INTERVIEW: Suzi Island

INTERVIEW:

Suzi Island

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THE youthfulness and ambition of Suzi Island…

is almost sickening but, given how nice they are, you can't get too depressed! I have been speaking with Hugh and Matt from the band about their single, Show Me the Way, and what it was like having Pete from The Vaccines produce it!

With a new track only a few days away; the guys talk about that and reveal what it is like living down in Brighton; whether there are new acts we should get our ears around; what gigs they have coming up – they select some great music to end the interview with.

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

Hugh: Hey! We’re great. How’re you? We’ve literally just been finishing up the final touches for our next release. It’s sounding crazy exciting. 

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

Matt: So. We’re based in the sunny seaside space of Brighton and we get to spend our time making the music we want to listen to. 

How did Suzi Island come together? Can you reveal the inspiration behind the name?

Hugh: So. Basically, during our first year of uni, we misheard a quote on an episode of Friends. It sounded like a cool band name and it really just stuck ever since then. 

Show Me the Way is your new track. How did that song get started? Was there a story that started the process?

Hugh: I always think that emotion is always the biggest part of a song. With Show Me the Way; it’s just this overwhelming outpour of emotion I had to get out into a song - it’s just that feeling of not knowing where you stand with someone when you’re so crazily in love with them. 

Pete Robertson of The Vaccines produced the track. What was it like working with him? Did you learn a lot of new skills?

Matt: Pete is crazy-good at what he does: we’ve learnt so much from creating stuff with him. I don’t know about specific skills, but he always has a good book recommendation; we have a good book recommendation thing going on.

Hi, Pete if you’re reading this and thanks for all the book recommendations…also; you definitely should check out his latest release, Aflame, under his artist name ‘Sunan’. Such a good song.  

Was it cool shooting the video? Whose concept was it?

Matt: Yeah. It was really good fun! Especially, working with the Brighton Film School. They were so incredibly professional to work with and loved the music too, which is such an important thing. It was such a beautiful day as well! Spending it on the beach wasn’t something we were gonna complain about.

The idea came about through a few brainstorming sessions with the students and the rest is history as they say. 

Can we expect to see any more material later in the year? What are you working on right now?

Hugh: We’ve got a really important song called Actor that’s coming out on 27th June. It’s going to reshape what is expected of us. We can’t wait. 

You are a teenage duo from Brighton. Is it the perfect place to make music and find the inspiration you need? What is the scene like there right now?

Brighton’s always been such a cool environment. We used to live in a dark and gloomy basement flat but we’ve recently flipped the record and moved up to a top-floor apartment. The view makes the morning coffee taste better.

Matt: As far as the scene goes, I think musicians and bands will gravitate towards Brighton as it’s got the practicality of somewhere like London but with the addition of a naked cycling race every year. Who doesn’t love an annual naked cycling race?!

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

Hugh: We’ve got such a cool new live performance lined up for our next gigs. We’ve got some brand new tracks we’re dying to play! We’re also playing a night set up by Abbie McCarthy from BBC Radio 1 on 28th June which is going to be so great. Here are the live dates in full:

28th June - Good Karma Club (London) at the Sebright Arms

13th July - London, Notting Hill Arts Club

20th July - London, The Finsbury pub

27th - 29th July - Chiddfest, Chiddingly

What do you hope to achieve in 2018?

As far as we’re concerned, we want to be the biggest band in the world. We know that’s a bit of a stretch before 2019...but, hey; we’ve got no choice but to make sure as many people hear our music as possible. 

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

Matt: Definitely. When we were younger, a couple got engaged whilst we were busking one of our tunes. That was pretty magical! 

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

I guess, if we really wanted to set the bar, supporting someone like Coldplay would be pretty crazy. Just as they’ve had such an incredible ability to stay at the top of their game.

Then, probably something quite tame in our rider…an ice-cold Pepsi Max for me; maybe a Coke for Hugh…and a life-sized cut out of Christopher Biggins.

What advice would you give to new artists coming through?

Hugh: I’d love to be all philosophical here but, in all honesty, we’re still breaking through ourselves! Have you got any advice for us?? Haha! 

 IN THIS PHOTO: Naaz/PHOTO CREDIT: Valentina Vos

Are there any new artists you recommend we check out?

Matt: I personally have been really into Naaz’s new album Bits of Naaz. She has a really cool sound; deffo check her out.

Hugh: Youth Sector also have a couple bodacious tunes out.

IN THIS PHOTO: Youth Sector/PHOTO CREDIT: Jodie Canwell

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

Yeah. I mean, I think for us the highlight of living together and doing what we do is that music has become intertwined within everything we do. It’s funny because we seem to relax the most when we are just doing what we love - making music that we feel matters.

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).

I think we’d have to go with…

Fujiya & Miyagi - Collarbone

Milo (ft. Hemlock Ernst) - Souvenir

Absolutely amazing songs! 

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Follow Suzi Island

Twitter:

https://twitter.com/suzi_island

Facebook:

https://www.facebook.com/Suziisland/

SoundCloud:

https://soundcloud.com/suziisland

Instagram:

https://www.instagram.com/suzi_island/

Spotify:

https://open.spotify.com/artist/7Atx74I8DBQu0IHodozxxs

YouTube:

https://www.youtube.com/channel/UCbob3VKQoljdsLPrUKYhD3Q

INTERVIEW: Mercy Flight

INTERVIEW:

Mercy Flight

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IT has been wonderful speaking with Steve…

of Mercy Flight about the new track, Entropy. The band’s singer discusses its story and what tales and ideas go into their album, Humanizer. I learn how the band got together and whether there are any gigs booked in the diary – whether the Canadian group will also come over to the U.K.

Steve tells me about his start in music and influences; a new name we need to seek out; why technology, and the way we interact, is a key source of inspiration; how he spends time away from music – he provides advice to songwriters coming through right now.

