INTERVIEW: cleopatrick

INTERVIEW:

cleopatrick

___________

THERE is a long and deep connection between…

the guys of cleopatrick. I have been speaking with them about their new single, youth, and whether further material will arrive – they tell me how they got together and what Ontario is like in terms of music and vibe.

The cleopatrick boys reveal some hot-off-the-press tour dates and talk about favourite musical memories; they highlight some upcoming artists to get behind; some useful advice for emerging musicians is provided – they end the interview by selecting some great songs.

____________

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

Incredible, dude. Life is incredible.

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

Hey. We are cleopatrick; two twenty-one-year-old dudes talking sh*t with a guitar and a drumkit.

Youth is the new single. What is the tale behind the song?

Youth is about a lot of things - growing up; not fitting in; regretting inaction and regretting action. It’s melancholic nostalgia in the key of Dm.

It seems like it holds personal anger and struggle. Was it quite cathartic ‘letting it all out’, as it were?!

For sure. There have been a lot of shows where we get to that ending moment and I let a bit too much emotion out in those lines and lose my voice for the whole outro. A dangerous song, but it feels amazing.

Will there be more material coming a little later? What are you working on?

We are writing a bunch of new stuff at the moment. Not really sure what it is, what it’s for and when it will be heard. But, if you catch us live you'll get to enjoy them a lot sooner.

How did cleopatrick start life? When did you start making music?

Ian and I met and instantly became best friends on the first day of junior kindergarten at the tender age of four. We started making music four years later, when we turned eight, and our parents got us both semi-matching acoustic guitars. Cleopatrick started when we graduated high-school.

Ontario is your base. What is the area like for local talent and great venues?

Ontario is where it’s at right now for emerging guitar bands. Some people like to think otherwise but the musicians in this scene are some of the most creative, hardworking and incredibly talented artists we have ever met. Some great bands that are clearly about to blow up; I’m talking Ready the Prince, The Kents; Texas King - the list goes on and on.

In terms of music; what do you listen to when not recording your own?

We listen to a lot of stuff. I've been obsessed with Anderson .Paak for the last six months of my life. BROCKHAMPTONs Saturation trilogy. The new Arctic Monkeys record is fucki*g unreal. Anything cool and real.

What do you hope to achieve in 2018?

Well. I was hoping we’d become the top-grossing artist in the world so I could buy a motorcycle, but it looks like we are running out of time in 2018 to make that happen. So, pushing that to next year, I think we are just looking to make some awesome memories with our friends and share our art with as many new people as possible. Also, maybe quit our day jobs…

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

We threw an insane house-party in my living room for the Daphne Did It music video. It was exclusively friends and long-time cleo supporters. That was genuinely the best night of my life. Looking out and seeing so many beautiful people that have helped push my dreams into reality.

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

Probably Post Malone.

Our rider would only state that he has to hang out with us in the green room for, like, fifteen minutes - All for Instagram.

What advice would you give to new artists coming through?

Make music that you think is dope. Say things that give you a weird but cool feeling in your chest - and make it about having fun with your friends. Nothing matters. You’re pinned down to a rock in space.

Where can we see you tour before the end of the year?

19.09: Cologne, Germany – Studio 672

21.09: Hamburg, Germany - Reeperbahn Festival

28.09: Huddersfield - The Parish

29.09: Nottingham – Rockcity Hey Hey Hey

30.09: Glasgow - King Tut’s

02.10: Cardiff - Clwb Ifor Bach

03.10: Birmingham - Sunflower Longue

04.10: Leeds – Oporto

06.10: Manchester - Neighbourhood Festival

07.10: London - Communion Club Night

IN THIS PHOTO: Ready the Prince

Are there any new artists you recommend we check out?

Ready the Prince.

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

Hangout with our friends; talking about Drake with Sanjay; making dumb jokes in my basement; drinking SoCIAL LITE with Jake Shorten.

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).

Dead Roads by Ready the Prince

Stoned Love by dubé

_____________

Follow cleopatrick

Facebook:

https://www.facebook.com/cleopatrickmusic/

Twitter:

https://twitter.com/_cleopatrick_

SoundCloud:

https://soundcloud.com/streamcleopatrick

Instagram:

https://www.instagram.com/cleopatrickpics/

Bandcamp:

https://cleopatrick.bandcamp.com/

INTERVIEW: Moon

INTERVIEW:

Moon

___________

TO start the week…

I have been speaking with Chicago’s Moon about their new album, Extinction, and what sort of themes inspired it; the guys each choose their favourite song from the record – I was keen to know how the band got together and how they feel their sound has developed.

David, Shen and Chris recommend some new artists and reveal their ambitions for the rest of the year; which artists have been important to them; if there are gigs booked in the diary; whether they are coming to the U.K. to play – they each select a song to end the interview with.

____________

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

Chris Schneberger: Good! We got together for the first time since our album release show on 9th June and we discussed some show ideas and where we want to take our sound going forward.

David Azizinamini: Good, busy.

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

David: Singer and guitar player…

Shen (Chris Shen): I’m Shen, the bassist...

Chris: I’m Chris, the drummer. I hit stuff with sticks. As for the band, I describe our sound as heavy, melodic; propulsive guitar-driven Indie-Rock with touches of Shoegaze and Prog.

Extinction is your new album. What sort of themes inspired it?

David: Extinction of life...though that seems super-obvious; it's also metaphorical; the extinction of past memories, past times; this climate we are in, politically, in the U.S. is terrifying to me. But, even beyond that, our consumption, our self-serving desires…they all were themes to me in writing the lyrics.

Moon - There's Light Here from Christopher Schneberger on Vimeo.

Is there a track from the album you all gravitate towards?

Chris: There’s Light Here is the single and very energetic, a real rocker. But, I hope people discover the song, Siberian. It’s one of my favorite songs we’ve ever written.

David: I love Revolutions, musically, but I feel Siberian, lyrically, more. Again, the reckless abandon of war and destruction were in my mind when I wrote it.

Shen: I like them all (obviously) but, if I had to choose one, I’d say Siberian is the most Moon-esque song since it contains a lot of our qualities: long, spacious; multiple parts, shifts between heavy and mellow.

 

This is your third record. How do you feel you have developed since your formation?

Shen: We’re writing at a higher level more consistently; less material that feels like B-sides - that comes the longer you play together as a unit. We’ve also worked a bit more straight-Rock into our sound (songs like There’s Light Here and Wishlist).

David: I felt like I knew what I wanted more...I became comfortable with the fact that we are a different kind of band so I just embraced who WE are instead of hoping to sound like what I thought people wanted. “Do you” as we say! (Smiles).

Chris: Definitely, more concise songwriting. That, and incorporating the influence of Donna Summer…

When did that formation happen? When did Moon get together?

Chris: Around December 2008, I was advertising for local musicians to play with and got together with David and a bass player I had previously tried out with, Pat LaRose. Pat was a very melodic player and went along great with David’s echo-drenched, chiming style. Within the year, we were playing some small shows and recorded a three-song E.P.

Pat was with us for a few years and we recorded our first full-length album and another E.P. with him. Then, he left for New York and we found Shen. He’s an incredibly talented player and we’ve recorded two more studio albums with him.

Do you all share musical tastes? What sort of sounds do you listen to?

Chris: I think our tastes overlap but aren’t all the same. For instance, Shen and I share a love for some Metal and Prog like Rush and Iron Maiden but I’m really a child of '90s Indie-Rock. Some of my favorite bands are from that era - like Superchunk, Poster Children; Archers of Loaf, Number One Cup and Built to Spill.

PHOTO CREDIT: Dot Morton

David: Chris and Shen are more like-minded than me. They love the Classic Rock stuff but I have limited information about that kind of music. I grew up listening to ABBA and top-40 Pop radio like Michael Jackson. When I was nine or so, I got into Punk and listened to the Dead Kennedys religiously. From there, it was really anything with melody and washy guitars: Bleach and In Utero by Nirvana…and then it was Radiohead, Elliott Smith; Jeff Buckley, Circa Survive; Slowdive: anthemic, epic bands with great singers and lovely melodies.

Shen: I came upon Heavy Metal like Iron Maiden, Black Sabbath and early-Metallica but I also like some bands that could be considered as the start of Emo and Alternative like Jane’s Addiction, Sunny Day Real Estate and Quicksand.

 PHOTO CREDIT: Dot Morton

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

David: Tackling the Midwest United States right now.

Chris: Also; we’d love to support a touring band.

Do you reckon you’ll come to the U.K. and perform this year?

Chris: Haven’t you seen us there? We exclusively play random phone boxes in the town of Barnsley. I’m sorry you haven’t been witness to one of these. They’ve been packed houses! In all seriousness, we would love to come to the U.K. We await the invite from Hammersmith Odeon soon.

David: I'd love to...all of my favorite bands are from there it seems. Maybe, a bill with Radiohead and Wolf Alice!

What do you hope to achieve in 2018?

David: Promoting Extinction and writing more; introducing new elements into the music as well. I love being in a three-piece but I love when three-pieces introduce layers...probably why I love The Joy Formidable.

Chris: We’re hoping to play more shows and to more people. The new album is getting heard and the response has been great. We just want to play to crowds of like-minded music listeners. Plus, the end of this year will mark our tenth anniversary - and we’d like to celebrate that with a big show.

PHOTO CREDIT: Ed Rzewnkicki

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

David: Singing Mountain Song by Janes Addiction when I was in 9th grade in my friend's basement for a birthday party. It was my first time playing with other musicians. They wouldn't let me be in the band though...said I didn't move around enough. Fu*k those guys! (Laughs).

Chris: I think my favorite memory was playing a show at the Empty Bottle, my favorite club in Chicago, where I’ve seen countless great bands and looking up at David during my favorite instrumental passage in our song, Losing the Light. We shared a smile and I was just so happy to be making this music that I loved with people that I love.

Shen: One of my favorite memories is a recent one: the day I got my copy of Extinction. I really like the way it turned out. I just think it sounds how we’re supposed to sound. It’s hard to capture a band in the studio but I think we accomplished that on this. As far as all of the recordings I’ve been a part of, this one is definitely one of my favorites.

PHOTO CREDIT: Ed Rzewnkicki

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

David: I'd support Radiohead and I'd only request to sing Scatterbrain with Thom.

Chris: I would support Superchunk (since Rush is retired) and insist we do a pre-show shot of Malort. It’s an awful, bitter digestif drink found in Chicago. You shoot it, chase it with an Old Style (cheap beer) and yell “LET’S GO HAWKS!” (Chicago Blackhawks (hockey team), that is.)

Shen: I’d love to have Hawaiian Sun Passion Fruit juice at every show. I grew up in Hawaii drinking it and it’s my absolute favorite - and it’s hard to find on the mainland so, if someone could supply it for me that would be awesome.

PHOTO CREDIT: Ed Rzewnkicki

What advice would you give to new artists coming through?

Chris: Get started early, go full-bore and have fun. Keep your standards high and your expectations low.

David: Do it 100%. Do not give a s*it about cars or houses that your friends buy or hope to buy; eat and breathe music, write every day...tour till you can't move...then do it again.

Shen: You have to try to find that balance between having fun but also being serious and smart. If you’re all business, you’ll miss out on some joys of playing music but, if you’re having too much fun and not thinking enough about the business end you may miss some opportunities.

Are there any new artists you recommend we check out?

David: Protomartyr!

Chris: There are so many great bands right here in Chicago. My current favorite is RLYR but I also recommend Rocket Miner, Huntsmen and Polarizer.

Shen: We Killed the Lion from Chicago is one of my current favorites. I also really like A Friend Called Fire - also from Chicago.

 IN THIS PHOTO: A Friend Called Fire

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

David: I work at the greatest music shop in the world (Chicago Music Exchange), so I suppose that's how I chill: around music.

Chris: Honestly, music is my way to unwind. I teach at three-four different colleges and that keeps me really busy. The band is an escape. Otherwise, maybe travel and movies.

Shen: I don’t have much free time between work and music but, when I do, I try to get outdoors and go hiking, fishing; swimming and surfing.

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).

Chris: Slipstream Summer by RLYR

David: Wheel of Fortune by Protomartyr (ft. Kelley Deal)

Shen: Galaxy Girl by We Killed the Lion

_____________

Follow Moon

Facebook:

https://www.facebook.com/MoonChicago/

Twitter:

https://twitter.com/moon_band

SoundCloud:

https://soundcloud.com/moon-141

ReverbNation:

https://www.reverbnation.com/moonchicago

Bandcamp:

https://moonchicago.bandcamp.com/

FEATURE: The Instagram Generation: Is It Music’s Most Effective Marketing Tool?

FEATURE:

 

The Instagram Generation  

IMAGE CREDIT: Getty Images 

Is It Music’s Most Effective Marketing Tool?

__________

IF you think about some of the most iconic…

PHOTO CREDIT: Unsplash

Instagram images from the past few years; chances are a fair few of them will feature musicians! Beyoncé’s baby bump, posted back in February 2017, was a huge story and it was not tied to any marketing campaign. The photo was not shared as part of a promotion and few were expecting it: she was caught in a moment, albeit quite elaborate, and shared it with her 100 million-plus army. Look at the results of the top-three most-viewed Instagram images of last year and you can see how musicians feature:

“The result is perhaps unsurprising, given that the photo broke the site’s all-time ‘most liked’ record back in February, but the total number of likes has now jumped from 7.3 million to 11.1 million.

Elsewhere in the top 3, footballer Cristiano Ronaldo‘s photo announcing the birth of his twins has garnered 11 million likes since it was posted earlier this month, while Selena Gomez‘s hospital bed photo, which she used to reveal she had undergone a kidney transplant, comes in third with 10.3 million likes”.

The results show there is a lot of currency and draw when it comes to artists. Whilst huge artists like Beyoncé, Ariana Grande and Lady Gaga use it to share big news and open up to their fans; in music, it is part of the marketing cycle. I am not on Instagram myself but have been advised to do so: it is a way of updating followers and presenting pictorial and video snippets of my work.

PHOTO CREDIT: Unsplash

I am currently on Twitter and Facebook but wonder whether people would follow any Instagram posts. I am not one for taking selfies – few people want to see my face! – but there is stock in posting my work on the site and taking a more image-driven and different approach. There are two sides to Instagram when it comes to modern artists. There is that aspect that ties in with Facebook/Twitter teasers and YouTube videos. They will post snippets of audio or tease photos to their fans; it is a way of connecting with millions all at once and, in a lot of cases, a more direct and accessible way of bringing people into their lives. It seems hardly a moment goes by without another Instagram shot of a slice of food or a drink; some random location or a selfie. It has become a monster that, for better or worse, is integral to our daily lives.

We would like to share our love and happiness. We have been blessed two times over. We are incredibly grateful that our family will be growing by two, and we thank you for your well wishes. - The Carters

A post shared by Beyoncé (@beyonce) on Feb 1, 2017 at 10:39am PST

It seems the act of making music involves a lot of time thinking about your Instagram profile. Every single release comes with Instagram snippets, photos and videos. Whereas Facebook and YouTube can be a lot more difficult to push to the masses – it is easier and quicker getting all the information in one spot – Instagram provides that easy and community-led option where we can get all our news and snippets. Look at Beyoncé’s Instagram and it is a lot more full and frank than her Twitter account (it has only a few posts; one suspects that will change soon!). It is weird to think many artists spend more time on Instagram more than they do on all the other social media channels combined. When Selena Gomez’s kidney transplant took place; she did not think to call the news or have a big press conference – neither was it an event she could keep secret from her fans. She posted that photos to her fanbase and ensured people all around the world were informed and their minds at rest – the love and feedback she got was hugely impassioned and supportive. The personal and open nature of Instagram means big stars can share news about their health, life-changing events and the most mundane aspects of their days.

A post shared by Beyoncé (@beyonce) on Sep 23, 2017 at 10:03am PDT

I love how Instagram has these two sides: the go-to portal for artists to share every iota of their day and the place where they can reveal big news and musical plans without circus and having the media/labels involved. I want to bring in an article, written last year, that looks at the way Instagram is used and how one can compartmentalise its uses:

“Across the board, Instagram is huge for music, serving as a uniquely addictive and organic conduit between artists and fans. Despite the social network’s roots as a photo app, four of its five most-followed accounts belong to music stars (Selena Gomez, Ariana Grande, and Taylor Swift join Beyoncé in the top five). And of Instagram’s 800 million users worldwide, about 350 million follow 10 or more verified musicians…”

PHOTO CREDIT: Unsplash

“Not surprisingly, Instagram’s users are more music-oriented than the general population. They spend 30% more time listening to music each week and are twice as likely to pay for a streaming service, according to a Nielsen study commissioned by Instagram last year.

The app isn’t just a digital playground for Grammy winners and Billboard chart toppers, either. Artists of all stripes, from pop superstars to DIY indie bands and bedroom songwriters gravitate to Instagram to promote their work, document their day, seek inspiration, and interact with others. In fact, it’s rare to find an active band, singer, or other musical artist who doesn’t have an Instagram account.

I’m so grateful for these women, for the words they’ve written and the worlds they’ve created through their art.. so stoked to have you at the show in London @adele and JK ❤️. Always.

A post shared by Taylor Swift (@taylorswift) on Jun 25, 2018 at 5:01am PDT

"This music-focused use case may not have been what Instagram originally set out to do; it actually appears to be accidental. But the Facebook-owned company is now embracing its role in artists’ lives and working closely with the music industry to make the most of this unexpected relationship..."

“For artists, this is a real creative space where they can reach a community super effectively by expressing their visual voice in the most raw possible way,” says Lauren Wirtzer-Seawood, Instagram’s head of music partnerships. “They don’t need to rely on all the old-school forms of communication like radio advertisements. When they want to announce that they’re going on a world tour and tickets are available, a lot of them announce it first on Instagram”.

The artist can find this loving – not always – and inspiring place where they can share photos and news without having to worry about security breaches, hackers or trolling. There have been some cases of celebrities using Instagram to cause a bit of a stir – including Kim Kardashian getting naked or body-shaming – but the fact some of the most-popular people on Instagram are artists means it has a big role in the industry. To be fair, the big names are U.S. Pop artists: Ariana Grande and Taylor Swift are two immensely powerful female artists who have created a brand on Instagram.

IN THIS PHOTO: Adele (photographed in 2015)/PHOTO CREDIT: Alasdair McLellan

I wonder how much the artist gets involved with their promotion – whether the label and managers control their content. Consider artists like Taylor Swift and Adele, let's say and the posts they put out on Instagram. When a new single/album comes out, they have to ensure they drip-feed news and teasers; little photos of album covers or candid snaps – keeping the fans guessing, invested and hooked. I wonder, too, whether they have a lot of freedom when it comes to non-music-related photos/posts – them at home or on the move; relationship statuses and selfies of them relaxed. I guess there is a lot of monitoring to ensure nothing too risqué, controversial or revealing is put onto their account. People like Lauren Wirtzer-Seawood are assisting modern artists by ensuring they make the most of Instagram. Advice will include ways to utilise apps and best sell their tours and merchandise. She advises stars how to use the site to get the most out of their tours and new music; get ahead of the competition and timing: dropping posts at specific times and ensuring every move and post is well-timed and dropped to maximise impact and exposure. This sounds very rigid and business-minded but, to be fair, it is a good way for artists to promote themselves and ensure what they are posting, largely, has relevance and helps promote their music.

