INTERVIEW: Lindsay Latimer

INTERVIEW:

Lindsay Latimer

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I always love musicians who can project their…     

personality and spirit onto the page! Lindsay Latimer has been talking with me about the remixed version of her song, I Blame You, and what comes next for her. She talks last year’s Teenage Lullaby and what Nashville is like in terms of inspiration and motivation – Latimer recommends a couple of new artists to look out for.

I ask her whether there are any tour dates coming and which albums mean the most to her; whether she has a favourite memory from her time in music; what she would say to artists emerging right now; what she hopes to achieve before the end of the year – Latimer ends the interview by selecting a bit of a classic.

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

Doing well! Good! My husband and I just got our first puppy together this week. We’re still married, so that’s great.

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

I’m an Indie Pop singer-songwriter from Nashville. I grew up in ballet, started taking classical voice lessons in middle-school and soon that became my thing - which led me to want to study voice performance in college…which led me to Nashville. I’m drawn to write on the things we have a hard time putting words to as humans. Nostalgia, love and loss; not getting invited to the cool parties in high-school…light things like that.

I Blame You - a track from your E.P., Teenage Lullaby - has been remixed (by Bodytalkr). What was the reason for remixing the song?

You know, I really just wanted to take it up a notch. It’s a sweetly delicate song that will forever be special to me - but I wanted to hear it as an Electro-Pop remix. I knew there was a lot more potential in this song to color in. My producer remixes songs as well, so I chatted with him once the idea was in my head and off it went!

Do you think new emotions and elements have been brought to the song?

I Blame You has always tasted both a little sweet and sour to me. There’s sheer love in there but there’s also something a little unsettling tossed in. Hence the dissonance. I wanted to have the remix savor both of those feelings, and yet unleash an emotion of audacity as a result of this intoxication. The music video’s rollerblading, cannon-balling into a pool with my clothes on and my light-up shoes all nod to that.

Teenage Lullaby was released last year. In terms of lyrics and music; what sort of things inspired the songwriting? Do you think you learnt a lot about yourself whilst making it?

The whole aesthetic reflects this tug-of-war between my years growing up and now - so there’s this obvious mashup of decades. Pool parties and balloons meet the other side: adulthood. Past struggles are often remedied by the present and that’s where the ‘lullaby’ applies. There was once tension and mystery, but blanks get filled and aches are alleviated as we press on and trust the process. Creating certain songs on that record added years to my life. I left the studio exhausted from being so honest.

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

Projects in the works. Follow along with me and thee shall findeth outeth.

Nashville is where you are based. How important is the city’s music, past and present, to you and what you do? Is it a perfect place to create?

It’s a neat place. Very resourceful when it comes to making it all sparkle in the studio. Also, very saturated with people doing what you’re doing - which you just learn to see as a helpful thing. When I first moved to Nashville in 2009, I was a Lindsay-sponge. I listened and watched everything that was going on - the music, the shows and the appearances. I swallowed a lot of lies that I should be singing a certain style and writing a certain way.

It took me about six years to figure out that that’s inaccurate. I then began writing songs the way I wanted to write them; singing the genre I wanted to sing - and today’s Nashville is more of that now than stylistic conformity. I needed Nashville in my life to show me the music I didn’t want to write and lead me back to the music I do.

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

More music. More depths into my current songwriting and production. I’ve been really excited about my current compositions - solo and with others. Fresh stuff. Also; train the dog to get me a beer from the fridge…and stain the deck.

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

My high-school choir opened for Michael Bublé at a Christmas gala that we’d perform at annually. He invited us back on stage for the encore and I sang Christmas carols next to him. So much bigger than a fangirl moment. It was the perfect glance into what I wanted to do in life: perform and connect people and spread joy. I remember not being able to fall asleep that night.

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

Jack Johnson - In Between Dreams (2005)

I memorized every word back then and still can sing the record through for a pick-me-up. Though our sound is different, Jack has inspired me a lot. He was the first artist for me who embedded his beliefs in his music and did it with his unassuming voice. But then, he couldn’t make you mad in doing it because it’s done well. I was like: “Oh yeah, I want to do that”.

Michelle Branch - Hotel Paper (2003)

This record taught me a lot about songwriting. I was thirteen and memorized every word. Then, I would sing it running through my neighborhood with my pink iPod. Oh yeah.

Barbra Streisand - People (1964)

A favorite of my grandmother’s. She would listen to it every night after her husband passed away and would tell me to never forget that people should be able to hear my lyrics because they are so good. Like, the way Barbra does it. I’ll forever love it and cry when I listen.