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

Great, thanks! The record release party was a huge success last night: a packed house at the Piston and the band was on fire! So excited to be releasing the new album this week! So amazing!

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

I am the lead singer and songwriter of Mercy Flight. We are a dream-inspired Indie-Folk band from Toronto.

How did Mercy Flight come together? How did you find the musicians you play with?

Tony Rabalao (A.K.A. Lehlo) and I started running an open mic, Freefall Sundays (and making records), together about ten years ago which has been a galvanizing force in the evolution of the band.  Tony’s close friend and bandmate from Joydrop, Thomas McKay (also played in Moe and the Nightcrawlers), ended up producing and playing on the last three Mercy Flight records.

He brought in Ricky Tillo (Lady Gaga) and Dan Miller (Valerie Dour) on the last two records and Katey Morley (Gypsy Soul) joined the band a few years ago and sings B.Vs on our new record, Humanizer.

Entropy is the new single. What is the story behind it?

Entropy explores the importance of human connection in a disintegrating world; technologies designed to bring us together are tearing us apart and destroying our physical realities. Entropy is a reminder to connect in the moment.

Humanizer is your album. Are there overriding themes and ideas that define the record?

Humanizer explores the relationship between humanity and technology. The modern world is fraught with dehumanizing technologies. For example, one song is about breaking this cycle and getting outside “while the sun shines”. Another song is about an angel that wants to become human because he’s tired of immortality: “He wants to feel love”.  

It seems technology and the way we connect is important to you. Are we becoming more detached as a population?

Yes. I believe that modern technology is actually isolating us from each other. We can communicate with people from across the globe but we are not connecting well with the people right beside us, the people in our lives,  as well as we could.

Tell me about your influences and what sort of music you grew up around…

My father was into Classical and Jazz. My mother sang me to sleep at night. I played the piano from a young age; violin and trombone as a pre-teen and later got into singing and playing Blues harp as a teen. I played in bars around town and eventually starting writing and singing my own songs. That was the beginning of what has been a lifelong pursuit of expressing myself through music.

I have had such a variety of influences. For example, Gustav Mahler and Erik Satie; The Psychedelic Furs and Tears for Fears; the Broken Bells and Tame Impala; David Bowie and Neil Young. My most recent influences are some of the emerging artists that I witness each week at my open mic. Lots of talent!

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

We are definitely heading to Montreal and New York. No plans to go much further afield just yet. Although, that’s definitely something I’d like to do!

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

I haven’t, personally. I know other members of my band have. In fact, a few of them tour Europe and the U.K. with other bands. Lucky!

What do you hope to achieve in 2018?

More of the same, really: keep writing music and playing live; maybe make a video.

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

So many great moments at the open mic every week; spontaneous collaborations etc. and great shared energy and community-building with musicians from all over the world. It’s hard to pick one memory! I’ll have to think about that one.

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

I’m not sure what you mean. You mean be a patron of the arts and support someone else’s career in music? There would be quite a few candidates! I wish someone would do that for me! (Laughs).

What advice would you give to new artists coming through?

Keep playing. It’s hard when life gets in the way, but stick to it! Music is its own reward.

IN THIS PHOTO: Rose Cousins

Are there any new artists you recommend we check out?

Rose Cousins.

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

For me, music is a way to unwind. I also like to get out into nature.

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).

I’ve really been enjoying Tame Impala these days. Anything from the album, Lonerism - or the Broken Bells’ After the Disco.

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Follow Mercy Flight

Official:

http://mercyflight.com/

Facebook:

https://www.facebook.com/MercyFlight/

SoundCloud:

https://soundcloud.com/mercyflight

Instagram:

https://www.instagram.com/mercyflight/

TRACK REVIEW: Dan Rawle - Matter of Opinion

TRACK REVIEW:

 

Dan Rawle

Matter of Opinion

9.2/10

The track, Matter of Opinion, is available via:

https://open.spotify.com/album/6yyiEccw7G3s52xhNBQpaU

GENRES:

Folk; Singer-Songwriter

ORIGIN:

Oxford, U.K.

RELEASE DATE:

3rd June, 2018

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WHEN I look at Dan Rawle…

I get a sense of optimism and revelation I have not experienced in a while. I will talk about his latest track in a moment but, right now, I wanted to address a few things about his music. I want to address emotional subjects in music and pouring your heart out on the page. I will also look back at Folk and Acoustic music and what beauty can be unearthed from the form. I will chat about consistent songwriting and artists who manage to provide warm spirit; a look at overhauling the mainstream and what Rawle can achieve in the future. Let us look at the first point and discuss emotion and how that is brought into songwriting. Dan Rawle is known for a slightly sunnier and upbeat aspect to his songs but now, on Matter of Opinion, there is something a little more inward-looking and emotive at the heart. If we look around music; there are plenty of artists who put their soul onto the page but, in many cases, it comes across as dishonest and forced. I am a bit miffed why some would go to lengths to record songs with such urgency and emotions without showing any authenticity and depth. Rawle is a man who has experienced the same as all of us – lost love and disappointment; wasted days and the need to achieve dreams – but he manages to distinguish himself by showing that honesty and realness. It can be quite hard listening to songs that are open and hard-hitting. Whilst Matter of Opinion looks at experiencing loss and having that spirit and love remaining – trying to keep someone’s memory alive – it has plenty of range and colour that will keep you invested. I hear songwriters who talk about lost relatives or broken love but their words are quite trite and clichéd. With Dan Rawle, he mixes intelligent and thoughtful words with beautiful composition notes and brilliant production.