Beating up road soon

A post shared by champagnepapi (@champagnepapi) on Jul 5, 2018 at 4:15pm PDT

These teams and hired guns will listen to the music/new release and come up with ways to put a new spin and angle on it. They will devise strategies and connect with artists to ensure they can get the most from their photo and video output. Doing regular little videos ensures fans are informed and they do not lose focus; they are kept abreast of all the latest happenings and feel more involved with an artist – almost like talking with a friend and following their lives. These teams, admittedly, give reign to artists and allow them to collaborate. Some of the ideas (from the artists) are not great so it can be hit-and-miss when it comes to a fifty-fifty-split. Most of the big artists like to maintain their own Instagram accounts and prefer them not to get into the hands of labels. Instagram is used a lot when it comes to festivals and gigs.

Artists will post constant updates of their sets and experiences of gigs: so many musicians, in their own words, spend most of their lives on Instagram. It seems to hold more allure and promise compared to platforms like Facebook and Twitter. Of course; Instagram is Facebooks baby and most artists post Instagram updates from their social media accounts. There is that integration but, when it comes to real-time updates and the audio-visual posts; most views and comments come from Instagram. I am a recent convert and feel more connected with an artist by looking at Instagram. A lot of artists tend not to get too personally involved with their Facebook accounts – labels and management might – and Twitter tends to be word-based and is not as interactive.

Mood 1 #Beychella

A post shared by Adele (@adele) on Apr 15, 2018 at 1:30am PDT

There are features like Instagram Live which, like Facebook Live, allows artists to post videos of them at home or performing; they can shoot videos from their car or at promotional events:

“Since the launch of Instagram Live, fans have tuned in to live streams from superstars in scenarios that range from formal and promotional to lounging-at-home casual. Nicki Minaj used Live to tease her video for “Regret In Your Tears” in May, while more than 200,000 people tuned into Kendrick Lamar’s pop-up album signing in Los Angeles in April. Even when they don’t have something to promote, artists like Chance the Rapper, Rihanna, and Justin Bieber are known “go live” in more intimate, off-the-cuff moments–like this video of Chance the Rapper riding around Chicago looking for a RedEye newsstand after fellow Chicago rapper Noname landed on the cover. Or Rihanna watching her “Bates Motel” debut on TV.  Seemingly unfiltered moments like these offer fans something MTV and VH1 never could: a sense of what it might be like to hang out with the artists whose music they love, and even communicate with them through live comments (which the stars often read aloud during the livestream)”.

It seems there are so many facets coming in and Instagram, as it gets wealthier and bigger, is providing greater versatility to its users. This extends to non-musical users who can do more with their posts. It seems musicians are setting an example and showing just what can be done on Instagram. Whether it is video-sharing or photography; hour-by-hour updates or utilising the latest apps; it is drawing in new users who want to follow their favourite artists.

Paul at @abbeyroadstudios during the recording of #EgyptStation #2017 #PaulMcCartney #ThrowbackThursday #TBT #AbbeyRoad #London #AbbeyRoadStudios

A post shared by Paul McCartney (@paulmccartney) on Jun 28, 2018 at 9:04am PDT

Whilst it is hard to quantify the monetary value artists’ posts have and whether they add to album sales; it is clear the ‘Instagram’ campaign and tool is overtaking the likes of Facebook and Twitter. Acts like DJ Khalid use it more and feel its reach it broader and more varied. Consider the fact a photo of Beyoncé or Taylor Swift can garner millions of views/likes – that translates to more streams and greater investment in their music. It is hard to compartmentalise and separate the musical/monetary impact and the personal aspect of Instagram. Whilst that might be frustrating for marketing men and the labels; new artists are using it more to promote their work. At the start; Instagram was reserved for the mainstream stars and it was a slow revelation. As more became aware of its scope and multi-faceted potential; it became this bigger thing that has grown more tentacles and introduced new apps/technology. Before long; fresh and unsigned acts were using Instagram in the same way: promoting their latest work and posting snaps of them at gigs/on the road. The much-quoted article I introduced near the start (and have peppered throughout) talks about the benefits, limited as they are, of Instagram for newer acts:

“Even if they’re not as obsessively active on Instagram as some—posting everything from previews of new songs and boredom-killing moments from the tour van to funny memes—musicians often benefit from the organic, FOMO-inspiring buzz created when fans post clips from their shows. Even for users unfamiliar with an up-and-coming band or artist, a flurry of Instagram posts from their friends can be enough to create a sense that the artist is worth checking out”.

o well i couldn’t resist. fourty days @sweetener. 🌫

A post shared by Ariana Grande (@arianagrande) on Jul 8, 2018 at 9:45am PDT

With all the brilliance and vastness of Instagram’s galaxy come the downsides. Various artists have deleted or deactivated their social media accounts and one has to be aware of the consequences and results of posting certain things. I hear of members of the public in various countries who face imprisonment or worse for posting photos. Those nations with strict laws around nudity and religious morals monitor the site and harshly punish those they feel are taking liberties. Musicians have a less harsh time but there is still the risk of trolling. I maintain there is less strife and vitriol than you’d get on Twitter or Facebook; if they post various snaps and videos then they will get the expected haters and trolls that will have something to say. Whether that is a semi-nude photo or something minor – they are never immune from the downsides. Facebook are making changes regards data-sharing and protecting its users. I feel there needs to be greater protection for artists who share statuses and images to Instagram. Most have a fairly easy ride but the bigger you are, naturally, the more you are going to face hostility and trolling. Artists like Lady Gaga have expressed their reluctance when it comes to the amount of time they spend on Instagram (and social media). Whilst some might post about mental-health and the bad sides of social media; others feel it necessary to document every movement and thought. You get caught in a web where you feel obliged to notify fans of each motion – this raises anxiety and means, every time you tap to share a post, you are opening the floodgates to the anonymous haters.

I love the lgbtq 🏳️‍🌈 community more than I can say. So I’ll sing it instead. Forever. And that’s a NY promise. One love!❤️#equality

A post shared by Lady Gaga (@ladygaga) on Jun 24, 2018 at 3:18pm PDT

I maintain there are bad aspects of Instagram and we need to urge bigger stars to spend less of their time on it – too much use increases depression and can lead to anxiety. Who knows the pressure big acts face where they feel Instagram is an oxygen source and competition – monitoring how well their rivals are doing and what they are missing out on if they ‘neglect’ their fans. I guess there is always going to be that risk of using something where, at the click of a button, you can share life-changing news or drop an album announcement. It is always going to be a case of judgement call and risk-assessment when any artist, big or small, shares something on Instagram. If a well-timed post or statement can create a buzz and get positive press; putting something ill-timed and ill-judged can backfire and have a devestating effect.

Those posts goes to masses (millions, sometimes) and it goes out there; there will be positive comments and those less impressed. Artists need to be conscious how much of themselves they are sharing - personal information and their own flesh – and they need some downtime away from it. When it does work well, and they have teams behind them, it can be a hugely effective tool; one that is more potent and trending then YouTube and Twitter. The site is used by everyone from beauty bloggers to authors but, in entertainment terms; Instagram is becoming more about musicians and that side of the culture map – whether it is reacting to a Popstar’s latest snap or discovering when the latest Beyoncé/James Blake album is coming out. As Facebook faces struggles and Twitter’s validity/flexibility continues to come into debating circles; it seems the market share and importance of Instagram…

CONTINUE to grow and grow.

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

FEATURE:

 

Sisters in Arms  

IN THIS PHOTO: Sudan Archives 

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

__________

EVERY week brings fantastic female artists…

IN THIS PHOTO: Tiger Lion

to the public attention. In my mind, they are more explosive, seductive and nuanced than their male peers – maybe it is a generalisation but their music lingers longer in the mind. I have collated some 2018-released tracks from fantastic artists including Sudan Archives, Self Esteem and Bella Spinks. Make sure you check out the arresting selection and, as the sun continues to shine and the heat sears; you will find plenty that will keep you distracted and hooked…

IN THIS PHOTO: Anna of the North/PHOTO CREDIT: Jonathan Vivaas Kise

LONG after the sun goes down.

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Artist

_____________

Ravyn Lenae – The Night Song

Caitlyn Scarlett – Ornaments

PHOTO CREDIT: Phil Sharp - Photographer

Olivia Chaney – House on a Hill

PHOTO CREDIT:  Kristyna Archer

Sudan Archives – Nont for Sale

Tiger Lion – Tyger Tyger

Tiphanie Doucet – Come to Me

Anna of the North – Baby (Acoustic)

Ella Mai - Boo'd Up

 

Self Esteem – Wrestling

CupcakKe - Hot Pockets

San Mei – Wonder

Bella Spinks - CALM

Rebecca Phillips – Burnt Peach

Kirbanu – Freedom Mantra (Om Mani Padme Hum)

Margaux Avril – Something You Can Do

BRUCH – Crown.

Lola Coca (ft. Instant Love) – A World Without Love

Katie Garfield – Warfare

IMAN – For You

Sasha Brown – Fix of You

Emma Ruth Rundle – Fever Dreams

Abby Anderson – Make Him Wait

Frida Sundemo – Over You (Pure Version)

Eckoes – S.B.F.

INTERVIEW: Bryony Williams

INTERVIEW:

Bryony Williams

___________

I doubt there are many busier artists…

out there than Bryony Williams! Not only is her new E.P., Conscious, out – which she talks about – but she is involved with GRRRL GROANNN!!!? Williams discusses her new music and releasing her first (with her team) zine; what she thinks of the modern music scene - Williams tells me whether she gets time to chill away from music-making.

I ask whether there are any tour dates coming; which artists have been important to Williams; whether there are upcoming artists worth some time; which three albums mean the most to her – Williams talks about ambitions she wants to fulfil before the end of the year.

____________

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

Hey. I am great, thank you! Well; I’m currently on tour around the U.K. so this week is full of travelling, seeing new places; meeting new people, mini golf; happy hours…oh, and performing of course!

So, you could say I’m living my best life right now.

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

Sure! Well. My lyrics will most likely make you contemplate; their melodies will get ridiculously stuck in your head and, if you like to air-drumming, then you’re in the right place: think early-Wolf Alice with a dash of Lucy Rose and a sprinkle of Hazel English.

The video for Narrative Form is out. What can you reveal about its inception and creation?

Narrative Form is definitely not single material: it’s potentially the most unconventional track from the E.P.! So, with that in mind, I wanted to explore more abstract ideas in terms of visuals. It started when I was travelling back from Liverpool and there were blankets of snow across all the fields for as long as you could see - and I just knew I needed to have some outdoor/snow shots for a video. Then, instead of going straight home, I went and hired a camera out to do some bath test shots at home. I experimented with different lamps for lighting and lighting paper on fire to signify conflict and contrast with the bath water - which I advise anybody not to do because I nearly set the place on fire. I scrapped that idea.

Then, I just put out a Facebook status and my pals from Second City Capture took the bait. We shot in next-to minus temperatures, had food colouring poured into my mouth multiple times and laid in swamp/marshland in Cannock Chase for the drone shots which is a visual idea I’ve had ever since I watched the video to Jenny Hval - Conceptual Romance…except the girl would be nude with dirt smeared in certain areas across the body.

But, I kept it P.G. this time…

Anyway; the premise of the video is that there kind of…isn’t one. It’s open to anyone’s interpretation. Though, for me, it’s a very self-reflective and has feminist connotations – using the body as an object, as a piece of art as well as somebody’s idea of a piece of meat.
There’s also, definitely, some influence from the film Neon Demon. So, for fans of art house and avant-garde; you know what to do.

You should check out my single video, too! Again; directed by myself. This is for those who love a good road trip.

It is from the E.P., Conscious. What sort of ideas and stories compelled it?

The record is my coming-of-age soundtrack. It’s full of stories about hardcore lust, romance; manipulation and escapism. The stories are all real and are related to me but can often be told through a different narrative - that of somebody else’s persona.

I hear shades of artists like Marika Hackman in your work. Who do you count as idols and guides?

Well, thank you. Ah. I have to say icons like Joan Jett, PJ Harvey; Patti Smith, Anastacia; Elizabeth Frazer, Suzi Quatro; Theresa Wayman, Grimes; Kim Gordon and Viv Albertine. Through autobiographies to their music to their personalities and presentation, they all have me so encompassed and in awe of their journey from start to present.

When did music come into your life? Who do you grow up around?

Music has always been part of my upbringing. My dad is a huge music fanatic and collects autographs, vinyl and posters – you name it! Which has, inevitably, been passed down onto me. I grew up listening to a lot of Prog-Rock, Roxy Music; Brit-Pop (Genesis, The Beatles; Blur, Nirvana and Empire of the Sun). My earliest childhood memory is seeing Macca’s Live and Let Die Tour - I was five at the time...

So, obviously, I wanted to be a Rockstar!

When I was nine, my dad took me to a music shop to scout out my first guitar; the salesman suggested a cute pink one…I thought ‘get real!’ and pulled on my dad’s shirt and pointed to the red one. We left with a ¾ neck-sized red Strat and here I am now…just with a couple more guitars in my possession.

What do you think of the modern scene? Do you think female songwriters get the credit and respect they deserve?

I can see a lot of empowering women in the scenes I’m involved/observing: artists such as Dream Wife, Laura Mvula; Courtney Barnett etc. It’s getting better (as everyone says in every interview…) but I’m not sure about the respect. Sure, there’s respect from the majority of audience members, music lovers; supporters etc but there's simply some absolutely assholes out there who, without thinking, will treat an artist different because of their gender. It’s a heavy mix of underestimation, ignorance and self-entitlement.

Talk to me about GRRRL GROANNN!!!? How did that come to be and why did you establish it?

GRRRL GROANNN!!! became an idea last summer while choosing my modules for the following semester. Music Innovation was the class and we had to come up with an idea of disruption which is where it all came from. I formed a business plan and pitched its purpose - which is to establish a female collective specialising in music.

There were the initial, smaller plans such as publishing seasonal music zines, monthly podcasts interviewing inspiring women; creating merch, a website and overall evolving into an independent record label; recording, promoting and distributing artists (who happen to be female) - with potential to host our own gig nights around the U.K. Perhaps, even, having our own festival similar to Lady Fest, Lilith Fair and Riot Grrrl antics.

So far, we have released our first music zine! This includes all gig photography done by me and interviews with Jen Cloher, Peach Club and Riot Grrrl Sessions (in Sweden). So, I guess call me the editor-in-chief! I worked with my good and highly talented friend Jess Webberly who designed the layout, our official logo and the cover design. I’m currently working on the next music zine, which has photos of ShitKid, U.S. Girls and Goat Girl so far.

I’m using this zine edition to also sell Conscious on C.D. to be cost-effective and to kill two birds with one stone. Like my music? Want a physical purchase? Cool. Have a personalised, burned C.D. copy and here have a music-infused zine, too! How cool!

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

I’m on tour right now!

8th July – Good Neighbour, London

9th July – Singleshot, Leeds

10th July – Centrala, Birmingham (my official E.P. Launch)

After the tour, I’m playing at The Sunflower Lounge, Birmingham (8th November) and will be planning another U.K. tour as a band to tour the E.P. in its full bliss this autumn - so, keep your eyes peeled for that.

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

Lots!

I’ll be working on my producing skills in my home studio, songwriting for my next record; touring Conscious, curating the next GRRRL GROANNN!!! zine and look into making some podcasts. I really want to start a podcast between my dad and his good pal Steve – together, they can talk about music forever and recall such amazing gig stories. So, it’d be great to record their music memoirs.

Then, besides all the creative drive, I plan to start my Masters in Sociology of Popular Culture – the aim is to become a published musicologist and I’ll be satisfied once I’ve been on TED Talks.

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

Honestly: it all merges into a big blur for me. There’s the making of the music videos, performing; being in the studio…but all of that has a thing in common and that’s being introduced to new people and contributing to various social communities within the arts. It’s heart-warming to collectively achieve these creative experiences.

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

Jen Cloher – Jen Cloher

Still Corners – Strange Pleasures

Beach House – Bloom

What advice would you give to new artists coming through?

Keep your momentum, go with your gut; shout about yourself – don’t be shy. There’s so much competition in regards to the volume of music that is being released constantly. It’s such a tough game so you have to believe in yourself and make others believe in you too.

Get a record out there, perform; sell merch, get creative and don’t go over your budget.

IN THIS PHOTO: The Sunset Beach Hut

Are there any new artists you recommend we check out?

I recently met a young producer and artist, Kiera Carter, at a music conference not so long ago – she’s currently studying in Wolverhampton and she’s onto a few things. I’d keep my eye on her.

Then; I gotta say The Sunset Beach Hut and The Hungry Ghosts.

IN THIS PHOTO: The Hungry Ghosts/PHOTO CREDIT: Indie Images Photography

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

Hmmm; I don’t think I do! The closest I’ve got is when I was at Primavera this year as I was in full festival mode and I needed my phone battery for survival in case I got lost! So, checking emails was a rarity. I take refuge at my girlfriend’s place because it makes me realise that I need to appreciate the beauty of sitting outside with a G&T without the itch of having to be doing something productive. (Drinking gin is surely productive enough?).

But, even then I’ll take my laptop wherever with me answering interviews, radio plugs and all the lovely PR stuff because it ain’t gonna do itself - and this gal doesn’t have a team behind her. (Yet!).

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).

Oooooo! Okay, okay….

Chastity Belt – Different Now

_____________

Follow Bryony Williams

Facebook:

https://www.facebook.com/bryonywilliamsmusic

Twitter:

https://twitter.com/bryonywmusic

SoundCloud:

https://soundcloud.com/bryony-williams

Instagram:

https://www.instagram.com/thelifeofbryony/

Bandcamp:

https://bryonywilliams.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCHnuBLe8KPfxvdV4qZoolKw

FEATURE: Sofar-Surfing: A Unique Brand That Has Changed How We Experience Live Music

FEATURE:

 

Sofar-Surfing  

 A Unique Brand That Has Changed How We Experience Live Music

__________

IF you are new to the concept and joy…

of Sofar Sounds then you are really missing out! I have become more aware of them as I plan an ambitious music T.V. show. It (the show) will mix mainstream artists, features and music news with unsigned, newer acts that do not get a lot of press coverage/T.V. spots. It is in the planning and pitching stage at the moment but, as I go forward; Sofar Sounds is on my mind. One of the reasons I bring the live gig organisation (if that is the right term?!) is because they feature three artists – each performing four songs – at a random, unique venue. That venue might be anything from an antique shop to a living room to a strip joint (I might have made the last one up!). In essence; it is intimacy and originality that drives the Sofar Sound ethos. If you go to the official website and you can check out where your favourite artists are playing. Creating huge markets around the world, especially the U.K. and U.S.; you can keep abreast of where Sofar Sounds is pitching its tent and apply for tickets. The competition for spaces is intense but there is every likelihood you can find yourself swinging to a Dalston living room to see a well-known band perform to you and a small selection of excited attendees.

One of the reasons why the Sofar Sound name has expanded and gained mass popularity is because of its simplicity and effectiveness. It does not rely on huge record labels interfering and complex booking systems. One goes to the website and can apply for a ticket; wait to see if they have been selected and then, as you are getting ready, all the details will be emailed/sent to you. When you are at the gig; it is a nice and safe environment that has soul and character – rather than crowded pubs or vast arenas. You never quite know where you’ll end up and the actual location itself can be as memorable as the performances themselves. Sofar Sounds now has its name in 412 cities around the world. How, then, did Sofar Sounds begin its life?! The website tells you all you need to know:

“At Sofar, we like to ask: who's ever been to a bad gig?

