FEATURE: Sisters in Arms: An All-Female, Summer-Ready Playlist (Vol. I)

FEATURE:

 

Sisters in Arms

IN THIS PHOTO: GAZELLE 

An All-Female, Summer-Ready Playlist (Vol. I)

__________

WE are witnessing the hottest days of the year…

IN THIS PHOTO: Ebony Bones

and, with that, thinking about summer and how long it will stay with us! In fact, we are looking at a rather clement and settled period for weather. In music, there are those artists that can perfectly score the conditions with their unique brand of music. I have compiled an all-female playlist with songs that either get the body going and sweat dripping or take the mood down and get us in a calmer frame of mind – in any case, a perfect accompaniment and varied selection of songs. From a few big names and a healthy dose of new artists to brand-new songs and those that have been around for a bit – sit back and let these songs…  

IN THIS PHOTO: Bahari

TAKE you somewhere blissful.

ALL PHOTOS (unless credited otherwise): Getty Images

____________

Anna Calvi – Don’t Beat the Girl Out of My Boy

Jain - Alright

 

Rihanna (featured guest Cara Delevingne) – ANSWR

Rhi – Night Driving

GAZELLE – Stay for the Night

IN THIS PHOTO: RAYE

RAYE, Mabel and Stefflon Don – Cigarette

PHOTO CREDIT: Erik Madigan Heck 

Dua Lipa (ft. Calvin Harris) – One Kiss

Sophia Mina – Conversations

PHOTO CREDIT: Blake House Filmmakers Cooperative

LIINES – Cold

ARK – Over and Over

Charlotte Black – Nobody Else

Hailey Tuck – Alcohol

MAAD – New Religion

Jorja Smith – Teenage Fantasy

Megan O’Neill – Good Love

Kadija Kamara – Eyes on You

Ebony Bones – No Black in the Union Jack

Bahari – Fucked Up

Tallia Storm – Girls Are Changing the World

Skott – Russian Soul

Kimbra x Dawn – Version of Me

PHOTO CREDIT: Kristin Burns

Natasha Bedingfield – Hey Boy

INTERVIEW: I Am Karate

INTERVIEW:

PHOTO CREDIT: Julia Stjernlöf

I Am Karate

___________

I have been given the chance to chat…

with the awesome Swedish duo, I Am Karate. Marta and Erika talk about their new single, Expectations, and what its story is; what they hope people get from the song; whether they’ll be more material this year – they tell me how they got together.

I ask them whether there are new artists we need to look out for; what the scene is like in Sweden right now; whether we might see them on tour this year; if they will come to the U.K. – they reach select a song to end the interview with.

___________

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

Erika: Great! We’ve just been on this songwriting camp arranged by Flow Sessions in this magical outdoor concert venue in Dalhalla, Sweden; pretty close to where we’re originally from. We met a lot of great people there!

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

Marta: We’re Marta and Erika and we have a band together called I Am Karate. It has been our baby project and love since we started it in 2014. We make Electronic-Pop and have written and produced our own music for a long time but for our latest release, Expectations, we worked with the really talented Norwegian producer called Eirik Røland.

Expectations is out. How did it start life? Is there a tale behind it?

To be honest; Expectations is one of our most personal songs ever. It was both hard and liberating to write and record the song because it means so much to us. There’s a tale behind it that’s a little too private to get into but we think a lot of people can relate to the message of the song. It’s about a relationship that’s falling apart, because of different priorities, but you’re too in love to let go yet.

Did you have a lot of say regarding the lyric video? Whose concept was it?

Erika: The video is actually an I Am Karate Production, so we’ve made it ourselves. It was a bit frustrating directing balloons because they do whatever they want but, in the end, it worked out fine! We’ve had this balloon theme for Expectations because it’s such a great metaphor for the word itself. 

The track is a bold and summer-ready song. What do you hope people get from the song?

Marta: We hope we can be a company heading home through the night; a comfort for those who feel what we’ve felt. It’s a true heart-on-your-sleeve song.

Is there more material coming later this year?

Erika: Yes! Next up is a new single later this summer! We’re super-excited!

PHOTO CREDIT: Julia Stjernlöf

How did I Am Karate get together? When did you meet?

We first met in 2012 but we both had other bands back then. In 2014, Marta got a gig at a library in Stockholm that her bandmates couldn’t take and she asked me if I wanted to do something with her instead. It just clicked right away - like musical symbiosis, kind of! We played some covers and things we’d written for our other bands. After that, we knew we had to start a band together!

Sweden is where you are based. Is it a great country to make and record music in? What is the local scene like?

Marta: Yeah. It’s a great country to make and record music in. We have a studio in a studio collective near Slussen, the south part of Stockholm, and we’re really happy to be a part of that. Stockholm is a musically vibrant city to live in and Swedish music export is magnificent. Just to mention some awesome people: Robyn, Tove Lo; Icona Pop, Fever Ray; Tove Styrke, Miriam Bryant; Skott and so on!

PHOTO CREDIT: Ninja Hanna

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

We’ll do some promotional concerts here in Sweden this summer but we’re planning to put together a proper tour after the summer.

What do you hope to achieve in 2018?

Erika: We’ve just started collaborating with an organisation called Dala Pop and they’ve been really supportive - and we have some cool stuff planned with them both concerts and releases. We’ve been focusing a lot on writing and producing lately but now we’re hoping to do more concerts abroad and connect with our Karate-Kids outside of Sweden.

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

Marta: Two years ago, we went to New York and got to play with the one and only Benny Andersson (ABBA) at the Guggenheim Museum. That was mind-blowing. 

Erika: Yes. What she said. But, also like the little things…like when our song, Bitter, came to life; it was just so easy like a puzzle that just laid itself. That state of (just) total flow and being in the music.

Marta: Okay; now I wish I said what she said. No offence, Benny (Erika smiles).

PHOTO CREDIT: Sara Björkegren

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

We’d go crazy if we got to support Post Malone. His melodies and flow have been such an inspiration for us. In terms of riders, we’re not that picky. We just want only red M&Ms, thirteen trained white-headed capuchins and ten bottles of your best locally-brewed beer.

Erika: … and a batch of Swedish snuff: Lundgrens Skåne Vit.

What advice would you give to new artists coming through?

Marta: Do you. Always go with your gut. Sounds cliché but, if you’re not 100 % in it, you will not be able to hold on to what’s so great about making music.

Erika: Also; don’t rush it! Be prepared; write A LOT of songs so that you can pick the absolute best ones to release.

IN THIS PHOTO: Claudia Jonas

Are there any new artists you recommend we check out?

Erika: Yes these two crazy-creative sisters who are friends of ours:

Claudia Jonas: https://open.spotify.com/track/6By5IjUiQHNeSsFXLmCHEk

Julia Jonas: https://open.spotify.com/track/7zZuzU6Wr8H4Nvcj6ciCDw

IN THIS PHOTO: Julia Jonas

Also, a friend Thea (called Becky and the Birds):

https://open.spotify.com/artist/52MMXmgPC7kDNIYUxCeh8d?si=qpkocNz1QDOV_SphXbpLmQ

Marta: These three girls write and produce everything themselves which is so just inspiring and awesome!

IN THIS PHOTO: Becky and the Birds

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

Erika: I try not to listen to too much music when we’re in a writing phase: I listen to a lot of podcasts and YouTube channels. My favourite one is the H3 podcast with Ethan and Hila. Just love them.

Marta: I have a hard time to chill away from music. But, I need breaks and then I usually read a book or bake 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).

Marta: Nights by Frank Ocean

Erika: Stay Off My Mind by Skott

_____________

Follow I Am Karate

Official:

http://iamkarate.com/

Twitter:

https://twitter.com/iamkaratemusic

Facebook:

https://www.facebook.com/iamkaratemusic/

Instagram:

https://www.instagram.com/iamkaratemusic/

YouTube:

https://www.youtube.com/channel/UCsmdd_Z4oRqUuwukjdoSmkA

SoundCloud:

https://soundcloud.com/i-am-karate

Spotify:

https://open.spotify.com/artist/7iJ1u9JKtY7pIixJ21AeFK?si=vjZhas0ZQI6Ty4Kkv1SmQA

INTERVIEW: Reuben Alexander

INTERVIEW:

Reuben Alexander

___________

THE excellent Reuben Alexander…

has been talking about his new single, Always There (with Livin Out Loud), and what sort of thing we will find from the record, In Reality (out later in the year) – he reveals which albums and artists have been important to him.

Alexander tells me whether we’ll see him in the U.K. soon; what it is like being seen as one of America’s best-kept secrets; some newer artists that are worth a look; how he spends time away from music – he provides some great advice for ambitious artists emerging.

___________

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

I am Reuben Alexander. I consider myself to be an artistic entrepreneur in the new music industry model (artist, producer; entrepreneur and speaker). I use passion and a sense of humor to express who I am through life experiences. I truly believe family comes first. I originally started out as the creative producer for the group Livin Out Loud, creating and producing with my brother and sister. Now, as Reuben Alexander, I’m putting a new spin on my life - continuing to create and connect with others.

​​​​​​​

Always There is your new single. Can you reveal the story and how it came into your mind?

The lyrics "always there" is nowhere to be found in the song: it is a sentiment to the feeling tone I had in my relationship. The music represents a self-empowerment I had moving forward in life. The song is a reflection that I was always there. Also; I will continue to be always there and not lose myself.

In Reality is out later this year. What themes and stories did you collate for the record?

The themes and stories that come to mind are love, self-empowerment and being introspective. The videos that we’ve released take on an almost sequential order of different stages of love. It starts from beginning to end and back to new beginnings. The self-empowerment and introspective part is really a tone that is a constant throughout the record. You hear it right away in the lyrics for the single, Always There: “As I wake up in this reality...”.  This is a way to express that life is always changing and to be present when you feel the shift in your next evolution. Hold on to who you are.

There are other artists on the album. Who can we expect to hear on the record?

It was great working with all of the talented artists that came together on this record. There is a feature with the group, Pleasure, as well as Mikki Free on the song, Gotta Give It. Thurz is doing his thing on Trouble; bringing his perspective to the story with a nice contrast. I have a duet with Jennifer Phillips on the single, Put Some Love on It. She brings her amazing vocals, passion and spirit to the record. She gets putting some love on it.

You are seen as one of American’s greatest-kept secrets. Is it flattering knowing that so many people love your music?!

It’s great being able to touch so many people’s lives just being who I am. I find satisfaction knowing people are connecting with me on that level. I’m flattered that I’m a ‘kept secret’ but I really like that the music is being heard. The fact that it’s moving people is the most exciting part of the whole thing. I definitely want to continue to connect.

Tell me about the artists that influenced you growing up. Do you take a lot from the Soul legends in terms of sound and passion?

Stevie Wonder, Marvin Gaye and Ray Charles are three of the main Soul legends I am influenced by most. I am influenced by many other artists and groups but those are the ones that change how I express music. I identify with their passion, storytelling and interpretation of life. They don’t sound the same on every song. Each song has its own life. I see myself trying to emulate those traits.

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

See Kin Productions.

Might we see you in the U.K. this year? Do you like the music coming out of Britain?

We’re looking to coming back to the U.K. in August. We had an exciting tour in April launching the first single, I Can’t Stop. We want to continue to keep it going.

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

I’m excited about the podcast talking about the new way of doing music in the industry; finishing up writing a book with my mom. Touring and performing will be amazing. I’ll continue to connect and create with new artists.

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

Driving into Arkansas at 1 A.M. on the highway with my brother hearing I Can’t Stop on the radio. We drive all over the South and that was the payoff. It sounded so different.

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

Marvin Gaye - I Want You

Stevie Wonder – Innervisions, Songs in the Key of Life

These albums really got me understanding the purpose of music. I listen to the stories over and over again.

What advice would you give to new artists coming through?

Know who you are, what you want to say and how you want to be seen. The old model of being discovered and getting on the radio is not there: you are your own brand. Do things outside of music to bring in more interest. Be clear on your message beyond the songs you put out. Know your audience and connect with them; someone will relate to your story. Build your team. It will take time but it’s necessary.

IN THIS PHOTO: Mahalia

Are there any new artists you recommend we check out?

Daniel Caesar, H.E.R.; Mahalia, Elli Ingram and Moss Kena.

 IN THIS PHOTO: Elli Ingram

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

I like to chill spending time with my kids (being dad). I also like being at home watching movies. Hanging with my bunny. Yes; an actual bunny. She’s my spirit animal and pet. Don’t know how that happened but it’s cool. Taking a good long walk is good, too.

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).

H.E.R. – Focus

_____________

Follow Rueben Alexander

Official:

https://www.iamreubenalexander.com/

Twitter:

https://twitter.com/reubnalexander

Facebook:

https://www.facebook.com/iamreubenalexander/

Instagram:

https://www.instagram.com/iamreubenalexander/

INTERVIEW: Old Cities

INTERVIEW:

Old Cities

___________

THE brilliant Jordi White…

of Old Cities talks to me about that unique moniker and relocating from Israel to Australia. I was keen to know about the new single, Again, and what we will get from the Old Cities I E.P.

White tells me about his musical upbringing and what life is like in Australia; if there are going to be any Old Cities dates; which artist he’d support if he could choose any – he recommends some new acts to follow.

___________

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

Hey, Sam!

I’m doing really well, thanks - hope you are too. My week has been crazy; just played a gig Friday night here in Sydney and then releasing a new tune; super-excited for it! But, I’m sure we’ll get into that more later…

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

For sure! My name is Jordi, A.K.A. ‘Old Cities’; hailing from the North Side of Sydney, Australia. Old Cities is my band and creative outlet, and I’d describe it as Indie-Pop-Rock. When I’m not writing or recording for my own stuff, I’m writing and producing with a whole bunch of other artists.

How did that name, Old Cities, come to be? Is there a reason for that moniker?

Great question. So, it stems from a few things…

When I was initially looking for a band name, my wife threw the idea of Old Cities at me. She had been looking at a map of Nazareth, Israel (where I was born) and had found a suburb called The Old City. This struck a chord with me and made me reflect on the concept of an old city. If you think about all the old cities around the world we either restore, preserve and show them off; or we let them lie in ruins and hope that no one finds them.

This can be thought of as a parallel to moments in our lives; some stories and moments we share and show off to the world while others we hide away and hope no one ever finds out about. The songs born from Old Cities expresses both these moments of love, beauty; hurt and shame.

Talk to me about the single, Again. What is the story behind that one?

This track is one of my personal favourites. It’s a ‘close to your heart’ kind of song. I wrote it sitting down at the piano and it was one of those rare gems that just came together right there in the studio that afternoon. It’s a song about the journey, about moments in life where you find yourself inevitably back in the same familiar places you thought you’d left behind. It embodies the nostalgic joy found in familiarity, but also the frustration of stagnation.

It is from the E.P., Old Cities I. What might we expect in terms of themes and songs on that E.P.?

The E.P. is a collection of six tunes - of which three are concerning Again – and is out now (you can check them out on Spotify, Apple Music etc. etc.). This E.P. is actually the first side or half of this body of work. In the same way that a record has two sides; I decided to release it in two sections, in an effort to give people time and space to enjoy both sets of songs. The themes on Old Cities I are fairly diverse: love, loss; humanity, hope and hopeless romanticism.

Jordi. What was it like being raised in Israel and growing up around the beaches of Sydney? How did you come to meet the band you play with?

Well…I would love to say I remember Israel as a kid but we were back in Sydney before I could walk so, needless to say, I don’t remember anything of any value from that time in my life. I’ve been back though and it’s a cool country; very diverse in both climate and culture. It is crazy to see all its historical significance and visit the places that you might have heard about in Sunday school.

Growing up in Sydney, though, was a dream! Sunshine, some of the world’s best beaches and plenty to do. I grew up a stone’s throw from what some people may know as ‘Summer Bay’ from an Australian show (Home and Away).

The boys I play with all happen to be good friends of mine. We’ve known each other since early-high-school. It is seriously incredible to have best friends that are amazing musicians. They’ve really helped bring this project to life!