One of the reasons I have been featuring more female artists in my review section is a need to step away from a sense of weariness and sameness. I find a lot of male artists are replicating what is out there or they are producing music that does not linger in the mind. I feel we have reached a point where female artists have stepped out in front – and not been given the recognition they deserve – and are providing music that is more interesting. The more compelling male artists of the mainstream are away from Pop and playing in genres like Jazz, R&B and Hip-Hop. There are some unique acts in Pop and Rock but most of them are outside this realm. Female artists tend to have a more adventurous style of music and wide-ranging voice; a passion and soul the men do not. This might sound like a shot at Dan Rawle but it is the opposite: he is one of those songwriters that show there is grace and plenty of style to be found in male artists. Although the mainstream needs to a shake – I will come to this a bit later – Rawle is among the more interesting and personality-rich that is capable of keeping you hooked. I feel a lot of male solo artists suffer is because they are too concerned with heartache and being as explicit as they can. Maybe I have generalised things but I see a definite split that is spilling into the mainstream. Newer artists fare better and they are producing sounds that have a lot more lyrical variation and nuance. Dan Rawle is a songwriter inspired by the likes of The Beatles and Passenger but does not step into commercial territory. I have a very sceptical and wary sense of adventure when it comes to mainstream Pop/Folk and how credible the music is. Rawle is much more credible and strong than most artists out there because he can write about his life and experiences without causing depression and seeming false.

I will come back to that subject a bit in the conclusion but will move on to Folk and Acoustic music. Yesterday, when assessing IAKO, I looked at an artist in the same genre as Dan Rawle. His sound was closer in tone and flavour to James Blake – it has Electronic elements and was more energised and choral. Now, with Rawle, we have someone who takes from the roots of Folk. His music mixes in Pop sunniness but there is that acoustic guitar-based sound that reminds one of older artists. I have been investing a lot more time in Folk because of a need for music that seems to understand me and what I am going through. That sounds strange but I am at a point where I need to bond with emotional sounds and bare-naked songs; a chance to feel a little vulnerable but bond with sounds that I can relate to. I have been listening to a lot of Joni Mitchell’s Blue and wondering why we have seen very few similar albums since 1971. A lot of modern artists write about the ups and downs of life but I have heard nothing as striking as Blue. If modern-day artists like This Is the Kit and Laura Marling have the same vocal elements as Mitchell; their music is different in terms of its poetry and potency. Although Dan Rawle writes about different areas of life (to Mitchell); I get the sense he included her in his rotation and takes guidance from her. I have been yearning for a modern-day Blue that exposes scars and is as stunning and revelatory as that record. Whilst Rawle might not have gone through the same experienced as Joni Mitchell did in the late-1960s/early-1970s; I feel he has encountered hard times and broken love that would lend itself to Mitchell-esque music. I feel he has the potential to be a fine a lyricist and wants to connect with the listener in a profound way. His music is exceptional and memorable and will stand the test of time.

What I am seeing with modern music is a proffering of genres like Pop and not a lot of attention paid to Folk artists. I wonder whether we still look for artists that have endless energy and can make us dance; those who can bring fizz and slam. Maybe the days of Folk’s dominance has passed but I wonder why have such a restricted view when it comes to the genre. Maybe tastes are changing or the average listener wants music that moves the body or they do not have to think too heavily about. It is a shame there is a lack of respect for various styles of music but, with artists like Dan Rawle splicing in Pop tones, there is a chance Folk and Acoustic sounds can make a bigger impact in the mainstream. Rawle is someone who writes about what he is going through and has that vocal prowess. I feel a lot of modern artists lack any real power and prowess when it comes to the voice. Rawle’s vocals bring the music to life and show so much wonder and brilliance. You get soul and passion together with tenderness and emotion. It is a complicated blend that pricks the ears and gets the heart involved. Couple this with lyrics that are in turns touching and original and you have an artist that stands away from easy labelling and prediction. Matter of Opinion deals with some tough and sad avenues but it is not delivered in a manner that would make you feel cold and overwrought. There is, as I said, always a lightness and sense of the accessible when it comes to Rawle. All of these ingredients mixed together makes for an artist that has the tools for success and longevity. There are other reasons why Dan Rawle can go a long way and make an impact in the scene. Every new release we hear from him seems to improve on the last and show new aspects of his songwriting.

It is that consistent that gets to me. It’ll All Come One Day, his E.P. released last year, was met with positive reception and won Rawle a lot of fresh fans. Whilst the core of his music has not shifted and there is that reliable central sound; you get something new and unexpected with Matter of Opinion. A lot of artists tend to make radical shifts between releases and lose what made them special in the first place. Others do well for a couple of albums and fade when it comes to further material. It is good finding an artist who can appeal and hook you to start but then, down the line, that magic can fade. Although Rawle is still pretty new; I hear that consistency that will not disappear anytime soon. He is a solid songwriter who has happened upon a great sound and will not abandon that at all. Rawle has been playing for years and honed his skills. The Oxford-based songwriter has worked the local scene and gained reaction and feedback from the stage. Growing up around artists like The Beatles and tuning his ears to what is happening in modern music; he has stirred all of this together and come up with something that is distinctly him. The reason why his songs are constantly engaging and strong is the passion and determination he has to succeed. Rawle want to take his music to the masses and has found his calling. Many songwriters are trying to be commercial or too afraid to attempt anything new and striking. You get, with Rawle, someone who can keep solid and dependable but add and layer his music. Right now, you get that acoustic bliss coupled with personal lyrics and a pleasing aura. I mentioned Joni Mitchell as a guide, I feel, most songwriters should adhere to. Her music is the template of what Folk music should be and I think it resonates in Rawle’s eyes.

