get up and get involved. Sexiness and seductiveness weaves and pops from the speakers as the lyrics look at a figure that is enticing from their head to their toes. Whether it is a sweetheart or new acquaintance; there is that sense of attraction and flirtation that comes through. Even before the first line has been delivered, you are captured by the song and involved in everything. The music is polished and pure; it has dirt in it but has enough sheen to get it to the masses. It is a complex production brew but all the notes and sounds hold together sweetly and get into the brain. It seems there is imminent connection and the heroine wants to feel the guy’s head when they kiss – experience that physicality and instant reaction. It is a rather heated and sweltering coming-together that promises something intense. You can feel that desire come through in the vocal: the composition provides plenty of energy and engagement; keeping the listener involved and the body active. Whereas the verse gets the momentum building and paints some vivid and sexy scenes; the chorus delivers the biggest hit and reaction. The words urge for swing and swagger; paen to someone who has that confidence and attractiveness that needs to be exposed. If anything, one can read the lyrics as an expression of self-confidence and pride. Whatever the reason and interpretation of the chorus’ lyrics; you are helpless but resist the electricity and passion that comes through. There have been some big choruses in music this year but SIIGHTS have crafted one of the best in GOT IT. From their name to the single’s title; everything is in bold-type and declared proudly.

There is a blend of simplicity and complexity that occurs in the second verse. The lyrics can be extrapolated and understood by everyone that listens to it. Speaking about missing the beau and not wanting to lose that affection; we can all get behind that and know where the heroine is coming from. The music and vocal connection between Mia Fitz and Toni Etherson is immediate and incredibly direct. Whereas Fitz takes on more of the production/musical duties; Etherson, to me, holds that vocal prowess that covers more emotional ground. Together, they fuse supremely and provide an intricate and multifarious sound. The composition throws bass and keys in different direction. There are flecks and twangs that delight the senses; a blend of Pop and Funk that is very pleasing to hear. Although GOT IT has a very modern sound and will register with fans out there; I hear elements of the 1980s in the music. The Pop legends of the decade, from Kylie Minogue (if not insulting to them) and Madonna, come through and it is a wonderful brew of the nostalgic and modern. Intensity and physicality keeps coming through and the duo are never willing to take the sound down too much. They want to put the song out there and know every note is being heard and danced to. You get a little rhythmic and melodic similarity to Cathy Dennis’ Touch Me (All Night Long). It has that sense of fun and instant memorability that made that song such a hit! Although GOT IT is a sub-three-minute track, a lot of ground is covered and you are compelled to listen to the song again and again. You get an idea of the intentions and story: the heroine has this lust and longing that needs to be satisfied and, when it is taken away, feels the void.

Rather than see departure and loss as a bad thing; she urges the hero to show what they have and there is that sense of togetherness and hope. I feel like the spotlight is turned on the heroine and a sense of sexual confidence. She is not submissive and playing a minor role: the two are on the same level and there is that inner-strength that comes through. Both Mia Fitz and Toni Etherson turn in incredible performances and fill the song with such vivacity and boldness. It percolates and booms; it is a big track that never feels cheap and commercial. It will appeal to all demographics and, unless some big injustice happens, will get a lot of airplay around the U.K. It is clear SIIGHTS are in a great place and making the best music of their careers. It is only a matter of time before they ascend to the mainstream – with tunes like GOT IT, that realisation and reality cannot be argued against. I was engrossed in the song and, not normally one to indulge Pop and get hooked, was affected and moved (literally) by the mood. There is Funk and Alternative sounds coming into play; it is a heady and sensational mixture of sounds that swims around the mind and stays with you for a long time. In a period where durability and memorability are hard to achieve, there is no issue with SIIGHTS’ current jam. They have concocted something that defines the summer and what we need to hear right now. I would be surprised if an E.P. was not forthcoming, considering what sort of material they are producing right now. A fantastic and nuanced effort from SIIGHTS. It is impossible to shift the song once you hear it the first time. It is one of those things that gets into the head and will not shift which is, given the slightly moody weather, exactly what we all need!

I am a big fan of SIIGHTS and love everything they do. Mia Fitz and Toni Etherson are great friends and have that sisterly bond. They are eager and determined songwriters that have made big leaps and are among the most able and varied out there. Lots of stations have already got behind GOT IT and that will lead to increased demand and bookings. I am not sure whether they have U.S. dates sorted but they could get a lot of gigs around the U.K. Having Scottish and Irish roots; there is already that knowledge of the local scene and where is good to play. The duo divide their time between the U.K. and U.S. but they have a lot of support in London. Having spent time in America, there is every likelihood they will get some gigs over there and, before long, they will get more international dates. I am eager to see whether there is more material coming. Perhaps there will be another single in 2018 but I feel SIIGHTS are ready to drop an E.P. They have the momentum and desire so it is only natural that should lead to a three/four-track release. Their brand of music is what we need right now and people will want to see other examples of what they are all about. GOT IT will satisfy the senses and get people talking but, when the song has done its work, there is going to be a hunger for something new. SIIGHTS are always working and striving to be as good as they can be. Each new release sees them take a big step and cover new ground. With a stunning video out and GOT IT picking up celebration and coverage; the remainder of this year will be a big one for the duo. There are some great duos out there but very few who do what SIIGHTS are producing. GOT IT is proof SIIGHTS are among the best forces in the U.K. and will, very soon, get their music to new lands. I feel they could get focus in Australia and that might be a good country to take their music. It is expensive travelling there but there are so many cities and areas that would flock to see them. Whatever SIIGHTS have in mind, I know they will continue to grow bigger and stronger. GOT IT is the sound of the here and now; what we need right now – proof Mia Fitz and Toni Etherson’s SIIGHTS are very much…

TRAINED to the horizon.

___________

Follow SIIGHTS

Official:

https://www.siightsofficial.com

Twitter:

https://twitter.com/siightsofficial

Instagram:

https://open.spotify.com/artist/59wzcVw9vvQvKIEHddgF7n?si=ySyNyeMc

Facebook:

https://www.facebook.com/siights/

SoundCloud:

https://soundcloud.com/siightsofficial

Spotify:

https://open.spotify.com/artist/59wzcVw9vvQvKIEHddgF7n?si=ySyNyeMc

YouTube:

https://www.youtube.com/channel/UCuyOXIw49mBFoX7F_YAjwJQ

INTERVIEW: Anna Pancaldi

INTERVIEW:

PHOTO CREDIT: Curious Rose Photography

Anna Pancaldi

___________

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.

___________

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

____________

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

___________

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.

___________

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.

__________

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

__________

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

__________

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.

___________

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.

___________

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

___________

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.

_____________

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

_____________

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