Is Sydney thriving in terms of music and sounds? What are the advantages of working there?

Sydney’s music scene is pretty good; reasonably small on a world stage, but big enough to get some pretty decent acts coming through town too! I feel like it is definitely building at the moment: there seems to be new talent popping up all over the place!

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

At this stage, there is nothing concrete in the calendar as yet but we are in the midst of organising some dates in Sydney and surrounds so stay tuned on our social media to keep up to date.

Do you record music in the studio with the band or only on the road? How does the music you make in the studio differ to that of the live gigs – do you have a different set-up and style in each setting?

I basically live in the studio! I love it! I write and produce both for myself and other artists. Having said that, I’m always creating so, when I am out and about, I definitely have my travel rig that allows me to keep on working where ever I find myself. Sometimes, the challenge of not having all your usual tricks and equipment can help you find new approaches to making music! I love that too! 

Might you head to the U.K. at any point?

I hope so! I’d love to get some shows in the U.K. It’s just a long way to go…

If you know anyone wanting an Aussie band to support a tour up there then reach out and let us know. Haha. We’d be keen, for sure! I also have a few friends up there so might make a trip and see if we can slot in a couple little shows on the side (smiles).

What do you hope to achieve in 2018?

2018 has already been a massive year for us: we’ve put out two singles, including Again, and two videos with preparations already in motion for the third single - and the Old Cities I E.P.  There is also a plan to have Old Cities II out by the end of the year - or January next year at the latest! We’d love for as many people to hear these tunes as possible.

The most rewarding thing for me is seeing people resonate with your songs and finding some kind of hope or meaning through the tunes that I make.

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

There has been so many cool things that I’ve been able to do through music: traveling, writing and producing etc. But, I think the one thing that really sticks with me is the ability that music has to bring people together. There is a certain vulnerability that comes with music collaboration and I love the way that it can make friends out of complete strangers.

As far as a specific moment goes; playing the Metro Theatre in Sydney was pretty cool.

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

That is a tough question…I’m torn between Coldplay, One Republic; Beyoncé and so many others…but, I think I’d have to go with Coldplay just for the chance to meet the guys who I have looked up to for so many years.

I’ll assume you mean the backstage snacks/drinks?! Anything in the world?! Probably an epic Japanese BBQ with a few good Japanese beers and, definitely, some top-shelf Japanese whisky…can you tell I’m in a bit of a Japanese appreciation phase?!

What advice would you give to new artists coming through?

Stick at it and be prepared to do the hard yards. Also; just keep making music, pushing the boundaries of your own thoughts and honing your craft.

IN THIS PHOTO: Middle Kids

Are there any new artists you recommend we check out?

Not really up-and-comers any more, but if you haven’t yet checked them out get into Middle Kids. I just saw them play a show at the Sydney Opera House and it was all time! Also, check out a couple of local acts down here in Aus: LANKS, Glades, Holy Holy and London artist Lucy Mason.

IN THIS PHOTO: Glades

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

I love a good bonfire, a good drink and some banter with some good friends. I actually also unwind on aeroplanes (I love them) and travelling; experiencing new places and different cultures. Give me a snowboard or even a great book, too!

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).

Give Mistake from Middle Kids a spin…you won’t regret it!

_____________

Follow Old Cities

Official:

https://oldcitiesmusic.com/

Twitter:

https://twitter.com/oldcitiesmusic

Facebook:

https://www.facebook.com/oldcitiesmusic/

Instagram:

https://www.instagram.com/oldcitiesmusic/

SoundCloud:

https://soundcloud.com/oldcitiesmusic

Spotify:

https://open.spotify.com/artist/6nLgwDHaapTa9mAho85nuu?si=IDH4BsDkQ1CfdZW6TV7yXw

YouTube:

https://www.youtube.com/watch?v=c1nUaO9dqTg

INTERVIEW: The Worst Humans

INTERVIEW:

 The Worst Humans

___________

YOU certainly get ample rawness and honesty…

when it comes to The Worst Humans! I have been speaking with Ian from the band about their new single, What I’m All About, and whether they’ll be more material; how the guys got together and whether he ranks Brooklyn as a creative and essential hub.

Ian tells me how he chills away from music and which artists he’d like to support; which newer artists are worth a bit of exploration – a bit of a ‘brief’ and ‘interesting’ interview, to say the least!

___________

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

Interesting…

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

Well. My name is Ian and I play guitar and sing. There’s also Steve who plays bass and Chris who’s on drums.

What I’m All About is your latest single. Is there a story behind the track?

Not really; not a specific story. I’m overcome with boredom most of the time and I find it insufferable. Usually, I contemplate my own death or get high - and I figure there are some people who feel the same. I was able to put it into words one day with my friend Chris McLaughlin (not in the band) and he made it come to life. So the story goes, I suppose…

How did The Worst Humans find one another? When did you begin making music together?

Through a long-time friend, Sam Tall (not pictured).

Is there going to be more material from the band in the coming months?

Probably, ya.

Give me a sense of the artists you were all raised on. What sort of music did you all grow up around?

Everything from, like, Megadeth and GG Allin to Joy Division through to The New Lost City Ramblers.

What is Brooklyn like for a modern band? Is it a great place to study and play?

Most of us haven’t studied Brooklyn but I’m sure it’s fascinating. To be honest, there’s not much of a music scene to speak of. Everyone’s packed up and moved West. I’m thinking we’re trying to make a new one if we can.

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

Seriously?  

Is a small tour of the U.K. a future possibility?

Abso-fuc*ing-lutely.

What do you hope to achieve in 2018?

Something with purple.

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

I played Red Rocks one time. That was neat.

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

Iceage. alt-J; Arctic Monkeys and Meg Myers. TAKE US ON TOUR!

As your band’s name is ‘The Worst Humans’; if you could put any three people on a raft and float them into the ocean forever, who would you select?

Hahaha, finally; not a boilerplate question. If we’re speaking for real, probably Jimmy Buffet, Pentatonix and White Boy Funk (if we can personify it).

What advice would you give to new artists coming through?

Pick anything else…

IN THIS PHOTO: The Tallest Man on Earth

Are there any new artists you recommend we check out?

The Tallest Man on Earth and Lord Huron. These two are tremendously important to me and it’s important to me that you listen to them.

IN THIS PHOTO: Lord Huron

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

I’m an unsigned musician barely making it in New York. Every waking moment is chilling.

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).

Secret of Life by Lord Huron. Please and thank you

_____________

Follow The Worst Humans

Twitter:

https://twitter.com/worsthumanssuck

Facebook:

https://www.facebook.com/theworsthumans/

Instagram:

https://www.instagram.com/theworsthumans/

SoundCloud:

https://soundcloud.com/theworsthumans

Spotify:

https://open.spotify.com/artist/2wT3NNdIBjusLCuIDAyzLX

INTERVIEW: STEELE

INTERVIEW:

STEELE

___________

I was determined to speak with STEELE…

about her track, Knots, and how it came together. The Swedish artist talks about making music/living with epilepsy and how health issues have affected her career; what inspired her album, PAROXYSM, and whether there will be any tour dates – I ask if she will come to the U.K.

STEELE talks about her musical muses and whether she gets a chance to unwind away from music; which musical memory sticks in her mind; some new acts worth a look in – she ends the interview by selecting a rather good track!  

___________

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

Hey! I’m good, thank you! My week has been eventful – but fun! I just released my first album, PAROXYSM!

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

Hi, everyone! My name is STEELE and I’m a half-Swede, half-Brit based in Stockholm. I’ve been a musician all my life, starting off with Classical piano which then emerged into Soul, Funk; Jazz, Rock; Pop and eventually became my ‘own genre’. My music is quite melancholic, bittersweet and progressive - ‘Cinematic Pop/Trip-Hop’.

 

Knots is your new song. What is the story behind it?

Knots was the final song that I wrote for the album and it was is the midst of me being very sick and hospitalised. My loved ones were obviously distressed as I nearly didn’t make it and some of the people close to me couldn’t handle the apprehension and vanished from my life. Of course, I don’t judge anyone for it as it was an extremely uncomfortable situation for everyone but the track is sort of the anthem to that person who left. 

You also have an album, PAROXYSM, out. What sort of themes inspired the songs we hear? What was it like recording the record?

As mentioned above, a big part of the album is permeated by me being sick, and not just recently – but, actually, also right before my first E.P., Opium, was released. Back then, I had to have a severe neck surgery that actually affected my voice afterwards, which you can probably hear on the second E.P., Hiraeth. Other than that, relationships and love are, of course, major factors to my inspiration.

Recording the album has been a roller-coaster, mentally; emotionally and physically. I’ve loved it. I’ve hated it. I’ve felt indifferent. But, in the end, I’m happy to say that the result is a very honest and intimate record that I’m proud of.

How do you think you have grown as a songwriter the past few months? Are you more confident, would you say?

I would say I’ve grown for sure. I don’t feel as restricted or keen to follow rules - or sound perfect or like someone else. I know I’m no Beyoncé - but she’s no STEELE either. Jokes (I love you, Beyoncé!)

How did music come into your life? Which artists sparked your imagination?

I began playing the piano at a very young age; most likely inspired by a bunch of my family members being very musical and introduced me early on. I’d say Björk, Portishead; Massive Attack, Radiohead and a lot of Swedish artists paved the way for me.

You were struck by meningitis and suffer from epilepsy. How has this changed your approach to music?

I think it’s changed my whole perspective in general. Making better choices, being more appreciative; pursuing the right things, cutting myself some slack (for once) and embracing flaws rather than banishing them. All of that I can apply when it comes to music as well.

Will there be any live dates coming up? Where can we see you play?

At the moment, we are regrouping both from my recovery and from the release and will let the album live a little on its own. But, we are of course planning to do live gigs in the near future.

What is the live scene like in Sweden? Will you come to the U.K. and play?

The live scene here is pretty good, I think! A lot of people are interested in music and are open to discovering new things, which is great! My plan is definitely to come to the U.K .and play.

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

I want to go up to the north of Sweden and do a hike in the mountains. Also, I want to be able to do at least (!) one chin-up. Haha.

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

I’d say when I had the release party for Hiraeth and I was singing 8 A.M. I looked out in the audience and many people had tears in their eyes or even cried. It wasn’t an ego-trip, but I felt touched myself. Music can feel so exposing but at that moment I felt content and connected. 

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

Homogenic by Björk, A Rush of Blood to The Head by Coldplay and Above by Mad Season.

They’re all from the '90s and have this wonderfully fulfilling teenage anguish about them.

What advice would you give to new artists coming through?

Remember why you do it, not who you do it for. It’s easy to lose sight when you’re in the midst of the business and most likely people will tell you what to do; point out things you should change about yourself; reject you and tell you they don’t like what they here. Those people aren’t meant to be your audience anyway. It’s really not worth losing your love and passion for music because of some people’s opinion.

Are there any new artists you recommend we check out?

Ramsey, Lilla Vargen; Sabrina Claudio and Inude.

IN THIS PHOTO: Sabrina Claudio/PHOTO CREDIT: Nikko Lamere

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

I try to get out of the city whenever the opportunity is given. I love nature and plan to move to the countryside as soon as possible. Also, I love creating - painting, sculpturing; just anything with my hands!

 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).

Downtown by Majical Cloudz

_____________

Follow STEELE

Official:

https://www.iamsteele.com/

Facebook:

https://www.facebook.com/IAmSteeleOfficial

Instagram:

https://www.instagram.com/steelemusic/

SoundCloud:

https://soundcloud.com/i_am_steele

YouTube:

https://www.youtube.com/c/IAmSteeleOfficial

INTERVIEW: MAAD

INTERVIEW:

MAAD

___________

IT has been delightful speaking with MAAD…

about her music and the story behind the latest single, New Religion. I ask her whether there is more material coming and if her experience as a model feeds into music itself – she recommends new artists to watch and talks about touring.

I was excited to learn which artists influence her and what L.A. is like as a base; if we will see her in the U.K. at all; the three albums that mean a lot to her; if she gets time to unwind at all – MAAD gives some handy advice for fellow songwriters coming through.

___________

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

I’m good! This week has been tied up with promoting the video for my recent release, New Religion. Also, I had the opportunity to D.J. for the Instagram launch of IGTV; so it’s been an eventful week, to say the least. 

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

Yes. Of course! My name is MAAD. I’m a singer-songwriter, D.J. and model. 

What is the story behind the song, New Religion? How did that song come together?

New Religion started off in London. I had a session with Grades and Chiara Hunter. I was hype for this session as I had been a fan of Grades’ work prior to me meeting him and would frequently spin his music at my sets. So, it’s always mind-blowing when you get to work with people you admire. 

In the session, I remember Grades playing these chords and Chiara had a few melodies and lyrics that came to mind, so we just bounced ideas off of each other. After the song was written, I recorded a reference vocal of it and took it back home to the States with me to recut it. I enjoy recording myself as I can really take the time I need to tighten my vocals up. I then linked up with my engineer/vocal producer Raleigh to finalize everything. 

Do you see more material coming along before the end of the year?

100 per cent! I’m preparing to release my next E.P. later this summer. 

Ever since I saw the video for 90s Love (2016); it seems like music videos are an important part of your art. Are visuals and representing your music through visual mediums vital to convey the power of the message?

Yes, for sure. I think we live in a very visual time, so it helps connect the listener to the song even more. I personally love the process of shooting videos as well! 

L.A. is where you are based. How important are the city and its people regards your sound and sense of ambition?

Cali is a very recent move for me: a lot of the music that I created for this project came out of N.Y. and London. I am excited to see what sounds I can explore in L.A.! 

You are also a model (as well as a songwriter). Do the disciplines and skills acquired in that field come into music? Are there attributes of the modelling world you bring to music?

Honestly; modelling has taught me so much about the entertainment business. I’ve learned a lot about how to work with a ton of different people and how to build a brand.

Give me a flavour of the artists who have inspired you. Who do you rank as idols?

Some of my favorites are Diana Ross, Tina Turner and Michael Jackson, to name a few. I appreciate their craft as musicians and entertainers. 

You have gained plaudits from radio stations, fashion magazines and big sites. Is this backing and sense of respect something that drives you and makes you more determined?

I definitely appreciate the sites showing love to my music: it’s always important for me to be able to reach new listeners, so I never take any of that for granted. As far as my determination; it comes from wanting to continue to inspire people that they can do whatever they put their minds too. I’m indie and very much still trying to figure things out myself - but it’s nothing like growing into what it is you have in your mind to become.

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

As of now, my team and I are planning a few shows so will definitely be announced in the near-future. 

Will you come to the U.K. and play this year? Do you like the music coming from over here?

I come to the U.K. at least twice a year. I was recently there in May to perform at The Great Escape Festival. The U.K. always shows so much love, so I enjoy coming out there whenever I can. 

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

Touring is on the top of my list. It’s nothing like performing and connecting with people through my music. 

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

A recent memory would be performing at Selfridge’s Music Matters series. I broke down in tears on stage as I was just overwhelmed with joy. I had just released a new single and it premiered on Billboard and Apple Music. That moment really meant so much to me. 

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

Amerie - All I Have; Glenn Lewis - World Outside My Window and Aaliyah’s self-titled album.

What advice would you give to new artists coming through?

For starters; make sure you have a solid direction on what it is you want to accomplish. Make goals and go after them. 

For me, I always had an idea of what sound I wanted to create but had a hard time articulating that to everyone in the beginning. Music is all about trial and error: I have older songs that I cringe listening to but you need that to grow. It’s like that saying: ‘Fall down seven times, get up eight’. 

IN THIS PHOTO: Ravyn Lenae

Are there any new artists you recommend we check out?

I’m really into Steve Lacy, Ravyn Lenae; NAO and Ruby Francis.  

IN THIS PHOTO: NAO

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

To be honest, even when I’m relaxing I’m still thinking about work. I don’t feel like I’m in a place to fully unwind but I have picked up skateboarding as of recently. It forces me to solely focus on what I’m doing because I don’t wanna fall (laughs).