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

Billy Joel. A bowl of Swedish Fish after each set.

Can we see you on tour soon? What dates are coming up?

Going to have to say stay tuned for now (smiles).

What advice would you give to new artists coming through?

Lots of opportunities to be had if you’re willing to get your hands dirty and work hard and not worry too much about what people think of you…while you carve out how you want people to see you and then live by those terms. A little reverse psychology is healthy. Haha.

IN THIS PHOTO: Bandit Heart/PHOTO CREDIT: Sean Hagwell

Are there any new artists you recommend we check out?

Bandit Heart; Matthew Wright. Both make music that is so true to them and that’s not always so easy. Both solid dudes. Both single.

IN THIS PHOTO: Matthew Wright

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

I go outside. I love to get where it’s quiet. Kayak or rollerblade. Feel the wind and get perspective. However; this week my dog is those things and I have to make sure she doesn’t pee on the sofa.

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

People by Barbra Streisand 

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Follow Lindsay Latimer

Official:

https://www.lindsaylatimer.com/

Facebook:

https://www.facebook.com/lindslatimer/

Twitter:

https://twitter.com/lindslatimer

Instagram:

https://www.instagram.com/lindsaylatimer/

YouTube:

https://www.youtube.com/channel/UC0EPpedOQKl7EibzDPsUexg

Spotify:

https://open.spotify.com/artist/1rACFvrCArXK1RBO26g5Cc

SoundCloud:

https://soundcloud.com/indsayatimer

FEATURE: The July Playlist: Vol. 4: Good Samaritans, the Corporation and Plenty of Zeroes

FEATURE:

 

The July Playlist

 IN THIS PHOTO: IDLES/PHOTO CREDIT: Ania Shrimpton  

Vol. 4: Good Samaritans, the Corporation and Plenty of Zeroes

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THERE are few big names in this week’s playlist…

IN THIS PHOTO: Jack White

but that does not mean there is a surfeit of great tunes! There is a new video from Jack White and fresh songs from IDLES, All Saints and The Internet; some great offerings from Miles Kane and Tinashe - variation and diversity to get your teeth into!

It is an interesting time for music right now. With the Mercury Music Prize shortlist announced; there is a lot of talk regarding who might win the award. I have been looking more to the general and wider music world and seeing what is coming through. It is an interesting and busy week for music that should give you enough to dive into an enjoy.

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

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PHOTO CREDIT: Lindsay Melbourne

IDLES – Samaritans

Jack White – Corporation

PHOTO CREDIT: The Telegraph 

All Saints – After All

The Internet – La Di Da

David Bowie – Zeroes

Miles Kane – Cry on My Guitar

Pale Waves – Noises

Ward Thomas – Lie Like Me

Blood Orange – Jewelry

Fall Out Boy - Bishops Knife Trick

P!nk – Secrets

PHOTO CREDIT: Patrick Gunning

Sea Girls – Too Much Fun

Chainsmokers (ft. Emily Warren) – Side Effects

Charli XCX – Girls Night Out

Tom Morello (ft. Vic Mensa) – We Don’t Need You

PHOTO CREDIT: Jonathan Vivaas Kise

DAGNY – Landslide

Elley Duhé - Way Down Low

HONNE – Shrink

PHOTO CREDIT: Lottie Turner

IDER – You’ve Got Your Whole Life Ahead of You Baby

Karen Harding – Picture

Maggie Rogers – Give a Little

Sneakbo – Mercy

Tinashe – Throw a Fit

ABISHA – Nothing Matters

Tom Odell – Jubilee Road

PHOTO CREDIT: Imogen Forte

Estrons – Cameras

Catherine McGrath – Cinderella

BETA WAVES – Love Love Love

Girl Crush – Past Life

Halestrom – Buzz

PHOTO CREDIT: Bazza Mills

Kyle Falconer – Poor Me

Joel Baker – Harder to Fall

Chloe Lilac – Stolen Liquor

Santigold - Run the Road

Metric – Dressed to Suppress

TRACK REVIEW: Seaker - Dreaming

TRACK REVIEW:

 

Seaker

Dreaming

9.4/10

The track, Dreaming, is available via:

https://open.spotify.com/track/6iFvYq8gQvQ6gmn0F2s6l4?si=dPaGGABZTtGr37B5RqGSbQ

GENRE:

Alt-Pop

ORIGIN:

London, U.K.