Some would say that, if Rawle wanted to get Blue, then that would involve a bit more cloud and rain. The songwriter is known for getting the spirits elevated and bringing us music that shines and glistens. His latest cut has some darker and sadder aspects but still manages to keep its smile and movement. Maybe that is the best thing about Dan Rawle: he is able to give us songs that can connect with everyone but does not have to get too heavy-handed and teary. A lot of musicians I encounter feel pressured by big labels or what they think people want. Because of that, they are caught in two minds between doing what feels real and natural and what the market desires. It is hard for modern musicians but that does not mean you will alienate listeners if you release music that means a lot to you. This is what we get with Dan Rawle. There are a lot of modern songwriters who have talent and can go quite far in the industry. I think Rawle has the promise and variation to do a lot of good in music and make his way to the top. We need to embrace artists that have something real to say and can keep your mind invested. I like modern Pop and Rock bands but there is not enough variation at the top for my liking. Let us move onto a new subject but it is great investigating all the sides to Rawle’s music and what he is all about. I wonder what he will come up with next and whether there will be another E.P. – I will investigate that in the conclusion. I have alluded to what is happening at the very top of music and why we need to change things up a bit. There is a staleness coming through and a lot of the best artists are not receiving their due.

One could easily look at Acoustic and Folk and think of Ed Sheeran. He has his fanbase and crowd but, to me, there are too many new songwriters trying to be him. That is understandable if you want to follow his path but I feel there are few merits that come to mind. There are some great Pop/Acoustic artists but there are far too many out there who lack a sense of interest and personality – too eager to follow in Sheeran’s footsteps and get to play big stadiums. That may sound like a shot at Sheeran but I feel we are highlighting and elevating artists who can sell venues out and bring in the streaming figures – rather than those who can genuinely shape music and inspire future generations. The mainstream is, or should, be there to promote the finest artists around. I feel things are getting more and more about appealing to a narrow demographic and emphasising the wrong elements. Rather than encourage the most daring and brave to come through; we have this scene that is quite timid and commercial. Maybe that has always been the way but I’d like to think we can do better and make some real improvements. Dan Rawle is someone I would like to see higher up the ladder and has more substance and appeal than a lot of artists who are turning heads right now. It is difficult deciding which musicians are worthy and those who can make lasting impressions. Look at songs like Matter of Opinion and you have a sound that could easily capture those who love what the mainstream is putting out: those who like their music more credible and original will find much to love and react to it. That is what I mean when I say we need to retune the mainstream: artists being given the biggest props are not really remaining in the memory and doing anything spectacular.

Perhaps I am sounding bitter and not really given people a chance. It is a strange time for music and I believe we still need to make some changes and push things forward. I know Dan Rawle can remain for many years and it will be good to see what direction he takes. There is a great support behind him and he has captured something great in his music. You get an artist who has grown up around some terrific music and assimilated that into what he does. I know he has played hard and put his music out to the locals. He has gone further afield and is determined to get to as much of the nation as he can. All of this experience and exposure will elevate his standing and get his music to more ears. He is working hard on social media and perhaps there are other avenues that could be explored. I am not sure if there is an official Twitter account but I know there are a lot of potential contacts and fans there. It would be a great way to get to radio stations quickly and have your tunes spun by the very biggest influencers out there. By the same token; maybe a more regular video series or a look into his songwriting process would push the music into new directions. I am not sure whether Matter of Opinion will get an official video but I feel that is a good way of teasing in new people and showing a visual side to his music. Rawle has the promise and songwriting talent to go as far as he needs and is building his foundations as we speak. There are enough great songwriters out there but I think the more commercial – those who appeal to a teenage demographic – are getting undue prominence. Let us break this mould and look at musicians who are able to deliver solid gold and more interesting music.

Whilst the weather is a little mixed and today will not be an overly-sunny one; I am listening to music and looking for an escape. The opening notes of Matter of Opinion are gentle and soothing. If you did not see the single’s cover art – it shows a young Rawle on the shoulders of, what looks like his dad (I could not find a good-sized image to include here – then you might think the track had romantic and love-based origins. I guess the song can be taken that way but it seems, as the lyrics unfold, someone special has been lost and memories have been treasured. Our man walks along and is incorporating aspects of the departed in what he does. I am cheating a bit because I have interviewed Dan Rawle and know the song is about his dad who he lost to cancer when he was five – that was twenty-five years ago. He did not want to be too soppy about the subject but wanted to write a song that paid tribute to the man and how much he means. Today is an especially emotional day as it is Father’s Day and he will be thinking about his dad. Rawle was young when his dad died but he would have learnt a lot from him and has him in his blood. Those lessons he taught and the interaction they had was special and pure. The fact he is not around anymore does not matter: his dad is with him everywhere and his legacy remains strong. The song’s chorus/title relates to the opinion as to whether he is gone or not. His dad is not physically with us but that does not mean to say he has been forgotten. The hero remembers what he has been taught and is the embodiment of his dad. Because of the emotion coming through in the song; I was expecting something quite depressed and closed-off. Instead, we have a song that lets the listener in and casts images of Rawle’s dad.

Maybe an early strings section might have heightened the mood and given the song extra emotion and potency – perhaps some piano would have also helped. I feel Rawle would have considered this but wanted to keep things quite sparse and basic. Rather than crowd the song and take away from the vocal; Matter of Opinion is more of a sermon and conversation between Dan Rawle and his dad. You do not want too many elements in there that can distract the mind from the core and root of the song. Rawle’s voice remains solid and unbroken throughout – which is a hard feat – and you get a lot of dignity and respect coming out. Those stings do come in but, when they do, never intrude or come in too hard. What we get is a brilliant combination of that vocal and some delicate, stirring string. I was involved in the song from beginning to end and picturing scenes of Rawle and his father. I am not sure whether there will be more songs from Rawle concerning his dad but I feel his memory and impact goes into everything he does. Rawle believes his dad is still here and everywhere around him. So long as he keeps his memory alive and thinks about him; can we ever say someone has truly left us?! It is an impactful song and one that means a lot to the hero. Matter of Opinion will get people moved and make them think about loved ones they have lost. It would be easy to be overly-saccharine or teary but that is never the case here. Rawle always keeps his nerve and does not sonically weep. He has dealt with the loss and is not looking for sympathy from the listener. What we are hearing is a loving tribute to a great father and someone who has made a big impression in Rawle’s life – even though he has been gone for a long time. Matter of Opinion is a fantastic song that will take a few listeners to sink in. It is a song that has that emotional weight and quite difficult to absorb the first time around. You might need a few swings around but, when you give it time and more attention; all of the strands and aspects come together and sink in the head. It is a great offering from Dan Rawle and proof he is a songwriter that deserves more acclaim and opportunity. The more material he puts out, the more ears will come his way. I know he will travel far in the music industry and it cannot be too long before he is playing some rather prominent festivals. Matter of Opinion is a song that can resonate with the masses but has that credibility and sense of depth that seems to be missing from a lot of modern music. Let us hope radio stations and labels get behind Daw Rawle and get behind his music.

