INTERVIEW: Delta Will

INTERVIEW:

Delta Will

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I have been speaking with Charles of Delta Will…

about the band’s latest single, Nothing Is Enough. He talks about the upcoming E.P., Multitudes 1, and mixing a lot of different sounds together; how the band got together and started life; what Toronto is like as a base – I ask if there are any upcoming artists we need to look out for.

Charles talks about touring and reveals whether a U.K. trip is a possibility; how he spends his free time away from music; whether the band all share musical tastes – he ends the interview by selecting a rather good song.

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

Charles: Hot! It’s been seriously hot here in Toronto, though it seems to be letting up a little today.

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

Delta Will is a band that would cook breakfast for you and bring you flowers out of the blue. We call our music ‘Existential Pop’.

Nothing Is Enough is your new single. Can you tell me how the song came together and what inspired it?

I wrote Nothing Is Enough as part of a friends’ songwriting challenge in which a bunch of us had to post a new song to a group thread every week. Most of those songs never made it beyond that thread, but this one felt good immediately and I eventually took the demo to the band and we started working on the version of it you can hear today.

I wrote it in a fairly stream-of-consciousness manner so it’s pretty hard to say exactly what inspired it, though it does grapple with the notion of perpetual happiness and living in a world where little screens are constantly feeding our wants and desires.

It is from the Multitudes 1 E.P. It seems like you embraced a lot of sounds and new directions on the E.P. Would you say that is true?

Embracing many different sounds isn’t really new to us. It’s sort of been the Delta Will M.O. from the start. I did find myself listening to a lot of Neo-Soul and modern R&B while I was writing these songs but also a bunch of minimalism and film music. It’s hard for me to parse out exactly what influenced what but, in short; yes, we’re always embracing new music.

How did Delta Will get together? When did you meet one another?

I started Delta Will as a solo bedroom project in 2011. Once I started recording the second E.P., It All Glows, it occurred to me how much I missed the energy and comradery of making music with bandmates and asked some musically-inclined friends to join me. I had met Milan through a video series he directed of bands playing on Toronto streetcars and I met Brandon from playing in mutual friends’ bands. Our drummer, Kevin, is the latest addition and we enlisted him after everyone kept telling us how great he is.

They were right.

Do you all have similar musical tastes? What sort of stuff are you all into?

Everyone’s taste is pretty eclectic. If I were to overgeneralize, I’d say I’m the lone Folk music freak and everyone else is more into Dance music. Everyone can agree that Khruangbin is pretty great (see below).

Toronto is where you are all based. How important is the city? Is it an inspiring place to make music in?

Toronto is absolutely littered with talented musicians. It’s certainly inspiring in the sense that great music is happening all around you at all times. It’s also a booming city where rent is becoming astronomically expensive and artists are slowly but surely being pushed out. Pros and cons.

Do you think there will be touring dates? Can we catch you on tour?

Absolutely. We’ll be touring in Canada this fall and those dates will be announced very soon.

Might you come to the U.K. and perform at some point?

Yes! We’re hoping to cross the pond next year.

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

I’m going to preface this by saying that ‘any musician alive today’ makes it very difficult. I’m terrible at picking favourites. That being said, I’m going to go with Wilco because I’ve met them and they’re really nice guys - and I’ve loved their music for so long.

Our rider would consist of freshly-baked chocolate chip cookies. Just cookies.

IN THIS PHOTO: Kira May/PHOTO CREDIT: Adnan Khan

Are there any new artists you recommend we check out?

Kira May, Saxsyndrum; Drago Dit Dragon and Sara-Danielle. Two of those might be our label-mates.

IN THIS PHOTO: Saxsyndrum/PHOTO CREDIT: Tess Roby

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

I never underestimate the importance of chilling. Lately, I’ve been reading Infinite Jest under a tree in the park and going for bike rides.

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).

Friday Morning by Khruangbin, please!

________________

Follow Delta Will

Official:

http://www.deltawill.com/

Twitter:

https://twitter.com/deltawillmusic

Facebook:

https://www.facebook.com/deltawillmusic

YouTube:

https://www.youtube.com/channel/UCI27SfQLsSnnQsPl68pYxww

Instagram:

https://www.instagram.com/deltawill/

Spotify:

https://open.spotify.com/artist/0WaYwZ85oibQgSZtRRxxei

SoundCloud:

https://soundcloud.com/delta-will

INTERVIEW: Tyler Hilton

INTERVIEW:

Tyler Hilton

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THE tremendous Tyler Hilton…

has been chatting with me about his latest single City on Fire, and what its story is. The track is taken from the songwriter’s album of the same name (due out in the autumn). I ask the U.S. songwriter about his acting work and the importance of performing and writing in Nashville.

Hilton discusses performing in the U.K. (the interview was sent out before he embarked on a small tour of the U.K.) and whether he has any ambitions to fulfil before the end of the year; which three albums he ranks as favourites – he recommends a musician we should all spend some time listening to.

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

I’m happy and tired - and this last week feels like it’s lasted a whole month. Haha! But, I’m in a different country every day right now and, when I should be sleeping, I’m cramming in lots of sightseeing!

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

Probably best to search me on Spotify and hit ‘shuffle’ - I’m always unsure how to describe my sound. I’ve been writing and singing since I was young. I come from Southern California and was raised on Folk music in a family of musicians, so I’m influenced by a lot of stuff!

 

City on Fire is new. What is the story behind the song?

It’s a murder-ballad about a man losing everything and struggling with revenge. To me, it’s a metaphor for a lot that’s being lost right now and our reaction to it.

Might we see some more music come before the end of the year?

Oh...I think you definitely will (smiles).

I get a feeling Rock and Country and important genres. What sort of music are you into? Did you connect with music quite young?

I connected with it super-young. Elvis (Presley) was my entry into everything: Blues, Gospel; Rock and Country. Then, from there, I found favorites in each genre and just became obsessed with them for different periods when I was building myself. Filming Walk the Line felt like I was getting to bring all those pieces together.

I understand you have roots in Nashville. How important is the city to you? Is it where you feel at your purest and best?

Yea. Nashville is a very important character in my life and this new record. Charles Kelley and Dave Haywood from Lady Antebellum used to be my roommates down there. It was those good times that led Charles and I (to wanna) chase that again on this record!

How does your acting work tie with your music? Is there an acting role that stands out to you?

Being in movies is a blast. I love acting. I love being part of a whole new world. It’s like a vacation from myself. I get such good perspective stepping into a life that isn’t me. I think it has helped my writing, for sure.

Hard to top playing Elvis for me, though.

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

Check TylerHilton.com for dates. I’m touring all year!

You’re coming over to the U.K. Do you like British music?

Yes - and I love their taste in music. Some of my favorite artists have found audiences with the Brits when no one else was getting it.

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

To be home as little as possible. Haha! The new record’s done and I wanna play this thing for people!

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

Opening for Keith Urban and John Mayer was insane to me. The three of us together was my dream show! I love both their music and feel like I’m somewhere right between them.

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

Muddy Waters’ I’m Ready; Bob Dylan’s Another Side of Bob Dylan and Blake Mills’ Break Mirrors.

What advice would you give to new artists coming through?

Keep writing bad songs: they might not be as bad as you think. Don’t just try and write ‘good’ ones. I feel like the part of us that judges can be bullsh*t.

IN THIS PHOTO: Blake Mills

Are there any new artists you recommend we check out?

Blake Mills has two records out and I have become obsessed with both!

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

I walk a lot, watch movies; read, hang with people; talk a lot of sh*t and laugh a lot, I guess?! (Smiles).

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).

Blake Mills - It’ll All Work Out

________________

Follow Tyler Hilton

Official:

https://tylerhilton.com/

Twitter:

https://twitter.com/tylerhilton

Facebook:

https://www.facebook.com/TylerHilton

YouTube:

https://www.youtube.com/channel/UCbWC05EA0RSijh6-9rIO58Q

Instagram:

https://www.instagram.com/tylerhilton/

Spotify:

https://open.spotify.com/artist/1bKdOEfMk4ftojJQdyV2Ik

FEATURE: Rage Against the Meninists: How Simple Unity and Agreement Can Lead to Big Changes

FEATURE:

 

 

Rage Against the Meninists

PHOTO CREDIT: Unsplash 

How Simple Unity and Agreement Can Lead to Big Changes

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THE title of this piece…

PHOTO CREDIT: Unsplash

is, in addition to being a bit of lazy wordplay, reference to those, men for the most part, who call themselves ‘meninists’. That might sound like an ancient sect or religious cult but, in simple terms, it is those who propose greater rights for men and highlight the male movement: the male equivalent of feminism/gaining equal rights for women. It is a rather unsettling and petty movement that throws its toys out of the pram and rebels against feminism – many men see them (women) as po-faced, judgemental and keen to blame men for all issues. I will come back to that in a minute but my mind has remained settled on gender and sexual equality for some time now. I will allude to sexual assault and consent in music – men taking advantage of their power – and how the issue is not going away. I raised a point on social media that garnered interesting feedback: Is it strange or ‘too much’ for a man to raise awareness and show a feminism flame at a time where there are few men speaking out and writing about the issue in music?! There are plenty of sites (like this) that shows what sexism there is and how many men are out of step with progression and equality.

I understand men have a hard time in the world and go through the same stresses and doubts as women: body images and mental-health problems; struggles for recognition and woes. This article highlights the perspective of a self-appointed and anointed meninist:

“Consider mental illness, and how we deal with emotion. While women are encouraged to 'open up' and discuss issues with friends, men are told to 'man up,' and to hide their emotions. According to the mental health charity Mind, the consequence of this is that men 'are often discouraged from expressing 'softer' emotions' leading to 'barriers to good mental health'. Mind also suggests that the public are 'more prejudiced against men with mental health problems than women.' Considering the difficulties that gender stereotyping presents to men, the statistic that men are three to four times more likely to commit suicide than women no longer seems so surprising…All of these issues have a common cause; the idea of masculinity and how we have defined what being a man is. Just as feminists point to the limitations of an effeminate personality, we must highlight the injustices of the inflexible masculine mould that we are expected to fill. It is not about granting men the freedom to adopt an effeminate personality if they wish, it's about having the sense to realise that a gender can't have a personality. That to tie a gender to a personality trait is no less ridiculous than associating a personality trait to an ethnicity, sexual orientation or nationality”.

I agree, to an extent, there are a lot of issues men face and they shouldn’t be ignored. Creating a movement emphasising male rights laughs in the face of feminism and mocks what it is about. I raised these points because a lot of this attitude is still present in music. Before I move on and raise some points of my own; a few further words about meninism and how it is tainting the waters:

“That seems to be the message of Mike Buchanan, leader of political party Justice for Men and Boys, which has the alliterative and depressing goal of ‘fighting feminism’.

His main points appear to be that feminists are “hatchet-faced miserable women”; it’s not really a proper sexual offence to "pat someone’s bottom"; and he’s “not aware of a single area where women are disadvantaged relative to men.”

In other words, he’s a sexist idiot who’s too busy moaning inside his man cave to see the world for what it really is.

But somehow, Buchanan is not alone. His puerile nonsense is attracting supporters. Other men’s groups and movements are sprouting up, claiming they're being victimised by society”.

You need only look at products and advertising to see how sex and the sexualisation of women is creating problems and sending out bad messages. There is a clear divide between the way men are promoted and seen and how women are portrayed! In the music industry, there are two big concerns that affect me: the imbalance and surfeit of chances open for women; sexualisation and inappropriate behaviour that is being brushed off as ‘okay’ and ‘acceptable’. There are, believe it or not, deliberately provocative articles like this that make light of feminism and the #MeToo campaign. Andy Shaw, writing for Spectator Life, provides 'steps' in order to become a 'male feminist'.

PHOTO CREDIT: Unsplash

His useful 'steps' include tips on how to 'look at a woman':

"Feminists have discovered that sometimes men are sexually attracted to women. Men become aware of the physical attributes and characteristics of a particular woman and they are enticed. For example, a man may appreciate the elegant curve of a woman’s neck, the way she laughs or smiles, or a man may have noticed the outline of a woman’s breasts as she scanned his avocado at Waitrose. Historically, women have sometimes found the physical attributes of men attractive too.

However, it is important to understand that sexual attraction is demeaning and that lust is the modern sin of ‘objectification’. When you experience feelings of sexual desire, you are unconsciously negating the personality and achievements of the woman in question. In doing so, you belittle all women with a single glance.

To become a FeMan, you must recognise that women’s bodies are not objects and therefore that women are not, in fact, physically attractive to you. If you find a woman sexually attractive, ask her to put a paper bag over her head. She will become relaxed and appreciate your considerate approach."

PHOTO CREDIT: Unsplash

One other gem that is shared - after talking about how to have sex with a woman and how to talk to them (in that order) - discusses how to 'understand working-class women':

"Help feminists to make women aware of their suffering. It has been discovered that the most oppressed women are arts advisers, media executives, actresses, newsreaders, Guardian journalists, bloggers, charity and NGO executives, as well as female Members of Parliament. Support the fight for senior female BBC executives to be paid higher wages. Empathise with Holly-wood actresses who suffer the indignity of ‘glamour’ from an insatiable media in exchange for mere wealth and fame. As you gain confidence, shame those women who take jobs as ‘hostesses’, or ‘darts girls’. Try tweeting #BadWoman every time you see a woman who is displaying signs of unconscious misogyny. ".

This is how some media outlets and writers view important campaigns and feminism: to mock and make light of something that is incredibly serious and looking for support (I would quote more of the piece but it makes me somewhat angry!).

PHOTO CREDIT: Unsplash

The pay divides we have seen at the BBC has started conversations and sparked a lot of debate. Progress is coming but it is going to be an awfully long time before real pay equality comes about. I am hearing the same sort of stories come through in music. I hear stories of male and female bands playing gigs – in similar-sized venues – that get paid differently. Take into consideration experience and popularity and, even when that is factored and levelled, you get a disparity. I hear stories of female artists being paid less than male for no real rational reason. The pay divide might not be as severe as the BBC but look at the statistics. I will bring in a couple of articles in a bit but I want to return to a point I mooted early – whether it is strange for a male journalist to fight against sexism and see themselves as a massive feminist?! Everyone should be a feminist but there are nerves and hesitations (for men) to call themselves that and make that declaration. I can understand why they would not want to attend protests and be THAT involved – it makes little sense ignoring the problems we have and identifying with women. Music is a meritocracy and should be based on talent and ability. It is not a case of needing extra physical strength or qualities exclusive to men.

The only reason there are more male producers out there and more male artists at festivals is because of attitudes and problems that have not been addressed. I posed the question on social media and the general response was supportive (of feminism) but I wondered why mainstream male journalists spent so little time talking about women’s rights and asking why there is not equality in music. Maybe there is hesitation speaking up and being perceived as clueless or less educated on the subject – you do not need education and special knowledge to realise the facts and empathise. A lot of newspapers have remits and limits; they have their particular style and address certain things – it is harder being autonomous or rebelling against rigid strict editorial rulings. I will touch on this in the conclusion but, correcting my argument with the BBC pay gap/pay issues in music it seems, at labels at least, there are glaring problems:

“Across the board, the gender pay gap is significant, averaging 33.8 per cent overall, with 29.8 per cent at Universal, 22.7 per cent at Sony and 49 per cent at Warner.

With regards to bonuses female executives make 49.2 less at Universal, 45 per cent less at Sony and an extreme 82 per cent less at Warner.

Bonuses are about evenly distributed by gender at Universal and Sony, but there is 11 per cent less women get bonuses at Warner.

...In comparison to the BBC wage gap difference of 10.7 per cent that caused outrage last October, the difference in pay by gender at major UK labels is much more alarming.

But the gender pay gap at the labels remains smaller than international bank HSBC, which was determined to have a 59 per cent difference”.

On the subject of festivals; equality is a big problem and most of the biggest festivals here still put male artists first. There are a few that highlight female artists and put them first. From Coachella’s line-up this year to ESSENCE Fest and FORM – so great to see women put in headline slots and given big props. Although the article highlights a few festivals where women are top; only one of them (Essence Festival) gets it properly right and seems to redress the balance! The piece did highlight issues this year and artists striking out:

“This gap is even more striking in 2018. The highly-anticipated Wireless UK festival was recently slammed for their lineup consisting of three women: Cardi B, Mabel, and Lisa Mercedez. In the words of Halsey, "It's 2018, do better!" Why aren't women headlining these festivals? While we're still awaiting 2018 announcements from a few generally balanced shows (Made In America, Full Moon, etc), here are a few recently announced lineups aiming to decrease the gender parity gap”.

IMAGE CREDIT: Getty Images/@lilyallen

Maybe you see it as feminism or perhaps you argue the quality argument – male bands and solo artists get more love and popularity. The thing is…that isn’t true. I can name artists like St. Vincent and Beyoncé who one would expect to be top of the bill when Glastonbury start organising next year’s headliners. They could have two female headliners and not see the world end – I worry there will not even be one when we see the 2019 line-up. Madonna has been mooted but I fear Emily and Michael Eavis will wuss-out and go for an all-male line-up. Equality has been promised for 2022 but I wonder why quicker changes are not coming in. Female-only stages have been established at some festivals but, as this article suggests, that does not erode and reverse music-industry sexism:

“Rinse FM DJ Emerald, one of the stage’s two hosts, acknowledged that the move could be seen as papering over some rather significant cracks. “But what are we going to do?” she said. “Not have that stage there and have no women performing at the festival? I don’t think that’s the right thing to do.”

It’s not the only issue for festivals. Earlier this year, girl band Haim said that they had sacked their agent after finding out a male artist had been paid 10 times more than them for a similar slot. “It’s scary out there … it’s fucked up not even to be paid half the same amount. But to be paid a 10th of that amount of money? It was insane,” said guitarist and vocalist Alana Haim.

IN THIS PHOTO: Lily Allen/PHOTO CREDIT: Getty Images

Recent figures also indicate that about one in five attendees of festivals in the UK have been sexually assaulted or harassed. It’s clear that festivals, whether for performers or attendees, are not always welcoming places for women. Sexual assault and harassment is obviously a fraught and complex issue to tackle; ensuring that headlining acts are diverse should be much simpler”.

