INTERVIEW: Places Erupt

INTERVIEW:

Places Erupt

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I have learned a lot…

speaking with Places Erupt about their music and the new single, Bloggers. Lee from the band takes up most of the responses and tells me how the guys came together and what we will get from their upcoming E.P., 45 – I ask whether we need to punish those who are trolling and attacking people on social media (Bloggers looks at trolling and its effects).

I discover the type of music the band respond to and, given the choice, which artists they love to support; if there are some new acts we should turn our attention to; if there are gigs booked in the diary – the Canadian band tell me whether a U.K. jaunt is a possibility.

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

Hey! It’s been exciting. We premiered our video on a projector screen at a wicked venue in The Junction; a neighbourhood in western Toronto.

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

We describe ourselves as a tempestuous sextet. Visualize orchestral music, Rock; Shoegaze and Post-Punk swirling about in a tornado and this band is at its centre; flanked by defiant, dancing black swans.

Can you tell me how your single, Bloggers, came together?

Lee: I wrote the words and vocal melody and they instantly clicked with Greg, who matched a guitar part to it in minutes. The song came together very quickly. Content-wise, I had been meaning to write about trolling for a while. Once I had the first line written, the rest flooded out. Bloggers was the first of the family of new songs that comprise the E.P., so marked a significant sonic turning point for us.

Its themes of trolling seem ever-more relevant. Is it something we need to be more hard-line on – when it comes to punishment and prevention?

It’s hard to support hard-line punishment because you would be wading into free speech territory - and free speech is a sacred thing. In extreme cases, where people feel threatened, people can be prosecuted in Canada and the U.K. Regarding prevention, then absolutely; engaging with kids from a young age on the harmful effects of cyberbullying is crucial.

Similar to when you don’t feel like you’re spending money when you use a credit card; a lot of people are disconnected from the consequences of their actions online. There’s almost a sense that their words go into the cybersphere and stay there, apart from the everyday world. The more we talk about the adverse effect these actions have on people and on public discourse, the more we can hopefully discourage it. It’ll never go away entirely but maybe it can be like smoking - where many people still do it but significantly fewer people than before.

There’s an interesting podcast called Conversations with People Who Hate Me in which the host contacts people who have sent him hateful messages online and has a civilized conversation with them on the phone. In each of these conversations, the people he speaks with express regret and embarrassment at having written such terrible things to him. But, they likely never would have second-guessed their actions if they didn’t actually engage with him in a direct conversation. This behaviour can change but it requires a full societal effort.  

What was it like working on the video for the song? How did you come to select Pedja Milosavljevic as the director?

I was in a video that he shot for another band and met him that way. We were all so impressed by his work ethic, enthusiasm and dedication to the project. The most hilarious part of the process was going to a Rage Room in northern Toronto to shoot the footage of smashing plates and bottles that you can see in the background (in the bridge section of the video). Dressed in protective gear, we were given baseball bats and golf clubs and a couple boxes filled with breakable objects: plates, bottles and old stereos. We blasted the Pixies and Snapped Ankles and went to work for an hour.

Probably, the only time I’ll ever go to a Rage Room but I have to admit it was an incredibly entertaining and satisfying sixty minutes. So, yes; it was tons of fun working with Pedja. Ha.

Your upcoming E.P., 45, explores various issues. How would you define it? What sort of thing will you be talking about?

Our music has always tackled serious subject matter: our previous work is a bit more sombre. This E.P. marks a shift with our sound in which the songs are feistier than any of our previous material. The songs cover everything from tourists to Tinder; to trolling to entitled film producers; to the current and forty-fifth President. The lyrics tend to both laugh at and lash out at the terrifying times in which we live.

Of all potential things to be anxious about in this world, the President sits right at the centre of it all. So much pain and anxiety can be sourced back to him, so we felt it was appropriate to acknowledge that with the title of the E.P. Never mentioning him by name, of course - because he doesn’t deserve that much.

How did Places Erupt get together? When did you all start playing together?

Greg and I started writing songs in a grimy apartment in Little Italy a few years ago. I met Anna backstage at a concert we were playing with our previous bands, where she was serving people caviar. Anna brought her lifelong friend Katie into the band and we all performed as a quartet; practising on my balcony in Baldwin Village, where passers-by would stop and listen in the street and applaud. We shared a few bills with Mike Legere’s other band, Century Thief, and he offered to join. Finally, Mike Johnsen joined the band last summer to help heighten and diversify our sound…

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

We’ll be performing Canadian tour dates in the fall. Show dates will be posted on our site: www.placeserupt.com

Will you come to the U.K. and play at all?

 We would absolutely LOVE to. Fingers/toes crossed we’re able to pull it off.

What do you hope to achieve in 2018?

We have a couple other videos we’re preparing to film that we’re REALLY excited for. Releasing the E.P. in the fall, after which we’re ready to take our sound anywhere. Maybe we’ll petition Elon Musk to be the first band to play in a Martian desert.

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

One of my favourite memories is from when we were on tour in northern Quebec up in Gaspesie. We performed at a place called the Sea Shack, which is a series of tepees, yurts and cabins right next to the Atlantic Ocean. We were put up in a huge yurt for the night, which was heated with a wood stove. We played two sets, during which I spoke broken French the entire time - and we all saw the Northern Lights for the first time ever. It was unbelievable.

Greg: I saw Nine Inch Nails on their Year Zero tour. I still can't understand how they pulled off the huge transparent digital screen that Trent Reznor used to physically program the drum machine for Zero Sum at the end of the set…and that was in 2007!

Mike J: We have this festival in Toronto called NXNE and it used to be a club-hopping dream! Every venue in the city would have five or six bands playing each night for a whole week from all over the world. The first time I went, when I was nineteen; my friends and I biked around the whole city and must have seen about fifty bands. Never forget that summer!