I have spoken a lot about Dan Rawle and various dimensions of his craft. There is a long way to go but I can hear the consistency and how strong his music is. He played Woodstock Social Club (Oxford) on Friday and is planning more gigs this year. Festivals are coming up and, whilst the competition is hot; we have someone who can easily pack the people in and deliver a great set. Rawle is playing a lot of gigs around Oxford but I feel there is a broad market that would love to see his music come their way. I wonder whether there are any London gigs or he is travelling further to the north. I guess demand comes when you push your music and people start responding. Matter of Opinion is getting a lot of heat and it cannot be too long before the talented young songwriter is getting his rewards. Maybe it will take another E.P. before he gets huge gigs but you feel it has to happen. I have not asked whether the new single will lead to an E.P. but one feels there is something just around the corner. Keep your eyes on his social media camp and discover what is going on right now. I predict some good things for him and, before you know it, he will transcended beyond the Folk clubs and local joints to play bigger venues around the nation. I think we often put Folk and Acoustic artists in boxes and assume they can only play venues set up for them. Rawle shows there is a lot more to his music than meets the eye and it is capable of capturing the wider imagination. He brings a lot of emotion and personal experience to his music but pairs it with a sunniness and energy that keeps the listener involved and smiling. That is a hard act to pull off and respect to him for doing that. I will leave things now but wanted to recommend people give Rawle a good listen and, if the music appeals, put it out there and spread the word. These are good times for Rawle and, if anything, the next year will be even stronger than the one he has just gone through. The man has solid material under his belt and a great local standing. Looking ahead, I feel he can move and shake with the best out there and prove himself to be a terrific future star. Matter of Opinion is a song that is striking a chord and, in my opinion (sorry!), there is no denying the clout and potential…

OF Dan Rawle.  

___________

Follow Dan Rawle

Ian EWaOfficial:

https://www.danrawlemusic.com/

Instagram:

http://instagram.com/dan_rawle_music

Facebook:

https://www.facebook.com/danrawlemusic

SoundCloud:

https://soundcloud.com/danrawlemusic

Spotify:

https://open.spotify.com/artist/10WyjmBDW1sw5FNiWQ8OQW?si=say7AbtNT8KD7xQFpXIapQ

YouTube:

https://www.youtube.com/channel/UC50pZ7MQGWTrdozqfqbkEVQ

Bandcamp:

https://danrawle.bandcamp.com/releases

PHOTOS:

Ian Wallman

FEATURE: The Rebel Girl Who Rolls Her ‘Rs’ to the Fight: The Riot Grrrl Rebellion and Its Striking Legacy

FEATURE:

 

The Rebel Girl Who Rolls Her ‘Rs’ to the Fight

IMAGE CREDIT: Julia Scheele  

The Riot Grrrl Rebellion and Its Striking Legacy

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RIGHT now…

IMAGE CREDIT: Pitchfork

there is tension in the air and a sense that equality, as we want it stand, is a way off. I keep reading news reports that cause reaction because women are being overlooked. Whether it is to do with pay or something around sexual abuse – we haven’t evolved as much as we should. Given the weight of sexism and the struggle still ahead; one might assume female artists would feel reluctant to strike forward and take charge. The opposite is happening: there are some fierce and attacking female bands that are showing what spit and determination they have. I think about things happening in music and how female artists are getting on with things. From REWS and Goat Girl to Melkbelly and Palberta – there are a lot of great female/female-fronted bands that are capturing the spirit and attitude we saw back in the 1990s. The reason I wanted to explore riot girrrl and the role of innovators like Kathleen Hanna was to illustrate the sort of energy and desire that was in the air back then. One can say things have gotten worse since the 1990s when it comes to inequality and the role of women in music. It does not have to be all about Punk and aggressive music: brilliant female Pop and Folk artists are producing wonderful work; some great Electronic minds and those adding their touch to R&B. I will conclude with a playlist, but there are some great articles that chart the birth of riot girrrl and the sort of feelings that were stirred back then. The movement was more than music and the sort of D.I.Y. Punk aesthetic that was present among the best acts. There was the fanzine culture and a wider support for women in music. There was something inspiring in the air back in the 1990s:

“Riot Grrrl was an underground feminist movement that began in the early nineties, which was closely tied to punk music, radical politics, and a DIY aesthetic. Riot Grrrl activism involved meetings, the creation of zines, and a nationwide network of support for women in music. While some say the movement lasted until the mid-90s, others contend it never ended. With the popularity of Sara Marcus‘s recently published book Girls to the Front: The True Story of the Riot Grrrl Revolution, it seems there may be some truth to that statement. And there are many zines, which tell the tale of the origins of the movement. In 1993, according to a Canadian newspaper (as mentioned in Girls to the Front), 40,000 zines were published in North America”.