A lot of comments after the article argued we do not need ‘quotas’ and pandering. They argued it should be about quality and not (needlessly) having an equal split. The problem we have is not with a pointless quota and making concessions: the quality is out there and festival organisers are being lazy and not looking beyond what’s in the charts or the big bands out there. There was hostility and argument when Foo Fighters and Ed Sheeran played Glastonbury; there have been eyebrows raised when Fall Out Boy and Kings of Leon were announced as headliners for Reading and Leeds – how is that placing ‘quality’ over gender equality?! If the bands/artists were sh*t-hot and great, you could cut some slack – we have rather worn and outdated bands headlining when the slot could go to female artists who are more potent, fresh and appealing. One comment from/under the article I just quoted did seem to drill down to the nub:

“Seems fairly simple to me...

Book a variety of acts, not simply going by whoever is popular, because many festivals goers actually like discovering new music. Find some relative unknowns who are unique and/or very talented and give them a decent shot. The crowd will appreciate it.

 IN THIS PHOTO: Florence Welch (Florence + the Machine), who one would expect to be among the frontrunners regarding Glastonbury's 2019 headliners/PHOTO CREDIT: Elle Italia

Don’t make it a complete sausage fest, for the sake of variety as well as diversity. Female vocalists obviously sound different from male (unless you abuse formant shifting effects, or are the reincarnation of Prince). This is not a disadvantage.

Find appropriate slots for your acts across all stages and tents. There’s no need for a women’s stage”.

Don’t worry about quotas, just be sensible.

Don’t pay female acts peanuts, pay them for what they bring to the experience”.

It seems there a split in the public between keeping things as they are and affecting change. It is still too often the case women – artists and public figures speaking out – when men should be adding to the argument. Another article, by a female journalist, highlighted more facts:

“A 2015 study done by The Guardian shows that, when analysing 12 UK festivals, 86% of advertised performers are men, and female artists and female fronted bands only made up about 5 – 7% in general. Three years down the line and not much seems to have changed. The music world seems to flourish with female acts, and yet, this is not reflected by festival bookings.

Of course, I have heard the argument that “female artists just don’t attract as many fans” or that “female bands aren’t as good”. Yet, those opinions just do not seem to match up to the current climate of the musical landscape.

In a year where there is not a single white man nominated for a Grammy for Best Album, maybe it is time to accept that the male dominance and subsequently sexist values of the music industry do not and should not hold up in this day and age”.

IN THIS PHOTO: Olga FitzRoy/PHOTO CREDIT: Blake Ezra

I will end with my opinions and why more male journalists and men out there should show greater motion towards feminism – becoming more active and protesting against the glaring sexism and troubles in the industry. We have already seen how festivals are still hopelessly bowed towards men and how the pay divide is putting women below men. Before I move on to sexual assault; let’s have a look at studios and the issues that arise there:

“There’s also the issue of the working conditions in the music business, which normally involve long, unsociable hours—even more of problem when women become mothers and have to balance their family life with work. Fitzroy says this is something she was worried about before becoming a mum. “Being freelance, I have got a bit more control of the hours that I work than I did when I was employed as an assistant, and in a way it’s quite good because it forces me to be a bit more choosy about the work I take on. At the moment, I think the balance is working out OK, but the hours I work are so varied, and my son is constantly changing. I know I can’t be complacent about it. I think it will always be a challenge.”

(Olga) Fitzroy notes that the lack of female producers and engineers is something that can only harm the industry if it continues. “If 50% of the population don’t feel that they can even take an interest in this subject, then you must be missing out on some talent,” she says.

IN THIS PHOTO: Catherine Marks/PHOTO CREDIT: Getty Images

Award-winning producer Catherine Marks took drastic measures in an attempt to be taken seriously when she first started out, eliminating all traces of her femininity in the recording studio with a radical makeover. “I cut off all my hair because I didn’t want people to look at me in a certain way,” says Marks. “The fact that I thought I had to do that—that’s ridiculous. Or I’d wear really drab, boyish clothing. No one said that. I don’t know whether that made a difference, but it definitely made me more determined”.

You do not need to look too hard to know there is sexual abuse and assault happening in the music industry. Someone who commented on my Facebook post, Vanya (a U.S. musician), gave her experiences of being a woman in the music industry – and how she has faced issues; what we need to do to tackle problems:

“Dealing with the event happening
Dealing with calling out the other person for their bad behavior
Then having to either screenshot or document the conversation to prove that it happened. 

PROVING to your colleagues that the event DID in fact - happen
Feeling shitty AGAIN when your colleagues don't believe you
Being disrespected a SECOND time when your colleagues blame you and say it was your fault.

Feeling invalidated and less than human when you're accused of not being honest, or BLAMED like "you need to change how you act in the future, you brought it on yourself" 

Then FINALLY the redemption after showing your colleagues "No, this person was in the wrong, I was NOT asking for it, I did NOT do anything to deserve this behavior" and practically having to force people to accept that nobody should be treated how you got treated in a particular scenario. 

That's like five layers of bullsh*t and a couple hours of time, frustration, and hurt - just to be acknowledged on BASIC HUMAN level”.

It is clear male musicians and those in power still see no problem flouting their positions and taking advantage. I have heard stories of female musicians approached and offered sex; others groped at festivals and some raped. Sometimes it can be as minor as hearing sexist language being chanted from the crowds – issues that never affect men in music. There are hidden tales – women afraid to come through – and casual sexism that infiltrates every seedy corner of the music industry. This article investigated stories of women who experienced sexual assault.

“The women who spoke to me described working in a boys’ club where deals are sealed over late-night drinks and at backstage parties. They told stories of powerful men who took advantage of their positions, and explained the risks inherent in speaking out against them. They detailed an industry beset by financial pressure and fierce competition, increasingly reliant on a freelance workforce vulnerable to gaps in labor protections. Music’s misconduct problem doesn't stem from any one of these factors alone—it's a perfect storm that clears a path for sexual abuse to continue unabated. Blocking that path will require reckoning with the very nature of music and the industry and cultures that surround it.

 PHOTO CREDIT: Unsplash

The music world continues to project expectations that women are valued primarily as objects, not human beings: Hit music videos still feature women as little more than sexual accoutrements for their male stars, and female artists’ appearances remain a disproportionate focus of critical essays and reviews. Behind the scenes, especially when it comes to the power brokers who actually control the industry, music is still overwhelmingly a boys’ club, too”.

The article is fascinating and goes into detail when exploring recollections of sexual assault and problems that are being covered up and ignored. From the offices of record labels to those assisting at music festivals; women in high-profile bands and those starting out and trying to get a break – harassment and assault occur and most of us are unaware of it. Maybe it is not as explicit as the days when groupies hung around the doors of mainstream icons – that is not to excuse the

“In the long term, combating sexual abuse and harassment in the music industry requires preventing it from happening in the first place. This means making a healthy, respectful working environment a business priority through stronger leadership, increased diversity, and greater accountability. Above all, it requires fostering workplace cultures that support the people, and not just the dollars, that define the American music industry”.

IN THIS PHOTO: Songwriter Chlöe Howl, who has spoken about her experiences of sexual assault and abuse in music/PHOTO CREDIT: Getty Images

This BBC piece, promoting a Victoria Derbyshire programme concerning sexual abuse in the music industry, caused alarm and woke a lot of people up to the fetid and revolting sides of music that does not get a lot of media oxygen:

“Sexual abuse and harassment is "endemic" in the music industry, with "dangerous men" abusing their power, the Victoria Derbyshire programme has been told. Some victims are now speaking out for the first time.

"Amy" was 15 when she was groomed by her music manager from one of the UK's largest music companies.

"I'd been writing songs since I was very young, and somebody emailed me and said he wanted to help me and manage me," she explains”.

“Singer-songwriter Chloe Howl felt exploited by a number of men at the beginning of her career.

She was signed to a record label aged 16, and later nominated for a Brit Award.

"I did have somebody come on to me in pretty strong way," she explains. "He was a lot older than me and we were meant to be professionally working together.

"He would drop me off at my hotel, and then text me to say, 'Why didn't you invite me in?'

"I remember one night he grabbed my bum and said something along the lines of, 'I feel like we'd have really good times in the sack.'"

Yet despite this sexual harassment, she describes herself as being "one of the lucky ones".

"I know girls who've been raped, and it's always a man in power and a girl on the rise who needs as much support as possible, whose career hasn't started yet.

"I know that there are men who are getting away with it. They are given this untouchable power".

I can return to the earlier points and men who rebel against feminism and the rights of women. If you read everything you have just seen, truly ask yourself: Do you still think feminism is a bad thing and should be seen as too extreme?! I feel many male artists and journalists are not aware regarding the extent of sexism and abuse that happens in the industry. The piece I have just quoted spoke with women who claimed there are hardly any women (in music) who have not been subjected to sexual assault and abused. It is shocking to see, from the core of the industry to the very marrow that sustains it; there is hardly any balance and equality. I cannot think of any sector or corner of the industry where there are fair rights and proper conversation being promoted by men. The last article I will bring in looks at female D.J.s storming the industry and how one D.J., Hannah Wants, experienced horrific discrimination:

 “While Wants didn’t suffer any kind of discrimination coming through the ranks – and in fact found a supportive environment when first playing the local scene – it has been since she surpassed some of the men still playing those local venues that she has seen something of a backlash. Last year, a post claiming one of her tracks was similar to another went viral. Although there was no evidence of plagiarism, the resulting online abuse for Wants was one of the hardest moments of her career: “People were saying ‘kill yourself’. It was just horrific.”

IN THIS PHOTO: Hannah Wants/PHOTO CREDIT: Getty Images

“…Furthermore, incidents of plagiarism by men at the same moment received minimal attention, prompting online music magazine Resident Advisor to write a comment piece on the issue. While previously she preferred not to talk about her gender, she now sees that discrimination is still a problem: “A lot of the people discriminating against me were men in the same place as they were 10 years ago and they hate the fact that I’m successful now. But no, it doesn’t stop me or lessen my drive. It makes me more driven and a big ‘f*** you’ to them”.

A lot of my concerns do not revolve around gender inequality and sexism: they concern basic human rights and liberty! I worry not enough men in the media are highlighting the issues I have – all of the arguments raising issues of sexism and abuse have been from women! It is not good enough to assume things are festivals are okay and we are sacrificing quality by having an equal split…we can see the mass of female talent and how many past-it and average men are being headlined instead of women. You may argue there is equality on radio and there is little cause for alarm concerning claims of sexual assault – that is not true and I have shown that! I pose that question once more: How can the so-called ‘meninists’ object to women wanting a fair voice in music considering how hard they have to fight and the opposing voices?!

PHOTO CREDIT: Pexels

Great D.J.s like Lauren Laverne and Mary Anne Hobbs are speaking out for women and highlighting great female talent. Listen to any of the mainstream radio stations, especially the BBC, and you will find more men than women - I often wonder why there is such an imbalance when there are so many brilliant female D.J.s out there. This article looked at the history of radio and how vocal intonation and accent have played a part - women expected to sound a certain way:

"As with so many of the professions, the war was a breakthrough for women, enabling them to fill posts in radio vacated by men who'd been called up, their timbre reminding male listeners of home. But although it's no longer surprising to hear female voices, from Annie Nightingale to Jane Garvey, on air, the old rationale for their marginalisation proved remarkably resilient. As recently as 1999, the head of news and speech of a commercial radio station in Manchester described a potential recruit to Janet Haworth, a lecturer in broadcasting, as "a great reporter, a very good journalist, but I couldn't put her on air with that voice. She sounds like a fishwife or a washerwoman" (in Women and Radio, edited by Caroline Mitchell). The "acceptable" female radio voice of today – that of, say, Charlotte Green and Harriet Cass – occupies such a narrow pitch range that it's protected from any such charge. That only one in five of the Today programme's guests and reporters are female is eloquent testimony not only to editors' belief that female experts aren't available (thewomensroom.org.uk found 40 in 48 hours last November after Today failed to find one) but also that a woman needs to be exceptionally prominent to earn the right to speak. And young: a report by Skillset for Sound Women, a support group set up in 2011 for women working in audio, found that only 9% of women working in radio are aged 50 and over, compared with over 19% of men".

PHOTO CREDIT: Unsplash

We are being told balance will happen in years to come but I feel the wall needs to be smashed and rebuilt now – rather than the odd brick removed here and there! I am always flabbergasted we are not seeing the best female artists promoted and festivals do more to redress the balance. I do not buy male journalists have to write what they are told and cannot pitch features that look at sexism. Looking at the comments that associate articles and reports of sexism show what ignorance there is. Men do not feel like they are culpable and, by insisting on equality, we are damaging the brilliance of music and making it weaker. These age-old mentalities threaten to hold back progress, delay the rise of some wonderful artists – women who are sexually assaulted often are close to suicide through fear they cannot report the abuse and (feel they) will not be believed. I am always proud to write articles like this and hope more men follow suit and add their opinions to the mix – we all need to see real change and progression. Women in music and society are doing fantastic work and helping improve the industry as we know it. Things will only really move quickly and get to where they need to be if men in a position of power get over their egos; take a real and bold risk and…

IN THIS PHOTO: St. Vincent, another name being suggested as a possible Glastonbury headliner next year/PHOTO CREDIT: Alex Da Carte

DO what is required!

FEATURE: Credit Where It’s Due: Putting the Spotlight on the Humble and Hardworking Producer

FEATURE:

 

 

Credit Where It’s Due

PHOTO CREDIT: Unsplash 

Putting the Spotlight on the Humble and Hardworking Producer

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WE all listen to music from around the world…

IN THIS PHOTO: The producer and songwriter Grimes/PHOTO CREDIT: Getty Images

and do not really consider how the songs come together! I love to listen to a lot of classic artists, including Michael Jackson, and so captivated by the actual performance and how it sits in the mind. You often get into the mindset of listening to the song and really not thinking about its creation and development. Modern music relies so much on self-production: so many fresh artists take care of the production side and we can get a complete experience of production and execution at once. I feel we get into the habit of assuming the artist is the star and they are responsible for guiding the music. Look at the legendary producers like Quincy Jones and how they helped push artists to the mainstream. You cannot argue against the impact he had on Michael Jackson’s career and the expertise he brought to the plate. It was not a case of listening to a song and then nodding the head and recording it. The producer has to give their views on a track/album and ensure the vocals/compositions are as good as they can be. It can be difficult making that call and recognising when something is perfect or not. This article explains what the modern-day music producer has to encompass:

“Since the millennium the Music Industry has been losing a huge amount of income from falling records sales due to piracy and subsequent streaming services. As a result, many of these separate creative roles listed above don't commonly exist anymore and have been completely taken on by the modern day Music Producer.

A modern day Music Producer now wears a lot of hats in music production, such as:

Co-composer/writer

Arranger

Session Musician

Recording & Mix Engineer

Mastering Engineer

Very few Music Producers today work in the Music Industry in the old model of Producer. Many of those producers came from the successful era when record sales funded the growth of the Music Industry”.

There is a lot of work the producer has to shoulder. I know many and, from the big studios through to a more modest setting; they have often to rewrite songs and help bring them to life. It is never a case of listening to songs being performed and then deciding whether they are good or not. The producer has to organise musicians and get them into the studio. Often, various different takes have to be recorded and, in a lot of situations, musicians need to perform from different rooms. Sometimes, you can get that live-sounding performance but, if you have loads of elements together then it takes a lot of patience and organisation. There are others responsible for mixing and engineering a record but the producer is there with the artist to ensure everything sounds great and cannot be improved. Listen to any classic album and, more often than not, someone other than the artist has produced that record.

You might say it is the artist who is projecting the music and, without them, there would be nothing. Very few artists come into the studio fully-formed and know how everything will come together. They might have their own take on a song and sing it one way. The composition might sound good to them but, with another pair of ears, new light and insight come through. A producer might tighten up the rhythm section or suggestion nuances and different elements for the singer. Maybe they’ll add another player/instrument into the mix or take the odd bit out. It is about tidying tracks and making them pop from the speakers. There is a hard balance to walk between making something professional and not over-producing.

IN THIS PHOTO: Catherine Marks/PHOTO CREDIT: Getty Images

Look at the greatest producers like George Martin and Nile Rodgers and it is undeniable what they brought to music. Martin, with The Beatles, bonded with the band and was unafraid to offer his advice and suggestions. He fostered the band and helped them push the music to the very limit. Producers often have knowledge of the equipment and technology in the studio the artist does not. He ensured the early recordings had that live-sounding yet professional sound and then, by 1967, the boys were adding so many layers and sounds to their music. Modern producers like Catherine Marks are not getting the same credit as the world’s best but they are consistent and have a huge reputation. She has worked with the likes of Muse and The Amazons and, like all great producers, bonds with the artist she’s working with and establishes that trusting relationship.

It is not about bossing musicians around and taking things over but, at the same time, it is a balance of assertiveness and imparting knowledge. The producer is there to get the music captured and ensure it sounds as fine as is humanly possible. As this article highlights; there are producers who recognise the importance of going with instinct and having that working relationship with the artist:

“Marc Kinchen is a house and dance music producer from Detroit, Michigan. He's worked with artists including Celine Dion, Lana Del Ray, Enrique Iglesias and Will Smith. He's also co-produced pop music with industry production legend Quincy Jones.

So what's behind his successful career? "It's a combination of skills," he says. "The most important being that, when I make music, I try to put blinders on and not let anyone tell me how I should do it. For me it comes completely from whatever is inspiring me.

"People skills are also very important – often as important as the music you make. When you work with people like Will Smith or Jay Z, you must be able to relate to them and make them feel comfortable. The business is full of different types of people and you have to be able to suss them out and adapt".

The producer often has to work very long hours and make numerous contacts. They attend functions and parties and get involved with the scene. Not only is socialising a great way of meeting artists to work with but it can be a good way of picking up new skills and lessons. The producer is never ever complete. They are always learning, growing and increasing their skillset. Kinchen has some advice for producers coming through:

"Find people you trust and care for, and surround yourself with them. These can be friends, supporters or business people. If you're at the point where you need a manager, look around at your musical friends who may have managers or even ask your mentor.

"Ask questions – ask everyone questions and send your music to your favourite artists or producers. If you have a favourite DJ or producer, see who handles them and try to get a meeting. There are so many ways to reach people now, you can get them through Facebook, LinkedIn, Twitter or email”.