RELEASE DATE:

20th July, 2018

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WHEN looking at Seaker…

there are a few things that come to mind. I wanted to investigate this year’s Mercury Music Prize – stick with me on that one! –; artists from the North and music made in London; songs inspired by night-time unrest and realisation; a look at human psychology and how that can impact songwriting; a look at where Seaker will head and what her future holds. I wanted to begin with the Mercury because there has been a lot of chatter and consternation regarding this year’s list. It is always hard pleasing everyone regarding a shortlist – as I wrote in a piece after the nominations – so there are going to be eyebrows raised and people unhappy. There is, in the dozen selected, too much commercial interest and emphasis on mainstream acts. Many have noted how artists like Noel Gallagher and Lily Allen, who are bigger names, have made the cut – newer, riskier artists have not been nominated and that has angered quite a few. I am quite happy with the list as it stands. There are some omissions and oversights – where are Let’s Eat Grandma and Shame, for instance?! – and it seems we need to look at how the Mercury Music Prize is run and what it stands for. My point is, bringing it back, the best of British music should be that takes some risks and goes a lot deeper than that we are familiar with and expect to do well. Artists who have been in the public eye for a while have won acclaim and made it to the big leagues. There are fantastic artists emerging, making great music that is not being recognised. Seaker is one of those talents, in future, one would hope to be nominated for such a prize. I say this because the music, musically, is stunning and the sounds take from different areas/genres. Her material, as I will investigate, looks at the human condition and is more original than most of what is out there.

You listen to it and are transported to an evocative and memorable place. This is the same music we should be highlighting and giving recognition to. I am pleased, this year, Nadine Shah has been nominated for her album Holiday Destination. It is a primal and important record that looks at everything from immigration and xenophobia to personal struggles. The reason I mention Shah’s album is that of the importance of the material and how accomplished the music sounds. You know she has put so much effort into every track and the material actually departs from the predictable and conveys important messages. The newcomers and those unsigned are working hard to get to the mainstream/wider audience and are doing so in a much more inventive and honest way. I am hearing artists who have the potential to make a big name of themselves and make changes in the music industry. What interests me about Seaker is the way she subverts the obvious and cliché areas many investigate and make you think. The music is never too distant and hard to understand. You learn something new and are given a fresh perspective on the human psyche – I will look at that in a little bit. What I wanted to say is how we should be recommending this sort of music to the public. It is great Pop artists and those in the mainstream are being recognised but I wonder how enduring and inspiring it is to those emerging. The Mercury Music Prize should be about British sounds that have appeal and are excellent but take a bit more of a gamble and provoke a reaction. Seaker is the sort of artists who is going to make a name for herself and progress – worthy of award recognition and wider acclaim. I will move on from this point but it is interesting looking at award ceremonies and how judges decide what is seen as eligible and necessary. People have been unhappy with our most prestigious award and wondering whether it holds weight and value.

Sticking, actually, with the Mercury theme and there was another argument: the fact there are still so many London-based artists on the list. I started looking at that argument and wondering whether we need to start looking at other areas of the U.K. and what is coming from there. Seaker started life up in Teeside and is now down in London. Nadine Shah, from the North East, is one of few names from the elected dozen who comes from the North. There is an abundance of London artists on the longlist this year and that has garnered a lot of criticism. I agree we should judge music in terms of merit – rather than geography – but there are a lot of things to unpack. It might sound like an odd subject to bring in but I have to wonder why London is attracting artists and why so much popular music is coming from there. I know there is a great scene in places like Manchester and Glasgow but it seems like the capital inspires something that leads to popular music. Look at the artists nominated for the Mercury this year and a lot of (the material) is about personal areas and love. Lily Allen’s No Shame documents transitioning in life post-divorce; Florence + the Machine’s High As Hope nods to the capital and personal reflections (including the end of a needy love and her grandmother’s suicide). Wolf Alice, too, have taken from various areas of the human condition for their album, Visions of a Life. I find artists from outside London (nominated) like Arctic Monkeys, Nadine Shah and Jorja Smith have taken a different approach to their subject matter. London artists, as opposed to those away from the area, tend to be more personal and a little hard-hitting regarding the music. That might sound like a generalisation but, when looking at the London-based artists on the Mercury list; I see more emotional bleeding, vulnerability and need for reflection.

