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

FEATURE:

 

Sisters in Arms

IN THIS PHOTO: Qveen Herby/ALL PHOTOS (unless credited otherwise): Getty Images 

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

__________

THE penultimate instalment of this feature…

IN THIS PHOTO: Lauren Housley

overtly mixes the contrasts of summer: the blazing heat and rushing lust together with the sleepy and romantic evenings. It is a playlist that, again, covers a multitude of genres, artists and areas; guaranteed to get inside the head and provoke further investigation. I hope you explore the artists and follow them closely as, between them, we have some definite future stars. As the sun starts to go down and the heat drops (slightly); spin the playlist and escape into a weird, comforting and memorable…

IN THIS PHOTO: Molly Hammar

WORLD of music.

_____________

Natalie Shay – Perfume

Roz Yuen – Feels So Good

Qveen Herby – SADE IN THE 90S

Tally Spear – Fade to White

Rae Okino – Mind

Moscow Apartment – Be You

Molly Hammar – Bathtub Moments

Bianca Ryan – Remember

Catherine McGrath - Lost in the Middle

Mitski - Nobody

Robyn Cage – Space Oddity

PHOTO CREDIT: Brittany Berggren

Lindsay Ell – I Don’t Trust Myself (With Loving You)

Freya Ridings – Ultraviolet

Only Girl - Bittersweet

HOTO CREDIT: Bill Bernstein

Rachael Sage – Alive

Lauren Housley – My Sleeping Heart

Elley Duhé - LOST MY MIND

Accü – Did You Count Your Eyes?

PHOTO CREDIT: Bobby Mandrup 

Nelson Can – Downtown

Dream Wife (ft. Fever Dream) - F.U.U.

Lauran Hibberd – Fun Like This

DIDI – Fast and Furious

Roxanne de Bastion – Rerun

Sophie Simmons – Burn Me Down

PHOTO CREDIT: Jesse Crankson

Lyves – Still

Starling – Profiteroles

FEATURE: Moans + Longing: Artists and the Long Pause Between Albums

FEATURE:

 

Moans + Longing

PHOTO CREDIT: Unsplash 

Artists and the Long Pause Between Albums

__________

A new Florence + the Machine album…

IN THIS PHOTO: Gemma Hayes/ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images

is out on Friday and, whilst it going to receive terrific reviews and do great business; I am relieved there is something out there – her last album, How Big, How Blue, How Beautiful, was only released three years ago but it seems like a bit of a gap. There are other artists who take that extra-long pregnancy to extreme lengths: The Avalanches released their debut, Since I Left You, in 2000 and only followed it up two years ago! Whilst Florence brings High as Hope to us; there are other artists who I have been looking out and wondering if the ellipsis between records has been worth it! I have written about this before when Royal Blood and London Grammar released their sophomore cuts – both arrived after a few years away from the mainstream. One of the exceptions to my general rule – not leaving too much of a pause between records – is a certain Paul McCartney. He released the album, New, back in 2013 (sounds ironic when you consider his follow-up is not out yet) and surprised us all with the announcement Egypt Station is coming out way in September. We can forgive The Beatles legend a little time to gestate, relax and ensure his music sounds just right. He has been in the music industry for so long as influenced countless musicians; he is not dependant on label approval and not concerned with keeping people interested because, like; well...he’s Paul McCartney!

The reason I have chosen Gemma Hayes as the ‘cover star’ of this article is that I am keen to hear more music from her. The fifth studio album from her, Bones + Longing, came out in 2014 and it is high-time the Irish wonder treated us to some more music. Her voice is that blend of heavenly and raw-toned; her wordplay and sense of connection (with the audience) is tremendous. I am a fan of Hayes’ music and feel we could do with her unique insight and sound. Other artists such as Natasha Bedingfield – not to everyone’s tastes, I know – has been relatively silent since 2008 and many fans are eager for new work. Maybe I am being a little harsh on Gemma Hayes: four years is not a long time and she has a busy creative and personal life to juggle. Beck took six years to follow up on 2008’s Modern Guilt but has released two albums since then. Lauryn Hill has only released one album (The Miseducation of Lauryn Hill in 1998) and there are many others who would put an elephant to shame when it comes to holding back (their pregnancy can last anywhere up to two years!). It seems, though, every time I complain about an artist leaving gaps between records, low and behold, they bring something out.

I sent psychic grumblings out to the universe regards Paul McCartney and Jack White when I noticed a bit of a period between releases but I wonder whether there is too much pressure on musicians bringing stuff out regularly. There are extremes where you hear a brilliant album and then have to wait many years for anything else to come. Gone are the days when the biggest artists would release an album every year (or more, in many cases) but there are expectations that come from the public and labels. The reason big bands and artists could bring out albums so regularly was the comparative lack of competition and stress in the music industry. There has always been a competitive burden but now, with social media and streaming, people are getting more restless and patient. It is harder to stand out in the mind and resonate with so many artists doing the same thing. I wonder whether the way artists are tackling this issue is the right way of doing things. I mentioned two acts, London Grammar and Royal Blood, who released successful debuts and saw huge tour demands come from that. Rather than capitalise and strike whilst the iron was hot; they left it too long and brought out records that added very little to their debuts. It is a hard balance to strike I guess. You can hunker down in the studio and see if that urgency produces wonder or spend time honing and thinking about new angles.

IN THIS PHOTO: London Grammar/PHOTO CREDIT: Emma Viola Lilja/NME

I hold every hope Gemma Hayes will be back soon; there are other artists where I wonder what they are up to and whether they are leaving too long a gap between records. Paul McCartney’s unexpected releases, lately, show that time away has done the legend good: the first tastes of Egypt Station mix McCartney’s early solo career with classic Beatles sounds. I know artists like Hayes have faced pressure from record labels and been forced to make their music more commercial and ‘popular’. I wonder, too, whether artists are rebelling against labels and trying to be less commercial and obvious. The tendency is for acts to bring out great albums and then, when labels see they have done well, to do the exact same thing and quick-release a duplicate. A lot of artists, especially women, are styled by the label and made to conform with a certain ideal. Maybe that involves make-up and tight wardrobes; leaving nothing to the imagination and placing sex and flirtation over music and integrity. That is not always the case but you hear of artists unhappy with how they are marketed and that need to do things their own way – hence, the pause between records. Maybe we need to be more patient as consumers and respect an artist’s right to release music at their own rate.