For some, the crowd was too loud or maybe the beer was warm. For others, the sound system wasn't doing the artist justice. Or maybe someone was in the line of view, snapping selfies all night. Whatever the experience, it just wasn't what you hoped or expected. The magic of a live event experience has been lost.

Sofar Sounds was founded to bring back that magic.

 IN THIS PHOTO: The Vamps will play an intimate show for Sofar Sounds London on 10th July 

In 2009, Rafe Offer invited some friends over to a London flat for a low-key, intimate gig. Eight people gathered in the living room to listen to live music performed by friend and musician Dave Alexander. They shared a drink, and sat on the floor, attentively listening to the music. The room was so quiet, you could hear the clock ticking in the background.

Quickly, what started as a hobby in London spread into a global community for artists and audiences to come together in unique and welcoming spaces - with an added element of surprise - to share, discover, create and, hopefully make a friend or find their new favorite band along the way.

Today, Sofar Sounds is a community of thousands of artists, hosts, fans, travelers and more, putting on hundreds of secret, intimate events per month, across 412 cities around the world.

You're invited. Come on in”.

We have all been to those gigs where we’ve been crammed and stuck to people and there was hardly any room to breathe. Maybe it is a big arena show or a pub performance where beer flies and the sound is intense. It can be an exhilarating experience seeing these gigs but a draining and predictable routine. After the buzz has gone and the week has ended; you do not often look back and notice the venue and the people you were there with.

Sofar Sounds prides itself on providing a very connective, interpersonal and safe gig where you can sit (a lot of the gigs are seated) and enjoy music in a pleasant and brilliant location. From repurposed retail spaces to side streets and outdoor gigs; no two performances are alike and there are no headline acts – it is an equal and democratic performance without those endless sound problems, delays and rowdy punters. I have been thinking about Sofar Sounds because of the threats we face regarding live music. So many venues are closing and a lot of it comes down to rent prices and a lack of socialisation. We are less social and unwilling to end our hectic and stressful days with a gig – we’d rather stay in and catch some T.V. Drink and food prices can be pricey, especially in the city, and it is hard finding artists you like near you. Sofar Sounds, therefore, seems like the perfect response. Rather than see your favourite local venue close or have to travel miles to go to a decent gig; you can go pretty much anywhere and see a gig. It might be a shop a few metres down the road or a coffee shop just down the road. You can bring your own drinks and do not have to worry about high costs and being hustled. Look at Sofar London to see what is happening in the capital right now.

If you think it might be a pretty going to a Sofar Sounds gig; the website tells you what an average ticket costs and what it entails:

“It depends on the city. We currently have two different pay structures:

Fixed-price tickets:

Tickets are $15-20 in the United States; £10-18 in the UK; 200kr in Norway and €10 in Spain. All ticket costs are per person. Please check your city’s page for specific price details.

Pass the hat:

In the majority of our cities where shows only happen once or twice per month, audiences do not pay beforehand, but are encouraged to make a cash contribution at the show”.

Sofar Sounds is mission-driven, for-profit business where the desire is not to make millions: they want to connect people through gigs and create a wonderful experience. For those wishing to host their own Sofar Sounds; you can apply and have your location selected:

“It’s easy! Apply on our website. We’ll just need to know what city and neighborhood you live in, and how many people you think your space can hold. If your application is successful, you’ll hear back from someone from your local team within a few weeks”.

The possibilities are endless when you think about settings and locations. In many cases, Sofar Sounds might not be known where you – the live scene might be dwindling and many might have access to gigs. It can reinvent towns and provide a fantastic experience to those who might never have seen a gig.

It is easy enough for an artist to get their music selected and be considered for a performance:

“If you’re an artist interested in playing a Sofar, you can submit your music. Your application will go directly to the listening team in the city you’ve requested to play. If it feels like a good fit, that team will get in touch to book your first Sofar show.

Due to the high volume of applications we receive, this process may take at least a few weeks. If you don’t hear from us, your application has been unsuccessful. You can submit again when you have new material for consideration”.

The likes of Wolf Alice and Leon Bridges have played a Sofar Sounds set and the rise of the empire continues unabated. One of the dangers might be Sofar Sounds consorting with big advertisers and businesses like YouTube and Spotify and embarking upon big-money deals. I hope the name and personality of Sofar Sounds remains focused and there isn’t the temptation to become too big and look at advertisers. Of course, they make money through ticket sales but there is not an enormous profit to be made for something like this. Whilst I am reticent to encourage Sofar Sounds to sign contracts and conspire with technology giants; it seems like there are opportunities for diversification and cross-pollination. I have been inspired to mix mainstream acts and intimate newcomers in a music show – Sofar Sounds sort of does that already.

IN THIS PHOTO: Sofar Sounds Madrid Director Almu

I think a televised – outside of YouTube – show could bring all the international performances together…maybe a Sofar channel? Mainstream stars have been known to play but I wonder whether there could be a link with those bigger acts. I am sure most of the artists you see performing on a show like, say, Later…with Jools Holland would love to play a Sofar Sounds set. There are a few possibilities that can be explored. A recent article talked with one of the founders, Rafe Offer, about the best experiences and how things started out:

‘Our first show was really casual. My friends and I gathered about eight people into a living room in London. One of them, Dave Alexander (a musician at the time), played us some songs on his guitar. We had some drinks, sat on the floor and just listened. I remember it was so quiet, you could hear the grandfather clock ticking in the background’.

The creator goes on to explain how celebrities mix with unsigned artists and how you never know what you might expect to see:

‘We’ve had a lot of different celebrities cross our paths over the years, but early on Robert Pattinson was a surprise – even for us – performer. That night one of our acts, Marcus Foster, brought his friend with him. He said to me, “This is my buddy Rob. Do you think he can play a few songs later?” Of course no one recognized him outside of context. We have a full line-up when the night starts and our artists go through extensive review, so we said no at first.

‘The night goes on, and Rob was sitting in the back, quite introverted…or a bit nervous about playing, maybe? At the end of the show, Marcus asked me again if Rob could play and I said, “Sure thing, one song.” Rob gets up to the front of the living room, fiddles with his guitar and asks us to stop filming. We didn’t understand. Why was this random guy asking us not to film? He was nervous, and it took him about a minute to hit his stride in the song. But after that, he settled down and hit us with this lovely gravelly voice and really got into it’.

Sofar Sounds is a supplement to the regular gig scene and is not trying to step on anyone’s toes. The fact it is a unique experience means it is not ripping anyone off or trying to steal their idea. So many people I know struggle to muster energy to go to a gig of any sort and worry they do not have enough money to afford a night out. The reason Sofar Sounds keeps getting better and gaining new support is its pure simplicity and unspoiled recipe. More and more locations are being conquered and endless memories made. Attending one of their special gigs provides great memories and a chance to sit in quiet and watch a gig with fellow music-lovers. If you are stuck for a gig and want to experience a special and un-stressful night then keep Sofar Sounds in mind – coming to a living room…

NEAR you.

_____________

Follow Sofar Sounds

Official:

https://www.sofarsounds.com/

Facebook:

https://www.facebook.com/sofarsounds

Twitter:

https://twitter.com/Sofarsounds

Instagram:

https://www.instagram.com/sofarsounds/

YouTube:

https://www.youtube.com/channel/UCRLZb8PpI9N7COmYqHiDH7A

ALL PHOTOS: 

Sofar Sounds/Getty Images

INTERVIEW: Xav A.

INTERVIEW:

Xav A.

___________

THE fantastic Xav A. has been talking with me…

about the video for his single, All In (Summer Song), and what it was like filming it. I ask what the scene is like in New York (where he is based) and when music came into his life – Xav A. talks about touring and whether he’ll come to the U.K.

I ask the R&B singer about his early life and the music that compelled him; if there are three albums that mean a lot to him; which new artist he is responding to – he gives some useful advice to upcoming artists.

____________

Hi, Xav A. How are you? How has your week been?

This week has been awesome! Fans have really loved my latest release so getting the feedback from them - feels great. I'm also so thankful for you all connecting with me!

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

Yes! I'm Xav A. and I'm a retro R&B singer all about bringing wholesome, positive vibes to the world.

All In (Summer Song) is out. What is the inspiration behind the song?

The inspiration behind the song was making sure that we still have music that talks about celebrating true love and making people want to strive for that. I just felt like love songs have been taking a backseat to cheating songs for too long!

Was it fun shooting the video? Where was it filmed?

It was so fun shooting! It was shot in Fort Tryon Park in N.Y.C. and also in the 191st Street 1 train subway stop. Being surrounded by all of my friends made for an extremely enjoyable day. Thanks to Phe Philms for shooting!

Is there more material coming later in the year? What are you working on?

Yes! Later in the year, I will be putting out some '80s-inspired Synthwave songs. I am usually more of a '90s guy, but I just wanted to show a different side of myself.

Do you recall when music came into your life? Was there an artist or album that struck your ear?

Music has always been in my life since I was little thanks to my parents. I think the song that really changed my life was Milkshake by Kelis. I know that probably sounds crazy but I think it showed me that you can make music that is different, but it can be just as cool as whatever the flavor of the month is. It made me feel like being different didn't have to be something bad. Kelis definitely changed my life.

How important is the scene in New York? Do you draw inspiration from the people and sounds around you?

I draw so much inspiration from my friends in the video, Chris Gallerani and Uliya! Knowing that we are all doing our best to become the truest versions of ourselves makes me feel empowered. I swear they are the coolest - and I'm just always trying to keep up!

If you had to select three albums that mean the most to you; which would they be and why?

B’Day by Beyoncé. The energetic, cacophonous sound on that record is something I aspire to end up with on a later record!

Like I was saying before; Tasty by Kelis was also a major favorite.

Thirdly; I would say The Miseducation of Lauryn Hill (Lauryn Hill) because even though she hasn’t put out a ton of music since then: I feel like it's still relevant and still a classic. I want that too for my projects!

What do you hope to achieve by the end of 2018?

By the end of the year, I will have released two Synthwave tracks, two more videos; prepped my really cool band, start dance lessons and get a trainer too. I have so much to do!

Will there be any tour dates? Might you head to the U.K. at all?

Not at this time but I love to perform on Facebook Live and LiveMe - so my U.K. fans can connect with me there!

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

I think my favorite moment was performing at SOB’s to open up their showcase that night. It was a huge undertaking to organize the dancers, the band and the filming. It made me tell myself: ‘You know what? I really can do this’.  I'm extremely proud of that.

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

I would love to open for the rapper Kyle! I feel like that would be a good match.

In terms of a rider; I just need as much space as possible. I don't care about anything else as long as we have enough space for everybody to mentally prepare!

What advice would you give to new artists coming through?

Build up your following on the Internet, don't compare yourself to other people and constantly check in on your progress. Look to see what's working and what's not and, if it's not, change it!

IN THIS PHOTO: Ella Mai

Are there any new artists you recommend we check out?

Well. I think Ella Mai’s new song, Boo’d Up, is really great - so anyone who hasn't heard that yet should definitely give it a listen!

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

I unwind with video games! I bought a PS4 this year which is definitely hijacking my productivity. If anyone plays Smite or Street Fighter 5, let me know!

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! To get an idea of my new sound for the second half of the year, check out True Survivor by David Hasselhoff! So '80s!

_____________

Follow Xav A.

Official:

https://www.xavamusic.com/

Facebook:

https://www.facebook.com/XavAMusic

Twitter:

https://twitter.com/xavamusic

SoundCloud:

https://soundcloud.com/xavamusic

Instagram:

https://www.instagram.com/xavamusic/

YouTube:

https://www.youtube.com/xavamusic 

INTERVIEW: DUETS AND STUFF

INTERVIEW:

DUETS AND STUFF

___________

I have been speaking with DUETS AND STUFF…

about their debut single, Serve Somebody, and how the song came together. The duo discuss their formation and what they have planned coming up – I ask whether there are any new artists we need to get behind and support.

I ask whether there is a good music scene in Sweden (where they are based) and how music came into their lives; if there are any gigs coming up for DUETS AND STUFF; the advice they would give upcoming musicians – the guys end the interview by selecting some cool songs.

____________

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

We are fine, thanks! Our week has been relaxing. We are currently on vacation in the most northern town of Sweden, Kiruna. We have been catching up with some friends and visited the local music festival - and also watched a little bit of the FIFA World Cup.

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

We are Raimond and Greta and we are the duo behind DUETS AND STUFF. We make minimalistic and simple Pop with an Indie vibe.

How did DUETS AND STUFF get together? When did you meet one another?

We are a couple and have been together for nine years. We have always been playing music together - since that’s a mutual interest - but we just recently started writing together. Serve Somebody is our debut single. We met for the first time at a small music festival where we both played in separate bands - and we got together a few years later.

Serve Somebody is your debut single. Is there a story behind it at all?

There’s actually a kind of funny story behind it...

Raimond had written and recorded this catchy marimba melody-jingle and it was very different from the stuff he usually writes when recording and writing under his own artist name (Rain on Monday). I (Greta) was laying on the couch, reading or something, and I heard him playing the jingle over and over and I just started laughing out loud asking what the heck he was recording - and it was so out of his usual style.

I thought at first it sounded kind of dorky. A few weeks later, we just felt an urge to record something together and we tried to write something from scratch. The first attempt did not work out too well but then Raimond played the marimba song again and he had a half-finished lyric to it. At that point, I felt the song immediately and we wrote the rest of the song together and recorded it.

Will there be more material coming later this year?

Yeah. We have plans together with our label, Bolero Recordings, for more upcoming releases later this year. Currently, we are writing songs for our debut album and things are going well.

Did music arrive in life at a young age? Were there particular artists that influenced your decision to make music?

We have both been into music since childhood, more or less. For Raimond; U2 has been the biggest influence in starting playing music. For Greta; it’s been more a natural thing starting playing music since she has musicians for parents.

Is there a good music scene in Sweden right now? Is it a great country to record music in?

We think that the music scene in Sweden is strong. There are many good artists, bands; producers and songwriters here. That’s both inspiring but also makes the competition harder to reach out with your own music.

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

We hope to make some touring in the future: right now, we are focused on writing and recording so we can release more new music. Our first shows will probably be in Sweden/Stockholm but we would like to extend our venues to maybe Norway, Denmark and the other Nordic countries. Also, Germany would be great to visit!

Can we expect some U.K. date very soon?

We really hope so! That will probably be the plan as soon as we start touring.

What do you hope to achieve in 2018?

We are aiming to finish our debut album and we also want to do more live shows.

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

When we first released Serve Somebody, the response way better than any of us could have imagined. That was a real boost in confidence - so we continued writing together. So, we guess how it all started is the greatest memory. We also found something really fun and rewarding to do together, which is the most important thing to us right now  - enjoying this together.

After the release, we got several offers from labels and publishers but, at first, we wanted to do this on our own. Later, we got in touch with Lars at Bolero Recordings and he has been such a great support and we think our collaboration works out good.

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

Peter Bjorn and John or The xx would be cool to support. Our rider would, for sure, include pizza and beer (smiles).

What advice would you give to new artists coming through?

To have the energy and spend time promoting the music: otherwise, it's hard to reach out in the anthill of new music coming out every day.

 IN THIS PHOTO: Sharaya Summers

Are there any new artists you recommend we check out?

Sharaya Summers, Oddnesse and Cina Polada.

 IN THIS PHOTO: Oddnesse/PHOTO CREDIT: Daniel Johnson

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

Because we also have a relationship besides the music, we try to take some time to disconnect music and do everyday things. We like spending time with our golden retriever, Bono; exercise and watching T.V. series and movies.

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).

Check out our label rooster colleague Mi von Ahn's latest single, Childish Games

_____________

Follow DUETS AND STUFF

Official:

http://duetsandstuff.com/

Facebook:

https://www.facebook.com/duetsandstuff/

SoundCloud:

https://soundcloud.com/duetsandstuff

Instagram:

https://www.instagram.com/duetsandstuff/

Spotify:

https://open.spotify.com/artist/3UZdGLpglDpFvKyLF6m05s

YouTube:

https://www.youtube.com/channel/UCJRf0fecKJJEZe1qgayNfuw

TRACK REVIEW: Noralyn - New Tricks

TRACK REVIEW:

 

Noralyn

New Tricks

9.5/10

The track, New Tricks, is available via:

https://soundcloud.com/noralynmusic/03-new-tricks-1

GENRE:

Pop

ORIGIN:

Brisbane, Australia

The E.P., Lucid Dreaming, is available via:

https://open.spotify.com/album/20DRz2PnbS9TlZsQA7YdxE

RELEASE DATE:

15th June, 2018

_________

WHEN speaking about Noralyn…

I get the chance to look at very interesting sides of music. I will address Brisbane and the music coming from Australia; artists who have that ethereal, captivating sound; lyrics that conspire and compel incredible scenes and visions; bringing international artists over to the U.K. – revealing a bit more on social media pages. I will start by looking at Australia – a nation I do not get to talk about too much when it comes to music. The past few months have been full of great artists and sounds: I cannot recall whether an Australian artist has been among the included. I feel it is a part of the world that gets overlooked and we do not really assimilate into our daily lives. It is a bit annoying to think the media has their limit and boundaries; unwilling to look beyond the U.K. and U.S. when it comes to great artists. I am one of those people who wants to get out of an easy headspace and comfort zone. I have spent a lot of time looking at British and American artists and have not really got round to Australia. I hope that changes and I get to uncover a lot of great Australian acts because, when you look at Noralyn; she has an amazing sound and differs from anything out there. We look at Australia and most of us tend to stick with Melbourne or Sydney. Although Melbourne is my favourite part of the nation; I realise there is a rich seam of music running through the country. Look at Hobart and Victoria; have a listen to what is happening just outside the big cities and you will find some amazing and memorable artists. From The Go-Betweens, Savage Garden and The Veronicas; there have been some great artists to emerge from Brisbane. Cub Sport and Dune Rats are two of the more recent acts to come from that area – look closely and you will see plenty of fantastic acts from that part of the nation.

Babaganouj, Future Haunts and Sweater Curse are a few local, upcoming acts that are worth investigating if you want to see what is coming from Brisbane. I am not surprised Noralyn has a great sound and is allowed to flourish. She is working in an area with a vibrant and varied scene; some great venues such as The Zoo and Brooklyn Standard. It is an interesting part of the world and, like all great cities, there is no one particular sound: there is a wide variety of artists that add so much colour and variation. I am drawn to Noralyn because she defines what Brisbane is all about. I am excited to see what happens next and where she heads. She is taking from the local scene and vibing from all the sounds around her. My point is we need to look at nations like Australia and how much great music is emerging from here. We get too hooked on obvious parts of the world and forget there are places like Australia – producing music that rivals the very best out there. I love Brisbane because it does not have the hustle and crowds of Sydney/Melbourne but there is a growing and intriguing music culture. Noralyn is one of the best artists coming from Brisbane but I feel, in time, she might move to a larger area in order to progress her music. It is a pivotal and busy time for the young songwriter; a new E.P. is out and there will be ambitions that see her travel the world and take in new sights. As wonderful as Brisbane is for talent and opportunities; I feel it is a great starting point and education for artists who want to progress and get their name out there. I wonder whether Noralyn will go to, say, Melbourne or to the U.S. in time. She seems happy where she is and is reacting to all the sensational talent and people around her.

