FEATURE: Se-X-X-X Laws: Is Music Becoming More Cautious When It Comes to Sexual Content?

FEATURE:

 

 

   Se-X-X-X Laws     

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ALL PHOTOS: Unsplash 

Is Music Becoming More Cautious When It Comes to Sexual Content?

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IT is bloody typical that The Guardian has just published…

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a piece I was going to write! Whether there is something in the air or not; they have released their opinions regarding sex in modern music. I have covered this topic a bit but I have been hankering to return to the topic. Past pieces have looked at sexism and exploitation in music videos; whether there is too much sex on show in modern music. Now, I am taking an opposite approach and asking whether things are too muted and conservative! One can look at the scandals in Hollywood and sexual abuse claims as a warning to all artists to think about how they behave. Whilst there has not been the same unadulterated and despicable cases we have seen in Hollywood - Harvey Weinstein, especially – I have heard far too many cases of sexual assault and inappropriate behaviour in music. Bands and artists have been shamed; testimonies revealed and allegations made – there are many more afraid to come forward and so many potential incidents that have not been oxidised. I am not suggesting music has long been the back parlour of Caligula’s summer house: cavorting and flesh-revealing antics mixing with debauched imagination. Musicians, for decades, have used sex to sell and provoke a reaction. I have just finished up writing a piece that included Madonna. She was/is no stranger to causing controversy and stirring people up but, in actual fact, it is people’s misconceptions and overreactions that have been the problem.

Madonna has always been about empowerment and pushing boundaries. Her music, imagery and videos have compelled and inspired generations. There are still artists who put sex into their music and videos but, look around, and things have gone very quiet. I can still recall when Miley Cyrus was tarred and feathered for her Wrecking Ball antics. Others, including Britney Spears and Christina Aguilera, have been accused and judged before for revealing flesh and dancing provocatively in their videos. It seems, in most cases, it is female artists receiving most of the moralising and judgements. Men, on the other hand, approach sex in a different way. Whilst a lot of females have been in the press for empowerment and body confidence; a lot of male artists have been accused of inappropriateness, sexism and lewdness. There are definite gender divides and moral lines we need to consider. In any case, I feel modern circumstances and times have dictated how sex is discussed in music. Many current Popstars are writing about relationships in more sorrowful and diary-like ways. They are chronicling heartbreak and self-reflection rather than the joys of passion and the quest of lust. Some genres, like Hip-Hop and Rap, still boast physically assertive and sexually defiant artists (both male and female) but the goalposts have moved.

There are no rules written that have dictated this sea change but it is interesting to observe how sex is less potent and visible than as recent as a few years ago. To quote from the competing Guardian article; they have looked at ‘sad/sexy’ – how nihilism and a more introspective version of sex have infiltrated music:

As the decade progressed, sad/sexy spread everywhere: the melancholy libido pulsing through the music of the Weeknd, James Blake and the xx (Intro became ubiquitous), you could hear it in the mumbled force of the self-styled Scandinavian sad rappers such as Yung Lean and Spooky Black. Gay culture was gifted a sad/sexy icon in Frank Ocean, who wrote a mini-anthem to the restless dissatisfaction of pharmaceutical cold coupling with Novocaine – a kind of dress rehearsal for sad/sexy’s own three-tier Bohemian Rhapsody, Channel Orange’s Pyramids. The boyband milieu gained its own sad/sexy pinup, too, as One Direction lost their resident weed magnet, Zayn Malik, who went on to pick up the sad/sexy cues of his immediate heroes – Drake and the Weeknd – in Pillowtalk, hooked by the none-more sad/sexy parentheses of “fucking and fighting”.

Not that mainstream heavyweights like Drake and James Blake have gone all soft and lost their libido. Sex is, as the article explores, complicated in this decade. Artists are concerned with mental-health and social media’s effect on the mind.

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Whilst we are still engaging and exploring sex as before; perhaps the digital takeover has changed the way we think, interact and spend out leisure time – have artists the time, energy and focus to even think about sex?! It seems the projection of quick-fix and sexual release is rather ill-judged and cloying at a time when sexual indiscretion and abuse of power is in focus. Maybe we are all too sucked into the machine and guiding our lives through technological eyes. Dating apps and the Internet have changed the way we date – not always for the better, it seems. I am not suggesting we are interacting less but modern musicians, new and mainstream, have less free time to socialise and are relying on the Internet for communication, dating and hook-ups. One can still find male artists writhing and thriving with their trousers down; there are female artists promoting empowerment and their femininity…others are more direct and happy to show curves and a sly smile to get YouTube videos up and their key demographic engaged. Many Pop and mainstream artists are making music for teens and young minds. A more sanitised and moral-minded scene has to come in to ensure the wrong messages are not being put into the world. How explicit an artist should be is a difficult thing to judge.

I agree that sex and relationships are becoming defined by anxiety and a more thoughtful approach. Scandal, accusation and thrills still can be found in music but, largely, heartbreak and rebuilding broken foundations play a much stronger role than tantalisation and getting your rocks off. You are spoiled for choice when it comes to the list of best sex-themed songs ever. NME produced one last year - and a lot of the inclusions (sixty-nine in total, appropriately!) are from an awful long time ago. Modern(ish) songs like Lana Del Rey’s Cola take a rather direct and unapologetic tact – the title refers to the taste of her pussy – but that is rather tame in comparison to what we have witnessed previously. Once was the time when groupies surrounding the biggest bands are there were hellacious and eye-watering stories of sex and excess. Those days have gone (for the most part) and musicians have to be a lot more cautious and responsible in this day and age. There is, too, a line between sexiness and explicitness. One can claim a lyric from Lana Del Rey is more provocative than it is sexy. One does not need to talk about sex in a juvenile and pornographic way: the sheer tease and sense of allure can be much more potent and powerful.

From Beyoncé, Kelis and Ciara making demands and making their intentions known to some of the biggest male Hip-Hop stars boasting of their exploits and ‘measurements’ – there has been a definite decline when it comes to discussing sex in music. Maybe the content is still there but it is not as spicy, memorable and evocative as once was. For those who feel this decline happened at the start of the decade; there is proof to suggest, in 2011 at least, there was plenty of sex in the music mainstream:

Get your heads out of the gutters, America's musicians. We always knew that with all your nipple-showing and lesbian-kissing and crotch-grabbing that you're obsessed with sex, and today we have the science to back it up: "Approximately 92% of the 174 songs that made it into the [Billboard] Top 10 in 2009 contained reproductive messages," says SUNY Albany psychology professor Dawn R. Hobbs in Evolutionary Psychology. That's right--"reproductive messages," our newest favorite euphemism.

Those 174 top-selling songs were analyzed in order to determine how many sexy messages they contained in any of 18 sexy categories, including "arousal," "sexual prowess," and "genitalia." There was an average of 10.49 sex-related phrases per song, with R&B being head-and-shoulders(-and-maybe-some-other-body-parts) above the two other musical genres analyzed, country and pop. "Sexual appeal" was the most popular theme among both R&B and pop songs, while "commitment" (yawn) was most prevalent in country music”.

Sex is more readily available on the Internet and the media. We have sites that offer cheap hook-ups and stringless-sex; the raciness and thrill we once got from music videos and Pop, in comparison, seems a bit tame – or it is too overloading, perhaps? Another article, from earlier this year, differentiated between ‘love’ and ‘sex’. Plenty of artists can articulate the complexities of love and how it has positive and negative effects. Sex, in many ways, is a less complicated area of study. Many songs fit in an overlap where sex and love intersect: many solely discuss sex whilst others do not bring it to the table.

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A lot of the most provocative and sexually revealing Pop artists have got older and, with children and marriage, changed their worldview and are focusing on more family-orientated themes. Modern Pop acts like Dua Lipa and Tinashe are stirring and alluring – able to show flesh and lick their lips without getting too ‘detailed’ and explicit. Male artists, especially, in modern Pop are straying away from the topic. There are genres where sex is freely explored but look at the modern charts and how many songs on the rundown look at sex? This article asks whether sex sells and looked at its (sex) prevalence through the decades. They answered the big question:

Okay, so I know I’ve really been riding my luck with guessing what you’re thinking, but how else do I link my points? Here’s to hoping you’re thinking DOES SEX REALLY “SELL” THEN?!?!?!? Interestingly, sex mentions follow a consistent up and down cycle, peaking for a year or two before falling dramatically, suggesting that sex sells until people get fed up with over-saturation.

…Additionally, artists who largely mentioned sex but did not mention love would have maximum 50 weeks on the charts, yet artists mentioning sex spent much longer on the charts if they also mentioned love. Also, many artists did well on the charts with many mentions of love with few or no mentions of sex. This once again reinforces the idea that sex itself doesn’t sell, but love definitely sells”.

Look back through music’s history and you can see a gradual decline – with a few peaks and dips here and there – when it comes to sex in the mainstream. Love, as I said, is still burning bright but more often than not artists explore intimacy and emotional connection as opposed physicality. Why, then, do I bring up this issue?! I am happy with what is happening in music and am not a sex-craved listener who wants to get his fix anywhere possible. I feel, however, we are in an uncomfortable and difficult time when we must tread carefully and be aware of the consequences of what is being put into the world. Recent scandals, coupled with a changing lifestyle that is more technology-driven and less ‘human’ has changed how we date and bond with one another. I do worry we have gone too far and are being too safe. I am not suggesting artists are puritanical and have lost their libidos altogether – it would be nice to see a bit more expression, boldness and risk-taking from artists.

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I understand caution should be employed and artists need to be responsible for their content. Taking precautions should not replace expression and being honest about sex. We all have it – speak for yourself! – and there is nothing wrong with it at all! Rather than use it as a commercial selling point and push too many boundaries for the sake of streaming/video success; talking about sex in a very real and relatable way is perfectly acceptable. Confident females are not afraid to express their sexuality and empower their peers. Male artists, in some genres, are discussing sex but making sure it is not too seedy and crass. Perhaps we have become too guarded and are not really sure where lines should be laid and what is seen as ‘too much’. I know there is sex out there but I would like to see more of a spark and revival. Artists can talk about sex in a very inspiring, empowering and educational way. One assumes any sexual reference is lurid and offensive: when done right, it can be incredibly powerful and memorable. From songs like Teenage Kicks (The Undertones) and Like a Prayer (Madonna); Love to Love You Baby (Donna Summers) and (I Can’t Get No) Satisfaction (The Rolling Stones) – music is stocked with sexy and arousing songs. Whilst we do not need a full-on sexual revolution and awakening; I would suggest a bit more expression and optimism is needed from modern artists. It is okay to write about melancholy and heartbreak; talking about love’s capriciousness connects with listeners and is as honest as anything. It would be nice, once in a while, for an artist to lock the door, turn the phone ringer off…

AND let the postman knock the damn door down!

FEATURE: The Legends Club: Artists Who Have Endured and Continue to Inspire

FEATURE:

 

 

The Legends Club     

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IN THIS PHOTO: Paul Simon/PHOTO CREDIT: Getty Images 

Artists Who Have Endured and Continue to Inspire

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A couple of interesting things have come out of this weekend…

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PHOTO CREDIT: Getty Images

that has made me reflect and look carefully at the music industry. Paul Simon, as we know, will soon be retiring from touring forever. He is on his Homeward Bound tour and has played at London’s Hyde Park. It is sad to think the American legend will not take to the road after he has completed this tour. Many artists say they are going on a ‘farewell’ tour but they come back for the money and milk it until the cow is dry. It is a good tactic, I guess: scaring the fans and letting them believe this is the last time you will see your heroes on the road! It reminds me of a sale where a shop is closing down and you need to hurry now! It goes on and on and then, when they have enough money, they keep trading as normal! Paul Simon, sadly, is sincere and serious regarding his declaration. The man has won his right to spend time with family and take things a bit easy. Not that a lack of touring miles translates to ‘taking the load off’. Simon is still going to record material and, in fact, has announced he is to release In the Blue Light: a record that sees some of his best-loved material reworked. This is not a new thing in music.

Kate Bush did the same with Director’s Cut. She took songs like This Woman’s Work and added a new spin to them. Paul Simon, on the album, will reinvestigate songs like Love and How the Heart Approaches What It Years. You can learn more here and discover the blend of material that is being reworked by the master. The article I have just quoted provides some useful and revealing information:

Simon writes in the liner notes: “It’s an unusual occurrence for an artist to have the opportunity to revisit earlier works and re-think them; to modify, even completely change parts of the originals.

“Happily, this opportunity also gave me the gift of playing with an extraordinary group of musicians, most of whom I hadn’t recorded with before.

“I hope the listener will find these new versions of old songs refreshed, like a new coat of paint on the walls of an old family home”.

In any case; it is another solo album from Paul Simon; a career that started back in 1964 with Simon and Garfunkel’s debut album, Wednesday Morning 3 A.M. It seems extraordinary to think Simon has been releasing material for over fifty years! His thirteenth solo album, Stranger to Stranger, was met with critical acclaim and it showed, at the age of seventy-five, he was able to produce work that rivalled his very best. Only two years later and we will get ANOTHER record from Simon.

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IN THIS PHOTO: Fleetwood Mac/PHOTO CREDIT: Rock Hall Library and Archive

The fact Simon is still producing work and looking ahead makes me think about the legends of music and how they have endured. I will mention a few more but look at Rock gods such as The Who and The Rolling Stones. With so many of their peers biting the dust or unable to get along – Pink Floyd springs to mind! – it is amazing to consider they have not stopped playing/recording since the 1960s. Fleetwood Mac, another band that has endured some turmoil and upset, are still going – without Lindsey Buckingham, mind – and show no signs of quitting. They are embarking on tours and, whilst another album might be a way away; it is good to see the band going strong and in love with music. I will bring up another music-based revelation that has got me thinking about sustainability and endurance. Today, many argue, is a very different scene to that of the 1960s, for instance. Artists need to promote themselves endlessly and be kind to themselves and each other – look after their mental-health and be as supportive as possible. A couple of articles look at longevity in the industry and give helpful hints to musicians. This article looks at social media and creating a brand:

The next question is – how do I develop myself enough today to get longevity in the future? Hard work and dedication are two of the most important values that you have to think about when you’re in the music industry.

When you’re first starting out, you need to be able to find a fanbase. These fans might already be focused around one particular artist that fits in with the music you are producing but you’ll appeal to them with your own, unique brand. Establishing a brand is extremely important because that is how your audience will know who you are and why they should like your music beyond “it’s good.”

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 PHOTO CREDIT: Unsplash

The first thing to ensure that you have a solid brand would be getting a social media. This is important to have if you want to continue to build your brand and to make sure that you are consistent on each website that you use. Instagram, Facebook, Twitter, and even Snapchat can engage both current and new fans. It is also important to get your music on as many different platforms as possible, either by streaming it online on Spotify, Soundcloud, or Apple Music or by selling physical copies if that’s a profitable option for you”.

How do the Rock titans like Mick Jagger, Robert Plant; Roger Daltrey and Chrissie Hynde (The Pretenders) ensure and survive? This article, written ten years ago, put Rock stars under the microscope and theorised why they continue to work and retain a fanbase. One pointer that struck my eye was the issue of changing your style. Do you keep the same character/sound going or change it up or risk losing some support?

So does one evolve within a particular way of writing as Nick Cave has done slowly and spectacularly, or constantly try new things? Both can work if done well. I know many people who, after a youth pursuing the shock of the new through Frank Zappa or Naked City, are now beginning to "get" Bruce Springsteen. Why are they warming to these conservative chord sequences? It seems Bruce sustains a career thanks to generation after generation of youngsters growing up just enough to get his romanticism of the everyday. Whereas Joni Mitchell, Björk or, occasionally, Neil Young maintain a hardcore following while gaining and losing admirers from project to project, Bruce just accumulates through maintaining a general level of solid quality”.

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IN THIS PHOTO: Bruce Springsteen/PHOTO CREDIT: Danny Clinch for Variety

I guess you could say it is as hard to survive now as it was back then. By that, I mean artists like The Who and Paul Simon started in a different time when music was very different and they did not have to promote in the same way. There were fewer competitors and they did not have to face up against a mass of new and unsigned artists. On the flip side; those who were releasing albums and in the charts were incredibly good and determined. Not only have these musicians overcome a tough scene and quality rivals but they have managed to settle in the present time – where there is social media, a new way of working and fresh demands. Not only do the long-standing artists have to think about retaining fans and winning new ones but they have to make that decision whether to change their style or keep going as they are. Consider Bob Dylan and Neil Young and how radically their music has shifted since the 1960s. In fact…it isn’t such a leap, really?! They have not succumbed to the need to add synths and pumping drums to their music: they have kept that solid and reliable foundation and adding the odd touch here and there. Look at someone like Madonna, mind, and she has taken bigger gambles. I guess a Pop artist is in a different position to a Folk act.

She could not really produce the same sort of music she was producing back in the 1980s. Consider her pumping out Like a Virgin and Cherish in 2018 and it would not really sound right. Ironically, 1980s-inspired music is big now and many artists have taken from Madonna. The Queen of Pop turns sixty next month and it will be a fantastic opportunity to pay tribute to her influence and legacy. She continues to tour and release material and reinventing herself at every turn. Consider how she has shifted from her 1980s albums such as Like a Virgin and Like a Prayer and what she came up with on 1998’s Ray of Light. She took a gamble adding darker electronics to her sound at the end of the 1990s but it paid off; she entered a new creative phase and continued to score big reviews and sell-out venues.

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PHOTO CREDIT: Tabak/Sunshine/Retna UK

Even as she enters her sixties; the Queen of Pop puts out spirited, raw and sexual material that shows immense confidence and direction. She has updated her early-career sound and add modern touches and hooked up with the best talent of today – rather than resting on her laurels and assuming she does not need to change a thing. Madonna has always influenced and directed music. Matt Cain, when speaking with The Guardian, discussed how Madonna opened up gay culture and made self-expression and sexual revelation more acceptable. She

“…But I love how Madonna’s never wanted to be seen as a nostalgia artist and how in recent years she’s become even more politically outspoken. Her speech at the Billboard women in music awards in 2016; she called out the “blatant sexism and misogyny and constant bullying and relentless abuse” she’d experienced as a woman in the music industry. So many people have relied on Madonna’s music for emotional support in their lives and I’m so glad she’s still here, still expressing herself, absolutely on her own terms. Because if she hadn’t been doing that when I was younger, I’m not sure I’d be here now – and I certainly wouldn’t be the person I am today”.