One can attribute that to the pace of life in London and how it is hard to get a balance. Those based outside of London, it seems, write in a different way to those in the capital. Whatever the reason is; it seems that sort of exposure and lifestyle leads to fantastic music. We have a connection with records that seem to expose their wounds and are unafraid to reveal their scars. Although Seaker is based here and feels the same pinch as artists on this year’s longlist; the way she writes is slightly different. There is the same sort of intensity and emotional exposure but, rather than look at love and relationship struggle, there is a more general look at the human psyche and introspection. Maybe that is the biggest split: London artists are more inward-looking whereas those away from here are more willing to look outward at wider themes. There is nothing wrong with either stance but it is interesting looking at the divides. The reason I like Seaker’s music is because it could easily fall into the same traps as the most predictable artists – looking at their heartbreak and own relationships. What interests me about the creation of Dreaming is how it reflects hidden thoughts and something harder; its inception came about when Seaker went to the countryside. The countryside, for the most part, is pretty crap. It’s dull, populated by rather boring humans and is a place most people go to get grey and die. What it is good for is clearing away all the debris and stress of the city and getting you in a more reflective zone. Seaker was, until now, afraid of exposing some of the lines and thoughts in her latest track. Although the song has a sense of the intense and thought-provoking; it is designed to soothe and settle the mind. In many ways, Seaker has unified the North and South – in terms of material and lyrical inspiration – and created something fantastic. I will abandon the Mercury line of inquisition and look at Dreaming’s heartbeat.

Dreaming, as Seaker talks about, is looking at yourself in a new light and unearthing things that were buried. She has become unfrozen and sees herself in a new light. Kiran (Seaker) spent that time in the countryside to unearth something in the back of her mind that needed to be unlocked. I am interested seeing how artists progress and explore in a very data-rich time. We are all overloaded with information and spend most of our time bombarded by data and stuff we don’t need to see. We are obsessive and spend a lot of our lives on social media. It is a very bad time in terms of our mental-health and happiness. There are dark and intense thoughts buried low; the heroine is a bit frozen and unable to move to the next stage of life. Dreaming’s creation arrived during a plateau and a time when suppression was ruling the unconscious mind. I am not sure whether the song is a reaction to the way we are buried under data and strained – maybe Seaker was a little stuck in life and going through some hard times. Whatever caused this repression and burying of emotions; she realised there was light underneath the layers and the ability to move forward. It is interesting speculating as to what caused a degree of stagnation and upset. The countryside air and bravery to unearth something constrained has led to personal growth and revelation. This is something we do not often see in music. It fits into the London-model I was looking at earlier – artists who are more exposing and look more inside themselves. If anything, Seaker has taken what was growing inside of her – in terms of festination and struggle – and applied it to a wider field. She is interested in the human condition and a psychological state where things can get pretty heavy and seem to be getting on top of us. If we are unable, consciously or not, to work our way through and unburden the soul; that can lead to a fresh paradigm and much lighter shoulders.

The clarity Seaker found happened in the wee hours of the morning and seemed like the moment she was looking for. Taking a psychology approach, rather than purely personal, has led to more colour and depth. If Dreaming was purely concerned with her own struggle and trying to rationalise a sense of anxiety, I would not be so attached. I mentioned how many artists are still too concerned with their own problems and unwilling to provide guidance and connection with those listening. It is okay hearing artists expose their troubles and show that honesty – what one wants is guidance and a feeling the songwriter is thinking of them. Seaker will release more material, one suspects, that goes as deep - but she is eager to look at the human mind and how we are unable to click the light on. By that, we get cowed and weighed down by the pace of life and how we go about our business. We can get caught in a spider’s web of anxiety, doubts and fatigue. It is hard breaking out of that mould and finding some form of evolution and relaxation. Discovering how to get from the undesirable state to somewhere free is a hard thing to reason. Seaker mixed night-time realisation with a country retreat. It is important, when looking at the song, we realise it is possible to get unstuck and get past that frozen state. There are messages and lessons within the song we can all take from. This circles back to my initial point when it comes to the music we want to hear celebrated. Not only does a song like Dreamer reveal a great new talent but there is daring, difference and something much more original working away. I am pleased Seaker is making leaps and producing incredible music. I hope she gets the recognition and exposure, in time, she is worthy of. Radio stations like BBC Radio 6 Music (and Guy Garvey) have noted her promise and are behind her.