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).

GoldLink (ft. April George) - Rough Soul 

_____________

Follow MAAD

 Official:

https://shesmaad.com/

Twitter:

https://twitter.com/shesMAAD

Facebook:

https://www.facebook.com/shesMAAD/

Instagram:

https://www.instagram.com/shesmaad/

Spotify:

https://open.spotify.com/artist/01XujQ0Nax028Ufr2jl7vd

SoundCloud:

https://soundcloud.com/shesmaad

INTERVIEW: Jessie Munro

INTERVIEW:

Jessie Munro

___________

THERE is so much life and fascination…

running through the blood of Jessie Munro. The stunning songwriter talks to me about her new song, Under Fire, and its personal relevance; what we will get from her upcoming E.P., On My Own – she reveals which artists and albums have been instrumental to her.

I ask Munro whether we will see her in the U.K. and whether there are any artists we need to seek out; what she learnt from Berklee College of Music; how important Los Angeles is as a musical city – Munro ends the interview by selecting a cool song.

___________

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

Hi. I'm great, thanks! My week has been great. How about you?

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

My name is Jessie Munro. I'm a twenty-three-year-old artist from Toronto, Canada and I'm gearing up to release my first E.P., On My Own!

Under Fire is your new one. What story started this song? Was it easy to put together?

At the time, I was kind of mid-breakup at the stage where everyone is trying to weigh in on what they think is best for you. It amazing to have so much support and I am so grateful to have the friends and family that I do, but I started feeling like there were too many people to please. I was feeling like everyone around me wanted something different but I wasn't asking myself what I wanted and, when I finally figured that out and acted on it, everyone had something to say.

As much as this song was written about a specific time in my life, it still applies to my life today. People will always have an opinion but, at the end of the day, I need to fall asleep happy with who I am and the decisions I've made. 

I love your vocals and blending old sleek and modern with vintage and cool. Do you like to splice from the treasure chest of music and mix in some current vibes?

Thank you! Absolutely. I think that is one of the most important things to me. I grew up listening to artists like Carole King and truly admire her storytelling and classic melodies. When it came to developing this sound, one of the main focuses was trying to blend that classic fee good sound with more current sounds. Melodies like that are also so much fun to sing; feels kinda like butter. Haha. 

On My Own, your upcoming E.P., seems to hold emotional weight. Were breakups and heartaches at the centre of your mind? Was it quite cathartic exploring these feelings through song?!

Definitely. This may sound a little strange but my producer and co-writer for this project was my ex. He's my best friend and, when we broke up, a way for us to both kinda cope with it was to write about it. Because we were the only two people who knew and understood exactly what happened and what went wrong; it was really easy for us to communicate how we were feeling and what kind of music we wanted to write to let it go. A very unconventional situation, but, for us, it worked.

There were definitely moments where we'd have to say: "Ok now don't get mad but...I wanna write a f***-you song...about you". It brought humor and emotional release to a shit*y situation; it's probably the reason we are still so close today. 

Is Los Angeles a city you feel free and liberated in? How inspiring is the music and people from the area?

Los Angeles is really growing on me as a city. When I first moved here, there was an element of fear attached to it: this is the first time I've lived on the West Coast, so it has been a transition. But, I really love L.A. It's such a creative and motivating city to be in and I really love that about it. The music scene in L.A. is amazing - I'm a big fan of L.A.-based band HAIM!

Was your time at Berklee College of Music a big reason you are writing your own stuff and looking ahead?

Yeah, for sure; that was always the plan. I studied Musical Theatre prior to going to Berklee so, when I decided that what I really wanted was a career as an artist, it made a lot of sense to go to a school where I would have the opportunity to meet and collaborate with so many talented people in the same industry. I'm so fortunate to have had the chance to study there: a majority of my network out in L.A. is from Berklee. 

If you could pick any musician to have a party with; one to date and another to go to the movies with...who would they be?

Impossible question but here goes nothin'….

Rihanna to party with because, duh, it's Rihanna! I think it would be fun to date Harry Styles (if I didn't say that fifteen-year-old me would be mad) and I would die to go to the movies with or just hang out with John Mayer - I live for his Instagram and I feel like he'd have some great movie commentary. 

Will there be any live dates coming up? Where can we catch you perform?

I will be playing my first show in Toronto on October 4th at the Revival! Super-excited to be playing at home. I will have more dates soon so keep a look out (smiles).

Might we see you in the U.K. at all? Do you like British music?

100%. My producer is from London and I've been a handful of times. One of my favourite cities! I’m a big fan of British music: I love Lianne La Havas, Jorja Smith and Cosha. I'll be over to play as soon as possible!

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

Loads. Haha. I'm working on some singles – post-release of my E.P. I'm-super excited to share the E.P. but I'm also really pumped about what will come after! I would just love to get as much of my music out as possible!

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

I do, actually. When I was eighteen, I was on a show called Over the Rainbow - it was a show started by the BBC with Andrew Lloyd Webber that they brought to CBC in Canada. I was fortunate enough to be cast in the show and I remember the first live show we did. All ten of us girls were lined up on the stage waiting for the show to air and for us to do our first number. I remember standing on the stairs with our backs to the audience in our Dorothy dresses.

We each had mics on us and in-ear monitors so we could hear each other but the audience couldn't hear us. We were all equally so nervous but excited to turn around for the first time and perform to a studio audience on live T.V. - and to our families, who we hadn't seen for over a month. It was a lot of "Love you all", "Let’s do this!"; "Here we go ladies". It was a really exciting moment kind of this big reveal which, in a way, is how I feel now about releasing my first E.P. All the work and hours…and now its time to share it! 

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

Great question…

Tapestry - Carole King 

The first album I fell in love with. 

Blood - Lianne La Havas

This album is a story start to finish for me. I recommend listening to it somewhere quiet with some candles or just in the dark (Ha. A little dark but it’s perfect).

Sound & Color - Alabama Shakes

Sonically, one of the best things I have heard. 

I'm not a huge Country fan but, at the moment, I am addicted to Kacey Musgraves’ Golden Hour - summer jams. 

What advice would you give to new artists coming through?

Just do you and let's hang. Haha. I feel like I'm still a new artist coming through and I think one of the things that give me some piece of mind is surrounding myself with artists and creators who are driven and passionate about what they're doing! 

IN THIS PHOTO: Charlotte Day Wilson

Are there any new artists you recommend we check out?

There's a girl from Toronto that is killllin' it named Charlotte Day Wilson. Big fan, check her out!

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

Not as much recently but I'm a sucker for some wine and hanging with friends. If I have more time, I really love being around my family - we are really close - and skiing. I grew up racing and there's something so freeing about it 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 love to hear Bladerunnin’ by Cosha!

_____________

Follow Jessica Munro

Twitter:

https://twitter.com/jessieleith

Facebook:

https://www.facebook.com/jessieleithmunro/

Instagram:

https://www.instagram.com/jessieleithmunro/

Spotify:

https://open.spotify.com/artist/1NEf3r0zMf7aOOwAsWWdsP

SoundCloud:

https://soundcloud.com/jessie-leith-munro

FEATURE: The ‘Perfect Time Capsule’: Why the One-Hundredth Edition of Now That’s What I Call Music! Should Be Celebrated

FEATURE:

 

The ‘Perfect Time Capsule’

ALL PHOTOS (unless credited otherwise): Getty Images 

Why the One-Hundredth Edition of Now That’s What I Call Music! Should Be Celebrated

__________

THE bestselling, much-discussed Now That’s What I Call Music! series…

PHOTO CREDIT: Unsplash

is going to reach triple-digits very shortly. It seems remarkable to think it has come this far – I remember purchasing a particular edition when I was young and, seeing how many future releases have followed makes me feel somewhat old and a bit tragic! Go to the official website of Now That’s What I Call Music! and there is a countdown. It will be exciting to see the countdown end and what we will get in the shops – which songs will soundtrack this landmark release?! Not to be a snob and turning my nose at the current breed but I wonder whether the upcoming release will be as stocked and evocative as the earliest editions?! Before I come to look at my personal memories, and quote from a fellow article regarding the one-hundredth edition; let’s go via Wikipedia and a history of the famous record series:

“The idea for the series was conceived in the office of Virgin Records in Vernon Yard, near Portobello Road, by the head of Licensing and Business Affairs at Virgin records (1979–1990) – Stephen Navin, and General Manager (1983–1988) – Jon Webster.[2] The concept was taken to Simon Draper (Managing Director at Virgin Records) and then Peter Jamieson (Managing Director of EMI Records (1983–1986)). Jamieson had similar plans to launch such a compilation and he immediately agreed to the partnership. The deal was negotiated and finalised on Richard Branson's boat moored in Little Venice.[3]

...The series took its name from a 1920s advertising poster for Danish bacon featuring a pig saying "Now. That's What I Call Music" as it listened to a chicken singing. Richard Branson had bought the poster for his cousin, Simon Draper, to hang behind Draper's desk at the Virgin Records office. Branson wrote "He was notoriously grumpy before breakfast and loved his eggs in the morning, so I bought him the poster, framed it and had it hung behind his desk.".[3] The pig became the mascot for the series', making its last appearance on Now That's What I Call Music 5.[4] It has recently made a reappearance on the cover of Now That's What I Call Music! 100, which is to be released on July 20th, 2018.

The first Now was released on 28 November 1983[5] and featured 30 UK hit singles from that year on a double vinyl LP or cassette. Although the compilation of recent hit songs into a single release was not a new concept (K-tel and Ronco, for example, had been issuing various artists' compilations for some years), this was the first time that two major record labels had collaborated on such a venture. Virgin agreed to a deal with EMI, which allowed a greater number of major hits to be included (the first album in the series included a total of "eleven number ones" on its sleeve). The album went to number one, and soon after, CBS/WEA's The Hits Album, adopted a similar format to Now!. The two series co-existed for the rest of the 1980s, but when Universal joined the collaboration the Now! series was more successful commercially. The Out Now series by MCA and Chrysalis was also established as a rival to the series,[6] but was short lived.

 By 1989, Now, Hits, and other various-artist compilation albums were occupying such a high fraction of the  UK Albums Chart that a separate UK Compilation Chart was created to restrict the Albums Chart to releases by a single act”.[7]

Peter Duckworth is one of the directors of the Now That’s What I Call Music! series and has been compiling for over half his life. In the Sony offices (in London), he and his team are about to commemorate and launch the triple-figured Now That’s What I Call Music! They, like me and many fans, define the year in music by the triple-disc set. The offices are a hive of activity and speculation; planning and cutting. Like any edition of the series, the team have to cut down a longlist and decide which songs are worthy of the final running order. I will bring in a few snippets from a feature that questions Duckworth and asks what comes next. It seems, though, the plans following the much-anticipated one-hundredth release are simple: keeping making them and see how high we can go! There is no reason to stop the series and one has to ask the question: How has it managed to endure and remain popular for so many years?! In an age of digital downloads and streaming; I wonder how many people are listening to an entire copy of Now That’s What I Call Music! and actually getting right the way to the end.

IN THIS PHOTO: Peter Duckworth/PHOTO CREDIT: Leonie Morse for the Guardian

The fact the C.D.s are still shifting and there is the excitement of getting the three-disc compilation in hand cannot be understated! The series is a distillation and celebration of the year’s best music from all around the musical landscape. Whilst some claim the Now That’s What I Call Music! is largely Pop-based and takes heavily from the mainstream; that has always been the case, hasn’t it?! Maybe the series throws in the odd edgy choice and angle but look at the tracklist for the last instalment. After you get past its glittery and vivacious cover; you can see the likes of Dua Lipa (IDGAF), Kylie Minogue (Dancing) and Taylor Swift (…Ready for It?) sit alongside offerings from Stormzy, J Hus and Portugal. The Man. That was released in March and, by late-July, we will have that epically-numbered compilation before us.

PHOTO CREDIT: Unsplash

One assumes it will be the same blend of current chart favourites and some Rap/Urban acts with a bit more swagger and cool. I wonder, mind, whether there will be any anniversary left-turns and nostalgia inclusions. Seeing as it is a chance to look back at the series and how far it has come; might there be some older cuts and a blend of classic and new?! I shall end by sharing my memories and favourite Now That’s What I Call Music! but, as mentioned, there is a fascinating article that spent time with the music’s makers and asked how they decided on the running order and how they selected the tracks that are included:

“...I ask how they come up with the running order and they invite me to the mixing day for Now 99. By 35-year tradition, the mixing takes place in a small upstairs room at Abbey Road Studios. Fisher brings her bag of memory sticks and printouts of a spreadsheet that lists about 65 songs for possible inclusion. There’s room on a double-disc comp for about 45. The cull starts at 10am, after the trio are joined in the studio by an engineer, Alex Wharton, who has “been doing this since the late 70s or early 80s, in Now-time”.

 ...Wharton uploads a couple of gigabytes of songs to a PC attached to a mixing board. He has to crawl in behind the computer tower and thunk in each memory stick. Beside Fisher on a sofa, Pritchard has an iPad, waiting for the midweek chart numbers to come in. Duckworth, on an office chair, twirls a Biro. It’s 10.17am when they start to compile Now 99 and by 10.19am Fisher’s pitch for the first track on disc one –  These Days by Rudimental – has been agreed to.

Easy. The song’s ubiquitous. Its sales and streams are unarguable. “We try to get that opening section to be familiar with as wide a section of the population as possible,” Duckworth says. Tracks two and three don’t take long either. Dua Lipa? Portugal. The Man? They do a lot of “top-and-tailing”, as Duckworth calls it, repeatedly listening to the first and last 15 seconds of each song to see how they segue into each other. The process will be familiar to anyone who’s obsessed over the momentum of a homemade mixtape”.

There is a lot of science and calculation when it comes to providing a cohesive and focused mixtape: it is not only a case of tossing the biggest songs together and hoping they all hang together! The dedicated team have to cut the longlist down to the finest and then, before it goes on sale; they need to work at the pace and order to ensure the listener gets the best experience and it is neither too top or bottom-heavy.

One of the big reasons why people still talk about That’s What I Call Music! is because it is that time capsule and perfect yearly memory. The fact a song makes it onto one of the C.D.s is the fact it is a hit and resonated. It does not matter where in music it came from: if it has charted and scored big then it wins its place. The meritocracy of the Now That’s What I Call Music! series means you can preserve and encapsulate the flavour of the year – they release more than one edition a year – in this long-lasting and unique series. The fact there are Now-related spin-offs shows how it has captured the imagination and remains enduring and relevant. As we think ahead to the one-hundredth edition and what it will contain; I am looking back at a very special Now That’s What I Call Music! and one of my earliest memories: owning and playing to death the Now That’s What I Call Music! 24 (1993). I was ten (ish) when that came out and in secondary school. The biggest hits of the time, including Snow’s Informer and Shaggy’s Oh Carolina were compiled together for an accessible and exciting treat! I remember the compilation was bought at my local record shop – it has been reincarnated many times over now and long-since died! – and getting out the booklet and reading the little snippets about the songs (when it came out and where it charted).

From the corny-but-strangely-brilliant-to-a-young-mind songs like Young at Heart (The Bluebells) and Labour of Love by Hue and Cry to the right-on bangers like Stereo MC's Step It Up; the insane No Limit by 2 Unlimited and Peter Gabriel’s Steam – there were also offerings from Lenny Kravitz and k.d. lang in the pack! Not that I am subjective, but the ten-year-old version of me was delighted to get all the radio-friendly, instant classics in one place. I gloated as I told my school friends I had bought That’s What I Call Music! 24 and we dissected the tracks and picked our favourites. Hearing it (I still have the C.D.!) takes me back to that time when I really started to understand and play music. In many ways, that savvy purchase was the most important thing I did as a child. Every edition of the fabled compilation series is a perfect frame of the time’s music and what was popular with the public. I can remember few aspects of 1993 but, upon hearing the opening notes of Tasmin Archer’s In Your Care and nostalgic conversations and school-time scents are opened in panoramic and Technicolor detail. It is emotional listening to the triple-disc release and remembering how I felt when I first bought it. I remained with the series until 1999/2000 before I moved away from it. Maybe it marks a tapering-away of my love of the charts – maybe it peaked then – but I still listen to the latest Now That’s What I Call Music! series because it gives me an insight into the mainstream and what is being favoured.