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IMAGE CREDIT: Getty Images

Madonna opened up discussion about sexuality and feminism. She continues to speak out about misogyny and sexism in the industry – it is that strong voice and passion that keeps people hooked and compelled. Madonna changed popular culture and transformed the way we look at women and music in general. It is not a surprise, therefore, as she approaches sixty that she has that huge fanbase and a big demand – there are whisperings she might appear at next year’s Glastonbury Festival. Madonna, like Paul Simon, has produced such a vast body of work and created different personas. She has survived and managed to change skins; keeping fascination high and inspiring generations. When she hits sixty on 16th August; it will be a great opportunity to mark her endurance and what she has given musicians. Sadly, a lot of icons have passed because of addiction and drug-related deaths. Prince, Whitney Houston and Michael Jackson are a few who have succumbed to drugs – whether accidental or not. I know bands like The Who and The Rolling Stones have ‘dabbled’ in the past but they remain clean and focused today – they know they need to stay healthy and, essentially, alive to continue their careers.

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IN THIS PHOTO: Paul McCartney leaving Apple headquarters (London) in 1969/PHOTO CREDIT: Getty Images

I have been thinking about others, like Paul McCartney, have had decades-lasting career and continued to evolve. McCartney has gone from The Beatles to Wings (who, he claims, were not a great group) and has endured a successful solo career. If Madonna has survived criticism and attacking voices – against her promiscuousness and confidence; others who feel she is a diva – and not embarked on farewell tours and the ‘comeback trail’. McCartney, too, has received criticism – not the same sort but he has overcome doubting tongues – but shrugged it all off and remained level-headed and professional. McCartney, during an interview last year talked about balancing fame and fortune with being grounded and normal:

For someone who's been so famous for so long, this particular billionaire vegetarian seems surprisingly charming and self-effacing. But with anyone whose life and work has been explored at length from every angle, it can be difficult to separate the myth from the man.

How would his friends describe him, does he reckon?

"They'd say 'Paul is one of the best guys you could ever meet. He's honest. He's loyal. He's friendly. He's funny. He's a great mate, generally'."

He forgot devilishly handsome. "Yes, true. Also, devilishly handsome. Or do you want the real version? But yeah, I'm lucky. I've got some great mates, and they keep me grounded. One of my big fears in life was gettin' too full of meself. When you have the sort of success I've had, it would be easy to go 'You know what? I'm dead cool!' But coming from Liverpool, that's not the cleverest thing”. When I go back up to Liverpool, if there's any of that, it's like, 'Eee, Paul. Whatcha doin'? Now f… off!'. I get pulled back to reality real fast. "

Musicians today could learn a lot about remaining settled and grounded. I feel so many musicians from the 1960s and 1970s do not get too carried away.

Some might argue against that point but there is little room for egos if you want to keep growing your fanbase and winning critics – unless you are Kanye West, I guess! Discipline and that experience all make a big difference. A lot of new artists have just arrived on the scene and have to adapt very quickly. The big, long-lasting artists have been there and know what it takes to succeed. There is no secret to succeeding for so many decades. Some bands/artists split up or succumb to excess whilst others change their music and lose their fanbase. Those who keep releasing music and packing people in have changed with the times but not lost what made them special in the first place. I guess it is their love of music and passion for the fans that keep them going and drives their creativity. They act as a guide for new artists that you can endure for a long time and succeed in music. Whilst Paul Simon releases a new album and Paul McCartney gears up for touring a new solo album (Egypt Station); Madonna continues to perform and is sixty next month – The Rolling Stones, against all odds, are still kicking and owning stages around the world. We thank and celebrate them for their immense work and lighting up music for so many years. As we talk about disposability, commercialism and come-and-go artists today who do not last for that many years; have a look around at the legends of music that have changed music as we know it and continue…

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IN THIS PHOTO: The Rolling Stones/PHOTO CREDIT: Getty Images

TO create amazing work.

FEATURE: Mercury Revs: Which Albums Are in with a Shout of a Mercury Music Prize Nomination?

FEATURE:

 

 

   Mercury Revs     

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IN THIS PHOTO: The album cover for Let's Eat Grandma's I'm All Ears/ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Press Association 

Which Albums Are in with a Shout of a Mercury Music Prize Nomination?

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IF you enjoyed a British album…

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IN THIS PHOTO: Last year's Mercury Music Prize winner, Sampha

released between Saturday, 22nd July, 2017 and Friday, 20th July, 2018 (looking a few days ahead, it seems!); chances are it will be in with a shot of a Mercury Music Prize nod. The dozen longlisted albums will be announced on Thursday, 26th July and it will be exciting to see who makes the cut. Last year’s winner, Sampha, impressed judges and the public with Process – a fine record from the London songwriter. Hyundai, again, are putting their name to the prize and there is talk as to who might be nominated this year. Many feel the Mercury Music Prize has lost a bit of direction and is not inclusive enough. I think a couple of things need to happen when it comes to announcing the longlisted. It is too late to change course – as the albums have been selected/most have – but one suspects there will be a mix of the mainstream best and the outsiders. There is always a Jazz or Folk record alongside the finest from Pop, Rock and Alternative. In terms of the best albums from 2017; look at most rundowns and you will see a largely American crew. Artists such as St. Vincent, Thundercat and The National. I look at the assumed best of this year (so far) and there is a bit more variation – are we to assume the twelve albums that will appear on the list are going to be taken from this year?

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Thursday, 20th September will see a new British champion crowned and I wonder whether judges will go with an album like Sampha’s Process or something Rock/Pop-based? Dizzie Rascal’s Raskit was released a day before the cut-off point for eligibility (it was released on Friday, 21st July, 2017) but that could have been a good outside bet. Whether you love or loathe the new album from the Arctic Monkeys; Tranquility Base Hotel + Casino seems like a Mercury-worthy record! Many say it is not as intense and immediate as other albums from the Yorkshire band. I know it is a grower and seems like an Alex Turner solo album but there has been some great critical reception. At the very least, it would show the panel are willing to take risks and recognise an album that may not seem like a classic right now – something that has the potential to grow and establish its worth years from now. It is hard to make early predictions and one glaring thing stands out. Whilst there have been some tremendous British albums from the past year; look at the critics' lists and most of them focus on American works. In fact; type in ‘The best albums of 2018’ and the vast majority will be American. That is not to indicate British albums have not been able to cut it alongside the American best. A lot of the votes and lists are compiled by American critics who, let’s be fair, have myopic views and do not tend to spend too much outside their own nation.

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A couple of albums I have rather enjoyed are Microshift (Hookworms) and Open Here (Field Music). Both of the records scored well from critics; both bands are northern (Field Music are from Sunderland whilst Hookworms are from Leeds/Halifax). It would be good to see both of these records get a nod and sit alongside the very best. Young Fathers’ Cocoa Sugar, perhaps, is the frontrunner. The Scottish band won the prize back in 2014 for their album, Dead, and I would not bet against them winning the award for the second time. Critics have been raving and drooling over their latest work. Alexis Petridis, in a review for The Guardian, proclaimed:

The trio are smart enough to keep their experimentation sharp and to the point: the longest track here lasts four minutes, while the shortest – Wire, with its oddly Viz comic-like refrain of “Ooh, ya fucker!” – is over in 100 seconds. The end result is fascinating and forbidding in equal measure, and there’s clearly an argument that it’s also very timely: twisted and broken-sounding pop music for a twisted and broken era, replete with villains (the protagonist of In My View, a “greedy bugger”, actively enjoying not just the taste of his foie gras, but the cruelty of its manufacture) and lyrics that appear to swipe at nationalism and toxic masculinity, albeit obliquely. But equally, its strangeness feels less reactionary than internal: not so much the outcome of looking on, horrified, at the world in 2018 and trying to find a soundtrack, than the product of a band who inhabit a world of their own”.

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IN THIS PHOTO: Young Father/PHOTO CREDIT: Julia Noni

I am certain Cocoa Sugar will be on the list of selected twelve – it is almost guaranteed to be among the shortlisted and frontrunners. Although Superorganism take their membership from various parts of the world; they formed and are based in London – they can be seen as a British band. I would think their album, Superorganism, is going to be included and I think it could be the album-to-beat alongside Young Fathers’ third L.P. Look at the choices I have selected so far and there is a lot of Pop and Rock in there. You get some synths and Indie shades in there but, largely, there are no Urban touches to be found. I am confident the likes of CHVRCHES, for Love Is Dead, will be among those getting the voting panel revved. Who would bet against Goat Girl getting Mercury recognition for their sublime debut, Goat Girl?! I have mentioned my love for Young Fathers but there is another proposition that could upset the odds: the marvellous duo of Let’s Eat Grandma. Their second album, I’m All Ears, is one of the best-received records of this year and a sure-fire Mercury nomination. The Sunday Times provided their view regarding the album:

Norwich’s Rosa Walton and Jenny Hollingworth were 17 in 2016, when they released I, Gemini, a dreamlike debut that captured the magical otherness of adolescence. Their second album is a fun, futuristic mix of alternative pop and dance music that sounds like the product of two young women going out and discovering the world”.

I have reviewed most of the albums I have mentioned so far – not biased or anything! – and can attest to their brilliance. Looking at other fresh releases and Boy Azooga come to mind. Their staggering gem, 1,2, Kung Fu!, is one of my favourite albums from this year. I am expecting Boy Azooga to be in the chasing pack and, in no way, an outsider. Although, again, we are not straying too far from Pop and Rock; 1,2, Kung Fu! goes through different emotions and stages. It is a record that I am in love with and would like to see scoop a lot of awards. A couple of artists who deserve to be on the list but might be on the borders of winning are Bryde and Kate Nash. The former is the moniker of Sarah Howells and her debut, Like an Island, turned a lot of heads. A sample review, from DORK, tells you all you need to know:

Over the course of the record, Bryde juggles her mystical soundscapes and unapologetic guitars with pristine skill. There are moments of infectious beats and danceable choruses, of soft vocals and wisps of electronica. ‘Fast Awake’ is an energetic yet dark track, taking elements from Radiohead tracks ‘Bodysnatchers’ and ‘Myxomatosis’ in its powerful coalescence of haunting vocals and rapid percussion. Bryde invokes the ambience of Warpaint and emotion of Laura Marling in her impressive debut; namely in ‘Euphoria’, a piano-led ballad, and ‘To Be Loved’, a track saturated with power and ferocity”.

We are sporting so much brilliant talent in Britain right now – Bryde is among the very best out there right now. I could not give you any odds but, in bookie terms, she might be a 12/1 bet. Kate Nash is someone who has been kicking around music for a while and, again, another bright and brilliant London artist. Would the panel award the prize to a London artist after giving Sampha the gong last year?! I think Nash’s record, Yesterday Was Forever, departs from her previous record – 2013’s Girl Talk was not met with huge critical love – and her 2010’s My Best Friend Is You. We reviewed Kate Nash’s latest record for Too Many Blogs:

This record definitely evokes the spirit of a teenage diary. Singing in her distinctive London accent, energy drips off this LP, with the now-thirty-year-old delivering a punchy, tongue-in-cheek yet sincere message about the ups and downs of life. Nash addresses issues such as mental health in riot-grrl-esque opener ‘Life in Pink’, which despite the gravitas topic of ‘thinking about death all the time’ still manages to infuse a sense of optimism and unity”.

It would be a good idea to keep your eyes open for Nash and Byrde because both have produced records that have fared well and received great reviews – even though both artists are in different stages of their careers!

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IN THIS PHOTO: Kate Nash

For a more Folk/Acoustic choice; you might want to consider River Matthews and his fantastic album, Imogen. Gorgeous songs like Fool for You and Sunshine sit in the head and swim in the blood. It might not be as urgent and spectacular as efforts by Superorganism but I wouldn’t bet against him being in the mind of the Mercury panel’s mind. I would also like to bring in Tom Misch and The Orielles for possible contenders. I love Misch’s Geography and, so too, do the critics. He has been making waves and made big strides since he came onto the scene. NME gave their views regarding Geography:

On ‘Man Like You’ Misch shows he’s found a way to fit traditional instrumentation into a modern pop format, but elsewhere he seeks help in the form of some stellar collaborations. Multi-talented singer Poppy Ajudha guests on dance shuffle ‘Disco Yes’, while standout track ‘Water Baby’ sees him team up again with louche hip-hopper Loyle Carner (also from south London). ‘90s icons De La Soul are the heavyweight feature on ‘It Runs Through Me’ — a euphoric, riff-laden tribute to the power of music”.

The Orielles’ Silver Dollar Moment trips through their back catalogue and throws in some nice angles and unexpected moments. The Yorkshire band are hotshots who are proving to be one of the most reliable and delicious bands in Britain. I am confident they will get a nomination and be included among the bookies’ favourites. If you want two established British artists who could get a shout this year then maybe Franz Ferdinand and The Wombats will be included.

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IN THIS PHOTO: The Orielles

Always Ascending and Beautiful People Will Ruin Your Life (respectively) are not the best works from each band but both sold well and gained some positive reviews. They might be outside bets but, again, I would not be shocked to see these albums included when the nominations are made. I would like to see Django Django and Shame make the Mercury Music Prize list. The Guardian reviewed Django Django’s Marble Skies and highlighted its worth:

“…It’s impossibly lovely, one of those moments when Django Django seem more like alchemists than investigators. They may never make a perfect album – a certain unevenness seems inbuilt in their approach, where not every experiment turns out quite the way you might have hoped – but they’re capable of making music that sounds close to perfection“.

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A couple of other possibilities lie with Jorja Smith's debut, Lost & Found and SOPHIE's OIL OF EVERY PEARL'S UN-INSIDES. Smith, in particular, has amazed me with her confidence and incredible authority - an artist who is primed for longevity and great things. She is able to let a song get into the heart, move through the blood and stay in the head for an awfully long time...a hard trick to pull off in the modern music climate! Shame, a band who stunned with their debut, Songs of Praise, is another big record that NEEDS to be in the longlist. Many were baffled last year when IDLES failed to get an inclusion for the Mercury with Brutalism. IDLES might redress that error when they release their sophomore album at the end of next month but we definitely need to see a Punk-flavoured record included among the frontrunners. A few of last year’s nominated names – Kate Tempest and Loyle Carner – wrote about the realities of Britain from a London perspective. The Shame guys are from South London, so many might think another winner from that neck of the woods might be taking things a bit far!

I reviewed The Go! Team when they released SEMICIRCLE. Writing for Too Many Blogs; the music jumped from the speakers:

‘Hey!’ – again back near the top – is a snarling, stomping rebel that has horns and avalanche-beats striding and strutting like a bad-ass mother-fucker. It is one of the best tracks on the album and one that reminds me of their debut. I mention it because as the final few tracks come to mind, I notice how far the band have come and how confident it all feels. ‘She’s Got Guns’ steps into hip-hop and rap more overtly than before with hints of Neneh Cherry during her ‘Buffalo Stance’ days, and ‘Getting Back Up’ is a finale that seems to unite ‘Mayday’ with ‘Semicircle Song’ in a grand showdown”.

It is another outside shot but I could well see that album included among the twelve that will be announced very shortly. The other albums I would like to see included are Florence + the Machine’s High as Hope; LUMP by LUMP; Jon Hopkins’ Singularity and Lily Allen’s No Shame. I feel a Lily Allen/Shame name-similar, London head-off might be a good battle. Laura Marling has been denied a Mercury award so I would like to see her (and Mike Lindsay).

I feel LUMP is the best shot at a nod because of the uniform positivity the record garnered. Whilst the other records did receive big love; I feel it the time for Laura Marling to receive her dues – and her wonderful partnership with Lindsay. The Line of Best Fit nailed the eponymous album perfectly:

Lindsay’s experimental compositional style that has evolved through Tunng, Throws and producing other artists’ albums, brings out Marling’s assertive vocals. The last two songs in particular are full of breathy, mouth sounds. When Marling sings “Salt air is healing / Nakedness revealing / They go so well” on “Shake Your Shelter”, it is a beautiful summation of LUMP’s sound and message – an ambient, compelling and unique look into whether contemporary life really has to be so empty”.

I suspect Jon Hopkins is going to be this year’s equivalent of the ‘outsider’. You know the albums I mean, They might be Jazz-influenced or a bit out-there; not commercial enough or one of those records that demand proper attention. I feel, mind, if I were to compile a top-six I would have Hopkins’ record alongside Let's Eat Grandma; Field Music, Shame; LUMP and, maybe, Arctic Monkeys. That would be a varied and interesting camp where anything goes!

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IN THIS PHOTO: LUMP (Laura Marling and Mike Lindsay (and 'LUMP')

What do my predictions show, then?! Well, for one, there is still a heavy leaning of male artists but, to be fair, more female inclusion than previous years. There is a lot of Pop and Rock in the list and a complete absence of anything too far-out and experimental. There are no controversial shouts – like Ed Sheeran from last year – but there is mainstream Pop in the form of Lily Allen and Kate Nash. Both of those artists have plenty of attitude and grit in their music – something the panel looks out for when deciding on their choices. My personal face-off would be between Field Music’s Open Here and LUMP’s LUMP. Maybe neither album will be longlisted or, if they are, neither will win. One never knows what to expect when it comes to the Mercury Music Prize. I feel Nadine Shah's Holiday Destination, released in August of last year, warrants inclusion on the longlist; Gaz Coombes' World's Strongest Man and Gwenno's Le Kov are all, too, deserving of inclusion on the list of twelve - there is plenty of hot competition and brilliant British bounty! Many are shouting against a pitch for Arctic Monkeys; others are calling for newcomers like Tom Misch to get a nomination. Whilst many best-of-the-year-so-far lists are putting American albums/artists near the top of their pieces; the selection of albums I have included in this piece show there is ample British brilliance. Who will win the Mercury is anyone’s guess but one thing is for sure…

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WE have been spoiled for choice this year!

INTERVIEW: Dragonz

INTERVIEW:

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Dragonz

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I have been chatting with producer Dragonz

about his new single, Dream Days, and working with singer Joe Bateman. He reveals how he came to meet the singer and whether he is working with Bateman again; the sort of music that drives his own creativity; what he hopes to achieve before the end of the year – Dragonz reveals three albums that mean a lot to him.

I ask the producer whether there will be any tour dates coming up and what advice he would give to new artists emerging; if there is an upcoming musician we need to get behind – I ask whether Dragonz gets any time to chill away from music.

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

Pretty good. I have been busy with the launch of our single, Dream Days, which came out on 6th July - and also been working on some new tracks.