I listen to Noralyn and you get sensations of Tori Amos and Kate Bush. These artists are defined by a sense of flight and fantasy. Their vocals and mannerisms are not conventional; the songwriting is more fantastical and inventive – not your average and predictable love songs, for instance. Those legends have made their name by producing music that takes you to amazing places and gets you thinking. The songs are imaginative and dreamy; the performances striking and mesmeric. With Noralyn, she employs some of Amos’ power and emotional weight but brings in her own blends. Listen to the songs on Lucid Dreaming and the title says it all: there is a lot of fantasy and dreaminess that I miss from modern music. So many artists, these days, go for direct and uncomplicated. Songs, whether love songs or not, tend to be simpler and do not push boundaries regarding language. There are exceptions but there is a need for musicians to connect fully with the audience – people want something accessible and straight. Maybe that is an over-simplification but I am seeing few artists who use inventive language and take risks. It is good to see Noralyn come through and challenge the listener a bit more. I guess, in a way, we have Florence + the Machine: someone who picks from artists like Kate Bush and Tori Amos but adds her owns spin. She seems like an outcast when you look at the very conventional and straight-laced music coming from the mainstream. I am hearing some brilliant artists who rival her mannerisms and potent songwriting. The trouble is, like all innovative and pioneering artists; it takes that much longer to get to the top and pierce the public mindset. I am not sure what the music scene is like in Brisbane/Australia but I guess the mainstream still has the same limitations. Noralyn is operating in a part of the country that encourages artists to be expressive and reveal who they really are.

As much as I love bands that are punchy and get to the point; I like to mix that up with musicians who employ language in a different way and have that incredible depth. I can imagine Noralyn’s early life saw her rifle through vinyl and prick her ear to the beguiling sounds coming from the radio. I have mentioned artists like Tori Amos and Kate Bush; put in Regina Spektor and Alicia Keys and you can see where Noralyn’s skin and identity has come from. Like I said; she uses these artists as a guide and adds her own spin on their work. Classical music and film scores also compelled the young artist; faith and God made an impact (and still do) and, when you stir this all together, you have a colourful and heady brew. I think influences are really important when trying to define an artist. If you spend your time listening to Punk and Pop then, likely, your own music is going to lean heavily on those sounds. Noralyn takes guidance from local artists and national tastes but bonds with artists who made an impression on her when she was young. The women I have mentioned – like Spektor and Bush – are strong and determined figures who have carved their own path and never played it safe. They have made their own way through music and, as such, been free to create as they feel fit. More and more, I see conventional and restricted artists come through who are trying to fit in with a particular scene. Maybe they are looking for streaming records or want to please the charts; they might want that all-important radio-play or follow what is already out there. Where are the risk-taking acts and those who make something natural to them? Noralyn is someone who can appeal to a wide audience but realises it vital being who you are and making music that feels right and natural – something a lot of other artists can learn from.

I have mentioned the sound and idols behind Noralyn’s sound: lyrics and language are a big part of what the Australian artist does. Look at the songs that appear on Lucid Dreaming and they are almost novel-like in their power and descriptiveness. One is presented with brilliant stories and images that get into the head and make you think. That is not to say it is hard to understand what is being said: the songs definitely resonate and it is great discovering an artist who can connect with the audience and make their voice known. I have not had time to review the whole E.P. but I have listened to the songs and engrossed myself in the wild, wonderful and beautiful scenes. You listen to Noralyn sing and those words come to life in such an extraordinary and intense way. I have followed her career for a few years now and can see where she has come from. Her songwriting has become more ambitious and she has raised her game. The music she was putting out there a few years ago was fantastic but I think, in the past year or so, she has incorporated new elements and sounds into her locker. What amazes me is how Noralyn creates her own world and can present stories of love and self-determination in such an impactful way. I guess her E.P., and its lucid dreaming and visions, is meant to step away from the ordinary and present something that peaks the imagination. Maybe one can draw back to those songwriters like Tori Amos and Kate Bush who, between them, have used the English language in wonderful ways. They are capable of being direct and stark; they discuss love and pride together with loss and longing – they have never been ones for doing things simply and like everyone else. Those songwriters have built a legacy from being candid but stepping from the boring and precise. Their music has inspired those who think differently and want to express themselves in a more profound and imaginative way.

I have alluded to Noralyn’s faith and how important that is to her. Whilst it is always hard to draw a line between music and religion; you can see parallels with Noralyn. She has a very deep and committed faith and I wonder whether that drives what she writes about and how she approaches music. Rather than be spiked and accusatory with her music – throwing in grenades and being harsh – there is a lot more patience and compassion that comes through. You do get moments of heartbreak and anger but, for the most part, the music has a faithful and logical heart that keeps things rational and inspiring. Too many songwriters, when speaking of love and themselves, are too anxious, angered and vengeful. You can bond with what they are saying but only because the language is quite negative and tense. Maybe I am going down a blind alley but I feel there is a connection between faith and religion and Noralyn’s outlook. She goes through the same pains and struggles as all of us but never makes one feel unease or depressed. The music is always positive and the heroine wants to make things better. She is not looking for punishment and does not want others to suffer. Too many modern artists are either too inward-looking and suffocated or they talk about love in very spiteful and sorrowful terms – they might speak of lust and do so in an explicit and unsophisticated way. Noralyn is a different proposition indeed. What we get is a songwriter who has that intelligence and compassion; her heart beats the same as us but she is a more sophisticated, loving and forgiving woman. Maybe I am painting her as being submissive and passive but that is not my aim at all. What I am trying to say is all of the things we know about her – that faith and attachment to iconic women; the area she lives in and her determination – defines what she writes about and how her lyrics leap from the page. You get different sensations and emotions from someone who wants to make big moves in music and make real changes.

I wanted to talk about international artists because, for the most part, they are kept at arm’s length. You hear them on the radio but, in this day and age, how realistic is it for all of them to tour and come over here? It is expensive to travel and it can be difficult for artists to come to countries like the U.S. and U.K. to play. There are some brilliant American artists I want to see over here that cannot afford to tour. It is challenging getting the support and then, when you have it, getting a budget together so you can play. It is even harder for artists out of Australia to make those long trips. Noralyn is someone who would find loving hearts and ears over in the U.K. and, in fact, could go on and so well in Europe and the U.S. I hark back to my point about Australia and why we do not focus on musicians from here. Maybe we discover artists through gigs and airplay; that is harder to come by when the artist is so far away. Australia is a great nation that constantly produces music that stands alongside the very best. There is a lot of ground to cover in Australia, so one knows artists there have plenty of opportunities. I feel a country’s music scene is richer and more alluring if we sprinkle in foreign artists. Most of the acts we have touring in the U.K. come from here and, whilst that is natural; I would like to see talent from all around the world perform near me. Maybe finance and logic mean we are going to see fewer international artists come here and perform. I review and interview a lot of international musicians and always ask them whether they are coming to the U.K. Some say they are coming soon but many need to build up their fanbase and have not got the money to play here.

Noralyn is a great talent that will turn heads for sure. I am not certain what her plans are but I know there are very few like her where we are. The U.K. and U.S. can benefit from someone like her that tackles myriad themes and does so in a very special and beautiful way. Social media is great for bringing artists to the international fore but it is only effective if people share music and takes the time to push things out there. Maybe a 2019 gig here will be on the cards for Noralyn. I think she has the potential and promise to do very well here and established a great base. The U.S. is another nation that would take her to heart and give her plenty of new fans. I often feel sorry for Australian artists because they are so far away from countries like America and England. Even if they do have a following over here, it is not always possible to tour and spend a lot of time enjoying the local sounds. My wish is Noralyn’s music is given a proper push here and, in time, she is afforded the opportunity to play some gigs here. Every musical nation is made strong when you add international artists into the pot. We do have foreign talent playing here but they tend to be from the U.S. or Europe. I will move on soon but I wanted to highlight Noralyn’s international promise and the fact she could do very well here. Lucid Dreaming has been out a little while and has won some great reviews and plenty of praise. It will get her gigs in Australia and see her stock rise there. She has already launched the E.P. and it was met with a passionate and willing crowd. There are many people over here that want to see the E.P. up-close and in the flesh – I wonder whether Noralyn will come to Britain next year/later this year and play to us. There are radio stations and venues that would love to have her and could give her some support.

Noralyn has a great social media spread and keeps her images, videos and news updated. You can follow what she is doing and she never leaves too big a gap when it comes to her news. We know what is going on and what her plans are for the future. Whilst it is good to know her movements and know when new material is approaching; I am interested in knowing more about the artist and where she came from. A lot of artists keep themselves a bit guarded when it comes to biography because they feel that clouds your views on the music and creates too much bias. I can understand why artists would want to give little in that sense and let the music do all the talking. I know giving too much away is unnecessary but it would be cool to discover which artists Noralyn grew up around and when music came into her life. I know some of her idols but I would be interested to know other musicians that compelled her and how her career has developed. To bond with an artist; knowing where they have come from and how they have moved gives you more information and can help when it comes to bonding. Noralyn, as I said, has a great official website and her social media pages are full and updated. I am interested to know what she thinks of the Brisbane scene and what tour dates are coming up; when her first gig was and where she draws songwriting inspiration from. All of these little pieces add to the jigsaw and gives you a more rounded impression of the songwriter. What we have now is great – and know who Noralyn is – but I am compelled to discover about her early years and what lit the fuse for the fantastic artist. In any case; we know there is a new E.P. out and things are going well for the Brisbane resident. Let us, then, get to the music itself and see why so many people are throwing their love in the direction of Noralyn.

There are some songs on Lucid Dreaming that look at moving forward and have a positive view. New Tricks, if anything, has a bit of tension beating in the heart. It is a song that promotes positivity and steadiness but there are nerves and a sense of unrest working away. The song begins with tender keys and the heroine’s tremulous, beautiful voice. She comes in strong and striking; imploring someone to remain steady and not lose what they have – do not say the first thing that comes to mind. The voice jumps, twists and dances as the heroine talks about bombs, bullets and hurricanes of emotion. Maybe she is in a relationship where there have been good times but, at the moment, there is a bit of stress and uncertainty. Perhaps there have been needless arguments or the two have been saying things and regretting it later. There is love and togetherness but that compassion and trust is being threatened by unstable conversations and petulant thoughts. It is hard to know whether the heroine herself has been culpable of letting her emotions rule the heart. I guess she has said things she regrets but, largely, it seems like the man is the one who is letting things get to him. I said how Noralyn writes songs that keep positive and inspiring – not as anxious and spiteful as many – and there is definitely a sense of keeping a level head and not casting blame. The beat continues to punch and there is underlying shimmers and shivers. The composition remains light but has an imperious and potent drive. The voice is allowed to abide and reign; it is top of the mix and, importantly, not drowned out or lost. Our heroine presents her words with so much physicality, movement and expression. It is an amazing experience and one that makes you imagine and dream. I was looking at the lovers talk and what was happening in the song. There is that passion and connection but things have gone a little sour.

The heroine does not want things to crumble and knows there is a lot invested in the relationship. She knows neither of them are saints and they make mistakes like everyone else. These common and obvious realisations seem to be spoiling something that has endured and survived for a long time. As the instruments rise and the vocals layer – more spirited and ecstatic – the heroine wants to learn new tricks to handle this moment better. Both are working to improve the situation but it seems, unless changes are made; they might lose what they have and it could lead to heartbreak. As those vocals explode and things get more bellicose; you are drawn to the intensity and rushing waves. Compromise and understanding are at the heart of everything unfolding. The heroine wants to step over to the hero’s side and figure out what is happening. Rather than name-call and walk away from something good; she is taking a mature and reasoned approach that is more productive than you’d imagine. Many would hide away and wallow in misery and hurt: Noralyn is willing to take measures and steps to keep the love alive and not see it break. Piano flourishes and there are electronic buzzes; percussion beats and the song gets hotter and fuller. The blood runs hot and the eyes widen as the heroine’s voice flies and the words trickle out. Neither of them is perfect and she knows having a mirror – an emotional one – makes it all clearer. She loves him and they both want a better life. By reasoning and compromising; there is far less destructiveness and, it seems, they can salvage what they have. New Tricks is an inspiring song that will give heart and guidance to those in a similar situation. You will listen to New Tricks once and be struck by its electricity, passion and light. The lyrics will stay in the mind and the music will bounce around the heart; the song will keep coming back to you during the day and you’ll want to return and unpick the track.

Noralyn has been busy the last few weeks promoting her music and getting her E.P. to the people. Lucid Dreaming has been talked about and the excitement has been building. I wonder where she is going in terms of touring. I imagine there will be Brisbane gigs but, looking ahead, more Australian dates will surely follow. Maybe a U.K. date is not a reality this year but I know many will want to see Noralyn here next year. Lucid Dreaming is an E.P. you need in your life and, while I have focused on New Tricks; every track on the E.P. is brilliant and sticks in the mind. There are very few out there like Noralyn: we should look out at music and encourage new talent to follow her lead and think more deeply. I know there are musicians who take risks and are more inventive with their lyrics. Noralyn does not chase trends and write in very basic and simple ways. She challenges the listeners and paints vivid, imaginative portraits that fascinate and stun. There are very few artists who take this approach – I wonder whether there are too many risks or few think they will fit in the mainstream. It has been a busy and exciting year for Noralyn. She has released a fantastic new work and brought her music to new faces. The summer is here so there will be gig opportunities and chances to get her E.P. to fresh sources. I hope more people follow her music and, in time, she is given the chance to play internationally. Unique artists are hard to find, and so, when you do discover those with more to say; stick by them and ensure they get as far and wide as possible. Allow yourself some time to get involved with Lucid Dreaming and what it is all about. It is a perfect E.P. to fall inside and let it take you away. The music is amazingly varied and captivating; the songs will come to mind when you least expect and you will surely fall for Noralyn with ease. Lucid Dreaming is a fantastic release that proves long-term success and glory…

IS a definite reality.  

____________

Follow Noralyn

 Official:

https://www.noralynmusic.com/

Facebook:

https://www.facebook.com/NoralynMusic

Instagram:

https://www.instagram.com/noralynmusic/

SoundCloud:

https://soundcloud.com/noralynmusic

Spotify:

https://open.spotify.com/artist/0Y80UrOfdiF9XmdoPdGYYp

YouTube:

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

FEATURE: All Is Full of Love: A Pride Playlist

FEATURE:

 

All Is Full of Love  

PHOTO CREDIT: Unsplash

A Pride Playlist

__________

TODAY has been a great day…

PHOTO CREDIT: Rebecca Williams

for this nation! We have just defeated Sweden in the World Cup quarter-finals and are preparing for a game against, I suspect, Croatia. It has been a crazy day for us: few would have suspected England to go that far and do such great work! There is excited chatter about how far we can head and whether we can lift the World Cup – the first time since 1966. In addition to England’s on-pitch heroics, we have been celebrating Pride: a 30,000-strong parade has taken place in the capital and there has been a festival of colour and heat that has united the people. It has been a busy and uplifting day that has seen celebration and unity. A lot of the time, we are divided and cracks appear through the people.

PHOTO CREDIT: Getty Images

The world is as terrifying and unsure as it has ever been – a lot of us face fear and stress on a daily basis. It feels like a day when all of that has been put aside and we are coming together to celebrate love, pride and the human spirit. Many of the L.G.B.T.Q.I.A. community have faced persecution, alienation and judgement. Their lives have been hard. The struggle will continue but there have been changes and development through the years. More people are aware of the sexual spectrum and conscious of its complexities and variations. In any case; things are getting better and there is much more acceptance in society. London has been lit up and brightened by a wonderful parade and the people showing their support. To celebrate that; I have compiled a Pride playlist that unites anthems and L.G.B.T.Q.I.A.-themed songs that…

PHOTO CREDIT: Unsplash

ADD spark and life to an amazing day!

FEATURE: Privacy and Protection: Music Copyright Laws and the Need for Change

FEATURE:

 

Privacy and Protection

ALL PHOTOS (unless credited otherwise): Unsplash 

Music Copyright Laws and the Need for Change

__________

THE topic of copyright and fair pay…

is not something we hear discussed much in music. In the course of our daily browsing and music listening; we will skip around Spotify, YouTube and SoundCloud. We all have our favourite sites and, without thinking about it, click on a song/album and enjoy it at our leisure. If we have a Spotify subscription, then we do not know how much of the money we pay goes to each artist. Sites like YouTube run adverts but, unless you are buying what is being sold; no money goes the way of artists. In fact, it seems like the money raised through YouTube goes to Google – who own the video-sharing site. I wonder how much money is being generated for artists and whether anyone sees a decent amount of cash. For new artists, who rely on sites like YouTube and Spotify; their lives are even more unsure and nervous. Sir Paul McCartney has been in the news and calling for changes in the copyright law:

“Sir Paul McCartney has written a heartfelt open letter to the European Parliament, calling for all music artists to be fairly paid for their work.

The former Beatle is urging MEPs to back proposed changes to EU copyright law - Article 13 - which would force user upload content platforms to pay songwriters and performers fairly for the use of their work.

The 76-year-old musician says that without this change, the future of the music industry could be at risk.

In the note, Sir Paul writes: "Music and culture matter. They are a heart and soul. But they don't just happen; they demand the hard work of so many people.

 IN THIS PHOTO: Sir Paul McCartney/PHOTO CREDIT: Getty Images

"Importantly, music also creates jobs and economic growth and digital innovation across Europe.

"Unfortunately the value gap jeopardises the music ecosystem. We need an internet that is fair and sustainable for all."

He goes on: "But today some user upload content platforms refuse to compensate artists and all music creators fairly for their work while they exploit it for their own profit.

"The value gap is that gulf between the value these platforms derive from music and the value they pay creators".

We often go onto websites and endlessly view videos/songs without any money parting company. It has now come to pass that the overhaul ambition has been rejected. The move would have brought the EU copyright laws in line with the digital age. Many musicians came out and asked for better guidelines that protected musicians from having their work used by giants without consent. The European Parliament rejected the motion: opposed to Articles 11 and 13 that have been causing much chatter and debate. Article 11 intends to protect newspapers and outlets from titans like Google and Facebook – meaning they cannot use material without payment.

Article 13 placed greater responsibility on websites to enforce copyright laws and filter/assess content that came onto the site. A copyright system would have been a remedy but would have cost over $60-million – the cost YouTube has to bare on their site. For those who need to know what music copyright is and why so much debate has surfaced; here is a simple guide:

“What is music copyright?

Music copyright is the legal protection given to the creators of music. Copyright enables composers, recording artists, musicians and other creatives to be recognised and paid for their work.

If a piece of music is protected by copyright this means that you must not broadcast it without clearing it, reporting it and paying for it.

How do the musicians get paid?

The money musicians and composers get paid when their work is used is usually referred to as royalties. There are two organisations who manage these payments. They are PRS for Music and PPL. PRS for Music look after song writers, composers and publishers. PPL look after the people who record the music – the labels and artists.

"If you don't obtain clearance for your use of copyrighted music, you could face legal action."

Anyone who plays music in public, whether they are music venues, pubs, restaurants, shops or broadcasters, have to pay for two licences - one to PRS for Music and one to PPL. These two organizations collect payments and this money is used to pay those writers or musicians whose copyrighted music has been used.

 One song or piece of music can have several people who own part of the copyright. These can include composers, writers, performers, publishers and labels. For example, if you wanted to use Wannabe by The Spice Girls, there are seven composers credited, represented by three music publishers who all have the right to be paid for the use of the song.

PRS for Music and PPL are non profit organisations”.