IN THIS PHOTO: Sir George Martin/PHOTO CREDIT: Getty Images

The life of a producer is quite tough but it is very rewarding. You get to see a project come to life and can see a potentially great album turn into something world-class. Some producers do rile artists and struggle to build bonds but most of the great producers have that closeness with the artist and they can work to produce something exceptional. The modern producer need not have formal qualifications but there are videos and courses people can take if you want to get guidance and tuition. A lot of the best production comes from instinct and following what feels natural. Getting those relationships established and networking helps get your name out there and artists will come back and hire you for their next project. Learning mixing skills and engineering adds new elements to your production chest and can prove invaluable when it comes to making a record shine and pop. Another interesting piece looks at what defines a great producer and how they can differ:

“Most of the greats typically fall into one of two camps. The first belongs to the ones who have the gift to tap into the essence of an artist or band, helping them discover something in them they didn’t know they had. These producers are also typically the ones who focus on capturing the most honest, vulnerable, and natural performances possible. Guys like Rick Rubin, Jack Douglas, and T Bone Burnett all come to mind.

The second camp consists of producers with their own signature sound. These people bring their own recognizable musical aesthetic to the records they produce, often contributing to the actual composition of the tracks. Phil Spector pioneered this approach with his “Wall Of Sound” technique, later adopted by artists as diverse as Bruce Springsteen to The Cocteau Twins. Another good example is Brian Eno.  His productions for Talking Heads, U2, and Coldplay all feature his signature atmospheric synths and his use of “The Studio as a Compositional Tool”.

A lot of big and new musicians do producer their own work – there is so much to be said for the producer and what they add to the music. We forget about them when sticking an album on or listening to the latest chart hit. Whilst many producers are men; there is a change coming it that highlights great female producers and makes the studio less a boys’ club-like space – it is a slow process but will have to get out of the viewpoint all the best producers are men. Whilst we look at changes and the need for parity in the studio; you cannot deny the vital role the producer plays and how they can transform music. When an album sells millions or a song goes to number-one; we never really give props to the producers and others that work on that piece. The life of a producer is a challenge but it is one I would recommend to people. Working closely with artists and helping to create exceptional music is hard to put into words. We all have our favourite albums - and spend hours digesting every note - but it is true none of it would be possible…

PHOTO CREDIT: Unsplash

WITHOUT the producer!

FEATURE: Everyone’s Doing It These Days: Why Podcasts Offer a New Window Into Music

FEATURE:

 

 

Everyone’s Doing It These Days

ALL PHOTOS (unless credited otherwise): Getty Images 

Why Podcasts Offer a New Window Into Music

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YOU cannot move too far on the Internet…

before you bump into another podcast about something or other! I think the forum has overtaken YouTube in terms of demand and popularity. Whilst YouTube ‘stars’ garner a lot of fans and can bring their brand – beauty, film or otherwise – to people in a multimedia way; there is something easier and more intimate about the podcast. You do not need to hire a lot of recording equipment and film yourself – some are quite reserved about having their face out there – and you can create a sense of intimacy and warmth. The listener need not break off from what they are doing and see what is happening on the screen. An article I will quote in a bit states the voice-activated market will double by the year 2020 – it will double every year after that. We are seeing more inventions where a user can bring up information and play music by voice command. It seems we want that hands-free and easy lifestyle more and more. Studies conducted earlier this year break down our listening habits when it comes to podcasts. Whilst thirty-two percent of us listen (to podcasts) whilst working out; most of us enjoy one when we are commuting or driving. It seems the best way to endure a journey among the general public is to put a podcast on and drift away. There is a great distraction plugging in earphones and listening to a podcast about literature, music or film.

Unlike an audiobook; one does not need to engage too much and it is possible to browse a tablet or Smartphone whilst listening along. That benefit strikes many and, in a market packed and growing; there is no shortage of choice – no matter what your tastes are! This article provides some eye-opening statistics:

    60% of the US population is familiar with the term “podcasting” — up from 55% in 2016

        50% of all US homes are podcast fans (Nielsen, Aug 2017)

       40% (112 million) of the US population has listened to a podcast — up from 36% in 2016

         15% (42 million) listen to podcasts weekly — up from 13% in 2016

        36% of podcast listeners are non-white — vs 30% in 2010 (Nielsen, Aug 2017)

        Podcast listeners are much more active on every social media channel (94% are active on at least one — vs 81% for the entire population)

         Podcast listeners are more likely to follow companies and brands on social media

       Podcast listeners are more likely to subscribe to Netflix or Amazon Prime (meaning they are less likely to be exposed to TV advertising)

It seems like technology companies are taking full advantage of the growing trends. One of the hand-in-hand trends we are seeing is voice-activated devices – the likes Amazon and Apple have/are making – being a big asset alongside the podcast.

The Smartphone means we can bring up a podcast – even if we do not know the name – without much fuss or searching. Because of the ease in which we can listen to podcasts and explore new ground; many are turning away from video streaming and engaging more with audio means. I recently discovered the Fortunately… podcast – hosted by Jane Garvey and Fi Glover. It is a series designed to reveal what is said when the microphone is switched off – aimed more at women but heard by a lot of men. It is a funny and addictive podcast I tune into every week. They interview guests each week – including the likes of Shaun Keaveny and Emily Maitlis – and give a very candid look into their own lives. You feel bonded with the presenters and get to hear a different side to some well-known figures. It is weird discovering why we are more likely to listen to a podcast than watch a video or T.V. show. There is that accessible nature and the fact we can listen to a podcast on-the-go and do a number of other things at the same time. Podcasts are, essentially, radio so it means those who make them do not have to dress up fancily and worry too much about presentation. Inhibitions are lowered and there seems like a more relaxed and casual tone. That translates and resonates in the subscriber.

IMAGE CREDIT: Getty Images

Carry on with the article I just quoted and it seems like there is a booming market and we can all start out own podcast:

“Entrepreneurship mogul Gary Vaynerchuk summarises as follows: “Just remember, audio and voice are by far the most natural interface for humans to interact. We like to speak and listen. There was roughly 1.5X more audio consumed than video according to Nielsen statistics on streaming in 2016. This is HUGE. If you’re medium is voice, now is your time. Start creating today. Start a podcast, turn your blog posts into audio, develop an Alexa skill or start experimenting with Google Home. Before AR and VR and AI, audio is going to be the next major platform shift for consumer attention. It’s here today! What are you going do?”

The podcast is an eclectic market that can act as education and teaching. Children can listen to podcasts about subjects they are taught at school which provides a more appealing sense of extra-curriculum. We can become better educated or we can go for something a bit trashy and throwaway. The music side of the podcast is starting to grow and attract some big names. I recently pitched an idea for a podcast: one that looked at sex and gender imbalance in the industry and how we can change things. It could/will bring together names across music and figures from outside the business to give their thoughts.

My idea – not sure of a title yet – would play music by female artists and balance serious talk and debate with interview snippets and a more light-hearted viewpoint. Maybe it would be a multi-part podcast but, as a one-off, it would work pretty well. I have been thinking about the podcast as an alternative for a radio show. It is easier getting a podcast kicked off and putting it to the people. This article from Rolling Stone highlights some music-related podcasts worth investigating. Among them worth investigating is Jessie Ware’s bi-weekly podcast:

“Format: Jessie endearingly banters back and forth with her mother, Lennie, and guests, mostly about cooking. “It all revolves around food, my favorite subject, and family,” Jessie says. “I hope the listener feels like they are around the dinner table with us and learns something new about someone they may already know lots about, or even better, be introduced to someone I want everyone to know about.”

Schedule: Biweekly

Why They Do It: “It was a chance for me to ask other people questions,” Jessie says. “I’m so sick of talking about myself. It was also a chance to hang out with my mum and get her to cook me dinners every week. I think I pushed her over the edge when we had four guests in a row, though. She had to go and see her chiropractor.”

Best Moments: Ed Sheeran proclaiming his distaste for kale and “American-boiled” hotdogs and Sam Smith explaining how quitting drinking has helped him chill.

Best Guests: “My mum fell in love with [Get Out‘s] Daniel Kaluuya and [Game of Thrones’] Joe Dempsie over the podcast, Sam Smith told us he thought Mexico was in Spain, Ed Sheeran had four portions, and Sandi Toksvig encouraged us all to add a woman to Wikipedia because there aren’t enough on there,” she says.

Another recent article lists some essential music podcasts you need to get involved with. A standout, Couch Wisdom, steps out and shows an untapped area of the music market:

“Red Bull Music Academy has accumulated a vault full of incredible lectures from two decades of workshops and music industry events. Now, they're sharing them one by one as part of a new podcast called Couch Wisdom. Featuring in-depth conversations covering all sides of the music industry, the series includes lectures from the likes of Q-Tip, Kaytranada, Alex Tumay, and Bjork. Questlove once dubbed the series "Inside The Actor's Studio for music," which is an excellent way to describe the smart, nuanced conversations that go down on the RBMA couch. If you're a music nerd looking to know more about the ins and outs of the industry, Couch Wisdom is required listening”.

It appears that people want to learn more about a musician or the industry itself. George Ezra is another artist with his own podcast and, whilst it is not the most enflamed and exciting thing; he interviews other artists and creates something we do not hear – musicians chatting and finding out more about one another. A simple interview series/question-and-answer welcomes people in and is a very easy-going and informative platform. Doing something more expansive and eclectic could either bring in a traditional radio station – music and interviews – or go further still.

It seems there are a few different types of podcasts we all love. For those who love their music; we either like to hear something in-depth that deconstructs songs or investigates various sides and trends. Whether it is the rise of Hip-Hop or the changing nature of Pop music; speaking with artists and experts about these subjects illuminates and opens up the subjects. We also like podcasts with discussion and something revealing from artists. Mix that with live performances and we have a bit of a podcast-style radio show that offers an alternative to what is currently out there. It seems we have a passion for music past and present: a magazine-type podcast that looks at iconic moments and the best of the new breed. It seems like, to get ahead of the market, you need to combine the best elements of the current market and add your own spin. There is a dizzying choice so it seems like it is harder, now more than ever, to decipher which are the best podcasts to follow. The voice-activated devices I mentioned early could incorporate a new feature that brings in a search engine – you can describe the type of podcast you want and it will find it (or several). I am excited to see the market grow and so many great music-related podcasts come through. Many people I know are putting them together and it is an inexpensive and great way of reaching new audiences.

With social media packed and limited in its scope; it seems the podcast could be an essential accompaniment every artist should carry. By that, I mean they could put together their own one and add an extra dimension to their music. Maybe they interview fellow artists or invite the subscriber into their lives. Maybe there is a slight deficiency whereby you cannot see the musician and a performance but there are endless possibilities when it comes to subject matter and the tone of a podcast. I am going to start my own and make sure I do my research first – to ensure I do not copy any others and create something fresh. The podcast revolution is in full flow and it is getting more people invested and interested in audio and radio. People who would otherwise have avoided certain subjects –politics, women’s issues and art – are given a new perspective and way in. It is great to see a lot of musicians go into the podcast market and a flourishing array of music-related podcasts come out. Have a search and spend some time looking through what is currently out there. If you love your music and want a podcast that speaks to you; I can guarantee there is something out there that will…

SPEAK to you.

INTERVIEW: Hannah Trigwell

INTERVIEW:

Hannah Trigwell

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HER album, RED, arrives…

on 31st August, so I have been speaking with Hannah Trigwell about the record and whether there is a song she would highlight as a standout. Trigwell discusses her busking days and how her career has progressed; which artists were important to her growing up – the songwriter talks about her YouTube videos and the reaction they have gained.

I ask Trigwell which three albums are important to her; if there is a current artist she’d like to support on tour; what sort of gigs are approaching – she ends the interview by selecting an awesome song.

____________

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

Hi! I’m very well, thanks. How are you? My week has been very busy so far: recording vocals for a song coming out later this year and editing a new music video!

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

My name is Hannah Trigwell - I’m a singer-songwriter from Leeds. My style of music is acoustic-driven Pop but I’m influenced by a lot of different genres and artists!

RED is your upcoming album. What sort of stories inspired the record? Is there a reason for that title, too?

The reason I’ve called the album RED is because it really sums up a lot of the emotions behind the songs: love, lust; anger and jealousy. There is also a track on the album called Red, which is about feeling like you are addicted to someone.

Is there a song from the album that stands as a highlight?

Taboo is one of my favourites. I wrote it quite a while ago and the initial sound of this song influenced the rest of the album. That track has elements of a lot of different types of music and I think it’s an interesting listen - but, I really connected with the whole concept of love being taboo, too. It was very therapeutic to write.

Is it true you started in music by busking?! How did you progress from busking to recording your own music?

I started busking in my hometown and did most days for about a year before uploading videos of my performances to YouTube and reaching an international audience. Whilst I was performing covers during street performances and on YouTube, people were asking me if I could release some of my original music - the demand for it gave me the confidence to start putting out original singles.

Many might recognise you from your videos on YouTube. How does it feel knowing so many people have seen your videos? Has that given you a lot of confidence?

It’s amazing to see how many people have watched the videos or streamed my music online! The numbers still blow my mind. The positive feedback (and constructive criticisms) gave me the confidence to start touring and also helped me improve in terms of playing guitar and singing. I’m self-taught so, in the early days, I got some comments specifically about things I was doing right or wrong and that really helped me progress.

Which artists did you grow up listening to? Do you recall when music first came into your life?

When I was younger, I loved a big range of artists including M People, Eternal; Blue, the Eagles and Michael Jackson - a lot of it was rooted in Pop and I think that has really affected the way that I write songs now. I remember buying an M People E.P. - that was my first C.D. and I thought it was so cool! I also had an obsession with Simply Red for a while. Phil Collins is still a big influence on my music.

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

I hope to have truly made my stamp with original music - so that people really get my style and who I am as an artist. I know I’ve kind of drip-fed my audience with original music; averaging about one single release a year and so I can appreciate how it might have been hard to truly understand me as a musician – but, now I have a fourteen-track album, I’m so excited to see the reaction.

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

Yes! I’m on tour across the U.K. in the first two weeks of September - Glasgow, Nottingham; Leeds, Bristol; Brighton, London and Newcastle! Really looking forward to playing all of these new tunes. Then, I’ll be heading out to play mainland Europe - we have a bunch of international dates to announce soon!

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

I recently had quite a lengthy conversation with Quincy Jones at Montreux Jazz Festival in Switzerland. He is a very nice guy and was very open with me straight away - we ended up talking about general life and different experiences we had had in music. He said to me that I should always make the kind of music that feels right and to go with my gut. I really needed to hear that! That’s an experience that will stay with me for a long time.

Which three albums mean the most to you would you say (and why)?

Red Hot Chili Peppers - By the Way

I got this album when I was twelve and listened to it on-repeat during a family holiday climbing mountains in Austria. Every time I listen to it, it takes me back there. I had such an awesome time. That album really inspired me to start writing my own material.

Damien Rice - O

Just such an amazing album. You can really hear the emotion in these songs. Damien Rice got me into playing guitar and Acoustic/Folk music in general. I think this is one of the best albums ever.

Joyner Lucas - 508-507-2209

An album I got into early this year. This guy has made a masterpiece. I must have listened to this record about fifty times. The lyrics are so raw and real so I connected with it instantly.

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

I’d love to support Charlie Puth. I think his songwriting is awesome and all of the live performance videos I’ve seen of his are great. It’d be ace to share the stage with him!

My rider is pretty small, to be honest. A great rider for me would be bottles of water, good red wine; chicken salad chocolate and Yorkshire Tea.

What advice would you give to new artists coming through?

Be nice and take every opportunity. If you’re not nice you get a rep pretty quickly: the industry is a lot smaller than you think in terms of who knows who. Definitely don’t be afraid to put yourself out there. It’s easier than ever - pretty much everyone has a camera phone; you just have to be motivated enough to make it happen.

 IN THIS PHOTO: HANNIE/PHOTO CREDIT: Fay Summerfiel

Are there any new artists you recommend we check out?

I recently co-wrote a track with HANNIE (an Electro/Pop/guitar duo) - definitely check them out. They have some awesome funky tunes.

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

A little, not a lot! I love being outside. Hiking is something that really calms my mind. I like to watch movies. I often get inspiration for songwriting doing that too.

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

Ariana Grande - God Is a Woman, please! It is my current obsession

________________

Follow Hannah Trigwell

Official:

http://www.hannahtrigwell.com/

Twitter:

https://twitter.com/HannahTrigwell

Facebook:

https://www.facebook.com/hannahtrigwellmusic

YouTube:

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

Instagram:

https://www.instagram.com/hannahtrigwell/

Spotify:

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

SoundCloud:

https://soundcloud.com/hannahtrigwell

INTERVIEW: Mikey Wax

INTERVIEW:

Mikey Wax

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THE excellent and massively popular Mikey Wax…

has been talking with me about his new single, Big Little Life, and how it started life. I ask about the video and what it was like to film; what the secret to his success is; if there is going to be more material arriving; which artists Mikey Wax would count as idols.

I ask the U.S. songwriter about L.A. and how important it is regarding his songwriting; whether there are any gigs coming up; an upcoming artist we should get behind and support; if he has any favourite memories from his career so far – Mikey Wax tells me how he spends his time away from music.

____________

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

I am swell...a word I don't often use but I’m trying to bring back in my vocabulary. My week has been excellent too, thanks.

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

I'm a singer/songwriter from N.Y. I’ve been playing the piano and writing songs since I was eight. I now live in L.A. and write Pop songs by day and entertain my wife and our two cats by night.

What can you reveal about your new single, Big Little Life? How did it start life?

Big Little Life was a song I wrote for my fiancé that I intended to surprise her with on our wedding. I thought the concept was cool because, for most ‘young adults’, you don't have everything figured out yet. Despite not being able to afford all the things we want, we have each other and that's all you really need.

The video is intricate and lush. Did it take a while to put together? What was it like to film?

Thanks. The video came together pretty quick actually. The directors and I had a pretty clear-cut vision of what it had to be. We filmed it in our house, removed all the furniture and everything and slowly built it back up. It captured the spirit of the song and it felt very ‘real’ filming in the actual house I live in.

Is there going to be any more material coming before the end of the year?

I have a lot of songs I'm wrapping up. I'd say, yes, there will be more music later this year.

You have gained countless streams, kudos and nods by fans and big names. What is the secret to your success would you say?!

It's a bunch of factors coming together. I think, first and foremost, having a well-written and produced song is at the core. But, almost equally important is having a good team of people who believe in your project.

Which artists do you rank as idols? Were you exposed to music quite early in life?

I have a lot of idols. I've tried to emulate a lot of artists in the process of getting to a point where you almost stop caring and can just be yourself. My first obsession as a kid was The Beatles; Countless hours repeating The White Album (The Beatles) and Abbey Road. Next up was Billy Joel who, in my opinion, doesn't get enough clout with younger writers. The guy is a legend! I went through a deep love for the Dave Matthews Band.