I wanted to end this section by looking at young songwriters like Seaker and how far they can go. Although bands, to an extent, are making a comeback (in terms of popularity), I still think it is a solo market. The lone artist is more popular and has greater flexibility. There is a great opportunity for artists like Seaker to ascend to the mainstream and add their own dynamic to it. It is tough getting from the realms of promising to the top of the market. Perseverance and consistent good work go a long way – she is already showing all the promise and stamina needed to make it in the industry. I look at artists who quit and call time and wonder whether they need to show more determination and belief. It is tricky cracking the market right away but you need to have that belief that things are going to work out for the best. Making original and interesting music is another way to take big steps; thinking outside the box and connecting with the listener; producing something evocative yet personal is another important consideration. Seaker is one of those artists who ticks all the boxes and is producing some terrific music. I am seeing some solo artists like her gain merit and progress between releases. I am excited to see how the industry will shape in the next few years and what changes will come in. I feel there will be a replacement of mainstream acts who do not show much invention – they will be substituted by a fresher and more engaging breed who take bigger risks with their music. Seaker seems to have a game-plan and it will be great to see how she executes it. Recording (Dreaming) between her North London home-studio and Pink Bird Studios (Wanstead); it is a busy and exciting time for her. I wonder she will head and what her next single will document, Right now, Dreaming is out there and creating quite a bit of excitement.

You get a sense of wooziness and the night from the first few notes of Dreaming. There are synths and piano (electronic) suggestions that mix serenity with tumultuous thought. It is almost like the heroine is asleep and grappling with the confusions of the day. You get a real scent of the night and something quite dark. It is dreamy and floating but one gets a real sense of intent and focus. When she comes to the microphone, our heroine feels him (maybe the hero or a general sense of realisation) float over her. Given the fact the song is about unlocking secluded realisation and unfreezing; I get the impression there is this spiritual sense of realisation and rationalisation entering her sleeping mind. Militaristic drums give the song a new sense of urgency and movement as Seaker talks about this feeling being in her veins. She has been enveloped and dominated by something quite powerful and intoxicating. In some ways, oddly, I get sentiments and suggestions of the aforementioned Florence Welch. In terms of the vocal power and the beguiling spirit of the music – one is reminded of the London-based star. In any case; I was picturing the heroine asleep and having this spectral inspiration fill her blood. I love how the song mutates and develops as it goes along. Rather than stick with rather bland and samey notes; the music is fluid and keeps you engaged. Every line and moment seems to register a new reaction and you are invested in what is being said. Seaker talks about being asleep for “too long” – making me wonder what is being represented. Maybe she has been living a way of life that has not been conducive to personal growth and comfort. It is clear she has this realisation and need to change. She wants to be woken and escape a miasma that has been tormenting her for a while. She mentions the word ‘you’ in various passages but, rather than referring to a lover or figure; I get the impression she is looking at herself and sense of freedom.

The music constantly provokes movement and imagination. You cannot listen to the song and step back and causally investigate. You leap in and close your eyes; see what is being sung and come to your own conclusions. In my view; I feel there is a sense of living a life for other people – she has been sacrificing a lot and not spending enough time on herself. Maybe Seaker has been overloaded with information and living in a very data-obsessed and electronic age. Rather than step away and give herself some breathing space; I feel she has been stuck in a bit of a rut and unable to move past. Now, whether through a vivid dream or a moment of clarity, she has come to a point where things are turning. The child-like way she was living – heavy hearts and open eyes – led her to the fire and a sense of danger. I keep coming back to this ‘I’ and ‘you’ dynamic in the song. I wonder whether there is, at the back of the mind, someone (rather than something) that has been important. I still think Seaker is looking at life and herself in this sense but I also wonder whether a past relationship or figure in her life has created some tension. The chorus, the next time around, sounds emancipated and flying. The heroine seems to have few regrets regarding the way things were but relieved to have awoken herself and have clearer sight. The voice is always entrancing and potent. It carries emotional heaviness and pain but there is that determination to find safety and some comfortable space. It is a complex and rich brew that gives the song so many layers and interesting spots. Dreaming is a fulsome and fascinating song that has this charged and mystical energy that gets into the body. You are witnessing someone having a transformation and sort of rebirth. It might not be as profound as starting life afresh but you are seeing Seaker throw off the bad times and look to a more positive outlook. Dreaming is a fantastic track that builds on her past work and, if anything, is her strongest statement yet. If you have not heard Seaker’s latest offering and give n yourself to its power and wonder; make sure you submit some time and surrender to it. You will need a few different spins before all of its colours and lyrics sink in. A deep, busy and intelligent song that has personal relevance but looks at the human mind and how we can realise hidden truths and unlock our minds when sleeping. Seaker’s soul has been awoken and she has found a sense of clarity. I am not sure where she goes from here but it is clear she is in inspired form.