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

Lee: I’d love to support St. Vincent. She’s been a HUGE inspiration over the years. She’s five albums-deep and her music hasn’t lost any of its richness or lustre.

If I could choose my own rider, it would contain smoked salmon, Montreal-style bagels; raspberry and lemon gelato, freshly-squeezed pineapple juice; concord grapes and Hamilton microbrewery Collective Arts’ Mash Up the Jam dry hop sour beer.

Greg: I’d love to tour with the Philadelphia band Man Man. They’re creative and accessible and they always get the crowd moving!

I’d need a Soda Stream, limes and single-malt scotch - and an endless bowl of original Ruffles chips (crisps).

Mike L: I would support Wye Oak.

My rider: soda water, craft beer; veggies and hummus.

Mike J: I’m not too particular with who I’d play with. I’m happy to hang with anybody.

As long as the venue has a seven-foot-long couch for me to nap on and a pair of long black socks (can’t have enough) then I’ll make it through alive...

What advice would you give to new artists coming through?

Lee: Capture the music while it’s fresh - and don’t look back.

 IN THIS PHOTO: Wye Oak

Are there any new artists you recommend we check out?

Mike L: Wye Oak.

Greg: He’s not brand-new, but Nick Hakim has been on all of my playlists for the past six months. The Green Twins album came out last year and it’s perfect.

Lee: I loved the Snapped Ankles album, Come Play the Trees, last year. Waylon Jennings’ album, Dreaming My Dreams, is one of my favourite discoveries of the past year. It was made in 1974 but was new to me. Nils Frahm’s All Melody, released this year, is excellent as is his new E.P., Encores 1. Also, Pusha T (Daytona) and Tinashe (Joyride).

Mike J: I’ve been listening to the new Bombino album on-repeat. That guy has got some serious talent, I’ll tell ya.

IN THIS PHOTO: Tinashe

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

Lee: I actually spend a lot of my free time screenwriting, which isn’t always relaxing but is one of my absolute favourite things to do. As far as unwinding, reading a Tennessee Williams or Martin McDonagh play; watching classic films, catching Shakespeare in the Park; going to arcade bars, dancing at D.J. sets and playing Frank Ocean and T. Rex on my organ (music relaxes me too).

Greg: I take my chill time just as seriously as I take my music. If it’s summer, I ride bikes and jump into lakes. All other times of the year, I brew and drink beer and listen to Beastie Boys with an old friend.

Mike J: Playing in three different projects leaves me with almost zero time to chill away from music. But, that’s cool because music is my chill space…or a very long R.P.G. (role-playing game) that I play through over a couple of months.

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).

Lee: Elvis Presley - Early Morning Rain

Greg: Nick Hakim - Bet She Looks Like You

Mike L: Wye Oak - The Louder I Call, the Faster It Runs

Mike J: WHOOP-Szo - Another Show

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Follow Places Erupt

Official:

https://www.placeserupt.com/

Facebook:

https://www.facebook.com/placeserupt/

Twitter:

https://twitter.com/PlacesErupt

Spotify:

https://open.spotify.com/artist/3Cld8venVEwtK3ovKEAVjh?si=8S8S36KzTJSiJ4439FSXaQ

Instagram:

https://www.instagram.com/placeserupt/

YouTube:

https://www.youtube.com/channel/UCXOBe2Z1k3q2JHWZuoZZSvg

Bandcamp:

https://placeserupt.bandcamp.com/

INTERVIEW: WNT-AL-N

INTERVIEW:

WNT-AL-N

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NOT many people have chatted with Missy Elliott…

and gained kudos from her! Not only has WNT-AL-N received praise from one of music’s titans but there is a lot of interest around his new single, Leave It on the Floor. I talk with the Atlanta-based songwriter about his current song and where he goes from here – he reveals his influences and what the scene is like where he is.

WNT-AL-N discusses working for a charity called Blue Dragon and work outside of music; why he has moved over thirty times; if we will see him in the U.K. at all – he picks a few albums that have helped shape who he is.

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Hi, WNT-AL-N. How are you? How has your week been?

Wonderful. I’m in Singapore at the moment; getting ready to head back to Atlanta.

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

Hello, world! It’s pronounced ‘WENT-ALL-IN’. I'm just a kid from Atlanta that wanted to get out and experience the world (and did). Music is my first love and is what drives much of what I do. I also have a Dance background and art and human expression is what speaks to me the most.

I've lived overseas for a lot of my adult life and travel, history and culture has always been a part of life since a young age. I'm a drummer and percussionist first. What you see is a reflection of my life experiences. I love people and want to touch and inspire as many as I can.

What can you tell me about your new track, Leave It on the Floor?

This record is about finding a place where you can release and be fully yourself without being influenced by life's pressures. It’s about goin’ hard and leaving it all on the floor. Clearly, it's a record that moves so, with dance as a major part of my life, I definitely want it to make people dance, feel good and celebrate. It's what I do. I go hard in everything I do so WeNT ALl iN = Leaving It on the Floor. 

Is there going to be more material coming down the line? What are you working on?

Yes, indeed. I have a ton of music and I'm dying to put it out. We are stepping out with singles but, definitely, an E.P. and some mixtapes will be put out soon.  

How did you get into music? Were there particular artists who inspired your sound?

I'm a drummer first. I started playing when I was five and started in church from seven-year-old. My mom was the music minister pretty much my whole life and everyone in my family plays at least one instrument and sings. It's always been a major part of my life. I've been inspired by tons of artists: Chopin, James Brown; Andre 3000, Michael Jackson; Louis Armstrong, Missy and Timbaland; Gene Kelly, Pharrell; Tracy Chapman, Bob Marley; Busta Ryhmes, Stevie Wonder; Roger Troutman, Ray Charles; 8Ball & MJG - and my mom and God.

You have moved over thirty times! What was the reason behind so many moves?! Do you think you are a bit restless as a person?