Many, many others….

How important are L.A. and its people in regards your own music? Do you take from the sound and sights around you?

I moved to L.A. a little over a year ago. I think the change has had a really great effect on my music, mood and lifestyle etc. Don't get me wrong...N.Y.C. will always be home, but there is a real collaborative process out here in L.A. which makes the songs stronger. The sunshine makes you want to get out and drive to a writing session. I live in Pasadena, which is pretty suburban, but the trees and grass are inspiring. The streets, buildings and bridges of N.Y.C. are equally inspiring but I was ready for a change.

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

It's a great question and, to be honest, I often don't set enough short-term goals. I always think, years out, what I'd like to have achieved by that time. I think, for the remaining five or so months of the year, I'd like to see Big Little Life continue to reach more listeners; land a prominent spot in a commercial or movie; more Spotify playlists on top of the ones it’s already gotten. I actually just found out the song will be featured in the season finale of A&E’s Born This Way this fall, so that’s definitely an exciting look. I'd also like to release one or two more songs.

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

At the moment I've been taking a break from the road to hone my songwriting and really have a large bunch of songs that can sustain my career for a long time. There is a time for the road, but right now my mind is 100% in a creative space and I want to put all my energy towards creating music, as well as relationships, personal stuff, etc.

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

There have been so many - at times I look back to an experience on tour or early on in a studio session and think ‘Was that really me?’ There was one show I played in L.A. where the legendary music exec Seymour Stein came to see me play (I also performed in his office a few weeks prior). He was very supportive.

Although he and I never ended up working together, he told me that I had a strong future, which was a confidence booster I needed at the time to keep going.  It also was great when Aaron Rodgers came to my gig at Hotel Café after discovering my music online. Overall, hearing words of encouragement from people so accomplished is humbling.

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

I should be ashamed but, for the past ten years, I haven't been much of an album listener. In Pop music writing sessions, we sort of study singles. Albums I play in their entirety are usually much older records like Louis Armstrong, Ella Fitzgerald and Frank Sinatra. When I'm in the mood for Frank, I'll play his record straight through.

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

It would be a childhood dream to open up for Billy Joel, John Mayer or The Dave Matthews Band.

I wouldn't need a rider. Actually, maybe, just some paper towels in case I throw up from being so nervous playing in front of those legends.

What advice would you give to new artists coming through?

Have a support system - people who care and love you and will be there for you no matter what.

IN THIS PHOTO: Brooke Williams

Are there any new artists you recommend we check out?

Yeah. I wrote a cool song with this artist Brooke Williams. She's releasing a record soon. I like her sound a lot!

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

Yeah. I always find some time to unwind and distract myself which is important because life as a musician isn't always the most stable. I have a really supportive wife and two really cute cats that do a great job at making me laugh and put my music mind to rest.

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).

How about Good Vibrations by The Beach Boys

________________

Follow Mikey Wax

Official:

http://www.mikeywax.com/

Twitter:

https://twitter.com/mikeywax

Facebook:

https://www.facebook.com/mikeywax

YouTube:

https://www.youtube.com/channel/UC9G4c4wHiy76oighEqiln6Q

Instagram:

https://www.instagram.com/mikeywax/

Spotify:

https://open.spotify.com/artist/2Uk1SfxshYKxVMmtGqFtzo

YouTube:

https://www.youtube.com/channel/UCzfcWAeAMkDAwwVcFP9pRhw

TRACK REVIEW: WILDFIRES - Stuff

TRACK REVIEW:

 

WILDFIRES

Stuff

9.5/10

The track, Stuff, is available via:

https://soundcloud.com/wildfiresofficial/stuff

GENRE:

Pop

ORIGIN:

Manchester, U.K.

RELEASE DATE:

1st July, 2018

_________

ON this outing…

I am looking at a band that has got my mind thinking about things I have not investigated for a while. I will cover Manchester and the North in a minute; a little but about bands in general and how their sounds have evolved; female-led groups and how a greater diversity in the ranks adds something extra to music – a look at where WILDFIRES will head and what their future holds. I wanted to start off by looking at songs that relieve tensions and get the head swimming. I get to listen to a lot of sounds and you get a different sensation from each of them. Music has that ability to get under the skin and help you when you need it; it can ease tensions or raise the spirits. It is strange how deep music can go and what emotions it can summon. I listen to WILDFIRES’ latest cut, Stuff, and it filters into the blood and takes my mind somewhere else. I am looking, at the moment, for something that can offer a sense of direction and calm my soul. Things are a little tense and busy right now – with moving to Manchester and juggling work and personal life – and music is a way of trying to make sense of everything and provide stimulus. I have arrived at the feet of WILDFIRES and there is plenty in their music that offers guidance and calm. That said, listen to the vocal and its raw edges and there is excitement and exhilaration. I am one of those people who listen to music to feel better and nourish the mind. I can listen to songs in a casual way but I feel, for the most part, music is only meaningful if it can do something and provoke some emotion. WILDFIRES do that and, right now, they are playing quite an important part in my life. It is compelling how deep music can go and the joys it brings.

I will move onto another subject that I am keen to investigate but, looking at the Manchester-based band and there is something in their ranks that fascinates me. I am hearing a load of bands and solo artists emerge and play and every one of them does something unique. As someone who does not write music; it is wonderful listening to such quality come through right now. I used to write songs but have no musical ability myself. I always stand aghast with shock listening to the new breed and the sort of talent they possess. It is harder now, as opposed times past, to stand out and create something promising and purposeful. There are endless options and sounds – it is easy enough to fall into a familiar trap and mimic something on the market. WILDFIRES have their own flair and brew and are full of virtues and strengths. I mentioned how I seek out something from music to raise the energy and help me get through hard times. I am not sure how it happens but bands like WILDFIRES have that innate ability to make things better and, at other times, get the body moving and the heart pumping. Music, at its elemental best, has that power to speak profoundly or, at the very least, provide a beautiful distraction. I am searching harder now, more than ever, for music that provides real depth and meaning. There are so many artists out there who seem to follow the pack and are a little derivative. I understand how tricky it is providing original content but there are too many people out there, bands especially, unable to provide their own flavour. That is never the case with WILDFIRES. They wear a couple of influences on their sleeves but never show it too visibly. You only need to listen to a few notes from the guys to bond with the music and realise it emanates from somewhere new and fantastic. Stuff is a fantastic single that hints at future glory and shows what the band are made of.

I’ll come back to bands in a minute but I wanted to look at the North. I have talked about it a lot before and how there is a definite split between the South and North. In terms of exposure; you never really see as much fascination levied at the North as you will down here. I have been following music since I was a child and I have seen the changing face of the industry and the splits forming. The North has always been at the top and forefront of the business. I have name-checked the likes of Oasis and Pulp before – so shall not go down that path again – but it is amazing to look at a time when there were relatable, working-class bands who could speak about life’s realities and how things were for the average person. You do not have that too much and I feel a lot of that has to do with the dominance of the South. There are artists working away who have that common and accessible edge that reminds you of the better days. Right now, there is more music available than ever and it is hard to see where it might head. I feel there are so many great northern artists around but we still tend to stare too hard at the capital and music coming from the South. There are journalists in the North who are promoting local talent but the mainstream media still has a long way to go. I am not suggesting we dedicate features to artists in the North but there should be more balance and exposure. With groups like The Orielles coming through and showing what promise there is in the North; can we really avoid artists from areas like Manchester and Yorkshire and keep focusing on the same old stuff? I understand why London gets a lot of love but I know how many great artists there are in the North. Going back to my point about relatable and working-class music and you tend to get a lot more of that up North.

At a time when the nation is splitting apart and we are not sure what the Brexit deal is; it seems we have a long way to go before salvation and repair comes about. I worry we are heading somewhere frightening and those in power – the posh and middle-class – are sending the nation into a hole we might not be able to climb out of. I am looking back at interviews conducted with various figures in the media and they ask whether Brexit and the turmoil we have now is a result of a lack of support in music. By that, I mean there are not enough voices who document the realities of Britain and what it is like for regular people. Not that WILDFIRES produce political commentary or music like Pulp’s but they have a sound and brilliance that shows what is happening up North and how good it is. If we hear more of it – and the media puts it into the fore – then people investigate the wider landscape and what is happening in that part of the U.K. In any case; we need to get out of this headspace that states everything from the South is brilliant and there is not a lot up in the North. Yorkshire, Manchester and Liverpool are full of great artists; throw some love up to Scotland and you have some great musicians coming out of Lancashire. You do not need to look too hard and I feel, if we did that and the media were more ambitious, we would get a more balanced industry and a far stronger one. I shall move on from this point but I wanted to urge those in a position of strength to realise we need to look at the past – and what happened in the 1990s – and encourage a more balanced and level music industry. There are artists out there speaking about politics and social concerns; those who have an honesty and special magic – they have to fight harder than artists closer to the capital or those nearer the mainstream.

I am moving up to Manchester and know how strong the music scene is up there. The locals are very supportive of the artists coming through and there is so much for people to see. With a range of great venues and a community spirit that backs brilliant music and culture; WILDFIRES are in a great place and a perfect spot to see their music get some serious love. I wonder whether they will play down in London a lot – I will mention that later – and get their music up and down the country. I have been following WILDFIRES for a bit and, although they have only released a few singles, I can see how they have come on the new aspects thrown into the mix. Stuff shows them at their most determined and complete. I am excited to see how they will progress and evolve and what comes from them. The very best artists are those who have a closeness and sense of understand but are willing to experiment and venture into new ground. WILDFIRES have that sound that reminds me of Pop-Punk bands of the 1990s (a little bit of Kenickie spring to mind) and that brew of seriousness and fun. You get the fresh and exhilarating vocals and solid band performance. I have seen WILDFIRES launch themselves in the world and grow ever-stronger with every release. I often look at the band market and wonder whether there is going to be any growth and change. Solo artists are stealing a lot of the focus and it seems like their dominance is not going anywhere any time soon. Bands are making a bit of a resurgence but I feel too many of them are either going for generic stadium sounds or there is too much electronic input. There are some great bands like The Orielles, Superorganism and Hookworms but they are in a minority. It is a shame because, with those bands I have mentioned; you get so much depth, beauty and songwriting excellence.

It is hard standing aside and getting into the mind. I feel solo artists have a better time and it is easier for them to be nimble and expansive. Bands are often confined to a certain sound and each member has to be happy with the direction and what is being produced. WILDFIRES have a unity and closeness in their ranks that means every decision and song gets a majority vote and there is not that split. They have all been raised on great music and do not aimlessly and lazily follow what is already out there. The guys take from local sounds and look back at their childhood tastes; they write about what is happening in their lives and create a heady and exciting concoction. I am getting more and more excited about bands and keen to get them to the forefront. I have grown a bit weary of Alternative and Indie bands because a lot of them go for maximum volume and stadium-sized sounds – it often blends into one and lacks necessary intelligence and memory. Pop can have that same effect but there are some bands coming through that splice in various decades, elements and sub-genres. I feel WILDFIRES have that ambition to take their music around the world and inspire the next generation coming through. You can sense they have a desire to play big venues and arenas but they are not going to compromise their individuality and ethics and go all Rock or mainstream. One thing that amazes me about the songwriting is how you recall some epic bands of past but it is fresh and new at the same time. That is a hard balance to perfect and something WILDFIRES do very well. I understand most bands are all-male but, in terms of vocal sound and the overall feel, you are very limited and often yearn for something different and more varied. This is another reason why WILDFIRES get to me and why their music communicates something quite special and wonderful.

The Orielles mix male and female vocals and, though I have mentioned them a lot, there are many other bands that have female vocals at the front. From False Advertising and YONAKA through to Goat Girl (all-female) and Superorganism. The all-male bands are great but there is something special about the female voice that goes a bit further and does a lot more. Pop-Punk is a genre that has never really lost its spark and I feel it is at its strongest when you have a female lead. Look back at the riot grrrl movement and the artists that came around in the period. Although they were more Garage-Punk; you had great bands like Bikini Kill who provided spark and explosion but had Pop edges and plenty of melody. I feel that is the secret to creating unifying and properly special music: a strong female lead and a band that have a balance of granite and Pop. I mentioned how we had a great band movement back in the 1990s that inspired a generation and actually spoke about what was happening in the nation. I feel we need that same sort of revolt and uprising in modern music that can make sense of what is happening and get people together. I am not saying WILDFIRES alone can do that but there are fantastic artists out there who seem a lot more grounded and tangible than those in the mainstream. I shall not labour that point further but it is interesting to ponder. I am attracted to bands that have male and female members because you get different perspectives and a more rounded sound. Let us consider the current bands market and the imbalance between all-male examples and those with female members. You have the option of sweetness and spark you will not get with men alone. In order for music to expand and progress, we need to encourage greater diversity and showcase bands that go beyond the obvious. We are still stuck in this mindset the all-male band that turns up the amp and cranks out the guitar is the popular dollar. Whilst they may fill stadiums and provide a short-term blast; those bands that linger longest and have more about them provide a lot more than riffs and familiar choruses.

It is interesting to note how many all-male bands there are and how the band market is experiencing a slump. I am not suggesting that is the only correlation causing the problem but there is a definite link. Too many bands are playing the same sort of music and not really pushing the envelope in a way the public demands. WILDFIRES have enough fire, magic and mystery to go very far in the industry and provide fresh music that blows away the cobwebs. When looking at the band scene and where the new breed of brilliance will come from; I feel Pop and Punk will overtake Rock and Alternative and start a new movement. I have argued about the North and how we need to concentrate more of our time out there. I hope I have covered enough ground and explored WILDFIRES in great depth – I have every hope they will go on to great things. My point is we all need to look harder at music and get beyond the capital and what is coming from there. It has been a long time since I got excited about band-made music but things have changed the last year or so. With great Punk bands like Cabbage and IDLES flexing their muscles; the mass of brilliant Pop-Punk mixing it up and getting their music out there; I feel we are seeing a bit of a recovery and, in a few years, bands will be back on a par with solo artists. WILDFIRES get me excited and their music stays in the brain. You can sing along with them and get up and move. That is not to suggest they are throwaway and too Pop-minded. The spunk and physicality they bring to the plate is what keeps me invested and hooked. I have talked a lot about the band and where they are from; what they are all about and the brilliance they bring. I better get on to WILDFIRES and their latest single, Stuff.

There is plenty of energy and spinning when you hear the opening notes of WILDFIRES. Guitars weave in and out of one another and you have a definite spring in the step. There is light and sunshine but something more spiked and rousing working alongside. In the first few moments, you have so much to get behind, dive inside and fall for. The notes twinkle and dance. You feel yourself swinging your arms to the side and strutting down the street. There is a definite smile on the face and an openness that invites the listener in and keeps them safe. That might suggest there is not enough punch and grunt to get everyone involved. The strength of the song is to provide something quite breezy and calming but there is plenty of physical oomph and kick to unite those who love Pop and those who prefer something a bit different. The introduction is wonderful and you project all sorts of images and place your mind in a particular place. Nathan, Si and Ste step up the musical intrigue as Poppy-Jo comes to the microphone. The heroine has a breathy and seductive voice that reminds me a bit of Hope Sandoval. There is a bit of Nina Persson (The Cardigans) in there too but you get local accent and something more street-wise. It is a blend of sexy and strong that fuses with sly and winking. By that, I mean the heroine has a very down-to-earth nature but there is cheekiness to be found. She hopes and wishes to be the richest girl in the world and give everything to her other. Maybe it is the first moments of a relationship but it seems, as the title suggests, she only has some stuff and various bits and bobs. It is an interesting and new angle to explore and one I was not expecting. So many artists look at love and relationships in a very staid, cliché and boring way.

WILDFIRES seem much more grounded, earnest and unique when it comes to their approach. It is like you are in the heroine’s bedroom and seeing what is strewn about the place. Maybe there are some older guitars or some vinyl; a few trinkets and souvenirs here and there. One gets some male companionship in the vocal department – acting as a two-hander in a sense – and there is a stock check of all the things the heroine has. She has clothing with holes and tears here and there; footwear with scuffs and nothing seems complete and new. You get a vivid and colourful sense of what is in her flat and what she has to offer. Maybe it is an honest revelation to a lover or a general observation of what she has in her life and how humble the setting is. You get some cigarette-scented huskiness and whiskey-soaked sensuality sits alongside a soulfulness and sensitivity that gets into the heart. The heroine wants to give the world but is offering her kingdom of scuff to the hero. She lives a very normal life and there are few riches to be found. It is interesting interpreting the words and it juxtaposes a lot of Pop music that highlights wealth, a desirable life and something many of us cannot understand. You can get behind Stuff and what is being said. The closest comparison to WILDFIRES, I guess, would be The Sundays. Their 1990 album, Reading, Writing and Arithmetic is seen as one of the finest records of the decade and is a perfect blend of Pop and a strong backbeat. WILDFIRES provide a similar unification of dreamy and spirited vocals and great percussion. They throw in keys and synths alongside guiding, strong bass and their proprietary perfume. It is a heady and extraordinary scent that fascinates the eyes and ears and makes you come back. The catchy chorus is, essentially, that list of incomplete clothes and imperfect threads. By the final notes, you come back to the song and try and get to the bottom of it. The modest heroine is being honest about her possessions and what she has to offer. You are behind her and feel sympathy but that is not the point of the song: it is that juxtaposition of the glamorous and bling-laden songs you get and that ‘idealistic’ love song. It is like two teenagers at school starting a courtship and visiting each other’s rooms – not in a sexual way but a more innocent sense. You get that combination of serious and sensual with the child-like and simplistic. It is a great offering from the Manchester band and proof they are among the very best groups in the North. Ensure you give it a good listening and dive into the beautiful and intriguing song. Stuff is a mouth-watering offering that will provoke questions whether more is coming and where the band is heading.