I hear, ACTUALLY, that the one-hundredth edition will have a special ring-fenced second disc that is dedicated to nostalgia and the classic tracks – I am excited to see how they whittle thirty-five years of Now That’s What I Call Music! magic into a single disc! The series was born in the same year as me (1983) so I feel a loyalty and sense of companionship. I feel the 1991-1996 period was the zeitgeist and golden age of the music series. One can see the changing of the mainstream and new trends emerge and die in a single offering. In many ways; Now That’s What I Call Music! is a history of music’s changing face and the trends that come and go. I wonder how long the idea will last and whether we still have the same appetite and demand twenty years from now as we do today.

PHOTO CREDIT: Unsplash

The digital revolution has not dampened the sales one bit: the Now That’s What I Call Music! series seems like a cockroach (in a good way) and diamond that cannot be eroded by nuclear fire and changes in fashion! As we wait with baited breath for the big 1-0-0 and what songs will make the cut; think about your favourite Now That’s What I Call Music! and why they are so special. One can still buy the older editions (they have gone up in price, I fancy) and enjoy the memories and brilliant music. Whilst the C.D. itself might be waning and certain genres have gone out of fashion; it is refreshing and comforting to discover the humble and ever-reliable Now That’s What I Call Music! keeps stoking the public fire and remains firmly…

IN the heart.

FEATURE: Nostrils, Upper Lip and Eyebrows Pointing North: The Fine Art of Musical Snobbishness and Personal Attack

FEATURE:

 

Nostrils, Upper Lip and Eyebrows Pointing North

IN THIS PHOTO: Florence Welch (Florence + the Machine)/PHOTO CREDIT: Tom Beard 

The Fine Art of Musical Snobbishness and Personal Attack

__________

AS much as I love certain music websites…

PHOTO CREDIT: Phil Fisk for the Observer

and eat up every feature and interview they put out there; I often feel bad when I read the comments sections and the ‘views’ of the general public. I will quote from an interview that has just been put up concerning Florence + the Machine. It is a timely and interesting discussion with the beguiling artist: a look at her creative process and ambitions; what her upcoming album, High as Hope, is all about and what we might expect. The record is out on Friday and already garnering praise and great press. I am a huge fan of Florence Welch and have been following her career since the very start. I have seen her blossom and know how she has grown since the earliest days – less bombastic, perhaps, than the woman who scored Rabbit Heart (Raise It Up) and You’ve Got the Love. Whilst the enraptured and scintillatingly powerful vocals of those songs has been replaced with something subtler and more calming; I wonder whether a sense of critical and public pressure enforced that change; maybe it was a natural mirroring of lyrical maturity and new aspects coming into her music. Eva Wiseman, writing in The Guardian, interviewed Welch and picked her brain. To see Welch in print and allowed physical freedom in photography is like seeing Kate Bush at her early peak – a free-flowing and captivating bird (in terms of wings and song; I’m not going all Essex!) who captures the eye and makes you want to dig deeper.

I may be a little biased: Florence Welch is a bit of a dream and I have limitless respect for her. What galls me is how snobbish and imperious a lot of people are regarding certain types of artists. Look at the comments section regarding the interview above and the sort of feedback one sees, from middle-aged men I assume, makes the skin crawl. I can understand if someone like Flo is not your bag: music is a subjective forum and everyone is entitled to dislike whoever they wish. I get affronted and offended when individuals feel it necessary to passively-aggressively and childishly mock certain elements of an artist. In this case, the free-flowing nature of Welch and how she comes over in interviews – theatrical at times; very open and honest at other intervals – and the assumption she is being a bit pretentious and effete. I feel there is a core of people who feel anyone with an imagination, personality and sense of expression is communistic or a bit ‘too much’! Whilst the music of Florence + the Machine can split some people’s views; to go after someone in an interview setting and criticise their motives is beyond the pale. It is rather harsh and unforgivable considering some of the revelations that came out:

“…Now 31, her hair less roaring fire, more gentle sunset, Florence Welch is a calmer woman than the whirling girl behind three number one albums who headlined Glastonbury in a silver suit. Today, removing her jewellery so as not to jangle over the tape recorder, she looks like the Lady of Shalott in blue jeans. It was during that everywhere period, when Welch could hear herself coming every time she stepped out of the house, that she started to crack, slightly.

PHOTO CREDIT: Vincent Haycock  

“That’s when the drinking and the partying exploded, as a way to hide from it. I was drunk a lot of the time, on extra dirty Martinis – my way of drinking three shots at once. I was never interested in,” and she laughs, bitterly, “a nice glass of wine.” She says the phrase as if it were an urban myth; she had always enjoyed a party. It was in the toilets of a London nightclub that, in 2006, she auditioned in front of her now-manager, becoming Florence and the Machine and breaking America three years later. In that period she rarely slept. When she got home after a two-day party, she was always in trouble. She’d get a text, typically, “Where RU?”.

The fact the songwriter has come a long way and overcome battles, recklessness and emerged the other side – it gives warning and inspiration to artists; a word about the perils of the fame circuit and how to avoid disaster. I am getting too hung up on Welch but I feel this kind of snobbishness and arrogance extends to other artists. I have been enjoying the pleasures and revelations of Kamasi Washington’s new (double) album, Heaven and Earth. Whilst most critics are drooling over the record and extolling its confidence, sheer wonder and endless beauty. I am one of those people who could listen to Washington for hours: some are of the opinion his music is a bit too adventurous, undisciplined and against the grain of ‘traditional Jazz’.

IN THIS PHOTO: Kamasi Washington/PHOTO CREDIT: Getty Images

Many prefer their Jazz en passant – translation: a little boring, rule-orientated and level-minded – and do not like these new-fangled artists coming through and getting all boisterous and physical. Maybe I am talking about a small number of people who do not want change and cannot tolerate any artist that is exciting and different. It is not only the best and most engaging of 2018 that are causing eyebrows to raise beyond the hairline and nostrils to contort and twist into all sort of ugly shapes! It seems like either area of music is in danger of pointless criticism and those who are troubled by reality and substance. I am not a massive fan of Pop artists like Dua Lipa and Taylor Swift but will never dismiss their music and think they hold little value. They both, alongside their peers, are inspirational and doing something different. Dua Lipa has been commended for her natural ability and songwriting skills; newcomers like Sigrid shows maturity and longevity at an early stage – the game is changing and we are seeing an evolution. There are many – maybe not only those who post comments with snide comebacks on websites – who feel those who do not write every morsel of their music or do not play instruments is a bit pointless. I am seeing interviews and reviews of modern Pop artists – who do not play music but can write their own songs – getting flack because they are not a one-woman/man band who can do everything and does not need other bodies. Beyoncé, for one, has been subject to that sort of snobbishness, even though she is one of the finest artists and icons of our day.

PHOTO CREDIT: Unsplash

I guess the ‘art’ of sticking your nose up at anything with a strange pulse and sense of the curious is as old as time itself. Legends like The Beatles and Bob Dylan would have got some heat; Joni Mitchell divides opinion and modern-day favourites have had their share of judgement. I guess it is part of music but I get rather annoyed many feel the need to poke and criticise artists because they are a free spirit or they are poetic; maybe they are not your traditional musician or they have other people to help them write. I know music is subjective and different people go after certain sounds: we need to all be a bit more broad-minded and stop seeing negatives where there are none. Going back to the Florence interview and comments ranged from attacks at her drinking confessions (thinking she was being attention-seeking or overdoing it) and assumptions her music was all P.R.-driven and substance-free. There are those – with ears and brains – who can see why Florence + the Machine is so celebrated and one of the finest artists in the country. I wonder why people, who make such immature and stupid comments, actually listen to music and what their ‘ideal’ is. I have been culpable of being stuffy regarding new Pop and getting a little shirty regarding some Rock acts and how much power they wield.

IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: Getty Images

My concerns, in those cases, concern musical credibility and the originality of their sounds. I have never gone out of my way to attack someone’s backstory or personality; have a go at their intentions and feel they are posers. Seeing great artists, in any genre, reduced to meat or subjected to snowballs or cold acclaim makes me shudder and feel ashamed. Maybe ‘snobbishness’ is not the word I am looking for: a C-worded response might be more appropriate and accurate when describing ruinous trolls and those who are never happy. There is too much negative energy around and I wonder, when reading people’s opinions regarding certain artists, why they are so put out and angered. If you do not like someone or what they are doing then why go out of the way to be negative and potentially offend them?! It seems counterintuitive being so schoolboy-like and adopting such an aggressive demeanour. I feel we all need to check our heads and how we approach certain avenues of music. I am resolved to be more open-minded regards commercial Pop and give it a chance; listen more closely to modern Rock and what is coming through – artists I have been a little distant with I shall give more heart and love to. One of the good points and outcomes of the Internet-driven pettiness is the artists being highlighted; they are gaining massive critical love and respect from the best and finest music fans.

PHOTO CREDIT: Unsplash

I shall leave things here and ask whether we need to make changes and look at a negative culture that is spreading online. I guess the sort of comments that came onto The Guardian’s website today are tame and comparatively polite when you look at some of the bombs and bile that is aimed at some musicians. Perhaps being special, different and ambitious comes at a price: you have to endure the slings and arrows of outright c*nts and the victory comes with success, respect and longevity. In any case; those who feel obliged to be offensive and denigrate the worth of an artist because they dress a certain way or have had their troubles need to take a hard look at themselves. If you do not like a Jazz artist because they are avant-garde and brash then you have a very confined and narrow appreciation of music. Sounds evolve and the only way we are going to see a strong and progressive industry is to embrace those making changes and standing out from the crowd. Dilettanism and childish petulance is discouraging artists and looks really pathetic in print. I get annoyed when I see snobs having a field day and wonder, really, what are they looking for when it comes to music?! It seems, in their mind, people should be English, reserved and rather obedient. They cannot have any unique insight and lead an exciting life – if the likes of David Bowie conformed to such insane limitations then music would be so much poorer for it! If you are only looking for that kind of cloistered and dull type of artist then you have to ask the question: Are the sheer joys, variations and delights of music…

PHOTO CREDIT: Unsplash

COMPLETELY wasted on you?!

FEATURE: The Sound of Silence: The Gift of Hearing and Opening Up New Worlds

FEATURE:

 

The Sound of Silence

ALL PHOTOS: Unsplash 

The Gift of Hearing and Opening Up New Worlds

__________

MOST of us will never have to go through…

something as horrifying as losing our hearing or having to live with a disability as severe as that. We do not often think about those who are less fortunate and do not get to experience music like everyone else. As I review music and rely on it so heavily; I could not imagine having a world closed off and not being able to hear sound at all. In a way, it is like having something removed and being deprived. If you are born without the ability to hear, then you could argue there is nothing lost and (they) do not know what they are missing out on. I wonder whether we are accommodating those who cannot hear and whether we consider those who are unable to enjoy music like you and me. Imagining seeing others around you; digesting and celebrating music and able to form groups and clans – those who can share experiences and come together in time to the beat. We have all had those experiences of being at gigs and getting lost in sound. Others are more comfortable listening from home and experiencing music in a more intimate and safe space. Whatever your preference; think back to times when music has opened your mind and you have been flabbergasted and struck. We all have those moments when we cannot speak and are unable to take all the sounds in we are experiencing. It is a profound and wonderful thing to behold and be a part of.

Think about the reverse: not being able to listen to music or hear anything at all. How do we explain to deaf/those with partial hearing what music is like and how it makes us all feel. In the way we need to make more accommodations and considerations for the physically impaired and those with physical disabilities; we do not really look at blind and deaf people and make music more tangible for them. The reason I am exploring hearing and experiencing music in new ways is an inspirational and heart-warming story that has come through recently. I was tuned into BBC Radio 6 Music – no big shocks there! – and heard about Joanne Milne. This article takes up the story:

“As part of the regular slot on her show, this week's Memory Tapes, which now airs on Wednesday mornings, was created by a man called Tremayne Crossley, who had put together a mix tape for his friend who was slowly getting her hearing back…The woman in question, Joanne Milne, from Gateshead, had been born deaf and is registered blind, but is now able to hear music after 40 years due to successful cochlear implants.

While she had the operation months ago, today her good friend shared the experience with (Lauren) Laverne.

Crossley said: “Jo has recently had a bilateral cochlear implant in an attempt to restore her hearing, this is being gradually switched on over five sessions.

“The volume has to be increased slowly to allow the brain to adjust to the new information coming from the ears. Jo told me about a guy who went grey over a one month period due to the shock of hearing how noisy the world actually is”.

“It was with this in mind that Jo asked me to put a playlist of songs together, songs that I thought she needed to hear or that would form an ‘Introduction To Music’ playlist.

“I said it would be an absolute privilege but when I sat down to start I realised how monumentally difficult it would be, and what a responsibility.

"I decided I needed to set some parameters for myself, so I rejected everything from before her birth (which got rid of anything classical or deciding what Beatles tunes to use!) and restricted myself to one tune from each year of her life”.

Listening to her talk with Laverne and you can hear how Milnes’s progress is coming along. It has been a few years since she was fitted with an implant and things are not quite perfect. It is not as easy as switching the device on and everything being okay. It is strange hearing for the first time and something as complex and rich as music does not instantly click and become a natural accompaniment. What was wonderful to hear was how, in a way, she was making up for lost time and experiencing a new language. David Bowie, she said, was a big draw and she spent time exploring his music, iconography and imagery – a true pioneer that, until recently, she has only been able to appreciate in a visual sense. There are other benefits away from music when it comes to the gift of hearing – people talking and the birds singing – but music is much more overt, complex and fascinating than any conversation and part of nature.

The mixtape Tremayne Crossley put together for his friend was an insight and opening to a side of life she had not had access to previously. The listener response after hearing that mixtape was immense and filled with love. It brings me back to my original thought: What would we do if we were in the same position as Joanne Milne?! It would be such a strange and frightening experience having people’s voices entering our mind and being able to hear. It seems so routine and basic for us but, to Milne, it was a revelation and explosion. I feel the pleasure of music and all it gives cannot be quantified and its weight is immense. Having that removed, or not being able to enjoy it, seems like an immense tragedy and deprivation. Do we have deafness wrong and assume that it is a binary thing?

“Hearing people always assume that there is only one way to enjoy music, and that is by listening/ hearing to it. In a world dominated and driven by able bodied privilege, that assumption is prevalent, and when a deaf person shows up at a concert, heads turn. However, deaf people can enjoy music in ways that differ from how hearing people enjoy music, but they can definitely derive pleasure out of it.

First of all, deafness does not mean that someone does not hear anything at all – there are varying levels of deafness. Second, deaf people can feel the vibrations produced by the music being played and consume those vibrations through their body. The humming sound produced by picking a bass string or the boom of the drums can be felt very easily by them”.

There is a difference between the profoundly deaf (those who cannot hear any sound at all) and those able to hear some sounds/vibrations. In any case; having limited hearing is a burden and strain that few of us can understand. I wonder whether we need to do more to accommodate and support those who are deaf and unable to get as close to music as you and me. Is America starting to make waves and progress?! An article published last year explored the subject in more depth:

“As pop culture has begun to better recognize the experiences of deaf Americans, there have also been signs of progress for the Deaf community in sports and politics. The Obama White House included two deaf women in prominent roles – Leah Katz-Hernandez, the first deaf person to serve as the receptionist of the United States (one of the first people to greet White House visitors), and Claudia Gordon, the public engagement adviser for the disability community in the Office of Public Engagement, who is also the first deaf black female attorney in the US. Around the same time, Seattle Seahawks fullback Derrick Coleman became the first deaf Super Bowl champion during Super Bowl 48; Coleman’s status as the NFL’s first deaf offensive player prompted a major halftime commercial by Duracell batteries (the tie-in being Coleman’s use of battery-powered hearing aids). In 2016, Smirnoff vodka featured deaf dance instructor Chris Fonseca as part of its inclusivity-minded “We’re Open” campaign.