Kiran Hungin grew up in the North East and was exposed to great music at a young age. Her father was (maybe is) an avid collector and the family lived in the house they did for a reason. There was a gap between them and the neighbours because he wanted to play music as loud as possible – no complaints from the neighbours and that freedom. That volume and passion seeped into the mind of Hungin and she went on to create Seaker. Artists like Leonard Cohen would be played very loud and her father would chill listening to his gravelled and authoritative tones. It seems odd, almost in this day, you’d be raised in a household that cool and interesting. Seaker has the same approach to her own music. She wants people to unwind by playing her music loud – keeping the neighbours a bit at bay – and relaxing. There is the same gravitas and intelligence in her music as the likes of Leonard Cohen. Your mind imagines and looks deeper inside the self; you are engaged with the music and completely immersed. She is now in London and living a different type of life. Rather than get swallowed by the rush and the hectic pace of life; Seaker is able to imagine and write music in a way that seems quite free and calm. Dreaming is a moment of clarity and unlock that many of us can take to heart. Seaker has that attachment to Leonard Cohen and the way he writes. She has a poetic and intelligent approach to music; exploring the human condition and passionate about words. You follow Dreaming and it paints pictures and gets you involved with every movement. Seaker has admitted she is a daydreaming and often can be found with her head in the clouds. Her heartbeat rules her feet to an extent but one imagines the young songwriter relies on her mind and imagination – rather than the pains of broken love and stresses of the city.

I am excited to see what happens next and how far her music can go. She is getting a lot of press and people are turning onto her music. We have a unique songwriter who has a fascinating backstory and a lot more to say than most artists. I am not sure where she is touring next but keep your eyes on her social media channels and keep abreast of where she is headed. You do not want to miss an artist who is growing and gaining huge kudos. One of the reasons I wanted to look at Dreaming is to help with my own situation - being a bit stuck and unable to move past festination and uncertainty. The song is in my head and, I hope, unlocks something that helps me move to the next stage. I am in need of some emotional guidance and, as such, Dreaming is playing a very important role right now. Seaker will do a lot of good in the industry and inspire many. We need to promote musicians who go further and write songs that do something different. Going back to the point I made about the Mercury Prize and why it has been a divisive year. There are many unhappy about the nominations what it says about the ‘best’ of British music. There are some great mainstream acts but, maybe, we need to take more risks and acknowledge those artists who are doing something more original and engaging – not mentioning the albums I think should have been nominated this time around. Dreaming is an intriguing and incredible song that gets into the brain and continues to cause reflection long after it has finished. Make sure you take it in and explore its wonder as much as you can. Seaker has moved past a time when she felt frozen and stuck. With her mind and psyche free and ready to explore the next phase; it is going to be a fascinating and busy time…

FOR a fantastic young artist.  

___________

Follow Seaker

Official:

https://www.seakermusic.com/

Twitter:

https://twitter.com/Seakermusic

Facebook:

https://www.facebook.com/seakermusic

Instagram:

https://www.instagram.com/seakermusic/

SoundCloud:

https://soundcloud.com/seakermusic

YouTube:

https://www.youtube.com/channel/UCFi7wNSATUxnreDvu2SNMAA

INTERVIEW: Laura Pieri

INTERVIEW:

Laura Pieri

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IT has been really interesting learning more…       

about the incredible songwriter Laura Pieri. She has been telling me about her debut single, I Will Follow You, and filming an acoustic video for it. I ask about her Brazilian roots and what it is like living in New York; Pieri talks about the vibe in the city and what comes next for her – she discusses her studies and whether she gets time to relax away from music.

Pieri recommends a rising artist to watch and tells me what she hopes to achieve before the completion of 2018; which three albums mean the most to her; the advice she would give to artists coming through – she ends the interview by selecting a cool new song.

____________

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

Great! Excited to be back in Los Angeles!

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

Well. I am Laura Pieri; singer and zombie college student. 

I Will Follow You is your debut single. I believe the need to end gun violence is at its heart. Was there a news report or moment that made you write the song and get the message down?!

The song itself was not originally connected to the gun violence cause. When we shot the first version of the music video, there was a bank robbery scene. After the events in Florida, that same scene took on a different meaning and symbolism for me.

I really did not want to be romanticizing gun violence at all and I felt like I was doing exactly that. It was important to me to take a step back and re-evaluate. 

Do you think gun violence in the U.S. has reached a level where it is hard to control things?

I think gun violence is definitely at an alarmingly high level, yet the issue itself is one that is hard to control. It involves so many different variables, from politics to mental-health. I believe that talking about it is a good place to start, though.