I will reinvestigate WILDFIRES later in the year perhaps but I think the guys have a busy and active time ahead of them. There is a lot to suggest they have a long future and will be touring around the world. They have local gigs coming up and will be busy this summer getting Stuff out to the people and getting as much love as possible. I am stunned by their latest work and how effortless it gets into the head. I hope the band get a chance to come down to London and play some gigs here. I feel they have international potential and can get a lot of attention through Europe and America. I am excited for them and wonder whether an E.P. might come before the year is out. A lot of new ears will train their way and there is evidence to suggest WILDFIRES will bring about some changes in the music industry. Looking to 2019 and I feel WILDFIRES will head to some festivals and get some bigger gigs. I know they are a great live proposition and one of the best young bands working today. Maybe the secret is to mix Pop, Punk and other genres together and provide a personal aspect. It is hard to decipher what makes a ‘perfect sound’ but I feel you need to balance the upbeat and serious; have some Pop edges and crank up the intensity when the moment calls. There is a fantastic bond in the band and you can hear the closeness in every note. The WILDFIRES guys are a democracy and you can hear how much music means to them and how important this is to them. I know they will last a long time and there is going to be more material arriving. I hope I have covered enough ground and explained and explored WILDFIRES sufficiently. I recommend people get involved with their music and listen to Stuff. The Manchester-based band has a great local following but it cannot be long before the capital’s taste-makers prick up their ears and…

THROW love the way of WILDFIRES.  

___________

Follow WILDFIRES

Official:

https://www.wildfiresmusic.com/

Twitter:

https://twitter.com/WildfiresMCR

Facebook:

https://www.facebook.com/wildfiresmanchester/

Instagram:

https://www.instagram.com/wildfiresofficial/

SoundCloud:

https://soundcloud.com/wildfiresofficial

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

FEATURE:

 

 

Sisters in Arms

PHOTO CREDIT: Malunga

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

__________

I am discovering so much female talent…

IN THIS PHOTO: Biig Piig/PHOTO CREDIT: Daniel Alexander Harris 

and am keen to celebrate and highlight the sheer variety out there. What strikes me is the passion and memorability of the music available. There is an imbalance in music still and I find many female artists get overlooked in favour of their male peers. Whilst their sounds are doing the talking; it is a shame some of the best and most engaging new artists have to fight harder to get the same sort of billing as male musicians. In this latest volume; I source tracks from all around the musical map – showing what an immense and impressive treasure chest of female-fronted music…

IN THIS PHOTO: RAYE

THERE is out there.

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

______________

PHOTO CREDIT: Sara Herrlander

AY Wing – Ice Cream Dream

Etta Bond – Let Me Hit It

PHOTO CREDIT: Metro

RAYE – Friends

Emma Louise – Wish You Well

Amy Guess – Never Come Back

Shaqdi – Better

Hero Fisher – Lonely

Caroline Rose – Bikini

MeMe Detroit - Get Down on with Me

Lava La Rue - Widdit

PHOTO CREDIT: Rhea Caldwell Photography

Angie McMahon – Keeping Time

Mary Miller – I Found Heaven

Mint Field – Viceversa

G Flip – Killing My Time

PHOTO CREDIT: Lukas Gansterer

Mavi Phoenix – Trends

Andreya Triana – All or Nothing

Biig Piig – Flirt

Alice Merton – Lash Out

Nubya Garcia – Source

Malunga – Never Let Go

Kiah Victoria – Ornament

Jen Cloher – Strong Woman (Live at The Loft)

Naaz – Loving Love

Poppy Ackroyd – The Dream

Siân Alex – Naya (Sofar London)

Flohio – Watchout

FEATURE: Melville from Inside the Whale: Artists and the Creative Benefits of Isolation and Sparseness

FEATURE:

 

 

Melville from Inside the Whale

PHOTO CREDIT: Unsplash 

Artists and the Creative Benefits of Isolation and Sparseness

__________

MAYBE it is not a new phenomenon…

PHOTO CREDIT: Unsplash

but more and more artists are turning away from the distractions and technology of the studio to record somewhere more remote and quieter. We all know the story behind Bon Iver’s album, For Emma, Forever Ago, and the fact Justin Vernon had broken up with his girlfriend and needed to get away. He was in a state of despair and, between November 2006 and January 2007, laid down a collection of rather intimate and haunting songs that ranks alongside his very best work – many consider the album to be his very best. Vernon, before recording the album, was ill with mononucleosis and a liver infection. He was frustrated with life, in general, and drove to his father’s remote hunting cabin northwest of his hometown in Raleigh, North Carolina – he set up home in Eau Claire, Wisconsin and shut himself away from the rest of the world. When interviewed in May 2008, he talked about his experiences. The article set the scene regarding the cabin and the first flickers of For Emma, Forever Ago:

“Vernon arrived at the cabin in a state of disrepair, having driven through the night from the stifling, swampy heat of North Carolina, where he had settled with the members of his former band, DeYarmond Edison, with whom he had played since his teens. "I felt very uninspired [in North Carolina]," he says. "I needed to get back. So I broke up with everybody, I broke up the band, I broke up with my girlfriend - broke free to do that".

“The cabin was built in 1979 by his father, and Vernon would often spend weekends there growing up. It stands on 80 acres of land rich in aspens, wolves and wild turkeys. "The cabin's like a little alpine-style, timber-frame cabin, used to just have a dirt floor, but the last few years my dad's made it ... maybe too nice." He smiles gently. "Like there's plumbing in it now. But there's still that ancient vibe, because you're so far away from everything."

At first, he admits, he did little but drink beer; gradually, he began to acquire a self-sufficiency that may be the source of the record's feeling of completeness. He chopped logs and hunted for food. "That year was the first time I had killed a deer. It didn't feel good. You want to hit it here," he says, touching his side. "You want to kill it really quickly." It was a good two weeks before he set up any of his music equipment - two weeks in which his head cleared and inspiration came. "I didn't go up there to make a record," he says. "But music was just part of the process of me ironing out that weird vibe inside me. I sat down and started working on the songs, layering vocals on top of vocals, trying to be a choir".

The results one hears from For Emma, Forever Ago stun the senses. The syllabic and wordless quality; the overtaking of emotion as opposed to musicality and technical – it is a profound meditation and rumination on the desolate surroundings in which he recorded and the turmoil seeping through his veins. It sounds rather like a passage from Herman Melville 1851 novel, Moby Dick (or ‘The Whale’): the sailor, Ishmael, obsessively questing Ahab, captain of the whaling ship, Pequod, in order to exact his revenge – read the novel to see why. In fact, it is more akin to Ahab being inside the whale itself: a certain sense of safety and doom sit alongside one another; the sounds of the outside world a mere echo and distorted hum. Often, life can get in the head and dominate every rationale and movement. We get obsessed with ritual and technology; the buzz of the city or the demand of the family. It may sound rather rustic and hard cutting off from life and settling in a remote cabin for a couple of months – sans Internet, Netflix and a decent oven. Whilst a musician like Bon Iver would not have the luxury of amps, a big studio and all the instruments at his disposal; there is something rather humble and challenging being cut away from that crutch. Artists pre-Internet and modern technology had to rely on, before getting into the studio, very basic means and, as such, created much more pleasing and personal songs.

PHOTO CREDIT: Unsplash

I like artists who can utilise technology and push limits but, in a day where we all get hung up on social media and a rather safe way of life – settling in a woodland location and taking things back to basics can revitalise and infuse the senses. Bon Iver’s For Emma, Forever Ago was his debut album and it was a brave decision creating an album and launching it into a world where the very best works – Arcade Fire’s Neon Bible and Radiohead’s In Rainbows, among them – of 2007 relied on traditional studios and equipment. Maybe that is why the record stood out: you could hear the sweat and emotion; there was the sense of a man alone with his thoughts and his music…nothing else to distract the mind and no aids to blur the lines between authenticity and distortion. Jack White, on the other hand, entered a similar sense of isolation when he recorded his latest album, Boarding House Reach. DIY, when reviewing the album, drilled down to the crux of Jack White:

“There’s a popular view of Jack White. It’s one that casts him as a crotchety nostalgist, sitting in a wooden cabin surrounded by tape reels, with two tin cans and a string in place of a phone and a three-mile restraining order on anyone with a Facebook profile. It’s a reputation that people love and loathe in equal measure. For the acolytes, he’s a purist to be held aloft in these increasingly fickle and transient musical times; a man so devoted to the vinyl cause that he started an entire empire (Third Man Records) in celebration of it”.

IN THIS IMAGE: Jack White/IMAGE CREDIT: Getty Images

Maybe the surroundings he recorded in did not match Justin Vernon’s in terms of its remoteness and simplicity: White was in a small apartment but, for the most part, distanced himself from modern appurtenances and aids. He set up a small apartment in Nashville, Tennessee and recorded on reel-to-reel tape. He did not need all the gadgets and electronic luxuries that were used on his previous two solo albums. If anything, he was going back to the early White Stripes days when Jack and Meg White would lay down the material on four-track and make the albums sound as raw and Detroit Garage-Rock as possible. Whereas White’s move was a chance to reinvent and record in a new way – preferring a less gutsy and raucous sound of his previous works, Lazaretto and Blunderbuss – it proved you do not need even to use laptops and the comforts of home to create great material. Whilst there are gulfs between the work of Bon Iver and Jack White – the former received much more praise from critics – each artist felt the need to record in a way that differs from what’s around them. White, since the breakup of The White Stripes, moved away from their rigid and disciplined uniformity – the power of the number three and using guitar, drums and the odd piano here and there – and settled into a more expansive and broad style of working.

IN THIS IMAGE: The cover for Max Cooper's album, One Hundred Billion Sparks/IMAGE CREDIT: Max Cooper/Getty Images

Another artist who has caught my ear is Max Cooper. He recorded his current album, One Hundred Billion Sparks, in a different way to many artists. It is interesting reading this article that gives a bit of background:

“One Hundred Billion Sparks sees Cooper further refining his widescreen style of techno, ambient and experimental music. The UK artist says he conceptualized it during a month spent in isolation in a remote Welsh cottage. 

The album "is my attempt to express what was there after I had removed my everyday life," Cooper explains. "No phone calls, no emails, no messages, no human contact for a month, that was the idea. What I found were the fables we live inside, our constructs, the mechanisms which create them, and the experience of parsing them." 

Today's announcement also comes with this quote: "We are one hundred billion sparks. One hundred billion neurons whose firing creates feelings and ideas. One hundred billion neurons that make us all different yet connected".

Even though the three artists I have already mentioned come from different parts of the musical globe and have different experiences regarding recording/writing; each of them has stripped away the modern world and decided to go back to basics.

Cooper’s album is out on 20th September and it will be interesting to see what that lack of phones/emails and technology has done to the music. I feel more and more musicians will follow the example of Max Cooper and shut away the gadgets and gizmos. Look at the history of music and you can see some vivid examples of artists recording in unconventional spaces. Bob Dylan and The Band recorded in a big, pink house near Woodstock (for The Basement Tapes); The Rolling Stones recorded Exile on Main St. in the basement of Keith Richards’ French mansion; U2 went to Slane Castle for The Unforgettable Fire – Adult Themes for Voice, by Faith No More, was recorded in various hotel rooms. It is not unusual to embrace the unconventional but what I am referring to is artists who completely dispense with modern-day technologies and seek something more honest and less distracting. Many new artists are recording music at home and recording on very simple devices. Look at classic albums like Odelay (Beck) and Nebraska (Bruce Springsteen) and you have homemade sounds in them. I think a lot of artists get too focused on creating something polished, ‘professional’ and simple. We are all too reliant on devices and technologies. I wonder whether we will ever move past this mode of working when we really don’t need to.

PHOTO CREDIT: Unsplash 

By that, I mean we have come a bit too far and are getting too comfortable letting the Internet and technology create sounds and put music together. I would like to see more artists, established and new, either recording or writing material away from the home or somewhere that is quite remote and rural. Not only are you away from the ringing of phones and the noise around you; it is you alone with your thoughts and the music alone. Sleater-Kinney recorded their celebrated album, The Woods, in rural, upstate New York in the depths of winter – it was their seventh record and they needed to get away from the post-9/11 world and the need to stretch their legs (in 2005) was evident. They recorded in intense conditions and often were surrounded by snow; a lot of the songs were nailed in one take and it was a very different way of working. If it is a way of throwing out the rulebooks or finding fresh inspiration; getting into a new way of working or reconnecting with the natural world – I am seeing a lot of modern cases, that I have not mentioned, of musicians either recording in a remote woodland location or a rather simple, technology-free space. It may sound rather horrible and unusual but, as we have heard, it can change an artist’s sound and add fresh spark into their careers. In a time when we are all obsessed with technology and social media; it sounds rather appealing unplugging it all, getting into the car and…

PHOTO CREDIT: Unsplash

RECORDING music surrounded by nature, quiet and no distractions.

INTERVIEW: Tiny Eyes

INTERVIEW:

Tiny Eyes

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IT has been great speaking with Joel (Tiny Eyes)…

about his incredible new single, Just Saying, and  its memorable, vivid video. He discusses the hot weather and how it is impacting him; whether there is more material coming down the line; some of the artists/sounds that has inspired him – he shares a fond memory involving Scott Matthews.

I ask Joel whether he has advice for artists coming through and how his music has changed since the start; if he chills away from music and has time to unwind – he recommends an artist we should invest some more time in.

____________

Hi, Tiny Eyes. How are you? How has your week been?

Hot! With all the crazy heatwave temperatures my week has mostly been spent melting.

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

Er, hi. I’m Joel, A.K.A. Tiny Eyes. I write songs on my piano and I make noises with things I find around my house and I put it all together on my laptop. It’s proper, old-fashioned songwriting stitched together into a collage of acoustic instruments, lo-fi synths and home-made samples.

How are you taking to all this hot weather? Is it compelling songwriting and energy – or is it a bit draining?!

Well. It’s so hot that my piano’s gone out of tune - so I’m on an enforced songwriting break at the moment. I don’t mind, though - I’ve got a stockpile of songs which I stashed away last winter like some kind of crazy squirrel. I can wait until the weather is cold and dark again before I write some more. In the meantime, I can enjoy the sunshine and tell people about my new tune…

Just Saying is out. What is the inspiration behind the song?

Erm. It’s kind of a day-to-day love song. So many songs are written about the beginning or the end of relationships. I decided to write about what happens in the middle:  the 99% of everyday life that just gets ignored. So, it’s like randomly-chosen slice through my life…waking up with a hangover, then a bit of existential angst; saying things to wind up your partner…a typical day without any high drama.

Is there more material coming down the tracks? What are you working on?

Shhh! It’s all secret! Yes. I’ve got a queue of songs that I’m waiting to record, for a debut album that’ll be out next year. I’m pretty excited about the way it’s taking shape, although there’s a fair bit of work still to be done before I can let it out into the wild. There will be another single or two out before the album, too, so plenty to look forward to in the next few months.

Do you think your music has evolved and shifted since you first started? What are the main lessons you have learned?

I suppose it’s always evolving and shifting in subtle ways but, really, that’s something I don’t try to think about too much. If you worry about that, there’s a danger you’ll end up trying too hard to be clever and different and you forget about making something that’s actually good.

As far as learning lessons; I try not to learn too much. Nothing feeds the creative process better than stumbling around like an idiot, making mistakes; playing the wrong notes, saying the wrong words. Try to look at it all with a kind of wide-eyed wonder. That’s where all of the best new ideas come from - and I never want to cut myself off from that.

Which musicians did you grow up around? Did your parents introduce you to a lot of different artists?

Yeah. My parents have great taste in music. They introduced me to loads of good stuff when I was growing up from The Beatles to Tom Waits to Bowie to Radiohead.  I’ve always had a very musical circle of friends - we were always in bands, trying to write our own songs; learning how to record, often failing spectacularly but having a lot of fun.

What do you hope to achieve in 2018?

Stay alive...

Anything else is a bonus…but, recording the rest of the album should probably figure in there somewhere.

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

This sounds like we should be in an awards ceremony, for the Rock and Roll Hall of Fame or something, with me looking back across a long and illustrious career: “Well; I suppose there was that time when Jagger and Richards covered that tune, you know; the one off my third album”…but, to be honest, some of the best fun I’ve had so far was shooting this latest video, wandering around the neighbourhood in a monster costume. Some of the looks from passers-by were priceless.

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

Well. That’s a bit of a moot point because Tiny Eyes isn’t a live project. Not for the time being, at least. I’m not convinced that it’s a good idea to meet your idols anyway. What if you really hate them when you meet them in person?! Sometimes it’s better not to have that illusion shattered! Having said that; Martha (Bean) and I did get the chance to support Scott Matthews once. An utterly captivating performer and a genuinely great guy. Seriously tall, too - I’m about six-foot-one and I felt like a proper short-arse talking to him.

With riders, I’ve come from a background where any kind of gig rider is a bonus. The idea of charging in and demanding loads of awkward stuff just feels plain wrong. Food? Anything that isn’t sandwiches or crisps. Oh, and as many cups of tea as I can drink. I’ll take that bottle of whisky, though, if you’re offering.

What advice would you give to new artists coming through?

How about making some great music?

Don’t just settle for being a half-decent copy of an artist you like. Make a record that’s so good people crash their cars when it comes on the radio. Be wary of most advice, too…even if something worked for somebody else; it doesn’t mean it’ll work for you. If your gut says to do something and other people tell you to do the opposite, ignore them and follow your gut. Have the courage and the patience to make your own mistakes. It always pays off.

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

I don’t perform my music live but I do massively enjoy sharing the songs with the world.

What kind of buzz do I get? Picture a raging hive of killer bees being attacked simultaneously with a blowtorch and a chainsaw - something like that.

 IN THIS PHOTO: Andy Shauf/PHOTO CREDIT: Geoff Fitzgerald

Are there any new artists you recommend we check out?

It’s a couple of years old now, but I’ve recently discovered Andy Shauf’s album, The Party, and it’s definitely my go-to album at the moment.

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

Yeah. What’s that saying 'action drives out thought'? So; I try not to be too busy. I play a few five-a-side football matches every week. Sometimes, I go to foreign countries. I drink Mezcal. I add fresh chillies to everything. I set up troll accounts on Instagram - and I have a very comfortable hammock strung up in my back garden.

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).

Well. As I mentioned him earlier; how about Virginia by Scott Matthews? One of my favourite-ever songs - devastatingly good

________________

Follow Tiny Eyes

Twitter:

https://twitter.com/tinyeyesmusic

YouTube:

https://www.youtube.com/channel/UCsw1qrHgvGutGLWTrP6AhMA

SoundCloud:

https://soundcloud.com/tinyeyesmusic

Spotify:

https://open.spotify.com/artist/6Gypj6mwacYFBx0ZKBlHjF

INTERVIEW: FINE POINTS

INTERVIEW:

FINE POINTS

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MY mind turns to FINE POINTS…

as they talk with me about their current single, Ready & Able, and their fresh record, Take Shape. Evan from the band discusses the record’s themes and what it was like working with producer Jason Carmer; how the band found one another – he chats about the scene in L.A. right now.