IN THIS PHOTO: Bikini Kill/PHOTO CREDIT: Getty Images

So, then: who were the articulators and innovators who defined the movement? Many have their own views as to the pioneers and crucial figures who brought riot grrrl to the underground. There are many modern female Punk groups who take seeds from that movement and are continuing the great legacy that was laid out:

“Groups like Perfect Pussy, Joanna Gruesome and Potty Mouth frequently invoke comparisons, apt or otherwise, to the Riot Grrrl movement that began in the early ‘90s. Riot Grrrl was a loose collection of women-driven bands born of a thriving do-it-yourself, activist punk subculture that directly addressed third-wave feminist concerns, like sexual autonomy and violence against women, in their music. Kathleen Hanna of the Olympia, Washington-born Bikini Kill is widely viewed as the movement’s trailblazer, paving the way for today’s punk women with her fierce charisma and politically-charged lyricism. Popular songs include “Rebel Girl,” “White Boy” and “Don’t Need You”.

IMAGE CREDIT: Getty Images

Alongside the music were fanzines and publications like Action Girl newsletter and Snarla; Runt and Manifixation. It was an exciting and productive era that was fed by the notion women’s’ voices were not being respected and understood. I am drawn to the music at the time – and bands like Bikini Kill – but understand there was a whole community and identity that was enforced – one that carries on today and, in hard times, needs to be highlighted. It seems strange we are surprised to find female musicians project power and read instruments. The term ‘riot grrrl’ was often applied to any female musician who had a voice. Back when the movement started; it was applied to a specific culture and style of music. Although it was a largely white movement – black female artists created a movement of their own that best articulated their struggle – it has mutated into today’s music. Artists like Beyoncé are seen as modern-day examples of the riot grrrl sound and ethos. An interesting article explored the birth of riot grrrl and a particular song that is seen as the movement’s clarion call:

“The term “riot grrrl” tends to come up as soon as someone with a vagina starts a band. There are countless women considered riot grrrl figureheads: Kim Gordon, Patti Smith, PJ Harvey, the Slits, X-Ray Spex and modern musical figureheads like Beyoncé among them. Even Haim have probably been called riot grrrl at one time or another. But this list is specific to the riot grrrl scene that erupted, fanzine in hand, in the 90s Pacific Northwest, and the bands they directly inspired. The original movement ended not long after it began, as magazines started putting girls dressed in the grunge kinderwhore style on their covers and “riot grrrl was conflated with girl power”. Riot grrrl’s DIY, punk philosophy opposed alternative music’s dominant bro culture and created, through gigs and pamphlets, spaces where women could discuss issues of gender, race, sexuality, equality and enjoy being able to crowdsurf without being groped. As outlined in the manifesto that appeared in the fanzine by riot grrrl linchpins Bikini Kill (which I had pinned to my bedroom wall for all of my teens), they saw girls as a “revolutionary soul force” with the power to change the status quo.

Bikini Kill’s Rebel Girl was the scene’s rebel yell, a short, sharp shock of serrated, anthemic punk that’s an ode to attitudinal, give-a-fuck females. The titular Rebel Girl holds her head high despite people calling her a “dyke” – or, in another recorded version of the song (there are three), a “slut” – disparaging the notions of sexual ambiguity and promiscuity that the riot grrrls kicked against. But she also rides “the hottest trike in town”, imagery that matches how singer Kathleen Hanna sings the song in the style of a girlish playground taunt. Musically, it’s the ultimate riot grrrl walk-on music, with Tobi Vail’s strutty, Dr Martens-stomp of a drumbeat, guitarist Billy Karren’s crunchy, lip curl of a riff and Hanna’s exorcism-strength screech of “in her kiss, I feel the revolution”. It is, in a word, badass”.

IN THIS PHOTO: L7/PHOTO CREDIT: Getty Images

The scene might have shifted and spilt into genres like R&B, Pop and other genres. Whilst there is not the same concentration and intensity as the 1990s. Whilst there are some incredible female artists in the scene right now; the fight continues and many have been looking around for a riot grrrl-like movement that kicks up the dirt and sends a shot to the world. Riot grrrl – if we want to keep using that term – continued past the 1990s but now, in 2018, I wonder whether some of the anger and community has gone away. There might be fanzines and publications but fewer then there was. The feminist movement is strong but it has altered its makeup and appearance. Maybe a new movement will not override the sexism and imbalance we see but there is a desire for unity and a definite shot across the water. I know of so many great female groups, Punk or otherwise, that have immense skill, intensity and talent. I look back at the notion of riot grrrl and why it came about: the need for female artists to be heard and feel they were being listened to. It was more complex than that but I wonder whether lessons were learned and those in positions of power took notice of what was happening. I will end by collating a riot grrrl-inspired playlist that looks at some of the movers and shakers that let their voices shout proud. It was a fascinating and wonderful time that achieved a lot and gave maligned and overlooked female artists a forum and voice. As we look forward to music and wonder whether things will change for the better; I wonder whether we need to look back at a movement – some hate the term ‘riot grrrl’ and others applaud it – and rebellion…

IN THIS PHOTO: Sleater-Kinney/PHOTO CREDIT: Getty Images

WHOSE echo is still being felt.

FEATURE: Self-Service Checkouts Will Destroy the World: Overcoming the Fear and Setting Sights High

FEATURE:

 

Self-Service Checkouts Will Destroy the World

ALL PHOTOS (unless otherwise credited): Unsplash 

Overcoming the Fear and Setting Sights High

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TOMORROW…

I will look at a few different things when it comes to features. Among them are (pieces about) design and cool new fashions in music; maybe there will be a look at Meltdown festival and, if there is time, a great new act to watch closely. This is a semi-personal feature that I can spread to the larger music world and, hopefully, compel others. I am looking around and there are a lot of musical people holding back and not taking charge. They have ambitions and lofty dreams but, after a bit of pushing and excitement; that seems to wane and they retreat back to their routine. I have seen many think big regarding album concepts and where they want to tour; others who are determined to gig in countries around the world and many others who want more than what they have. It is natural and understandable we would get into this mindset. Music is an industry that promises much and seems like a golden ticket to artists and those with creative ambitions. I got into journalism as a starting-point to other ventures. I have been doing this for years and, as the time elapses, I am getting more and more restless. It is a vague assertion but I love what I do but there is that hunger to do more.