We were poor growing up. Like, in fifth grade, I moved four times in six months cause we had no home; so we bounced around living with family friends. I was kicked out when I was sixteen and lived where I could.

As an adult, I've moved because I want to see and be inspired by different things. Different perspectives and being a bit uncomfortable has allowed for a different kind of growth and understanding. I hate moving, actually, but love traveling. It allows me to talk about things in a different way – so, I wouldn't say restless but I do have large goals and I.O.L.O. (I only live once). 

If you had to describe your aesthetic and sound to a new listener, how would you respond?

It's Eclectic, authentic, honest and colorful: I got something for everybody. 

You work alongside Blue Dragon – a charity that assists children who are homeless, disabled or victims of slavery and human trafficking in Vietnam. How did you get involved with them? Are these issues the government in Vietnam is ignoring?

Yes. The first time I was there, I led a group to work with B.D. A lot of these kids don't have homes or a proper place to receive education in the most basic sense. Sex trafficking and slavery are very common in this part of the world - and the main focus is getting them off the streets where there's a high risk. It's also providing a sanctuary to any survivors.

I've been working with them over the last few years using dance, music and art to inspire and educate. There's so much potential in these kids and most in their position will never have these opportunities - so any chance I get to do things for the kids I'm there!

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

I'm working on that as we speak. Now that I have some music out that is THE PRIORITY! I can't wait to get the chance to share and bring 'em into my world.  

What do you hope to achieve in 2018?

I'm brand-new, so I just want to get in front of people. Def touring, festivals and features. I am always ready to build with the right creatives. 

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

I remember the first time I talked to Missy Elliott on the phone. She had seen my E.P.K. and our managers set up a call. You know when you've grown up hearing someone's voice...when she answered the phone, I was like: ‘Damn! This is really Missy!’. I don't really get star-struck but it def was a moment for me.

Another was the first time we met at her crib in Atlanta.

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

ATLiens & Aquemini – Outkast; Thriller – Michael Jackson and Tim's Bio: Life from da Bassment – Timbaland...

But, there are many that could take that last spot. Tim's Bio’ inspired me, sonically, cause Timbo was experimenting and really had found his sound. 

What advice would you give to new artists coming through?

Start with the Ps: Patience, Persistence; Passion and Prayer. Put the time into your craft and never stop tweaking and growing. Be humble and surround yourself with people that are passionate about you and/or your vision. 

IN THIS PHOTO: Sharaya J/PHOTO CREDIT: @haroldjulian 

Are there any new artists you recommend we check out?

My girl Sharaya J isn't that new but she's about to start really emerging. Check her out on The Four: Battle for Stardom on Fox (Season 2). She's the real deal. We got some ones together, too (smiles).

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

I try and stay balanced: sports, reading; travel, movies; making fashion and other artsy things and, always, family time.  

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).

Kanye West & Kid Cudi (ft. Louis Prima) - 4th Dimension…that's where I stay. 

 

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Follow WNT-AL-N

Facebook:

https://www.facebook.com/wntaln/

Spotify:

https://open.spotify.com/artist/5q7WNiZCxpMSjcdBNaTL6N

Instagram:

https://www.instagram.com/wntaln/

YouTube:

https://www.youtube.com/channel/UCKSLC4hawNww_NTlxEHKegw

SoundCloud:

https://soundcloud.com/wntaln

INTERVIEW: RUN iN RED

INTERVIEW:

RUN iN RED

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TIME to speak with the mighty RUN iN RED…

about the single, Fade Away, and what its story is. I learn how the band got together and what the scene is like in Dublin right now; if there are new artists we need to look out for – they talk about gigs and future plans.

I discover whether the guys will come to the U.K. and what they hope to achieve before the end of the year; if they have favourite memories from their time in music; what advice they would give to fellow artists – the guys select a song each to end the interview with.

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

Hi, Sam. Great, thanks. We’ve been getting all the final prep work done for Fade Away - the video and single - which we just released yesterday!

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

We’re a three-piece transatlantic band with members from the Dublin, New York and U.K. music scenes. We have a lot of experience in the music industry and are channeling that into RUN iN RED - to take it as far as we can. We released our debut E.P., The Revelled Theory Mind, in 2017 and are about to release our next single, Fade Away, on June 14th - and will celebrate that with our own show in The Sound House, Dublin on June 29th.

This will be the first single off our upcoming second E.P, Undercover, Overthrown. We like to describe our music as having an urgency and importance in realising one’s self in relation to the experiences life gives you. ‘Run’ represents urgency; ‘Red’ represents a passion for life: ‘Run in Red’.

What is the tale behind your latest single, Fade Away?

As you may already know, RUN iN RED is a transatlantic band with Neil being from Baltimore in the U.S. Fade Away was written about being homesick and in love at the same time and the choices you must make that will affect every bit of your life ahead.

Is there more material coming a bit later this year? What are you working on?

Yes! We plan on releasing at least one more single and video from our second E.P., Undercover, Overthrown, in August and are working to gain a slot at one of the later summer festivals. After that, we are releasing the full E.P. and will then be back to record again come the autumn.

How did RUN iN RED get together and start life?

Neil and Paul met through an audition and kept in touch with some rehearsals and writing. Following that, RiR started initially as a solo project with Neil, and then, by connecting with Paul again in 2016, the two started to record demo tracks and improve the sound of the band. Jim joined the band last August to complete the line-up and fill the sound - and we have been going strong ever since.

Dublin is where you are based. What is the city like for an upcoming young band?

We have a lot of previous experience in music scenes, in cities, all around from the likes of Baltimore, New York; Derry, Belfast and, of course, Dublin. The benefit with Dublin (is it) being a smaller city with a global reputation. We are able to cut through a lot of static media to reach people in this town who appreciate our music.