I was eager to learn what sort of music Evan grew up around and what gigs the band have coming up; if there is any chance of them all coming over to the U.K. – Evan recommends a current artist we should all seek out.

____________

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

Evan: Hey. It’s pretty good! We just hopped in the van and are now officially on tour. Something strange happened this morning before we left, though. When we went to pick up our trailer, we noticed that the lock was smashed and there was a man living inside of it. His name was ‘Big Country’ and he had a bejewelled crown on his head. Some kind policeman eventually convinced him to leave and we were off!

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

Yo! We do dreamy jams with guitars, drums and synthesizers. (‘“We like to play” - Garth)

Talk to me about the song Ready & Able. What is the story behind the song?

This one is about seizing the moment and making moves when something inspires you. One life to live, you guys/gals. Our friend, Hannah Moriah, is beautifully featured and made this track something really special.

It is from your sophomore album, Take Shape. Are there particular themes that inspired the music? Do you all have a favourite cut from the record?

Being abducted by the future and the power of letting go….

My fave cut is The Fang. It was the first tune we recorded and the tracking process was so natural/easy. This was not always the case as we recorded the remainder of the album. It’s a dedication to a pal of mine that passed away last year.

What was it like working with Jason Carmer on the album? What did he bring to the record in terms of input and expertise?

Carmer brings in a high level of recording experience and knowledge of songcraft. He helped us spit-shine the jams and left sparkles on everything.

How did FINE POINTS get together? Were you all playing around L.A. in different bands?

Matt and I put together F.P. on our breaks from touring with Sleepy Sun. Josh (Drums) and Owen (Bass/Keys) have become an integral part of our ‘sound,’ as well. We’ve got a new keyboard player named Nick who is slaying. We live in the Bay area and all of us are involved in an array of musical and art projects.

Give me a sense of the artists you grew up around. Who inspired you to get into music?

Neil Young and Velvet Underground are the big ones for me. They make beautiful Pop music but also have really fuck*d up/abrasive moments in their songwriting. I love that balancing act.

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

Play the tunes out as much as we can. Sell some units.

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

Neil Young live in Barcelona at Primavera Sound. I’ve never seen someone head-bang as much as he did that night.

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

I try to support all peeps that are making music. It’s a tough gig these days. My rider is al pastor tacos and Mezcal.

What advice would you give to new artists coming through?

Sounds cheesy but do it because you love it. If there’s another reason in your head (money, fame etc.) you’re kinda fuck*d.

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

A West Coast U.S tour is happening right now. Check www.finepointsmusic.com for dates.

Do you think you will come to the U.K. and play at all?

Would love to! I’ve been craving a full English breakfast. Fly us out?

IN THIS PHOTO: Vince Staples

Are there any new artists you recommend we check out?

Vince Staples.

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

Not really. I usually chill with music. Mexican cuisine helps.

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).

Evan: Mulatu Astatke – Mulatu

________________

Follow FINE POINTS

Facebook:

https://www.facebook.com/finepointsmusic/

Twitter:

https://twitter.com/finepointsmusic

Instagram:

https://www.instagram.com/finepointsmusic/

YouTube:

https://www.youtube.com/channel/UCIAkbQGRtyHYUQUnyF7icyg

INTERVIEW: Club Paradise

INTERVIEW:

Club Paradise

___________

THE guys of Club Paradise have been speaking with me…

about their new release, Brother, and what its story is. I ask what the scene is like where they are in Newcastle upon Tyne; whether there is more material coming their way; if they are ready for the summer gig trail – they reveal the sort of music they grew up around.

I ask the guys if they get chance to unwind away from music and the advice they’d give artists coming through; which upcoming acts we need to get behind; what their fondest memories from music are – they each choose a track to end the interview with.

____________

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

Nathan: Hi. We’re tremendous. It’s been such a pleasure seeing how people have reacted and warmed to the single since its release. We’re still over the moon with how the single launch went – so, that set this week up fantastically.

Jackson: Sweaty (to both)

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

We’re Club Paradise; a four-piece Indie-Rock band from Newcastle upon Tyne. I’m Ryan; I sing and play guitar; I’m Jackson I play guitar; I’m Nathan - the dummer; I’m Harry and I play bass!

Brother is your new tune. What is the story behind the song?

Ryan: The song principally is about greed - specifically, the story behind the Martin Shkreli drug price-hike scandal in America. That’s what came naturally and effortlessly when we wrote the song as it was going on at the time. Really, though, it can be applied, metaphorically, in other ways - how do you feel cheated?

It seems like it is ready for the summer and prepared to get a good tan! Do you have plans to get the song on the road?

We do! Although…we couldn’t possibly spoil the surprise just yet...

You hail from Newcastle upon Tyne. What is the music scene like there? Do you think it gets the attention it deserves?

Nathan: It’s certainly growing, that’s for sure. There’s a sense of unity with the majority of bands up here; everybody understands, for the scene to grow, there needs to be a communal aspect. All the bands and music lovers up here support one another and the crowds understand good music when they hear it. We have a number of very slick venues - and the younger generation is making a big effort to get out in numbers to support local bands.

There are artists such as Sam Fender and The Pale White who are getting quite a name for themselves amongst the country; gaining momentum every day whilst sticking to their northern roots. So, attention is starting to arise.

Ryan: Yeah. I agree. It’s important to know that the scene was totally dead when we first arrived under a different guise a few years back but now to see it flourish the way it does is really exciting and a privilege to be a part of!

What comes next for the band? Do Club Paradise have new material brewing?

Jackson: Absolutely. We have some bangers in the oven.

Nathan: We’re always writing new tunes. It keeps us refreshed knowing we can tweak the set and chop-and-change songs to keep things interesting for us and the people who come and see us. We opened our headline gig just gone with a new song that we love. It hasn’t got a name we’ve all settled on yet but it has a very engaging sample taken from an ‘80s coming-of-age film that fits it phenomenally. The song itself is nostalgic and anthemic and a joy to play live. We got goosebumps performing it.

Given that interesting name; is there a club, historic or music-based, you’d consider being ‘paradise’.

Ryan: for me, I’m not associating it that way. Our single launch party was the creation of Club Paradise - not only as the headline act but the start of its own place and the event name. We want to create Club Paradise for ourselves and have everyone else associate it with that. Our name is boundless…

Nathan: What springs to mind for me is a club located in Budapest named Corvinteto. I stumbled across it with my friends when I was travelling around Europe in May and fell in love with it instantaneously. It had everything: pulsating neon lights, ear-crumbling speakers; an idyllic rooftop overlooking the city and a real sense of togetherness with everybody who attended. I didn’t see one person not enjoying themselves - and that’s my idea of real paradise.

Give me a sense of the music you all grew up around. If we combined your record collections; what might we find in there?

Harry: Favourite Worst Nightmare by Arctic Monkeys was the first album I bought. Klaxons really got me into Electronic music. I was really into Indie stuff.

Ryan: I’ve been surrounded by such a diverse selection growing up. My mother listens to Northern Soul and Motown, so I’m heavily into all that stuff - and a lot of Soul, too. At the same time, my dad listens to everything from Phil Collins to Duran Duran and I think that sort of stuff comes in a lot more with what we do, musically. I chose a lot of different stuff growing up but myself and Nathan we were so heavily into the early Kings of Leon stuff.

I remember; we would just sit for hours on end listening to what was going on in the early-'00s and just being blown away. From being around eight-years-old, we wanted to do this because of everyone from Kings of Leon - even to Razorlight and everything in-between. But, the best physical record I own from start to finish has to be Funkadelic - Uncle Jam Wants You.

Jackson: Kerrang! Class of 2006.

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

We can’t announce that just yet!

What do you hope to achieve in 2018?

Ryan: We want to establish ourselves as a main player in the North East. We’ve been around for so many years under a previous name and that was our warm-up; we were prepping to do this. We’re much more focused and refined now. We have a set of songs we’re continuously expanding and we know exactly what we want to achieve. We’re here now and we’re not going anywhere but forward.

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

Nathan: I remember so vividly being in primary-school and waiting for the Christmas talent show every day so me and my friend could perform for the first time. We must’ve been about ten-years-old and we got up, drums and guitar; dressed in trilby hats, neckerchiefs and skinny jeans and blasted out a cover of Back in Black by AC/DC. It was exhilarating.

There are photos of me next to this drum kit that was twice the size of me. The teachers and parents were shocked. They thought it was going to be terrible but we smashed it. Looking back, it was probably awful but, from that point on, I knew all I wanted to do was play live in front of big crowds - maybe minus the trilby.

Harry: Writing music on Boxing Day when we started the band and we all received new gear for Christmas. We wrote several songs that day. They did not age well at all but we were exploring sounds and our instruments. It was a fun process.

Jackson: First time I heard a song I liked was on a Rey Mysterio website where it was, literally, just pictures of him with Numb Encore playing. I asked my sister what song it was and then I downloaded it.

Ryan: When we finished our first song as a band, around the age of fifteen/sixteen, I remember just playing it over and over for hours and I got home and I was so adamant that we were on to something…I’d never think the same thing if I wrote it now but it was such a significant transition to us: we went from musicians who played covers to artists then. It was spine tingling.

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

Jackson: Last Dinosaurs/The Jungle Giants.

My rider would be a bucket of ice, a can of Relentless; some vodka and a cinnamon swirl from the Co-Op.

Harry: Tame Impala. They had the best live show I have seen.

Ryan: Tame Impala are up there for me, too, but I’m not disappointed in changing that to Bear’s Den. I can never get bored of their music.

What advice would you give to new artists coming through?

If you’re doing something and you think: ‘But, wait; nobody else is doing that’, it’s not a bad thing. You’re doing the right thing by making a sound for yourself. No self-respecting band has ever become successful by being derivative - make your mark.

Harry: When starting out, say ‘yes’ to every gig. You network, get experience and improve as a band. We played an obscene amount of shows in our first three years.

IN THIS PHOTO: The Old Pink House/PHOTO CREDIT: Alex Robson

Are there any new artists you recommend we check out?

Nathan: There’s another four-piece from Newcastle I’d highly recommend called The Old Pink House. Every song they have released on Spotify is an anthem. The singer has a very distinguishable voice and the guitar riffs are melodic; supported by a thumping, stylish rhythm section and moody, room-filling synths.

Harry: I am into a band called courtship. Right now, they just released their debut L.P. They have some great tunes, especially for summer.

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

Harry: Not really. It is always on the mind. I unwind by listening to music - so that doesn't help.

Ryan: The great thing about music is that you can use it for everything, including downtime. I do enjoy a cinema trip or reading, though.

Jackson: Playing Xbox babyyyyyy. Fortnite master.

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).

Jackson: As U Wave - HALFNOISE

Nathan: Everything She Wants – Wham!

Harry: Sunroof – courtship.

Ryan: Girlfriend - Christine and the Queens (ft. Dâm-Funk) 

________________

Follow Club Paradise

Official:

http://thisisclubparadise.com/

Facebook:

https://www.facebook.com/thisisclubparadise

SoundCloud:

https://soundcloud.com/thisisclubparadise

Twitter:

https://twitter.com/clubparadise__

Instagram:

https://www.instagram.com/thisisclubparadise/

YouTube:

https://www.youtube.com/channel/UCOIbHDA4wOF06sTEKhqab7Q

FEATURE: The July Playlist: Vol. 3: Musing, Feline Power and the Phat of the Land

FEATURE:

 

The July Playlist

 IN THIS PHOTO: Muse/PHOTO CREDIT: Patrick McPheron  

Vol. 3: Musing, Feline Power and the Phat of the Land

 __________

THIS week has seen…

IN THIS PHOTO: Cat Power/PHOTO CREDIT: Lex van Rossen/MAI/Redferns

some rather unexpected twists and turns thrown into the mix! I was not expecting new music from Cat Power, Muse and The Prodigy but, here you go; all three have provided us with some fantastic new cuts! Let’s hope albums ensue and they keep the momentum going!

I have been excited by the volume and breadth of music coming through this week! It has been exciting, explosive and brilliant! Have a listen to the brilliant selection of tracks that have come our way and enjoy! I am excited what next week will provide and what the likes of Cat Power and Muse will come up with over the coming months!

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

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Cat Power – Wanderer (Intro)

Muse – Something Human

The Prodigy – Need Some1

Sarah Close – You Say

Noel Gallagher’s High Flying Birds – If Love Is the Law

Father John Misty – Date Night

PHOTO CREDIT: Natalia Mantini

Soccer Mommy – Scorpio Rising

Wild Nothing – Partners in Motion

Drenge - Before the War Begins

PHOTO CREDIT: Eliot Lee Hazel

Death Cab for Cutie - I Dreamt We Spoke Again

PHOTO CREDIT: Hollie Fernando Photography

Spring King – The Hum

Bebe Rexha - I'm a Mess

Billie Eilish - you should see me in a crown

ZAYN – Sour Diesel

The 1975 – Love It If We Made It

Áine Cahill - Beauty Is a Lie

Meghan Trainor - TREAT MYSELF

Alex Hepburn – If You Stay

Greta Van Fleet - When the Curtain Falls

PHOTO CREDIT: Ryan Saradjola

YONAKA – Fired Up

Chance the Rapper - I Might Need Security

LANY - Thru These Tears

Deaf Havana – Holy

The Internet – Mood

TobyMac – Everything

Eric Church – Desperate Man

Imagine Dragons – Natural

Ciara - Level Up

The Decemberists - Once In My Life

Jodie Abacus – You’re Crazy

Paty Cantú - Mariposas

HOLYCHILD - Wishing You Away

Daktoa – Hate Loving You

Cassia – Get Up Tight

Jessie Reyez – Apple Juice

Future Jr. – Changing

TRACK REVIEW: Fil Bo Riva - Time Is Your Gun

TRACK REVIEW:

 

Fil Bo Riva

Time Is Your Gun

9.3/10

The track, Time Is Your Gun, is available via:

https://soundcloud.com/fil-bo-riva/fil-bo-riva-time-is-your-gun

GENRE:

Alternative

ORIGIN:

Berlin, Germany

RELEASE DATE:

6th July, 2018

_________

WHEN looking at Fil Bo Riva…

PHOTO CREDIT: Juliane Spaete

I wanted to look at a few different things. I will speak about solo artists who, although they work with other musicians, have a split between isolation and being buried in the world – how the solo male artist is making a comeback and we need to see those idols come through. I’ll also address those artists with a more romantic and cinematic mind; musicians who travel and spend time in different nations; revealing a bit more on the page and showing the listener where they came from – I will talk a bit about bridging gaps between E.P.s and albums and how artists find their inspiration for songs. I am reviewing a lot of solo artists but, for the most part, they tend to be female artists. I am assessing men in music but it is harder for them to stand out on the band. In fact, more than ever, the solo artist needs to stand out and register in the mind. It is possible to stand out and stay in the brain but, in a packed and hectic scene, that is becoming more difficult by the day. Bands are fuller and they tend to hold more potential in the eyes of many – bigger sounds and more emphatic. I have always held a lot of affection for solo artists because they have to shoulder all the burdens and tasks of their career without anyone else’s help. Fil Bo Riva has a lot of lure when it comes to attracting new fans – which I shall address soon – but the young man has the ammunition to succeed. Many of us have to go through life and make sense of the bad experiences and the good. The way I see it is the solo musician can channel those times into great songs and stories. Fil Bo Riva collects together his time on the road and personal encounters and filters it into rich and stimulating music. The reason why I feel the band struggles against the promise of the solo artist is what the market expects from them.

Bands are often primed to have that festival-ready sound or they need to produce something big and bombastic. I know there are bands that can succeed by writing intelligent, softer songs but it is becoming harder and harder to separate yourself from the pack. Bands also have the challenge of creating harmony and balance in the ranks. They have members who might be on a different page and it can be quite hard compromising and finding common ground. Solo artists can create as they wish and do not have the issue of disagreement. They can also bring in other musicians, as Fil Bo Riva has, and make something fulsome and colourful. One of the reasons I wanted to mention this topic is male solo artists have to, at the moment, fight against that Ed Sheeran-like impression. Any songwriter with sensitivity and a guitar is, to many, compared to Sheeran. There are other mainstream artists culpable but the male singer-songwriter is much more interesting than an acoustic guitar and love songs. Fil Bo Riva brings in fantastic instrumentations and lyric ideas to create something heady and scenic. I feel we get it into our heads the male solo artist is going to be quite limited and not have the same clout as a band. Maybe the acoustic artists and hollow Pop artists of the mainstream have blurred our senses. Look out at the scene and there are many riches to be discovered. We are in a position where artists have more at their disposal and they have a history of music to pick from. I maintain the female solo artist is more interesting and fulsome: the male songwriter is on the rise and there are some fantastic examples on the market right now. One of the reasons Fil Bo Riva strikes my ear is a unique and personal sense of songwriting. He does not write to please labels or fit into some sort of niche. He is a pure and instinct-driven musician who fuses dynamic and dreamy guitars with diverse vocals.

PHOTO CREDIT: Mario Simic

Time Is Your Gun is the third single from the songwriter’s upcoming album. There are a lot of exciting times ahead for Fil Bo Riva and he has a lot of the world to see. One of the contrasts you get with a solo artist is being isolated and alone and having the world at your feet. With Fil Bo Riva; he gets the time to hunker in the studio and dedicate some time there. The musician loves being in the studio and seeing songs come to life. With a select bunch of musicians and other bodies; he can work on songs and build them gradually. Fil Bo Riva is someone who loves being in the studio and seeing the music come to life. Music leaves everything else at the door and focuses on the task at hand. The young man loves music and everything one can get from it. He gives his all to it and, in return, provides the listener with something incredibly direct, moving and engaging. I mentioned the contrasts and how solo artists have the chance to explore the world. Although Fil Bo Riva is a solo artist – many might be confused by other bodies in photographs – he works with other musicians on stage and allows his varied and kaleidoscopic sounds to expand and flourish. It can be quite lonely and hard for a solo artist and it is a lot of hard work succeeding and getting your career off the ground. Many find it too challenging and hard to keep pace or suffer from disenchantment. That passion and focus has to shine through and one must not lose sight of why they are doing this. Fil Bo Riva is someone who loves making music but he connects with the people and, I suspect, loves nothing more than being on stage and getting his music to big audiences. It is a heady and vivid experience being a musician today.