One wonders how deep the issue goes and how much money songwriters are losing. The wealth and profit gap McCartney was referring to is not reserved to websites like YouTube. Although they have their own copyright system; another issue comes when we look at subscriptions and listening to music for free. I think there are two things we need to sort out. I have seen videos and users illegally use other people’s music and fuse it with their own. I have seen others broadcast pieces of music without permission or paying a particular artist. It is clear we need to compensate artists more fairly and those whose work appears on the big websites. Whilst there is a problem with the extent of copyright and how well it works in practice; there are a few measure sites like Google can impose that would be beneficial to artists/creators. I feel we all need to be more aware of the realities of the music industry and how much work is being shared and published without payment.

I have spoken about Spotify and how we can pay subscriptions to listen to music. Many people do not and it means, before the music has even reached the site; many people are listening for free – less money going to the creators. The situation is even more severe with YouTube. It is a free site and there are so many videos being shared and published without the artist’s permissions. I am seeing a lot of brand-new songs published by individual users or companies so they can gain views and money; new artists are putting their music on there and not earning any money at all. I feel, before we do anything, we need to impose a subscription fee for every YouTube user so that more money is put the way of musicians/creators. Google is a huge and ever-growing company that is not spending enough money protecting artists and improving the way music is uploaded and shared. I know there is a difference between copyright and compensation: both issues need tackling and we need to be more aware of these huge sites and the realities for musicians. Ensuring every video that gets uploaded to sites like YouTube is subject to copyright checks is crucial. We do not know whether a user is sharing music without permission or passing it on as their own.

Whilst it is vital to get protection and laws in place; setting aside some financial reward for those who put their work up there, knowing it will be seen for free, is just as important. The change in laws has been rejected and I wonder whether (those who rejected it) are concerned with freedom and censorship. It would not be too strict ensuring any videos/music uploaded has permission and users are not trying to profit unfairly. An artist spends a lot of time working on what they do and it is hard seeing that final product end up in the hands of advertisers or unduly fall into the hands of advertisers. I do wonder how much music and content is being put out there and where it ends up. There need to be channels and changes that at least increase privacy. It would be a little dictatorial scrutinising every upload/user and making them sign contracts. Users would flock away and it would not be good for sites. It is not only YouTube that faces challenges and scrutiny. Look anywhere on the Internet and you will see videos from popular stars and newcomers being shared and used by others. It is clear there needs to be a good rethink so we can draw the line between protection/financial compensation and overly-strict enforcement. The amount of money giants like Google earn is eye-watering and one would think they could invest enough regards copyright and protecting artists. I feel imposing a Spotify-like fee for users would free more money up so better measures can be put into place. Whilst recent changes have been rejected and some big names have had their voices snubbed; it is clear the giants of the Internet need to think about privacy/artists and make…

REAL and big changes.

FEATURE: 36 Against 52: The Ongoing Issue of Racism in London’s Bars and Clubs

FEATURE:

 

36 Against 52

IN THIS PHOTO: Park Lane's Drama nightclub/PHOTO CREDIT: Joe Plimmer for The Guardian  

The Ongoing Issue of Racism in London’s Bars and Clubs

__________

I have been hearing great things…

PHOTO CREDIT: Unsplash

about the new Whitney Houston biography, Whitney. The film is packed with revelations honesty from the much-missed star. Looking at an article that has just been published highlights one concern Houston voiced: not being seen as ‘black enough’ in the industry:

“Sometimes it gets down to ‘You’re not black enough for them. You’re not R&B enough. You’re very pop. The white audience has taken you away from them.’” This was Whitney Houston, reflecting on the first significant setback of her career, when she was booed at the 1989 Soul Train Awards. By that stage, she had already won 11 American Music Awards, two Grammys, achieved the biggest-selling debut album by a female artist in history and a record-breaking seven consecutive US No 1 singles. But, despite all this success, some black radio stations refused to play her records, and opponents, including the Rev Al Sharpton, labelled her “Whitey” Houston. For some, she was simply Not Black Enough”.

Maybe things have come on a long way – to an extent where black artists do not feel their life is in danger and they can survive in music: I do not feel we have come that far where there is equality and proper respect of minority artists. The article goes on to look at the differences in the industry today:

“Today’s black artists operate with the freedom Houston dreamed of, but they are never immune from scrutiny. Witness Beyoncé, whose stance in the early 2000s was seen as carefully apolitical by critics, but who suddenly rediscovered her blackness in the Black Lives Matter era and came out celebrating hot sauce and “Jackson 5 nostrils” in 2016’s Formation. Beyoncé had sung her own, Houston-influenced Star-Spangled Banner to the Super Bowl audience in 2004; when she returned for the 2016 half-time show, she practically gave them a Black Power military drill”.

PHOTO CREDIT: Unsplash

I do not think we have come so far where black artists have real freedom and get the same attention as their white peers. If we are struggling to see racial equality and balance in the music industry; that seems to be reflected in society as a whole. I have heard from a lot of black and minority club-goers about the policy on the door. It happens in many big cities but London still seems to foster a rather worrying racial profiling. I keep hearing of Hip-Hop and R&B clubs (and Grime) alienating its true, black clientele and gentrifying it. The loyal punters have to move to areas outside of London because they do not fit the ethos and ‘class’ of the joints. Spaces that were once awash with life and authentic energy have been replaced by a largely-white populous who see the music/spaces as fashionable – not vibing to the music and aware of its foundations. This marginalisation is not limited to Urban clubs in South London: areas like Mayfair, as this article shows are imposing racist and despicable policies:

“It is black women, critics say, who are the net losers in the current Mayfair club game. Fashion blogger Fisayo Longe recently described her experience at Libertine, writing that she was denied entry and was told it was: “Maybe because you’re black,” and “… probably because you’re not good looking enough”. The nightclub has denied this, saying the records from their ID scanner prove they have a varied demographic. “We can categorically state that we do not have a door policy that is based on the colour of people’s skin.”

…The near absence of any ethnic group from a social space in London is unusual enough for a city with a 40% non-white population. But it is all the more surprising in nightclubs that – as Drama and many other high-end Mayfair establishments do – play almost entirely black music. Those who claim black people are being deliberately excluded are becoming harder to ignore.

In 2015, the nightclub DSTRKT refused entry to a group of black women who say they were told they were “too dark” and “overweight”. The nightclub denied this and says the club was full. The same year, Cirque le Soir rejected a group of New Orleans Saints NFL players, despite the fact that they had reservations. The players reported being told it was because they were “six big guys” (none was over 6ft) and “too urban”. The nightclub denied this, saying the men were refused entry because they were in an all-male group”.

It is not as though those being turned away and discriminated against are bringing trouble with them and causing any distress. The black population who want to attend these clubs are either not seen as good enough or likely to cause some sort of unrest. Owners and staff at certain clubs claim it is not racism at work: it is about spending patterns and imagery. They see black patrons as having less disposable income and unable to afford the drinks on offer.

PHOTO CREDIT: Unsplash

Maybe the white women (and men) finely dressed and, with their cash flowing, are better for the club than black attendees who, they see, as less well-off and ideal. Can one realistically feel black club and pub-goers are being denied entry because they are a little lighter in the wallet department?!  It seems there are literal divisions between white and black patrons: cordons placed so the wealthier white in attendance can revel whilst black club-goers, if they are let in, are kept separate. This club-segregation is not a new trend: many people recall getting shoddy treatment and attitude over a decade ago. Those with lighter complexions – mixed-race patrons – are not as unfairly judged and turned away as the black population. There is a large and visible black population in London. Some areas have fewer black inhabitants but, largely, you see a mix of black, white and Asian people. Maybe there is tension in some areas – and forms of racism in every corner of London – but the black population give so much to the capital. If we feel there is more balance and fairness in the music industry regarding race – I debate that assumption – then one cannot claim there a reflection in the club and bar scene. Looking at the Mayfair club, Drama, and there are cases of discrimination and racism:

“A woman has claimed her daughter went to a London nightclub where black women were charged a higher entrance fee than white women.

Nadine Marsh-Edwards tweeted about her daughter's experience at the Drama, Park Lane nightclub in Mayfair, London.

She wrote: "My daughter went to a club in the West End last night. Black girls got charged £20 entrance fee - white girls £10... London life right now."

PHOTO CREDIT: Unsplash

Her post was shared multiple times and picked up by Labour councillor for Mayfair, Soho & Fitzrovia Pancho Lewis who said he will "make sure the council looks into it".

You might argue I am singling out a particular club and exposing their policies. To be fair, the West End as a whole is under scrutiny because of its practices and ignorance. Black woman, especially, are seen, by some, as ‘too urban’ and not quite fashionable enough to fit in with the image of the club they attend. Others have reported being turned away at the door for having the wrong image or not enough money in their purse. Last year, I read the following article that put another club, DSTRKT, and some unsettling reports:

“On the night of the 26th of September, four women arrived at DSTRKT nightclub in London's West End. They had been invited by one of the promoters and had been assured space on the guestlist. West End clubs are dressy, and the group were ready for a night out—pre-drink selfies had been taken in tight polo-necks with clutch bags. However, when they got there, two of the women, Reshia McFarlane-Tapping, 27, and Tasha Campbell, 28, were asked to stand across the road so a manager could see them. According to the women, the manager told them they were "too dark" and "overweight" to be allowed into the club. None of the women went in...

...In the following days, another member of the group, Lin Mei, posted screenshots of conversations she'd had with one of the club's promoters after they'd been refused entry. The promoter told her the club "only wanna let to mixed raced girls in they said [sic]." When questioned further, he said, "I really care about the white crowd," and "the black crowd is the concern".

I know a lot of people who live in South and East London and it seems, with gentrification and new developments; the tone and calibration of clubs/bars means there is a definite ‘black quota’: a set number that is seen as ‘just right’ as not to offend white eyes and bring the good name of that space into disrepute. This is nothing new but, as the areas become more white and wealthy; social media is alive with angry and emotional testimony of black people turned away and told they are not what the club is looking for. Given a spate of knife-related deaths in the capital; there seems to be additional attitude and exclusion at many clubs - assuming black patrons are going to stir trouble and the young men will bring violence to the doors. It seems, alongside racism, is a rather sexist policy: more black women face issues and discrimination than men. There are D.J.s and bar owners who have a great relationship with West Indian, Caribbean and African men/women who bring them great music and are welcomed in. Whilst there is a great relationship and no issues in many London spaces; it seems, more and more, we are hearing about racial ignorance. Social media has made the issue more visible and brought stories to the people. One can argue a lot of cases of racial discrimination, before social media, went unchronicled and viewed.

There are a number of reasons why black patrons, women especially, are being turned away. Alongside the image profiling of many clubs around London; size and figure come into the debate. Many see this ‘ideal’ woman with a slender figure and a fashionable appearance. With many black women boasting fuller figures and more confidence (than their white peers); clubs see this as unideal and not what they are looking for. Money, sex and colour seem to be important than togetherness, music and sociability. I have seen an article from 2015 written by Frances Acquaah that documented her experiences:

“…And it’s not just a central London problem. A few months ago I was turned away from a club in south London, a venue notoriously known among black, Asian and minority ethnic ravers as racist. Though they were not as candid about the reason we were not gaining entry, they were happy to let the white women that followed behind me through their doors, as I stared in astonishment across the road.

Many wrongly assume that because there are some minority ethnic people inside partying, a club cannot be racist. It is a reasonable theory on the surface, and I suppose it is easier to believe than to admit that a city which boasts so much diversity – in London alone we speak more than 300 different languages – could be rife with issues that mirror life before the civil rights movement.

Let me assure you that tokenism is a thing. Unfortunately for me, the club had filled their black quota that night. Club managers have no problem letting black people in, but only if the ratio is right. Had I spent less time trying to take the perfect selfie, maybe it would have been someone else standing outside”.

West London is under the spotlight but a lot of clubs in all parts of the capital are being investigated. There are fewer areas where the loyal and long-serving black population are being given the same rights and access they enjoyed years ago. Working-class estates are being replaced and the high-street is a vastly different place – it feels less authentic, vibrant and mixed than ever. I walk around London and do see a cheerful and friendly black population. There are fewer black faces in the centre of London and, when going out at night, many of the clubs that used to have quite a balanced makeup are, now, largely white. Many of London’s black population are being priced-out and moving to the edges of the city; those who want to go on a night out risk facing stern bouncers and (are being asked) for I.D. – have we really come a long way and is the city fairer and more eclectic than the past?! So many clubs/bars that catered to the black population – from Afro-Caribbean bars to Grime clubs – are being rebranded and I wonder how clubs/bars justify their policies. Call it sexism, sizeism or a snobbishness regarding earning power and income. The fact that it is the black population being denied leads me to believe it all boils down to…

IMAGE CREDIT: Lea Clarin

UNAPOLOGETIC and unforgivable racism.

INTERVIEW: Arliston

INTERVIEW:

Arliston

___________

THEIR new single, Enough, is out in the world…

so I have been speaking with Arliston about the song’s background and what we can expect from their upcoming E.P. - I discover when the band got together and how a windowless, noisy apartment was (and still is) a particular source of ‘inspiration’ for them.

I ask how the band spend time away from music and which new artists we need to get behind; if there are gigs coming up anytime soon; which artists the guys took to heart at a young age – I discover how important London is to their music and whether it drives their ambitions.

____________

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

Good, thanks! Hectic, but good. We have quite a low stimulation threshold having been cooped up in our basement for the last year or so; so, all of this attention is quite bewildering.

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

We are a three-piece band - myself (Jack), Jordi and George - making Alternative/Ambient Indie music, inspired by the likes of Bon Iver, James Blake; Vancouver Sleep Clinic, Matt Corby and the National. We’ve been working together to build a collection of songs that we love and we’ll be sprinkling them throughout your 2018 so stay tuned!

Enough is your latest single. What is the tale behind the song? Did it come together easily?

Enough came together after Chris (Engineer & Co-Producer) had arranged some vocal samples in this wonderful looping, repeating; snake-eating-its-own-tail kind of way. As soon as I heard it, I got fairly excited and put a vocal on it as quickly as I could. That first take actually ended up being the one we used for the final track. I guess sometimes you can’t recreate the excitement of that first ‘eureka!’ moment.

You have an E.P. coming up. Can you tell me about the themes and ideas that inspired the music?

I usually (ok, fine: always) lean towards more melancholic music and lyrics. That’s been my centre of gravity for as long as I can remember writing music. But, lately, I’ve started to inject small moments of optimism into the lyrics which has had the unexpected effect of making them sadder. There’s something wallowing and self-indulgent about unrelenting melancholia and, actually, if you introduce even tiny crack of optimism it can heighten the tragedy of it; I guess it just makes it seem real. Not just a mawkish cartoon of a bleak horizon.

I believe the band started life in a windowless apartment in early-2017! Do you miss those heady and romantic days? Was the traffic noise a bit of a bugger?!

Haha. Yes, it was! I mean, we’re still working there so I should really say is. But, the important thing is we’re not living there any more. I think that was the key ingredient in our insanity back then - and I don’t mean ‘insanity’ in a good way: more in the ‘nothing means anything anymore and I feel like eating my own trousers’ sort of a way. I wouldn’t trade those formative years for anything, though, no matter how many pairs of trousers we went through.

Do you remember the moment the band came together and clicked? What was it about each other that meant you were going to play music?

I first met George back in early-2017 and, initially, he came in to help set up the live side of things. I remember thinking he was perfect for the project: he could play virtually every instrument to a very high level and instantly appreciated what we/the project was trying to do. Further down the line, we had a bit of a hiatus and our original drummer left the band. At this point, I was really expecting George to leave too as things were frankly stagnating at the time.

But, actually, he was the one who kept me going and despite a second drummer leaving we pushed forward and finally found Jordi, who is a phenomenal drummer, and everything just locked into place after that!

Is London a constant influence for you? Is it hard to exist and flourish as a band?

London is great. It all at once smothers and energises you. It’s the best place to be if you’re having a good day but can be a little destructive on the bad days. But, of course, for gigging and collaboration opportunities there’s nowhere like it.

Which artists did you all aspire to be at a young age? Did you grow up around a lot of music?

I loved people like Bob Dylan, Suzanne Vega; Joan Armatrading and Damien Rice when I was younger and was even super-hard-line about hating the electric guitar - for what I thought (very wrongly) at the time was unattractive, meaningless music. But, eventually, I realised that with the help of guitar pedals you could create enormous sonic worlds that forcefully took you somewhere unexpected every time you plugged the thing in. Jordi comes from a Metal background. At first, we thought this might be a problem, but it meant he approaches things from a very different angle and so has actually been invaluable in the songwriting process.

George comes from an acoustic guitar background, too, but also is a classically trained pianist; so can apply a level of theory to the music that has allowed us to reach places we wouldn’t have gone otherwise.

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

I’m glad you asked! We’re actually playing a show later tonight to celebrate the single release at The Fiddler's Elbow in Camden. After that, we’re finishing off with a bang at Zigfrid von Underbelly at Camden on the 11th July. That’ll be the big one!

What do you hope to achieve in 2018?

We’d like to get our first E.P. out; have a good-sized tour and just keep writing and doing what we’re doing!

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

I’d say wayy back in time would be the fondest memories I have; living down in the basement and spending long days and nights there with Chris Blakey, Toby Horton; Jordi, George; Jazzi and everyone who has been involved in the project up until this point.

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

Bon Iver, probably. They are ridiculously good live.

Hmm; the rider would entail mountains of tabasco sauce. We have a little bit of a problem with it. There’s a collection of empty bottles lining the writing room wall and, so far, it has taken twenty-four bottles to get to where we are. I’d say (we’d list) least a small bath of it on the rider.

What advice would you give to new artists coming through?

Just keep going. What you’re doing now may not always inspire you but, as long as you’re doing something, anything, creative then you will grow and progress as an artist. If you can keep doing it the world will have to give in at some point.

IN THIS PHOTO: Temptress

Are there any new artists you recommend we check out?

Lately, we’ve been working a lot with the guys from Temptress. They’re fantastic. Definitely, check them out. Also, we’ve worked a lot with Jazzi Bobbi in the past. She’s super-talented too!

IN THIS PHOTO: Jazzi Bobbi

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

We try and see friends whenever we’re out of the studio - I think that’s probably psychologically recommended too. George does watercolours in his spare time and actually was the one that painted the beautiful watercolour artwork for Enough. Jordi is currently doing a Pro Tools course (hardly a break from music) but we’re looking forward to him having ‘mad skills’ when he finishes. Also; huge fans of Always Sunny in Philadelphia - very excited for the next season.

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).

Thanks!

George: O Mer - Now I’m Alive

Jordi: alt-J – Tessellate

Jack: Phoria – Evolve

_____________

Follow Arliston

Official:

https://www.arliston.com/

Facebook:

https://www.facebook.com/officialarliston/

SoundCloud:

https://soundcloud.com/arlistonmusic

Spotify:

https://open.spotify.com/artist/1zdjZcUSe5thcIAIU5NRYh

YouTube:

https://www.youtube.com/channel/UCgTqIelyfvc-NdnqErYReyQ

INTERVIEW: Phogg

INTERVIEW:

Phogg

___________

IT has been a great experience…

learning more about Phogg and what makes them tick. Saman and Gustav have been telling me about the band’s album, Slices, and the themes that inspire it; the story behind the single, Get Away (Secret Dream), and how the guys got together.

I ask what Phogg hope to achieve before the end of the year and if there are tour dates; some upcoming artists we should be attuned to; why the Swedish band think the nation keeps producing great artists – they end the interview by selecting some excellent tracks.