IN THIS PHOTO: IDLES/PHOTO CREDIT: Adela Loconte/Rex/Shutterstock

I have written about dreams and desire in music but, to me, I should be taking my own advice. I have recently pitched a music T.V. show to a production company in Manchester and have set my visions on something huge. In years past, I have held back and not had the confidence to actually do anything about things. Rather than go for broke and really put my all into everything; fear has come through and I have retreated back to something safe and familiar. I am not sure how far my T.V. show idea will go this time around but, even if the company says ‘no’; I will push it to someone else and keep the ball rolling. I have started ventures before and submitted the first time a rejection came my way. I am also, very soon, moving to Manchester and going somewhere that is new and very different. My thought process revolves around ambition and finding a city that offers a lot more chances and music than where I am right now. I am a big fan of what is happening in new music and there are artists I really want to interview and follow. I do not feel like I have the clout and substance, where I am, to approach these acts and make a bid. Among my target demographic are IDLES and Kate Nash. They are very different artists but both producing music that is getting under my skin; saying something important and determined to make some changes in the world.

IN THIS PHOTO: Kate Nash/PHOTO CREDIT: Charlotte Patmore

Although I have a little bit of money behind me; a lot of my new objectives and strength comes from a sense of frustration and fatigue. I have battled long to elevate myself to a different platform and get my work to a new audience. You have all seen my write about music T.V. goals – so I shall not expand here – but you have to keep strong and focused when you really want something. Whether it is something as simple as a girlfriend/boyfriend or a new job – giving in and thinking you are worth less than anyone else is not the way to approach things. Every new year of music brings fresh challenges and hardships. More and more acts are coming through; stress and anxiety are on shoulders and it seems harder to actually survive – let alone do something extraordinary and expand. I will nod to fashion and music tomorrow but I have seen people talk about designing their own T-shirts/boots and subsidising themselves that way. They have the talent and tenacity to make it happen but stumble when it comes to consistent energy and financial impetus. The market, in any corner of music, is competitive and people can get down and resigned when they think of the impossibility of big success. It may sound rather unconstructive and easy for me to say you need to have strength and abandon the fear: I am not in the same position and can make any statement I want.

The music industry, now more than ever, is looking for innovators and those willing to take a stand. From fighting against injustices and imbalance to creating businesses and setting up cool record labels; there is that market and opportunity ahead. I read interviews form artists who talk about their start and how they had to struggle to make it where they are. Whilst people said they couldn’t do it and there was a poverty of expectation around them; they battled and defied all the odds and keep that dream healthy and shining. There will always be challenges and bad days – but the only way you will be able to achieve what you set out to do is by being resolute and believing in yourself. Morale and personal happiness is decreasing and we are acutely aware of musicians struggling when it comes to their health. Maybe our horizons are narrow and flickering because of music itself. You look at genres like Rock and wonder where the big acts are. Where are those ground-breaking and epoch-defining artists that we saw decades ago?! We are witnessing great musicians come through but one wonders whether music is as compelling and exciting as it was back then. There are little boutique labels and interesting projects happening in music but few of them get proper oxygen and attention.

If you want to do something musically original and unexpected then you should get out there and do it. I feel we are all aware of people’s expectations and what negative comments and stuffiness will do to our psychological composition. Every bold soul has had to endure negativity and those dismissing their ideas. If you want to create music-based fashion and try something new then it is not up to anyone else to dissuade you and think it is a bad idea. Going back to my music T.V. show pitch and you wonder why nobody else has come up with a new format. Maybe there is this culture to suggest music T.V. is a spent force or it is a thing of the past. There are those who know this is false and feel there is a gaping vacuum that needs filling. There is a lot of dissent in the industry and people that will shoot down any ideas (and things like music T.V. shows). Putting a format onto the air takes money and being rejected quite a bit! I am prepared for some refusals and will have to contact every production company I can to get the idea lit. What I am finding it other, similar-minded people are hesitant to take the first step. It seems, when it comes to those big ideas and breakthroughs; it is down to the big names and famous artists to get things done.

Whether it is streaming services or record labels; technology inventions or anything else – all we see if the elite artists pushing these forward. Maybe that is denting confidence and creating this feeling: I need to be in their position before I can make any changes and do anything great. Even if you want to make music that goes beyond the normal or you have desires to set up your own business – it is possible to do and it will take its time! Maybe you will need to get a business loan or start quite modestly at the start. Fear seems to dictate everything we do and we often wait too long before we try and realise dreams and do what we always wanted. By then, it might be a bit late or other people have stolen our spotlight. Never assume things cannot happen and you have to be an established artist to be taken seriously. I am clear-sighted and realistic when it comes to my endeavours and will not get too carried away. It will happen one day and I am not going to quit when a few people slam the door in my face. It has come to a moment where I cannot hold off and need to grab the chance to do something big. Others are telling me about their hopes and keep revealing hesitations and doubts. We need to break out of this assumption that things cannot happen and the music industry is only willing to accommodate the big and famous. The business needs the brave and striking to shake things up and add their colours into the mix. I will keep my dream intact and not submit upon the first sign of resistance. It is all very well for me to say we need to shake off this negativity and modesty but I think, once we assume we can achieve anything and our voice is needed; that will start a revolution that will…

LEAD to incredible changes and breakthroughs.  

INTERVIEW: Places Erupt

INTERVIEW:

Places Erupt

___________

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.

___________

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. 

