INTERVIEW: ABQ

INTERVIEW:

ABQ

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THE Belfast band ABQ (Albuquerque)…

discuss their current single, Takes So Long, and whether they will follow it with more material; what the scene is like in Belfast right now; if they have any gigs lined up in the diary – which artists they are inspired by and draw guidance from.

I learn what their live set consists of and which new artists we need to back; which musical memories stick in their mind; what they want to achieve before the end of the year; the advice they’d give to upcoming musicians – the guys end the interview by selecting some awesome songs.

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

Hi, Music Musings and Such. Thanks for having us. ABQ are all, collectively, in good shape. We have all recently all moved to new digs so we have spent this week settling in and rehearsing for a stripped back gig we have coming up.

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

We are Albuquerque - or ‘ABQ’ for short. We are Paul, Adam; Kit and James: four Irish fellas living in London playing music together. Our sound is full-frontal Indie-Pop. Vocals with an Irish twang; stick-in-your-head melodies, anthemic guitar riffs and a pumping rhythm section. It all comes together for an energetic and genuine live show.

Takes So Long is your current single. Can you talk about its background and inception?

The song came from the frustration that most people feel at some point in their lives that the good things are taking a little longer to appear. This, I think, can lead to the temptation to just cash in and accept where you’re at; so we wrote this song as an anthem for those who keep on moving forwards - to champion that person who is constantly told that it’ll never happen.

Is there going to be more material coming from you guys this year?

Yeah. We have more songs in the pipeline to be released in the near-future; the first of which is a song that anyone who has been to an ABQ gig will have heard: it’s called Edge of the Earth and has been a personal favourite of mine for a while now.

What is the scene like in Belfast? Is it easy to get gigs?

It’s extremely difficult to break out of the Belfast music scene. It’s a small city with funding and opportunities hard to come by. It’s very difficult to get over to the mainland U.K. to play shows and promote yourself. In that sense, Belfast definitely gets overlooked and it’s one of the reasons we decided to relocate.

In terms of sounds and influences; which artists inspire you most?

We’re a pretty varied bunch in terms of personal influences but, when it comes to ABQ; I think we’re pretty much uniform in our aspirations. We love the energy and production of bands like Imagine Dragons and Twenty One Pilots: they’re constantly surprising and changing with their sound and it makes them exciting bands to follow. We also have a huge love for Irish bands like The Frames, Bell X1 (and) And So I Watch You From Afar, which we listened to a lot growing up and helped shape the music we make.

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

We’re doing a show with Sofar Sounds in London on 19th June and, following that, we’re in the midst of sorting out our next U.K. tour for autumn (to coincide with our next single). I can’t share any details just yet but, if you keep an eye out on our socials over the next month or two, there will be a lot more details coming.

In terms of your live set; what might we expect if we come and see you play?

The goal we set ourselves is a ‘stadium-esque’ show, no matter the venue size. Whether we’re playing the O2 or a flat stage in a day-lit pub, we will treat it exactly the same. Our songs are anthemic: they’re easy to sing along to, even if you’ve never heard them before, and they pack a bit of a punch.

It’ll get loud…

What do you hope to achieve in 2018?

2018 is a foundational year for us where we want to elbow our way into the U.K. music scene and create a bit of a buzz for ourselves; releasing our first couple of singles and playing as many shows as we can whilst still being patient and choosing the right opportunities for the band.

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

My favourite memory is the time we spent at Rockfield Recording Studios in Monmouth - especially the late-night sessions; sitting in this beautiful incredibly historic studio, writing and recording with my best mates; having a few beers and playing a piano Freddie Mercury had frequently used…can’t get better than that.

For me (Adam), touring with The Rocket Summer last winter was cool. It was our first proper tour together and, with a bit of luck, we started with a biggie; getting to play some really nice venues around the UK. Finishing the tour in O2 Islington was a treat.

Kit: Playing The Great Escape in Brighton this year was a real highlight for me. I had always heard of amazing bands going there every year; so, to get the invite for 2018 and play three great shows over three days by the sea?! Incredible!

Mine (James) is a recent memory of playing this year’s Great Escape in Brighton. Usually, with any gig, there will be a great deal of sitting around and waiting to be done for soundchecks or doors to open. With the nature of The Great Escape, this was not the case: we were able to play a few shows and (be constantly) spoilt for choice with who we could go and watch next.

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

Just because their music has been with me my entire life, I’d have to personally choose Radiohead or Thom Yorke to answer the question more appropriately…I think that would be an unforgettable experience. For our rider, I’d have to insist on burritos being shipped directly from Boojum in Belfast. Since moving to London, I’ve yet to find a burrito to rival them - and then we’d have a selection of Brew Dog drinks on-tap. There would also have to be a Nintendo Switch and a copy of Mario Kart. That’s a deal-breaker.

What advice would you give to new artists coming through?

The most important advice ever imparted to me in this industry was to learn how to be patient. If you can master that and apply it to situations which may feel very exciting, it can save you from rushing into the wrong deal, wrong team and any other number of bad calls. A bit of patience in order for the right people or time to be found is essential. That being said; this isn’t something that can easily be learnt if it doesn’t come naturally.

IN THIS PHOTO: Joshua Burnside

Are there any new artists you recommend we check out?

We will stick to our roots and champion a few artists with an Irish background who are creating some really nice music right now. Joshua Burnside, who released a debut album last year, is receiving some well-deserved acclaim. He is one of the best lyricists we know. JC Stewart, with his devilishly silky Pop vocals...and Blue Americans, who are full of style and creating some ultra on point, minimal Electronic-Pop.

IN THIS PHOTO: JC Stewart

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

I read a lot. I feel a bit off if I don’t have a good book to read. Same goes for comics and graphic novels. I also swim a lot. Makes me sound a bit like a dad on holiday: “A good book to read by the pool” but, in all honesty, that sounds incredible.

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).

Paul: High Five - Sigrid

Adam: MGMT - Little Dark Age

Kit: Psycho - Post Malone (ft. Ty Dolla $ign)

James: EASYFUN (ft. Iiris) - Be Your USA

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Follow ABQ

Official:

http://abqofficial.co.uk/

Facebook:

https://www.facebook.com/ABQBandOfficial/

Twitter:

https://twitter.com/ABQofficial

Instagram:

https://www.instagram.com/abqofficial/

Spotify:

https://open.spotify.com/artist/6mZDTcTfT8v6UioKtLBHTO

INTERVIEW: Corey Durkin

INTERVIEW:

Corey Durkin

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FROM the London-based wonder of Charlotte Black…

PHOTO CREDIT: Emily Swift Photography 

I move my scope to the wonderful American, Corey Durkin. The unique artist talks about his single, Rest My Bones, and how his skills as a speaker and entrepreneur bleed into his music – he recommends some new artists and talks about plans relating to U.K. appearances.

Durkin tells me about a few albums that are dear to him; some new artists we need to champion; how he spends time away from music; whether it is true he lost a boxing match with Orlando Bloom – Durkin completes the interview by suggesting some legendary, cool-as-hell Boyz II Men.

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

My week has been amazing because I bought a pair of space cat parachute pants AND a matching windbreaker - I honestly don’t know how it could get any better.

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

Hi. Those of you who are new to my music, I’d like to introduce myself: my name is Corey Durkin and I’m a coffee-house arena-rocker from the woods of Connecticut where we just got running water installed two years ago.