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

I’m a producer and songwriter based in North London. I write melodic Pop tracks and work with various featured artists.

Dream Days is the new song. What is the tale behind it?

These are pretty dark times for the world and I just wanted to write a positive, happy love song.

Was it easy putting it all together? Was the creation quite natural and fast?

The writing of the song was fairly straightforward, yes, but it took some time to get the production sounding right.

Joe Bateman is on the track. How did you come to meet him? How did you react to hearing his vocal back?

I met Joe online. He’s very talented as well as having a great voice; he plays guitar, piano; violin, mandolin and drums to a high level. I was delighted with the vocal he did on the track. It’s very beautiful and I think it is reminiscent of Sam Smith at his best.

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IN THIS PHOTO: Joe Bateman

Which musicians are most important regarding your own sound? Did you get into music quite young?

Yes. I took piano lessons from an early age and did up to Grade 8 on it. I also taught myself the guitar and music production. I’ve always been a huge lover of music and have a very wide range of music that I like, from the 1950s to the present-day.

Is there going to be more material coming later this year do you think?

Yes. I’ve already recorded another track with Joe and hoping to bring that out a month or two after Dream Days comes out.

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

There are no tour dates arranged as yet, but would be great to be able to do that.

Is the stage somewhere you enjoy being? Is there a different sensation being out among the people as opposed to the space of the studio?

I prefer the studio myself, that’s my natural habitat, but I do enjoy playing live as well.

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

I would love Dream Days and its follow up to become a success.

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

I haven’t got one particular memory, but my favourite part of the songwriting and production process is when I hear vocalists singing my songs and bringing them to life - never tire of that

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

That’s a difficult one because I like a huge amount of music - and also much of the music I like these days tends to be single-based. But, if pressed, I would have to say:

London Calling by The Clash; Very by the Pet Shop Boys and Hot Fuss by The Killers.  

What advice would you give to new artists coming through?

Work hard at improving your skills and never give up. It’s a very tough business and you are probably going to need to handle a lot of knock-backs before you become successful.

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 IN THIS PHOTO: Jon Sine/PHOTO CREDITKIDKUTSMEDIA l Photography

Are there any new artists you recommend we check out?

I’ve been listening a lot to a producer called Jon Sine recently. I like his style. He also has a great YouTube channel documenting his musical journey.

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

I’m very into travelling. I’ve been to Taiwan and Hong Kong recently. I also like sports.

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).

Here’s a song I really like by Max Jury (Little Jean Jacket) - remixed by Jon Sine, who I mentioned before

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Follow Dragonz

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INTERVIEW: Sharkmuffin

INTERVIEW:

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PHOTO CREDIT: Kelly Knapp  

Sharkmuffin

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IT has been a ball speaking with Sharkmuffin

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PHOTO CREDIT: Kelly Knapp   

about their sound and the vibe in camp. They have a new song, Your Stupid Life, out but I speak to them about their previous cut, Liz Taylor. The band discuss their tastes and which new artists we should keep an eye out for – they reveal some U.K. dates and talk about their love for the country.

I ask Sharkmuffin about their early musical experiences and whether they feel women in modern music are told how to play and look; how they all unwind away from music; if they have any advice for artists coming through – the band each select a song to end things with.

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

Tarra Thiessen: Good! I was at the Jersey shore for the fourth of July and ate some Taco Bell on the way back from the beach - and my insides are feeling a little weird now.

Natalie Kirch: Great! Very full! I finished teaching for the year and pretty much went straight to the beach to relax with my family and BBQ; then, hopped to another beach to spend some time with friends and listen to some music.

Jordyn Blakely: I’m good. Drinking my first coffee of today, which is one of my favorite moments of the day! I went to the beach a lot last week with a friend, and my mom visited me over the weekend. I love summer because I get to see friends more often.

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IMAGE CREDIT: Cult Days

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

TT: I'm Tarra - I sing and play guitar.

NK: I’m Natalie - I sing harmonies and play bass guitar.

JB: I’m Jordyn and I play drums! I sing backup vox sometimes, too.

Can you talk about Liz Taylor and the song’s origins? How did it come together?

TT: My mom has been wearing Liz Taylor’s white diamonds perfume since I was a child and it’s impossible to wash that smell out of clothing, so everything always smells like that when I go home. But, she actually she texted me the other day and said she’s going to start wearing less of it! So, that was an unexpected result of the new song.

When did Sharkmuffin get together? How did you meet? Is there a story behind the band name, too?

Natalie and I met and began playing with each other six years ago and we met Jordyn while she was drumming for a band called Butter the Children in 2012. Sharkmuffin has had a very colorful cast of drummers over the years (you can find all of their faces, including Jordyn’s, on the cover of our first record, Chartreuse) and we’re so happy to be playing and touring with her again!

NK: Tarra came up with the band name and since we have heard of many associations and rumors that came along with it. Even if none of them is true; it’s fun to hear what our friends, fans and critics come up with - so I don’t want to burst any bubbles! Tarra and I are about to celebrate the sixth year since our first show together (and my first show ever) on July 14th, 2018. Jordyn was one of the first few friends to drum for us and we are thrilled that she’s back in the band and able to tour and record with us now.

JB: I’ve played with Sharkmuffin off and on over the years and have been friends with them since I was new to the music scene in N.Y.C.; so it’s exciting to be more involved with them musically and get to know them better!

It seems you have plenty of ambition, drive and spunk. Do you think too many female artists are told how to play/look? Do you think changes need to come in?

TT: I don’t have any specific memories of anyone directly telling me how to look/play but I feel like social media, in general, can breed an anxiety that everyone else is doing better than you – which can seep into your unconscious and influence your aesthetic in a way that it may not have gone. But, it’s definitely positive to be inspired by your peers and to feel like we’re all in it together.

We’re the first generation of musicians to have such a direct way to promote our shows and music and create a community around it - and that change in the music industry itself is really positive and leaves room for everyone to have a unique voice. Everyone in the music community we’re a part of has been super-supportive of us and I’m really grateful for that!

NK: I agree with Tarra! I think that, being a woman, you will most likely encounter some subtle attempts to subdue or reconstruct your ‘image’ or tone. However, we have been lucky enough to perform how we want to and create what we want to and, for the most part, we have been surrounded by positive and proactive people.

JB: Totally. I feel there is intense pressure for women to be ‘hot’ and that that is more important than their talents, thoughts and feelings they’re trying to communicate through their work. In the entertainment industry, this is especially emphasized but I think you just have to believe in yourself and believe in what you’re doing and know that what you’re creating is more important than how much you appeal, sexually, to a group of people. If the right audience is listening, then your appearance shouldn’t be the most important thing.

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PHOTO CREDIT: @mixtapemyheart

I get a sense you mix a love of the West Coast sounds of the 1960s; bits of Riot Girrrl and the Grunge movement of the 1990s. Is that a reflection of the artists you grew up around?

TT: Yes ! I grew up listening to The Ventures, Dick Dale; Nirvana, Bikini Kill and The Beach Boys. I also love '70s classic rock like Led Zeppelin and the Garage-Rock bands in the early-'00s like The White Stripes and The Yeah Yeah Yeahs.

NK: Definitely! My parents played a lot of Classic Rock like The Rolling Stones, The Beatles; Beach Boys and David Bowie growing up but also Motown/female-fronted Pop acts like The Supremes or The Shirelles. I discovered a lot of the Grunge and Punk-era bands like Nirvana, Bikini Kill; Blondie, Hole; Sleater-Kinney, Sonic Youth; Pixies, The New York Dolls/Johnny Thunders (and so forth) on my own.

I don’t like listing bands like that because I always forget some huge influences, but oh well! I also really like The White Stripes and Yeah Yeah Yeahs. Tarra and I realized early on that we had very similar tastes; although I think she adds more of a surf tone to the guitar inspired by some of the Cali acts - and I add a lot of raw simple sludge like the East Coast Punk artists.

JB: I also was obsessed with Nirvana and Led Zeppelin when I started playing drums and loved Classic Rock stuff like Jimi Hendrix, Queen; The Doors, The Beatles; Janis Joplin, Black Sabbath…I also loved Punk and Pop-Punk when I was new to playing music like Rancid, Operation Ivy; The Distillers, The Casualties; NOFX,  MXPX and Minor Threat. It’s been fun to revisit these earlier influences in my playing – plus, Sharkmuffin introduces me to new music and bands that I wasn’t aware of back then.

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PHOTO CREDIT: @mixtapemyheart

Is there a pretty varied scene in Brooklyn right now? How does it compare to the other New York boroughs in terms of sound and tone?

NK: I think it’s varied in terms of genre but we would like to see some more of a convergence between different types of music and more cultural diversity within the genres.

JB: It’s such a large environment with so many participants, so it’s kinda like a lot of smaller circles that Venn diagram into one another and all connect since we’re all in the same place, sharing the same venues and audiences. I like that because it gives ‘the scene’ some diversity and it feels like there is a sense of togetherness. I guess it varies in terms of different genres or instrumentation. I’m not around there enough to know, but it seems like Manhattan has a more D.J.-oriented scene with less prominence of live performance.

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

TT: Write and record our third L.P.!

NK: Ditto that!

JB: Yay. I’m down!

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

TT: It was really amazing playing last year at Mello Fest in the U.K. and we met Robert Plant of Led Zeppelin backstage. That was nuts! Also; our first record release at Shea Stadium in Brooklyn was one of my favorite shows ever.

NK: Both of those times were incredible moments for me! Also; recording at the Record Plant (everyone treated us like queens there) and with Patty was a definite highlight. She was a big inspiration to us growing up, so it was cool to play with her. She was also very down-to-earth and easy-going.

JB: We played a show opening for HINDS earlier this year and it’s always exhilarating to play a big show like that; it still feels new. The audience was really fun and welcoming. I love meeting new people. It was a learning experience for me to be in such a different setting. Also; playing Brooklyn Bazaar with Gym Shorts was cool. I got so hyped on that band after seeing them! There was someone giving free tattoos during the show, which was hilarious and weird and I love playing shows that are weird.

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 PHOTO CREDIT: Kelly Knapp   

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

TT: The Breeders. I just want a bowl of unwrapped fruit punch Starbursts to eat after our set.

NK: The Breeders, for sure! Lots of sparkling water, chips; hummus and hot sauce to add to that.

JB: The Breeders would be amazing! Autolux would be a dream come true. Lots of candy, beer and cheese backstage, please! That sounds kinda gross all together - but I love those things individually.

What advice would you give to new artists coming through?

TT: Do not take anything (criticism, inter-band drama etc.) personally. Appreciate everyone’s time and energy involved in your project, no matter how small.

NK: it sounds cliché but clichés exist for a reason - believe that you can do it. Always be grateful to the people that support you, both within your band and in the wider scheme of things.

JB: Yes I agree with those! Try to keep going even if you feel discouraged or encounter rejection, which will happen. Listen to yourself regarding what you want: you won’t please everybody and you can’t control what people think of you.

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IMAGE CREDIT: Megan Mosher

Where can we see you play? Do you have any gigs approaching?

Our U.K. dates are:

#SHARKMUFFINUKINVASION2018TOUR

7/27 PORT ELLIOT FESTIVAL

7/28 THE COTSWOLD INN, CHELTENHAM

7/31 GWIDHW, CARDIFF

8/1 AL'S DIME BAR, BRADFORD

8/2 THE CRYPT, NORWICH

8/3 THE GREEN DOOR STORE, BRIGHTON

8/4 THE ANGEL, NOTTINGHAM

8/6 THE UNDERGROUND, STOKE

8/7 THE LOCK KEEPER, CHESTER

8/8 NIGHT & DAY, MANCHESTER

8/9 THE PARISH, HUDDERSFIELD

8/10 SEBRIGHT ARMS, LONDON

8/11 THE SWAN, IPSWICH

I believe you are coming to the U.K. to perform. Are you quite prepared for our stiff upper lips, weak beer and dissolving Government?!

TT: I like whiskey. Do you have whiskey there?! You know who our President is so I think we’re ready for anything!

NK: We love the U.K.! Everyone was so kind to us our first round there and the country is really beautiful.

JB: I’m really excited to explore new cities in the U.K. I haven’t visited before. I feel I have a lot to learn in regards to the mannerisms there; British are always so polite but I can’t tell if they just secretly hate you. Haha. But, I can understand why everyone would hate Americans right now, sadly.

Have you performed over here? Do you like British sounds?

TT: Natalie and I came last year with a different Sharkmuffin line-up and we loved a lot of the bands we played with. We played The Great Escape last year in Brighton with PINS and played again on our last night of tour with Pussy Liquor at Green Door Store. We’re playing at Green Door Store again on August 3rd!

NK: Yes. We had such an amazing time meeting everyone over there and traveling around the country.

JB: I’ve played in the U.K. with a band called Wardell and another time with Kino Kimino. My favorite show was at Sneaky Pete’s in Edinburgh (with K.K.). The bands were all great and the audience and the venue were so friendly! This is my first time with Sharkmuffin though. It blows my mind how ancient some of the castles there are; they were so well-built!

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 IN THIS PHOTO: Lola Pistola/PHOTO CREDITKaya Yvsi

Are there any new artists you recommend we check out?

TT: There are so many great bands in N.Y.C. right now like Def.Grls, Tall Juan; Lola Pistola, Sloppy Jane and Fruit & Flowers (who just came to the U.K. last month as well).

NK: All of those bands are great. Also; Lost Boy ?, Kino Kimino (that Tarra and Jordyn also play in); Haybaby, The Big Drops; THICK, Grim Streaker; Holy Tunics, Sic Tic; BIG UPS, Gustaf; New Myths, Dentist; The Off White. So many more. SO MANY!

JB: Big Cheese, The 94 Knicks; Poppies, NOICE; Free $$$, Yazan; Ovlov, Sean Henry and Anna Altman!

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IN THIS PHOTO: Kino Kimmino/PHOTO CREDITThomas Ignatius

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

TT: Natalie’s family has a really lovely house at the Jersey Shore. Last time I was there I found a baby praying mantis on a donut pool tube and that was magical. I drank a glass of wine while floating around the pool for like an hour after that.

NK: Yes. That house is our place of zen. My cats and my parents’ cats also roam free on the lawn so there’s also adorable fluffies in addition to the water. I saw a baby seagull today - he was really cute and I was worried about him but then he made his fledgeling flight. The original house was destroyed in Hurricane Sandy in 2012 but some of Tarra and my first collaborations were in my old room at the original house.

JB: Not lately, but I’m really enjoying everything I’m doing musically! When I’m trying to tune out I watch movies or T.V. with friends, go on walks; cook with my roommates, play in my backyard with my cat; read books, color in coloring books. Going to shows and jamming with friends is a big way that I unwind, so, maybe I need more hobbies. Haha.

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).

TT: DRINKS - Real Outside

NK: Lost Boy ? - Taste Butter

JB: Cleaners from Venus - Only a Shadow

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Follow Sharkmuffin

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TRACK REVIEW: Ay Wing - Ice Cream Dream

TRACK REVIEW:

 

Ay Wing

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PHOTO CREDITSara Herrlander

  Ice Cream Dream

 

9.3/10

 

 

The track, Ice Cream Dream, is available via:

https://www.youtube.com/watch?v=BRtvNPrdyjw&feature=youtu.be

GENRE:

Pop

ORIGIN:

Berlin, Germany

RELEASE DATE:

27th June, 2018

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THIS time around…

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PHOTO CREDITSara Herrlander

I have a few things I want to look at. Ay Wing is someone I am familiar with and I always love what she produces. I will talk about artists who can consistently produce smart and professional songs – together with great videos – and summer-ready tracks that summon the sun and actually stay in the head. I will also look at artists who want to get the audience involved and create a complete musical experience; those based in Berlin and what the scene is like there at the moment – finishing by talking a bit about Ay Wing and where she is heading. It has been a little while since I approached Ay Wing and what she is doing. I love her music and how she has progressed but, over the past few months, she has made some big steps and produced, what I think, is her finest work. I am looking out at music and seeing all varieties of Pop and Alternative come through. It is interesting watching artists come through and what is available in the market. I have talked about Pop a lot and can see it is split between the more commercial brand: that which is radio-friendly and does not necessarily challenge the mind too much. That sort of music aims itself at a pre-teen/teen market and can produce some great tracks. There is another camp that produces deeper and more serious Pop – this can be quite introverted but aims itself at a broader demographic. If one looks at Ay Wing, you can see she falls between the two camps. Her music has a sense of fun and energy but its lyrics and mood are a lot more intelligent and nuanced. It is possible to produce great Pop music but not have to dumb it down or pander to a particular audience. Look at a song like Ice Cream Dream and you get a classy and sparkling song that has lots to recommend. I will speak about the song in more depth but, when listening, you have a real sense of quality and professionalism comes through.

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PHOTO CREDITSara Herrlander

Ay Wing has always been known for her whip-smart songs and incredible delivery. I feel Pop music struggles to unite the masses and projects a particular image. We tend to associate the genre with the more commercial and throwaway – has that always been the way? I listen to what is coming through the mainstream and popular radio and there are a few good tracks but, largely, the music does not really stay in the mind. The artists who go a bit deeper and take Pop in a new direction and the ones I am really backing. It is a hard trick to produce something fun and light whilst ensuring it gets under the skin and stays in the mind. Ay Wing is one of those artists who manages to keep her trademark sound but produce something incredibly different every time. That might sound like a contradiction but you only need to look at how songs like Strange and Ice Cream Dream differ. She is a fantastic artist who knows what the people want and delivers every time. I have nothing against those who like their Pop music with the maximum fun and little substance but, for me, there is a lot more to cling onto when you have to think and are properly motivated. There is so much music out there right now – one cannot afford to produce cheap and lacklustre songs. AY Wing makes the listener bond with the song. Her lyrics mix sassiness and humour with emotion and revelation. Her compositions are delightfully multifarious and candid; the production is always sharp and wonderful – you get an incredible experience with every song released. It is not only the smart lyrics one is drawn to with Ay Wing; she pokes fun at fads and trends and can make us think and laugh at the same time. Ice Cream Dream looks at fitness fads and how seriously we take our leisure time. She is just the sort of artist we need to embrace and keep close to our chest.