 

____________

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.

___________

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

____________

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.

___________

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…)

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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

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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

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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!

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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

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THE Belfast band ABQ (Albuquerque)…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It’ll get loud…

What do you hope to achieve in 2018?

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

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

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

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

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

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

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

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

What advice would you give to new artists coming through?

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

IN THIS PHOTO: Joshua Burnside

Are there any new artists you recommend we check out?

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

IN THIS PHOTO: JC Stewart

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

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

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

Paul: High Five - Sigrid

Adam: MGMT - Little Dark Age

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

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

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Follow ABQ

Official:

http://abqofficial.co.uk/

Facebook:

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

Twitter:

https://twitter.com/ABQofficial

Instagram:

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

Spotify:

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

INTERVIEW: Corey Durkin

INTERVIEW:

Corey Durkin

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FROM the London-based wonder of Charlotte Black…

PHOTO CREDIT: Emily Swift Photography 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What advice would you give to new artists coming through?

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

Are there any new artists you recommend we check out?

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

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

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

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

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

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

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Follow Corey Durkin

Official:

http://coreydurkin.com/

Twitter:

https://twitter.com/coreydurkin

Instagram:

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

SoundCloud:

https://soundcloud.com/coreydurkin

YouTube:

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

Spotify:

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

INTERVIEW: Charlotte Black

INTERVIEW:

Charlotte Black

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I have had a great time speaking with Charlotte Black…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What do you hope to achieve in 2018?

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

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

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

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

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

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

What advice would you give to new artists coming through?

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

 IN THIS PHOTO: Aislin Evans

Are there any new artists you recommend we check out?

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

IN THIS PHOTO: Liv Austen

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

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

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

Kacey Musgraves – Space Cowboy

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Follow Charlotte Black

Official:

https://www.charlotteblackmusic.com/

Facebook:

https://www.facebook.com/charlotteblackmusic

Twitter:

https://twitter.com/charlotteblack

Instagram:

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

SoundCloud:

https://soundcloud.com/charlotteblackmusic

YouTube:

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

Spotify:

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

INTERVIEW: Tella Viv

INTERVIEW:

PHOTO CREDIT: Lars Brønseth

Tella Viv

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THE chaps of Tella Viv have been discussing…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What do you hope to achieve in 2018?

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

Marcus: Bigger and better live shows

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

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

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

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

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

Carl: Grace Jones. Champagne and oysters.

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

Benjamin: The Shaggs. Tequila and French fries.

Marcus: The Strokes. Beer and cigarettes.

What advice would you give to new artists coming through?

Carl: Learn the rules to break them...

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

Benjamin: Rock the house…

Marcus: Stay hydrated.

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

Are there any new artists you recommend we check out?

Benjamin: The Chats.

Fredric: ivy.

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

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

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

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

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

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

Carl: Thanks. Nina Simone - Mississippi Goddam

Fredric: Graham Nash - Better Days

Benjamin: Suburban Lawns - Janitor. Always

Marcus: Unknown Mortal Orchestra - Necessary Evil

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Follow Tella Viv

PHOTO CREDIT: Lars Brønseth 

Facebook:

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

Instagram:

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

SoundCloud:

https://soundcloud.com/tellavivmusic

YouTube:

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

Spotify:

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

INTERVIEW: Gazel

INTERVIEW:

Gazel

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

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

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

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

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

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

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

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

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

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

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

No love songs!

Has it been a fun experience putting an album together?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What advice would you give to new artists coming through?

Nobody knows any better than you do.

Are there any new artists you recommend we check out?

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

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

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

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

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

Dessa – 5 out of 6

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Follow Gazel

Official:

http://thisisgazel.com/

Twitter:

https://twitter.com/thisisgazel

Facebook:

https://www.facebook.com/thisisgazel

Instagram:

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

SoundCloud:

https://soundcloud.com/thisisgazel

YouTube:

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

Spotify:

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

INTERVIEW: Mon Frère

INTERVIEW:

Mon Frère

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

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

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

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

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

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

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

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

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

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

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

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

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

We’ve all seen this happen, right?

What was it like working alongside TLBW on the track?

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

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

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

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

Is there more material coming down the line at all?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What advice would you give to new artists coming through?

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

IN THIS PHOTO: Lebeaux/PHOTO CREDIT: Theo Lowenstein

Are there any new artists you recommend we check out?

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

IN THIS PHOTO: Fickle Friends

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

 IN THIS PHOTO: Kate Wild

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

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

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

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

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

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Follow Mon Frère

Official:

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

Twitter:

https://twitter.com/monfrereband

Facebook:

https://www.facebook.com/monfrereband

Instagram:

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

SoundCloud:

https://soundcloud.com/monfrereband

YouTube:

https://www.youtube.com/monfrere

INTERVIEW: LENN

INTERVIEW:

LENN

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THINGS change gear as I speak with LENN…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JoJo – The High Road

All-time favourite!

HAIM – Days Are Gone

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

ABBA – Gold

All bangers, no mash.

What advice would you give to new artists coming through?

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

IN THIS PHOTO: TS Graye

Are there any new artists you recommend we check out?

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

IN THIS PHOTO: HANNIE

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

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

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

JoJo – Leave (Get Out)

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Follow LENN

Official:

https://www.theysaylenn.com/

Twitter:

https://twitter.com/theysaylenn

Facebook:

https://www.facebook.com/theysaylenn

Instagram:

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

SoundCloud:

https://soundcloud.com/theysaylenn

Spotify:

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

INTERVIEW: Jonni Slater

INTERVIEW:

Jonni Slater

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I have been chatting with Jonni Slater…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What advice would you give to new artists coming through?

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

IN THIS PHOTO: Ruth Royall

Are there any new artists you recommend we check out?

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

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

IN THIS PHOTO: Catherine Rudie

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

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

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

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

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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!