___________

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

Saman: Hey! We're in the midst of rehearsing for the shows we have set up; our album is out in a few days and Gustav is working with our upcoming music video. In the midst of all of this, Jens is also getting married - so we're all really broke but happy. Also, we had one day of tropical weather in Stockholm which was really nice.

Gustav: Good! We had a wild and fun weekend and now we're preparing for a show tomorrow.

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

Saman: We're four guys from Sweden who really like music and we try to create music which we think is special for ourselves and, hopefully, someone will like it along the way.

Gustav: We are four boys from Sweden who play progressive Psych-Pop.

Your debut album, Slices, is out. What can you tell me about the record and the themes that informed it?

Saman: Slices was initially meant to be a second E.P. and we were planning on releasing it soon after our first E.P., Zun, Stein & Graaf. I think it was supposed to consist of four-five songs - all of them are on the record except for a song we call Three Shirts, which we now have recorded for a future album. Many of the songs have changed a lot during the course of recording and are completely different.

Time is Wild is an example of a song that's very different from how it sounded before. The songs that were written before we started recording come from a different place than the songs that came to during the recording process.

When we started recording, we were kind of riding a wave of things going relatively well within the band. This changed after about a week as our drummer and friend suddenly jumped ship and moved to another town. This left us kind of disoriented for about a month and forced us to rethink the process and the E.P. itself. We started hanging out at the studio, trying out a lot of ideas and started writing in the studio as well. We were all kind of going through some personal stuff at some level and were at the same time happy to be playing music and that our first E.P. was doing relatively well.

The record has a kind of maniacally happy feeling because of the duelling themes of thankfulness and despair that were prevalent in and around the band at the time. It's like a friend who tells you he's fine and smiles at you while he's in a total existential crisis on the inside…

Get Away (Secret Dream) is the latest single from the album. Is there a story behind the song?

Gustav: It started as a hidden little riff from the recordings of Zun, Stein & Graaf that Saman discovered sometime during the mixing process I think.

Saman: Get Away was born during the recording sessions for Zun, Stein & Graaf. We were drunk and were goofing around in the studio and recorded some of the things we did. When we listened to the recordings the day after; most of it was s*it but one song stood out. It kind of had a Brian Jonestown Massacre vibe and sounded pretty happy and jovial. We called it Santa's Coming Over and we didn't know what to do with it for a long time. When we were choosing songs to record, Jens and Alex really didn't want to record it but me and Gustav fought for it. It was finished during the process of recording and now everyone likes it.

We tried a lot of different techniques when we were writing lyrics for the songs. I think we were doing some sort of free-writing thing with Get Away and a metaphorical dark hymn about addiction kind of came out of it. We thought it suited the happy vibe of the song.

Regarding the songs on the album; are they culled from various period in your career – or did many come together in the studio?

That's one of the main creative themes of this album. It's very mixed. That's sort of where the name ‘Slices’ comes from. It's different slices from our time together as a band up until now. The mix and juxtaposition of songs from different timelines is essentially what became Slices. Time Is Wild, for example, is from about when we started playing together.

It was a mellow Acoustic-Psych song for a long time until we decided to take it in another direction. There's a track on the album called Rod's Goodbye which was an idea from before which we completely changed in the studio and made a completely new track out of. The story the narrator is telling is something me and Gustav found online on the World Wide Web.

Gustav: When we started playing together, we usually met up and wrote songs together through jamming. At that stage, it was just the instrumental parts and a lot of it has been altered and doesn’t sound like it did back then - but some of the tracks from Slices are from that period. Some of the stuff is from later stages and some of the other stuff was completely made up in the studio.

How did Phogg get together? When did you start playing together?

I joined Phogg, before it was Phogg, by answering an ad. This was in early-summer 2016 and, by then, the others had been playing for a couple of months. The others knew each other in some way or other since before and had been playing together in various constellations.

Saman: Me, Jens and our first drummer Alex knew each other from before. Me and Alex had played in bands together for about eight years prior and all three of us grew up in the same sh*tty Stockholm suburb. Alex and Jens had a tiny practice space close to where they both worked and I used to go over there and play with them after they got off work. It was really loose goose at first and we were just playing our asses off for a few hours every other day. But, it soon got pretty good and we decided to take it to second base.

Someone, I think it was Jens, found Gustav online and it was an incredibly easy fit. We wrote a lot of songs during the first year-and-a-half and we've kind of lived of off that song bank up until now. After Alex skidaddled to another town I contacted Joen whom I've known for many years and who I've wanted to play with since I was about eighteen-years-old.

Which artists would you all count as influences and idols?

We are all very different and listen to a lot of different kinds of music but we definitely have a lot of common ground as well. When we first started playing with Gustav, he wore a Dungen T-shirt and that's how we knew he was cool. We all have different cornerstones of inspiration and influence that shape our own individual voices. Lately, I've been very inspired by a Swedish band called Tape, Parquet Court's latest album and Mark Kozelek. But, it changes often...

The other day, Gustav fell in love with Shadows Collide with People by John Frusciante which is a record and an artist that formed me personally and musically almost more than anyone or anything. That record also happens to be the record me and Joen bonded over. It meant a lot to him during the time his first kid was born. We always talk about new music and bands we've discovered amongst ourselves.

Gustav: MGMT, Radiohead; King Gizzard (& the Lizard Wizard), Dungen, Pink Floyd; Spritualized, Ariel Pink; The Beatles, John Frusciante and CAN

There are a lot of great bands coming out of Sweden. Is there a secret or reason why the Swedes make such diverse and original sounds?

Saman: I don't know. I guess standards run pretty high here. But, I don't know how it is in other countries. People often say it's a mix of the access youths have to communal music schools from an early age and the melodic language of Swedish Folk music.

I grew up with a mixture of this and my parents’ pre-revolutionary Iranian music. Swedish Folk music has, through the ages, had a strong connection to melancholic themes and melodies. The cultural sadness, in combination with our relatively high social security here, makes for very good music but very sad people.

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

Gustav: All of our planned shows right now are in Sweden but we're working on it! If you want to see us, send us a tip or come to Sweden.

Do you reckon you’ll come to the U.K. and perform this year?

Saman: We would really love to. Invite us and we'll come. We're shy guys.

Gustav: That would be great.

What do you hope to achieve in 2018?

Playing shows and continuing to work on the songs for our next album.

Saman: We would love to tour around Europe. It would be pretty neat if Slices got a few good reviews but mostly I hope that we manage to finish our next record before the love and energy for it dies out. I would also love to make some money so I can pay for some nice golden pants.

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

Our first gig together we were playing a small place outside of Stockholm; almost no one we knew was there. As soon as we started playing, everything just connected and we all just totally went with it. I remember looking up and seeing two guys we didn't know singing along to our songs. It was really surreal and it made me happy.

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

Maybe, Parquet Courts. I think it would be a good fit. I would love to eat some Vietnamese summer rolls and drink some wine with Parquet Courts.

What advice would you give to new artists coming through?

Gustav: Try not to think about what others think. Believe in yourself: you are beautiful.

Saman: Play as much as you can. Record yourselves on your phone and listen back to it at home and imagine things with your head.

IN THIS PHOTO: Boogarins/PHOTO CREDIT: Beatr

Are there any new artists you recommend we check out?

Saman: Boogarins and Harm Reduction.

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

I have periods where I paint a lot instead of playing music or as a counter point to the guitar. It's really interesting as you get to apply the same ‘creative rules’ but you're playing with space instead of time. I also like to read and watch movies with my daughter.

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).

Saman: Extremely Bad Man by Shintaro Sakamoto

Gustav: They Cannot Let It Expand - Midlake

_____________

Follow Phogg

 Facebook:

https://www.facebook.com/phoggband/

SoundCloud:

https://soundcloud.com/phogg-band

Instagram:

https://www.instagram.com/phoggmusic/

Spotify:

https://open.spotify.com/artist/3YqUKOiwbzwB0gajg1sh9Y

Bandcamp:

https://phogg.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCOpuNIFkOy1I9qydOQdXuqQ

FEATURE: The July Playlist: Vol. 1: If She Says It Doesn’t Matter…

FEATURE:

 

The July Playlist

 IN THIS IMAGE: Christine and the Queens 

Vol. 1: If She Says It Doesn’t Matter…

 __________

THE heat shows no sign of abating…

IN THIS PHOTO: RAYE

so we might as well stay in and listen to some music! I have been hunkering down and doing my best to stay cool. If you are need of similar refreshment; have a look at a selection of songs from artists such as Christine and the Queens, Anna Meredith; Tom Grennan and RAYE – Years & Years and Self Esteem are in there to add their own candour and colour.

It is another intense, packed and varied playlist that should keep you entertained and keep you occupied during the hot days. A fantastic and alluring concoction of new tunes that is sure to stay in the head for a long time to come!

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

___________

Christine and the Queens – Doesn’t Matter

PHOTO CREDIT: Kate Bones

Anna Meredith – Anna / Four Seasons: Stoop - Spring

Fiona Apple - I Walk a little faster (underwater)

Dirty Projectors - That's a Lifestyle

YUNGBLUD - Medication

Self Esteem – Wrestling

IN THIS PHOTO: Caroline Polachek/PHOTO CREDIT: Tom Newton

felicita (ft. Caroline Polachek) - marzipan

Boniface – Dear Megan

Menace Beach (ft. Brix Smith) – Black Rainbow Sound

Gulp – I Dream of Your Song

PHOTO CREDIT: Neelam Khan Vela

Her’s – Harvey

PHOTO CREDIT: Danny Brooks

Francobollo - We're Dead

Iggy Azalea – Tokyo Snow Trip

RAYE – Friends

Bugzy Malone – Drama

Tom Grennan – Lighting Matches

Forest Blakk – Tread Lightly

Years & Years – Preacher

Francis and the Lights – Try Tho We Might To

Justin Timberlake – SoulMate

Mac Miller – Small Worlds

 

PHOTO CREDIT: Kelly Levacher

Tebi Rex – Peggy’s Bus

Kiran Leonard – Paralysed Force

Orchards – Age of You

PHOTO CREDIT: Justin Bettman

Jason Mraz – Might As Well Dance

Sunset Sons – Love Lights

CAGGIE – Here We Go Again

Jax Jones, Mabel (ft. Rich the Kid) - Ring Ring 

Ward Thomas – Lie Like Me

Maeve – Martyr

Benny Benassi & Sofi Tukker - Everybody Needs a Kiss

Zernell Fontaine – The Wave

TRACK REVIEW: Stephanie O - Woman Oh

TRACK REVIEW:

 

Stephanie O

Woman Oh

9.5/10

The track, Woman Oh, is available via:

https://open.spotify.com/album/59WFmQWItP7d4MuaI2sAOu

GENRES:

Pop; Jazz

ORIGIN:

Paris, France/London, U.K.

RELEASE DATE:

21st June, 2018

_________

ON this occasion…

PHOTO CREDIT: Sam Copeland

I am talking about Stephanie O and her beautiful music. Before I get to her latest single, Woman Oh; I want to address a few things. There is a lot to investigate but I want to study female artists and, again, why I think we need to pay more attention and create some parity. I will look at vintage strands and those who look at the past. I’ll go on to talk about artists with curiosity and an ambition that brings colour and texture into things; Paris and, in fact relocation – ending by speaking a little regarding Stephanie O’s future and possibilities. There are a lot of Pop artists out there and people who produce emotive and revealing work. I am looking around the mainstream and I rarely find myself dipping in and out that often. That goes through waves: sometimes, I am engrossed by an artist but, right now, there are few I am interested in. Maybe it is the Pop core that leaves me a little bored. Those established, quality-laden artists are the ones I am more interested in. I feel we need to shake things up a bit – as I always say – and an artist like Stephanie O provides a new angle. I am always concerned we are not putting enough emphasis on female artists and, whilst this is not a fight that needs to be championed on this occasion; I feel the disparity and the scales shifting towards male artists. The rumour mill for Glastonbury is cranking and there is speculation the likes of Paul McCartney and Madonna could be featured – maybe Fleetwood Mac and Taylor Swift. Whilst the headliners might, finally, mix male and female; I wonder whether festivals, really, are starting to equalise (in terms of gender). The reason I bring up the gender subject is the sense of passion and depth you get with female artists. Maybe it is the way they approach music or a different set of emotions they unleash. In any case; I tend to get something more engaging and long-lasting when I hear a female artist play.

PHOTO CREDIT: Lily Rault

In terms of Stephanie O’s music; she digs deep into the soul and projects something quite fantastic. You get heart and spirit; there is urgency but time for gentleness and a softer touch. A mixture of sounds and sensations goes into her music. I am not suggesting male artists could not create this impression – a lot of them do – but I feel inadequate credit is being given to female artists. That will all change, in time, and I know artists like Stephanie O will get their just reward. The songwriter has worked hard and achieved quite a lot in a short time. She has performed alongside names such as Carole King and Cindy Lauper; there is that love of strong and pioneering heroines who have paved the way and opened doors for the next generations. One of the things that bug me about the modern industry is a real unwillingness to look beyond the commercial and radio-friendly Pop music that seems to ‘tick all the boxes’. More diversity is coming onto the scene but there is still that reliance on the easy and uncomplicated. Maybe I have spoken about this too much but I get annoyed by the lack of real progress. Look at artists like Stephanie O and you are getting something different and more intriguing. I will talk about the flexibility of her music but, when listening to Woman Oh; it is a song that deserves a lot of praise and focus. I know there will be moves to create a more ‘equal’ music industry but I think there are a lot of problems that could be fixed quite quickly. Rather than labour over gender and inequality; let’s turn our attention to a fantastic young artist who is producing incredible music. Stephanie O is a perfect example of the modern artists and someone who is turning heads – an exceptional talent who has her sights set and is concocting an original and compelling sound.

One of the pre-requisites regarding my blog is, for interviews, having a fair few images free. Many artists have particular images for various campaigns whereas some have very few available. In the case of Stephanie O; she has some great shots available right now. To my mind, she is someone who has the potential to really shine and stun. She has the looks and demeanour of a classic star and Hollywood idol; a sophistication and strength that radiates. Her love of the vintage and romantic could lead to some great new shoots. Maybe a Paris-set photoshoot or something that engages with a vintage setting. There are possibilities but I think, if she were to hook with a trusted and brilliant photographer; the two of them could work some magic and come up with some awesome snaps. I am not sure if that is around the corner but, from what we can see; you get an impression of who Stephanie O is by looking at her photos. That love of the vintage and classic seems to dictate how she goes about things. Her music mixes the new and vintage – thus, creating something original – but it is great hearing someone inject modern Pop with bygone Swing and Jazz. I know Stephanie O established her own Swing group, The Puppini Sisters, and has affection for Doris Day and Peggy Lee. When you listen to an artist, and try to figure their sound out, you ask them about influences. I have interviewed hundreds and you start to see some common names. To be honest; I have heard of very few who go that far back in music and have the same influences of Stephanie O. Rather than crib from modern artists and what is being played on, say, BBC Radio 1; Stephanie O looks back and sources from a more alluring and sophisticated treasure chest. It is fascinating hearing that blend of the older-days and modern production.

Vintage and classic sounds/looks are always good to see in music. I feel there is too much emphasis on the modern and ultra-fast. We are moving at such a pace and it seems there is little time to move and breathe. Whilst some artists throw in some classic threads into their own music; there are relatively few who have that true appreciation and knowledge of music from far back. I feel too many modern artists name-check legends and older music but rarely source from it. If they do, then you get rather obvious and over-used names. Listen to Stephanie O and you get that sensuous Jazz edge combined with something rather unexpected. She has brewed her own sound and takes you directly into the song. Listening to Woman Oh is like sitting alongside her as she creates music. When you do hear the voice/music play; one instantly gets images of a dreamy and filmic-looking Parisian flat; the heroine in her chic and vintage clothing – the world going by and the sun beaming through the windows. The songwriter has that immersive and physical quality that arrests the senses and makes you conspire. I fear a lot of modern music is soulless because (the artists) feel people want something instant and uncomplicated. Rather than write something meaningful to them that has sophistication; they would much rather provide rather simple and samey music. It is great seeing an artist who goes against the predictable and commercial sounds of the mainstream and, instead, creates music that has a unique and smoky sound. You listen to Stephanie O perform and can hear how much music means to her. You know it means everything to her and she is not just in the business for quick success – she wants to remain and inspire generations to come. There is a long way to go but I can tell, even now, there will be a lot more coming from her.

Another thing that strikes me about Stephanie O is the colour and vivacity she brings to the music. Rather than release something rather plain and unengaging; you get music that brings you into the moment and compels the mind. It is like, as I said, walking in the song and being there with the writer. Maybe that ability comes from the likes of Day and Lee – those who could do the same thing to their audience – but I think it is the way Stephanie O writes and imagines. Rather than take lyrics from cliché and diary pages; her process is a lot more interesting and detailed. You get a sense of where the track was written and the sounds (and sights) outside her window. I will come to look at Paris in a bit but, in a way, there is a little bit of the city running through the veins. I am looking for music that goes beyond the routine and actually moves you. I listen to Woman Oh and can speculate what inspired it and what was happening when it came together. I imagine the songwriter sat in a rather calm setting, watching the world go by and a sense of tranquillity wash over her. With embers of legends in her mind and personal memories in mind; it is a fantastic thing to hear the song and watch it unfold. I guess every songwriter has their own method and writes their own way: Stephanie O brings a lot more to the plate and does a lot more. The artist does not want music to be simply sounds that get into the head and do something in the short-term. Stephanie O wants the listener to get involved with the song and it remains in the head for a long time. She wants the words and melodies to keep coming back and the embers of the track to remain in the eyes for as long as possible. She is not someone who writes quickly to fill the market and so something temporary.

PHOTO CREDIT: Sam Copeland

Stephanie O originally hails from London and she formed the Swing-Pop harmony group, The Puppini Sisters, before leaving to strike out on her own. Moving to Pairs, in a way, was when things started. The artist was inspired by the world outside the dressing room and curious about the world at large. She was not willing to simply do the same thing over and over – the desire to do more and embrace the world was always in her heart. I have talked about the colours and emotions one gets from Stephanie O’s music. What amazes me is the clash of geography and scenery. I know Woman Oh is not about Paris but, when you listen, you do get images of the city come through. That may sound strange and it might be something to do with the elegance, passion and prowess one hears in the song. It is an extraordinary thing that has its body and feet in the U.K. but has a heart, soul and spirit in Paris. I have never been to the French capital myself but it is somewhere I will need to visit before too long. I can understand that urge to move and experience somewhere new. Paris is not too far from London – so Stephanie O has that easy access – and you have a different way of life there. Rather than get buried in the rush of London and experience the music we have here; Paris has a different vibe and is a whole new world. There is similar music to that of London but Paris offers its own dynamic and depth. You have Jazz clubs and great Blues artists; there is that retained history and the ghost of legends past. I can imagine walking through Paris does all sorts of magical things to the mind. The scenery and chatter; the shops and busy cafes – that is enough to get the hands twitching, excited by the prospect of a new song.