PHOTO CREDIT: Unsplash

I worry, though, about the size of the market and what effect a long wait between albums can have. Look at articles like this and this that looks at big artists who took an awfully long time to bring out fresh material. It is an interesting debate but I feel the debate is not as simple as artists dragging their heels and endlessly fettling. Maybe The Avalanches are a bizarre case of disappearing and losing focus – other artists have taken over a decade to follow up albums – but what is the acceptable time between records? So many new artists are bringing stuff out regularly to keep in the mind and ensure they have an ear. Increased competition and technological development mean songs can be produced quicker but, with that, sees thousands come out every year – if you sound like someone else then you are less likely to succeed, endure and carve out your own market. Everyone is free to create and release at their own rate but it is true we are spending less time around whole albums and accessing music like we drink water. We tend to see an album come along; pick a few tracks from it and then that it is it – we put it aside and, unless it is really fantastic, we move on to the next thing.

PHOTO CREDIT: Unsplash

Perhaps I have opened up another argument, or there are no answers, but there is that concern people will forget about you if you leave too long a wait between albums – or they forget the previous L.P. and let their minds wander. I think, if we look at why artists take a long to follow up albums, we can get to the root of the issue. Maybe it is that need to be radically different; perhaps they are being guided and told what to do by labels and other people; they might want to concentrate on family and take a breather. A lot of it comes down to the pace of the music industry and how hard it is to stand aside or do something genuinely radical. Maybe artists want something to be as good as possible: putting out a rushed and scrappy record could do more damage than leaving it years to do anything! I guess we could all do with appreciating music more and, instead of digesting everything without breathing and moving on; take time to listen to an album and artist – properly enjoy what they are putting out there. When it comes to releasing music and listening to the final project, maybe patience really is a virtue. Those artists who we assume are out in the wilderness and are not coming back; I am sure they are regrouping and producing albums that are different and personal. The likes of Gemma Hayes, who has faced commercial expectation and label interference, has earned the right to release music when she feels ready; others are trying to follow big releases and make the wait worthwhile. My biggest hope and concern is The Avalanches and whether they will wait another sixteen years to release album three! There are tolerable periods of creativity but taking that long; sorry boys, really is…

IN THIS IMAGE: The cover for The Avalanches 2016 album, Wildflower

A bit too much!

FEATURE: In the Days of Wine, Lavender and That Oft-Repeated Britpop Moment… Why Caitlin Moran’s Voice and Work Is Ever-Relevant and Inspiring to Me

FEATURE:

 

In the Days of Wine, Lavender and That Oft-Repeated Britpop Moment…

 Why Caitlin Moran’s Voice and Work Is Ever-Relevant and Inspiring to Me

__________

MAYBE it seems odd to focus…

on someone who, in her work as a journalist and novelist, does not write about music – not for the most part, at least. Caitlin Moran is someone who, for many years, has been a bit of a spirit guide! Her latest work, How to Be Famous: A Novel, is out, I believe, tomorrow and she is promoting it right now. I heard her speak with Stuart Maconie and Mark Radcliffe – on BBC Radio 6 Music yesterday – and it (the novel) concerns a nineteen-year-old who lives in London and writes for an ultra-super-cool magazine. It is framed and captured during the giddy and flash-in-a-pan Britpop regency and sees the heroine fall for a musician, John Kite, whose album goes to number-one. Before long, their worlds separate and the trappings of fame – in foreign and strange tone – becomes a deal-breaker. Johanna Morrigan (A.K.A., Dolly Wilde) starts her own column and exposes ‘the Famouses’ around her: those who are enjoying the luxuries and access of a high-profile record (those are a bit arsehole-ish, it seems). Morrigan/Wilde’s rising stock and notoriety means she has to face sacrificing the one person/thing keeping her grounded – it is an eye-opening and vivid work that reminds someone like me, around and coming to school-age maturity, around the Britpop time (between 1993-1996, in broad terms).

Previous Moran bestsellers – like 2011’s How to Be a Woman and 2016’s Moranifesto – have dealt with the author’s lives and experiences of being a woman. This is a fictional foray that has kindled new ambition in me. In addition to her work as a novelist/comedy writer, let’s spin the cassettes back to track-one; Moran is one of The Sunday Times/The Times’ biggest and most-popular writers. Her current piece, a parental guide to the new (complex) GCSEs is available and demonstrates the wit, observations and honesty that has made her a star writer. She has been writing for The Times since 1992 and, once upon a time, was a writer for Melody Maker. If I can wind the tape back a little more – without unspooling it! – and her work pre-The Times/Sunday Times and it is the way she has risen to prominence and been able to affect journalism that amazes me. Raised on a council estate in Wolverhampton – anyone who has seen her sitcom, Raised By Wolves, knows the autobiographical notes it strikes – she received very little ‘formal’ education and her early life was defined by instability and a lower-working-class reality. Her father, a former drummer, was confined to the sofa by osteoarthritis and Moran’s clan were dubbed ‘the only hippies in Wolverhampton’ (great band name, by the way!). Moran’s talent for writing and natural ability saw her, aged fifteen, win The Observer’s Young Reporter of the Year, and then, begin her path into journalism.

Rather than vacillate and pitch a biopic of Caitlin Moran – that possibility cannot be far away, surely?! – I wanted to outline why she is someone we should anoint an (unofficial) music leader. Although her music journalism days are behind her, Moran’s knowledge of the industry and exceptional taste (she picked Janet Jackson’s Rhythm Nation as a tune on Radcliffe and Maconie’s show: a real banger, she says, that is proper and does not dumb things down) marks her as a ubiquitous and utilitarian voice. One of the reasons I write the way I do is because of her. I love the work she created pre-The Times but it is the work/novels she is putting out now that really get to me. I, as a man, have an instant burden on the shoulder: part of a gender who are holding musical equality back and seeing the middle-aged, middle-aged minds of the business stagnate evolution and festoon music’s potential-perfume with their proprietary blend of ignorance and lame excuses – in other words, the men who run the show are c*nts. Although many are helping to accelerate gender equality; there is not a lot of vocal outcry from male music journalists. I make every effort to highlight women’s importance in music – see my last few features, for example – but feel I am in a minority. As a working-class writer, avoidably so; it feels like my aspirations to write regularly for someone like The Guardian, who I shall nick from/quote soon, seems far-fetched and foolhardy.