Rest My Bones, I guess, is your most-recent single. Is there going to be more material later in the year?

Yes, indeed! My next E.P. comes out on August 1st and I’m hoping to have a new album out by the end of the year (which is called New England).

I know you are a speaker and author. How did you get into music and get bitten by the bug?!

The music came first, actually! I started seriously playing the guitar in eighth-grade and then, two years later, decided to leave high-school to pursue a career in music. That’s generally regarded as a bad idea by all musicians but it led me on the journey into the world of biz and now, here we are!

Do disciplines and skills needed to be a great speaker and entrepreneur help when it comes to music and your songwriting?  

Eh. On the music biz side of things, certainly, the same principles apply. Business is business, after all. As far as songwriting, I don’t think the skills are very similar, at least, not for me. I don’t have a rigid discipline around songwriting in the way that I do with, say, writing email marketing campaigns.

Music-wise, it comes in waves for me: I just let it happen and when something cool comes out of the clouds, I’m lucky enough to catch it and know what to do with it. It sometimes helps to wear a raincoat when catching cloud-matter, because you never know if it’ll start raining.

When did music get into your life? Which artists did you grow up around?

Well. One of my earliest memories is of my dad playing Fat Bottomed Girls by Queen in the car…and pretty much, that’s all I needed to hear in so much as that song contains a deep commentary on the trials and tribulations of the people in and around the Roman province of Arabia Petraea.

Freddie wrote a lot about the Byzantine Empire, though this is unbeknownst to most. Lots of the '70s in my life when I was growing up - my dad played a lot of Led Zeppelin, the Eagles; Billy Joel, Jackson Browne; James Taylor…

Is it true you lost a boxing match to Orlando Bloom?! How did that happen?!

I’m really not at liberty to talk about the specifics regarding this boxing match, but I CAN tell you that, afterwards, I ate an entire six-person meal from Boston Market which only consisted of their mashed potatoes and macaroni and cheese. It’s a common misconception that you should carb-load before a big event when, really, doing so AFTERWARDS produces the best results…

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

Well. You can SEE me on tour but you can’t HEAR me on tour because what I do is I play silent shows where you can visually enjoy me singing into a microphone and playing a guitar but no sound comes out. (Silent films had a big impact on me as a kid).

But, no, I’m not much for the touring. I host a concert series in Connecticut that’s gotten pretty big and that’s a great live outlet for me…but in terms of touring, not for music. For SPEAKING, yes. But, that’s another story. Which, apparently, I’ll answer in the next question!

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

It’s funny you mention that because I’ll be headed to the U.K. to speak in the fall! I’ve developed a new program called Money Mastery which teaches people how to take control of their finances in a way that none of the ‘supposed’ financial gurus has ever taught. It’s completely based off of my experience as a young entrepreneur who had to figure out WHAT IN THE WORLD to do with my money and I decided that I’d rather have control of it instead of just giving it over to someone else!

So. That program has caught fire and I've been asked to speak at a ton of incredible events and conferences - and I am SO passionate about helping people understand the best ways to run their finances and having total control. The U.K. talk(s) are going to be amazing and, perhaps, we’ll have to work on booking a U.K. show while I’m there! I mean…why not?!

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

Well…now, I want to play a show in the U.K.! (Smiles). Yes. I have a new book coming out in the fall and, hopefully, will have the New England record done by the end of the year as well! I also want to go on the Connecticut taco trail which is, apparently, a thing, and, if you Google it, you’ll see that it is, in fact, a trail full of tacos…and how could anyone not want to do that?!

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

Yes. This one time, my good friend and keyboardist, Peter Inzero, sang the fourth verse of Only the Good Die Young by Billy Joel with, let’s call it, ‘a cursory knowledge of the cadence’. But, his voice was so magical and angelic that it lifted the roof off of the concert hall and we all levitated for about thirty-seven seconds.

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

Running on Empty - Jackson Browne; Honkey Chateau - Elton John and A Night at the Opera - Queen.

What advice would you give to new artists coming through?

Write a song. Then write another song. Then write another song. Then write another…and use better grammar than the answer I just gave…

Are there any new artists you recommend we check out?

Yes! My friend Cal Kehoe is an unbelievable musician and you should definitely check out his stuff. We have an amazing music scene here in Connecticut and in the Northeast in general. An artist named Gracie Day is amazing, as is a great artist named Frank Viele - who just put out a new record a few months ago!

IN THIS PHOTO: Gracie Day/PHOTO CREDIT: Anna Lennard

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

Ha. Yeah, actually; most of my time IS spent away from music so, actually, my ‘unwinding’ usually involves sitting down at an instrument and playing! I play a lot of drums in my studio, so that’s always a good unwinding thing for me.

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 like you to play something by Boyz II Men, please.

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Follow Corey Durkin

Official:

http://coreydurkin.com/

Twitter:

https://twitter.com/coreydurkin

Instagram:

https://www.instagram.com/coreydurkin/

SoundCloud:

https://soundcloud.com/coreydurkin

YouTube:

https://www.youtube.com/channel/UCMWgvOiS2ucpJLiNmwsTEdw

Spotify:

https://open.spotify.com/artist/6miQfHCTeLIaUK0CIFULsy

INTERVIEW: Charlotte Black

INTERVIEW:

Charlotte Black

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I have had a great time speaking with Charlotte Black…

about her music and what inspired the latest track, Nobody Else. The track completes a fantastic trilogy – I ask what the reason was behind that triple-release and whether more material will come later in the year.

Black talks about influences acts and albums; why she moved from Edinburgh to London; new artists we need to get behind; what advice she would give to fellow artists emerging – she talks about gigs and precious musical memories.

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

Hello! I’m great, thank you. I don’t think I’ve ever been busier - but that’s a good thing, right?! My week has been full of sessions and I think we may have got another single from one of them…so, I’m really excited!

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

I’m a twenty-three-year-old singer-songwriter from Edinburgh, currently based in London. Music-wise; think a mixture of Astrid S, Taylor Swift and Bea Miller-inspired records: Electro-Pop with a storyline based on dating and falling in love in 2017/'18 . 

Nobody Else is your new single. Can you tell us what the song’s story is?

So, you know that magical summer holiday romance feeling when you meet someone amazing?!  It encapsulates that and how, in that moment, you think that person is all you could ever want….

It completes a trilogy of tracks. What was the reason for releasing a trilogy?

I really wanted to tell a story through several tracks to make it more interesting. I’ve been telling my story of falling out of love and finding it again in the modern dating world.

Might we see an E.P. or more singles later this year?

I don’t think I’ll ever release an E.P., actually! I studied at music school and they really encouraged it; everyone seemed to be doing it so I wanted to try and do something a little different. I’ve got four more tracks coming out this year which I’m so excited about!

You have a talent for writing songs perfect for summer and the festivals. Do you prefer those more open and revealing songs – that provoke myriad emotions and heat?

Thank you! Yeah. I actually really love writing honest lyrics that tell it how it is. Funnily enough, I actually write more emotional tracks than I do the summer ones. I have just been too nervous to share it yet. However; my next track is really emotional and I can’t wait to get it out there. I think it’s the most ‘me’ song I’ve ever written.

Now you are in London - but you originate from Edinburgh. What was the reason for moving? Is there a lot more opportunity in London?

I love Edinburgh but, ever since I was in high-school, I wanted to get out and explore. I come from a teeny, tiny village where nothing exciting ever really happened. It was my dream to live in London and write songs! There are so many incredibly talented people here to collaborate with. I think, if you’re going to dive into a career like this, you have to live in the heart of the industry.