Splitting her time between Paris and London; Stephanie O is busy and, working with producer Peter Lyons, she is looking ahead and what can be. I hope the songwriter spends more time in Paris and does not feel the need to settle her feet in London. That may sound odd but I feel songwriters need to take chances and open their minds to new places. Travel broadens the mind, as we know, so it can do wonders for an artist. If you live somewhere as entrancing and stunning as Paris; I can only imagine what words come to mind and how the imagination works. I am seeing a lot of artists relocate and take chances. Maybe it is the stagnation of where they are and the need to find fresh impetus. I, myself, am moving and there are many others who need to take that leap. I am not saying a move to another city will lead to songwriting revelation but it is a great way of changing style and getting something fresh in the mind. Stephanie O has not abandoned her early sounds – Swing and Jazz – but she has mixed it together with Pop and more-modern elements. I feel many are moving because they want to find new opportunities and get their music to new audiences. I know there is a very strong live scene in Paris and the French crowds are very receptive and attentive. There might not be the same breadth and variation as in London but it is (Paris) a great city to play in. I feel like Stephanie O has found new lease and love by moving where she is. You get a less-harried and stressed style of music; a soothe and sense of movement one would not experience in London. Radio personalities like Gaby Roslin have already paid tribute to the beautiful music; others are noting how the time is not and how (Stephanie O) is primed for something big.

PHOTO CREDIT: Sam Copeland

One gets a rather rousing and soft entrance from Stephanie O on Woman Oh. There is a sense of jump and delight that gets the feet tapping and smiles broadening. Acoustic guitar races and skips as the heroine comes to the microphone and lets her voice play and tease. You get that instant beauty and gratification from her tones – a pleasing and alluring sound that casts the mind back to the 1950s and 1960s and the musical heroines of old. I love the production sound and that sense of the vintage. It sounds like the song was recorded using an older microphone as it has a slight echo and sound that is wonderfully raw and classical. Rather than polish the production and evaporate any soul from it; you have a very real and live-sounding song that puts the vocal right at the top. You are under Stephanie O’s spell and following her as she dances and wonders. The syncopated, restless words look at the heroine hop a train to Paris and meet with a love. They got “drunk and dizzy” and spent hours on the streets; helpless in their abandon and surrendering to the beauty of their surroundings. Whether this relates to a physical relationship or a friendship (at first); you can tell how meaningful and instrumental these moments have been. I love the instrumentation and how it complements the vocal. The guitar work is almost Country-like whilst the percussion patters and has that Jazz inspiration. It is amazing discovering a song that steps away from the ultra-modern Pop and has that pleasing, vintage smile. The pace and flow of the words is the biggest selling point. That addictive and insatiable dance gets the listener singing along and moving their body. The enraptured duo has no money but, as the heroine says, there are free things in life they can abandon. You get a sense of two sweethearts who are from a different time. One can imagine the heroine in a fashionable dress – maybe striped or hopped – and the hero unfamiliar and charmed by a new city.

PHOTO CREDIT: Lily Rault

They are moving through Paris and looking for adventures. They have little coinage to show but their hearts are full and they are open-eyed to the wonder around them. Romance and tenderness is part of the deal (free, of course), but the sheer delights and eye-catching splendour of the city itself is keeping them amused and hooked. Our heroine is, as she says, the man’s woman; he, in turn, is her sweetheart and that bond is established. She wants to be held and caressed under the yellow sky and feel the intimacy of the moment. Rather than tease the words and build the mood; Stephanie O has that immediacy and rush at her feet. She is never resting and affected by the urgency of the bond. It is almost child-like in its excitement and wonder. You can hear her smile and I can imagine, when writing the song, she was reflecting on a glorious time when anything was possible and there was the fresh bloom of love. The chorus – where our heroine declares her affection and realises something special is here – sticks in the heart and will make you come back to the song. The song becomes instrumental at the half-way stage and allows the listener to imagine what is happening and how the lovers are moving. You jump into the city and wander alongside the dancing lovers. The simplicity of the composition is one of the biggest strength. The guitar-and-percussion combination skips, scratches and hops and never becomes too heavy and intrusive. Stephanie O unleashes some wordless vocals and hums; she breezes and lets her voice sway. The song goes from a racing and rampant thing and dies down; it comes back up and a new lease of life is found. That unexpected (and brief) fade down-fade up shows how nimble and unpredictable the song is. The final words see the heroine in Jazz/Soul territory and singing in a more romantic and softer way. It is a final kiss that perfectly brings the song down. Woman Oh is a track that will keep you coming back and gets into the brain. It is catchy and instantly memorable but has so much nuance and depth. A fantastic offering that will keep people interested and wonder where Stephanie O goes from here. I am excited by the prospect of future material and whether Paris will be in the mind; whether the style will be the same (as Woman Oh) and what we will get.

Going forward, and I feel there are real opportunities before the songwriter. She is splitting her time between London and Paris and is busy working on a new release. We will see an E.P. later in the year and that will be, I am sure, accompanied by performances. I hope, when she does progress and release more material, we see some cool new snaps come through. With Paris at her feet; a classic/1950s-style shoot or something that sees Stephanie O surrounded by splendour and beauty would add something to her social media profiles. There are a lot of possible fans waiting on Twitter and new markets she could conquer. Woman Oh is a cracking song that has gained plaudits and brought in new fans. I am not sure whether there is a Twitter profile for Stephanie O but I feel this is a market she could exploit and do well in. There are loads of radio stations and venues that would love to support her music; other artists she could hook up with and fresh possibilities. I am excited to see where she can go and what the future holds for Stephanie O. I have been following her music for a little while and know how far she has come. It is always hard finding unique and original artists who do something you have not heard before. Stephanie O goes beyond the usual Pop fare and fuses Jazz and Soul sounds together to provide a fresh and fantastic thing. Looking ahead and I feel like London could come back into her mind. There are some great venues here and it would be great to see the songwriter embark on a tour. I know many people would love to see her perform and it is only a matter of time before her music gets to the masses. Festivals are coming up and, whilst it may be too late to hit the big ones now; next year is a real possibility that could see her take to some prominent stages.

IN THIS PHOTO: Sam Copeland

I opened by talking about female artists and how little attention, compared to men, they get. It is sad to think we still live in a time where there is inequality and an imbalance. I am seeing small changes but that sense of evolution is not happening fast enough. Rather than dwell on the problems and divisions; celebrating artists who have something important to say is much more rewarding. I know Stephanie O has been working hard and dedicating a lot of time to fresh music. I am not sure what form her upcoming E.P. will take but I am sure there will be other gems like Woman Oh on it. The market is so busy and varied right now. It can be hard deciding which artists are going a long way and those who are going to be around for a short time. It is early days for Stephanie O but I know she will be around for a lot longer and progress as an artist. Her love of artists we do not really talk about much these days – like Peggy Lee – sets her apart from the crowd. Influences are important and they can have a big say regarding your own music. The talented artist takes a lot from the present-day but it is the music she grew up around that gives her that extra edge. Let’s hope a lot more eyes turn the way of Stephanie O. She is a wonderful and hungry artist who knows what it takes to succeed and is determined to get as far as possible. If you are unfamiliar with the beauty of Woman Oh and have not given it a proper listen; get your ears around it and make sure you share it on social media. I have heard many artists this year and all sorts of music. Many will stay in the mind for a bit and disappear: a select few bounce around the brain and keep me curious for longer than expected. Stephanie O is definitely one of those artists who get into the head and, when you least expect it, come back and…

SPRINKLE magic in the ears.  

___________

Follow Stephanie O

Official:

https://www.stephanieomusic.com/

Facebook:

https://www.facebook.com/StephanieOmusic

Instagram:

https://www.instagram.com/seestephanieo/

SoundCloud:

https://soundcloud.com/stephanieomusic

Spotify:

https://open.spotify.com/artist/0hkGIli1Z8cfLlYuVAv05V?si=87UnjPUkQvCMxQCpygGcKA

YouTube:

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

INTERVIEW: Georgia Meek

INTERVIEW:

Georgia Meek

___________

THE exceptional and unique Georgia Meek…

has been talking about her new single, SWIM, and how it came together; what it was like recording her E.P., Womanhood; the musicians she is inspired by – I ask how important London and its people are regards her sound and energy.

Meek recommends some new tracks/artists to catch; the advice she would give to upcoming artists; if she ever gets time to chill away from music; what she wants to achieve before the end of this year – Meek ends the interview by selecting an awesome song.

___________

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

Hey! Busy, busy, busy. Recording lots of new music and making some cool new things to show you all.

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

I'm a Londoner who makes ultra-feminist, over-dramatic Electronic-Power-Pop.

SWIM is your new track. What is the background and influence behind the song?

SWIM explores female sexuality and gender fluidity. In other words, K. (Katie) Mac (who features on the track) and I f*** with some girl-on-girl…

We wrote it together back in the summer of 2017. She was over here from Nashville to find writers and I was looking for other inspiring women to collaborate with.

I believe you have an E.P., Womanhood, arriving. What was it like recording it?

Crazy. Stressful. Exhausting, but so worth it! I've actually still been tweaking things on the last couple of tracks whilst releasing SWIM and Bare. I can tell you that I'll be announcing the next release date in the coming week.

How much do issues like gender fluidity and sexuality come into things? Do you think more artists should be addressing these themes?

I think artists should be addressing things that they believe in and feel they need to speak out on. Music is a great release for all of us, listener and writer alike. If we could all put a little more into what we want to achieve the world would be a faster, forward-moving place. 

How important are London and its diversity regarding your music?

I moved to London when I was eighteen and it was only then that I really started to discover who I was as a person. I spent the early years of my independent life in and around the L.B.G.T.Q.+ community which helped shape who I am now in so many ways - including the way I write music. 

Can you recall which musicians influenced you when you were young? What motivated your decision to get into music?

There was never really any one thing that spurred me on to create music: it's just something I've always known and loved since I can remember. I do remember the big inspirations, though. I was always listening to my idols as a kid and the variety was wide and random.

There are so many but honourable mentions have to go to P!nk, Christina Aguilera; Dido, Cher; Chemical Brothers, Groove Armada; Nero, Deadmau5; Sub Focus, Primal Scream...I want to go on but we could be here all day.

What do you hope to achieve in 2018?

By the end of this year, you'll have all heard my new E.P., Womanhood, in full, and, hopefully, some of you might find some healing in its inner-workings. I've got a couple of big shows to announce yet, along with a few more surprises. Stay tuned!

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

That’s a super-tricky question! I have so many amazing memories I could share. My first Sofar performance last year is a big one for me. It was the first time I proved to myself that I could really connect to people through being honest with my music. If you haven't been to Sofar (Sounds) before, I'd really recommend it - such an incredible experience for everyone in the room.

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

Again; this is a tricky one but I'm gonna go ahead and bat for the independent team by saying Femme. I love what she represents; not only as an artist but as a businesswoman.

The rider would be several joints, some feminist literature and a fu*k-load of sushi. 

What advice would you give to new artists coming through?

Trust your own sound and don't let any idiots tell you that you need to change or 'define' it. I was confused for a long time because people would say things like: “I don't really get what genre you are writing in” or: “Who is this music for?” Let your answer always be: “For me and anyone else who fuc*ing well likes it”. Individuality is dying - remember that the next time someone questions who you are. 

IN THIS PHOTO: dwilly

Are there any new artists you recommend we check out?

SO. MANY. In fact, here are five tracks I have recently discovered on Spotify and I am OBSESSING over them. Go and add them to your summer playlists if it's the last thing you do today...

Money - Leikeli47

ADD - dwilly (ft Emilia Ali)

Falling - Animal Feelings (ft. Thief)

6 Letters - Daktyl, Aquilo 

Clean Break - SIBA

IN THIS PHOTO: Aquilo

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

Listening to other people’s music. Haha. Music is, quite literally, my oxygen. If I'm not around it, I’m not having fun.

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).

YES. This song is an absolute vibe. Ideal listening environment: in the bath, headphones on with a joint. If that’s not your style, simply listen whilst on your morning commute whilst watching the world go by.

BENDMA - I Wanna Be Loved by You 

_____________

Follow Georgia Meek

Facebook:

https://www.facebook.com/GeorgiaMeekOfficial/

Twitter:

https://twitter.com/iamgeorgiameek

Instagram:

https://www.instagram.com/iamgeorgiameek/

SoundCloud:

https://soundcloud.com/georgiameekofficial

Spotify:

https://open.spotify.com/artist/2SdZ3VbhjVRXo11kPxVCTS

FEATURE: Platinum Bond: Seventy Years of the NHS: For Musicians; For Everyone…

FEATURE:

 

Platinum Bond: Seventy Years of the NHS

For Musicians; For Everyone…

__________

WE keep hearing about the NHS…

PHOTO CREDIT: Unsplash

and how perilously underfunded it is. This is true, indeed, but I wonder if there are solutions and whether, alarmingly, the National Health Service will survive in its current state: a free enterprise that has helped millions and has done immeasurable good for Britain! Budgets are getting tighter and workers are being stretched to their limits. It is the seventieth anniversary of the NHS and, whilst we celebrate; one cannot help look at the financial burdens and how little the Government are doing right now. Plans have been mooted to freeze duty on alcohol and fuel to allow some extra money to go the way of the NHS. Looking at this article and it seems like an important debate will bubble tonight:

“That will be the question tonight, when on the eve of the 70th anniversary of the NHS, Sky News hosts a live debate about the system's future from Guy's Hospital in central London.

Sean Worth, a former health adviser to David Cameron when he was prime minister, and Sonia Sodha, a policy adviser to Ed Miliband when he was Labour leader, will present two different arguments for how the NHS should be funded.

We give you an outline of the case each of them will make during tonight's debate.

Sean Worth will argue:

"The NHS is under unbearable pressure, with staffing shortages, financial deficits and over 2,000 operations cancelled every week.

"The service is doing a great job, but is constantly pressured to do more for an ever-growing and ageing population.

"We can keep pouring more money in, but it will never be enough.

PHOTO CREDIT: Getty Images

"The big change we need is to allow more outside experts in to deliver more NHS services, including from the private sector.

"There is so much extra capacity, innovation and amazing technology there, but only 7% of NHS services are delivered through outside organisations.

"The trade unions' rage against the private sector delivering NHS services is preposterous - especially as many of their senior NHS members are moonlighting for private firms on the side”.

PHOTO CREDIT: Unsplash

Other reports suggest the Prime Minister, Theresa May, is ready to inject financial support into the marrow of the NHS:

“Theresa May has decided to give the beleaguered NHS a “significant increase” in its budget to coincide with the service’s 70th birthday in July, the health secretary Jeremy Hunt has revealed.

The prime minister intends to ramp up spending in order to show that the Conservatives can be trusted to run the NHS and because it needs extra cash to tackle chronic understaffing, cope with the ageing population and improve care, Hunt said.

May will fulfil her pledge of a “long-term plan” for NHS funding by ditching the austerity-era 1% annual rises it has received since 2010, the health and social care secretary told the Guardian in an exclusive interview.

“She is unbelievably committed. You should not underestimate how committed she is to the NHS. So she is absolutely 100% behind getting this right,” Hunt said”.

Whilst these words might balm and soothe the furrowed brows of those deemed with guiding the NHS forward; it will provide small consolation to those NHS workers who have committed so much of their lives to the jobs they love. I wonder why it has taken so long for the Government to find money to put the way of the NHS. I am sure education and other areas have been funded. The thing is this: nothing is important as the health service and the NHS’ survival. If you cannot live, operate and go about your day then you cannot teach or be educated. The NHS supersedes everything and is at the top, one would hope, funding totem pole! This article argues why the money promised by the Government might not be enough. We hear about aims to support those with mental-health issues: the reality is not enough is being done and there is a long way to go. I wonder how the NHS will change when Brexit finally happens; will certain people have to pay and will others be excluded?! Labour leader Jeremy Corbyn has been urged to think his position on the NHS when outlining the party’s Brexit plans. Labour are, as he says, the party of the NHS: the interests of those who rely upon our healthcare system is top of his focus.

PHOTO CREDIT: Unsplash

If we get a hard-Brexit then the fate of the NHS could be different were we to have a soft-Brexit. It seems, even though the P.M. has pledged £135bn by 2023-2024, a £20bn increase on this year’s budget, and equivalent to an average annual increase of 3.4% - maybe that is only going to keep the NHS afloat as opposed expanding and improving it. There is a lot of stress and uncertainty when it comes to the amount given to the NHS; whether social care and healthcare will be on a level footing – so people are not pushed from one to another – and how Brexit will affect plans going forward. When Welsh Labour minister Aneurin Bevan created the NHS on this day in 1948; he would have no idea what it would do and how many people it would help. From those who have worked/work in hospitals to those who have had their lives saved – the importance of the NHS cannot be understated.

IMAGE CREDIT: Gruff Rhys

Musicians are celebrating the seventieth anniversary in their own way. Gruff Rhys (Super Furry Animals) has released a song, No Profit in Pain, to mark the anniversary; pay tribute to the NHS and show why we need to keep it alive and accessible-for-all. He was writing in The Guardian and explaining why he, and many people he knows, have come to rely on the NHS’ great work.

“The NHS is something that we can too easily take for granted. I’ve twice toured with musicians in America when they’ve had broken limbs and not been able to afford treatment. Each time, they had to continue touring in pain in cramped vans, using homemade splints and slings. It’s a precarious way to live if you don’t have insurance.

The NHS has been there for me throughout my life and has saved many of my family members’ lives. It means more than anything I could ever hope to convey in a melodramatic synth-pop power ballad. For the song (recorded with Kliph Scurlock on drums and Llion Robertson producing), I focused on the battle to keep the NHS as a free service in public ownership. There’s loads of swearing in it”.

I have been lucky (touch wood) enough not to have to rely too heavily on the NHS but, looking around, and one cannot quantify the number of musicians who have been saved and helped by the NHS. I know so many people with mental-health problems and psychological issues who have been for counselling and been hospitalised. Receiving that care and attention has not only kept them alive but has led them to create music and turn their lives around. Many other musicians suffer strains and muscular distress; some injury themselves whilst performing and others incur pain during their careers. Whether it is something as minor as a cut face or a broken leg; the fact they can go to hospital, be seen and fixed is vital. It means they can continue to play/earn and do not have to break the bank. We all know there is a mental-health epidemic that means more musicians are self-harming and depressed; many suffer psychological illnesses and it is worrying to see.

PHOTO CREDIT: Unsplash

Waiting lists are increasing – to see a counsellor or psychiatrist – and those available do a sterling job. It is the psychological side of the musician’s life that makes me feel the NHS needs more money to do what it does. The number of people seeing mental-health professionals is at all all-time high. Throw into the mix all the physical risks of being a musician – back and neck problems to injuries and falls – and the value of the NHS cannot be measured. I guess Gruff Rhys will not be the only musician paying tribute to the NHS today. There are gigs around the country and today provides a chance for people to think about the NHS’ longevity and changes and pay thanks. It is not only musicians/creatives who have benefited from the NHS: families, friends and those we rely on have also had their lives saved/prolonged. If the NHS did not exist, or was to privatised, then there is a concern some would not be able to afford it or there would be alterations that would negatively impact the way it is run and operates. We have a committed body of professionals who put in extraordinary hours and energy to enrich and preserve the lives of millions in the country. Musicians rely upon the NHS as much as anyone else out there.

We are all very lucky to live in the U.K. – in respect of our healthcare – when you look at the U.S. Whilst Gruff Rhys has revealed why the free health service is valuable to him; fortunes are not as bright and stable in the U.S. – as this article from 2010 shows:

“Josh Homme has a pertinent piece of advice for any musician hoping for help from the American medical system. "If you want to live," says the leader of Queens of the Stone Age, "you better be rich."

Two years ago, Homme's Queens bandmate Natasha Shneider died from cancer, aged just 52. She was put on chemotherapy pills – two a day at $500 a time. Schneider had health insurance that split the cost, but that still left her paying $500 a day for essential treatment. Now Brian O'Connor, the bassist in one of Homme's other bands, Eagles of Death Metal, has been diagnosed with stage-four colon and lung cancer as well as tumours on his bones.