Though Deaf culture has nudged closer to mainstream visibility in the past several years, progress remains stunted in spaces where DHH people aren’t considered part of the equation to begin with. Music festivals in particular have been slow to include the DHH community, despite the industry’s explosive growth over the past quarter century. In 2014 alone, 32 million people attended at least one US music festival, according to Nielsen Music”.

I have ignored the complexities of deafness and being unable to hear: it is a spectrum and we cannot take a binary approach to the subject. This makes answers and thorough investigation more complex and time-consuming:

“Hearing people tend think of deafness as one side of an on or off switch — you can hear everything or nothing — but deafness is actually a spectrum. You can range from profoundly deaf to some ability to hear sound above a certain threshold to hard-of-hearing with the ability to process speech, usually with the help of hearing aids or implant; smembers of the DHH community will also identify themselves as "Big 'D' deaf" to indicate they're part of the Deaf community, or "Little 'd' deaf" to indicate they are not involved in the Deaf community even though they have no hearing. The DHH community is also a large one: According to the National Institute on Deafness and Other Communication Disorders (NIDCD), a quarter of the population will have “disabling hearing loss”between the ages of 65 and 74; it jumps to 50% by the time people reach age 75. Music fans exist across the entire DHH spectrum and have devised many alternate ways of listening when their ears are of limited use”.

Looking back at Joanne Milne and how she must have experienced music before she had an implant – there would have been stresses and drawbacks, for sure. A lot of venues do not offer a signing service and interpreters; there is limited access and, often, sight can be blocked by fans and constructs – it makes understanding what is being sung and performed even harder! I will take one more snippet from the aforementioned article that talked with an American woman who has faced discrimination and struggles when attending gigs:

“…Krista Reese is one of them. She’s been coming to Lollapalooza since she was 21 (she’s 26 now) and is enjoying the Zara Larsson set so much I almost feel guilty asking her to talk about times when festgoing wasn’t so great. “People would say, ‘Why do you get to be up front? You can’t hear, so you should be in the back,’” says Reese, who is hard-of-hearing. “I’ve never been close enough. Before this, I only listened to dance music, because I could feel the beat. But now I can branch out to other genres.” We both watch the ASL interpreter while Larsson sings “Make That Money Girl.” The music morphs from audible to tactile as the interpreter smacks her pinched fingers against her open palm to form the sign for money; you can imagine the fat stack of bills slapping back and forth in the interpreter's hands”.

A lot of us know very little about those with disabilities and the plight many deaf people face – whether they are profoundly deaf or fall in other areas of the spectrum. The sheer delight and epiphany of hearing for the first time and letting music in cannot be explained in words and is something many of us (luckily) will never have to discover. There are great charities who are raising awareness regarding deafness and music; ensuring there is better access and their needs are taking into consideration. I do wonder how much is being done and how many are being denied the opportunity to enjoy music like the majority of us. Many are not fortunate enough to have cochlear implants and that sort of opportunity but, for others, – a lot of deaf people feel part of a culture and do not want to give up what they have, in a sense – their needs are being ignored. I feel we should be more conscientious and thoughtful when it comes to those unable to hear; those who struggle and want to be part of the action. Hearing inspiration stories like that of Joanne Milne and her new adventures make me feel very lucky I am able to enjoy music without hindrance: I think about others and how they experience music in a very different way. I hope, alongside the great stories and terrifically uplifting moments, we spare a moment and ensure we are doing everything we can to ensure those with hearing difficulties…

ARE not being overlooked and ignored.

INTERVIEW: Alluri

INTERVIEW:

Alluri

___________

IT has been amazing speaking with Alluri…

about his new single, Don’t Lose Touch, and how he came to work with Glen Matlock. He explains how the former Sex Pistol found his work and whether they will work together again; what sort of gigs are coming up – Alluri tells me about a cool Spotify playlist that has come to mind.

I ask when music came into his life and what sort of material might come in the future; how he spends his moments away from music; whether there are any ambitions to fulfil before the end of the year – he talks about his Indian heritage and bringing that into his music.

___________

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

Been good. Thanks for asking. My week has been less busy than the last one. Perhaps some songwriting is in order

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

I am bloke from Hyderabad in South India who fell in love with Rock ‘n’ Roll music. After my first album, Man of Truth, I had a crisis of identity and ended up recording my second album in Telugu, my native language, which is due to be released in its entirety in August of this year.

Don’t Lose Touch is your new single. What is the tale behind it?

I wrote this song in December 2016 with a friend. I was out of love with songwriting and I had to force myself to write this song. I am happy with what turned out.

Glen Matlock produces the song. How did you come to meet him?! Was it intimidating having a Sex Pistol in the studio?!

I was at home with my niece and nephew in November last year. I was playing the guitar one morning. On stopping my practice, my sister forced me to continue as my nephew had just woken up. I wasn’t too keen on playing so I thought I would scare him away by playing an acoustic version of Anarchy in the U.K. To my surprise, he started dancing instead. So, I decided to cover that for my gig at Transmusicales in Rennes.

A YouTube link to this half-Telugu, half-English cover of the song was sent to him via Twitter by my manager. Glen loved it and retweeted it. After this, he was sent a demo to Don’t Lose Touch which he liked so he ended up producing the song. We recorded it in Milan with Tommaso Colliva who had worked with me on my Telugu album. It was a fun process. It wasn’t intimidating.  He was very cordial and easy to work with. In fact, after the first day in the studio, he asked me if he was too bossy. I said: “You are alright, Glen! If anybody can be bossy, you certainly have earned the right to be so”.

Do you two have plans to work together again? What did Matlock bring to your music?

We will be playing a gig in India on 1st August. He is coming over to India for the first time. Should be fun. In regards my music; he got a great bassline and a harder edge to the song by making the most subtle of changes. Perhaps we will record an album together. Who the hell knows!

What plans are there for more material? Are you working on stuff at the moment?

My identity crisis is done so I am back to writing songs in English. I have just finished recording three new songs with producer Adrian Hall in Surrey. These are new songs that I had finished writing in Jan this year. Essentially, I am working towards my third album so there will be some E.P.s on the way before that.

Do you recall when music came into your life? Were you raised around a lot of musical stimuli?

My father in his youth in the '80s in India used to be an ardent listener of BBC Worldwide radio. So, by the time I was born, he ended up buying C.D.s of Classical music, John Lennon; Tears for Fears and Elton John. He, in fact, forced me into learning Western classical violin and piano at age four, which I didn’t take to very well.

Having been raised in India; do you take any elements from the music and people into your current music?

Musically, the sense of rhythm, at times, can be influenced by Indian music. Apart from that, the lyrics are written from the perspective of a well-travelled Indian man.

Will there be any live dates coming up? Where can we see you play?

I will be playing a gig in August in Mumbai and Hyderabad to promote my Telugu album. Of course, Glen Matlock is coming over for the Mumbai gig. Apart from this, if things go as planned, there will be gigs later in the year in England and Europe

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

To write about thirty more songs and do demos for them. Essentially, focus on songwriting for the third album.

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

Nothing really comes to mind - played a gig last week in London which Glen Matlock came to. So, watching him bob his head to my half-Telugu, half-English cover of Anarchy in the U.K. was pretty special.

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

I am the proudest of my Telugu album. But, currently, the third album is what means most to me as I am in the process of writing it.

What advice would you give to new artists coming through?

Focus on the songwriting.

Are there any new artists you recommend we check out?

The music used on this documentary called Wild Wild Country has been a revelation to me. There is a Spotify playlist. I have been listening to that incessantly over the last few months. Great music and great new artists I found there.

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

Cricket and cooking.

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

Green Point Reprise by Jim Jones and the Righteous Mind. Came out a couple of months ago. Cheers!

_____________

Follow Alluri

Official:

https://allurimusic.com/

Facebook:

https://www.facebook.com/allurimusic/

Instagram:

https://www.instagram.com/allurimusic/

Spotify:

https://open.spotify.com/artist/1MJd59IWbIWtj6CdlJhWG8

YouTube:

https://www.youtube.com/channel/UCBg10OrI7hcGuyOSotZrNWg

SoundCloud:

https://soundcloud.com/alluri-2

INTERVIEW: James Francis

INTERVIEW:

James Francis

___________

THE man has had a busy past couple of months…

what with performing at the Royal Wedding and promoting his new single, Free to Be Me! I ask James Francis what it was like singing on that big day and the inspiration behind his latest tune; whether there is more material coming down the line – Francis talks about his faith and how Gospel resonates in him.

I ask whether there is a new artist we need to check out and whether he gets time to detach away from music; which albums are important to him; if there are going to be touring dates approaching – he gives some useful advice for upcoming songwriters.

___________

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

My first single, Want It All, says a lot about who I am. I'm an ambitious creative who wants it all – a great career full of good music and amazing experiences! My music is a fusion of Soul, Hip-Hop and R&B. I can't say it fits neatly into any one of those genres because I love to experiment and push creative boundaries.

Free to Be Me is my second release and also speaks volumes about who I am. Whether it’s the colour of my skin, the area I grew up in or my faith; people have always tried to box me into some sort of stereotype. Free to Be Me is my way of responding to that: I feel it's important that we can feel good about ourselves and celebrate our identity.

The video for Free to Be Me is out. What was it like making the video? What is the story behind the song?

Making the video was a lot of fun. The video director, Chalky, was great and had a lot of good ideas for me to work with. As it was a public road, we filmed very early in the morning when I could play about more and not be disrupted by cars and passers-by etc.

Is there more material coming along? Are you working on anything else?

Yes. I'm working on another single and an E.P. As well as an artist, I'm a songwriter at heart so I'm always experimenting and creating new material.

When did music come into your life? Do you remember which artists captured your imagination?

When I was growing up, singers like Luther Vandross and Stevie Wonder inspired me to sing. It wasn't until my mid-teens that I started taking it seriously and joined the Aria Vocal Academy, started by the late Eugene Johnson 

It seems like Gospel and Soul are important. Do you consider yourself to be spiritual and have a religious side?

Yes. I am a Christian; my values and faith are grounded in that. Although, I wouldn’t say my music is strictly Gospel: the content is based on my view of life which is seen through a Christian lens.

What was it like performing for the Kingdom Choir at the Royal Wedding last month?! What was the day like?

I love being a part of the Kingdom Choir. We’re such a great bunch of friends that we have almost become like family. To have had the privilege of singing at the Royal Wedding in such great company was amazing. We got driven to Windsor by police escort and, even though we arrived super-early, the atmosphere was already full of excitement and celebration when we got there.

What you didn’t get to see on T.V. was us singing as the Royals were leaving the church. All the celebrities were clapping along as we belted out This Little Light of Mine. It is definitely an experience I will never forget.

The rendition of Stand By Me reached number-seven in the iTunes Charts. Was that quite an intense and unexpected moment?!

Most definitely. Our focus was to do you a great job for the Royals and make their day special. We had no ambition of entering the charts. So, when it happened, it was a really nice surprise. We truly feel blessed by the response we’ve had.

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

The best place to see me sing at the moment is online. On my YouTube channel, you’ll find links to my official music videos and some acoustic versions too. I don’t have any events lined up at the moment but you can sign up to the mailing list on my website to make sure you’re one of the first to know when dates are announced.

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

There are exciting things lined up for both my solo career and my work in the Kingdom Choir which include travel and performances at some significant venues. By the end of the year, I at least hope to have stamped a good few pages in my passport!

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

Singing at the Royal Wedding will definitely be a memory I’ll never forget and a story I will pass on to my children for years to come.

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

Michael Jackson - Thriller

Stevie Wonder - Songs in the Key of Life

Musiq Soulchild - Aijuswanaseing 

What advice would you give to new artists coming through?

Definitely, focus on creating the best music you can.  It’s not about copying other people or trying to fit into the latest trend. Put your own mark on the music industry and don’t be afraid to be different.

IN THIS PHOTO: Sharlene-Monique

Are there any new artists you recommend we check out?

Sharlene-Monique is a great new artist who is also a part of the Kingdom Choir. She has a unique, soulful jazzy voice and her new E.P., Destiny, is definitely one to download.

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

My wife and I recently had a baby boy; so much of my chill time at the moment is taken up with changing nappies and keeping him entertained. When there is a little quiet time we like watching movies.

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

One of my favorites at the moment is Get You by Daniel Ceasar (ft. Kali Uchis). It’s my go to song when I want to chill and relax.

_____________

Follow James Francis

Official:

http://iamjamesfrancis.com/

Facebook:

https://www.facebook.com/iamjamesfrancis/

Twitter:

https://twitter.com/jamesfrancis86

Instagram:

https://www.instagram.com/iam.jamesfrancis/

Spotify:

https://open.spotify.com/album/5icjAmDXry7KXGbxIIlIwf

YouTube:

https://www.youtube.com/channel/UCX3j1qiyqoeCNMw2Swc0RIw

INTERVIEW: Danielle Lewis

INTERVIEW:

Danielle Lewis

___________

TAKING us through a peaceful Sunday…

is Danielle Lewis, who speaks to me about her upcoming E.P., Live Forever. I wanted to know what inspired the work and how she got Cian Ciaran to remix the title cut. She tells me about the music she grew up around what sort of gigs we can expect in the future.

Lewis shares three albums that have impacted her and a favourite memory from music; what she wants to get accomplished before the end of 2018 – she recommends a new act we need to keep our eyes open for.

___________

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

Hello. I’m great, thank you. Rehearsing the live set with my wonderful band this week; ready for the release of my new E.P., Live Forever.

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

I’m a contemporary Folk artist from West Wales and just started my record label, Red Robin Records, where I’ll be releasing my new music this summer.

Live Forever, your new E.P., is out on 6th July. How does it feel having it recorded and ready to go?!

It feels surreal - but extremely grateful and excited. I’ve been working on these songs over a couple of years and took time out to evolve and grow at my own pace. I was very lucky to have met my producer Secondson, who’s been a wonderful mentor to me. He knew exactly what I wanted to create and gave my songs so much dignity.

Are there particular stories and moments from your life that go into the songs? Do you have a personal favourite from the set?

Each song I write always has an element of my personal past experiences; emotions I still feel and how I’m changing and growing in the present. I feel like a layer comes off every time. Live Forever holds a personal pain and a desire to be a better person (and have better people around me).

The eponymous track seems to be a bit of a standout. Is it true Cian Ciaran is remixing the track?!

Yes, definitely! My producer introduced me to him and he loved everything he heard. I’m excited about our collaboration. He’s an incredible musician and producer and will, no doubt, add even more depth to this track.

How did music arrive in your life? Which C.D.s and albums might we have found on your childhood floor?

Singing came naturally for me from a very young age: it was a craving to be on stage. I grew up listening to a mix of music, but my mother’s Country tapes and brother’s film soundtrack C.D.s stood out. The raw lyrics and epic orchestral backdrops must have instilled in me. If I have to name something, it’s Townes Van Zandt.

Your voice is especially striking. Does it take a lot of training to get that sort of power and range?!

Thank you. I’ve only ever learnt from time and experience in how best to look after my voice and what suits me. I don’t like to push it out very loud and would rather focus on control and tone.

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

There will definitely be some live dates on the way. Make sure you keep up to date via my website and Facebook.

If we came to see you live; what sort of set might we experience? Is the stage somewhere you love to be?

Performing is where it’s at for me. I like intimate spaces and I like big halls, so who knows. You’ll have to come and witness it for yourself. Ha!

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

Just to bring out this record - that I’m so pleased with - and take it on the road. I’m already writing new stuff, too.

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

I was introduced to living legend Tom Paxton at Folk Alliance International in Kansas City in February. There was a large crowd forming around us at the time taking photos and watching. He heard my new music then kissed me on the head. He was blown away and that was a lovely memory.