 

What was it like putting together the re-launched music video for I Will Follow You?

Nerve-wracking! It was an important thing to do, but it was also being my debut...it made me anxious, to say the least! I was nervous because it wasn't anything particularly new, but the song was a little different! It paid off!

 

Tell us about your new acoustic music video for I Will Follow You. What was that like to film?

I wanted to show a more intimate and stripped-down version of I Will Follow You. The acoustic video did exactly that. It was like a different side of the song.

Is there more material coming? Might we see an E.P. next year?

I am currently focusing on making more and better music. I have a very holistic approach to it all, and so when it's ready it's ready! But, yes, there is definitely more coming and you can be sure to expect a lot of new music. 

You are Brazilian-born but reside in New York. Do you think you blend the sounds you grew up around with where you are now? How much of your home nation do you put into your songs?

Well, here's the thing. So much about the way I grew up is an important part of who I am today. The rhythm; the music the energy - everything ties back to Brazil when you boil it down. It's hard for me to disconnect from home so I don't do it. We are also living in a day and age where everything is very global, so my own upbringing was influenced by American culture. I just hope I can represent my country accurately. 

What is it like studying and living in New York? Do you get inspired by the people around you?

It’s chaotic! Studying in New York is a whole different game than making music in Los Angeles. It’s why I moved here in the first place: to go to college at New York University. It’s a dream that I’ve always had. I love going to N.Y.U., honestly, but it’s not easy. It’s a very demanding school that takes up a lot of my time and dedication. But, it’s so rewarding. It’s ridiculous how grateful I feel just to be there studying.

What inspires me most about New York and N.Y.U. is the sense of purpose I feel. Being at Gallatin, the program that I’m in, everyone has a different Major but they’re all so interesting. I know a guy who is studying love and how humans love. A conversation with him is so enlightening and inspiring. That’s really how New York inspires me. 

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

I definitely want to release more music.

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

Nothing certain yet but I would love to go to the U.K. soon! 

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

Easy! Michael Jackson – Bad; Beyoncé - I Am…Sasha Fierce. Lastly; Back to Black - Amy Winehouse.

What advice would you give to new artists coming through?

Trust yourself, trust your gut and trust your mind. Before anyone else will believe in anything you do, you need to believe it first. 

 IN THIS PHOTO: FINNEAS (Finneas O'Connell)

Are there any new artists you recommend we check out?

Well. I am currently really listening to Finneas O'Connell (FINNEAS). His writing manages to say a lot of what my words can’t.  

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

Because I go to college, I don’t actually have any downtime for myself. The only way I manage to unwind is right before bed or in the bathtub. I need to physically put myself in a situation where I cannot do anything else but relax. The best way that I’ve found right now is to listen to podcasts. My go-to is My Favorite Murder - but Lovett or Leave It is a close second. 

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).

you should see me in a crown - Billie Eilish!

_____________

Follow Laura Pieri

Facebook:

https://www.facebook.com/TheLauraPieri/

Twitter:

https://twitter.com/theLauraPieri

Instagram:

https://www.instagram.com/thelaurapieri/

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INTERVIEW: Tilly Valentine

INTERVIEW:

PHOTO CREDIT: Luke Hopkins Photography 

Tilly Valentine

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THE fantastic Tilly Valentine…                                    

PHOTO CREDIT: Luke Hopkins Photography

has been talking with me about her debut single, Coins, and what its story is. The songwriter discusses filming the song’s video and meeting Coins’ producer over SoundCloud; whether there is more music coming down the line; how important the BRIT School has been to her – Valentine reveals the musicians who are influential to her.

I ask what she hopes to achieve before the end of this year; which upcoming artists we need to check out; if there are any tour dates approaching; whether she gets time to chill away from music – she reveals a musical memory that is especially treasured.

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

Hey. All good, thank you!

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

I’m Tilly Valentine; an Electronic artist drawing influences from Trip-Hop and R&B. I grew up in Oxfordshire and am now based in South West London.

Your debut single, Coins, was released on 27th July. What is the story behind the song?

My mum used to say the phrase: “Some people are so poor all they have is money”. Coins is a reminder not to compare yourself or lose sight of the genuinely important things in life - from the misconceptions on social media. Although it sounds like a serious topic, I wanted to tell it in a conversational and playful way.

What was it like filming the video for the track? Was it an enjoyable shoot?

It was so much fun! I’ve never directed a music video before so, initially, it was quite a crazy idea but I spent ages thinking about what I wanted the video to look like and what I wanted it to represent. After a few sketches and storyboards, the videographer (and friend), Luca, helped bring my ideas to life.