Did you grow up around a lot of music? Was there a particular artist that compelled you to get into the industry?

Yeah. My dad was always playing Joni Mitchel, David Bowie and, occasionally, we had ABBA on in the car which I absolutely loved. Hilary Duff was my number-one when I was about eight-years-old. I’d watch her live tour D.V.D. every Saturday morning; I was completely amazed by her! I remember wanting to do exactly what she did and its not changed since!

My sister then let me borrow her Taylor Swift album and that was me hooked - she’s one of the most inspiring musicians and businesswomen out there!

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

I’m in the process of booking some support slots which will be really exciting and then I’m planning a short schools/university tour this September!

What do you hope to achieve in 2018?

I’d really love to keep connecting with more people through my music; keep building my fanbase and to play some really cool support slots. I think my next step is diving into the live scene, which I’m just so excited about!

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

I think, so far, it was being nominated in the top-ten for the Unsigned Music Awards. When the email came through, I was going through a really hard time and it completely reignited my self-belief and gave me the confidence to keep plugging away.

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

Oooo. It would have to be the artists that inspired me to get into songwriting. There are so many incredible albums out there, but the ones that mean the most to me have to be the ones that ignited my passion!...

Taylor Swift – Fearless and 1989; Hilary Duff – Metamorphosis. At the moment, I’m obsessed with Kacey Musgraves' album, Golden Hour. It’s one of the most beautiful pieces of work I’ve heard in a really long time.

What advice would you give to new artists coming through?

The songs you write are the most important and valuable thing you have in your career, so write as many as you possibly can. Always work harder than you think you need to and know that there is space for everyone in the industry. Also; no one’s life is how it looks on Instagram: we’re all hustling away behind the scenes.

 IN THIS PHOTO: Aislin Evans

Are there any new artists you recommend we check out?

Yes! Aislin Evans, for definite. Her songs always give me goosebumps - and Liv Austen; an amazing Country singer-songwriter!

IN THIS PHOTO: Liv Austen

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

So; every month I take a full day off in bed to catch up on sleep and Netflix (guilty pleasure) - it normally recharges me completely. I’m working a few jobs at the moment to keep my head above the water so it’s good to take a day out to breathe. I love any time spent with my close friends. I always come away from it feeling amazing!

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).

Kacey Musgraves – Space Cowboy

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Follow Charlotte Black

Official:

https://www.charlotteblackmusic.com/

Facebook:

https://www.facebook.com/charlotteblackmusic

Twitter:

https://twitter.com/charlotteblack

Instagram:

https://www.instagram.com/charlotteblackmusic/

SoundCloud:

https://soundcloud.com/charlotteblackmusic

YouTube:

https://www.youtube.com/channel/UCe3Wi1wO0rCv4U20jxdC3Kw

Spotify:

https://open.spotify.com/artist/6Zs1T5v8fRPBvCZu8H28bM

INTERVIEW: Tella Viv

INTERVIEW:

PHOTO CREDIT: Lars Brønseth

Tella Viv

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THE chaps of Tella Viv have been discussing…

their latest E.P., Happy Doomsday. I ask them what inspired the music and the themes that compelled the songs; how the band got together; if there is a story behind their name – they tell me what the music scene is like in Sweden right now.

I was keen to learn what life was like in a band and the sort of music they all draw from; if there are going to be more tracks coming along before the end of the year – the chaps each choose a song to end the interview with.

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

Benjamin: Great! Busy with gigs and other projects - but a lot of fun.

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

Carl: Four Swedes without driving licenses, writing Surf songs about going down the highway….

Is there a story behind the name, ‘Tella Viv’? When did you guys get together and start playing?

I made a list with some band name suggestions: ‘Tella Vivs’ was the first one. Ex-member Adam took away the ‘s’ and designed the logo that we still use. Very glad it didn’t become my other suggestion, ‘Oidipals’.

Happy Doomsday is your new E.P. Talk to me about the themes and ideas that you were inspired by when writing the songs.

Benjamin: We wrote these songs in a chaotic, transitional phase for the band. There had been a lot of dramatic changes in our everyday life and in the band. We had lost a member and a lot of the people we used to work with. We are very inspired by New Wave music and the theme of doom and destruction in that genre. Being inspired by the Cold War seemed more applicable than ever - not only due to our own struggle against perishing under our new circumstances but also in relation to the current state of the world.

We chose to embrace the theme and, in that way, we could create something better than ever before.

No, No, No, No seems like a natural standout. Is there a tale behind the track?

Carl: Benjamin wrote most of the music. Lyrics-wise, I picked up French comic Valérian and Laureline but made it a story of a sad space couple going through a split up for eternity.

Fredric: Our dear friend, Robin Eveborn, did a great job producing/editing the vocals, which made the chorus nice and bouncy.

Your music seems to match everything from the 1950s to the 1980s. Do you all have eclectic musical tastes? Are there particular artists you vibe from?

Benjamin: We all listen to lots of different music. We do draw a lot from Surf, in particular, Dick Dale. He really went for something that a lot of people wouldn’t dream of back then. There’s something about music that’s kicking in a new door; where there’s not a lot of established conventions to lean on. They always seem to make more out of less.

We are also very inspired by New Wave and its penchant for the weird. We spoke a lot about Devo when making this E.P. We like to make small references to quite differing styles. If you listen carefully you could probably find little titbits of almost everything…

Fredric: I think we all have different tastes, but we agree on most things, musically. I think it’s nice to have that difference: it makes writing music more fun and unpredictable.

The band is based in Sweden. What is the scene like where you are? Might you play the U.K. this year?

There are a lot of great bands in Sweden but not a lot of great venues. So; it’s quite a struggling scene but I think that makes us more eager to get out of our bubble, which is good.

Fredric: Yeah. A few of our favourite venues in Stockholm have shut down recently. We’d love to tour the U.K. - we are currently working on making that happen.

What is it like being in a band? Are there are downsides in addition to the bad?! Is the collaborative nature of your music a big plus?

Benjamin: I mean, some things take longer and are harder since more people have to be on board and have their voice be heard…but the pros greatly outweigh the cons. None of us could create the music of Tella Viv by ourselves.

Whenever I have an idea, the thing I look forward to the most is seeing how the rest of band is going to react to it and what they are going to come up with to make it better. In the end, I get to do the thing I like the most with the people I like the most. That’s hard to beat…

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

Carl: We just confirmed London on 26th September at The Old Blue Last. Be there, chaps!

What do you hope to achieve in 2018?

Benjamin: For more people to hear our music. As long as they actually listen to it, I’m sure we will stay in touch.

Marcus: Bigger and better live shows

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

Fredric: We played a show at Melodybox in Stockholm last year, which was arranged by our friends from the group Vero. That was a really great night. I hope we get to do more of those!

Benjamin: To me, it seems like we keep making better and better memories as we go along. I had so much fun playing our latest gig; even though I had a really bad cold and was on painkillers.

Carl: We got booked to Norway to play three songs for a clothing brand presentation. Then, we dined with the brand owner at a Peruvian restaurant. After that, it felt that playing Rock music sure has some benefits.

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

Carl: Grace Jones. Champagne and oysters.

Fredric: Little Dragon. Piña Coladas and a sushi buffet.

Benjamin: The Shaggs. Tequila and French fries.