Caitlin Moran is someone who speaks to me, and many like me, in a very real and understanding fashion. Although; I doubt she will read this piece, she has influenced me in big ways and continues to open my mind (and eyes). Listening to her Desert Island Discs turn from January of last year and I noticed some similarities (between her and me). I have a huge love of Kate Bush and one of my earliest memories of her was seeing her in Wuthering Heights’ video in that white nightie (or a dress, I guess!). My favourite album is The Kick Inside, from where that song is from, and it seems Moran saw that video and aspired to be Bush (if it as easy as wearing a nightie and spinning around…); she loves The Beatles – choosing only one for her appearance (the Lennon-vocal-shredding Twist and Shout) – and feels like there is a surfeit of working-class writers in the media. It is great to feel there is someone out there who thinks like me and, for someone yearns to affect change and change people’s minds; maybe it is possible to get to the same position as Moran. Music is in a bit of a state where sexism is being talked about but ineffectively combatted; the working-class bands are working underground and not visible in the mainstream; there are cracks and issues that need to be addressed and tackled.

Caitlin Moran’s new book addressed Britpop and, in interviews, it seems the defining image is Noel Gallagher going to 10 Downing Street and, in a way, getting Labour into Government (in 1997). There were some great albums/times but we seem to look at that time in British music with rose-tinted glasses – the sort Liam Gallagher would have rocked with his hands behind his back! – but Moran was writing and blossoming during that time. Loathed to call her career a ‘journey’ (lest I vomit blood and destroy my laptop!); she has made her way from near-impoverished foundations and risen to become one of this country’s premier writers: an inspiration and guide to anyone who feels they cannot make it in the industry. My situation is slightly different but I have been given so much impetus and definition listening to Moran speak and read what she is putting out into the world! Before I wrap this piece up, and provide a conclusion/semi-coherent outro; a few points struck me regarding a recent interview with The Guardian – that shows why Moran is one of the finest voices in Britain at the moment:

“Your books and your sitcom Raised By Wolves are based on your real life. Do you ever worry that you’ll run out of material?

Within the panoply of fat, clever, working-class girls who really like to shag – I don’t think we’re overserved for those role models yet. Also, teenage girls are a cipher. Their concerns tell you precisely what the problems are with being an adult woman in any era. And right now, one in 10 teenage girls is being referred to mental health services. Girls are rejecting the idea of being an adult woman”.

The question/answer that properly caught my ear was this:

“You once said, when you’re thinking about the next day’s writing you salivate. Do you do anything particular when you’ve finished writing?

I don’t just salivate. I get tingly nips and my knees go warm. This [laptop] is my playing field, I’m like David Beckham there. I always time my finish so it’s exactly the minute before my kids come home from school. If I’ve smoked a lot, I’ll quickly have a shower so they can’t smell the fags”.

The interview covers everything from GCSEs, hairiness and masturbation – not in the same question! – and is a typically funny, accessible and memorable chat: considering how many guarded and phoned-in interviews you get now; it is refreshing seeing Moran so open and down-to-earth. Although those snippets I have quoted (legally, I hope: if not, then The Guardian has grounds to raise multiple lawsuits!); it is not hard to see why I, and many others, gravitate towards Caitlin Moran. I hope How to Be Famous: A Novel is not the only music-related offering we see from her. Her latest novel is a story that, although set back in the '90s, seems strangely appropriate and unchanged in 2018 – a reflection regarding social media’s impact on fame and the conflictions we have in music. I don’t know. What I do know is that, as I grope for an opening into the welcoming bosom of mainstream music media – perhaps not the most P.C. analogy/description I could have attached to my dreams – I keep sipping from the fountain of Moran (or something far less wanky!) and uncovering truth and motivation.

The final reason I wanted to talk about her was something she said in the aforementioned BBC Radio 6 Music interview: people do not escape to cities like Manchester to pursue ambitions and work in music. London has always been the go-to Mecca – that is where Moran is based – but, in actuality, I am embarking on relocation to Manchester – a chance to evade the boredom and haemorrhoids of the Home Counties and go mingle with some proper-boss people (I might get beaten up regularly!). It is a scary endeavour and a big risk, I realise that. It may not work or be slow to formulate (I am a little bit shi*ting it at the moment…) but I need to do something different and live somewhere that can accommodate my personality and does not seem so foreign – even if it means a brief stay that sees me come down to London instead. Among the doubting tones and northern clichés (apparently it always rains in Manchester and it isn’t all that), I am given much strength and motivation listening to/reading Caitlin Moran. As someone who is working-class and suffers from a cuisine-fusion of psychological troubles (clinical depression farts in the bed of Asperger’s; insomnia is already awake and anxiety is pacing the room…), getting to where I want to eventually go – a show on BBC Radio 6 Music, too, would be ace – is hard enough. Having someone like Caitlin Moran, who endured worse and is humble concerning the fact, out there in the world is invaluable. Make sure you snap up How to Be Famous: A Novel (details at the foot of this feature) and I will leave you with a final snippet from her Guardian interview. This quote personifies why she is dear to my heart and a bit of a role model:

“…Every book of mine is a list of topics I haven’t seen addressed, taboos that need to be busted, secrets that need to be told, things that I want to boggle at. What is everybody else not talking about or too scared to talk about?”

Caitlin Moran is in fine form and continues to ask the questions few of us dare. At a time where we are being given obfuscation and misled by those in power; it is just as well we have someone out in the media who is willing to show…

PROPER leadership, reality and clarity!

______________

Caitlin Moran’s How to Be Famous: A Novel is available from Thursday, 28th June, 2018 through Penguin Books - https://www.penguin.co.uk/books/1093443/how-to-be-famous/

PHOTOS/IMAGES: Getty Images/Press Association

INTERVIEW: Natalie Holmes

INTERVIEW:

Natalie Holmes

___________

IT has been exciting speaking with…

the Bristol-based songwriter Natalie Holmes about her latest single, Hideout. She reveals its background and reveals where she gets the energy to keep putting out material – she has released four successful E.P.s and shows no signs of slowing!

Holmes chats about Bristol and which musicians she is influenced by; what is coming up in terms of gigs; which upcoming artists we need to look out for; the advice she would give to musicians emerging – she ends the interview by selecting a rather underrated gem.