"This was a 6'3" guy," Homme says. "He went from 230lb to 180lb in six months. None of us could understand it. It's just heartbreaking. I'm 37 now and I've been beating myself up my whole life, but I'm insured, I know the status of my own health. Brian is only 44 and his insurance is sorted now, but even when you're insured you still get slow-rolled. The bureaucracy of insurance has become its own problem. Brian's cancer is incredibly aggressive. He needed surgery immediately, so we paid for four days in hospital with a brilliant anaesthetist and one of the best surgeons in America. That was $25,000…”.

IN THIS PHOTO: Queens of the Stone Age's Josh Homme/PHOTO CREDIT: Getty Images

Many are looking forward to another seventy years (and more) of the NHS and what it can become. There is one part of the mind that worries whether enough money will be allocated to ensure services can continue and the NHS can be sustained, expanded and strengthened. Those who work tirelessly are doing their best but we are all aware how much they sacrifice – it is unfair we should ask so much of mere mortals. Every person alive has exposure and experience of the NHS and the good work that is being carried out every day. Musicians, as I said, would not be able to create and continue were it not for the NHS. It has been a long and hard road for the nation’s most-loved service and a shining example for the rest of the world. I hope my fears around funding and long-term survival are unfounded and premature. It would be upsetting to see the foundations crumble or people suffer because there is not enough resourcing or staff. Rather than dwell on the bad; let’s all, as we have been today, celebrate and mark a wonderful anniversary. Seventy years strong and the NHS continues to patch up and help those who need them. From musicians struggling with mental-health issues and the inevitable gig injuries; musicians are as grateful and full of respect for a platinum-gold service…

PHOTO CREDIT: Getty Images

WE all rely on and cherish.  

FEATURE: Bring It Back: The Artists Who Continue to Make Incredible Music – Yet Seem to Be Defined by Their Biggest Hits

FEATURE:

 

Bring It Back

IN THIS PHOTO: Róisín Murphy/ALL PHOTOS/IMAGES: Getty Images

The Artists Who Continue to Make Incredible Music – Yet Seem to Be Defined by Their Biggest Hits

__________

I have been reading the Twitter feed of Róisín Murphy…

and am troubled by what I read! The Irish singer-songwriter has been emotional and is fighting against those who cannot see past her work with Moloko. Some, when reviewing her recent work, recognise Murphy is as potent as ever - they give her proper kudos and see she is an ever-changing artist. I admit: I am one of those people who followed Murphy and (Mark) Brydon during the 1990s/2000s. I loved the albums, I Am Not a Doctor (1998), and Things to Make and Do (2000). That decade (millennium)-spanning brilliance from the duo spawned singles such as Sing It Back and The Time Is Now. I even loved an album that got less critical love than those two: the brilliant, underrated Statues. The brilliant, lead-off single is one of my very favourites: Familiar Feeling is Moloko at their sassiest and most addictive. In musical-journalism-chess-terms; this might be a discovered attack or en passant play: in any case; I am reacting to an article that highlighted Moloko’s best-known hit, Bring It Back. The article is, as Murphy states, brilliant and very passionate. The first standout quote/segment from the article distils the song’s energy and what it was all about:

“Wilfully idiosyncratic, gloriously arty and fiercely protective of what Moloko stood for, Sing It Back represents a strange anomaly in their career; both their defining moment for many, but also not entirely their baby. Its gestation involves tantrums, label arguments, hanging out with Mel C and furniture reupholstering”.

Another extract – the piece is a conversation with Murphy as she explores the song’s oirigns and impact – looks at Sing It Back and what it meant to her:

“It still feels like a victory, honestly. Actually, it still feels like a lesson more than a victory, in that you should trust your instincts. The best thing about Sing It Back and Time Is Now, is that it took us to festivals all over the world, to play in front of thousands and thousands and people. That was the best thing that came out of it. I also got to perform it on Top of the Pops just as I'd imagined it after I put the CD on in Sheffield months before. Who else was on the show? Sporty Spice was there with the Canadian fella... Bryan Adams! Or was that with The Time Is Now? I forget. I do know a lot of these young popstars were watching me and going 'hm, it is possible to be cool and popular at the same time”.

I was sixteen when Sing It Back was released (15th March, 1999) and recall the playground chatter and the way we took the song, and Moloko, to heart. It was an incredible time and one that opened my eyes to a different form of music!

I was growing up around chart music and the rise-fall of Britpop: Moloko’s candid, colourful and inventive music did something staggering and changed mine and a lot of people’s lives. Whilst the article from i-D pays tribute to a decade-scoring gem; there seems to be the insinuation that Róisín Murphy is the sum of that one song. Maybe there is an irony in The Time Is Now: we are not looking at the work she has produced post-Moloko and where she is in her career to this day. One of my best moments from music journalism was reviewing Murphy’s Take Her Up to Monto. I was writing for The Metropolist (now defunct - not my fault!) and gave it a hearty four-star thumbs-up. My words suggested, however, something akin to a golden five-star review. I tagged Murphy on Twitter and she, with a wink, asked how the rating system worked over there – why was she not getting top marks?! I worried I’d peed her off and should have given it five stars as the album was worthy of it – the actual fact is sites/papers are reluctant to dish out too many five-star reviews as a whole. In any case; I was amazed by the album and how it differed from her Moloko work. Lip Service, Ten Miles High and Romantic Comedy are two of the finest songs Murphy has penned (she co-wrote the album with Eddie Stevens). Critics gave the 2016-released album a load of love and recognised what a sensational effort it was.

Track back to 2015’s Hairless Toys, with Stevens’ co-writing, and you have another brilliant creation. There are eight tracks but (the songs) take longer to unwind and are more explorative. From the sharper and more instant songs of Moloko to a woman now building new foundations and creating a new musical empire. The Guardian assessed Hairless Toys thus:

“…From the glasslike Gone Fishing to its Italo-disco and house mutations and unusual country diversions, it draws from the past but adds a crisp, modern polish; and unlike other revivalists, there’s a depth to Murphy’s vocals, as if she has experienced the freaks and fantasy of Studio 54 firsthand. Hairless Toys is pure, evocative elegance, her performance as flamboyant and fragile as the subculture she celebrates”.

Hairless Toys arrived eight years after the amazing Overpowered. That album employed more songwriters and was more Disco-influenced. The label, EMI, provided a bigger budget and, as such, Overpowered feels like a more expansive, explosive and full work – compared to what was around the mainstream at the time. Murphy is, and always has been, a maximalist who puts every corner of her heart, soul and blood into every ounce she produces. Even on Ruby Blue, her 2005 solo debut; critics were on board and knew Róisín Murphy was entering a new creative phase. This AllMusic review sums up the transition – and why people should not live in the past:

 “As brilliant as Moloko could be -- on both their most eccentric and most conventionally pop moments -- their albums never quite jelled into something as uniformly great as Roisin Murphy's solo debut, Ruby Blue. By teaming up with producer Matthew Herbert, who remixed Moloko's "Sing It Back" back in the I Am Not a Doctor days, Murphy keeps the alluring sensuality and unpredictable quirks that made Moloko unique, without sounding like she's rehashing where she's already been. Both Murphy and Herbert are artists who are equally at home with the wildest and most accessible sounds (and especially when they bring those extremes together), so their reunion on Ruby Blue feels very natural, and gives the album a smoother, more organic sound than might be expected from a debut”.

I am reading what Murphy is putting out there and the struggle to get people to listen hard; get a bigger budget and have her endless hard work rewarded. She posted a video that showed, as she said, the challenge to get people engaging with genuine art and intelligent content is draining. She, like many artists, have to move on from the perception of the past and how people see them. The fact many hear the name ‘Róisín Murphy’ and instantly spring to Sing It Back/The Time Is Now shows we are either stubbornly nostalgic or less attentive in today’s market. Back in the 1990s; perhaps there were budgetary constraints and issues – one feels there were more people listening in and the scene, in many ways, has weakened. Murphy has been producing top-quality music for twenty-five years and still has to campaign to get her videos properly funded and people talking about them. With her latest video, Plaything, out there; I wonder how many of the journalists who backed and celebrated her career during the Moloko regency are throwing love and deserved plaudit her way?! The video’s story and imagery are thought-provoking and engaging; the song is classic Murphy: fulsome, nuanced movements and striking vocals; part-youthful and part-mature…the perfect song for a music scene crying out for proper depth and substance!

I hate to throw the word ‘ageism’ about but have we, in a way, become too obsessed by what we perceive as the young and trendy? Look around the music scene and every icon has to tackle that barrier. It is not only Róisín Murphy who has to face being labelled with her former moniker – so many other artists are defined by one song/album. Paul McCartney is always seen as a Beatle. That is not a bad thing but he has produced incredible solo music and did brilliant work with Wings. Look at other female artists like Tracey Thorn (formerly of Everything But the Girl) and Shirley Manson (who gave her support to Murphy following her disbelief and anger). These musicians used to be in one phase of their career, when they were part of that ‘young and cool’ demographic. I wonder, now, whether they are seen as vital and needed as they were years ago. Maybe, then, the question shouldn’t be around a single song/album: maybe artists who have been around for years/decades are being dispensed with and seen as ‘past their prime’. Record labels are less willing to part with cash; magazines and journalists are fickle and move on to the new breed – is there loyalty and trust in artists who have helped shape music and break barriers?!

I have interviewed so many artists who have been influenced by Róisín Murphy and have got where they are because of her music. The irony is, the source of that inspiration gains less affection and respect than those who are fresh and untested. Look at artists from the 1980s and 1990s – or before then – and see where they are now. To survive and have a fanbase after so many years is a feat in itself given the capricious and busy nature of modern music. So many new Popstars last only a few years, and yet, they are loaded and can do anything with music videos; every critic around features them and radio stations are scrambling over themselves to support them. Although it is not only women who face this ignorance and ageism; I was reading an article about Madonna (published in April) where she provided her experiences – and why, in her fifties, she is not allowed to be confident and sexually bold:

“The icon told The Cut in an interview about her MDNA Skin line that she "got so much flak for using sexuality as part of my creativity" and was labelled a "sexual provocateur" in the beginning of her career.

She now thinks that the challenges she endured 20 years ago are now "ludicrous."

 IN THIS PHOTO: Madonna

"Why should only men be allowed to be adventurous, sexual, curious, and get to have all the fun until the day they leave this earth?" she asks.

"What I am going through now is ageism, with people putting me down or giving me a hard time because I date younger men or do things that are considered to be only the domain of younger women," explains Madonna.

The 59-year-old musician plans to keep fighting against ageism.

"Ten to 20 years from now, it's going to be normal," Madonna says of how she lives her life. "People are going to shut up."

The singer says that "by standing up to men" it's only a matter of time until certain behaviours won't be dubbed "ageist".

I am indebted to those exceptional musicians who changed my life and fostered an insatiable appetite for sound and colour. I have not abandoned them or feel they are less worthy than when they started out. Every artist, who has been around for years, that fights needlessly hard for acclaim gets my sympathy. In the case of Murphy, Madonna; McCartney (whose new album, Egypt Station, is out on 7th September) and their like; why must they have to work so hard to get people invested and stay among the chasing pack?! I wonder whether social media and modern journalism have changed music for the worse?! There is so much being thrown at us these days; perhaps we are consuming music too fast and not looking for anything healthy, healing and beneficial – too busy swallowing the tasty, easy and sweet.

It is a complicated argument but I feel the stalwarts of music should not be diminished or (be seen as) less relevant because they are not as trendy and ‘commercial’ as they once were. The reason the long-lasting artists remain is that they evolve and make endlessly arresting and impressive music – you’d think they’d have a blank cheque from labels and not have to get so frustrated. I am seeing so many musicians, established and new, who have to be their own bosses and campaign managers. They are doing endless admin and working themselves half to death to even get themselves heard. There is still the obsession for the young Popstars and what is seen as ‘cool’. I grant there are plenty of established artists who get acclaim and pomp – not as much as they should and, when you think about it; do they get as much gleeful and proud press as when they first started?! Music should be less about commercial and profit and more a meritocracy: supporting those who have lasted longer and are producing the best work. I hope the likes of Róisín Murphy are given more credibility and respect. They have earned it and I worry labels and the press are unwilling to move on from the past and back an artist once they move on and grow older. I will leave you with another exert from the i-D article: it shows Murphy talking about the Bring It Back remix and fighting the label:

“…So then I rang the label. This was all me pushing for this, by the way. Just this young bird from Sheffield that people don't necessarily listen to. Anyway, I was like 'we've got the remix, it's going to be a hit'. The record company were like 'no, we've got to do the Todd Terry version because we paid a fortune for it'. I was like 'just because it was free, doesn't mean you should ignore it'. They just wouldn't listen and I had arguments with them where I was literally lying on the ground crying going 'please!'. I was almost pulling the carpet up. They weren't having it and it was a fight that I lost. They put [the Todd Terry remix] out and it entered in the lower reaches of the top 40. So that was a disappointment, because back then you got your best shot in the charts in the first week...”.

To those labels, publishing companies and assorted others who overlook wise decisions and artists who have worked their socks off for years; realise that, if you want them to keep inspiring musicians and adding their (precious) work to the scene then…

IN THIS IMAGE: The cover of Róisín Murphy's 2007 album, Overpowered

GIVE them the passage and resources they richly deserve!  

INTERVIEW: Janie Bay

INTERVIEW:

Janie Bay

___________

IT has been great speaking with Janie Bay…

and finding out about her musical progression. She talks about her latest album, Miscellany, and whether there are tour dates coming up in the future – I ask her if we might see her in the U.K. at any point and whether she is a fan of the music we are producing.

Bay discusses the music scene in South Africa and reveals the artists who inspired her growing up; which memories from her time in music stand out; some great new artists we should get involved with; how she spends time away from music – the talented songwriter tells me the ambitions she wants to fulfil before the end of this year.

___________

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

I’m good. Thanks, Sam! My week has been pretty productive so far. Just hustlin’ - as we do here in South Africa.

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

I am a singer-songwriter from Cape Town, South Africa (residing in Pretoria) and I have been doing music full-time for almost ten years.

I Remember, your first solo effort, gained huge acclaim. Do you look back at that time fondly? How have you grown as a musician since then?

The songs on my first (independent) album were some of the first songs I ever wrote and recorded properly. I started writing when I was fourteen but we never really recorded anything back then. I had to get a lot of stuff out; from childhood experiences to losing my dad to writing about how amazing my brother is and how I have looked up to him my whole life. So, yes, I do look back at it in a fond way because I learnt so much and I was happy with it as a very first effort.

Might there be a single/E.P. coming soon? What are you working on?

We are still releasing singles from my current album, Miscellany. I have just released my first ballad from this sophomore album called Can’t Be the One. We might still release one more single from this album before moving onto new projects.

Which artists do you count as idols? What sort of music did you grow up around?

My brother and I grew up listening to a lot of the bands and artists my mom and dad used to listen to in the '60s. So, we grew up listening to some of the best music ever written (thanks mom and dad). A lil later, Elton John, Whitney Houston and Michael Jackson played in our house a lot. We also grew up watching a sh*t-load of movies, so soundtracks played a huge role in our music-loving-forming years.

Later on, in my teens, Alanis Morissette’s Jagged Little Pill was probably the album that influenced me most and got me through quite a bit of teenage angst. Metallica was also in the mix; as were Nirvana, Foo Fighters and Green Day. Then, I went through a major Punk phase with NOFX, No Use for a Name; Goldfinger and those bands - and then I rolled over to a lot of Folk like Ben Howard, Boy & Bear; Ed Sheeran and Mumford & Sons. So; my influences stretched quite far, which I believe also stretched me as an artist and writer, for the better.

You moved from Cape Town to Pretoria. How important is where you live and the people to your music? Do you get a lot of inspiration from the surroundings?

Cape Town is certainly better for the creative juices to flow but Johannesburg (Pretoria is close by) definitely has more opportunities in terms of shows and venues: I wouldn’t have been able to pursue my career in Cape Town. Most industries are bigger up here, so I didn’t really have a choice. I miss Cape Town but, unless you are very established, you have to be up here in my opinion.

PHOTO CREDIT: Lampost People

Is the South African music scene quite strong? Do you find it a natural space for you to perform and create in?

To be honest, South African-English ‘Pop’ is one of the least supported genres in our country. If you are an Urban artist or an Afrikaans Pop artist, you will have a lot of support both financially and fan-wise. Our country’s economy is also struggling currently but my heart is to write in English and I am a singer-songwriter at heart; so I will carry on doing my thing. I am, of course, very thankful for all the support I have had up until now.

What do you hope to achieve in 2018?

I suppose, to get my music out there more. Also, to hopefully successfully plan a tour abroad.

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

There have been quite a few. My favourite two shows so far have been (one) at a festival called White Mountain Festival a few years back. Not a very big festival - about 1500 people but the crowd was on fire and the whole gig felt like one song/journey for forty-five. Everything felt so smooth.

Then (two), a very small gig; about thirty people. It was a theatre-like performance about two months ago. The sound was perfect and you could drop a pin on the stage; it was so quiet. Everyone was listening to each song intently. It was just very special and intimate.

PHOTO CREDIT: @imthecarpenter

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

I would love to support James Bay and, to perform one song with him, would be a dream. Ed Sheeran is coming to South Africa in March 2019. We are both at Warner Music, so…you never know!

Is it true you are coming to the U.K. to play? Are you a fan of the British music scene?

Myself and my label are talking about the possibility of it. Hold thumbs that we can make it happen! Please send me suggestions for British acts to listen to. I would love to learn more about it!

You have played around the world and seen many different audiences. How important is touring and getting your music out there?

I have travelled quite a bit but haven’t seen many bands abroad. We have had quite a few international bands/acts over here. My absolutely favourite must have been Paolo Nutini. What a performer! What a musician! What a band! I was blown away! He really took me to another place for an hour and a half. I believe it is absolutely vital to see international acts perform in order for us to up our own game.

What advice would you give to new artists coming through?

To play as many gigs as you can; wherever you can, whenever you can. To be gig-fit is one of the best things you can have. Always be ready to play a song to anyone. Do warm-ups before a show, always. Stay humble, no matter where life may take you. Be thankful for every small or big victory. Remember those you have helped you along the way. Work hard. Keep writing.

IN THIS PHOTO: Werner Bekker

Are there any new artists you recommend we check out?

I would love to recommend some South African artists. Check out Werner Bekker and Roan Ash. Also; Elandré. He sings in Afrikaans but his music is amazing.

IN THIS PHOTO: Roan Ash

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

I love fitness. So, going to the gym makes me feel amazing. I also love films and cinematography (I am very much involved with my own music videos from start to finish).

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 am bias, but also not. Please check out Werner Bekker’s brand new single and music video for I’m With You. He is amazing; a true singer-songwriter and this is a beautiful song. My boyfriend and his partner produced this song. It is very Damien Rice. So good

_____________

Follow Janie Bay

Official:

http://janiebay.com/

Facebook:

https://www.facebook.com/janiebay/

Twitter:

https://twitter.com/janiebay

Instagram:

https://www.instagram.com/janiebay/

SoundCloud:

https://soundcloud.com/janiebay

YouTube:

https://www.youtube.com/channel/UCtpcyjDSvS8YQClKnI0kH1w

Spotify:

https://open.spotify.com/artist/0VSXm0RbmbovOLT6ADgovM