Marcus: The Strokes. Beer and cigarettes.

What advice would you give to new artists coming through?

Carl: Learn the rules to break them...

Fredric: Rehearse a lot. It’s fun and it gives you less time to think about all your problems.

Benjamin: Rock the house…

Marcus: Stay hydrated.

IN THIS PHOTO: The Chats/PHOTO CREDIT: Dougal Gorman

Are there any new artists you recommend we check out?

Benjamin: The Chats.

Fredric: ivy.

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

Carl: I mostly think of music all the time. I guess it’s a way of escaping things around you.

Fredric: Me too. I unwind by playing or making music. But, when I need to do something else to get away, I prefer skateboarding or video games.

Benjamin: When I’m not making music with the band, I build keyboards and, when I don’t do that, I listen to music. The few times I take a break, I like to watch movies.

Marcus: Not a lot of time away from music but I really don’t mind. I watch bad T.V. shows I’ve already seen while taking a bath (when I need to unwind).

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).

Carl: Thanks. Nina Simone - Mississippi Goddam

Fredric: Graham Nash - Better Days

Benjamin: Suburban Lawns - Janitor. Always

Marcus: Unknown Mortal Orchestra - Necessary Evil

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Follow Tella Viv

PHOTO CREDIT: Lars Brønseth 

Facebook:

https://www.facebook.com/tellavivmusic/

Instagram:

https://www.instagram.com/_tellaviv_/

SoundCloud:

https://soundcloud.com/tellavivmusic

YouTube:

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

Spotify:

https://open.spotify.com/artist/64yuyvF3YigEw1MyXdDo6w

INTERVIEW: Gazel

INTERVIEW:

Gazel

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ONE gets a nice contrast when witnessing Gazel’s music take shape.

There is a connection to the spiritual and earthly coupled with something that summons bones, vivacity and dance candour. I have been speaking with the London-based songwriter about the single, Book of Souls – and what we can expect from her upcoming debut album.

The songwriter talks about recording the album and which musicians inspire her; a few albums that have made an especially large impression; what it is like being on stage and seeing people connect with her music; how important London and its people are – Gazel ends the song with a very good song choice.

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

Hi, Sam. I’m well, thanks; it’s been busy… and yours?

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

I’m Gazel; a musician, writer and lover of all things metaphysical.

Can you reveal the story behind your single, Book of Souls?

Book of Souls is the story of the cast of characters that we all have in our unconscious minds, otherwise known as the ‘collective unconscious’. They’re the characters that motivate us and shape our behaviours and cause patterns to repeat over generations.

I believe it is from your upcoming album. What sort of thing can we expect in terms of themes and titles?

My debut album is called Gazel’s Book of Souls, due for release towards the end of the year. The album is a soundtrack to a modern myth; the story of Gazel as she journeys through her unconscious mind. The sound is a powerful blend of Electronic Dance Music with Ancient Folk and World influences.

No love songs!

Has it been a fun experience putting an album together?

It’s been awesome. Each time I’ve finished a song for the album I’ve thought this is the best song I’ve done yet. It’s also been a real privilege to work with some of the most experienced studio-folk in the industry.

Which musicians impacted you heavily when you were growing up? When did music come into your life?

I played a lot more than I listened to growing up. I started playing instruments when I was five and went down the Classical path until I joined the Royal Academy of Music Junior Academy to study strings. It wasn’t until my parents got me Logic as a teenager that I realised I liked writing a lot more than I liked scales.

You have played all around London. What is the city like in terms of the crowds and variation?

Hugely varied as you can imagine; you almost never know what you’re in for. A lot of my music is influenced by Folk (music) from the Middle East, Balkans; Africa and South America - so one of the great things about London is being able to connect with people of so many different backgrounds at my shows.

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

Our next headline show is at Birthdays in Dalston on 15th June. After that, we’ll be releasing more from the album with shows around the time of each single release. Catch up with me on Instagram to hear about those as they’re announced.

Is it easy to describe how being on stage makes you feel? Does the crowd’s love and reaction do something special?

Being on stage is the best. It’s great to have an audience to share my work with. I never know whether a tune really works until I play it at a show and see the reaction. There’s no better feeling than hearing people sing along to your tunes…

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

Finishing the album, touring it and finishing the storyboard for a musical I’m writing, based on the music from Gazel’s Book of Souls.

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

I had just come off stage at a scuzzy London club shortly after my first E.P. came out. A promoter (who I now work closely with) asked me to save a date two months later to play at the Hammersmith Apollo. I nearly threw up!

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

Kid A by Radiohead, Rosna by Laboratorium Pieśni and Hamilton (Original Broadway Cast Recording).

What advice would you give to new artists coming through?

Nobody knows any better than you do.

Are there any new artists you recommend we check out?

Laboratorium Pieśni, Dessa; Maija Sofia and Seaker (who we are lucky to have supporting us on 15th).

IN THIS PHOTO: Maija Sofia/PHOTO CREDIT: Nancy Wilde Photography

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

Music seems to take over everything, to be honest, but, when I get a chance, I like reading philosophy books and dancing Brazilian Zouk.

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).

Dessa – 5 out of 6

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Follow Gazel

Official:

http://thisisgazel.com/

Twitter:

https://twitter.com/thisisgazel

Facebook:

https://www.facebook.com/thisisgazel

Instagram:

https://www.instagram.com/thisisgazel/

SoundCloud:

https://soundcloud.com/thisisgazel

YouTube:

https://www.youtube.com/channel/UCYXA_CqHzbOzBTqPQM2fR3g

Spotify:

https://open.spotify.com/artist/4gz9TrWr98KH9XZLfOUl1h?si=hX_XC3oiQiCSgOb31h9jbw

INTERVIEW: Mon Frère

INTERVIEW:

Mon Frère

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IF you have not stepped into the world of Mon Frère…

then I suggest you correct that! Matt and Paul Lennox are the brotherly duo whose music is hitting hearts, ears and minds. With their new single, I’m on It, out and picking up acclaim; I was keen to learn about its story and what it was like working with TLBW on the song.

Matt fields the questions and discusses the influence of artists like Orbital and Underworld; why the duo started making music together; what it is like working with an array of guest vocalists on their songs; whether there is more music arriving later this year – Matt tips some artists we need to keep our ears open for.

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

It’s been great, thanks. We’re working hard to create the promotional plan for our next two tracks and we’ll also have some very exciting news breaking within the next few weeks. Plus, the sun’s been out and there’s some great music out there to listen to at the moment - so we can’t complain.

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

Sure. Mon Frère consists of Paul Lennox and Matt Lennox. We are brothers and have been working together as Mon Frère for over four years now. Paul is the composer and producer; I (Matt) am a lyricist and we both work together on the business development of the project.

We then bring in young, talented vocalists to feature in our songs such as Kate Wild (AJ Moreno), Joell Fender (Years and Years and Sigala) and TLBW (Lebeaux) to name a few.

How did Mon Frère come together? When did the magic start?

Mon Frère was born towards the end of 2013. Paul was already an established musician, drumming for bands such as Warsaw Radio. I had been a Dance music D.J. back in the nineties and noughties. I have a background in business, so we thought: ‘Why don’t we put our skills together and create our own music?!’  So; Mon Frère began life as an Electronic-Dance music duo. Our first album, Urban Glow, was released in 2015 and was an eclectic mix of all the Dance music genres that had been inspiring us. As we grew, we decided to refine our sound and our new music has much more lyrical and musical depth.