Do you remember the musicians that inspired you growing up? Are there any key discoveries that stand out?

We are inspired by good quality songs and production - songs that connect and make you feel something. Ones that you can still get something out of even after ten listens. Because we three have different backgrounds, it adds to the complexity of our sound. From Dave Matthews Band, John Frusciante; Beach House and Yeasayer to Pink Floyd, Radiohead; Primus, Jeff Buckley; Van Morrison, The Police…we could go all day!

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

We want to capitalise on this new release by getting our name out there more and then work hard to get a slot at one of the later summer festivals in 2018. As we have a member from Baltimore in the U.S., and all have experience in the industry, we would like to get our music to audiences stateside as soon as we can. We have also been offered slot at a festival in Basle this summer.

Have you performed in the U.K. at all? Might we see you here?

We have two members from the North of Ireland and, playing in previous bands, we have played in Derry, Liverpool; Belfast and London - and will definitely be booking more dates in the U.K. this year.

What do you hope to achieve in 2018?

We'd love to gain a larger following through our releases and some support slots and then set up a modest autumn tour. Additionally, we will be recording our new tracks for release in late-2018. We have our own recording studio in Dublin city centre, so we are constantly writing and working on our music and stage show.

We have also started setting our studio space up to film a series of cover and original songs, primarily for our YouTube channel. We have built up a very strong following on Instagram, Facebook and Spotify as an independent act and will continue to grow that fanbase; planning to capitalise upon this with constant engagement, live shows and releases.

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

Jim: My favourite gig ever was with a Blues band that toured the North of England. A friend of ours ran a little Staffordshire pub and we played the last night before he gave the keys to a new landlord. Seemed like the whole town turned up - it spilt out into the street and, as everyone nipped home for their instruments, we gained about a dozen extra members with harmonicas and brass, accordions and all sorts. Not so much a lock-in as a block party; until everyone fell over. Great night.

Neil: Performing in The Rock Shop in Brooklyn, N.Y. was a highlight because I spent time living in N.Y.C. and would always go and see my favourite bands perform there; then, one day, I found I was on stage…

Paul: Playing at the Olympia Theatre in Dublin as a relatively unknown act in 2013 was a great experience.

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

I think the Weeknd because I really like that tune, I Feel it Coming, and that guy seems pretty chill. U2 would be an obvious one, but to watch them closely and learn how they do things and bring their audiences on a journey would be amazing. Not to mention the opportunities and people you could reach.

As for the rider: a warm-up rehearsal room would be great…and then some basics; plus, alcohol and a PlayStation would keep us happy!

What advice would you give to new artists coming through?

Record any way possible, release often...and promote the hell out of your music. Don’t wait for perfection: get out and take the risk now. You can always get a nine-to-five again or play in a cover band - but some opportunities only come around once.

IN THIS PHOTO: Stone Sea/PHOTO CREDIT: Kelly Levacher

Are there any new artists you recommend we check out?

Stone Sea, who we supported recently, as well as The Barefoot Soldiers and Daniel Sean Kenny.

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

At the minute, things are very full-on in the lead-up to the release and headline show so, right now, even when we’re not playing, there is constant work going on behind the scenes. We love it, though. When we do get time away it’s great to just do nothing and have no deadlines for a while.

Then, before long, we usually find we want to be back and playing!  Neil was recently on holiday with his wife in Malta and ended up on stage at a gig at a show in Valletta - so that is a form of relaxing for us in itself!

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).

Yeasayer - Henrietta

Glass Animals - Life Itself

Editors – A Ton of Love

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Follow RUN In RED

Official:

https://www.runin.red/

Facebook:

https://www.facebook.com/runinredmusic

Twitter:

https://twitter.com/RuninRedmusic

Instagram:

https://www.instagram.com/runinred/

Spotify:

https://open.spotify.com/artist/5RefEtIl6QxQ6HL97N3ISX

YouTube:

https://www.youtube.com/channel/UCbx3XjaEHj94P8ffboBxc9g

INTERVIEW: Abi Wade

INTERVIEW:

Abi Wade

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THERE is a lot to love about Abi Wade…

and I was excited to ask her about the recent single, Laws & Mankind. Her debut album, Beautifully Astray, is out and it is picking up a lot of attention – I ask what it was like recording the album and whether there was a story behind Laws & Mankind.

Wade discusses working and recording in Brighton; moving to London and changes she noticed; which artists she takes guidance from; some new acts we need to get behind – she tells me the three albums that mean the most to her.

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

Great, thanks. I'm busy prepping for some exciting new projects (smiles).

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

Yep. I'm Abi Wade. I'm a multi-instrumentalist and work a lot with the cello - and exploring different techniques. I also sing and play the piano. My debut album, Beautifully Astray, was released this year.

Laws & Mankind is your new single. Is there a story and inspiration behind the song?

Laws & Mankind is a questioning of human nature; it explores different themes around profit, power; the history of human rights and morals. But, there is a narrative within the track as well and it's written from the first-person…

Beautifully Astray, your debut album, has been out for a few weeks. What has the reaction been like to it? Was it a good experience recording the songs?

It's amazing to have it out in the world. I have been creating and developing the tracks for quite a while - the project became a bit of a cocoon which has its pros and cons. It's great to finally be able to release it. I have had such lovely personal responses to the tracks - which is really touching – and playing out live again is great: you get much more of an immediate response to the pieces.

You employ Classical instruments and create a unique sound. Did you take to music very young? Was the tactility and physicality of instruments the reason you were curious and passionate about playing?

I don't remember beginning to play the piano, so I must have been very young. My grandmother played and, although she lived in another country, she would play duets with me whenever I saw her. I do remember having my first lessons, though. I begged to have lessons and a brother of a boy at school taught me a few things on an old Casio keyboard (I think it must have been a Casio). Then, I began Classical lessons with the most amazing piano teacher. I think, from a young age, I was intrigued by musical instruments; full of so much potential that could be unlocked by the player...