___________

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

Hey! It’s been a bit of a mad one, actually. I’ve been working on a few top lines for some D.J.s; trying to get them all finished, recorded and sent over from the ‘studio’ (bedroom) whilst having a messy insomnia stint and working at the coffee job! But, the plan was to get it all out of the way and allow headspace for the release this week; so, mission accomplished!

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

Of course! My name is Natalie Holmes; I live in Bristol (U.K.) and am a singer/songwriter/musician/food nerd.

Hideout is your new single. What is the story behind it?

Hideout represents quite a small window in my life. I was battling with a relationship trying to make it work on and off for over a year. There was always something that pulled us together despite all the things that were clearly very wrong and I felt like my true self had to hide away.  On one of the occasions, when we started over, I had an overwhelming sensation that everything was OK now and I wanted to combine this with my increased detachment with material objects.

So, Hideout is about realising you don’t need any of the temporary things you think make you happy. At that moment, all you need is the universe and the person that makes you happiest. You lose the walls around you.

Might we see more new material a bit later in the year?

Definitely. I have a feeling Hideout is just the beginning of a new wave of love for what I do and the boundaries I can push with it! There’s so much more to come.

IN THIS IMAGE: Natalie Holmes' E.P., Calm Places, was released last year

You have already released four successful E.P.s. Where do you get the energy to keep putting out amazing material?!

Well, ‘amazing’ is a generous word to label everything I’ve released, but thank you! I’ll be honest: I can’t reign in the amount I write; I’d have twenty E.P.s out if it was that easy! But, I suppose, as a songwriter, you really want to get your best songs heard so releasing anything and everything would drown them out. It took a long time to pin down the songs that ended up on my E.P.s, but I don’t regret any of them. I think energy is something that comes instinctively with a song you’ve written and love - you can feel when it’s right...and the excitement and adrenaline push you through everything that comes with it.

 PHOTO CREDIT: Matt Greenwell Media

How do songs come to you? Will you sit and write or let inspiration strike?

Inspiration, nearly always.

It doesn’t take much for something to hit me hard and I’ll be scribbling down words and phrases or singing into my phone wherever I am. However, on the occasion that I’ve had a quiet few weeks in my head, I’ll just sit and play the piano and see what comes. Sometimes, that’s inspiration enough! If I had a real acoustic piano, I swear I would write two songs a day - the feel and sound of it make my whole being melt.

Which musicians did you tune into from a young age? Was there a single artist/moment that inspired you to get into music?

This question always makes me nervous as I don’t have the typical answer of being inspired by ‘classics’ that I was brought up on as a baby. My family aren’t particularly musical at all, but I am so grateful they put me in piano lessons when I was tiny. But, yes, I’m afraid to say I definitely grew up on S Club 7, Paramore and Avril Lavigne and only found out who Joni Mitchell was when I was in my twenties. It’s shameful. I was simply inspired by snippets of everything. I still listen to Let Go by Avril Lavigne now and am like: ‘Damn; these are great songs!’ The first couple of artists I began to idolise were Sara Bareilles, Ellie Goulding (first album) and Bon Iver.

However, in the last two years, I’ve been hit with a wave of artists that have really touched and inspired me on a whole new level; notably, Laura Mvula, whose music I fell in love with just before I wrote Hideout.

How important are Bristol and its people regarding your music?

I’ve never thought about that! I’m determined to stay in this absolutely glorious city for its positive, creative and earthy vibe. I feel grounded here, despite having moved house three times in the past year. However; I like to focus on the feeling that I could be OK anywhere, that my happiness isn’t because of the place I exist; or else I’d be leaving it behind extremely often! I feel lucky to have this beautiful place around me but feel like it’s more for the non-musician in me: it’s my escape when I need to get out and breathe, see friends; eat amazing food and visit all the wonderful independent business owners. It’s an unusually magical city community that I avoid tying in too much with work.

Saying that; I have incredible support here from friends and family as well as from the local radio and BBC Introducing. I never fully realise how many people in this city are supporting my music.

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

We are booking a band tour for the end of October! Dates aren’t set in stone yet but I know we are; starting at The Globe in Hay-on-Wye on 19th October, followed by dates in Bristol, Winchester; Birmingham, London; Leeds and more.

What do you hope to achieve in 2018?

I’d love for Hideout to be the song that really gets out there and is heard. It feels like the right time and the right song as I’m so happy with the balance of commercial and musical traits in it. It would be so amazing to tour in October and sell out some venues: I really can’t wait for the day I can play a gig and feel a room completely full of people who are there fully to support me! There’s nothing quite like that chemistry.

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

There are so many! The one that is going to stick with me forever is getting the opportunity to tour with Above & Beyond, as their vocalist, on their world tour. It was singing in front of a sold-out Hollywood Bowl and Royal Albert Hall that showed me the enormity of what you can feel on stage; when there are THAT many beaming smiles in the audience and everyone is so together.

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

I would LOVE to tour with Sara Bareilles, Laura Mvula; Aurora...all artists that I truly believe in and admire. I imagine these girls are all insanely wonderful human beings too.

My rider would have to include some kind of creative salad box buffet and healthy sweet treats to get me through like banana bread, dried fruit and nuts. OH…and always, always Lindt Excellence 90%. The odd bottle of high-quality Italian red would also be on the cards…

What advice would you give to new artists coming through?

This takes time. I started uploading videos of me singing on YouTube in 2010. It’s taken me eight years to get to this point and I still haven’t ‘made it’. It’s really tough seeing other artists around you get their lucky break and you feel like you must be doing something wrong or you’re not good enough.

But; the way I think of it is the longer it takes, the longer you’ve got to grow in your own person and really appreciate being young whilst carving your music into something you’re truly proud of.  Then, when the world finally hears you, you know you did your best and you can be truly proud.

IN THIS PHOTO: LP/PHOTO CREDIT: British Vogue

Are there any new artists you recommend we check out?

I’m not sure about ‘new’ in the general sense, but artists that I’ve been really into lately that are slightly less in the limelight would be: Francis and the Lights, LP; Martin Luke Brown and Balmorhea.

IN THIS PHOTO: Martin Luke Brown

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

Time for other things has become increasingly less since I moved out of my parents and have been tackling the R-word. However, I make sure I always make time for myself as it’s just so crucial. I love food, a lot, so either cooking or exploring the Bristol food and drink scene! Lately, I’ve been really struggling with insomnia and time away from music has been diminished as I’m finding less and less time where I’m actually functioning to get things done. I can’t count the days of no sleep as healthy downtime as it’s the one thing in my life that my brain can’t battle and it definitely isn’t refuelling.