We now have orchestral elements in all of our songs; live strings, piano etc. We decided that we would only create songs that meant something to us personally and I think the new direction has really hit a chord with our fans.

Tell me about I’m on It and its story. How did the song start life?

Actually; the phrase ‘I’m on it’ came from a saying that we had back in the nineties when we would go clubbing and tell each other: “I’m on it tonight, sunshine”. It was a great phrase and always made us smile; so we took the phrase and then built a song around it. The song evolved into a story about a guy who watches the girl he loves constantly get burned by the other guys she would date. She is attracted to the typical ‘bad boy’ and the song is about this guy’s frustration of watching her get hurt repeatedly – but keeps going back for more.

We’ve all seen this happen, right?

What was it like working alongside TLBW on the track?

TLBW is a Brighton-based vocalist called Turrell Lebeaux. Turrell is an absolute superstar-in-the-making. His band, Lebeaux, are currently supporting Tokyo Myers - last year’s winner of Britain’s Got Talent. Turrell is charisma personified. If you get the chance to see him live with Lebeaux, we certainly recommend going. He was simply an absolute diamond to work with – as have all the great vocalists that have entered our studio.

Do you think bringing different singers in to perform your tracks gives them variety and personality?

Absolutely. The best part of the Mon Frère project is the opportunity to work with such inspiring and talented people. It really is a message to all up-and-coming producers – this kind of talent is out there and is available. We search Facebook, YouTube and Instagram to view show-reels of potential singers for each track. Once we find the right singer, we’ll contact them directly and have very rarely been turned down for a studio session. 

Working with people like Kate, Joell; Turrell and the others has taught us so much about professionalism, building relationships that profit both parties and add to the fun.

Is there more material coming down the line at all?

There is going to be constant new music from Mon Frère. We aim to be ‘prolific’ in our output and have certainly been so over the last six months. Our next track, Caught Up Caught Out, will be launched in the next two months and then we already have the next one after that ready…

That song is called See What You Mean to Me which, I think, is the most beautiful track we have ever written (I can say that because Paul also wrote the lyrics!) and it features another new singer called Meliva who is based out of London. Meliva’s voice is something to behold!

Which musicians do you count as idols? Were you raised around a lot of different sounds?

Paul’s music career was based around being a Rock drummer, so he is heavily influenced by Rock music. However, Paul studied at Brighton’s Institute of Modern Music which also gave him a wide background in all kinds of technical music; so Paul counts bands such as The Cinematic Orchestra and Massive Attack as key influences.

I grew up in the '90s surrounded by the epic dance music that we were hearing for the very first time. Bands such as Underworld, The Chemical Brothers; Orbital and The Prodigy just blew me away. I think the Mon Frère sound captures a lot of these influences within our songs.

Are there going to be any tour dates coming up? Where can we see you play?

The key focus of Mon Frère, at the moment, is working with a publisher to raise the awareness of our songs and get them synchronised onto T.V., films and adverts. In this way, we are working to broaden our fanbase. However, we may have some exciting news coming your way soon in regard to a gig to launch a new record label – watch this space…

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

We are very robust in our planning and promotional focus. We started as a D.I.Y. artist, so there’s lots of work on-going with websites, social media and (working with) media outlets. The main ambition for the rest of 2018 is to continue to launch a new single every three months, increase our radioplay and have our music used in a mainstream film. Finally, we always have our fans at the heart of everything we do so we want to make sure that we continue to provide them with value and look to grow our supporters every day.

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

There have been so many highlights up to this point, but the most-recent favourite memory was getting on a British Airways flight to Canada and finding that our music was being played on the in-flight entertainment system. I had been bumped up to Business Class, so it really felt special. I was considering getting up and telling all the passengers but managed to refrain myself!

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

I would say that the first Underworld album I purchased changed my life. It was the Second Toughest in the Infants album. I had never heard music like this before: such depth, such emotion and such funk. It just blew me away.

I would also say that listening to Orbital’s ‘Brown Album’ (Orbital, 1992) for the first time was a similar experience – it was completely unique and still stands apart from any other music.

Paul would say that The Cinematic Orchestra’s Ma Fleur is just beautiful. The musicality of The Cinematic Orchestra truly inspires Paul - and you can definitely hear their influence in all of our newer songs.

What advice would you give to new artists coming through?

To be a successful artist today, if you are going to work hard to build your own reputation and following then be prepared for a hard slog. It’s not good enough just to be a talented musician anymore (unless you are very lucky). You need to be business-savvy and you’ll need to be an expert in social media promotion. We would suggest every young artist to do a course in Digital Marketing.

IN THIS PHOTO: Lebeaux/PHOTO CREDIT: Theo Lowenstein

Are there any new artists you recommend we check out?

You should certainly check out the band Lebeaux. They are so funky and unique - and each musician in the band is supremely talented. Also, one of the singers we feature frequently is called Kate Wild. Kate is an exceptional talent and you’ll hear her voice sampled on numerous Dance hits. She’s also about the nicest person in the world: so professional and intelligent.

IN THIS PHOTO: Fickle Friends

We also like to support all the other brilliant Brighton-based bands such as Fickle Friends, Jolé and, of course, the ultimate Rock band, Royal Blood.

 IN THIS PHOTO: Kate Wild

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

Honestly…no, we get very limited free time. Paul is constantly gigging across the world with other acts such as Warsaw Radio and UK Queen Tribute. I also have a full-time job to help pay the bills so, to unwind, we both listen to music all the time. Paul really never stops working but I listen to a lot of Chillout music from the likes of Solar Fields and Carbon Based Lifeforms. Music makes us both happy and just about keeps us sane - so we don’t mind being busy with Mon Frère.

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).

Ok. Let’s choose a song from each of our influencers. I will nominate Pearl’s Girl by Underworld. It’s got the dirtiest baseline and the lyrics are crazy. I just love this track.

From Paul, I will nominate To Build a Home by The Cinematic Orchestra. It’s such a beautiful song and pulls on the heartstrings.

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Follow Mon Frère

Official:

https://www.monfrere.co.uk/

Twitter:

https://twitter.com/monfrereband

Facebook:

https://www.facebook.com/monfrereband

Instagram:

https://www.instagram.com/monfrereband/

SoundCloud:

https://soundcloud.com/monfrereband

YouTube:

https://www.youtube.com/monfrere

INTERVIEW: LENN

INTERVIEW:

LENN

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THINGS change gear as I speak with LENN…

about her awesome new single, Cheap Talk. She explains its derivation and why we can all relate to its messages. I ask her what it was like collaborating with Lex; how her latest single differs from her debut cut, I Know How – she offers up some new artists we need to get our ears around.

LENN explains what she does away from recording/gigging and albums that mean a lot to her; what sort of music she grew up around; how it feels knowing her music connects with people – the songwriter reveals her plans for touring.

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

Hi, Sam. This week has been a bit hectic, so I’m tired. However, I did just wake up from a nice long nap, which was lovely.

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

I’m LENN. I’m twenty-two and I’m living in Bristol. I like singing, eating and sleeping. I’ve only recently started releasing music, so I’m pretty new to it all, but it’s fun.

Cheap Talk is your new single. What is the story behind the song?

It’s about this guy I was seeing a while ago and the way it ended between us. I didn’t feel, at the time, that I got treated the way I deserved. It’s all good, though, because I got a great song out of it.