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

Linda Perhacs – Parallelograms; Cocteau Twins - Heaven or Las Vegas and Townes Van Zandt - Delta Momma Blues.

What advice would you give to new artists coming through?

Take your time. Take your time to find your strength as an artist; whether it’s in the voice, writing or playing (and build on that). Be gracious and say ‘no’ sometimes.

IN THIS PHOTO: Pageants

Are there any new artists you recommend we check out?

Pageants.

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

I always make time to walk in nature or by the seaside on daily basis. It’s definitely part of the job.

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).

Townes Van Zandt (ft. Calvin Russell) - Waiting Around to Die.

_____________

Follow Danielle Lewis

Official:

http://www.daniellelewis.co.uk/

Facebook:

https://www.facebook.com/daniellelewismusic

Twitter:

https://twitter.com/imdaniellelewis

Instagram:

https://www.instagram.com/daniellelewismusic/

SoundCloud:

https://soundcloud.com/daniellesingersongwriter

YouTube:

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

ALL PHOTOS:

Holly Patterson

INTERVIEW: Adam Lanceley

INTERVIEW:

Adam Lanceley

___________

I rarely have the chance to speak with artists…

who have undergone trauma and come out the other side with huge positivity. Adam Lanceley suffered an horrific car accident as a child and was told he wouldn’t survive. Not only is he still with us but he is making exceptional music – I talk to him about the new track, The Train’s Gone, and his album, Epitaph to Innocence.

Lanceley talks about his love of The Beach Boys and what music means to him; whether he has any ambitions to fulfil before the end of this year; where we can catch him performing – he ends the interview by selecting a rather ace song!

___________

Hey, Adam. How are you? Can you introduce yourself, please?

Hello, readers and music fans! My name’s Adam Lanceley and I’m a singer-songwriter.

What can you tell me about the track, The Train’s Gone? What is the story behind it?

The first single from my seventh album, Epitaph to Innocence, is called The Train’s Gone. Unlike the other tunes on the album, this one and the final song, A Lover Like You, were written and recorded a few years ago in a different studio. I always think rather than explain to people what your songs are about; it makes them far more interesting if you keep a little bit of mystery behind them and let the listener decide what they think it means – so, check it out!

The song is from the album, Epitaph to Innocence. How did the album come together? How does it compare to your earliest stuff?

In this album, I hope you’ll be able to notice a progression in both the production and delivery - if you compare it to my earlier stuff. I am very keen on exploring new sounds and use of instruments to keep my music fresh.

Can you reveal what sort of music you respond to? What sounds did you grow up around?

It would be a lie to say that I’ve always been passionate about music. My taste, though, has always been ‘old-skool’ – going back to Roy Orbison and Elvis Presley. It was when I first heard The Beach Boys that my interest in music – particularly, my love for 1960s' West Coast music started to increase. I fell in love with their harmonies and brand of easy, feelgood music.  I used to love listening to stories about the California music scene from a close family friend who used to live with and drum for Sonny & Cher! Pretty cool, hey – in fact, he was even the percussionist on their smash hit I Got You Babe!

You were involved in a car crash when you were ten. Can you tell me about it and what impact that had on your life?!

When I was ten, I had a severe car crash which I was not expected to recover from. Other people will tell me what an amazing recovery I’ve made but, to be honest, I don’t really think about it like that. When I get more reflective, though, I’m very grateful to have been able to have got where I am today - writing and playing my music.

How important is music to you? Is it a sort of therapy?

Music has always been both powerful and helpful to me in dealing with things life’s thrown at me.

Have you got any tour dates coming up? Where can we see you play?

I haven’t got any tour dates planned at the moment, but I’ve got to get back into the London live music scene when I’ve dealt with a few issues; so, put your head around the door of the 12 Bar Club or The Fighting Cocks - or any of the cool venues and maybe I’ll be playing there!

Do you get chance to unwind away from music? How do you spend your free time?

For some people, sport is the most important force in life: for others, it’s something else entirely. For me, it’s definitely music.

What ambitions do you have to fulfil before the end of the year?

As far as ambitions go, I try not to get too carried away with them. I put enough pressure on myself anyway! I am going to try to start performing live again before the end of the year, though.

What have been your fondest memories from your time in music?

Some of the most memorable times I’ve had have come from my time in music. Some of the outrageous situations I’ve found myself in the studio still make me laugh to myself! I don’t think they’d look very good in print, though! Hearing The Beach Boys perform live at Wembley Arena on their 50th Anniversary World Tour would have to be right up there as well.

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

The three albums that mean the most to me, I would say, would have to be really thought-provoking, reflective ones: Pet Sounds (The Beach Boys), Bridge Over Troubled Water (Simon & Garfunkel) and Hotel California (Eagles).

What advice would you offer new songwriters coming through?

The advice I’d give to new artists coming through would be: if you don’t really love music do something else, because it’s hard work. But, if you do, then stick at it because there’s no more powerful vehicle.

Which new artists do you recommend we check out?

I couldn’t tell you what new artists you should check out because I’ve been so busy recording this album lately. BUT, THEY ARE OUT THERE! Go and check out the venues near you!

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

When I want to relax away from music, I tend to work out VERY HARD! It’s worth it for the endorphin rush!

Finally, and for being a good sport; you can select a song to end with and I'll play it here.

The song I would request is God Only Knows by The Beach Boys

_____________

Follow Adam Lanceley

Twitter:

https://twitter.com/adamlanceley

SoundCloud:

https://soundcloud.com/adam-129087330

iTunes:

https://itunes.apple.com/gb/artist/adam-lanceley/id569012210

INTERVIEW: Me for Queen

INTERVIEW:

Me for Queen

___________

THE music Me for Queen is putting out there…

differs from anything I have heard! I have been speaking with her about the latest track, Loose End, and what its story is. She has been discussing her PledgeMusic campaign and funding the album of the same name.

I was eager to know which albums have influenced her most and what it was like recording in Portugal; how London affects her songwriting and outlook; whether female artists are seen as unequal and warrant more focus; whether she gets time to chill – the songwriter recommends some artists we should get our ears around.

___________

Hi, Me for Queen. How are you? How has your week been?

Lovely, thanks! I’m just back from nearly a month in Germany and am enjoying some time at home…

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

Sure. I am a singer-songwriter and purveyor of ‘Soul-Folk’. I used to say ‘piano-led’ but the last two singles have been guitar-led so…

What can you reveal about the song, Loose End? What is the story behind it?

I wrote the song having thought I'd finished the album! Last in, first out…

I was just messing around on the guitar one afternoon then started singing the chorus then, about half an hour later, had finished it. I tried not to overthink it. Then, once I'd made a rough demo at home with drums/some backing, I really felt good about it and was singing it over and over again...so sent it on to Jim, my producer, then we booked an extra day to track it! Lyrically, it really seemed to pull together a load of things on the album as well; really satisfyingly and, basically, by accident, so I suddenly realised maybe I had an album title in there too...

I was thinking about the Desiderata poem, for some reason, as well as this general time in life where I find myself and a lot of friends having the same conversations. It’s easy to sit fretting about what direction you’re headed in/whether you’re on the right track in whatever walk of life. Having left London and a ‘proper’ job, even though I’m far away from friends and family, I strangely feel more available, emotionally – and this song is sort of reaching out to anyone that is in that fretting space (myself included!). It’s about trusting that if you carve out a bit of space in your life to let your mind noodle, even if it feels scary, that is often where the good stuff lies.

It is taken from the album of the same name. I know it is being funded through PledgeMusic. What has the response been like to the campaign?

Great, so far! We’re nearly at 40% (at the time of this interview) and it will be open up until and probably beyond the album release in September. This is my third PledgeMusic campaign and they’ve all felt quite different but, every time, I’m amazed at the way PledgeMusic has found a place where patrons of independent music can find artists to support. I think it’s such a great resource.

The songs were written back in Portugal. Does hearing the songs make you think of your roots and your family?

Just to be clear: I’m from Scotland, not Portugal! The adventure to Porto has been an experiment - we wanted to learn a new language and try something totally different for a while, with no distractions, and, a year later, here I am with an album!

How does London affect you as a songwriter? Is it a great city in terms of influence?

I loved living in London, but I feel like I can appreciate it more now that I’m no longer based there full-time. It’s such a buzzy place: you can’t not be inspired by it in some way. The record that feels most London-centric is probably Iron Horse, which is definitely set in a city (it’s a concept album about cycling) and I really like that. It feels part of a very distinct time and place.

Many sites and stations are celebrating female artists and putting them in the spotlight. Do you feel like female artists are overlooked and need to shout louder to get attention?

Yes! In all sorts of ways, it still feels unequal. I’m glad at least it’s getting some more air-time with more public discussions - for example, recently, regards festival line-ups. I look forward to the day when I’m not described as a ‘female artist’ but maybe, for now, quotas are the only way forward…especially in an industry where so many of these decisions are being made by men; quite often, unconsciously. We all do it!

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

At home, my dad would listen to and play lots of Blues stuff like Muddy Waters, Big Bill Broonzy...but there was a real mix. Through learning Classical piano and cello I listened to a real range of things; my parents were great at taking us out to see live music as much as possible. My brother introduced me to Jeff Buckley in my late-teens and that was an album I became quite obsessed with (Grace).

Also; I remember a friend from orchestra camp (yes, I was extremely cool) playing me the Lauryn Hill album (The Miseducation of Lauryn Hill) when I was thirteen and I was totally captivated. That led me to people like Aaliyah, Jill Scott/a more ‘R&B’ tip. So, yes, it was a pretty eclectic diet which continues to this day – I think it’s important to listen to as wide a range of stuff as possible.

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

Yes! I’ll be playing a London show on 30th July supporting Tusks at the Camden Assembly as part of the Warchild concert series. Then, I’ll be touring the U.K. in September, finishing at 1000 Island in London on 3rd October.

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

My ambition last year was to tour Germany, which has happened this year, so I’m pretty pleased about that. I’m so proud of the album - I’m just looking forward to the tour and giving the record the best launch possible!

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

Oooh; I have lots - from over twenty years of performing (I started young…). In terms of life-changing musical moments, the songwriting workshop I did with Gretchen Peters two summers ago is pretty high up there. I talk about it a lot. But, it really was a total game-changer for me as an artist and as a person! I’m normally sceptical about these things but I did genuinely have a vision coming out of that – like a semi-religious experience. It was extraordinary and just came at exactly the right time; inspiring me to just keep on trucking. I know this all sounds slightly insane but that’s what happened.

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

Björk – Post

Lauryn Hill – The Miseducation of Lauryn Hill

Jeff Buckley - Grace

What advice would you give to new artists coming through?

Keep writing. Write and write and write. Be as hungry as you can whilst not letting anyone take the piss. Play as much as you can. Work hard and get out there and meet people.

Are there any new artists you recommend we check out?

I don’t know what classifies as a ‘new’ artist. I love listening to the Fresh on the Net stuff, where I was lucky enough to be featured recently - there is SO much good stuff out there that doesn’t get enough airtime. Neither of them is ‘new’ but, this week, MELLAH and Kirsty Merryn sounded just brilliant on Tom Robinson’s most-recent mixtape.

IN THIS PHOTO: Kirsty Merryn

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

Music is quite all-encompassing, particularly if you are an independent artist. I’m currently in the middle of a promotion-heavy cycle with the PledgeMusic campaign having now launched - and with a single to promote, and tours to book; all of which I do myself. But, switching off and/or hiding my phone down the back of the sofa and reading a book is a good start. Or going for a swim.

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 recently discovered Will Stratton, an American artist who releases through Bella Union. My producer, Jim Wallis, has worked with him on his new record and I happened to catch his Celtic Connections show earlier this year and have since become completely obsessed with his song, Some Ride. I just think it’s so beautifully simple and eloquent.

At the peak of my obsession, I was listening to it around five times a day… 

_____________

Follow Me for Queen

Official:

http://www.meforqueen.com/

Facebook:

https://www.facebook.com/meforqueenmusic

Instagram:

https://www.instagram.com/meforqueen/

Twitter:

https://twitter.com/meforqueen

SoundCloud:

https://soundcloud.com/meforqueen

Spotify:

https://open.spotify.com/artist/1H7mNprYkefKwq5C0VWS9M

TRACK REVIEW: Justin Nozuka - No Place in Mind

TRACK REVIEW:

 

Justin Nozuka

 No Place in Mind

 

9.5/10

The track, No Place in Mind, is available via:

https://open.spotify.com/track/6BYb8RVAVC8bAOx6H74CtK

GENRES:

Alternative; Folk

ORIGIN:

Toronto, Canada/Devon, U.K.

The album, Run to Waters, is available via:

https://open.spotify.com/album/1mI50yWLjr9U0nxktpWrNs

RELEASE DATE:

18th May, 2018

_________

ON this occasion…

I wanted to look at a few different aspects of an incredible songwriter. Before I come to look at Justin Nozuka’s latest track; I will explore Alternative and Folk movements that dissipate stresses and remind one of the greats; the Canadian market and why the nation warrants more focus and promotion; albums that mean the world to artists and get big support from fans; finding the right producer that can harness your sound and bring out the best – I will end seeing where Justin Nozuka can go. I have written about Folk and Alternative sounds before and, in every case, there is something different you can take away. It is hard to categorise Nozuka’s music because it has rougher edges that remind one of the stadium artists but there are gentler movements that have that acoustic bliss. What gets into the mind regarding Nozuka’s music is the fact it can take you to another world and transport one. I have heard a lot of gentler and calmer sounds that are fine on the paper but they do not really linger in the mind for too long. It can be difficult taking the volume down and making sure you grab a person’s ears. I often look out and think about the variety and what sort of music is around. I am more and more determined to embrace the artists who perform something soothing and calm the mind. Whilst there is some real entrance and beauty in Nozuka’s music; you get real emotional depth and lyrics that make you project and conspire. I have been listening a lot to artists like Nick Drake and Joni Mitchell: two of the Folk greats who, between them, managed to change and progress music. I feel there is still too much emphasis on Pop and the bigger sounds that are commercial and sound huge on the radio. There is nothing wrong with that but I wonder whether we do not commit enough of our time and energy to artists who have something real to say.

You cannot say there is a lack of wonder out there but I think we all place too much prominence on commercial sounds and Pop artists. I will stop my bashing of the genre and move on – my real point relates to music that does more to the heart and soul. Whilst there are a lot of artists who can take the mood down and get the listener dreaming and drifting; Nozuka is someone who can bring real passion to the party. I will talk more about Run to Waters and the track, No Place in Mind, but there is a lot to unravel regarding his personality and ethos. I am trying to unpick and define his music because of the beauty and evocative spirit one gets from it. I have mentioned some Folk greats but, look around the scene right now and there are some great musicians who provide sensationally scenic and passionate music. None of them, to me, have the same blend of qualities as Justin Nozuka. As he progresses and makes his next steps; you look back and see how far he has come. I listen to the earliest cuts he released and it seems, where he is now, holds real meaning and importance. I will talk about his album and why it means so much to him but you listen to the songs and so much of his self and soul go into things. Listeners want to relate to a songwriter and understand who they are but they want to find music that makes them feel better and removes anxieties. You can find a common mind and someone like us (in the music) and when you hear the sounds unfurl; you are drawn into the picture and everything else seems to fade away. That medicinal and curative quality keeps you coming back and hooked on his music. Were he to throw in loads of electric guitars and drums then the impact might not be the same. It is the fact he has this seductive and calming quality that leaves the music in the memory for a long time to come.