Then, when I have a night of sleep, I’m like: ‘I must get everything done today whilst I have the mental capacity, just in case!’ But, on a whole, mental and physical wellbeing is hugely important to me and I make sure I get out and about on my bike whenever I can to break up the hours spent inside recording, writing or doing admin.

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).

Ooh, yay! As I mentioned her before; can you play Tokyo Sunrise by LP? Thank you!

_____________

Follow Natalie Holmes

PHOTO CREDIT: Rob Potter Creative 

Official:

https://natalieholmesmusic.tumblr.com/

Twitter:

https://twitter.com/_natalieholmes

Facebook:

https://www.facebook.com/natalieholmesmusic

Instagram:

https://www.instagram.com/_natalieholmes/

YouTube:

https://www.youtube.com/channel/UCuA8thhuxHBCzbgXaMK0M9g

Spotify:

https://open.spotify.com/artist/31dQ6lbXKJp9yLgUhb8qkJ?si=vLc2im5vQTqc-N3TTcTjFw

SoundCloud:

https://soundcloud.com/natalieholmesmusic

INTERVIEW: InAbell

INTERVIEW:

InAbell

___________

THINGS are getting pretty busy and hectic…

for InAbell right now. The Israel-based artist talks to me about her single, Break Your Fall, and the inspiration behind the song. I ask what sort of themes and ideas we will get from her E.P., Humble Wishes – she discusses inspiration and artists that have compelled her.

I was excited to know whether any gigs were approaching and what InAbell gets up to away from music; if there are any new acts we need to look out for – she reveals her ambitions for the coming months.

___________

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

Hi (smiles). Things are pretty intense. I'm working on a second album while the first E.P. is still not fully-released - so my days are filled with music creating and sharing. It's interesting.

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

Gladly. Music was always a major part of my life but, to a certain point, I was more a consumer of music than a creator. I was introduced to music at an early age, even though my parents don't work in the field. My taste has varied through the years between different genres. I always loved singing and I find it beautiful that its part of our natural built-in system.

Us human beings like chocolate; the attraction of sex and that love of music. Singing means sharing my voice and offering the listener the chance to connect with me. I always feel a sort of intimacy with people who tell me that they have heard me singing.

Tell me about the track, Break Your Fall. How did it start life? Is there a story behind it?

Break Your Fall started out instrumental. I wrote the simple line of octaves and mostly liked the sound of the instrument and the warm feeling when the bass comes in. I added lyrics and came with that to my brilliant producer, Roy Avital. Together, we elaborated the song to a more interesting level. The idea to include the harmoniser on the vocals came from Roy and I loved it immediately. That was the turning point in the song’s becoming. 

It's, basically, a song about supporting someone in a complex situation. It speaks about a person who is troubled in a twisted way and is going through a dark and obsessive issue. The track’s dynamic flow goes from a stable and collected to a point of losing control and feeling overwhelmed with emotion. 

It is from the E.P., Humble Wishes. Are there themes and life experiences that impacted the songs? Which song do you count as a highlight?

The whole E.P. is a product of a search. Every song has its story and is different in a way but I'm (overall) pretty pleased with the general flow of the whole thing. The first single that was released was Fresh Honey. I think it was an easier song to digest, while Break Your Fall is more minimalistic and artistic. The third and final single I'm about to release, before the full E.P., is called Nightgown - and I think that it's sort of a blend between the sweetness of Fresh Honey and the darkness of Break Your Fall.

How do songs come together and form? Do you set time to write – or do you let inspiration strike and piece together work gradually?

The songwriting process has changed for me in the past few years. The essence of the song usually comes up - sometimes it is unexpected - and when that happens I write down a few words and keep them for later editing. With my producer Roy, I found that it works out the best when I have a deadline in which I bring sketches of already composed and partially-produced songs. It takes me about a month and a half to bring enough material to that stage. After that, we ‘separate the boys from the men’ and pick out the good songs to continue with.

Humble Wishes took a long time to get together because Roy and I were still getting to know each other. These days, we are working on a second album and I think the process is coming together in a more effective way.

Will there be more material coming later in the year?

Sure. Nightgown, the third single, will be released around late-July and the full E.P. will be out around August/September. When I perform, I also play a few new songs from the album which is being worked on.

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

Joni Mitchell, Neil Young; Paul Simon and Sting on one hand: Erykah Badu, Jill Scott and D'Angelo on the other. James Blake, Radiohead; Moses Sumney, Fever Ray and other musicians active these days are also a major influence. 

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

Sure. I have a double-single release concert on 5th July in Israel and, hopefully, my band and I will take a trip to perform in London around January if all goes as planned.

If we came and saw you play; what sort of songs/setup would we see?

It’s very interesting to transform these songs from studio to live since there's so much sound involved. We put a lot of effort into maintaining the high sound quality to the stage. My drummer uses S.P.D. pads that have different sounds for every song and I have a set of vocal effects - also changing from one track to the other. Some of them I play live during the show and others are triggered to turn on and off when planned.

We are a trio and the third player is one of my closest friends - who is also an amazing guitar player. You should totally come and check us out!

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

To take over the world with a storm, of course. Or, at least keep creating and performing to different ears all over.

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

I remember my first vocal effect gadget. It was the Boss VE-20 and I used to enjoy playing and performing with it. One of its features is creating a robot-style voice. I once performed with the pedal and accidentally turned on the robot sound. It happened while I was singing a soft emotional song and, needless to say, destroyed the atmosphere (smiles).

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

Blue - Joni Mitchell; Mama’s Gun - Erykah Badu and In Rainbows – Radiohead.

What advice would you give to new artists coming through?

To keep in mind that there's a long-distant run ahead - so it's a good idea to take a deep breath every now and then.

IN THIS PHOTO: Agnes Obel

Are there any new artists you recommend we check out?

I've recently discovered Agnes Obel and love her; highly recommended.

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

Well, yes; I also illustrate and design. I make all the graphics for my music myself and also work for other musicians and customers. I also practice jiu-jitsu as a major hobby for around six years. In fact, in the video clip for Break Your Fall; you can see me doing some moves...

The other male actor is my actual trainer from the dojo where I work out. 

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).