You collaborated with Lex. Is it a natural partnership that you feel will lead to more work?

I love getting in the studio with Lex and we’ll definitely continue working together. We have a strong friendship aside from music and that level of trust means we’re able to filter and encourage ideas without being afraid of offending one another.

How do you think Cheap Talk differs from I Know How (your debut single)? Do you find yourself growing more confident with each release?

Cheap Talk is really fun and much more of a Pop anthem than I.K.H. and, yes, I do! I’m so excited for what’s to come as well because the next single I’ll be releasing is probably my favourite song that I’ve written to date…

Which artists and albums were important when you were growing up? What attracted you to music?

I used to listen to S Club 7, Busted; JoJo and Leona Lewis. Classic. I just really enjoyed singing along. That’s really where it started for me: I enjoyed singing before I was any good at it. It was only when I hit the age of thirteen that I developed the ability to hold a tune!

Your music is resonating in hearts and connecting with fans and critics alike. Is it pleasing knowing others are getting so much pleasure from your music?

Of course. That’s really a key motivation for doing it. It’s satisfying as well when I’ve read blog posts that talk about parts of the songs that struck them - and it’s a great feeling to know that other people can identify with some of the things I’ve been through. For example, I think most of us have been through situations where we haven’t been treated too well. Writing Cheap Talk really helped me to process those feelings and being able to offer that up to other people is cool.

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

No tour planned just yet, but we’ll start gigging A.S.A.P. - I’m just focused on getting enough material together first. I’m spending as much time as I can get in the studio but, sadly, normal life goes on so I still have to work and that slows the process. We’ll get there, though!

Summer is here (sort of!). Do you find yourself racing with ideas and determined to get out there and thrill the crowds? What is it like bringing your music to the people?

Yeah. We’re writing something new at the mo, which I’m really excited about. The next single is proper summer vibes - aiming to release that in the next couple of months.

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

Definitely, to start gigging. I love being in the studio making music, but performing is the dream.

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

It’s only been a short time for me. But, the first time I heard I.K.H. on the radio was so exciting - I was so hyped; more than I expected to be. It was just so exciting because, although I’d heard the song a million times, it was the first time I’d heard it with other people listening too.

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

JoJo – The High Road

All-time favourite!

HAIM – Days Are Gone

Every single track is excellent - which I think is rare.

ABBA – Gold

All bangers, no mash.

What advice would you give to new artists coming through?

Surround yourself with positive people who believe in you. There are plenty who are sceptical but don’t let them kill your vibe. Enjoy the process. If you’re always looking ahead you’ll miss the now!

IN THIS PHOTO: TS Graye

Are there any new artists you recommend we check out?

TS Graye. She’s a Bristol girl who just released her first single and it’s so good. She’s got an incredible vocal ability – very cool. Lex has worked with her on a few bits. HANNIE - new and exciting. Got a session in the diary with them; they’ve got a really fun vibe.

IN THIS PHOTO: HANNIE

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

I sleep and eat myself silly. I love to hang out with my good friends Ben and Jerry…

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).

JoJo – Leave (Get Out)

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Follow LENN

Official:

https://www.theysaylenn.com/

Twitter:

https://twitter.com/theysaylenn

Facebook:

https://www.facebook.com/theysaylenn

Instagram:

https://www.instagram.com/theysaylenn/

SoundCloud:

https://soundcloud.com/theysaylenn

Spotify:

https://open.spotify.com/artist/2q3poPC1pFe0l2ObYpZyOO

INTERVIEW: Jonni Slater

INTERVIEW:

Jonni Slater

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I have been chatting with Jonni Slater…

about his new work, Inversions. The E.P./mini-album consists of rearrangements and reworkings of previous songs from his collection – he talks about the process and which tracks from the bunch stand out to him.

Slater tells me about his favourite music and what the music vibe is like in Bristol; if we can see him hit the road very soon; some new acts we should keep a watch for – he tells me about writing for film and T.V.

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

It’s been a good one, thanks, Sam. I just won a couple of festival slots through a songwriting competition run by Glastonbury FM in Somerset, which was judged last weekend at a live grand final. Then, I was back that way on Thursday for a live session on the radio - so all good fun really.

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

I’m a songwriter and composer based in Bristol. My music ranges from intimate and heartfelt to epic and cinematic; I love the pure sounds of a solo guitar, piano or voice but I also love arrangements that build up atmospheric layers of sound and take the listener somewhere out of the ordinary.

Your Inversions E.P. was released in April. What sort of themes and experiences compelled and enforced the songwriting?

My songs tend to be a melting pot of personal experiences mixed with fictional scenarios. I often picture a movie scene in my head, either existing or imagined, and write to that. On this E.P., the songs have been inspired by classic Noir films and hard-boiled 1940s Detective Fiction, Greek myths and one (Not Giving Up) is a nod to The Great Gatsby.

How did the songs come together for the E.P.? Is it true they are reworked and collated from previous work?

Yes. I’ve put out a couple of E.P.s prior to that (Hold On and Now), which were mainly full band arrangements of the songs with an Indie/Alternative-Rock sound, but my live gigs have often had quite different setups. Sometimes, they are stripped back to just piano or acoustic guitar; sometimes more sampler and beat-based, so there have always been multiple versions of these songs out there.  This was a way to bring some of that together on record.

Is there a song from the pack that stands out as a particular favourite?

There are two or three songs that I always look forward to playing in a live set. Alright is one of them: a song about the loneliness of living in a big city, which was given a retro makeover for this record with vintage synths and samples from a Mellotron. Lyrically, it has some quite personal associations for me, although the details aren’t autobiographical. It was recently played on BBC Introducing in the West and it’s been great to get some nice feedback from different sources.

When did music arrive in your life? Who do you count as heroes?

I guess, like most people, my first exposure was via my parents’ record collection; I remember Sgt. Pepper’s Lonely Hearts Club Band being played a lot when I was a child as well as Paul Simon, Cat Stevens and the occasional Jazz L.P. My biggest heroes are mainly the artists I discovered in my teenage years; including Chris Cornell, Soundgarden and the Belgian band dEUS. The bass player in my first band introduced me to Herbie Hancock and his album Maiden Voyage really connected with me.

You also collaborate with other artists and writing music for T.V./film. Do you feel yourself growing as a songwriter because of the experiences you have gained outside of your own work?

Yes. It can’t help but influence you. I’ve contributed to musical projects in a diverse range of genres, from Hip-Hop and Pop to Classical; working with inspirational people who have introduced me to music I knew nothing about previously - and it’s great to find fresh rhythms or chords - or ways of approaching a melody that you can bring back into your own work - even if only in a small way and filtered through your own style and taste.

For the last couple of years, I’ve been playing keyboards for Maaike Siegerist, who has a strong Jazz influence and, despite having listened to a lot of Jazz that was a whole new area of playing for me that I had to pick up as quick as I could - and which is now seeping into new song ideas...

Being based in Bristol; what do you think of the local scene? Is it a good place for an ambitious artist to play/create?

I think it’s an ideal size for both of those things: it’s compact enough but there’s lots going on to draw inspiration from and to get involved in…and loads of great musicians. I think there’s an inevitable element of competition wherever you are these days, just in the sheer numbers of artists trying to get their music out there. But, it always seems like London can swallow you up all too easily, whereas Bristol feels more supportive.

Are there going to be any tour dates coming up? Where can we see you play?