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PHOTO CREDITSara Herrlander

I love how Ay Wing manages to produce great videos for each of her songs. Again, in Pop, you do get a few great promotional videos but many of them lack any real imagination and humour. Maybe that goes back to the song itself: if the lyrics are cliché and routine then that is not going to provoke something imaginative and incredible. I feel modern Pop, and videos, is defined by wastefulness and missed opportunities. There is a new breed coming along that is taking the genre in a new direction and adding their own touch to Pop. Ay Wing, on her latest track, has ticked every box and produced something hugely enjoyable. Ice Cream Dream is summer-ready and makes you get up and dance. Maybe that is quite ironic in a way. The song looks at our obsession with the gym and fitness; how it lacks any real looseness and we can get very po-faced about everything. The lyrics and videos, instead, make you smile and urge the listeners to get up and move their body. It is summer and, with the sun showing no sign of abating; we need those songs that keep the mood high and makes the senses fizz and spark. That is another thing that has struck my mind. In terms of positivity and energy; how many songs have you heard lately that have a genuine sense of fun and put you in a better frame of mind? I feel songs either go for fun and exciting but come off as empty and unspectacular. You do get artists who rival Ay Wing and her style of music but, to me, there are not enough. When the weather is like this, we need to hear songs that keep us all positive and join us all together. I will move on to another subject but it is worth noting how few Pop artists there are out there who manage to balance intelligent and observational with the rousing and joyful. If we can encourage more artists to take this approach – and take their songwriting in a new direction – then it will create a stronger and more inspiring mainstream.

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PHOTO CREDITSara Herrlander

Another impressive facet of Ay Wing is the way she involves people in the music and makes it an immersive thing. I bond with music in different ways but am always more moved by artists that want to engage and drag you into the song. Too many artists are either very serious or produce music that falls a bit flat and pushes you away. This is a discussion in itself but my point remains: if you hear a song and am physically and emotionally moved then that is most of the work done. Ay Wing has these bouncy synths and big beats. You have that physical experience and are compelled by everything going on. Her summer-ready jams and indelible songs are designed to linger in the mind and connect the listener with artist. I am not suggesting other artists are more concerned with profit and quick delivery but I love those who take time and craft songs that infiltrate the brain and really activates the senses. It is hard to describe but, with Ay Wing, there is so much going on. From her changeable colours and consistent quality through to her fully-worked and stunning videos – there is a complete and ready artist waiting to strike. She might be away from the mainstream right now but you have to think, in time, she will get to the big leagues and be able to influence. Right now, her fanbase is growing and there is a loyal core that backs everything she does. That is a sign of an artist who never lets the quality dip and knows what people want. The songwriter puts so much detail into the music and spends a great deal of time crafting songs that demand repeated listens. I am one of those people who consume a lot of music and, most of the time, it can be hard to recall and retain the sounds. Some artists provoke remembrance but it is tricky in this day and age to pen something that stays in the consciousness.

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Ay Wing is different in that respect. She wants people to sing her songs and, when performed live, chant and perform with her. I feel we need to create artists who are a complete package and do not only create songs for quick commercial gain. That is an interesting line to draw. I can identify some great mainstream acts who will run and run but, as things get more competitive and busy; artists coming through need to think about more than the music. If you can pen songs that have incredible compositions, memorable lyrics and wonderful lead performances then that is an accomplishment in itself. It is hard to deliver all three but, if you can, then that is something to be proud of. Music is about visuals and creating projects. Recording fantastic videos that add something new and stand aside from the pack is another thing new artists need to consider. Another point to bear in mind is following up songs and keeping intrigue high. I mean, rather than produce songs after song and not think about longevity; artists need to create a personality and characteristics. Ay Wing puts her all into music and you can tell, from the first few notes of any track, that it is her work. That is what I mean by characteristics and personality. Too many artists produce songs but they do not link together and it is hard to separate them from their peers. Ay Wing can write about different subjects and broaden her horizons but you know it is one of her songs because there is a common link and distinct D.N.A. I hope my words – rambling at times though they can be! – show why Ay Wing is an artist with a big future. Pop is a challenging and demanding genre; it is tricky to succeed and do something genuinely original. I wanted to look at Berlin and why it is producing great artists.

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VIDEO STILLJean-Christophe Dupasquier

Berlin is a city that is attracting more and more people right now. Every city has its own blend and brew but, to me, Berlin is one of the most stunning and appealing areas to create. I am seeing so many artists move there because it offers everything they want. London is still fashionable and desired but more and more people are flocking there. It is a city where you can find success but there is not a lot of room and chance for breath. Maybe eyes are shifting elsewhere but, as rents get more expensive and cities here become busier, people are looking abroad and other parts of the world. Berlin is a city that has always pulled great musicians in and been the source of inspiration – the likes of Iggy Pop and David Bowie have created some of their best work whilst there. One gets a cosmopolitan and diverse vibe but things are a little less hustled and expensive. You can move around and make your way without being jostled and compacted. If you want to rent an apartment or stay for a while, it is not going to break the bank and leave you poor. It is the mix of languages and cultures that stand out to me. People are excited by the music coming through and the creative spirit in the air. I have never been to Berlin myself but I know the music scene is incredible and expanding. People in Berlin are friendly – for the most part – and venues are sprouting up all over the place. From Junction Bar to Quasimodo through to Monarch and SO36 – new artists have choices and can get their music heard. Radio stations are supportive and it is not as hard as you’d imagine moving to Berlin and climbing up the ladder. One of the biggest reactions people get from Berlin is the openness and sense of relaxation. For a city that is popular and modern, that might seem like an impossible thing.

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VIDEO STILLJean-Christophe Dupasquier

Musicians can go to the German capital and not get overly-stressed and fatigued. Many like-minded souls can be found there and it is a great place to be. I can understand why Ay Wing located there and moved from Switzerland. She performs with a live band but, as a songwriter, her mind is free to wander and project in Berlin. Inspired by the sights and people around her; one wonders whether her music would sound the same if she lived in New York or London. I am not too sure whether Berlin Pop is as popular and different to that in London but I know for a fact there are so many wonderful musicians in the city. More supportive and communal than London, perhaps; it is understandable why Berlin is a go-to dream-spot for musicians. I am not going to move there myself but might go and visit in the next few years. I am attracted to various cities and how the music scene differs depending on where you can go. New York, London and Los Angeles have their own vibe and you get a real sense of what the artists are about. Berlin seems a lot more diverse and challenging than a lot of cities around. Listen to Ay Wing’s E.P., Ice Cream Dream, and you can hear the humour, fun and vibrancy the German capital is associated with. That might sound odd given impressions of Germany – not being that funny and fun – but we would be wrong. It is the colour and artistry of the music that sticks in my mind. Ay Wing is a modern artist who is not concerned with black-and-white and shades of grey. She is a vivacious and captivating soul that mixes the underground clubs and sweaty bars with the vivacious and delightful overground. I feel more people will want to go to Berlin and set up shop there when they hear artists like Ay Wing come through. She has embraced the city and its culture and integrated it into her music.  

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If you look at the video of Ice Cream Dream (I suggest you do) you will see toned and good-looking people working out and alluringly looking at the camera. There is a funky and finger-clicking bass that suggests a Disco freakout is about to ensue. I was hooked by the very first notes and invested in the song. Whilst the bass is consistent and has a polished sound; the vocal sounds far-off and has a rather sparse quality. There is a nice clash between the bass working away and the heroine – who seems like she is recording the vocal a little way from the microphone. She talks about fads and how we all do the same thing. Whether we are down the gym or meditating; doing yoga or embarking on some boring and soulless regime. What we are trying to achieve is rather pointless in a way. Maybe one wants to keep the weight off or sculpt their body into a ‘perfect’ shape. Maybe there are chemicals firing in the brain and the release of endorphins. It is amazing why we go through all the trouble of sweating and hurting our bodies to achieve very little. Some of us need to lose weight and genuinely need to be in the gym but most of seem to be chasing some weird ideal. There is that boring and machine-like quality of the gym-goers. Others do less strenuous activities but it is all for the same reason: trying to achieve some form of physical and spiritual wellbeing. How much do we actually accomplish by doing all of this? We get dressed up in ridiculous clothes and are so serious about everything! Rather than walk in the park and have a stroll through the city; why do we insist on being part of the get fit cult?! It seems rather extreme and unnecessary. The video shows a cast of characters who show what I mean. From the muscular gym-goer to the man in shorts doing blanks and pointless exercises.

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VIDEO STILLSJean-Christophe Dupasquier

The heroine has seen them all and, in her mind, there is that desire for calories and sweetness. Maybe those who exercise and go to the gym have that need. They want the taste of ice cream but feel they need to deny themselves for no real reason. They feel eating something tasty and naughty might pull the ripcord of their physique. As the song progresses; the commentary of the modern fitness fanatic unravels. She looks at this pursuit and how we all get sucked into the latest fad. Why are we spending so much of our time doing this?! The chorus lays out what we all want: various flavours of ice cream and the chance to not follow the rules. One of the only issues with the song, like a few I have heard, is the way the lyrics sometimes struggle for true clarity. It can be difficult understanding what is being said at times. Maybe that is because of the production – the vocals are a little far-off – or the pronunciation but one has to fill in some blanks themselves. It is not a big concern because there are words and lines that stand out and you can piece the story together yourself. The chorus is the clearest part of the song and delivers the biggest hit. What amazes me about the song, and Ay Wing, is the way funky and fun is mixed with a sense of judgment and seriousness. The song itself is funny and uplifting but the heroine is casting her finger at those go to all this trouble and embark on such strain. There are great wordless vocals and beats that come through; the song gets hotter and fuller when the chorus swings in. The listener is definitely engaged and, in an ironic way, working out to the song. One feels the best way to burn calories and get a blast of fun is to dance to the song – rather than go to the gym and sweat it out with countless others!

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VIDEO STILLJean-Christophe Dupasquier

Even the first time you hear Ice Cream Dream, you understand what it is all about and it will make its mark. There is a great 1980s quality to the song. You can imagine it fitting with the best Pop of the day and one gets memories of the decade in Ay Wing’s performance. The heroine talks about demons and shadows on the subway; the way we are inundated with messages and slogans – maybe brainwashed by advertising and what we should look like. That dream of ice cream is always there and that is what we should be doing. Rather than get hung-up on shaping our bodies and driving ourselves into the ground taking a more relaxed approach is much more advisable. The heroine is a powerful voice and it is hard to refute her advice. Lyrics become clearer in the second verse and you can definitely hear a sharpness come in. That taut and sexy bass continues and perfectly fuses with crackling beats and strident vocals. There is so much life and allure coming from Ay Wing’s voice. Even though the performance is not rapturous and ultra-hyped; you get a sense of fun and physicality that gets you off your seat and involved. Ice Cream Dream is a Pop song for the modern age. It is catchy and engaging but never cheap and shallow. You have plenty of lyrical depth and intelligence working throughout; humour and memorable lines – all topped off with a fantastic central performance. Make sure you check the song out and listen to the video that accompanies it. Both show what a creative and ambitious artist Ay Wing is. She keeps getting stronger and better and one suspects, before long, she will be mixing it up with the biggest artists out there.

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ILLUSTRATION CREDITPhilipp Basler 

Things are getting hotter and better for Ay Wing. I have been following her for a while and can see how she has developed. Her E.P. was released in the spring and its title cut is out in the world. The songwriter has been busy promoting and taking her music across Europe. I am not sure whether she is coming to the U.K. to perform soon but it would be great to see her. Ay Wing has been thrilling crowds and is amazing people with her latest track. Ice Cream Dream is an amazing song that has that wonderful video that makes you smile and remains long in the brain. Everything about the songwriter amazes and I know she will go a long way in the industry. I hope there are U.S. opportunities and the Berlin-based songwriter gets the chance to travel far and wide. Maybe there will be more material this year but I feel Ay Wing will want to get her music around Europe and reach new audiences. The talented and extraordinary musician is out there on her own and has very few like-minded peers. It is because of her I have become more involved and invested in Pop. She shows what is capable in the genre and how it is possible to write intelligent and challenging music but throw in plenty of fun and colour. It is the brightness and explosions she brings to music that makes you follow her and want her to succeed. We shall end things here but make sure you get involved with Ice Cream Dream and listen to the whole E.P. The title-track is a stunning work that looks at fitness and our obsession with getting trim but adds plenty of humour in there. We are so serious when it comes to our bodies and the staying fit – something that should be fun and not that intense at all. Artists that can make you laugh and raise smiles are few are far between and, because of that, we need to keep Ay Wing close. The songwriter has come up with a real gem and proved herself to be one of the most original new voices around. As the sun shines and the heat continues to rise; we are all having ice cream dreams. Rather than labour in the gym and tire yourself on a treadmill; spin the latest track from Ay Wing and get fit and smile…

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AT the same time.  

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Follow Ay Wing

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FEATURE: Minorities Retort: Tackling the White-Majority Bands and Adding Greater Diversity

FEATURE:

 


Minorities Retort     

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IN THIS PHOTO: The Tuts/ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Press Association 

Tackling the White-Majority Bands and Adding Greater Diversity

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IT is always hard…

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IN THIS PHOTO: Princess Nokia

concocting titles for features like this through fear of causing offence and saying the wrong thing. I feel, mind, that my reservations and hesitations are the tip of an iceberg that is not succumbing to global warnings. We keep seeing bands proffered before us with the same looks and results. There is a camp, mind, that suggests the band market is suffering in a digital age; that people are more drawn to solo artists and we can never return to an age where groups ruled the market and changed the world – I shall get to that a bit later. I am responding to an article that, in parts, I shall quote from: a piece from The Guardian that looked at the whitewashed band market and how homogenised the scene is. Look at solo artists/duos (etc.) and, whilst there are more white artists than minorities; there are plenty of strong and potent black and minority artists adding their say to the mix. From U.S. stars Beyoncé, Solange Knowles; Nicki Minaj and Drake through to Kendrick Lamar and Jay-Z. Even though there are these established stars – and a new crop that is coming on strong – you wonder whether artists like Princess Nokia and Childish Gambino (Donald Glover) pull in the same sort of recognition and dollar as white artists. In many ways, the mainstream charts have been open and never really discriminated.

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IN THIS PHOTO: Michael Jackson (photoed in the 1980s)

To me, a lot of our impressions and ethics stem back to a time when black artists struggled to get their music on T.V. Look at the early days of MTV and artists like Michael Jackson: someone whose best songs were denied access because his face ‘didn’t fit’ and wasn’t white enough – that sort of attitude, today, would be met with fierce criticism and outrage. In many ways, we have progressed since the 1980s but, in some, we are still a little ignorance and exclusionary. Look at the strongest and most compelling music from the past few years and so much of it is being produced by minority artists. I have mentioned the likes of Beyoncé and Kendrick Lamar but, when you look at the freshest and most compelling Soul, Hip-Hop; R&B, Pop and Jazz out there – some serious heavyweights and talent that are not getting the recognition they warrant. From award show fiascos – not enough black artists nominated and winning big prizes – through to the way we still associate ‘perfection’ and idealism with the young, white and beautiful. I refute the call (that) bands are a spent force and the regency of the solo artists is here to say. In many ways, we can never return to those glory days when titanic bands owned music and were the most influential. 1960s’ icons like The Rolling Stones and The Beatles are past their prime (or simply past); The Who, Sex Pistols and The Clash are older and resigned; the likes of Pulp, Blur and Oasis are through – think about modern music and it might be hard to name a lot of great bands we can rely on time and time again.

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IN THIS PHOTO: The Who (pictured in 1965)/PHOTO CREDIT: REX

You can hardly deny there is a lack of talent and potential everywhere in music. Look at the unsigned best and there are phenomenal bands in every possible area of intrigue. I get to interview and review so many: look at the mainstream and there are still bands we can get excited about. I will return to the issue of quality/quantity but, in all of this, you cannot deny this: there are very few black faces in bands. We can speculate why this is but, for me, it is down to history and image. All the bands I have mentioned are white and, again, it seems like there is a nervousness promoting black bands. In my journalism travels; I have encountered bands with mixed races and a balance in the ranks. Some have one or two black members whilst others are all-black – never the same genre; mobile, exciting and primed for success. I do wonder whether their route to the banquet table of music will be blocked because, historically, we have not seen many black bands. The article I was alluding to looked at the Decolonise festival – now entering its second year. I have been a little discriminatory (how easily it can happen) when looking at minorities missing from bands and assuming only black artists should be talked about.

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PHOTO CREDIT: Unsplash

There are, as I know all too well, so many fantastic Asian artists who are part of bands; brilliant mixed-race groups that do not get the respect they deserve. The article picks up a bit on what I was saying regards music’s past and the largely-white bands:

British guitar music wasn’t always so white. People of colour were vital in founding the UK’s punk and indie scenes. But while everyone knows the Sex Pistols and the Smiths, Poly Styrene from X-Ray Spex is hardly a household name, while the contribution of Zeke Manyika to Orange Juice is often overlooked. Decolonise was set up in part to confront this “whitewashing”, says organiser Jon Bellebono. “Bands with people of colour have always existed and lots of them have been successful.” Their legacy, Bellebono argues, is just not celebrated in the same way”.

I have mentioned how there are bands, past and present, where one or two members are black/Asian – the majority may be white. Britpop and its all-white, distinct image did not help matters; most of the best minority artists from previous decades have not been involved in bands; look around music now and, again, most of the fantastic black and Asian artists we are seeing on our screens are solo/duos. One of my favourite musical encounters as a journalist was with the ‘cover stars’ The Tuts.

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I have been desperate to feature them again because I think it has been about three years since last I put them on my pages. Nadia, Harriet and Bev are the glorious three-tone band who have been around a while now and continue to strive, grow and strike. One could forgive them for looking at the way the industry still promotes white bands above everything else and feel their time will never come. They continue to play and, I know, are inspiring and influencing other artists. Look at this biographical snatch from The Tuts and you get a sense of how far they have come and what they have achieved:

In 2014 Billy Bragg invited The Tuts to play his LeftField stage at Glastonbury. The effervescent appeal of Nadia’s irreverent stage persona and, as Billy himself called it, the ‘fabulous cacophony’ these three women conjure up every time they play makes for an unforgettable live experience. Pauline Black was in the crowd and soon after The Tuts joined The Selecter on their 2015 UK tour.