Sure! Kimbra – Everybody Knows

_____________

Follow InAbell

Official:

https://www.inabellmusic.com/

Facebook:

https://www.facebook.com/inabell.music/

Instagram:

https://www.instagram.com/inabell_music/

Spotify:

https://open.spotify.com/artist/7mST3kQ7nO7i94aZnEromT

YouTube:

https://www.youtube.com/channel/UCL8-7DGNi-hE8YxugcAU-8Q?view_as=subscriber

SoundCloud:

https://soundcloud.com/inbaloop

INTERVIEW: WOLVES

INTERVIEW:

WOLVES

___________

THE Los Angeles boys of WOLVES…

talk with me about their latest single, Freaky, and the story behind it. I ask them about the songs mix of Rock and Pop and whether that was a natural unity; how the band got together and what Los Angeles is like in terms of sound/feel.

The guys look ahead at ambitions this year and discuss touring plans; I ask about influences and which artists are important to them; they recommend some new artists and tell me how they chill away from music.

___________

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

Hey! Doing well, thank you! This week’s been really good to us so far. Freaky is already at #90 on the Mediabase Activator Charts and it just went live on Spotify/Apple Music/etc. yesterday!

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

We’re WOLVES and we’re made up of three guys: Marc Avery, Sean Carney and Rocky Sands. Marc is our lead vocalist, Sean plays guitar/keyboards/sings background vocals and Rocky plays drums/guitar/keyboards.

Tell me about the new song, Freaky. Is there a story behind it?

Freaky is all about embracing who you are and letting that freak flag fly! Like we sing in the chorus: “If you freak/ let it show!” Like 99% of our songs; Freaky was written and produced by the three of us. One day, we were in the studio and I came across this crazy vocal chop sample and started playing what became the song’s lead melody line. Sean laid down the chords underneath it and we knew we had a little piece of magic on our hands. The song came together pretty fast…I think the whole track and topline were done by the next time we got together.

It was kind of like lightning in a bottle because most WOLVES songs never happen that quickly. 

The song matches Pop, Urban and Rock sounds. Does that triple-threat approach reflect a curious musical approach in the band? Are restlessness and experimentation the key to everything you do?!

We kind of just tend to make the music we want to hear and we can’t help how our influences come through in the creative process. I think we’ve come across a (really) unique sound in WOLVES that’s entirely reflective of our three diverse musical backgrounds. We definitely do love experimenting in the studio - I guess you could say we are a bit restless. We try to hit a new creative level with each song that we do, and we strive to be different every time.

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

All three of us actually met a while ago. We were all writing and producing songs for other people and had been trying to crack into the Pop songwriting world for a long time. Sean and I met at the ASCAP “I Create Music” EXPO back in 2014 and stayed friends ever since. I met Marc during a friend’s birthday party at Dave & Buster’s in Hollywood. I was pretty drunk at the time and he and I randomly got to talking about how we were both songwriters. I don’t know how I remembered but I texted him the next day and we started writing songs together shortly thereafter.

At some point, when we were working, he looked at me and said: “Dude…I’ve always wanted to be in a band more than anything.” I confessed to him that I did too and we decided on the spot to form a band with each other. I knew we needed a third person who could bring the ‘weird’ into the mix, so I called my buddy Sean and the rest, as they say, is history.

Does that name reflect a hunger and sense of attack? Are you a pretty ambitious band?

It definitely does. We’re all pretty chill guys, but we’re absolutely an ambitious band. We set our goals on the highest level of success. We want to have songs that hit the top of the charts because we know we can compete with the best of them out there right now - and we want to take our show on the road and play in front of as many people as we possibly can. There, I said it; we’re officially putting it out in the universe in hopes that it comes true! (Smiles).

What is L.A. like for the creative mind? Is it a brilliant place to be?

Los Angeles is a beautiful beast of dichotomy. It’s absolutely brilliant and bustling with energy but that energy is bipolar. L.A. is stuck in the past in some parts and catapulting towards the future in others. This city is simultaneously inspirational and disheartening; it’s inclusive on a familial level, yet as cutthroat as corporate America. It’s got its ups and its downs, but I think most of the creative minds here can agree that the highs outweigh the lows and our collective pursuit of passion makes the juice worth the squeeze.

Will there be more music from you guys down the line?

1000% yes. Stay tuned; we’ve got a lot more coming!

Give me a sense of the music you grew up around. What would have been in your record collections?

I (Rocky) grew up listening to anything from The Beach Boys to Guns N’ Roses to Shania Twain. The Pop was strong in me from very early on. Marc grew up listening to a ton of Michael Jackson and Marvin Gaye and Sean was a big fan of anything from Jazz to old-school Hip-Hop. When you listen to our music, you can definitely hear all of those influences seeping through from time to time.

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

We’re pretty much staying put in L.A. for the time being, focusing on finishing up enough material to roll out our first full-length album. But, hopefully, after that, we’ll be hitting the road everywhere and anywhere!

What do you hope to achieve in 2018?

Honestly, we’d love to see Freaky blow up and become a hit! We think there’s something magical about that song and we hope the world agrees. Hopefully, then we’ll have the opportunity to go on tour and play our music for a whole lot of people.

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

Hearing our debut single, Animal, on the radio for the first time was a pretty insane experience that none of us will ever forget.

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

It would be a total dream come true for us to either open for Coldplay or Kanye West. Those guys are playing the kind of shows that we have always aspired to play and we are obviously huge fans of their music.

As far as riders go, we’re pretty simple guys - we’d be stoked to split a pepperoni pizza.

What advice would you give to new artists coming through?

BE UNIQUE! Everybody is making stuff that sounds like everybody else right now and music never moves forward that way. Don’t play it safe: dare to be different.

IN THIS PHOTO: Evalyn

Are there any new artists you recommend we check out?

There’s a ton of artists in our circle who we really love. Our good friend Evalyn is about to drop an awesome second E.P. and I guarantee you’ll be hearing it all over Spotify and Apple Music in the next few months. She collaborated on the entire thing with our buddy nicopop. another fantastically talented writer/producer. I also have to give a major shout out to my good buddy Evan Blum, the hardest-working songwriter in Hollywood. Look out for him shopping for discounted avocados at any given Whole Foods in West Los Angeles.

IN THIS PHOTO: Evan Blum/PHOTO CREDIT: @bgcinemahouse

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

We’re all pretty big fans of video games and going out for the occasional whiskey. Working out is important to all of us, too - gotta stay fit for the ladies! Music is never really far from our minds, though, no matter what we’re doing.