The next couple of dates I have lined up are in July: on 20th at Cafe Kino in Bristol, supporting a great composer and pianist from Bath called Edward Bettella who is launching an E.P. that he has recently recorded with cellist Jonathan Stabler. They’re both fantastic musicians, so it should be a great night. Then, on 26th July, I’m at The Royal Standard in Blackheath (London).

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

My main focus is to work on some new material. I recently recorded a live studio session of a brand new song, which I’m really looking forward to releasing later in the summer. I’ve been co-writing some new songs with Maaike Siegerist, which we’ll be putting out as a joint venture later in the year. I hesitate to call them ‘duets’ in case that conjures up visions of cheesy '70s ballads, but they will feature both our voices and a blending of our influences and styles.

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

I wouldn’t say there is any one grand moment that stands out above all the others - so far, it’s been a consistent run of experiences and opportunities that I would never have had if it wasn’t for music - but I’ve particularly enjoyed performing in the Netherlands over the last couple of years; it’s great to explore a new place while still getting to play some tunes...

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

Tough to pick only three, but I would probably have to go for Chris Cornell’s Euphoria Morning, his first solo album, which is such a fantastic collection of absorbing, musically-rich songs and soaring melodies; made all the more haunting by his sad death last year.

Then, Worst Case Scenario, by dEUS, which introduced me to Tom Barman’s great songwriting hiding in amongst eccentric Art-Rock noises.

Then, lastly, I’ll pick Peter Gabriel’s So, which is a record I can just listen to again and again.

What advice would you give to new artists coming through?

There’s so much advice out there for new artists, some of it somewhat conflicting; so it’s hard to know what you can add, in a way. There are many different definitions of success, but my aim is always to be doing something that I really want to do; getting involved in projects that interest me and making music that I want to hear - irrespective of changing fashions or whether it’s earning me any money...

IN THIS PHOTO: Ruth Royall

Are there any new artists you recommend we check out?

I always enjoy listening to Guillem Mitchel who released some great songs with Chloe Tyghe recently and is working on his own E.P. In a totally different genre; Scarboy, who I’ve played music with on and off for a few years...and Ruth Royall, is making some great, soulful Pop tracks in Bristol at the moment.

I’m also going to mention Catherine Rudie, a fantastic songwriter with a unique voice based in London - who has yet to release anything of her own but it’s going to be pretty special when she does later this year.

IN THIS PHOTO: Catherine Rudie

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

Whenever I can, I like to just get out and take a long walk somewhere windswept and just forget for a while that phones, laptops and digital distributors exist. There’s nothing like watching the waves pounding against a piece of rugged Cornish coast to clear the mind and put those everyday twenty-first century troubles into perspective.

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’ll choose a song of Maaike’s (Siegerist), co-written and sung with Catherine Rudie, called Keep It in the Dark. Just beautiful. 

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Follow Jonni Slater

Official:

https://www.jonnislater.com/

Twitter:

https://twitter.com/jonnislater

Facebook:

https://www.facebook.com/jonnislatermusic

Instagram:

https://www.instagram.com/jonnislater/

SoundCloud:

https://soundcloud.com/jonnislater

YouTube:

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

Bandcamp:

https://jonnislater.bandcamp.com/

FEATURE: All Around the World or the Myth of ‘Leave Luck to Heaven’: The Development and Changes in Video Game Music

FEATURE:

 

All Around the World or the Myth of ‘Leave Luck to Heaven’

PHOTO CREDIT: Unsplash 

The Development and Changes in Video Game Music

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I am not one of those people you’d find rushing home…

IN THIS IMAGE: A promotion shot from Far Cry 5/ALL OTHER IMAGES: Getty Images

from work to play Call of Duty or Far Cry 5! The fact my references are probably so far outdated – and snatched from overheard discussions – shows I am not a typical or authoritative gamer! Different generations have their favourite memories of video games – it is interesting seeing how we have evolved from the somewhat primitive, if charming and simple, games of the 1970s to the luscious and near-sentient showcases of today! Technology and design have come on leaps and bounds – there is something to be said for the nostalgia of the 1980s and 1990s. I remember when Nintendo (whether the name means ‘leave luck to Heaven’ or not has to be verified) came out and how many frantic youngsters spent endless hours on them. I was a Sega boy and remember the delight of being given a Mega Drive and a selection of games. It wasn’t only about playing the games and seeing these much-loved characters come to life. I was drawn to the music and strange sounds coming (Sonic the Hedgehog was the first game I experienced, released in 1991, and inspired me hugely). There were the sound-effects associated with level completion and time elapse; you had interstitial themes and the game theme itself. I cannot recall whether Sonic the Hedgehog’s soundtrack was particularly memorable but it was more the overall sound and palette that struck my ear. I recall being taken down to Butlin’s (Bognor Regis) and revelling in the blare of the arcade. I am not sure whether it is down there still (I doubt it) but the 1980s/1990s music coming from the popular games of the day got into the brain and helped, in a way, stoke a passion for music.

Those childhood memories are vital when it comes to how we see music at a later age. Although games like Street Fighter and Golden Axe had rather sparse – compared to today – scores; it was a revelation to my ears! Listen back to the songs from Donkey Kong (1981) and Tetris (1984); BurgerTime (1982) and Paperboy (1985). Those games seem so basic and simple compared to what we are used to. Although the graphics have developed vastly and we are experiencing video games in new ways; you cannot argue against those musical incorporations. Whether a glitch electronic tune or a series of bleeps and effects – we would all hum and recite those indelible and catchy sounds! So, then: did the video game soundtrack appear in the 1970s and 1980s?

“Video games as we know them first started appearing in the late 1970s, with arcade games and console versions of popular arcade games, proving a hit. Music was created via simple synthetic chips, generating sounds in a style that became known as 'chiptune'. This was a step on from the complete silence or basic beeps and boops of early games, for example those made famous in Atari's Pong. As we moved into the 1980s, so video game music began developing as quickly as the technology. Dynamic soundtracks started to become the norm, using music to directly communicate information to the user. The famous 1987 game, R.B.I. Baseball, was an early example of music being used to reflect the actions of the player”.

Provided with little memory and technological advance; game developers and composers had to work with what they had at their disposal. By the early/mid-1980s, the sophistication of design had come on another leap and allowed new games a chance to put greater depth and variation into their soundtracks. Moving from the bleeps and boops; the simple and linear lines – now, there was something akin to actual music. I will look at the modern incarnation of video game music but, in the 1980s, the sounds we experienced were vastly different to what our parents would have been used to. How, then, did things develop from the 1970s to the mid-1980s?

“By the time Kondo went to work for Nintendo, in 1984, the capabilities of video-game sound design had evolved from the early, primitive days of the Atari 2600. Still, it was a task that had traditionally been handled by programmers, mostly for logistical reasons. As the pioneering developer Garry Kitchen explained in Karen Collins’s definitive study, “Game Sound,” there simply wasn’t enough memory to worry about elaborate soundtracks: “You put sound in and take it out as you design your game. … You have to consider that the sound must fit into the memory that’s available. It’s a delicate balance between making things good and making them fit…It’s hard to listen to some of these decades-old sounds and not feel a sense of giddy nostalgia. This fall, Data Discs will reissue the soundtrack for 1992’s beat-’em-up classic Streets of Rage 2 as a deluxe vinyl edition. It’s a spellbinding document of its time, full of the composer Yuzo Koshiro’s chirpy interpretations of the era’s bleeding-edge sounds: scaled-down club tracks, a nod to Public Enemy’s “Rebel Without a Pause,” an almost note-perfect interpolation of Inner City’s “Good Life.” It’s the sound of a familiar, age-old musical story: cherished genres translated into new idioms, young visionaries butting up against someone else’s constraints. It was the first time some heard techno, and it was the music they had been waiting for all along”.