The Tuts’ music owes something to the Libertine’s brash, devil-may-care aesthetic but they are not fashionable, and hopefully never will be. This is not beautifully crafted gloss for the latest hipster market – the tunes are too good for that. Their timeless three and four chord rants sung out in authentic working class accents carry the X-Ray Spex and 70s New Wave mantle onwards. The Tuts are ‘indie’ indeed, but not in some generic introspective sense: here is a band that possess that irrepressible spirit unique to independent DIY bands. There is no escaping it, ready or not, The Tuts are coming…

They have been playing a lot since they released their album, Update Your Brain, back in 2016. I am excited to see what comes next from them but, as the article continues; they are aware of the realities and how the industry looks at bands with black and Asian members:

The Tuts have found themselves put on a festival’s “urban” stage alongside MCs and grime artists, while critics describe Big Joanie, an emerging black feminist punk band, as “soulful”. “We’re closer to Nirvana than a soul band,” says singer-guitarist Stephanie Phillips. “The whole idea that you see black women and they should be there warbling out some Beyoncé to you – it’s [about] not being able to critique what’s in front of you because of your own ingrained prejudice.” It was Phillips who thought up Decolonise, having felt a “vacuum” existed since her teenage years in Wolverhampton, “and remembering there was literally nothing, no kind of acceptance for people like me”.

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IN THIS PHOTO: Big Joanie/PHOTO CREDITElise Rose

Big Joanie, another band name-checked in the feature, are a feminist Punk band who among the most exciting around. Whilst the Decolonise festival has finished for this year; there are bands like Nova Twins and Girl Diet attracting focus and starting to get their name heard. Whether you perceive the band market as flagging or not, there is an inalienable truth: you cannot ignore bands of colour and minority artists. Orange Juice and Bloc Party – two bands who have black members in their ranks but are, themselves, in the minority -  are rare exceptions of bands who feature minority musicians…one wonders whether there will be big changes soon. Whilst a lot of the emerging bands with black and Asian members in their ranks play in the Punk/Alternative realm – The Tuts’ three-tone is an exception – you do not need to look back too far to see a time when there were a lot more black and Asian faces in bands. Look back at female Soul and R&B artists like Sister Sledge (are they more Disco?!) and Diana Ross and the Supremes – a lot of great Motown and Detroit talent ruled and remain in the history books. The 1990s brought us the Spice Girls and Destiny’s Child – one of very few all-black female bands from the past couple of decades – and All Saints...

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More-modern examples like Fifth Harmony and Little Mix have kept that alive – the fact the female Pop group as a concept is dwindling means, again, fewer minority artist are being represented in bands. It may sound like I am retreating and submitting to the facts of market forces and facts. That is not true at all. Things are getting harder for musicians in all areas. For women, it is a struggle to get their voices heard on an equal footing – regardless of their race and history. Look at the sexism and un-level playing field and, in many ways, the black/Asian female band has to fight harder than anything. If you consider bands are under solo artists in terms of importance; women are underneath men and black/Asian artists are under white – it is a daunting challenge for bands whose members are not all-white. The scene has changed so that Pop bands/girl bands are not a mainstream draw anymore; there are plenty of black faces in music but, largely they tend to be solo artists. I am not going to accept bands are done for and we are never going to see a wave of great artists create the same sort of impact as Oasis and The Rolling Stones. Pop still holds a huge sway and Punk/Alternative, genres with more minority bands, still have to work on the fringes and have not been granted a passage to the mainstream.

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PHOTO CREDIT: Unsplash

Look at this article - it addresses the Pop/Soul market and how black artists are failing to compete with white counterparts:

“…According to Greg Boraman, manager of the Freestyle label to which Omar is signed, the key reason for the artist being sidelined is a myopic conservatism. “It does seem that black soul music artists [as opposed to urban acts] are often engaged in an uphill struggle to compete with the current crop of white major-label soul-influenced, but firmly pop based artists. Whilst I don’t doubt the sincerity of those artists’ love of soul music, the industry, especially mainstream radio, seems institutionally uncomfortable with music that’s more soul than pop”.

Another article, when looking at Rock and Roll music, looks back at artists who addressed civil rights/slavery and asks why these messages, by white artists such as Bob Dylan, replaced the largely-black Blues and Folk scene:

How did rock-and-roll music—a genre rooted in black traditions, and many of whose earliest stars were black—come to be understood as the natural province of whites? And why did this happen during a decade generally understood to be marked by unprecedented levels of interracial aesthetic exchange, musical collaboration, and commercial crossover more broadly? Many of the most famous moments of 1960s music are marked by interracial fluidity: a young Bob Dylan’s transformation of a 19th-century anti-slavery anthem, “No More Auction Block for Me,” into the basis for “Blowin’ in the Wind,” a song that would become one of the most indelible musical works of the American civil rights era; or the revolution of Motown Records, in which a black American entrepreneur bet against the racism of white America and won, and in doing so created the most successful black-owned business in the country”.

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IN THIS PHOTO: Bob Dylan

I do not think bands themselves are responsible for the lack of minority representation in music. They (the bands) have to fight against a largely-white market and a current scene that is not only seeing more a largely white mainstream rise; bands as a commodity are less present and visible than ever. Many might pose this at my feet: Why do we need to see bands with black/Asian members if the music itself (by white artists) is good?! That is a point but it is not about a sense of quality over equality. Bands like The Tuts are producing fantastic work and, were they afforded more of a spotlight, would be able to affect change and help create a more balanced band scene. In the way we need to tip the scales regarding gender inequality; open the doors for L.G.B.T.Q.I.A. artists and ensure music is not so homogenised and closed-off – making sure every band we see on music websites, magazines and T.V. screens is not all-white (forgive the poor grammar there) is essential! I am a little tired of the divisions and the discriminatory policies that have been present for some time. As the past day or two has shown; this country is pretty good at protesting and voicing its unease! I wonder whether greater public concern needs to turn the way of music and the largely-white, male-run dogma that has not received a swift and violent boot to the nuts. I am not solely talking about female bands with minority members: I have reviewed and interviews fantastic bands where their male members consist of white and minority faces. In any case; we need to make changes and listen harder to minority artists/bands wanting to step up and get their music heard. Many might think the situation as it is now is okay (they would be wrong) and bands who have struggled to get attention will keep quiet. From Big Joanie and The Tuts to every other mixed-race/black band who have played second-fiddle for; it is very clear they are going to raise their voices…

UNTIL they are heard and understood.

FEATURE: Hunters and Joyful Resistance: The Finest August-Released Albums You Need to Own

FEATURE:

 


Hunters and Joyful Resistanc     

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PHOTO CREDIT: Unsplash 

The Finest August-Released Albums You Need to Own

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WE are still digesting all the great records…

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IN THIS PHOTO: Anna Calvi

July has to offer and not willing to rest any time soon. The next couple of weeks, in my view, are a little quiet in terms of the ‘big releases’. I am looking ahead to August and the pleasures that await. IDLES’ sophomore album, Joy as an Act of Resistance arrives at the end of the month and completes a period where we will see new releases from Anna Calvi, The Lemon Twigs; Alice in Chains, Slaves and Nicki Minaj. In honour of a varied and exciting August ahead; I have collated the albums you’ll want to get out there and buy – those that demand some serious passion, time…

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IN THIS PHOTO: Alice in Chains

AND attention.

ALL IMAGES (unless credited otherwise): Getty Images/Press Association

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Gulp All Good Wishes

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Release Date: 3rd August, 2018

Genre: Space-Pop

Pre-Order here

James Living in Extraordinary Times

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Release Date: 3rd August, 2018

Genre: Rock

Label: Liberator Music

Pre-Order here

 

Deaf Havana Rituals

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Release Date: 10th August, 2018

Genres: Rock; Indie; Alternative

Label: Warner Music Australasia

Pre-Order here

Nicki MinajQueen

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Release Date: 10th August, 2018

Genres: Hip-Hop; R&B

Labels: Young Money/Cash Money

Pre-Order here

Ariana GrandeSweetener

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Release Date: 17th August, 2018

Genre: Pop

Label: Republic Records

Pre-Order here

SlavesActs of Fear and Love

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Release Date: 17th August, 2018

Genres: Punk/Hardcore

Label: Virgin

Pre-Order here

Alice in Chains Rainier Fog

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 IMAGE CREDIT: BMG

Release Date: 24th August, 2018

Genres: Rock; Alternative

Label: BMG Rights Management (US) LLC

Pre-Order here

Candi Staton - Unstoppable

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Release Date: 24th August, 2018

Genre: Soul

Label: Beracah Records, Inc.

Pre-Order here

The Lemon Twigs Go to School

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Release Date: 24th August, 2018

Genres: Indie; Alternative

Label: 4AD

Pre-Order here

Anna Calvi - Hunter

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Release Date: 31st August, 2018

Genres: Art-Rock; Alternative

Label: Domino Recording Company

Pre-Order here

IDLES Joy as an Act of Resistance

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Release Date: 31st August, 2018

Genres: Post-Punk; Punk-Rock

Label: Partisan Records

Pre-Order here

 

INTERVIEW: Tennyson King

INTERVIEW:

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Tennyson King

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THE fantastic Tennyson King

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has been discussing his new single, Coast, and where it draws inspiration from. I ask the songwriter about his upcoming album and what we can expect; how his Canadian and Hong Kong roots affect and influence him; which artists have made an impression on him – he recommends some upcoming artists to seek out.

King talks about three albums that mean a lot to him; how he spends time away from music; what tour dates are coming up – King explains exactly what music means to him.

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

I’m great! Thanks for asking. My week has been great. I just started my Western Canadian tour last week in Whistler, BC. I’ve had some shows in the Okanagan valley and, currently, I’m on Vancouver Island for five days with shows all over. It’s been great to be in the beautiful nature of British Columbia and play music all over.

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

My name is Tennyson King; a singer-songwriter based out of Toronto, ON and originally from Hong Kong. I play and write what I describe as ‘Psychedelic-Folk-Rock-driven by guitar and vocals’.

Coast is your new single. Is there a story behind the song?

Coast was written with lots of inspiration from my two tours in Australia during 2017. I spent most of the year there playing music and when I wasn’t playing music; I was living out of my van and cruising around the country. One specific area I dug was in Queensland between the Gold Coast and Sunshine Coast. The song talks a bit about the adventures and experience I had while there and, musically, emulate living life on the beach.

I know there is an album coming. Can you reveal the sort of thing we might hear? What themes and ideas did you explore?

The tunes on the upcoming album have a similar chill vibe like Coast. It’s music for the everyday person who is working hard doing whatever they do but craving, dreaming or reminiscing about the love of travel, nature and the beach. The overall tone is very care-free but, lyrically, touches on very self-reflective thoughts that I believe many of us have.

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You have Hong Kong and Canadian roots. Where do you spend most of your time? What are the main differences in terms of the music scene?

When I’m not on the road, I usually spend my time in Toronto, Ontario though, in the coming year, I’ll be spending some time in Hong Kong and doing my first tour out in Hong Kong and China which I’m really looking forward to.

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Which artists were you inspired by growing up? Who do you count as idols?

Growing up, I was inspired by bands like Red Hot Chili Peppers, Metallica; The Beatles, David Bowie; Bob Dylan, Pearl Jam; Tom Waits, Rage Against the Machine and so many more. Idols…I’d say John Frusciante from R.H.C.P., David Bowie; Tim Buckley, Eddie Vedder and  Anthony Keidis…and I’m sure there are other ones, too.

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

Just as long as I’m still playing music and travelling by the end of this year I’ll be happy.

Will there be any tour dates? Where can we see you play?

I’m currently at the start of a two-month tour of Western Canada - with shows in British Columbia all the way back to Ontario. My tour dates are on my website. I’ll then be heading over to China for a tour in October and back to Australia for another tour in November.

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

One that comes to mind right now…

I was playing a show in Darwin, Northern Territory in Australia last year. I started one of my songs and a dude who worked for a reptile place at the festival came on stage and put a giant 9ft snake around me; so, I ended up playing the rest of the tune with it wrapped around my neck and body. You can watch it on Facebook. It was my Britney Spears moment.

Is it possible to convey what music does to you and the power it holds?

Music makes me feel everything. It’s crazy how it can make you feel sad, happy and so many more all in one shot. For me, it’s a type of therapy: when I listen and when I write as well as when I perform. It’s a new high that nothing else has been able to replace in the past years of my life.

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

Tough question

In the past year: 1. Bahamas Barchords; 2. Edward Sharpe & the Magnetic Zeros - Edward Sharpe & the Magnetic Zeros and 3. Eddie VedderInto the Wild.          

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

Edward Sharpe & the Magnetic Zeros. 

Rider: probably just a sweet cheese spread for after my show.

What advice would you give to new artists coming through?

Work hard, be yourself and be nice.

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               IN THIS PHOTO: Iskwé/PHOTO CREDIT: Cass K M Rudolph

Are there any new artists you recommend we check out?

Iskwé, This Way North; James Hickey, Candice McLeod and Corey Theatre.

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IN THIS PHOTO: Candice McLeod

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

Lately, I haven’t had much downtime but I like to go for a motorcycle ride, going for cottage/lake getaways; swim and beach chills.

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).

Play Life Is Hard by Edward Sharpe & the Magnetic Zeros

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Follow Tennyson King

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IN THIS PHOTO: Cesar Barbosa 

Official:

http://tennysonking.com/

Facebook:

https://www.facebook.com/tennysonkingmusic/

Twitter:

https://twitter.com/tennysonking

Instagram:

https://www.instagram.com/tennysonking/

SoundCloud:

https://soundcloud.com/tennysonking

YouTube:

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

ALL PHOTOS OF TENNYSON KING (unless credited otherwise):

Jen Squires

INTERVIEW: Polar Youth

INTERVIEW:

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PHOTO CREDIT: Guillaume Kayacan

Polar Youth

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FROM a Saudi Arabian artist…

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IMAGE CREDIT: Florent Hauchard

I now head to Belgium to interview the fantastic Polar Youth. She has been talking about her latest single, All Night, and working with DJ Fresh and Georgie Allen on the track – Polar Youth talks about future material and signing to Virgin EMI.

I ask which artists inspired her growing up and what the differences are between music in Belgium and the U.K.; whether there are tour dates coming up – Polar Youth ends the interview by selecting a cool track.

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Hi, Polar Youth. How are you? How has your week been?

Hey! I’m good, thank you. Hectic! I’m moving into my new place and I forgot how much time goes into that…and, of course, I’m very busy promoting my new single.

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

Like it’s written on my social media: I’m ‘’a 23-year-old girl from Belgium who makes music she likes”. I’ve been producing music on my laptop since I was twelve. I learned to play the guitar before that and, at the age of sixteen, I learned to play the drums – but, most of all, I love to play the piano. My music is mainly inspired by Electronic music and Hip-Hop. I live in the beautiful city of Ghent where I love to hang out with my friends in the many clubs and cafés in the city.

All Night is your new track. Is there a tale behind the song?

I was fortunate enough that some of my earlier music was picked up by DJ Fresh. I met him at a concert in Ghent and, after I had sent him a few of my tracks, he was so kind to invite me in his studio in the U.K.  

One of the demos I had sent him was an early version of All Night.

It is a big and bold song. Was it a challenge putting it all together? How do you approach producing a track like All Night?

I had been working on that track for some time. Initially, the tempo was slower than it is now. For some time, it was just one of those tracks sitting on my hard-drive but, when DJ Fresh asked me to play him some of my music, I also chose that track because I really felt it had something. Playing that track to Dan (DJ Fresh) was exactly the right time to take it out of my hard-drive.

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PHOTO CREDIT: Guillaume Kayacan

His first idea was to make it more up-tempo. He also invited the amazing singer Georgie Allen to do the vocals on that song to make it into the final version. We were in his studio for four days and we worked really hard on the track. We had a great time - and I was learning so much from DJ Fresh.

Do you have more material planned for later in the year?

I just released an official remix for Sarai a couple of days ago. Sarai is an amazing artist from Australia. When she asked me to remix her latest single, Get to You, I immediately said ‘yes’. As for other plans, even though it’s very hot and beautiful outside, you’ll mostly find me in the studio during this summer…that’s all I can say for now.

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PHOTO CREDIT: Guillaume Kayacan

You just signed to Virgin EMI here in the U.K. How excited were you when that happened? How supportive have they been?

This was all new to me, so it took me a while before I realised how big this was going to be for my career; to be able to work together with Virgin EMI. To be honest, I couldn’t have thought of a better company to work with. They have been so supportive and they have such a great team. They really listen to what I have to say instead of just seeing me as a money-making machine. They care about the artist; they care about the music and they are professional – it has been a great experience.

You are unique but I wonder whether you have music idols? Who do you count as inspirations?

It surprises quite a lot of my friends every time I say this, but my biggest idols are Nicki Minaj and Post Malone. They make amazing music and are (so) unique in their own ways. Very often, I am also inspired by my fellow producer buddies from all over the world. We listen to each other’s music, talk about it…it’s a great source of inspiration and feedback.

Originally from Belgium; what are the main differences between the music scenes there and in the U.K.?

I really noticed how open-minded the music scene in the U.K. is. I talked about this too with Dan (DJ Fresh) when I was with him. I feel like U.K. radio shows are more focused on good music instead of what’s charting in the top-50 - and they give new up-and-coming producers a lot of support too. In Belgium, the music scene is great too and I have worked with some of the finest artists here but, sometimes, I have the impression that people here are a bit less bold and less daring with respect to new music and new styles.

Having said this, it is great for a young artist like me to be able to work in so many different environments.

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PHOTO CREDIT: Guillaume Kayacan

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

Lately, I’ve been very focused on getting tracks done, more than anything else, and as I said I will also spend the better part of the summer in the studio - but you will certainly be able to see me later this year.

What do you hope to achieve in 2018?

I hope that, in 2018, I will be able to touch a lot of people with my music. I am also working hard to finalise the new tracks and I am putting together a show for later this year. I hope to see my fans there and thank them for their support.

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IMAGE CREDIT: Florent Hauchard

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

The time I was in the studio with Dan (DJ Fresh) and his team was absolutely magical. These four days were hard work but also a lot of fun. I learned a lot about music and about the industry. Sometimes, other producers would just come by to say hello and then we let them listen to our progress of All Night. Their input and encouragements gave me a boost to finish the track. We were all in such high spirits and we worked day and night. I will never forget this.

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

Definitely, Post Malone, I’ve never seen him live but his music is amazing and he’s such a down-to-earth person.

My rider would contain fruits like kiwis and bananas for before the show and a delicious pack of fries with mayo for after the show.

What advice would you give to new artists coming through?

The most important thing is to keep working and don’t give up. I know a lot of people say this but that’s because it’s 100% true.

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 IN THIS PHOTO: Lani Rose

Are there any new artists you recommend we check out?