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).

Marc: Better Now by Post Malone

Sean: Californication by Red Hot Chili Peppers

Rocky: Home Is Such a Lonely Place by Blink-182

_____________

Follow WOLVES

Official:

https://www.thebandwolves.com/home/

Twitter:

https://twitter.com/thebandwolves

Facebook:

https://www.facebook.com/thebandwolves/

Instagram:

https://www.instagram.com/thebandwolves/

YouTube:

https://www.youtube.com/channel/UCa_XBa6VQVcP91KynnWgPbQ

Spotify:

https://open.spotify.com/track/3HiDLtNn2b6jPv8mPwNPVa

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

FEATURE:

 

Sisters in Arms

IN THIS PHOTO: Salt Ashes/PHOTO CREDIT: Milli Lune 

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

__________

I may put out another part…

IN THIS PHOTO: Amber Mark

of this feature but, for now, I will put it to bed with a fantastic assortment of songs – covering multiple genres and locations. It is a mixture of red-hot and soothing blues; a veritable spectrum of musical colours that is guaranteed to end the day with a memorability and impact. Take a moment – or quite a few… - to dip into the teasing selection that will get into the head, heart…

IN THIS PHOTO: ILL

AND blood.  

ALL PHOTOS (unless credited otherrwise): Getty Images

____________

PHOTO CREDIT: Chris Eckert

Eleanor Friedberger – Make Me a Song

Mondegreen – Unsung Hero

Me for Queen – Loose End

Esther & Fatou – Home

MYLK – Haiku

PHOTO CREDIT: Kenny McCracken

Abi Wade – Hawk in Your Side

PHOTO CREDIT: Rosie Marks

Paige Bea – Your Echo

MADI – Intimate

Ishani – Insomnia

Austel – Anaesthesia

PHOTO CREDIT: Debbie Scanlan

Salt Ashes – Girls

Alba Plano – Out There (Blue Lab Beats Remix)

PHOTO CREDIT: @ldzbar

FRANKIIE – Dream Reader

Heagzy – Here to Stay

PHOTO CREDIT: CCZH Photography

Hollie Haines – Like I Used To

ILL – Power

PHOTO CREDIT: Austin Hargrave : Photographer

Maren Morris – Rich

Amber Mark – Love Is Stronger Than Pride

Kim Petras – Can’t Do Better

Kailee Morgue - F**K U

Danielle Lewis – Live Forever

Hayley Kiyoko (feat. Kehlani) - What I Need

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

FEATURE:

 

Sisters in Arms

IN THIS PHOTO: IAMDDB 

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

__________

THE second part of this feature…

IN THIS PHOTO: Brandy Zdan/PHOTO CREDIT: @alyssegafkjen 

brings together some sun-ready songs that will get us all jumping and energised – there are those that are a bit more sedate and thoughtful, too. In any case; it is an all-female playlist that spans genres and will keep the fussiest of music listeners interested and occupied. Take a good look at the selection and I’m sure you’ll find a few songs that…

IMAGE CREDIT: Haiku Hands

WILL be on regular rotation.  

ALL PHOTOS (unless credited otherwise): Getty Images

____________

Matilda – You

Ruby Francis – Heart Rate

Kris Angelis – Photobooth

Jessie Munro – Under Fire

Brandy Zdan – Get to You

SIIGHTS – GOT IT

Toya Delazy – London Town (Wes My Meds Remix)

IAMDDB – Drippy

Chelsea Jade – Laugh It Off

PHOTO CREDIT: Curious Rose Photography

Anna Pancaldi – What I’ve Become

GIRLI – Day Month Second

Jena Rose – Reasons (Dirty Werk Radio Remix)

Valley Latini – Pay My Rent

Mags on Earth - CRYBABY

LENN - Cheap Talk

Sink Ya Teeth – Substitutes

PHOTO CREDIT: Laura-Lynn Petrick

For Esmé - For Others

PHOTO CREDIT: Historiq

Chess Galea – Never Be Another You

Saba Abraha – Do’s & Dont’s

Haiku Hands – Jupiter

Seil Lien – A Little While More

PHOTO CREDIT: Alex Wall

Hatchie – Bad Guy

Wyvern Lingo – Crawl

INTERVIEW: Rachael Sage

INTERVIEW:

Rachael Sage

___________

IT is hard to find where Rachael Sage…

gets her energy from but, as she says in this interview, the work and passion she has for it drive her forward! I ask the New York-based songwriter if there’s a story behind her latest track, Spark, and what inspired her album, Myopia – she recommends some new artists and talks about N.Y.C.’s contrasts.

Sage tells me what it was like recording her album and whether she gets time to relax away from music; which three albums mean the most to her; if we can see her in the U.K. soon – she gives some great advice for songwriters emerging right now.

___________

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

My name is Rachael Sage and I’m a touring addict! What that means is I am incredibly lucky to be able to create my own original work and am perpetually grateful to listeners around the world - especially in the U.K. - who have graciously embraced my eclectic, Alt-Pop music; allowing me to get up on stage regularly and forge meaningful relationships through music. 

To anyone brand new to my songs, I hope what you will discover by listening is a lexicon of poetry and melody that encourages positivity by making what’s extremely personal, universal. I am always aiming to break barriers and mitigate loneliness because I believe with all of my being that we are all inextricably connected by our humanity. 

Spark is your new track. It seems like the boldest and most ambitious you have created! What inspired its creation?

I was inspired to write Spark by the moment of absolute possibility and hope that arises during a first kiss with someone you already know you have a deep connection with; you don’t know each other that well yet but the chemistry feels magical and meaningful because it is genuine and undeniable. It’s not a song only about passion, but about a kind of purity that exists early on between two soon-to-be-lovers before too many expectations have taken hold - and when everything feels absolutely authentic, exciting; vulnerable and inevitable. 

It is from the album, Myopia. Like the single; what sort of ideas and stories compelled the music on the L.P.?

The title track, Myopia, is very much about the relationship between what we think: the thoughts we allow to take root and grow in our minds’ eye and how that actually colors our view of the world around us. It’s an empowering song about recognizing that the resources you already have are exactly what you need to create the life you want; if you let go of past pain, negative energy and/or current stress.  The concept of vision, including aspects of blindness or narrowmindedness as well as positive visualization and fruition, run through other songs on the album including This Darkness, which is about truly trying to see injustice or suffering through the eyes of someone else and how that kind of vision essentially comprises empathy.