So, yes, I think the physicality was definitely something that appealed to me. That connection and power of the physicality of sound, alongside the concentration it takes to play, can be completely engulfing and very therapeutic.

The songs on the album were written in your Brighton flat. What was it like recording in the flat? Did a lot of the field recordings we hear come from Brighton?

Yes. A lot of the album was written in my Brighton flat in Norfolk Square (or in Sticky Mike's Frog Bar) in The Lanes. I would set up for the day and write in the basement there until that night's band came to soundcheck - and I would have to pack up and move on. I continued to develop tracks when I moved to London, too, and had my little studio set up in a room in my Camden flat.

I recorded a lot of the location sounds in Brighton; I had moved to London at the time but I wanted to go back to Brighton where I knew I could capture sounds that I either couldn't get or didn't know how to get in London.

How important was it moving to London? Did you notice a change in sound and ambition when you relocated?

I love living in London. There are so many exhibitions and events to go to - it is kinda crazy. I don't know if it changed the sound for my album but I think moving to a different place means you make the effort to make new acquaintances…and I am so lucky to have met some amazing people in London who have taught me a lot.

Are there particular musicians who you take guidance from when it comes to your voice/lyrics/music?

I meet up with a group of wonderful musicians every month or so. We share a lot of thoughts and discuss all sorts of things about music and releasing work, so I definitely get a lot of guidance from them. I also have a few friends who I share records I love with, and vice versa, that definitely inspires me. Dan Copeman (Esben and the Witch) guided a lot of the process of creating the album; as I wrote demos, I would meet up with Dan and chat through tracks and possibilities. He was really amazing throughout.

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

I have a gig on 23rd June in Cambridge; Brighton on 31st July and London on 1st August. I will also be touring the U.K. in September, so definitely check out abiwade.com and sign up to the mailing list for updates.

What do you hope to achieve in 2018?

I have a new A.V. project called Gestalt I am currently writing tracks for based all around London with installations etc., so that is going to be really exciting. I have a new Abi Wade track to write and release in response to the anagrams received from my interactive album artwork. I am also working on a set of tracks in July which I will be travelling away for. Details for this will be announced very soon.

It's going to be a super-busy 2018!

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

I have so many favourite memories: it's impossible to choose just one. Some highlights would be supporting Patrick Wolf at The Old Vic or Poliça at The Old Market - and CoCoRosie at The Dome. So many amazing festivals experiences, too…and writing. I love composing music, so those rare times I can just write without distraction those are very special to me too.

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

Again; an impossible question...but three of my faves are...

Paul Simon – Graceland

Arthur Russell - World of Echo

Kate Bush - Hounds of Love

What advice would you give to new artists coming through?

Try to balance things out. It's a very fast-paced industry so you have to be pretty pro-active and self-driven, but you also need to give yourself time to reflect and seek out opportunities to create work that inspires you without being too overly-influenced by others. Patrick Wolf said to me that the most important thing is to have a great team around you. That always stuck with me.

I think choosing the right team to work with is very important: people who will support your vision but also guide the process and give new insights and momentum to projects.

IN THIS PHOTO: Oliver Coates/PHOTO CREDIT: Gaelle Beri

Are there any new artists you recommend we check out?

I am loving Smerz and Oliver Coates; Sudan Archive's incorporation of strings I find really inspiring; Mary Ocher...actually; you can listen to my June radio show where I play a load of new artists that I would definitely recommend checking out (smiles): Totally Radio Celebrating the Female Voice.

IN THIS PHOTO: Sudan Archives/PHOTO CREDIT: Theo Jemison

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

I have to admit; most of my life is taken up by music and everything that that entails but I do love to swim and, when I can swim in a lake, river or the sea, that is my truest unwind I think...

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).

Ok, great. Can you play a track from either Arthur Russell's World of Echo or Julia Kent's Asperities. If you haven't heard these albums before definitely check them out - excited to see which song you choose (Sam: I’ll go for both albums…)

___________

Follow Abi Wade

Official:

https://www.abiwade.com/

Facebook:

https://www.facebook.com/abi.wade.cello

Twitter:

https://twitter.com/abi_wade

Bandcamp:

https://abiwade.bandcamp.com/

Instagram:

https://www.instagram.com/abiwade/

Spotify:

https://open.spotify.com/artist/5n8QrwmB8PFj5uqJ9nJElU?si=A33RB_bUS02uYax6SxN_QQ

SoundCloud:

https://soundcloud.com/abiwade

FEATURE: The June Playlist: Vol. 3: Sharp Glass, Familial Cannibalism and a Blue Girl

FEATURE:

 

The June Playlist

 IN THIS PHOTO: Let's Eat Grandma

Vol. 3: Sharp Glass, Familial Cannibalism and a Blue Girl

 __________

EVERY week, as I keep saying…

IN THIS PHOTO: Alice Glass

brings an assortment of music that hits the senses and leaves you hugely satisfied. The incredible Let’s Eat Grandma release a single ahead of their album, I’m All Ears; Alice Glass cuts to the core with Mine; IAMDDB and Slaves have new material out – Cigarettes After Sex and All Saints are not to be overlooked!