My dude Lani Rose from the U.S.A. He’s an amazing producer AND also a top-notch singer-songwriter. A huge shout out to Laxcity. He’s an awesome producer from the U.K. and I hope one day more people will recognise how talented he is. Also; check out SARAI and The Endorphins (yes, I know, I made a remix for them).

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 IMAGE CREDIT: Laxcity

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

I have two cats which help me to relax during breaks. I also go out with my friends in Ghent. A big hobby of mine is gaming, so that’s also how I spend some of my time not working on music. I’m also passionate about motorcycles. Riding around on my bike after a day of work is one of my favourite ways to wind down and clear my mind.

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).

People say what they want about her, but I think she’s an amazing artist.

Bhad Bhabie - Mama Dont Worry

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Follow Polar Youth

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INTERVIEW: tamtam

INTERVIEW:

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tamtam

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THIS might be the first time I…

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have featured someone from Saudi Arabia on my site. It has been fascinating speaking with tamtam about her experiences of Saudi and spending time in L.A. She talks about her new single, Drive, and filming its video; how liberating its themes and story is – I ask whether Saudi Arabia’s strict laws regarding women and visibility have impacted her in any way.

Tamtam talks to me about a pivotal moment that changed her life; which artists were inspiring to her growing up; whether there are any tour dates in the calendar; the advice she would provide upcoming artists – tamtam selects a musician we should all follow.

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

It’s been great, thank you!

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

Yes. My moniker for my music is ‘tamtam’. I was born and raised in Saudi Arabia; I am currently living in L.A. and making music but I go back to Saudi as much as I can to visit my family and home. A lot of my music is inspired by Saudi.

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I don’t have a choice but, to be genuine in my lyrics, especially in songs that I write on my own - being brought up in one culture and then moving to another country with a completely different culture - has had a really powerful impact on me that I hope I reflect in my music: no matter where we are from, or how we are brought up, or what we believe in, we have the most important thing in common, our humanity, and that, alone, should unite us.

Drive is your new single. Can you reveal the story behind the song?

I wrote this song last year when I heard the news that Saudi was lifting the ban on women driving. I was so happy and inspired! I wrote the song right away...

The video sees you driving around with girlfriends through Orange County. How much fun was it to shoot?!

It was honestly one of the best days! I will never ever forget it. I was with my friends (who are in the video) which was amazing. The director, Mackenzie Mccullough, is such a wonderful, creative and humble person to work with. It really was a blast - especially driving that perfect, vintage yellow car!

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As a Saudi woman; do you feel even revealing your face and making a video is a brave step?! How does life for a Saudi woman differ when you are in America, as opposed to your home nation?!

When I first started doing music seven years ago, I would say definitely ‘yes’. At that time, I had released my first single, Little Girl, where my face was blurred in the video because I didn’t want anyone to know I was doing music. But, now, Saudi is really adapting in a positive way: women can drive; the first movie theatres just opened a few months ago; live concerts are slowly happening more frequently and are more socially-accepted than before.

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Because I’m in music, life in L.A. as a Saudi woman is different for me because there are so many musicians, producers and songwriters to work with and to collaborate with - that’s what I love about being in L.A. as a musician. I can also perform live anytime I want: there are more concert venues here and smaller ones too; not just huge stages. The talent that is growing out of Saudi is amazing and I know that the music there is going to grow so much more with the new laws.

Liberation and women’s rights play a big part in your overall ethos. Do you think it is vital these issues are introduced into music?

Yes, I do, because this is what the youth is listening to. They love music. Anything with a melody and a beat is more interesting to listen to than someone who is just talking; so, more people can engage with music and I believe, as musicians, we need to start sending positive messages through this power that we have.

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Do you think there will be more material later this year?

Yes! I have so much more music coming out, including a collaboration with producer/D.J. Accidental Muse, which will be more of an E.D.M. project, that I’m super-excited about as well.

I believe a green Jeep and a unique experience when you were eighteen changed everything. Was that moment of independence pivotal to you?

Yes, it was. No matter where you are in the world, whether in the U.S. or Saudi Arabia, it changes everything when you know you can walk out the door and go anywhere you want. To be honest, when I first started driving here, I was terrified of the road. I wouldn’t take any freeways and I wouldn’t go very far. But, I knew that, with patience and practice, I would get used to driving…and that’s what I did.

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Do you recall the musicians who inspired and motivated you when you were growing up?

Michael Jackson is always my number-one. I also loved listening to No Doubt, the Spice Girls; Britney Spears, Justin Timberlake (I still love him) (smiles). I went through an Aerosmith phase. My love for music is not specific to any genre, as you can see.  

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

I don’t have tour dates set yet but I’m definitely going soon and will keep you posted!

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Do you think you’ll come to the U.K. and perform?

Yes! I’ll probably do a show in London first. I can’t wait (smiles).

What do you hope to achieve in 2018?

I hope my music reaches more and more people. I love connecting with my fans; they are so important to me.

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

I just did a show in Kuwait in April for a concert called Kuwait Rising and it was amazing! I love performing live and I love feeling the energy of the crowd - it is definitely an unforgettable memory.

What advice would you give to new artists coming through?

Patience, patience; patience…and listen to your gut.

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IN THIS PHOTO: Smoke Season/PHOTO CREDITNatalie Neal

Are there any new artists you recommend we check out?

Smoke Season.

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

I love going hiking. Being with nature really helps me unwind and keeps me grounded.

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).

Florence + the Machine - No Choir and Hunger

FEATURE: The July Playlist: Vol. 2: If We Organise Our Schedules...We’ll Realise Love Is Magic

FEATURE:

 

The July Playlist

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 IN THIS PHOTO: John Grant 

Vol. 2: If We Organise Our Schedules...We’ll Realise Love Is Magic

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YOU get these weeks in music where things…

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IN THIS PHOTO: The Lemon Twigs/PHOTO CREDIT: Erica Snyder

are jam-packed and it is hard to keep up! This is one of them, I can tell you! Relax and enjoy as we welcome new tracks from Sigrid, John Grant and The Lemon Twigs. Tinashe, Childish Gambino and Kacey Musgraves have fresh releases – it is an exciting and fulsome week of music! Enjoy the sun, put these tunes on and indulge in all the different moves and moods; the big choruses, sultry moments and addictive takeaways.

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

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IN THIS PHOTO: Sigrid/PHOTO CREDIT: Johannes Lovund

SigridSchedules

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PHOTO CREDIT: @gregswalesart

Nicki Minaj (ft. Ariana Grande)Bed

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John Grant Love Is Magic

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Childish Gambino - Summertime Magic

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PHOTO CREDITMathew Parri Thomas Photography

The Lemon Twigs If You Give Enough

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Alessia CaraA Little More

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The Horrors - Ghost

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KodalineShed a Tear

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Eliza and the BearFirst Aid

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Lil’ KimNasty One

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All SaintsDon’t Look Over Your Shoulders

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TinasheLike I Used To

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Jacob BanksIn the Name of Love

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Dirty Projectors (ft. Amber Mark)I Feel Energy

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SuedeDon’t Be Afraid If Nobody Loves You

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Ariana GrandeGod Is a Woman

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Call Me Loop Love the Lie

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Kacey Musgraves - High Horse

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Gulp Claudia

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Patrick Watson Melody Noir

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Gently Tender2 Chords Good

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Estrons Lilac

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Rudimental & Major Lazer (ft. Anne-Marie & Mr. Eazi) - Let Me Live

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Anton PowersThinking About You

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Exam SeasonStrawberry Milk

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Honey HahsStop Him

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Wande Coal - So Mi So

 
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Mac MillerSelf Care

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First Aid KitRunning Up That Hill (Recorded Live at Spotify Studios Stockholm)

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Sophia Ayana Obsession

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Not3s Just Fine

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Lily Moore - I Will Never Be

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PHOTO CREDITDara Munnis

Tash Sultana Harvest Love

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The Hunna Babe, Can I Call?

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Amy Shark All Loved Up

TRACK REVIEW: Swine Tax - Never Ending

TRACK REVIEW:

 

Swine Tax

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 PHOTO CREDITChris Crowder   

Never Ending

 

9.4/10

 

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The track, Never Ending, is available via:

https://soundcloud.com/swinetax/swinetaxneverending

GENRE:

Indie-Rock

ORIGIN:

Newcastle upon Tyne

RELEASE DATE:

13th July, 2018

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STEPPING out and looking at a talented young band…

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 PHOTO CREDITChris Crowder   

gives me a chance to discuss some interesting areas of music. I have reviewed Swine Tax before and had the opportunity to witness their blend of music. I will speak about music from the North and whether we are still throwing as much love that way as possible; intensity and bands who have the ability to invoke the spirit music is missing; bringing that energy and directness to the stage; connections within the ranks that makes the music that much stronger – I will end by looking at Swine Tax’s future and how they will progress. I feel we are still ignoring the North of England and what is coming from there. If we look at any new musician and laud them; it seems we are not casting a net far beyond the capital. I have talked about this a lot and approached it from different angles. There is nothing to suggest the future of music is situated in London. The media is based here, and so, that is where people tend to look. You balance the sounds of the South with those of the North and there are some marked differences. I feel there is more honesty, wit and originality coming from northern bands at the moment. I am not suggesting the South lacks any bite and potential – the North is offering something a lot more intriguing and fresh. The Swine Tax boys have been playing for a little while and, so far, have managed to accrue a loyal fanbase and some great local attention. I have looked at the music of Manchester but, looking at Swine Tax and the Newcastle area, I am interested to see whether there are differences. There are some fantastic venues and artists where Swine Tax are - and a great support network. There is always that temptation, when artists get bigger and need focus, they move to areas like London. I hope the guys manage to stay where they are and do not feel the need to up sticks.

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So far, they are vibing from what’s around them and seem comfortable where they are. There are, as I said, great venues around and chances to get the music to the people. It is the local support and sense of taste that makes northern music so long-lasting and impactful. There is a loyalty and passion you do not get from any other part of the country. Because of all of this; why are we still spending so much time in London and the music coming from there? I know there is an incredible scene here and wonderful movements: the North is producing epic music and should be given more love. One of the reasons why I feel this way is the band market and how the focus is still on solo artists. Again, this is another topic I have covered and investigated before – I shall not go too much into the topic again. There have been some great albums released this year but, to me, IDLES will produce the biggest statement of the year. I will talk about the band more in a later section but the solo material I have heard this year has been great. I am looking for an album that produces that extra bit of heat, force and oomph. Solo artists can do that but it has always been down to the bands of the world to bring something extra-special and intense. Swine Tax are a band with plenty of intelligence and depth – they have a raw edginess and electricity that takes their music to another plain. Tory Water, their previous single, looked at the local music industry with a sardonic nod. It has the College-Rock sounds but brought in plenty of punch and observations of the local scene. Although there are, as they observe, issues in the North that need remedy and support; the impression one gets from the song is of a band with a big future ahead. The sheer depth, story and colour they bring to the music makes you want to support them and see them do well. I feel we have ignored bands to an extent and assumed they cannot compete with solo artists. Historically, some of the finest music has been made by groups – why are we spending so much time with solo musicians?! Swine Tax have that unbeatable blend of local knowledge and focus with musical swings that stretch all the way to America. It means (they) have the ears of those in the Newcastle area but there is potential to get gigs in the U.S.

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IN THIS PHOTO: Lewis Egg Dodds

One of the things that occur to me is how bands like Swine Tax can use their keen lyrical insight, established strengths and focus on the current Government. Tory Water nods its head the way of our leader but there is new opportunity to sink the teeth in. I love how Swine Tax can bring humour and accessibility alongside riotous instrumentation and ample punch. We are living in a very odd time where the nation is splitting apart and politicians are messing everything up. Whilst solo artists would be able to project something meaningful and anthemic; I feel bands like Swine Tax have more ammunition and promise. Vince Lisle, Tom Kelly and Charlie Radford take hints from bands like Sonic Youth and Pavement and splice that with embers from the local scene. They look around them and talk about how politics affects their lives; stories of lust and ambition are thrown in – quite a heady and exciting brew! The band have been picking up fans at a rate of knots since their inception and thrilling those lucky enough to see them. I have seen some great bands form but few have the same intoxicating passion and attitude as Swine Tax. I do love what is coming from music but I feel something is missing: an authority and explosion that has disappeared slightly. The mainstream media are spending a lot of time on solo artists and feel, to me, there isn’t the same sort of promise in bands there was years ago. Maybe that short-sighted assumption reflects a geographical laziness. If they did some more exploration then you could see more attention given to the likes of Swine Tax. I have been hankering for a band who can get the blood boiling and the body moving. I have mentioned IDLES already: a band that has the sound of The Clash and mix it together with modern Punk and Alternative motions. Although Swine Tax source from the U.S. (more than British sounds) and a different era; they have the same sort of majesty and can produce a truly stunning live show.

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 PHOTO CREDITChris Crowder   

The nation is looking for artists who can articulate what is happening and how their lives are being impacted. It is good to hear melody and calm in music but, at times like these, there is a desire for release and fire. My assessment paints the picture of Swine Tax as a brutish Punk band who is throwing stuff around and want anarchy. In actual truth, they can fuse spiked and spit-laden with real songcraft, lyrical acuity and exceptional musicianship. Their music is far more compelling than straight-ahead guts-and-shout. It is exciting watching Swine Tax rise and growing with every release. Their live set is extraordinary and the studio music we hear from them is like nothing else. It makes me hanker for more passion towards the North and greater exposure of the best young bands coming through. Maybe the secret ingredient (for success) is assessing what is happening in the country and reaching people in a way our politicians cannot. Their music does have a political edgy but wraps it around character studies and local commentary. I have watched music change skin the past few decades and I am seeing things drop away and not re-growing. I have lived through the tail-end of U.S. College-Rock bands and British Punk idols. I have seen movements die and be replaced by something altogether safer and less risky. We need to revoke the lost Punk and Rock spirit that excited generations and started a fire. Swine Tax have the potential to burn bright in the local scene, as they already have, and lay down a marker. The boys continue to grow bigger and more ambitious every time they put material out there. Whether you are familiar with the music coming from the North and how it varies from that of the South; it is obvious to see how small a roll Rock and Punk is playing in modern music. We can throw various arguments into the mix – changing tastes and times; few great artists to keep the flame alight; critical ignorance – but I can sense something happening and shaking.

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 PHOTO CREDITChris Crowder   

Another reason I feel Swine Tax and their ilk are able to stage a coup and gain a passage to the forefront is what they bring to the stage. You can argue a soulful performance from a Pop artist can hold the same magic and power as that of a snarling Rock band. I contend that the most impactful and hard-hitting performance comes from bands that crank the wattage and get bodies jumping. Swine Tax bring their own brand of explosion to the stage but do, as I have said, have plenty of variety and melody. They are a rounded and nourishing band that are gathering huge acclaim because of what they take to the stage. Never Ending – one of two singles they have just released – will sound, I can imagine, amazing on the stage. The guys have a great reputation in the North East and showcase established band there – showing a support and sense of comradeship you do not often witness. They have supported the likes The Orielles and Jeffrey Lewis; they mix the D.I.Y. ethic they have always possessed and bring in new-found skills and strengths. The guys will never sell-out and feel the need to get into a bright and expensive studio. They have an authenticity and accessibility we are looking out for right now. The connection and chemistry the band has is another reason why their local reputation is solid and building. There are some bands where you watch them play and they might stay in the mind for a little bit. Something is missing from their set. Maybe there isn’t the connection you’d expect or the music is too similar to their studio-made sounds – not bringing anything new and unexpected into their repertoire.

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PHOTO CREDIT: Graeme J. Baty

Before reviewing one of the band’s latest singles; I want to finish on this theme and highlight the solidity in the ranks. Swine Tax’s success, so far, can be attributed to the fact the guys are on the same page and have that respect. Writing and performance is democratic and there is no muscling for leadership. They have the same goals and want to see their music go as far as possible. I am seeing some bands suffer splits because everyone wants different things and communication is lacking. The friendships present within Swine Tax makes their recorded material such a treat to listen to. They have dropped the double A-side Thorns/Never Ending and will perform at Think Tank? (in Newcastle) tonight. The single(s) have been met with big acclaim and reviews are coming in. The confidence the guys will get from the early praise will translate to the stage. They have gigs coming up but I feel, when their new material gets further out there and resonates; more dates will arrive and there could be some big dates. The guys are playing alongside like-minded, local talent and they are keen to integrate themselves with some fantastic artists. The material they have out there right now acts as a guide for potential venues and bookers. I am not sure whether Swine Tax will release an album next year or continue to bring out singles but they have this energy and focus that is impressive. I would love to see them ascend to the mainstream and influence fully. It is all very exciting and full-on for Swine Tax right now. They are picking up local support and lots of new ears are turning their way. It makes me wonder whether they can take it all the way and embark on a national tour.

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 PHOTO CREDITChris Crowder   

I hear there is more material coming from the band later in the year and, in October, they are back in the studio. It makes me wonder what form that will take. Maybe it will be another single or they are going to put a five/sic-track E.P. together. What excites me is how the band has grown from their earliest days. Maybe it is the experience they have gained or the passing of time – it is getting better and brighter for the band. I am not sure whether they have ambitions to tour around the world but I feel next year will be their time. Swine Tax have already cemented their name in the local realm and are ready to face the responsibilities of international touring. One needs stamina and extra fortitude when venturing between cities and nations. It takes more energy and discipline but I feel Swine Tax have that in their locker. I can easily see the northern band head to the U.S. and get some acclaim there. The guys have that reputation as live performers and they have thrilled fans for a long time now. I know the boys could handle the demands of a worldwide tour and what it encompasses. There are people around the world who would eat up Swine Tax and what they are all about. I have been hankering for a band to come along that can stay in the mind and get me excited about the future. I do not often go to live gigs because I feel there is little excitement and it will not be worth a trip out. Swine Tax’s reviews and reputation makes me want to see them and catch them as soon as I can. The boys are on a rise and cementing themselves as one of the finest young bands out there right now. They have already made a great name for themselves in the North – it is time for them to shift and take their music down the nation.