This article gets memories flooding back: those amped-up (by the standards of the 1980s) Club sounds that was a muted version of European Dance/Rave. Whereas I started life listening to cute and light-hearted electronic sounds from the Sega Mega Drive; by the time the late-1980s ended (and I was still a child), something tougher and more ‘advanced’ was coming in. You cannot really call the Streets of Rage 2 score as a proper soundtrack, I guess: it had a sense of co0mposition but was not exactly primed for the charts! It is interesting to see how video game sounds juxtaposed and contrasted the sounds we were hearing on the radio. I was listening to a lot of British Pop and what was deemed ‘cool’ by the tastemakers. The Techno and Electronic sounds I discovered in some games was my first experience and opened my tastes to a wider world of music. I was intrigued by this raw and low-lit danger; the European-inspired Dance rehashes and wondered what these sounds were! Not only were the ‘songs’ matching the action and adding to the experience; my brain was being nourished by sounds I was not getting anywhere. Classic 1990s games like Mortal Kombat and Doom took sounds in a new direction – there were more violent and ambitious games and, with it, composers had to up their game and come up with something appropriate. The 1990s saw great trends and developments.

“Though superstars like Uematsu already had cutting edge soundtracks to their name prior to 1990, it would still take considerable time before mainstream gamers would take notice. Moreover, music for most video games at the time were very simple and rather generic (and perhaps also a bit grating).  With the exception of stand out games (largely RPGs, often JRPGs), the industry didn't get the whole soundtrack thing sorted out until the mid '90s. That's largely thanks to Nintendo.

 …That was just the start. What game soundtracks like Donkey Kong Country, Castlevania: Bloodlines, and Super Metroid brought to the table were something other than frenetic sounds designed to evoke a sense of motion or urgency. They added atmosphere--a very distinct sense of place, emotion, and character. This was especially true in Super Metroid, the soundtrack for which evoked the feelings one might experience investigating a dangerous planet. There are haunting ambient tracks as well as energetic and sinister tracks”.

I will end this piece by looking at five games that are often seen as the very best when it comes to the music. If the 1980s and 1990s saw its video game sounds produced by in-house composers or those outside the world of music; as games became more spellbinding and boundary-breaking; popular artists become involved. There are film actors who often lend their voices to games. It is a lucrative business and a great discipline that helps them as actors – and stretched their fanbase to new people. Musicians are spotting potential by adding their talents to video games. The games themselves get to such a wide variety of people, and so, the potential to recruit and compel is huge. Lush games set in apocalyptic scenes; strangely realistic war games and fantasy epics are almost film-like in their realism. One would not balk at a popular musician wanting to record a film soundtrack. So many modern games are crystal-clear and almost like you are seeing something come to life on a screen. What are the ups and downs of this new wave of video game soundtracks?

“As musical capabilities increased, big names signed on. Trent Reznor's Quakeand Hans Zimmer's Call of Duty: Modern Warfare 2 are some of the results. Conversely, game composers crossed over. Michael Giacchino made his name with the Medal of Honor series, and went on to do the music for TV's Alias and Lost and the last Star Trek movie.

…Of course, old-school purists long for the beeps of yore. A common complaint is that the new soundtracks are all so much bombast: If not sweeping orchestral strings, there are crunching electric guitars or thumping electronica beats. Or all three at once.

Composers Bill Elm and Woody Jackson brought in harmonica great Tommy Morgan (veteran of Ennio Morricone scores). Instruments include the jaw harp, cello, timpani, and in a game music first (I assume), ultrasound. Jackson recorded the heartbeat of his unborn daughter and used it for percussion.

Even now, game composers have to figure out ways around certain stumbling blocks. In this case, Elm and Jackson wrote the entire score in the key of A minor and at 130 beats per minute, to make all the sequences fit together”.

In line with the way graphics and concepts have grown; the music in video games has become more sweeping, epic and intellectual. Composers have more money and resources – as the industry becomes bigger and multi-million-dollar – and demand is increasing. The player wants something immersive and engrossing: we cannot have the same sounds as we had back in the 1980s and expect people to swallow it. FACT, back in 2015, compiled a list of the one-hundred best video game soundtracks and ended the piece with a handy playlist. My favourite games featured on the list.

Streets of Rage 2 (1992) was high up the list – “The game’s soundtrack was similarly “mature,” and unlike family-friendly fare like Sonic the Hedgehog and Super Mario World, chirpy melodies were nowhere to be seen. Instead players were treated to techno and breakbeat-influenced compositions from Yuzo Koshiro, bringing an unusual club swagger to the game” – and so too was Megaman 2 – “In other words, it was just pure fun and the bare essentials before we knew what was coming, and all that was needed to complete the package was a bulletproof roster of incredible tunes to keep you going after Heat Man’s stage kills you again and again. You memorized the songs, then memorized the stages”. Whether SNES/NES favourite from the 1980s or a Nintendo gem from the 1990s – or a Sega classic – one could see the differences in terms of decade and development. Topping their list was the 2001 classic, Ico (Michiru Oshima, Koichi Yamazaki, Mitsukuni Murayama) on the PS2. This is a soundtrack I am familiar with – one that FACT fell in love with:

“…And yet they only make those moments of peace even more tender and special. If ‘Darkness’ has an opposite it’s ‘Heal’, the wonderous, childlike lullaby that accompanies the precious moments of rest provided by stone seats (the game’s save points). Some of Ico’s most memorable moments come from loading the game later to find the pair sleeping to ‘Heal’ like Ingemar and Saga nestled on the couch in the end of My Life As A Dog. Ico reaches moments of grandeur such as the massively cathartic ‘You Were There’, which erupts in its heart wrenching finale, but it’s Ico‘s smaller moments of gentle grace – and impending doom – that stick with us beyond anything else”.

Video game soundtracks and scores are more like albums and Classical suites than background sounds. I still have affection for the bare-naked and charming sounds of Pac-Man or Sonic the Hedgehog. Whether an arcade game where one goes looting or something on the PlayStation that involved more concentration and involvement – the sounds that accompanied my childhood obsessions remain with me still. I have not been a real gamer for a long while but am staggered at how far things have come. We all have an appreciation for those childhood games and there is so much value in the nostalgia of older gaming – compacted versions of the original Nintendo are available with pre-loaded games. Modern gaming is more immersive than we have ever been used to. New technologies – 3-D and special glasses; headsets and devices that allow us to almost physically step into the game – mean the customer wants music that is more adventurous and nuanced. They want sounds that match the mood and take them into a new and fascinating world. Modern video game sounds/songs are, perhaps, more digestible and multi-layered than the old incarnations but, to me, you cannot beat the wonderful soundtracks of the 1980s and 1990s that provided…

SIMPLE and endless pleasure!

INTERVIEW: Lauren Lakis

INTERVIEW:

Lauren Lakis

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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.

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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 - 

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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

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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.

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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.

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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

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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

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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.

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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

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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

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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.

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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.

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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

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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.

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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

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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

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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.

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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

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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

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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.

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