PHOTO CREDIT: Juliane Spaete

It can, by contrast, be suffocating being on stage and having that huge reaction from the crowd. Fil Bo Riva takes his experiences and stories from the stage and takes them into music. Fil Bo Riva was born in Rome but spent time in Berlin and Dublin – I will talk about that in a bit. It is the curiosity of the world and the need to take the music far and wide that makes Fil Bo Riva such a fantastic proposition. I stated how it is hard for a solo artist because we have an impression of who they are what they should be about. It is easy to get the impression they will all be quite dull or sound the same. That is true with many: in the case of Fil Bo Riva; he provides the strength and passion of a band and puts his entire personality and mind into the music. There is so much working away and there for the uninitiated listener. There is nothing to suggest Fil Bo Riva cannot claim big glory and become a mainstream artist. I say that because of the energy he has and how he puts his all into creating. The world of music is a vast and bustling one – you need to be steely and defiant to survive and get to the top. Fil Bo Riva balances being in the studio and crafting songs and being on stage and seducing audiences. The solo artist, I feel, will make a comeback and get the same respect as bands. A lot of the solo artists who get big respect and critical attention at the moment are from the world of R&B and Pop. Fil Bo Riva is more Alternative and Indie. Those styles have some great players but they are taking on the might of Pop, R&B and Hip-Hop. Rather than pummel us with energy and electricity; Fil Bo Riva goes deeper and wins your heart with a blend of urgent vocals and enticing compositions. The songs are very personal and real. You feel that direct connection with the songwriter – he provides a glimpse of the world you would not otherwise get.

PHOTO CREDIT: Juliane Spaete

With an album due; times are exciting for Fil Bo Riva. He has released the singles, Head Sonata (Love Control) and Blindmaker. Both of those songs had their own skin and sensation. Time Is Your Gun recalls the sounds of his debut E.P. but departs in a way. It does not sound like his other material and wets the appetite for the upcoming album. Even though he tries to steer away from the words; there is a romantic and cinematic sensation to the music. In fact, he embraces the word ‘cinematic’ and wants the music to project a rather grand and engrossing sound. In a way, his previous works have been snapshots or photos; impressions of a scene and a stable image – we can use our imaginations to predict the scenes before and after that photo was taken. In many ways, he has moved and creates more fluid, moving and widescreen music. Each song is like a story; one has a fuller and more stimulating type of music that brings more elements into the fold and has a rich and fulsome nature. I have been thinking about artists like Matt Corby and Jeff Buckley and how their best music is romantic and tender. They are musicians who won fans with spellbinding, passionate songs. It is difficult talking about love and life without coming across cliché or personal. The likes of Buckley and Corby managed to (Matt Corby is still recording) to win legions by writing from their heart but not being too insular and isolated. Fil Bo Riva has a romantic heart and, whilst not obsessed with love songs and his experiences, illuminates the page with a tenderness and colour that makes the heart skip a beat. Everything he does comes from his own heart and there is a lot of revelation and soul. Maybe I am losing my thread but it is nice to see an artist write songs that mean a lot to him. Fil Bo Riva is not chasing a market trend or writing material that has a commercial edge.

PHOTO CREDIT: Juliane Spaete

There is a lot of anticipation surrounding the upcoming album. The songwriter loves the album format and knows it is a very different world to the single and E.P. Whilst you can write unconnected songs or an E.P. that has loose ties; with an album, you have a much bigger task at hand. We are becoming less interested in the album and are moving to streaming and that quick fix. People skip through songs and d not often sit down and listen to an album in its entirety. Most of the records I listen to fully tend to be from years past. I love a lot of the albums released this year but do not often come back to them. It is harder for artists to attract and keep people hooked. Rather than pen an album of disconnected songs that could have come with anyone; Fil Bo Riva knows the importance of hooking all the tracks together and creating a real experience. I mentioned films and how Fil Bo Riva’s music has that moving and scenic sensation. Rather than write music that fades from view and does not provoke imagination; he writes songs that inspire you to close your eyes and picture what is happening. It is harder to leave an album and move quickly on if you are engrossed and distracted by what is being sung. It is more and more difficult producing albums where one sits down and keeps outside forces at bay. Fil Bo Riva has travelled the world and gained a lot from his time on the road. He brings all of that knowledge to the studio and writes music that takes the listener somewhere special. I will move on from this point – I was keen to explain how you’ll want to get involved with Fil Bo Riva’s album. I am excited to see what comes from Fil Bo Riva and how his album takes shape. Listen to the singles he has released and you get the sense something special is going to come through.

PHOTO CREDIT: Zlexander Aielasko

Fil Bo Riva started life in Rome but has spent time in Berlin and Dublin. In fact; Fil Bo Riva spent his school years in Dublin and decamped to Berlin in 2012. He has had different experiences of Europe and taken a lot from each nation. That experience of travelling and seeing different people makes the music so much stronger. What amazes me is the difference between artists who do not really travel much and those who go around the world. I feel the latter has an advantage and can create more varied and interesting sounds. Fil Bo Riva seems to have found his home in Berlin and is based in a city become more and more popular. So many others are locating there and drinking in the cultures and various nationalities there. It is the touring and that side of the coin that stands out to me. Fil Bo Riva has supported Matt Corby and Aurora and shown his muscle to those at large festivals and intimate gigs. The debut E.P., If You’re Right, It’s Alright, was released in 2016 and amazed critics and fans. Guitarist Felix A. Remm was added to the mix and that early solo sound mutated into an on-stage duo. The current project has four members: Fil Bo Riva writes on his own, I believe, but the recorded material is played by a quartet. Whilst he travels the world and spends time in other cities; it is the draw of Berlin that keeps him coming back. It seems like that mixture of international adventure and homely love makes the music shine and resonate. I feel, if you are more isolated and do not travel far; the music only has limited potential and it can be quite samey. The young artist has matured and grown over the past couple of years. The young man has the promise and energy to last a long time in music and inspire the masses. I feel the music he is making at the moment is his very best – it will be interesting seeing where he goes from here and how his music changes.

PHOTO CREDIT: Juliane Spaete

The singles we have seen so far have given one a taste of what the album is all about and the sort of images/sounds that we will witness. Fil Bo Riva has taken his music to various nations and drawn all of his life experiences into the fold. I wonder whether the young songwriter could go even further and act as a guide to new songwriters emerging. The musician has a lot of social media presence and keeps people informed of where he is going. He is across all the sites and options one might need and expect – you can get your fill, as it were. It is easy keeping in touch and knowing what goes on. I wonder whether more could be expended in regards to personal biography. At the moment, we can learn a lot about the music and how it has transitioned through the years. I would like to see a bit more about the man himself and the artists he grew up around. I understand why many want to avoid talking about that. It can be difficult revealing your influences because people hone in on that. You will listen to the music and, I guess, assume the artists Fil Bo Riva name-checks are what goes into his music. Rather than create that confusion and lazy journalism; he keeps stuff held back and allows people to make their own impressions. I would like to learn where he came from and what he is driven by, mind. I assume he was captivated by artists at a young age and it would be nice to see when he came into music. That is a minor slight and concern – most of what is put out there and known fills gaps and lets you know what Fil Bo Riva is all about. I shall move on and talk about his latest single, Time Is Your Gun.

One experiences some far-off and spectral notes from the off. The mood is quite moonlit and sparse. Rather than rush in with strings and needless rush; you get a more considered and haunted backdrop. Slight plinks and embers flicker and crackle as the hero comes to the microphone. When Fil Bo Riva sings, you have the impression of a young man who has experienced some heartache and disappointment. “Heaven’s beautiful in your head” is a line delivered with as much gravitas and potency as I have ever heard. You can detect the emotion and strain comes through. Maybe he is referring to himself and unable to distinguish between idealism and reality. He may have given his heart to someone who seemed perfect but, in fact, is not. Maybe neither is true and he is casting blame on someone else. The song starts quite slow and has that aching, echoing quality. It seems the heroine has lied – which makes the hero cry – and there is definite tension to be found. Rather than look at the song from the outside; the listener jumps in and follows the lyrics. That minimalist composition works wonders when it comes to emotional resonance. The vocal shines through and is what you are focusing on. You hear the passion and emotion in the voice and wonder what has provoked the split and unhappiness. Most relationships break up for limited reasons. There is no guarantee things will last, no matter how good they seem at the start. That might sound bleak but I mean it is hard to predict how a relationship will go and how long it will last. It seems things were good to start but have taken a turn for the worse. I am jumping to the relationship assumption without doing some proper investigation. The hero is in pain and is feeling the weight of the situation. The chorus comes in and, with that, the song takes a turn and becomes more energetic.

PHOTO CREDIT: Juliane Spaete

Percussion comes in and adds more drive and energy; there is more accusation and revelation. It seems the heroine messes the hero around and has been playing about. It seems like she is cheating or, at the very least, being dishonest and impure. Our man is unhappy and at his most angered. The girl wears a crown – he does not know why – and there is a palpable sense of release. Guitar and drum ramp up a bit and there is a definite wave of movement. It is the striking and slightly gravelled voice that gives the words such impetus, meaning and gravitas. You follow the song through and imagine the scenes taking place. The song’s title gets into the mind and you wonder what meaning it holds. In my mind, I was imagining a lover who shoots (metaphorically) at our hero and keeps on hurting him. Maybe she dredges up past memories and is not moving on; she might be able to reveal truth and plays with his heart. It is interesting reading that title and predicting what significance it holds. Time Is Your Gun keeps on brewing and raising the tension. You are never uncomfortable with the anxiety and anger coming through. You feel for the hero and wonder what has caused the tension. It is always hard to predict how a relationship will unfold but it seems Fil Bo Riva has hopes and wanted things to last. Whilst the duo is not separated and past the point of no return; there are signs to suggest things might not ensure too much longer. I guess the heroine has been cheating and leading our hero astray. Even though the song deals with some tough subjects; the music has a more upbeat and energised nature. You get little waves of guitar and drums before the song dips into acoustic territory. The hero wonders whether he will be remembered and respected; he is fighting against anonymity and is struggling to hold. This might sound gloomy and lost but, in many ways, there is beauty and hope to be found. Time Is Your Gun is a multi-part and fantastic song that keeps you guessing and provides endless beauty, soul and potency. You immerse yourself in the music and hold out hope things will work for the best. Although the hero is being overlooked and needs to be heard, I get the feeling things will work out for the best and he will be okay. He has a determination and desire to fight the waves and come out the other side. Time Is Your Gun will resound in many people’s hearts and strike a chord. It is a dramatic and fantastic sound that will get many people excited about the upcoming album and what it possesses. Another fantastic and memorable song from Fil Bo Riva.

PHOTO CREDIT: Juliane Spaete

It is an exciting and adventurous time for the Berlin-based artist. Not only is he putting an album together but he is getting more acclaim and attention. Many people in the U.K. and responding to his music and the demand around the world means a busy touring schedule awaits. The young artist has changed from that lone writer to someone who, although a solo act, has a more collaborative mind. He works with Felix and, if anything, that unity has produced stronger material. Songs like Time Is Your Gun started as scraps of paper and ideas. It is how they transformed from those notes and slight impressions to a fully-fledged song that amazes me. The studio seems like a natural place for Fil Bo Riva. He loves seeing songs come to life and building them step by step. I know there will be a lot of excited people out there ready for the album and what it holds. I feel it will be his most realised and exciting work yet. Fil Bo Riva has some dates in Germany – he is in the U.K. in October – and is taking the music to the people. It is busy and exciting and, in the next few months, he will bring his songs to new audiences. I wonder how far he can go and what success he can accrue. It has been a thrilling and wonderful last couple of years for Fil Bo Riva: the next couple of years will be big and promising. His material, as I say, is getting better and there is a new appetite for solo artists who go against the grain and produce something deeper and more mature. You get romantic and cinematic clashes and something direct; colour and light together with more shadowed and intimate moments. It is a fulsome and nourishing cocktail that is hard to resist. Make sure you listen to Time Is Your Gun and follow the story of Fil Bo Riva. He is a brilliant young talent who is making moves and standing out. Also, when his album arrives, ensure you grab a copy and listen to it the whole way through. We are digesting fewer albums and not as in love with the format as before. With Fil Bo Riva, I feel that tendency and lazy habit…

WILL change.  

___________

Follow Fil Bo Riva

PHOTO CREDIT: Mario Simic

Official:

http://www.filboriva.com/

Twitter:

https://twitter.com/filboriva

Facebook:

https://www.facebook.com/filboriva

Instagram:

https://www.instagram.com/filboriva/

SoundCloud:

https://soundcloud.com/fil-bo-riva

Spotify:

https://open.spotify.com/artist/3JE0uoggWwwYG6rSSJk0HN

YouTube:

https://www.youtube.com/channel/UC72grrB_OA8J4sRnOIkdAWw

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Pillow Queens/PHOTO CREDIT: Paul Gerrard 

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

__________

BEFORE the weekend swings in…

IN THIS PHOTO: Yvonne Hercules

I have been looking at some tremendous releases from great female artists. From Irish wonders to new Pop coming from America – it is a fantastic playlist that summons summery sun and the seductiveness of the night. Make sure you put the music on, turn the volume up loud and enjoy a varied selection of songs. Sourced from the past few months; this is a banquet of brilliant slices that is guaranteed to…

PUT a smile on your face.

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

____________

Pi Ja Ma – Ponytail

Ojerimé - Greasy

Delaire – Something More

Jocelyn Alice – Still Wondering

Gia Margaret – Smoke

Laura Pieri – I Will Follow You

PHOTO CREDIT: Rachael McAllister

Laura Brehm (ft. Draper) – Follow the Signs

Caroline Kole – What If

Tayla – F.W.U

Nina Luna – Keep Me

Dakota – Hey Mamma

Maisie Peters – Best I’ll Ever Sing

Connie Constance – Yesterday

Meron Addis – Scared of the Dark

PHOTO CREDIT: Hannah Sommer

Yvonne Hercules - Flume

Nina Smith – Run Out

Pillow Queens - Cuckoo

PHOTO CREDIT: Laura Sheeran

Eve Belle – Best Intentions

PHOTO CREDIT: Rich Gilligan

Saint Sister – You Never Call

PHOTO CREDIT: Daniel Alexander Harris

Rosie Carney – Bare

PHOTO CREDIT: Matthew James Wilson

Lala Lala – Destroyer

Sarah Close – You Say

Holander – Smoke

Hannah Trigwell – Everything Will Be Okay

PHOTO CREDIT: SHOT BY PHOX

Orla Gartland – I Go Crazy

FEATURE: Rise Against the Technocrats! The Snobbishness Levied at Techno and House D.J.s

FEATURE:

 

 

Rise Against the Technocrats!

PHOTO CREDIT: Unsplash 

The Snobbishness Levied at Techno and House D.J.s

__________

A couple of articles have caught my eye…

PHOTO CREDIT: Unsplash

that has got me thinking deeply about Techno and House music right now. Both articles come from The Guardian; both look at female D.J.s and both, as you’d expect, have been met with a slew of user comments that cast aspersions on their (D.J.s’) worth and validity. I will talk about Nina Kraviz and Helena Hauff in a bit but, right now, a look at how Club music has changed. Articles are flying around concerning how the one-hundredth edition of the famous Now That’s What I Call Music! has hit us - and it is amazing to think a compilation series has lasted so long. I recall my exposure to the series back in the early-1990s and I have dipped in and out until now. My first memories of music go back to the Now series and the best chart artists of the time. I mention this – rather than going off on a tangent! – because the sort of music that stood out on those compilations was not Pop and Rock: House and Techno were the sounds that struck my infantile ear. The sound and flavour of the scene have changed since the 1990s, for sure, but there is still a snobbishness and elitism when it comes to the genres. Maybe 2 Unlimited and Snap! – European Dance/Techno acts that seemed to be everywhere at one point – are not the best examples of the best of the older breed but their music was defined by brightness, energy and, a lot of the time, female-led vocals.

Dance came more to the British fore in the late-1990s when Basement Jaxx emerged: before then; The Prodigy brought darkness, menace and ecstasy to Dance and Trance. We can look back at the development and changes in House and Techno (and Dance) from the late-1980s to the current time. I remember growing up around the likes of The Prodigy, Frankie Knuckles and Larry Heard and realise there have been definite shifts and evolutions. If you label; the music ‘Dance’, ‘House’ or ‘Techno’; there is less of a commercial element to the music – D.J.s and composers have their faithful following but are more underground and less exposed than they should be.

PHOTO CREDIT: Unsplash

One can argue the quality of modern Techno and Dance is pretty so-so – House music has lost its glory and not as influential as it was when I was younger. Maybe this is gender-based but I feel there is too much snooty and aggressive behaviour levied against female D.J.s. I will bring in a couple of features soon but I hear so many of those ‘outside’ of the Techno and Dance scene who are unaware of the skill and talent needed to provide an epic and crowd-uniting set. Carly Wilford, a D.J. and SISTER Collective lead, has deejayed and performed all around the world. She seeks out new talent and has brought heavy bass, after-hours sweat and thrills to crowds in many corners of the globe.

PHOTO CREDIT: Unsplash 

Wilford, when speaking with Huck back in May, talked about her path into the world of the D.J. and being inspired by trailblazers like Annie Nightingale and Mary Anne Hobbs (a heroine of mine, too). She strives to close the gender gap – there is a fifty-fifty between men and women in terms of population as she points out – and end sexual harassment:

“I believe that we’re living through one of the most pivotal times in our generation’s history,” she says. “It just makes you feel that you haven’t been losing your mind. These things are really happening, and it isn’t okay. Now boundaries are being reasserted.

“I’ve had things happen to me personally that I kept quiet about, that I was probably quite embarrassed about, and that held me back,” she adds. “What’s been incredible over the past few months is that there’s been a real solidarity, with women – and guys – people speaking up and holding each other’s hands”.

Wilford, like her peers, has faced challenges and prejudice – she has a community and following that vibes to her sounds and loves what she puts out. Maybe I am getting a bit off-track but I can imagine she has experienced people doubting her talent and how ‘hard’ it is to do what she does. The criticism and snobbishness are levied against men too but one of the things that annoy me is how people assume being a D.J. of Techno and House (or Dance) is a bit of simple knob-twiddling and putting some faders up/down. A lot of the most innovative and progressive music of all-time has mixed in samples and collided musical worlds to create something mesmeric and divine!