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The opening notes put me in mind of bands like Pavement and Pixies. You get that rush of the 1990s (and 1980s) and what was coming out of American then. I guess that is what Swine Tax have always been about but, if anything, there are new elements in their music. The lyrics talk about framing the moment and breaking open an unspecified thing – placing the hero under house arrest. Our man is aching, but not stressed, and one wonders what he is referring to. The early, softer guitar opening mutates to a more squalled and rain-lashed sound that mixes with the rest of the fold. The guys come together expertly and provide instance evocation. Percussion sounds add weight and drive but are never too heavy; there is that bassline that keeps things together and leads; it stays disciplined, level-headed and focused. One of the only problems at the early stages is vocal decipherability. At times, it is hard to understand what is being sung and the mix does push the vocals a bit too low down. I imagine that is less a mistake from production and more an emotive and sonic decision. You have that murkiness and effect that adds conviction to the song. What I mean is this: you get a bigger emotional hit and feel like the hero is singing from under a rock or pillow. There is tension and a slight disconnect that pulls you in and speculate. Lyrics never really allude to a single event or person and the listener is free to interpret what the song is about. Whilst other songs in their cannon have looked at political and local areas; here, we see something that is rooted in the personal and romantic. The hero looks to be casting out to a heroine who has left him stressed and tense but lingers in the mind. It seems her scent and looks are in the brain; her eyes (wild, bright flowers) are burning holes in the soul and one gets a definite longing.

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The chorus comes in, when our man is holding back at the moment, and the band really swell and explode. The guitars rapture and the percussion raises its game. All the boys turn the volume up and there is that evocative rush. You get the smell of 1990s College-Rock but there is that distinct Swine Tax skin. The rousing and bristling chorus gets the hairs standing and the mind racing. I was fully involved with the song at this point and could not get enough of it. The guys bring a real sense of thrill to the track that comes from nowhere. You could always feel things building but it is the way they switch from contemplative and open to intense that gets me – a real pleasure and something that gives the song a movement and agility. Few can deny the song lacks passion and professionalism but it is the D.I.Y. aspect of the song that makes its mark. One gets proper intelligence and songcraft but I am drawn to the sparse and honest sound that gives the song its stripes. It sounds like the band is playing from their living rooms: there is no polish that can wash the life from a song; it is a fantastic sound that gives the number much more allure and appeal. The performances are consistently brilliant and so much is thrown into the mix. Backing vocals and layers keep building; the percussion and bass work alongside one another and the chorus explodes back in when you need that hit. Our hero keeps his energy up and is committed to every single moment. Maybe my impressions of lust are wrong but it seems like there is someone in mind that is causing all sorts of problems. His head is swimming and there is a distinct sense of desire and need. Swine Tax keep the composition changing and evolving. Unexpected vocal touches and little bass lines fuse with big, anthemic rushes that delight and thrill. It is when the guys combine in vocals and there is that chanting, brotherly togetherness that you get the biggest hit. The headiness and brilliance of the song continue right until the end and you are compelled to listen to the song over and over. The performance is tight and stunning but you never get the sense things are too rigid and practised. Swine Tax leave room for breath and provide that fantastic, live-sounding feel. I have heard Never Ending a few times and discover new things upon every spin. There is guts, glory and passion running right the way through veins. I know the band will continue to record great music through their career but, right now, they are in top form and really inspired. I can only imagine what sort of reception and reaction songs like Never Ending will get when played tonight. Swine Tax show they are varied regarding their lyrics: they can go from political and local to observing something more universal and love-based. However you see their new song, and what you think it is about, it is a fantastic cut from the boys and proof they are one of the best and brightest talents out there.

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Never Ending and Thorns are fantastic singles – part of a double A-side – that show how Swine Tax has progressed and what they are all about right now. I loved Tory Water, their previous offering, and its mix of local observations and political shots. They have continued that pace and brought it to a duo of gems. I wanted to look at Never Ending because it is my favourite but, in reality, both the new tracks are worthy of fond examination. I started my looking at bands and wondering whether the market is starting to turn. We have often ignored groups and are focusing a lot on solo artists. Tastes have changed and the scene is looking for something different right now. Maybe there have been few bands who can get the critics raving and people excited. The likes of Swine Tax show there is plenty of fuel in the tank of the band car. They are hungry and want to get their name out there. It is challenging keeping a band together and remaining strong, let alone getting excellent material out there time and time again. That is full credited to a trio who have that mutual respect and want the best for each other. I will leave things in a second but wanted to offer congratulations to a band that have a bright future ahead of them. Maybe the balance will not tip so there is a Punk/Rock revolution but one would not bet against big changes happening next year. I love the sort of College-Rock sounds bring put out by Swine Tax and how they interpret them. It is a fantastic brew that stays in the mind and compels further investigation. The guys have come a long way and have an ambition that will see them go a long way. Where do Swine Tax go from here? They have that local gig tonight and then, from there, they will want to get their latest material out to the people. They have studio time later in the year but they will want to tour as much as possible and visit new lands. I feel there is that demand out there and it is not long before the boys are doing headline shows down in London. International gigs approach and I feel there is a fanbase out there already. A U.S. date would be perfect and I would love to guys to get some time in, say, New York or Boston. They’d love it there and I think they’d get a lot of love. I have loved getting to grips with Never Ending – listen to Thorns, too – and what it all about. The Newcastle upon Tyne group have a rosy time ahead and cannot wait for them to clean up and conquer. If you have not heard their music and know what they are all about; get involved with their double A-side and make sure you hear every note. Swine Tax might have a great local reputation but, before too long, they will be a big name…

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IN the wider world.  

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Follow Swine Tax

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

FEATURE:

 


Sisters in Arms    

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IN THIS PHOTO: Rising Appalachia 

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

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GOING into the weekend…

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IN THIS PHOTO: Froya

I felt it only right to put another all-female playlist into the world. It is a selection of songs from the past few months that, to me, convey all the contrasts and emotions of the summer days. Investigate and hold close another bouquet of songs from some fantastic female artists that is guaranteed to kick off the weekend with…

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IN THIS PHOTO: Sharkmuffin/PHOTO CREDIT: @mixtapemyheart

A real kick.

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

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FroyaBlack Macaroon

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PHOTO CREDIT: @ferguson.photo

Sonia SteinChange Shapes

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Raja KumariI Did It

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Sasha SloanNormal (stripped)

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Dawn LandesKeep on Moving

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Ama LouDDD

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Rising AppalachiaResilient

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Cleo SolWhy Don’t You

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Donna MissalKeep Lying

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Olivia NoelleFck Around & Fall in Luv

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PHOTO CREDITAdam Antalek

Mikaela DavisOther Lover

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Sa-RocForever

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Kiana Ledé - EX

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Mpho SebonaNo Evil

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Juanita SteinGet Back to the City

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King Princess Talia

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Jaira BurnsSugarcoat

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PHOTO CREDIT: @mixtapemyheart

Sharkmuffin Liz Taylor

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Jade NovahAll Blue

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Greta JaimeComputer Games

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Lily MooreI Will Never Be

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Keeana Kee Let’s Make Love

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PHOTO CREDITEbru Yildiz

Anna BurchYeah You Know

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Sinead HarnettBody

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Leah Nobel - Coffee Sunday NYT

INTERVIEW: Chasing Jonah

INTERVIEW:

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Chasing Jonah

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THE fabulous Chasing Jonah

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has been telling me about the video for her new single, Feel So High, and whether the song holds personal relevance. The Florida-based artist talks about the music scene in St. Petersburg and tells me whether more material will come later in the year – she picks a promising artist we should get our ears around.

I ask Chasing Jonah whether touring, and U.K. dates, are a possibility and how important it is being up on the stage; how she spends her downtime; the advice she would give to artists coming through – she ends the interview by selecting an amazing track!

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Hi, Chasing Jonah. How are you? How has your week been?

It's been chaotic, but fun! Just finished filming another music video and I'm so tired that I'm not even sure how I'm still forming coherent sentences. 

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

I'm an Alternative Electro-Pop artist and songwriter currently living in St. Petersburg, Florida. My lyrics tend to be introspective and vulnerable and I tend to pair them with cinematic and electronic sounds to help drive their stories. All of my writings have been inspired by personal experiences and internal battles.  

I also love dogs and key lime pie. 

Feel So High is your new song. What inspired the lyrics? Does it hold personal relevance?

It does hold personal relevance. I know it comes off as a flirty and seductive song at first, but it's really about being caught in an unhealthy and, yet, addictive relationship; something you keep getting sucked back into even though you know it keeps hurting you. 

It is an instant and memorable song. Did you know, once it was recorded, it would be an instant earworm?

It is definitely one of my personal favorites. It's so much fun to play and I love the synth sounds in it. You never know how other people will feel though. Releasing your art into the world is always a vulnerable process no matter how confident you might be in what you've created. 

What inspired the fun music video for Feel So High?

It started as a joke in the studio between myself and the producers. We were making up preposterous scenes that involved a cat. I decided I would actually bring it to life as a joke and everyone on my team ended up loving it. 

Is there more material coming later in the year, perhaps?

Absolutely!  We've got a few more singles and music videos on the way!

The music video for War Paint has taken on a life of its own! Has it been strange seeing how far it has gone?!

The music video for War Paint started as a collaborative concept with some of my fire-spinner friends based out of Orlando, Florida. It was a lot of fun to create - and they even taught me how to use poi, fans and a little dragon staff so I could play with them. The song itself ended up being featured on the second season of the T.V. show, Lucifer, and that also really helped to draw attention to the video!

 

Being based out of Florida; what is the music scene like where you are? Are there a lot of great local artists?

I love the music scene in Florida. I currently live in St. Pete and I love that there is always a good show happening somewhere. I've also found a lot of great acts in Orlando and Jacksonville as well. A lot of us really enjoy trading shows with each other, which really helps the community. 

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

This fall, I will be mostly touring through the East Coast of the U.S. and part of the Midwest. Some of my favorite cities that I look forward to going back to are New York, Philadelphia; Atlanta, Asheville and of some cities throughout Florida. I'm also planning on visiting some new places like Austin, Dallas; Chicago and more! 

Might you be heading to the U.K. at all? Do you like British music?

I would absolutely love to! We will see where these single releases bring us! I would love to head to the U.K. next year and, yes, I love a lot of British music. Daughter has been one of my biggest inspirations as well as James Blake, Labrinth and Florence + the Machine.  

Is the stage the place you feel the strongest and most free? How important is it being up there and performing to the crowd?

I definitely try to make the stage my home when I'm there. It can be terrifying sometimes, especially when it's a new audience that doesn't know you. You're basically getting naked in front of people that can judge you, shame you and/or be rude to you if they wanted - or they could love you. But, when it's an audience that already likes you, it feels as though you're inviting loved ones into your home and connecting with them on a deep level.  

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It's definitely a challenge when circumstances are always changing. When you start out, you can play to a handful of people or a few hundred people on different nights. Some people are so drunk that they try and talk over you and you wonder why you're there - and then some people are there because they really love the music. Sometimes, you have a sound-system that doesn't work well and you can't hear yourself, so you're just hoping that you're on-pitch the entire time and sometimes everything sounds and feel so perfect it's like you're floating on a cloud.  

My goal has been to stay consistent no matter what the circumstance is; to perform like it's the best show every time. 

What do you hope to achieve in 2018?

I'd really love to just have great and successful releases and a really fun tour. Maybe, a few more T.V./film placements as well.  Right now, I'm also working on trying to finish my new album by the end of the year.  

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

One of the most moving experiences I've ever had was sitting in a room with an incredible chamber orchestra that was recording the strings for a few of my songs (that will be on the next album). David Campbell had arranged the strings and he was also there conducting. I asked if I could sit inside the tracking room as they were going through the songs before they started recording. I sat on the floor and just wept. It was the most beautiful sound and feeling I had ever experienced. 

I thought to myself: ‘If not a single person downloads these songs or cares to listen, everything I've been through and worked for is still worth this experience’.  Even now, when I'm feeling discouraged, it helps to put myself back in that moment and envision it happening again. 

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

Well; a few of my favorite musicians/artists right now are Janelle Monáe, Aurora and Regina Spektor but, if I stood in the same room as them, I would probably just pass out.

As for a rider, since I constantly forget to eat, my rider would have it so my green room had tons of healthy food before and after the show. That's the one thing I haven't gotten the hang of just yet: making sure I have consistent and healthy food on the road. I would also like a box of puppies, maybe from a shelter. Maybe I could even help get them adopted at the shows. There is something so magical and calming about new life, specifically in the form of puppies. That's, like, way down the road though; when I get to the point where I'm allowed to ask for ridiculous things. 

What advice would you give to new artists coming through?

My advice would be to strive to be the most authentic versions of themselves. People respond well to honesty and it really shows in your art. It's easy to get discouraged, but when you really put yourself out there, those who resonate with what you are doing will support you. It takes time, but being able to create your unique art that really impacts people is so much better than being a flash in the pan.

Not everyone will like what you're doing and that's ok. The point is to be able to do what makes you happy and what helps you become a better person. If people really connect with what you're doing along the way, then that is a great plus. 

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Are there any new artists you recommend we check out?

At this moment, I've got a slight obsession with Aisha Badru. I discovered her by chance on Instagram and I can't stop listening to her. Her lyrics are so deep and I also love her music videos. 

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

I really don't get much time, especially before new releases. I do have this bad habit of working myself until I mentally and physically just crash. Luckily, I live about fifteen minutes from the beach and another ten minutes from a bay where you can see dolphins. Being in those environments really helps me re-center when I remember to take the time for myself.    

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).

Bridges by Aisha Badru. The music video for that song is a masterpiece. 

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Follow Chasing Jonah

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

FEATURE:

 


Sisters in Arms    

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IN THIS PHOTO: Poppy Ajudha

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

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THE ninth edition of this playlist…

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IN THIS PHOTO: July Jones

introduces some fantastic talent and reveals some wonderful songs. There is a mixture of lascivious, sweat-dripping and fierce alongside tender, flowing and warming. This playlist represents the two sides of summer: those intense days where the heat gets into the skin; the nights that are more bearable but have an incredible grace and allure. Included in this rundown are tracks from Poppy AjudhaTracey ThornLittle SparrowBeth Rowley and July Jones. It is a fantastic collection that highlights some of the finest female talent…

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IN THIS PHOTO: Beth Rowley/PHOTO CREDIT: @jonnyrowley

EMERGING right now!

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

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Lola KirkeSexy Song

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Stephcynie Friends

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Little Sparrow (ft. Robin Dewhurst)Baggy Trousers

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PHOTO CREDITOlga Ush Photography

Valentina Blú - higher&higher

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La Luz - Cicada

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EMM No Gods

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PHOTO CREDITRebecca Johnson Photography

Katie BuxtonGreen Light

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Georgia BoxI Don’t Want You Anymore

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Mahalia - I Wish I Missed My Ex

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Chelsea WolfeThe Culling

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Bella HardyThe Same Mistakes

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PHOTO CREDITBeth Chalmers Photography

Megan AirlieHoney

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Beth RowleyHowl at the Moon

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Tiger DarrowAmerican Dreamer

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Rachel Cousins Let Go

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Fever Ray - Musn’t Hurry (Aasthma Remix)

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Tash SultanaSalvation

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Tracey ThornDancefloor

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Brooke LanzinerRelapse

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July JonesI Fall Apart

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WallaceFrame By Frame

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Pip MillettLove the Things You Do

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Haneri Feel Alright

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Poppy AjudhaShe Is the Sum

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katie MACGold

INTERVIEW: Nia Orea

INTERVIEW:

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Nia Orea

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TAKING us towards the weekend…

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with a sense of calm and magic is Nia Orea. I have been speaking with the songwriter about her debut E.P., Gifted, and what it was like putting it together. She gives me a flavour of the artists who inspire her own work; how important her fans’ support is – I ask whether there are any gigs coming up.

Orea talks about her uncle managing Bob Marley and the impact that had on her; what she hopes to achieve before the end of this year; which upcoming act we should follow – she ends the interview by selecting a rather good song.

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

I’m great! My week’s been awesome! Soaking in most of the sun: the weather here in London is fantastic right now. Go heat wave! 

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

My name is Nia Orea and I make Electronic music. I love E.D.M., Trap and Futurebass - and my mission is to take your ears and mind into my journey. 

Gifted is your debut E.P. Has it been exciting putting the songs together and completing it? 

Yes! This project is extra-special to me because, during the process, there were setbacks and tribulations, but the magic pulled through in the end. I also got to work with some inspiring people.

The songs mix different genres and sounds. Are you quite eclectic in your tastes? Which artists inspire you? 

The sound-system was always on in our house! I grew up listening to different types of Electronic music and Soft Rock. My dad was Electronic and Dance music whilst my mom was obsessed with the '80s artists like Madonna and Janet Jackson. Our household blasted an array of genres - we had record players, tapes and huge C.D. collection. As a kid, I was also obsessed with theatrical music and soundtracks. Guess it all rubbed off on me! 

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Your tracks have received a lot of love online. Is the support you get from fans important? Do they give you a lot of drive and confidence

Oh, yes! I love my fans and I love how they let me know how they feel when they listen to my tracks. Critics are also important to me: it helps me improve so that I can make sure that I hit you with something great, always.

Do you recall when music came into your life? Did you learn an instrument when you were a child? 

Yes. From a very young age, I was in my school choirs and plays! I self-taught myself how to play the recorder and I did a few lessons in piano and guitar. 

Is it true your uncle managed Bob Marley?! Did he instil a love of the Reggae in you? 

Yes. My uncle is a legend (R.I.P.) but his motivation and true love for Reggae music and Bob are what inspired me. He worked hard, very hard, and been through so much during his time working with Bob. But, those hurdles didn’t stop him from assisting Bob in following his dreams. Music was his life, as it is mine!

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

Where do you guys wanna see me play? You’ll, possibly, catch me touring in the U.S. very soon. We’re working on something there and, of course, Europe. I would also love to tour Japan! 

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How important is it being on stage and delivering to the audience? Can you describe that feeling? 

It feels great - making that connection with the people that listen to your music and story! I’m there to put on a show and make sure you guys have a great time. I wanna make sure it’s a performance you’ll always remember.

What do you hope to achieve in 2018?

I would love to tour or perform with the musicians I admire and that I look up to…or even just meeting them. That would be good enough. 

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

That time I performed Hero for my high-school and I sang my heart out. Yes, I can sing and, yes, I’m shy but I could not see a damn thing when I was on that stage! The person controlling the lights sucked, it was all up in my eyes. But, that was good for me cause I couldn’t see the crowd and I wasn’t nervous. Haha. I was like twelve or something.

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

Haha. Nice question. Skittles, but only blue and red ones. Cheetos - loads of Cheetos -, olives and feta cheese. Cans of Ting; jerk chicken and rice and peas with loads of fried plantain on the side! 

What advice would you give to new artists coming through? 