PHOTO CREDIT: Bill Bernstein

Alive is a very upbeat, positive song about truly recognizing the gifts of vitality, passion; love and even how one may grow from one’s from one’s mistakes. Another song, Haunted by Objects, looks at the issue of hoarding and hopefully destigmatizes a very common urge many people have to cling to too many things they believe they need; that are actually weighing them down, literally. There are a dozen new songs on the album and they’re all very eclectic - but the thread running through them all is this concept of examining myopia i.e. nearsightedness from every angle: romantically, socio-politically and, certainly, in terms of what we deem important in our everyday lives.

What was it like recording the album? Did you bring any new disciplines and structures to the plate? What makes this album different in your mind?

I played a lot more electric guitar on this album and a couple new axes were in my arsenal!  Sadly, a renowned and beloved guitar store in N.Y.C.’s East Village called Matt Umanov closed while I was recording and I ended up adopting a gorgeous Gretsch guitar that helped me channel a bit more of a Rock ‘n’ Rock attitude on songs like Snowed In, Olivia and my punk version of the Yiddish classic, Umru Meine.

There are also some very luminary singers I respect enormously who popped by the studio to add their harmony magic to the mix; including rising Irish singer-songwriter Fiona Harte, Pop-Rock twins Nalani & Sarina and Americana songstress Gabrielle Louise. It felt really great to be able to include some of my fierce, vibrant female musician friends on the record - and certainly added a lot of laughter to the sessions!

You have created a whole lot of music in your career so far! How did you keep that creative energy going?! Do you notice an evolution as a songwriter?

A lot of people have asked me how I’ve maintained my energy through the years and it’s really very simple: I love my work. Since I’ve been a little girl, I embraced music with all of my being and it’s given me so much back. It’s enabled me to work eighteen-hour days and be reluctant to go to bed because I was so into what I was doing; so fully captured by the creative process.

Touring has also been a huge gift and given me the opportunity to meet amazing people from all walks of life, in cities and small towns all over the world. I think if anything my evolution has been from being a young songwriter working out my own ‘issues’ (gratefully) through song to a mature woman as eager to write impressionistic, poetic material as to share details about my own story.

I find equal value and inspiration in other peoples’ stories now and do my best to incorporate a balance between fact, fiction and imagination - and toward crafting something that’s hopefully universal and inspiring in some way to others.

New York is your base. How important are the city and its people to your music?

I adore N.Y.C. and will probably live here forever…but, at the same time, the cliché is definitely true that absence makes the heart grow fonder when it comes to such a bustling, intense place. I know that having lived here most of my life is extremely defining, but I also mourn for a time a few years back when more music clubs and artists were able to thrive because it wasn’t so prohibitive to live here.

Nonetheless, what I love about N.Y.C., as whole absolutely remains: the passion, intensity and determination of people who are able to survive here and contribute to the diversity (of N.Y.C.). People are very focused and ambition here to be sure which energizes me; and yet they are also very down to earth and open, in my experience. I feel exactly the same about London and consider it to be my ‘home away from home’ for those reasons!  

Have you got any musical heroes that made you want to follow music? Who do you rank as idols?

Among a few of my early, as well as later musical inspirations, are Carole King, Elvis; Buddy Holly, Elton John; David Bowie, Elvis Costello; Sinead O’Connor, Maria McKee; Sarah McLachlan and of course, The Beatles. In terms of creative inspiration, I’ve always tried to avoid the word ‘idol’ because I think it’s dangerous for an artist to aspire to be too much like anyone else; but two brilliant, insightful and musicians have absolutely made a huge impact on me in recent years and those are Folk icon Judy Collins and Synth-Pop legend Howard Jones! The kindness and encouragement both have shown me while touring together has taught me so much, artistically and personally. 

Can we expect a little stopover in the U.K. at all?

I’m really hoping to be back next year! I love touring the U.K. so much and look forward to sharing all these new songs live as soon as possible!

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

I would love to write a bunch of new songs! This past year has been so busy - with recording the new album, touring the U.S. with Howard Jones and playing festivals internationally - that I simply haven’t had much of a chance to reflect on all of my adventures or process everything creatively, through music.

Being off the road a bit enables me to warm up all those muscles again and to, hopefully, do some extra practising as I’d liked to keep getting better as a guitarist as well! On a non-musical note, I’ve been on a huge spring cleaning kick lately and am basically going through every closet and shelf and purging any piece of clothing, paper, knick-knack or whatever the case may be if I haven’t used it in the last five years. It feels great and, hopefully, it’s a cleansing that will allow new energy to flow into my home and my life! 

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

Playing Union Chapel with the brilliant Howard Jones last year in London was one of the highlights of my musical life. Being able to share such a wonderful experience with an artist I admire so deeply was a huge gift - and the acoustics in that venue are pretty much unparalleled!

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

Carole King /Tapestry; Elvis Costello/Spike and Glen Hansard/Rhythm and Repose.

What advice would you give to new artists coming through?

Find a safe local venue where you can perform live as often as possible; figure out what feels authentically you as a performer and don’t be afraid to make mistakes - because you’ll only grow from taking chances!

IN THIS PHOTO: Seth Glier

Are there any new artists you recommend we check out?

Of course; as label-owner of MPress Records, I’m partial to my own artists! I highly encourage everyone to check out singer-songwriter Seth Glier who has been steadily building his career in the U.S. as a touring artist and whose new album, Birds, is absolutely brilliant! I’ve also been really enjoying rising Irish artist Fiona Harte whose new E.P. will be released very soon. 

IN THIS PHOTO: Fiona Harte

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

I do my best to balance work with play but, as they say, if you love what you do you’ll never work a day in your life! That being said, I love watching movies, crafting; designing my own stage clothes and painting.

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 Want You – Elvis Costello & the Attractions

_____________

Follow Rachael Sage

Official:

http://rachaelsage.com/

Twitter:

https://twitter.com/rachaelsage

Facebook:

https://www.facebook.com/rachaelsagepage

Instagram:

https://www.instagram.com/rachael_sage/

YouTube:

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

SoundCloud:

https://soundcloud.com/rachaelsage

Spotify:

https://open.spotify.com/artist/7EedWEoxpzbiPNkqkDp3Vw

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.