It is a productive and eclectic selection that will keep you busy and hooked for today – make sure you dip in and investigate all the treasures and treats from this week’s musical chest…

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

___________

Let’s Eat Grandma – Ava

Slaves – Cut and Run

Alice Glass – Mine

Totally Enormous Extinct Dinosaurs - Leave a Light On

Christina Aguilera – Pipe

Arcade Fire – Chemistry

Chromatics – Blue Girl

Alessia Cara – Growing Pains

grandson – Stick Up

All Saints – Glorious

Dirty Projectors – That’s a Lifestyle

IAMDDB – Drippy

Amy Stroup – Stare

Bebe Rexha – I’m a Mess

Betty Who – Friend Like Me

Catherine McGrath – Lost in the Middle

Pales Waves – Kiss

Chaka Khan – Like Sugar

Sigrid – Focus (Demo)

Cigarettes After Sex – Crush

Mura Masa (ft. Octavian) - Move Me

Death Cab for Cutie – Gold Rush

Freya Ridings – Ultraviolet

PHOTO CREDIT: Sequoia Ziff

Jordan Mackampa - One in the Same

Gorillaz – Fire Flies

Gaz Coombes – Wounded Egos 

Grace Carter – Saving Grace

whenyoung – Heaven on Earth

PHOTO CREDIT: Stephanie Sian Smith

Hannah Jane Lewis – Frozen Frames

Ina Wroldsen – Mine

Spiritualized – I’m Your Man

Island Club – Talk It Out

Nicki Minaj (ft. Lil Wayne) – Rich Sex

Ruel – Say

Villagers – A Trick of the Light

Sigma – Anywhere

Johnny Marr – Bug

Melody’s Echo Chamber – Desert Horse

Rolling Blackouts Coastal Fever – The Hammer

PHOTO CREDIT: Kelsey Hart/The Little Ghost

Deap Vally – Get Gone

TRACK REVIEW: IAKO - Paint

TRACK REVIEW:

 

IAKO

Paint

9.6/10

The track, Paint, is available via:

https://soundcloud.com/iakomusic/paint-1

GENRES:

Folk; Singer-Songwriter

ORIGIN:

London, U.K.

The E.P., Queen of Balance, is available via:

https://open.spotify.com/album/2apqA5PlUkepn0frmALnNk

RELEASE DATE:

25th May, 2018

_________

I have been given the chance….

to explore an artist who has stuck in my mind and made my heart race and conspire. I will talk about the solo songwriter and how new revelation and light continues to be explored. When it comes to IAKO; I wanted to look at the soundscapes one can produce and balancing quiet and loud; lyrical themes that are melodramatic but realistic. There are contrasts to look out for – so I will address them. I will look at unique life experiences and how they explore music; deconstructing works to get to the root of them; artists who have more to offer than simple songwriting and the cliché – I will end by looking at cross-pollinating cultures and music that has a gentleness to it. Looking at IAKO and he seems like the sort of man who might produce something Electronic and Pop-based. That sounds judgmental and stereotyping but there is something about the young man’s appearance that suggests that sort of music. That might be me getting all narrow and seeing too much – people who look like IAKO who play that sort of music – but it is pleasing discovering an artist who goes deeper and delivers so much more. I will talk about Folk edges and something softer later but, right now, let’s look at the way the British-based artist looks at dynamics. IAKO mixes the frantic and frenetic pace of life in London, where he is now, and the space and beauty of Venice (where he is from). The production is stunning whereby you get an interaction between the quiet and loud. He paints soundscapes and has a canny ear for balance and texture. Not only does IAKO write the songs and present to the people; the composition and production are so detailed and create their own little universe. What gets to me is the constant movement and how everything is physical and engrossing. You get a real view into the songs and are involved in each and every step. The artist knows a simple and uneducated production would not give the music the same depth and wonder it deserves.

What we get, indeed, is music that draws those close and tender aspects of life with the city-exploring and vast. Every note is put together supremely and this is a really personal and inspiring form of music. I want to talk about the songwriter’s transition – you get a great sense of where he came from and what he is all about. The man explores those gaps between notes and the huge divisions in music. A lot of artists are good at producing raw and energised songs: others are better when it comes to the serene and quiet. IAKO is someone who can interlock and weave those polemics into a song and not have things lose control. What I also love is the way the songs sound unique and new. A lot of artists sound like someone else and it is rather hard to distinguish from the pack. IAKO does not want to copy the pack and creates his own style and sense of personality. You get that care and attention regarding composition and sound; there are detailed and interesting stories that get into the heart and provoke thought. Paint, which I shall come to, looks at relationships and a sort of ‘end of the world’ as we know it. The song’s title is fitting: the songwriter has his canvas out there and paints brushstrokes of vivid colour and expression. That might all sound a bit pretentious and silly but there is something to be said for the sounds one gets through and how brilliantly everything is realised. I will move on from this topic but it is interesting looking at the young man work and how his music comes together. He works hard to get everything right and ensure the sounds are as spellbinding and addicting as possible. If you have not encountered his music and dived into his world of sound; ensure you get involved with the Queen of Balance E.P. and realise why so many people are so excited. I am a bit late to the reviewing party but I was keen to investigate IAKO’s work and what it is all about.

I listen to Paint – and songs on the E.P. – and there is that fusion of realistic and exaggerated. The song investigates a relationship after the end of the world. That could mean the ‘world’ as the personal and romantic. It could mean a literal ending and extinction. The song is never too hot and accelerated: the vocals are whispered and you are sucked into a brilliant story that gets into the brain and stays in the head. IAKO is like many songwriters; the need to explore the personal and romantic and resonate with the general public. If you write songs that are too oblique and strange then you are not going to get people involved. I have been looking around for musicians who write from a common perspective but can integrate new and unusual elements into the work. I am a big fan of those who are able to strike a familiar note but offer the listener so much more. IAKO has studied the market and, rather than conform with expectations and demographics; he realises what the listener wants from music and puts his personal spin on it. Someone who has such a grip on sonics and sound textures; a man who can balance extremes and make them work – this all comes through in his music. The lyrics are sharp and interesting and, as I said, look at something personal. There is nothing to suggest IAKO cannot go onto great things and make some changes in music. There are similar-minded artists like him out there who are getting some serious love and creating big waves. What I do expect to see if more material from the songwriter and further investigation of sound and lyrical possibilities. I have seen so many songwriters whose lyrics are full of tropes and really do not go beyond the average. It is a shame so many artists are being timid and unadventurous when it comes to words.