Stay focused and don’t rush! It’s ok to take a break and collect your mind. Identify areas where you’re weak and work on it. 

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IN THIS PHOTO: Tune (Keys N Krates)

Are there any new artists you recommend we check out? 

Keys N Krates is a talented band! Check 'em out as they are making waves right now. 

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

I’m a gamer so, if I’m not making music, I’m probably playing Fortnite or some other game! I also love hanging with my friends on day outs, good food and vibes.

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).

Flume (ft. Kai) - Never Be Like You

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Follow Nia Orea

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INTERVIEW: Rob Dickson

INTERVIEW:

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 Rob Dickson

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I have been talking with Rob Dickson

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about his new single, Water Rushing In, and what sort of themes are discussed and explored in the upcoming album, Looking Through Your Window. Dickson talks about his musical tastes and the scene in Yukon (Canada) – he recommends some upcoming artists we should keep our eyes peeled for.

I ask whether tour dates are coming up and the possibility of U.K. dates; what advice he would give to artists emerging; the three albums that mean the most to him – Dickson talks about writing on the road and how he unwinds away from music.

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

Great. I'm traveling for work in a remote community and enjoying the sights and fresh air. I’m looking forward to getting home to my family, though.

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

I'm a songwriter, singer and guitarist based in Whitehorse, Yukon (Canada). I just finished my second album and I'm gearing up for its release and some touring this fall.

Water Rushing In is your new single. Is there a story behind the song?

There are a few stories embedded in that song. I wrote it in a few different parts and had to rework the lyrics a few times. It's sort of a portrait of a hybrid character I made up based on three individual characters.

One is an indigenous person, one is a dairy farmer and one is a logger. I was trying to imagine how different people experienced colonization and industrialization in Canada - and this portrait began to emerge in the form of a song.

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It is from the L.P., Looking Through Your Window. Are there consistent themes and stories that inspired the music?

On this record, I wanted to try a different approach. After writing, recording and performing the songs for my first record, Proof of Our Years, which was very introspective, I think I naturally wanted to look outwards for inspiration. I started grappling with how individuals interface with the world, how our experiences and memories shape our view of the world and form our predispositions and perspective.

I was looking out and was pretty horrified by what was happening around the world with the rise of nationalist groups, politics of fear; mistreatment of indigenous people and the environment. I think that made me want to examine the perspectives of myself and those around me through the songs.

Is it easy getting reception and opportunities where you are in Yukon (Canada)? What is the scene like there?

Canada and the Yukon, in particular, are pretty decent places to live as an artist. There are so many programs in place to support the making of creative work. It is very hard to tour profitably though due to the vast distances between cities - but I find audiences are really kind for the most part.

I get a sense travel and movement influences your music. Do you write a lot whilst commuting?

I have a pretty busy schedule at home so it can be hard to find minutes in the day to write at home. I also find my mind is a little clearer and less occupied by work and general tasks when I'm on the move. So, yeah, I definitely like to write a lot while traveling. I try to play guitar and play around with melodies every night at home too - but, I find it hard to get in the right headspace to write words at home.

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Which musicians inspired you when you were growing up? Did your parents open your eyes to lots of different sounds?

When I was a kid, I listened to a lot of records my dad had in the car: lots of '60s and '70s singer-songwriter music like Joan Armatrading, Billy Bragg; Neil Young and '70s and '80s Pop and New Wave like the Cure, Squeeze and The Kinks. I really liked listening to that music and imagining myself living in that world.

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

I'll be playing a bunch of shows between Montreal and Toronto at the beginning of September which I'm really excited for!

Can we see you in the U.K. this year?

I don't have any dates in U.K. yet, but I'd really like to plan a U.K./Europe tour soon. I'd love to hear from anyone with an empty festival slot (smiles).

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

Plan a U.K./Europe tour for 2019!

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

I got to play a show with John K. Sampson last year. That was pretty surreal and lovely.

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

One Hundred Dollars - Songs of Man

The Barr Brothers - The Barr Brothers

Land of Talk - Some Are Lakes

What advice would you give to new artists coming through?

Focus on making the best music you can make - that's the most important thing. Work hard and be critical but have fun and remember music is a form of play. Be yourself and don't be afraid to reach out and ask people for help. Most people love to help people.

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IN THIS PHOTO: Ansley Simpson

Are there any new artists you recommend we check out?

Ansley Simpson is an incredible songwriter who is doing really great things with her music right now. I'm also really into Jennifer Castle, SUUNS; U.S. Girls and The Highest Order.

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IN THIS PHOTO: U.S. Girls

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

I do try and make time to relax without thinking about my work. It can be hard to do, though; I have become a bit obsessive about it. I like getting outside and running or biking. I do those things regularly for fun and they help me clear my head and put things back into perspective. I also spend lots of time with my partner and our kids. They help ground me I think.

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

Where the Sparrows Drop - One Hundred Dollars

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INTERVIEW: Moderate Rebels

INTERVIEW:

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Moderate Rebels

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THE incredible Moderate Rebels have been talking with me…

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about their new track, Beyond Hidden Words, and how it came together. They tell me about their forthcoming album and what we can expect in terms of themes and stories – I discover how Moderate Rebels got together and what the secret to their sound/music is.

I ask how important it is getting on stage and performing; which upcoming artists we should have a listen to; whether there is any time to unwind – they reveal what gigs are coming up and pick some cool songs to end the interview with.

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Hi, Moderate Rebels. How are you? How has your week been?

Hello. Good, thanks. We’ve had a good week. People have been kind enough to play the new Moderate Rebels song on the radio and also write encouraging things about it…so; we’ll smell the flowers along the way, why not?

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

Moderate Rebels is a collective of friends, based in London, that get together to make music that hopefully is of its time (i.e. now). We call ourselves ‘anti-music’ as the emphasis is on feeling and ideas rather than technique or cultivating musical skill. We work with our limitations and look to make music we like - that’s it, really.

Beyond Hidden Words is your new single. What is the story behind the song?

Uses of language, generally, seems to be a running theme in Moderate Rebels songs: what words are used to justify all kinds of behaviour and their different potential meanings – and, also, what is and isn’t said is part of that too. But, we feel this is a really hopeful song…maybe about breaking through all of that; getting past those slippery words, and what’s not said, and into strong feelings and people joining together…to look to put a stop to things that they don’t feel should be going on.

It is from your forthcoming album. Can you reveal any titles and themes that are explored?

How language can be used and misused is certainly in there. Also; how the energy and glorious noise of music can genuinely lift up your feelings and, therefore, from that start to make a better day, perhaps…

It lifts us - so that’s why it’s coming out into the world, really.

Do you think there is a secret ingredient in your music? How would you define the ethos and sound of Moderate Rebels?

It’s not a secret as such, but actively not thinking is a really big part of what’s going on for us. The music seems to arrive in an unconscious way: we don’t try to write it. We didn’t try to record this album or the last; they just arrived. Embracing our limitations is important, as is simplicity: “Use as few words and chords as possible” we say. Around the first album, someone said Moderate Rebels were “simple but complicated” which we liked.

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How did you two find one another? Was there an instant spark?

There are many members of Moderate Rebels - but only some people will show up for photos…others only play at gigs; others do artwork or go to the studio etc. We found each other the usual way, really: friends, other music groups; parties, friends of friends etc. Some people will be involved in some things but not others.

It’s a fluid set up, which suits everyone.

What do you hope to achieve in 2018?

Not to be funny here, but we don’t hope to achieve anything, really: we’d like people to hear the music we’ve made and we want to play some fun shows. Maybe make another album after that. There’s nothing we want to chase with this; making the album we want to make and putting it out into the world is the achievement for us. There’s nothing much to win and nothing much to lose beyond that.

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

We had a very good time playing Rockaway Beach at Butlin’s in January - and the first Moderate Rebels live show - where we really didn’t know what was going to happen. It could have been a total disaster…it was very exciting. That went so well that we decided to write more than just the one song we had at the time.

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

Kanye West. I do think he is one of the all-time greats. Yeezus may well be my album of the century so far...

Vegan curry on the rider, please.

What advice would you give to new artists coming through?

The only advice we have to offer is…don’t listen to anyone’s advice…we don’t think that’s the
best way to get to the point of doing whatever it may be that you would really want to do.

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Where can we see you play? Do you have any gigs approaching?

11th August at Tooting Tram & Social; another gig in October in London, plus a few more…and then we are doing a U.K. tour in late-November around the album.

How does your live set usually sound? Will you be playing new album tracks or dipping into your past work for upcoming gigs?

Some shows we’ve done have just been thirty-minute versions of one song: sometimes, we do six songs. There’s no constant. New and old songs probably, yeah. But, they will be different from the album versions and, sometimes, pretty different. We’re not particularly interested in faithful reproductions - you can listen to the albums for that. We want to make unrepeatable live moments if we can.

Is it important getting on stage and putting your music to the people? What kind of buzz do you get?

Very important, really. It was the reason we carried on with Moderate Rebels, after the first show, and did more music. If our gigs are approached correctly by us then it should have an unpredictable element and tangible risk of collapse in it…which seems to bring the best out of the group and also make it more engaging than just another gig for the audience.

We would much rather risk the odd disaster here and there and reach for something special than be just reliable or professionally slick. Personally; we’re just not inspired by that kind of stuff and we have no desire whatsoever to be light entertainers.

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IN THIS PHOTO: Rodents/PHOTO CREDIT: Habeeb Giwa

Are there any new artists you recommend we check out?

South London’s Rodents are fun. Quite like what I’ve heard by The Blinders, too.

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IN THIS PHOTO: The Blinders

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

Losing ourselves in music, listening and playing, is one of the main ways we unwind. Cycling about the place is also a favourite. Apart from that, the usual: books, films; art, dancing etc. Nothing that special.

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).

Kids See Ghosts (Kanye West, Kid Cudi) - Reborn

Arctic Monkeys - American Sports

Spacemen 3 - Big City (Everybody I Know Can Be Found Here)

Mark Pritchard (ft. Gregory Whitehead) - Come Let Us

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INTERVIEW: AKIVA

INTERVIEW:

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AKIVA

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WITH Donald Trump parking his orange backside…

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in the U.K. for a few days; it seems like a perfect time to speak with AKIVA about their new single, Ammunition. They talk about figures like Donald Trump and the impact they are having on the world; how the band got together and the sort of artists they are influenced by – I ask whether there will be gigs and more material before the end of the year.

AKIVA select a new act we should be looking out for; whether there is any chance to chill when not making music; which artist they’d support on tour given the chance; what advice they would offer upcoming acts – the guys each select a song to end the interview with.

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

Pretty special. We released our new single, Ammunition, and watched England get to their first World Cup semi-final in twenty-eight years. Doesn’t get much better than that!

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

We’re AKIVA. There are four of us and we’re from Bedfordshire. We’re into analogue synth. loops; drum-beats with a groove; rolling basslines; Stones-y guitar sounds and big choruses. Our sound was probably originally inspired by all that Electro-Indie crossover stuff that came out of the nineties: The Charlatans, Primal Scream; UNKLE; Black Grape; Doves; Stereo MC’s etc. – and, also more recently, the likes of The Horrors, Jamie T and Beyond the Wizards Sleeve. We’re also big fans of trying to use music to get a message across - particularly in the volatile climate we currently live in. 

We were recently described as ‘George Orwell-meets-The Killers’ - which is not far off.

The video for Ammunition is out. What was it like working with Wayne McCauslin on it? 

This is the second track we’ve worked on with Wayne and hopefully won’t be the last. He’s a real talent. We’re huge fans of his animation style. He totally gets our music and where we’re coming from and has the ability to take the messages we’re trying to convey in our songs to a whole new level with his visuals. He’s a real pleasure to work with and we feel very lucky to have crossed paths with him.

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The song is getting a lot of great feedback. How did it come together? Is there a story behind the track? 

Thanks. Yeah; this is actually quite an old song. We’ve been playing it live for a few years but never record it until now. It was originally inspired by the many hasty and disastrous military interventions made by the U.K. and U.S. the last ten to fifteen years: Afghanistan, Iraq and Libya; but it’s also a more general reflection on the international military conflict in general and how it rarely results in any positive outcomes. Unfortunately, with some of the lunatics we have in power at the moment, it feels like another one is not far away.

In a weird way; do twisted leaders like Donald Trump give you plenty of inspiration?! Are you ever surprised by what is happening in the world?!

There’s certainly plenty to write about at the moment! Yeah, Donald Trump is an imbecile (I’d like to see him in a room with De Niro) but I think he’s a symptom of a wider problem rather than a cause. There’s a worrying trend towards rising populism, nationalism and mistrust of others in all countries at the moment - and it wouldn’t surprise me at all to see it get stronger. As long as inequality continues to rise, which it shows every sign of doing, more people will find crazy populists with dangerous ideas appealing.

The current climate feels very much like what I imagine the period before the Second World War to be like. I often used to wonder how it was possible that someone like Adolf Hitler ever got elected to power but, having lived through the few years, I can see how it happened. It’s a worry.

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How did AKIVA come together? When did you all find one another? 

We all went to school together. Rob and Dave are brothers and were at junior-school with Malc. I moved down from the North and met the others at secondary-school. We started out by messing around with guitar riffs and trying to learn the odd cover that we could play to our mates in the school talent shows and stuff. In the sixth-form, we started to take it a bit more seriously and set up camp in Dave and Rob’s foam-plastered garage - much to the disappointment of their neighbours.

That’s when we formed the band properly. 

Is there going to be an album or E.P. coming from the band later in the year? 

Yes, there is. We have another single called Broken Ship which we’ll be releasing later this year as part of a four-track E.P. There’s a theme of conflict and political tension that runs through all the tracks on the E.P.

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Which artists do you take guidance from? Who do you all count as idols?

There’s a long list! We take guidance from anything we like, which is quite a lot. We love all the classic old stuff like The Rolling Stones, The Who; The Beatles, The Kinks – they laid the blueprint for male guitar bands and you can’t help but be influenced by them.

We’re also quite into Electronic music and were influenced by a lot of early-nineties Rave and Dance music and bands that took that feel and crossed it over into the guitar space like The Stone Roses and The Charlatans - as well as the likes of The Prodigy and Chemical Brothers. More recently, we’re big fans of The Horrors, Tame Impala and Everything Everything: three amazing bands with incredible layering and sonic detail in their tracks.

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

Hopefully, to just get more people to hear our music and see our videos. We’re pretty proud of what we’ve created and we want as many people to hear it as possible.

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

We’ve been together as a four for a long time and we’re really tight mates. Some of my favourite memories are from the adventures we had when we were first starting out. I’ll never forget a time we hired a van for a gig in Greenwich and Rob, our bass player, was driving us all down (bass players always drive the van!).

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He crashed it into a massive concrete bollard as he tried to reverse-park into a tight space outside the gig venue. He then proceeded to grind the side panel backwards and forwards on the bollard whilst trying unsuccessfully to get it out. It just got worse and worse and we were pissing ourselves laughing.

For some reason, that one always sticks out in my mind. It just reminds me of a time feeling very free when nothing seemed to matter. That’s what I love about being involved with music – when it allows you to feel like that. 

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

I think it would have to be The Stone Roses. Us supporting them on a stage in Manchester and then joining them at the end of their set for I Am the Resurrection. I think I’ve had that dream about fifty times.

The rider would be sixty-eight lemons and eighty-nine tins of red, white; blue, black and gold paint. Maybe we’d throw it all over ourselves and the crowd in the encore for a great big, united; Jackson Pollock, paint-splattered psychedelic groove-out.

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What advice would you give to new artists coming through? 

Be prepared to graft: put some serious hours in and just keep going. There’ll be times when it feels like nobody’s listening but don’t let it set you back, just keep on. Never stop trying to learn from the music you love and trying to refine and improve your art. The ultimate pleasure in it all comes from realising you’ve created something you didn’t think you were capable of.

Where can we see you play? Do you have any gigs approaching? 

Yeah. We’re playing at Pennfest on Friday, 20th July. We’re on the main stage at 2:45 P.M. It’s a pretty big gig for us. We’re on before The Bluetones - which is pretty special for us as we’ve always been big fans. I think we played a cover of Slight Return in our first-ever gig. We’re also playing The Finsbury in London on Saturday, 8th September.

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IN THIS PHOTO: Hookworms

Are there any new artists you recommend we check out? 

One of my favourite bands at the moment is a band called Hookworms from Leeds. They’re incredible: full of sonic layers, bleeping analogue synths; Krautrock beats and howling vocals. Right up our street. I’ve not been able to see them live yet. They don’t tour much as they all also have full-time jobs (something we can identify with!). Their latest album, Microshift, is brilliant. Go and check it out.

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

Not really. We don’t tend to do much unwinding. In the age where all music is free, there’s not much money in it for smaller independent band like us (and Hookworms!); so you need another job to pay the bills. When we’re not working, we tend to work on the band, whether it’s rehearsing, writing; recording or working with visual artists on the graphics and videos. There’s never enough time.

I remember watching that Ian Curtis film, Control, and thinking how knackered he must have been in the scenes when he’s working full-time in a Macclesfield office before jumping in the car and driving down to play in London…then back up to Macclesfield for work again the next day. It can feel like that sometimes but it’s all good. Wouldn’t want it any other way.

Music’s a pretty addictive thing and I tend to spend most of my time thinking about it when I’m not doing it. Whenever you do get a break, it doesn’t take long before you want to dive straight back in.

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).

With pleasure. I’ll go for Can’t Do by Everything Everything. I absolutely love this band. Their music is so clever, layered and intricate but still has loads of catchy Pop hooks in it. You can love their tunes after one listen but still find something new each time you go back to it. They recorded this in the same studio we recorded Ammunition and Luke - one of our engineers worked on it. That was quite inspirational for me.

Malc (Guitar): The Horrors are right up there for me. Top band and their last album, V, has some of their best work in my opinion. The track I love most is Press Enter to Exit which has sounded ever-better cracked loud in the summer sun. I challenge anyone to hear that awesome grooving bass and not nod their head or shuffle their feet. Add to that the huge distorted drum break and grinding machine guitars and you have a dream track for me....oh, yeah, and it has a doorbell in it. Cool, hey!

Dave Merc (Drums): My choice is Electric Man by Rival Sons. Love that guitar riff and solid drum beat

Rob (Bass). I’ll go for an old track – Dying Days by Screaming Trees. '60s Psych vibes with soulful vocals. My favourite to listen to in the car on long, hot drives on my own

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