Although Nozuka is an American-Canadian artist; he is based in Toronto and takes my mind to the nation. I have written a lot about Canadian music and, whilst I have taken a small break, I am back there and looking at what is coming from the country. I feel we often get gripped with the American and British sounds but never really look elsewhere. Australia is a great country for music and we do not really look there a lot. It is a full and varied nation but, I guess, it is not quite as popular and exposed as it should be. Maybe we should spend more time there and see how many fantastic musicians are playing there right now. The same is true of Canada and there is no real reason why we should overlook the country. Australia is a long way away and there are not as prominent Australian musicians as there are Canadian. What gets me is the fact there is this clear wonder and variety around but we do not spend enough time with it. Toronto is a fantastic area for new music but, to be fair, the whole of Canada is capable of genius. I have been looking around the nation for a few years and, every artist I encounter, I get something unique and fantastic. The Canadians do things differently and put more into their music – compared to the U.K. and U.S. I am not sure whether it is something in the air but there is something wonderful about Canadian music. Justin Nozuka is one of those artists who take from the sights and sounds around him and differs from anything out there. Look at the music coming from Run to Waters and there is that balance of the personal and universal. There is a lot to deconstruct but you find a lot to relate to and take away. It is not a surprise to see another Canadian artist emerge and create music that remains lodged in the heart.

PHOTO CREDIT: @culturefrenzy

I will move onto new aspects in a minute but I wanted to stay in Canada and see what is happening there. You can say the music landscape is the same and artists are, broadly, of the same mind. That is not true and, if you look at Canada, there is an identity and national spirit that is not like anything else. Artists tend to look at the past and uncover aspects others have not thought of. They are more impassioned and keen to connect with the listener; they are more innovative and are keen to touch people and make them feel involved with what is going on. Maybe other nations have those qualities but I am always drawn to Canada and what is coming from there. I feel we should all be more aware of what is happening and the terrific music emerging. Rather than solely stick with the U.S. and U.K., we need to be more broad-minded and discover all the terrific music available out in the world. Canada is a terrific country that constantly surprises me. Justin Nozuka is a terrific musician who has a big future – he will consider whether he wants to remain in Canada, I guess. I think the media pays a little attention to Canada but do they get as much exposure as the U.S.?! I am not suggesting he packs his bags but his music deserves big love and a wider stage. Nozuka has worked tirelessly to get his songs to the masses and making opportunities for himself. It is wonderful watching him grow and seeing how much music means to him. I hope the latest L.P. from him draws people to Canada and gets them looking at the nation’s wide and fascinating music scene. The reprieve of stresses and anxieties (in his music) makes you fall hard and stick with him. Nozuka is among an army of Canadian-based artists who are making changes in music and showing themselves to be future-ready stars.

I will look at a song from Run to Waters that stands out to me but, before then, let’s look at the album and how it came together. 2014’s Ulysees was the last album from Nozuka and, since then, he has put two E.P.s to the world: High Tide and Low Tide. We have seen music from the album appear on both E.P.s and it has bridged the gap nicely. It has been a long creative process and there have been some developments and changes in his style since then. The 2014-released record was a success and showed what Nozuka was all about. I feel Run to Waters is a bigger and more ambitious work that explores new ground and sounds stronger. Nozuka has always been incredible and ambitious but he has crafted something that integrates all his past work and current curiosities into the blend. Nozuka created the album over a period of two years (and a few months) and was apologetic to the fans for the silence. Not a lot had been heard, in terms of albums, since 2014 and many thought he was dormant. What was actually occurring was that creative swell and process – putting out ideas and making sure they were as good as they could be. Nozuka thanked his fans for their patience and explained how he had the privilege to work with producer Chris Bond. Run to Waters was recording between Canada and England and seems to take from both nations. You have the landscapes of both nations working away. Canada is a nation we associate with snow and icier conditions; mountains and a vast vista. There is that coming out in the music but you get the cities and personalities of Canada working alongside things. The English part of the album relates to the pastoral beauty and the gentle countryside; the quaintness one gets and the bubbling streams. Getting these two worlds combining in one album is an extraordinary thing to hear, indeed!

I am not surprised Nozuka took that long to record the album and ensure it was as good as it could be. Chris Bond has worked closely with Nozuka and ensured all of his talent and visions are realised as effectively as possible. The songwriter has been dreaming of the record for a long time and wanted to be sure it was worth the wait and would thrill the crowds. I can see where all that focus and attention has gone. You listen to the music and know how much energy and determination has been expended. I feel artists get pressured to release quickly and ensure their name is out there in the ether. You get this expectation upon the shoulders and feel a little strange. The market is hot and busy and so it can be daunting creating something quickly that means you remain relevant and fresh. Rather than rush-release an album and follow 2014’s L.P. with something that was not satisfying; Nozuka, instead, crafted a beautiful record that made sense to him and felt natural. You can look at the album every way you want and examine Run to Waters from various different angles. One can be forensic and dissect the songs but, when it all comes down to it, the music comes from the heart and has that instant, unforgettable quality. You are, as I said, calmed and hugged by the sounds but there is so much intrigue and colour running right through. I can imagine the creative process was gradual – experimentation and false-starts – but all the wait and time has been worth it! The fact Nozuka reached out to his fans and explained why there was a gap in release shows how much they mean to him – and how much music means to him, too. Finding the right producer can be difficult these days. There are so many options and it can be a gamble working with someone you are not familiar with.

Maybe there is a long history between Chris Bond and Justin Nozuka but you get the feeling their association is fairly recent and there was that instant and mutual affection. Looking at Chris Bond’s website and, actually, he worked on both of Nozuka’s between-albums E.P.s. There is, then, that familiarity and understanding of what he is about. Rather than radically change the sound of his 2014 and create something too commercial and strange; Bond has brought new angles and ideas from Nozuka and strengthened his work. He has produced for Eliza Shadadd and Tom Speight. His record is pretty impressive and he has had the experience of working with a broad range of artists and learning a lot from them. Whilst there are differences between what Eliza Shadadd and Justin Nozuka are throwing out there; the common denomination is their authority, passion and quality. Chris Bond has worked tirelessly on Nozuka’s latest album and the two have created this understanding and friendship. I hope they work together in the future because you can detect a respect for one another that means the music is neither compromised nor one-sided. Both have equal say and there is a terrific balance. The music is fresh and has polish but not enough so the soulfulness and beauty is washed away. I am not a big authority when it comes to producers – and why certain ones stand out from the pack – but I am familiar with Chris Bond’s work and what he is all about. The man has years’ experience and has been with Justin Nozuka for a little while. Many artists are self-producing and guiding themselves but I feel there is a lot to be said about researching and working with a producer that can bring in some objectivity and outside guidance. You only need listen to the first few seconds of No Place in Mind to know the record has been worth the wait. I am reminded of Folk greats and the best of the current market.

I will look at the record, and standout track, soon but I wanted to look at where Nozuka can head and what he is capable of. The artist is reaching out to fans and, as the album has been out for a few weeks, he is touring and promoting heavily. Once the dust has settled and the record has done its work; you wonder where he is going from there and whether there will be other songs. I guess he will record again next year and spend the remainder of 2018 touring and reaching new people. I often see artists who have early promise and lose their spark a little way down the line. It is disappointing seeing musicians lose that edge and fade away a bit. Justin Nozuka has a strong start to life and has evolved and strengthened over the past few years. His latest album is his strongest work yet and shows he wants to remain on the scene for a long time to come. There is a lot to love about his music and there are elements that other songwriters do not bring into their work. I feel Nozuka could succeed if he remained in Canada but I wonder whether he will move to the U.K. or U.S. I am not trying to dictate but the music he is putting out there deserves a wide an audience as possible. Let us see where he goes and how the next year plays out, shall we? I am keen to watch him grow and determined to stick with his music. You get so much glory and beauty coming from the music; there is an entrancing and addictive quality that means you come back and keep listening. I have seen and discovered a lot of musicians but there is something about Justin Nozuka that leads me to believe he can be around for many more years to come. Let us get down to business and look at a cut from his latest album: the terrific No Place in Mind.

Listening to the finger-picking and bouncing strings and one is reminded of Nick Drake. I get little elements and suggestions of Pink Moon (Drake’s third and final studio album) – with a bit more lightness and breeze coming through. The notes conspire and tangle; the mind looks out into the natural world at fields and streams – you have that physical and instant sense of exploration. When the hero comes to the microphone; his voice has that combination of feather-light and grave. You have a stern sense of caution but there is a wistfulness and desire to wander the land. He is heading off with no place in mind and gets some air. Maybe there has been some hard times and stress before him: he is looking to erode that friction and discover a calmer climb. The vocals are instantly graceful and stunning; you are buckled by the softness and nuance that emanates from every breath and word. The delicate and velvet-soft voice leads the listener through the song and you feel as though you are walking alongside Nozuka. The guitar remains gentle and unobtrusive but adds a lot of direction and emotional candour. The hero has no destination in his mind but he has a pack on his back and is strolling down by the river. Maybe there is no crisis and turmoil that needs to be combatted. You never feel like Nozuka is stretched and looking for a salvation. He is determined to clear the head but, rather than escaping demons and denying the truth; the man is looking for inspiration and needs to breathe. I guess every musician feels pressure at some point and needs that space to get perspective. Rather than project woe and bring the listener down; Nozuka is inviting them in as he observes trees hanging and recalling fond memories. There are embers of Classical strings and something elegant working in the background; Nozuka’s vocals are layered when the song rises and the song grows and blossoms like a flower.

What strikes me is how calm and controlled Nozuka sounds. He is painting these scenes and explaining how trees and sights along the way make him think about old summers and times past. At every stage, you are imagining and wondering where the song will head next. Nozuka’s vocal can go from touching and gentle but is capable of projecting real punch and rush. The man skips rocks in the river and jumps into the inviting waters. Drums come in and create occasional waves; there is that mirroring of the lyrics and the physicality of the song is impressive indeed. The beauty of nature and the banquet of colour keep those dark days at bay and carries the hero through the rubble. I mentioned how there is not that anxiety and need to escape in the song: maybe there are ghosts that have not left and these wandering adventures are here to banish the blues. The more the song goes on, the more you escape and submit to its beauty and teasing touch. Justin Nozuka is one of these singers who can lull you in and affect your soul but carries emotional weight and has so many contours engrained. The entire experience is fascinating and enriching. Although, in my mind, No Place in Mind, is the best track from Run to Waters; it sets up the album and tells you what is to come. I have listened to the song a few times over and there are new revelations that come through every time. For me, personally, I found a lot of relevance in the song. You can approach a track like No Place in Mind as a pure form of release – nothing personal but the beauty and entice can unburden you – or take something away from it. Whatever you do with it; I suggest you listen a few times and see how various lines and notes unfurl and sprout through time. Justin Nozuka has crafted a terrific song that warms like the sun but tempts you into a cooling dip by the river. The scents, sights and sounds of nature come through and it is impossible to listen to the song and not be taken away and affected.

Justin Nozuka has seen his music played on T.V. shows in the U.K. and has a solid fanbase over here. No Place in Mind is a track that has been out a while and gained a lot of traction on streaming sites. I have been following his work for a little bit but there are so many years ahead of him and I would urge everyone to jump onto the wagon of Justin Nozuka and follow where he goes. It is a great time for him and, with a new album out, there are new eyes coming his way. The Toronto-based musician has worked hard on Run to Waters and it has been the result of hard labour and a lot of love. Working with Chris Bond; the talented musicians has put his all into the music and wants people to connect very strongly. You listen to other tracks on the album like Hourglass and Heavy Stone and you can take something away with you. Although the eleven songs are from Nozuka’s heart and have personal relevance to him; each listener can interpret the songs and find something familiarity in there. I have connected with the songs and really found something to bond with. That is the mark of a truly great songwriter: someone who can be honest and open through music but ensure every listener is involved and part of the process. I will leave things here but hope everyone gets out there and catches Justin Nozuka’s music. I am not sure what his tour plans are – and whether he will come to the U.K. – but keep an eye on his social media pages and keep abreast of the latest happenings. There is so much going on – and much to love – and I know Nozuka will be a permanent fixture in the music industry. Run to Waters might have taken a while to get to the people but, when you listen to the songs unfold and remain in the mind, you know all of that time and focus has been worth it. Sit back, open your eyes (and mind) and watch Justin Nozuka…

STEP out into the world.  

______________

Follow Justin Nozuka

Official:

https://www.justinnozuka.com/

Twitter:

https://twitter.com/justinnozuka

Facebook:

https://www.facebook.com/justinnozuka/

Instagram:

https://www.instagram.com/justinnozuka/

SoundCloud:

https://soundcloud.com/justinnozuka

Spotify:

https://open.spotify.com/artist/1uquUYtkdKei0zuhBY9P0t

YouTube:

https://www.youtube.com/channel/UCFMHQeeSlvoc3APIAE9mX9g

FEATURE: The Barefoot/'Paul Is Dead’ Conspiracy Theories Were Wrong... Why Paul McCartney’s Genius and Relevance Will Never Fade

FEATURE:

 

The Barefoot/'Paul Is Dead’ Conspiracy Theories Were Wrong...

PHOTO CREDIT: Getty Images 

Why Paul McCartney’s Genius and Relevance Will Never Fade

__________

HIS first solo album in five years…

IMAGE CREDIT: Getty Images

will be released on 7th September and is getting people chatting and sweating – Egypt Station has a fascinating title and its lead-off double A-side, I Don’t Know and Come on to Me, have been unveiled into the world. The single’s songs, between them, show the hard-pushing and kicking Paul McCartney and the more tender and romantic songwriter. The record itself will contain sixteen tracks and include bookended instrumentals, Station I and Station II. There will be epic songs (Despite Repeated Warnings) and contentment (Happy with You); the music, according to McCartney, is like moving between stations/destinations and exploring different landscapes. Given the way McCartney protested in the U.S. recently – regarding gun violence and the need for stricter control – one cannot help but see political anger and societal observation in the titles and motifs. A lot of the wordplay and resonance stems from older McCartney work and, in many ways, it is a nice reminder of why the former Beatle has been able to stay in the public bosom for so long. 2013’s New was met with critical acclaim and showed fresh innovation and the need to look ahead – compared to more wistful and backwards-looking albums that came before. A few years down the line and there is a balance of contemporary relevance and a sojourn through his back catalogue. Many will see some Beatles-like strands and familiar touches.

That has been the case, I guess, with most of Paul McCartney’s solo career. Look at McCartney – released in 1970 – and one could detect the leftover sounds of The Beatles. A couple of new revelations and news stories have sparked a fresh desire for McCartney and what he has to offer. He was interviewed by Matt Everitt on BBC Radio 6 Music and talked about his latest album and how excited he was to get going. Everitt posed to McCartney and interesting question: whether he is good at self-editing and able to see through all the positivity and celebration. There are few who would call any McCartney music sub-standard, and so, the master has to look at his music and whether it is the best version of himself. Even at the age of seventy-six; there is no slowing the living legend. The interview with Everitt showed why Paul McCartney can never leave the heart and captivate the masses. He comes across as endlessly friendly and revealing; able to chat about The Beatles and his new life; witty and self-deprecating when he needs to be. In many ways, the current-time McCartney is not too different from the Beatle we all adored and cherished back in the 1960s. Rather than go through the annals of The Beatles – I will write a Beatles piece later in the year to celebrate the fiftieth anniversary of their eponymous album – I am delighted there is new material coming.

IN THIS PHOTO: Paul McCartney recording his album, Egypt Station/PHOTO CREDIT: Sam Rock for DIY

Not that I can claim any credit but I have a knack of wondering when certain artists are going to release more material – why such a gap?! I did it with Royal Blood (a regret I still hold) and London Grammar; I did it with Florence + the Machine and The Avalanches. I cannot claim any psychic ability – nobody can, for that matter – but I can sense when certain artists are about to brew and release new music. Maybe that is not the best superpower to hold – as opposed invisibility, super-human strength of the ability to bring four women to simultaneous climax – it does mean I can get an impression of how that artist has been thinking and working. Paul McCartney didn’t need to rush and get an album out double-quick: New was released via Virgin EMI in the U.K. and Egypt Station will come out through Capitol. The man can choose labels and take his sweet time to get the material just-so. I was fearful we would not see another McCartney release before, well…you know…but the man is back and releasing again! What we have already heard of Egypt Station suggests the Liverpool icon is in top form and showing the rest of the music world how it should be done. I guess political events around the world, especially the Trump-led U.S., have seeped into his consciousness and compelled new ideas.