IN THIS PHOTO: Carly Wilford/PHOTO CREDIT: Tom Jamieson for Huck

I have watched videos of Wilford and others perform their sets and it is an endless case of keeping control of the mixing board and making sure the energy is kept up. It is about mood and mixing sounds together that do not go in too hard or play it coy. It is about standing out and creating something unique. I read comments from people that fall into two camps. There are those who have a sexist attitude and concentrate on a woman’s look – I will bring in the Nina Kraviz article in a bit. Another piece, written last year, looked at the way we have a divide and there is a rather vicious attitude from some:

“Plenty of us (including myself) have stuck the knife in a bit too deep, pointing out people’s ‘obvious’ faults from our educated perspective. Correcting someone on the shortcomings of their perceived music intelligence is in itself as wrong as whoever was spewing about Drumcode being the best Techno out there. The blame is equal on both sides and the solution equally so. If we were all a bit more accepting of people who are admittedly new and fresh on the scene, then the underlying hostility would cease to exist. A simple push in the right direction, away from the stereotypical entry-level tracks and artists, into more niche or hard to find artists that people may prefer is so much more beneficial than saying they don’t know what they’re on about.

"Dance music constantly fights against misunderstanding from the uneducated outside world, so why can’t it combat similar miscommunication within its own circles. If the scene is as all-encompassing as it tries to lead people to believe then why doesn’t it have a more open armed policy to the naïve new listener?”

Maybe there is that stuffy and unmoved older generation who remembers the days when Pete Tong was popular and Dance/Techno was a much more varied and widespread affair. There is a naivety that suggests that, while we do not see Dance and House high up the charts all the time and on the radio constantly; the genres have grown hugely and we have stations dedicated to the music. I have mentioned Carly Wilford and how she looks for like-minded talent; EFFI is another incredible D.J. who has played big festivals, student nights and great events. It is great to see boutique festivals, clubs and events open up opportunities for D.J.s – something we did not have years ago. I still feel a split between the newcomers to the new breed who feel they (D.J.s) are not doing much and relying too heavily on technology and older sounds. House and Techno relied on huge innovations and movements back in the day: so many assume we are in an uninspired time where Pop and Rock take bigger prominence in the popular music world.

Back to the Wilford interview - and some cuttings show Dance and Techno has not had the same breakthrough as other genres and movements:

“Dance music hasn’t quite had its ground-shaking Time’s Up moment yet, Wilford says. The Forbes list of the world’s 10 highest paid DJs featured no women yet again last year; there was only one woman for every four male DJs on the worldwide festival circuit in mid-2017, according to a study by the group female:pressure…

“Know that however lonely you feel, you’re never alone,” she says. “Even if the people around you don’t understand you, your tribe is out there”.

You can do the research regarding the best male D.J.s and Techno devotees of the day but a lot of the most engaging and compelling D.J.s right now are women. Helena Hauff spoke with Joe Muggs of The Guardian and talked about her career and new music. Muggs’ assessment of her music shows the complexities and variations present in the clubs right now:

“In the five years since she started releasing tracks, she has become a figurehead for a noisy, neo-gothic imperative in techno, delivering live and DJ sets of sometimes terrifying strobe-lit intensity that triangulate perfectly between acid house energy and industrial harshness. The almost entirely live jams of her new album, Qualm, are the best attempt yet to bottle that lightning; they are likely to push her into clubland’s big league”.

Hauff talked about breaking through at a time when being a D.J. was a rarity for a woman. Underground Techno has always had sexism and limitations: right now, there are some breakthroughs and experimental geniuses (women) who are shaking that up:

“Her success has come alongside several other women breaking through in the former boys’ club of underground techno: she cites Cologne’s Lena Willikens and Siberian superstar Nina Kraviz among her favourite acts. As with most things, her approach to the topic is pragmatic. “It’s important we talk about this, but I’m not on social media, I’m not like [disco/house DJ] the Black Madonna, for example, who’s very active on Twitter and determined to get her message out there,” Hauff says. “But I know other girls say they started DJing after they saw me and that’s really, really cool. Every woman who goes out and does whatever she wants to do, and makes music and DJs and is visible, helps to make a change and make a difference”.

Kate Hutchinson of The Guardian spoke with Nina Kraviz – one of the most popular young D.J.s working in the business right now. Kraviz talked about the energy she projects and how detailed and nuanced her work is:

“When I DJ, I’m fucking alive,” she says. “All my channels are open. People think I’m on drugs, but I’m not – I’m just really experiencing it.” She calls her approach “raw”, but she dislikes how that has become a byword for anyone who plays vintage-sounding house music through software: “Fuck you, man, [your show is] pre-cooked, taken out of the fridge and then burned in the fucking microwave.” By contrast, she never pre-plans her sets, let alone stands still while playing. “I’m putting my physical presence into it. And it’s different from one show to another because I’m a different person every day. I’m the kind of person that goes from highest point to the fucking lowest point in a second”.

A lot of the comments under the article praised Kraviz and paid testimony to her abilities and durability. There were many – I have not named those who made them – who show a typical ignorance and sexism...

“Listening to her and other techno DJ artists made me realize
A) how great musicians and composers Bay City Rollers were;
B) I'm hearing the soundtrack of Huxley's Brave New World;
C) there must be certain pleasures in being a zombie”.

"She still has to deal with sexist comments about her mixing skills…"

“Eugh spare us. What is sexist about this? Plenty of DJs get grief because they're mixing skills are shite, and it's not because they have a vagina. Shite mixing is shite mixing. It's kind of a DJ's job”.

“The fact that she doesn't tell you her real age, just highlights the fact she's got a huge ego and all that prancing and pouting she does behind stage is infact just her absolutely in love with herself”.

“She used to be good until she started all the pouting and flicking her hair behind the decks”.

Although these are comments from readers of The Guardian – either very middle-class or used to a different sound of Techno - this is the sort of attitude and stupidity aimed at D.J.s like Nina Kraviz. The common link between all the male leaders; female pioneers like Kraviz, Wilford and Hauff is their free spirit, lack of conformist attitude and, quite frankly, not giving a sh*t about negativity and those who do not like them! The Kraviz 'argument' looked at sexism and how changes have started to creep in:

“…But sexism was a problem. Back in the mid-00s, the male-dominated dance music scene struggled to get its head around a woman who knew what to do with electronic hardware. In 2012, she released her self-titled debut album, a collection of simmering 808 love songs and gauzy techno-pop. While “some people loved it”, says Kraviz, “people were suspicious of a pretty woman making music on her own, with a vision. They couldn’t handle me. It was like: ‘It cannot be true that you can have lipstick on and make music’”.

IN THIS PHOTO: Nina Kraviz/PHOTO CREDIT: Getty Images/Press Association

Other big figures in Techno/EDM and Dance include the late, great Aviici. He relied on big and bombastic sounds that often paired with Pop music and artists – designed to get people happy and involved. An article, following his death, looked at the sort of snobbishness he had to endure:

“There is a particular snobbishness towards Avicii’s brand of big, unabashed EDM that relates to the notion that music of value cannot be computer-generated or enormously popular, but the same distaste is generally not applied to Daft Punk, for example, or Taylor Swift. His is the kind of music that is readily dismissed as something you “press a button on a laptop” to make. (Would that such a button existed!)

These songs were never meant to be heard by an individual, through tinny earbuds, in the daytime

Even now, when the divide between high and low culture is being smoothed out and there is said to be no such thing as a guilty pleasure, you may be more likely to “own up” to liking Levels than to declare it proudly (you might just sequester it on your gym playlist). But Avicii’s music was that rare thing in a world where culture has atomised: the soundtrack to moments of pure, collective euphoria”.

The cynicism and upturned noses are not only directed at women: other are hostile towards those who want to add new genres into Electronic music and take it in new directions. The reasons Techno and House got to where it was is down to the very best taking risks and pushing it forward.

The Streets (Mike Skinner) urged, on Original Pirate Material, for us to “push things forward” and stop buying and listening to the same old crap! There are some who do not understand Techno and how it has mutated – this does not invalidate the music and we should hold our tongues when it comes to criticism. I would like to see people get out of the mindset (that) EDM/Techno and House is all about leaning on classic sounds or standing there dumbly and letting technology do all of the talking. Maybe the overall sound and influence of the scene have changed but that does not mean there is an irrelevance and lacking quality. Instead, more clubs and festivals have sprung up; women are fighting against the gender divide and the faithful are promoting the best D.J.s out there. Many live in the past and expect Techno and the like to retain its skin and components. I wonder whether ignorance and arrogance overtake and shouts over all the talent out there. I urge people to research and look at all the fantastic Techno/Dance D.J.s who are lighting up clubs and releasing stunning mixes/tracks. For those who feel being a D.J. is nothing more than shifting a few knobs and looking pretty; they really need to spend some time…

PHOTO CREDIT: Unsplash

IN their world!

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

FEATURE:

 

Sisters in Arms

IN THIS PHOTO: Robinson 

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

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EVEN though the weather is starting…

IN THIS PHOTO: Joy Crookes

to turn a little bit; the heat is still pretty intense and there is no sign of summer going anywhere for a little while! I have been looking around the new releases of the past few months and am discovering artists new to my mind – those who deserve a lot more focus and attention. In that spirit; here is a collection of all-female tracks that combines electricity and energy with something more cooled and casual. A fantastic list of songs from artists who will, very soon, go on to much…

IN THIS PHOTO: Melody's Echo Chamber/PHOTO CREDIT: Diane Sagnier

BIGGER things.

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

__________

Robinson – Nothing to Regret

PHOTO CREDIT: Laura Sheeran

Roisin El Cherif – Half a Life

Melody’s Echo Chamber – Cross My Heart

Hey Charlie – Love Machine

PHOTO CREDIT: Anise Mariko

Jackie Cohen – Darlin’

Alex Hepburn – Can’t Stop

PHOTO CREDIT: Adrian Gauci

Dana McKeon – Little Miracle of Mine

Germein – Talking

Candice Gordon – The Kids Are Alt-Right

Laura White (ft. Ms Banks) - Heartbreaker

Joy Crookes – Sinatra

PHOTO CREDIT: @kirangidda

Diamantina – Bandwagon

Gabriella Vixen - Maybe

Asian Doll – Crunch Time

Olivia Louise – No Filters

Mulatto – On Me

Wyen Solo – Dear Diary

That Girl Jared – Don’t Take It Personal

Shenna – Conversation

PHOTO CREDIT: Laura Hermiston

Jeen – Any Moment

Kate Stewart – Loving You

Æ Mak – Love Flush

Jessica Meuse – Thank God It Didn’t Work

Odina – I’ll Carry You

Seaker – Dreaming

INTERVIEW: VC Pines

INTERVIEW:

VC Pines

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IT has been interesting speaking with VC Pines…

about his new single, Golden Gai, and its evocative story. I ask the songwriter what it is like writing music with a condition called chromesthesia; if there is going to be more material later this year – Jack (VC Pines) talks about moving from a band, The Carnabys, to life as a solo artist.

I was eager to know whether there are gigs coming up and which upcoming acts VC Pines recommends; the three albums that mean the most to him; how he chills away from music – the songwriter gives some useful advice for artists starting out.

____________

Hi, VC Pines. How are you? How has your week been?

Not bad, thanks. Recovering from Lovebox last night - Childish Gambino was unreal.

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

It's like an Alternative-Soul vibe; contemporary-sounding beats and sounds with classic brass and voodoo organ sounds. Soulful vocals, too.

Golden Gai is your new single. Can you reveal the story behind it?

Haha. It's a memory from being on tour in Tokyo. Me and the bassist were walking through Kabukichō after drinking in the Golden Gai; we kind of got ushered into this lift that was on the street and just went with it. When we got out, we were suddenly in this run-down, after-hours massage parlour with all the lights off. These people were screaming at us and tried to take our money etc. But, yeah, we managed to slip around and sprint down the stairs and out of the weird parlour, wallets intact - and lived to write a song about it.

Will there be further material this year, do you think? How far are you looking ahead?

Yeah, for sure, I'm writing all the time; constantly working on new material and finishing off older stuff. New stuff in the wings, for sure.

Jack. As a former member of The Carnabys; was it hard adapting, in terms of formation and style, to working on what you do now?

If I were to tell myself I'd be working like this a couple of years ago it'd be hard to get my head around, but it's all just fallen into place quite bizarrely and it's how I love to work. I can try things out, bin it or keep it; go with styles that are a bit more out-there and they grow on me every day.

You have a condition called chromesthesia. How does it affect the way you write and perceive music? Does it make creating music more difficult than otherwise?

If anything, it makes it easier. I have a clear vision of the song before it's even written and use colour to help to keep things that fit together like a puzzle - especially in the studio when colour coding gets used. It really helps to see it all in front of you rather than have things laid out in my head. It makes things quick and easy: like having two computers on the go, except only one has a screen.

Given the name, ‘VC’ (Violet Coloured) Pines; is there significance behind the moniker? How do they relate to your chromesthesia?

Some of my favourite music I've written is violet/purple in my head. The name helps keep things going in a certain direction for me. ‘Pines’ comes from my temporal lobe epilepsy, of which I think my synaesthesia/chromesthesia is a symptom.

I was taken to Wolfboro, in North America, when I was a child. I hardly remember any of it but, sometimes, if I'm having an episode I get these memories in my head I didn't think were there - and they're of these massive pine trees and the snow around them.

Did you grow up around a lot of music? Which artists inspired you when you were young?

I got into music through my dad's C.D.s. He had all these Punk C.D.s; so, I instantly loved people like The Stranglers, Ian Dury; Wire, The Clash and The Damned etc. He's also a big Motown fan and, through that, I found Soul music which really captured me. We used to sing Across 110th Street  (Bobby Womack) at each other in the car.

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

I haven't really thought of that! Haha. Maybe I should start. I've just been taking each day as it comes - each song, as they arrive in my head, and going with it all.

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

1st August at The Social - be there!

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

I've loved every second of being in music, from touring globally; the European tours and the tours up and down the U.K. It's fuc*ing fun and that's why I do it. Looking forward to getting back on the road with VC Pines. Tours are full of laughs, but one particular memory I have is when we played a house party in Brighton and we were so close to falling through the floor.

Everyone was jumping but there was this one guy that wasn't - though his head was bobbing up and down by a foot or so, which meant the floor was bending. The moment I said “stop jumping” he went nuts and starting stamping everywhere.

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

That's such a hard question…there are so, so many. There are some I fall in and out love with and others that I never forget about. They're all so different! I'm gonna say:

Sound & Color - Alabama Shakes

Me and my girlfriend listened to it start to finish the other day in the car and it reminded me of being on tour when it first came out. It's an album full of memories for me.

Grace - Jeff Buckley

One of the most incredible albums ever written. He was a true, true genius.

Remain in Light - Talking Heads

It reminds me of my dad from the first to last second. It's literally an album full of his sense of humour and emotions. David Byrne is also a hero.

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

Nick Cave & the Bad Seeds. Not only are his songs written with his dark brilliance but his live arrangements are even better. He has so much energy on stage - and so do the Bad Seeds. To have a career like his would be a dream.

My riders are pretty easy: beer, rum; towels, water…depends on what's happening after the show.

What advice would you give to new artists coming through?

Make the music that you would play if someone asked you to describe yourself. Hold nothing back on stage and don't listen to assholes. Oh…and anyone that mentions percentages within the first five minutes can fu*k off, too: let things grow.

IN THIS PHOTO: Joel Culpepper

Are there any new artists you recommend we check out?

Joel Culpepper, Daniel Blumberg and Ezra Collective.

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

I don't really. The only thing I do to chill is not listening to it (music). When I'm not writing, I'm at work at my mate's shop. So, I end up playing my favourite music all day. Love it.

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).

Sick. Let's go with the last song I listened to: Chicago - Tom Waits

________________

Follow VC Pines

Official:

https://www.vcpines.com/

Facebook:

https://www.facebook.com/vcpines

SoundCloud:

https://soundcloud.com/vcpines

Twitter:

https://twitter.com/vcpines

Instagram:

https://www.instagram.com/vcpines/

YouTube:

https://www.youtube.com/channel/UC1g2op8Ft_vfUtUsowkw5vg

INTERVIEW: Super Paradise

INTERVIEW:

Super Paradise

___________

WITH their new single, Sweat, ready to go…

I have been speaking with Super Paradise about it and whether there might be more material arriving down the tracks. The band discusses the reason behind moving from Milan to London – they reveal what they hope to achieve before the end of this year.

I ask where we can see them play and the new artists we should watch out for; how their latest single differs from their earliest material; the importance of being on stage and performing to the crowds – the guys each select a song to end the interview with.

____________

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

Yeah. This week’s been good. Kind of busy. Getting things ready to release the single and get to Paris.

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

We are Super Paradise - we originated in Milan and are now based in London. We generally think of the music as ‘Dream-Garage’.

Can you tell me about your new track, Sweat? How did it come together? What is the story behind it?

It’s about this whole year in London; since we started playing together.

How do you think it differs from your earliest work? Do you find yourself adding new stuff with each track?

It takes a more frenetic direction. It’s our fastest song yet; it’s more raucous than the earlier stuff.

Is there more material coming? Are you working on an E.P. or album?

Yeah. We are recording an E.P. in September which should be out by the end of the year, hopefully.

You started life in Milan but are based in the U.K. What was the reason behind the move? Do you get the chance to go back to Milan?

The music scene in London is fresh and dynamic. Lots of venues. Lots of interesting bands. It’s perfect for us.

We hope to play in Milan soon; by the end of the year.

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

More gigs around the U.K. We want to play some shows up North, for sure - and also to release a new E.P.

How important is it being on stage and delivering your music? Is that the best part of making music?

Yeah. We really enjoy playing live. It’s often the best way to reach new audiences - and we seem to go down well.

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

Thee Oh Sees, Fat White Family; The Gories and My Bloody Valentine.

What advice would you give to new artists coming through?

We would be talking to ourselves…

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

We’re playing in Paris this Friday at Super Sonic then we have our single launch party on Tuesday, 24th July at The Waiting Room in London. Then, we have a headline show at The Old Blue Last on 30th July.

IN THIS PHOTO: Coby Sey

Are there any new artists you recommend we check out?

Coby Sey, Brother May and Micachu.

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

Books and films.

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).

Tom Waits - Going Out West

Parquet Courts - Total Football

The Gun Club - Mother of Earth

Thee Oh Sees - I Was Denied

Tommy James & the Shondells - I’m Alive

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Follow Super Paradise

Facebook:

https://www.facebook.com/sssuperparadise

SoundCloud:

https://soundcloud.com/superparadise

YouTube:

https://www.youtube.com/channel/UC3qNDwP7YWTLSp5eXe675Kg

Bandcamp:

https://superparadise.bandcamp.com/