The reason IAKO sticks in my memory is down to his way with words and how they tangle with sound. Rather than compose a song and have the words sit separate, you get music that pulls everything tenderly together and leads to something wonderful. Those words relate and connect with everyone but there are phrases and expressions that are new and unexpected. It is a real listening experience and everyone is touched in a different way. I have not heard a lot of IAKO’s previous music but am compelled to check him out and follow his plight. There are a lot of songwriters out there but he seems to stand out and is venturing into fresh territory. Those contrasts and extremes are what makes his music so engrossing. I will use these words – ‘extreme’ and ‘engrossing’ – but that seems to hit the mark. You are sucked into a wonderful world that carries you a long and gets you thinking. If he were to write in rather average terms – looking at love and life like everyone else – then you would not be too moved and involved. I will shift to another subject but it is interesting seeing where IAKO has come from and what he is writing about. There were occasions, when he was growing up in Venice, where he had to be rescued from canals by his mother. There are plenty of them around so one can forgive the odd slip and fall. It seems there was a fascination to water and the beauty of the city. The young IAKO would go exploring and wanted to get closer to his surroundings. That tangible connection was, perhaps, a little too much but his mother was there to save him. The young man has retained that intrigue when it comes to canals and the natural world. There is more to IAKO than a few childhood experiences and being saved from the brink.

Literature and philosophy come into his work. Greek and Roman works are important and the talented artist borrows semblance and words from the masters. He has that interest when it comes to old-world figures and how life was back then. As such, one gets a new songwriter whose mind and spirit is bonded by what came before. I am not suggesting he lives back then and is trying to cast himself as a Roman writer. You do get a sophistication and classical mind in the music, though. I love how IAKO can mix the urgent and modern with something from long ago. He is great at those world fusions and drawing disparate plains into a whole. IAKO is still young but he has experienced movement and change. All of these details and colours come through in the music. It has been a life lived well and one that relies on a curious mind and determination. IAKO did not find a viable route into music until the age of nineteen – he has been making up for it since! You feel music was always part of his life and engaged his brain from childhood. I was struck by music around the age of six or seven and have followed it ever since. I am one of those people who remembers when and how music arrived and the sort of artists I fell for back then. I assume IAKO is the same when it comes to those early memories. I can imagine there was a blend of local and national artists together with the best of the U.K. and U.S. Given his love of literature and culture; you have that sophisticated edge – that is paired with an accessible and relatable sound that we will all be familiar with. Folk artists such as Lisa Hannigan and James Vincent McMorrow come through; you get touches of Erik Satie and Yann Tiersen in there. Mixing the modern wonders with established icons is a hard balance to pull off. The man is all about balance and has made a career out of unifying disconnection and creating a fresh and extraordinary world.

Before I come to look at the music itself; I want to address a couple more things. I am interested in music that is made up of so many different strands and ideas. Yesterday, on BBC Four, I was watching a classic album series that featured Graceland as its subject. This documentary was filmed in 1987 and interviewed Paul Simon and the artists involved in that record. It was fascinating seeing Simon play various parts of songs and explaining his lyrics. Tracks like Graceland and The Boy in the Bubble were taken apart and explained. He was in the studio and fading various tracks down. He would isolate the bass or a drum part; he would chat about Ladysmith Black Mambazo and how they managed to add their magic to the album. Various members of the group explained their role and it was great seeing how the songs came together. The reason I mention this is down to IAKO and how he approaches recording. You get the sense he puts as much of himself into the music as Paul Simon did back then. Rather than farm his songs to someone else to control them and add their print; the songwriter is curious to know how various elements can sound better and what the song means. Simon, in the documentary, looked at songs changing form and slaved over details to get a sound that was perfect. Modern songwriting is something we associate with quick turnaround and speed. We do not consider artists locked in a studio and spending a lot of time over the material. That might be true in some quarters but there are plenty who put effort and serious time into their work. IAKO has that tactile fascination with the natural world and history; he loves to explore and is interested in the human condition and psychology. One would expect a man, who has all this on his side, to be involved with every process and angle of recording.

IAKO does not sit back and provide minimal interaction. The man knows what his music will sound like and, whilst not as busy and layered as stuff on Graceland; you do get real attention to detail and phenomenal results. It would be good to see IAKO pull apart tracks and explain how the music came together. It is the lyrics that get to me and I wonder how they started life. We do not often question and study music these days – because there is so much rushing to the mind – but there are occasions where songs and artists warrant more time and focus. It is a great experience watching an IAKO song form and how it gets into the senses. I can imagine he would sit at home and gradually build a work. Starting with a germ of an idea; that would then grow and mutate as we go along. Whether inspired by an observation or favourite literary work…from there, we see the song flourish and get stronger. I want to go back to the start, with artists, and discover where songs come from. When I interview people, I always ask what the story is behind their material. IAKO is one of those people who has already led a vivid and rich life – he is entering a new phase and about to step into a whole new world. His fan numbers are growing and it seems more and more traction is being created. I am a new fan but can see how he has grown and the evolution visible. If you feel IAKO is rather ordinary and easy to understand then you are not listening to the music closely enough! He brings together his young life in Italy and what he saw around him with the bustle of London and how things have changed.