PHOTO CREDIT: Joe Schildhorn/BFA/REX Shutterstock

One of the reasons I feel a 2018 Paul McCartney album is a great thing is because the big guns of music, largely, have not delivered. The finest records of this year so far have come from artists that get less attention than the big stars – it is down to the Wings lead to save the day and prove why he has remained essential and beloved since the early-1960s. Not only has McCartney written some of the finest songs of our lifetime; he gives so much to the people and, in response, there is that love and worship. When he was speaking with Matt Everitt; you were sucked in by his voice and the playful language he used. The effect you get hearing him discuss old endeavours and ventures make the heart skip a beat – God knows what it must have been like being in the same room as him! I predict McCartney’s seventeenth solo album will be one of the very best of 2018 – guaranteed to rival all the most-hyped and critically-lauded records! I am not one to cry at music – only when accompanied by projectile vomiting and disgust – but seeing McCartney join James Corden on his Carpool Karaoke almost brought me to tears. Say what you want about Corden – most people do and hold unwarranted hatred towards him – but the man has helped create one of the finest televisual/musical moments of this year.

I am not a fan of the feature myself but there have been some editions that have justified the acclaim and spotlight (Stevie Wonder appearing, for one!). Nobody would ever expect Paul McCartney to appear on it, right?! Not only did he drive around Liverpool but he played a low-attended and surprise gig at the Philharmonic pub in Liverpool. The small collection of punters was agog when they witnessed McCartney stride onto the small stage with his band in tow! The legend rattled off some old favourite – including Back in the U.S.S.R. and Hey Jude – and got people singing and dancing. Corden joined McCartney on stage for the finale, Hey Jude, and there were visible tears on the cheeks of those witnessing a true moment of history! How often will that ever happen in our lifetime…I would suggest this is a once-only event that many would love to have witnessed. To see Macca in such an intimate and charming setting will remain in the memories of those who were there for the rest of their lives! During the Carpool Karaoke segment; McCartney explained the origins to some of his songs; the pair drove through Liverpool and there was that wistfulness from the ageing musician. He fondly recalled writing a segment of A Day in the Life in a small house – where he ran for the bus and was late (we all remember that part of the track!) – and waxed lyrical about his former bandmates and coming up with ideas that would lead to unbelievable songwriting.

IN THIS PHOTO: The cover for The Beatles' final (in terms of recording) album, Abbey Road/PHOTO CREDIT: Getty Images

There is a bittersweet aspect to the recent attention paid to Paul McCartney. It is sad knowing that, in not too many years, he will not be with us and we might be seeing some of his last recordings. As much as we’d like to see McCartney continue for decades; time marches on and we cannot hold onto him forever. Whilst it sounds rather morbid; there is plenty of energy in him and the man wants to keep putting music out into the universe. I still remember hearing The Beatles’ music for the first time as a child and being stunned by this new world and strange language. It was the most evocative and memorable moment of my childhood and I always plump towards the early sounds the boys put out (1962-1965) because of that energy, sense of growth and simplicity. The Beatles developed and evolved but, at every stage, Paul McCartney kept coming up with staggering songs. Whilst some of his solo, post-Beatles work has not been golden; we can forgive him as he has given the world so much wonder and brilliance. I am a huge fan of all The Beatles’ albums and love their film work, too – A Hard Day’s Night is one of my absolute favourite flicks!

IN THIS PHOTO: The Beatles in A Hard Day's Night (1964)/PHOTO CREDIT: Getty Images/Press

McCartney exudes a modest and sense of utilitarianism we could go with running this country! He may have left Liverpool decades ago but he still knows his roots and can bond with the common man with absolute ease! There are musicians who have an ego and are willing to distance themselves from the people who make them what they are: Paul McCartney has a love for the public and, in return, there is a huge passion for him. His eyes have crow’s feet and there are shadows cast overhead. He talked to Matt Everitt and some of the songs on his latest album look at age and bad moods – the man is capable of being human and reflecting the same stressed and worries we all have. We need those songwriters who understand us and can write songs that strike the collective chord. This has always been what Paul McCartney is about: in 2018, he still reflects our desires and speaks for us. The past week or so has been amazing and seen the Beatles icon capture new minds and bring fresh material into the world. McCartney, as he said in the interview, has problems like anyone else. Whether you are President Obama (or the former President…) or John Lennon; we all have our demons and we can talk about it. With Paul McCartney by our side and putting music out into the world; we all feel less alone and have the feeling we can achieve anything…

IN THIS PHOTO: Paul McCartney recording his album, Egypt StationPHOTO CREDIT: Sam Rock for DIY

WE put our minds to.

FEATURE: Spotlight: FiFi Rong

FEATURE:

 

Spotlight

PHOTO CREDIT: @stefanoboski, @mr.focu ‬⠀  

FiFi Rong

__________

SOME artists release a few things here and there…

PHOTO CREDIT: @jamikelatif

and that is about it! You wait for ages and, before long, they get around to releasing material. That is never the case with FiFi Rong. She is about to embark on a crowd-funding campaign for her latest E.P., The Crown. The work tackles power-play and ego; machinations and divisions – topped with all the usual excellence and innovation we would associate with Rong. I have investigated her music a few times and, with each new move, you get something different and fascinating. Whether it is an icier and moonlit coda or a fierce and vibrant slam – the electronics and sonic textures she weaves are delectable and supreme. One thinks of artists such as FKA twigs and Björk when listening to FiFi Rong – her music occupies a similar ground and you get that blend of physically intense and gorgeous. Whereas her Icelandic peer looks more to the natural world and building her own world; Rong seems to collect from her surroundings and fuses all these elements together – like a hungry and agile explorer casting and surging into the world. There is going to be a lot of interest with her upcoming E.P. and I would expect a lot of people to get behind it. It is another extraordinary development and move from an artist who continues to rise and make her way through the music world.

#HappySaturday friends!
The self-proclaimed 👑of experimental one-off experiences @PledgeMusic is launching #TheCrownEP #preordercampaign @PledgeMusic next week 😝🙏 watch the ⏰&come check out one-offs & rare exclusives I got in store for you:)  Exact date/time tbc
Photo @WBB1 pic.twitter.com/Ax8JdLUwJj

— FiFi Rong (@fifirong) June 23, 2018

Go back to her Forbidden Desire EP and there is something teasing and yearning in songs such as Holy and You Hurt Me. Go back further to 2015’s Violently Silent EP and you get five unique tracks: from the stomping and rushing Slow Poison to the more elegant and seductive Since When. I will end the Spotlight feature by collating a playlist of her songs and how she has transformed in the past few years. 2017’s The Same Road and The One explore new ground: the former has a racing Pop mandate that fuses with Electronic suggestions and Alternative cuts. There is something almost island-themed and Reggae-like regarding The One. It sweats and slowly struts its way through the scene in a way I have never heard from Rong. There are so many different sides to the exotic and quixotic FiFi Rong. Look at her 2013 album, Wrong, and you have all that confidence and variation right from the off. The choice track, in my view, is Hurt Outa Sudden. It is a juddering, mysterious thing that mixes Portishead, Björk and a world of music into a bubbling cauldron and lets it simmer. There is no denying how brilliant Rong was as early as 2013. Although her music brings in more light and range now – she has mutated and brought in greater width – you cannot deny the originality and sense of direction she sported back then.

PHOTO CREDIT: @stefanoboski, @mr.focu ‬⠀

I am excited to see what she comes up with on her new E.P. and whether she reverts to the darker world and more nervy sounds of her earlier work or continues with the sort of thing we heard on this year’s Awake – an E.P. that showed breeze, breathy vocals and a melting of positive Pop and edgier sounds. Horizon, from the E.P., is one of the best things I have ever heard from FiFi Rong: it moves through motions and stages and, whilst the lyrics grab your ear and whisper into your mind; the composition stutters, jabs and runs in all sorts of directions! The sheer passion and love Rong has for the music is what captivates. She is not conforming and aligning herself according to marketing zodiac signs and label demands: what she puts out is done in her own way and she only moves to the beat of her own drum. Alongside the music itself, you get fashion, style and innovation. Rong is someone who can take care of every stage of production and has a great knowledge of production and music technology. She is as interested in the workings of machinery and technology; how various sounds and effects can emphasise emotions and introduce vivid imaginations. Although there is other personnel on her work; the control and influence exerted by Rong herself mean there are fewer hands picking and pulling away – the music does not suffer and sounds more natural and free because of it.

I have mentioned a few other musicians – each of them is known for creating their own identity and standing out from the pack. FiFi Rong’s Asian background goes into her look and music. You have the fusion of Eastern designs and makeup; that translates into her music and you get a great flavour of Asia. Alongside this is a U.S./U.K. combination that makes Rong a fascinating and eye-catching proposition. There is immense beauty and sexuality in her work; a subtlety one moment that goes to rapture and ecstasy – that seamless unity of the delicate and passionate makes her such a force in the industry. The images one gets from her social media accounts certainty grabs the brain and gets into the soul. She mixes up her images; from black-and-white shots that contain smoke and beauty to colourful and bright-lit shots that show that explosive unification of East and West. In an age where few artists are regularly providing change and images; it is nice to see Rong take an offensive outlook and showcase her talent regarding imagery and music. The way FiFi Rong engages with her fans and has that connection is another reason to gravitate towards her music. She is a complete artist and somebody who makes every effort to push boundaries and defy the odds. I have featured Rong a number of times but keep coming back because her world and music gets bigger and stronger.

PHOTO CREDIT: @parisseawell

One could look at highlights and which period of FiFi Rong’s career is the best. It is impossible to limit your views and get to grips with the enormity of her work. I love how she has changed and the way her music continues to pick up new ideas and keep the audience guessing. Big radio stations and musicians are backing her music; there is no denying the brilliance of her design and how keen her ambitions are. The Crown is going to be a much-anticipated release and one I am really looking forward to. Rong has travelled around the world and is attracted to different people and cultures. Like fantastic innovators – modern-day geniuses like Damon Albarn – Rong looks around her and brings worldly eclecticism into one place. Her stock and world is a fascinating place and one everyone should be involved with. I shall leave things here but urge people to keep their eyes cast her way – the rest of this year is going to be intense and exciting. There are few artists out there like FiFi Rong. Surrender to her magic and let the incredible forces of nature get into the blood and do their thing! She has been around for a few years but there are many more years left in her. It is scary to think how far along she will be in a couple of years, even. If anyone was primed and ready to take her music to the mainstream and mix it up then it is FiFi Rong. When you listen to what she is producing right now then you have to think that moment is…

RIGHT around the corner.

___________

Follow FiFi Rong

Official:

http://fifirong.com/

Twitter:

https://twitter.com/fifirong

Facebook:

https://www.facebook.com/fifirongmusic

SoundCloud:

https://soundcloud.com/fifirong

Spotify:

https://open.spotify.com/artist/5bUE6ronjsaGdIoeVGfFoj

YouTube:

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

Bandcamp:

https://fifirong.bandcamp.com/

INTERVIEW: Anna Aaron

INTERVIEW:

Anna Aaron

___________

FROM a couple of U.S. artists…

I am hopping over to Switzerland to speak with Anna Aaron. She has been telling me about the single, Why Not, and whether there is going to be an E.P./more singles coming before the end of this year – I was interested to know what sort of music and sounds inspire her own.

Aaron talks about meeting Sophie Hunger and its impact; what the scene is like in Switzerland at the moment; whether there are gigs coming up; which new acts we should be aware of – she tells me whether there is any time to relax away from music.

___________

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

Hi! I'm great, thanks; I hope you are too. We released a new song on Friday and the video for it is coming next - so it's been a busy week but it's going great.

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

My new album is about my childhood which I spent with my family in Asia. I tried to find out which parts of my imagination and inner-images are influenced by those memories and to somehow translate it all into songs. It's like building a dream-world, because it's not inspired by the actual thing it refers to but by the thing as it exists in your personal memory. To explore those fields, musically, can be very interesting.

What is the story behind Why Not? How did it start its life?

Why Not was one of the first songs I recorded at home alone. I was working on the new album with my brother in his studio but continued writing new material parallel to that. I never really meant to share the song because I thought the lyrics made me too vulnerable emotionally but, at some point, it leaked out to a few of my friends and I realized it seemed to touch a nerve so I finally decided to get it mastered and it ended up on the album.

Is there going to be more material coming this year? What are you working on?

Yes. There is a lot more material coming. We will release two more singles before the end of the year - then the album - and then I'll probably just continue releasing songs because I've been writing a lot.

You are a Swiss musician. Is there a big music industry in the country? How easy is it getting noticed?!

I think, among other musicians, it's not so hard to get noticed because the community is very enthusiastic and supportive - and everyone is interested in what everyone else is doing, which is nice. However; I guess I'm referring to more of an underground scene here. The ‘official’ music industry is a different story. If your sound is a little more uncompromising or adventurous it's next-to-impossible to get airplay, for example. Switzerland is so small it gets swallowed – we just listen to what's big in the neighbouring countries or in the U.S.A.

Tell me how you came to meet Sophie Hunger – one of the first people to really connect with your music. How important is she to your success?

I was recording demos on my mother's computer and uploading them to the internet. One day, Sophie Hunger found them and I still vividly remember the sentence she wrote on my page: “Ich verspüre das Bedürfnis diese Musik aufzuessen”, which means “I feel the urge to eat this music”. She was not yet as internationally known as she is today but was becoming an underground cult celebrity in Zürich so, obviously, I kind of lost it when I saw she had been listening to my songs.

She introduced me to her management a few months later and they offered me a contract. Sophie lives in Berlin now and is releasing a new album soon. She still means a lot to me.

What sort of music did you grow up around? Was there a specific point where you knew music was what you wanted to do?

I think the point when I achieved the self-confidence to call myself a musician was when I realized my work was developing a life of its own and it was leading me somewhere. It suddenly became this firm, stable thing that I felt I was able to lean on. I knew from then on it was good enough and real enough to always support my personal identity.

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

My drummer and I are preparing to play some shows in Switzerland and Germany till the end of the year and the full tour will start when the album is out.

Might you come and play over in the U.K. at all?

I definitely hope so!

What do you hope to achieve in 2018?

I'm teaching myself to become better at producing so hopefully I can make some progress this year and finally become a professional nerd.

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

My favourite memories related to touring and recording are the funny ones – for example; I sometimes still laugh at the jokes we made with David Kosten and Ben Christophers when we were working on my second album. They have a silly and ridiculous humor; I was literally crying with laughter at times. Or, one night in the Czech Republic our tour bus was extremely dusty from the road and, when we came back to it after the show, someone had written on the windshield with their finger: ‘I wish my wife was this dirty’. It's the silly little memories that stick.

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

Agape – Agape/Love – Love by Popol Vuh; Loveless by My Bloody Valentine and In the Aeroplane Over the Sea - Neutral Milk Hotel.

What advice would you give to new artists coming through?

Try to teach yourself as much as possible; it's so easy nowadays with the Internet. Your sound will retain so much more of its purity if you shape it on your own as far as you possibly can.

IMAGE CREDIT: HEX

Are there any new artists you recommend we check out?

I recently heard a band play live that blew my mind; they're called HEX and they're from Geneva. ASBEST, another band whom I love, was also playing at the same festival. They recorded their debut album in the U.K. a few weeks ago.

PHOTO CREDIT: Emilie Zoé

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

I have never-ending to-do lists at the moment so the times I actually get to sit down and focus on music really feel like getting to be alone and do what I want. I don't feel the need to unwind from music. When I come home from touring, though, I just sleep for three days.

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).

Thanks! My friend Odd Beholder's song, Coins! “If you wish upon a well/you cannot drink the water”

_____________

Follow Anna Aaron

Facebook:

https://www.facebook.com/annaaaronmusic/

Instagram:

https://www.instagram.com/annaaaronmusic/

Twitter:

https://twitter.com/annaaaronmusic

SoundCloud:

https://soundcloud.com/anna-aaron

YouTube:

https://www.youtube.com/channel/UCD7ke46wU97XdHKBaG5hwPg