I will tip my hat to Italy and how he manages to retain some of home and that world with the modern-day sound of London. A lot of artists try to stretch their music and put as much detail into the work as they can. They may have lived in various countries and want to bring that in through the music. It is good to see that happen but many of them fail to create anything long-lasting and new. With IAKO, you have this man who has grown up around culture and taken it all in. He has had these close-call experiences (in canals) but involved himself with art and great works of literature. Then, when music became a big part of his life, he has come to the U.K. and followed that passion. I am sure there were times when he was doubting his career choice and did not think he would make it. You get a man who is always pushing boundaries and keen to step into new ground. Because he has had these experiences and learned a lot through time; he has managed to bring this to the music and explain to the listener where he has come from and where he is headed. The ambition comes through and one can hear how much music means to IAKO. It is not about sounding like everyone else and going into music because there is nothing better to do. You get real passion and defiance in every track. Even if the music is whispered and low-sung; you can hear and feel the intensity and meaning of the songs. I am a fan of Folk and the new artists coming out right now. We often overlook singer-songwriters and what they are all about. Assuming it will be rather bland and stale; we move past and go elsewhere. That is wrong because, as IAKO shows, there is a lot to be taken away and adored. So much emotion, richness and life come through in the music. You get depth and nuances we would not see in other forms of music. Let us leave it there – I hope I have covered enough ground – and look at the fantastic single, Paint.

Paint is a song that has been out a little bit and collected some passionate reviews and words. The song comes up lightly and there is a tender and sunlit mood that comes in. Projecting images of passion and touching realisations; the opening moments are gentle and get under the skin. There are touches of Bon Iver when you hear the vocal comes in. That same way of expressing words and projecting mood – you get that coming through with IAKO. The lovers, it seems, found room on a flame. There has been some confrontation and heat coming into the scene; they have struggled to find common understanding and it seems the sweetheart need some space. Our hero looks around and wonders what has happened. The words are teased out and you get such passion and tenderness emerging. I mention Bon Iver, not as an easy name and an insult, but as a genuine compliment. IAKO does not copy the U.S. songwriter but, instead, incorporates some of his vocal sound and songwriter into his world. I am a fan of those artists who can take time and let a song breathe. Although there is tension and something fractured coming along; there is immense beauty and sense of understanding. There are few angers and recriminations coming out in the lyrics. The songwriter keeps his language tight and interesting throughout. There are relatable strands and expressions that are new and stunning. IAKO has a way with words and ensures the maximum amount of wonder and brilliance is uncovered. You can hear how much heartache has come in and how things have worked out. There are no colours anymore, it seems, and one can feel the sadness come through. IAKO has a beautiful voice and create something sumptuous and graceful in Paint. You are involved every stage of the world and feel sympathy for the man. The vocals flow and soothe; the composition remains light but manages to elicit serenity, hardship and moonlight in equal measures. We do not know who the other party is but assume there is no way back and things have reached the end.

As Paint continues and goes through stages; you wonder whether things can be salvaged and there is time for things to heal. The composition rises and then falls. The heroine is painting scenes as she wishes but the heart of our man belongs to her. Things go forward and percussion and piano gallop. Grey butterflies are in the sky and there is that need for the heroine to close her eyes and have faith. The rain beats down and there is that sense that there are two people on different plains. All the colours they used to see have dried and has been replaced by something empty and faded. It is a heart-aching song that instantly gets into the mind and inspired thoughts. You swim in the song and see everything that is happening. I was stunned by the professionalism and immediacy of the song. It is a luscious, full and emphatic work that has so many different layers building and working alongside one another. The composition is wondrous and dexterous. The lyrics look at faith being given by the hero but the heroine not willing to reciprocate. The emotion and sense of strain that comes towards the end leaves one believing things might not see the light of day. They have had their moment and maybe it is best leaving it as things are. You are hooked by the full and changeable composition that projects so many scenes and emotions. What I was saying earlier, about quiet-loud and mixing polar worlds, seems to come to life right through Paint. The song begins softly and then builds into a rapturous and grand thing! The lyrics are stunning and you wonder whether our man is able to get over what has happened. I am one who believes songwriting is cathartic and you can move on. Whatever inspired Paint and its movements mean a lot and still shows its scars. You can relate to what is being said in the song but realise the words come from a man who has seen a lot and given his all.

Let us look at Queen of Balance and the reception it is getting right now. Many sources are excited by this work and celebrating IAKO. I have not had time to review all of the tracks but I would urge people to get behind them all and dive into this extraordinary collection. It seems odd to think there are some who would not give IAKO much time and feel the music lacks any heart. What you get, and what people are saying, is the emotion and textures that go into the music. It is a hugely impressive work and one that resonates with everyone. You cannot listen to songs on Queen of Balance and be unmoved. I realise how much attention and energy was expended by the young songwriter. He wanted to create a work that touched lives and explained where he came from and what he is all about – that has been achieved and the results are fantastic. I wonder whether there will be touring dates and new movements from IAKO. Keep an eye on his social media pages and keep updated with all of his movements. You can guarantee there will be a lot more to come from him and serious love thrown his way. People are responding to his latest E.P. and the music is making its way around the world. The London-based artist is hungry and excited to get his music out to people. Rather than remain passive and let people do the heavy lifting; he is promoting hard and ready for the next stage. IAKO has a lot more to come and is keen to explore the full spectrum of music. He has come a long way in a short time and created his own little world. I am keen to see where IAKO can go and what he comes up with next. Paint is a great song and one that announced a promising and unique songwriter into the world. Surrender to IAKO and let yourself into his sea of music. It is warm and enticing water and, when you are in, you will be reluctant to get out anytime soon! 2018 has been a busy and good year for him but, looking to 2019, and I predict…

EVEN bigger and brighter things!

______________

Follow IAKO

Official:

http://iakomusic.com/

Twitter:

https://twitter.com/iakomusic

Instagram:

https://www.instagram.com/iakomusic/

Facebook:

https://www.facebook.com/iakomusic

SoundCloud:

https://soundcloud.com/iakomusic

Spotify:

https://open.spotify.com/artist/5vb5OxjAG4MT01pnXSzOoX

YouTube:

https://www.youtube.com/channel/UC7sbF86JjQDv5GXy5zaY15w

INTERVIEW: ABQ

INTERVIEW:

ABQ

___________

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.

___________

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

___________

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

___________

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. 

______________

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.

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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

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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?!