It had a very D.I.Y. and organic approach which is what I wanted. It was filmed two doors down from my family home and I borrowed a load of props from friends and local shops. The video’s concept represents someone being tempted with money and materialism but shows them staying true to themselves.

Is it true you met the producer of the song over SoundCloud? How did that come about?!

Yeah! I moved to London when I was sixteen and spent most of my spare time writing songs, but my guitar skills were somewhat minimalistic. I decided to search on SoundCloud for producers to work with and that’s where I came across German producer, Mattis. I sent him a message and we began sending each other ideas back and forth.

He would send me beats or chords and I’d send back recordings with my vocal and lyric ideas on top. Coins was one of the first songs we wrote together and I recently had the chance to go out to Germany to work with him in person for the first time (four years later!).

PHOTO CREDIT: Luke Hopkins Photography 

Do you feel there will be more music coming soon? How far ahead are you looking?

Definitely! I’ve got a lot of new music in the pipeline so I’m currently working towards the second single, alongside a few collabs!

You joined the BRIT School aged sixteen. Do you think that was the most important decision you made after moving to London?

I think BRIT had a big impact on my journey. I never thought I’d get the chance to go somewhere like that as I didn’t live in London at the time which, statistically, made my chances of getting a place very slim. It definitely made me more independent; I hadn’t been to London much before, so moving away from my family home and school friends was a big thing for me at the time.

I met some of my closest friends there and I’m very lucky to still be in touch with so many amazing musicians.

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

I grew up listening to Fatboy Slim, Gwen Stefani and Britney Spears. I think Lianne La Havas is up there now as one of my all-time favourites but I still have a soft spot for the music I grew up with!

PHOTO CREDIT: Vicki Bailey Photography 

What do you hope to achieve in 2018?

My debut single has been a pretty huge focus for my 2018 so far - so, I guess for new listeners and tastemakers to hear it and love it would be really special. I’d love to get some great radio plays, take risks and write my new favourite song.

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

Playing the O2 Academy in Oxford always sticks out as a favourite. Oxford is my hometown so it was super-special for me to get to play there, thanks to BBC Introducing.

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

Lorde!

My rider would have to include unlimited tea bags and a pack of Oreos. Oh, and a bottle of champagne that I’d share with my mum.

PHOTO CREDIT: Rob Blackham

Are there going to be any tour dates coming? Where are you heading?

I’m playing a Sofar Sounds on 4th September at a secret location in London. Tickets and more gigs will be announced later on my website!

What advice would you give to new artists coming through?

Learn about the business. As an independent artist, you have to be your own manager; booking agent, tour manager; publicist, promoter etc. Obviously, great music is vital but you have to know what to do with it!

IN THIS PHOTO: Jack Vallier

Are there any new artists you recommend we check out?

Jack Vallier, Jaz Karis and YEBBA.

IN THIS PHOTO: Jaz Karis

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

I do and I don’t. The problem with creating music is that you’re never done! There’s always more you can be doing. But, I try and treat myself to the occasional cocktail and Netflix binge.

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).

Moonchild - Run Away

______________

Follow Tilly Valentine

PHOTO CREDIT: Luke Hopkins Photography

Official:

https://www.tillyvalentine.com/music

Facebook:

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Twitter:

https://twitter.com/tillyvalentine_

Instagram:

https://www.instagram.com/tilly.valentine/

YouTube:

https://www.youtube.com/channel/UClS8vK2y7zR0Z3pj3M9CVgw

SouncCloud:

https://soundcloud.com/tillyvalentine

Bandcamp:

https://tillyvalentine.bandcamp.com/releases

FEATURE: Ain’t That a Shame? The Mercury Music Prize Nominations 2018: The New, the Omissions and the Artists Defining the Best of Modern British Music

FEATURE:

 

 

Ain’t That a Shame?

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

The Mercury Music Prize Nominations 2018: The New, the Omissions and the Artists Defining the Best of Modern British Music

__________

IT is true you can never please everyone…

and the freshly-announced shortlist (technically, it’s a longlist until the twelve nominees are whittled down…) has been announced. The usual split has occurred: those who are pleased with the diversity, in terms of genre and gender, and those who bemoan the utility and purpose of the Mercury Music Prize. The judges this year – including some big names from the media and music – have thrown in the odd curveball to keep people chatting! There is, of course, those artists some deem as ‘token’ and a bit rank-and-file. The fact Sons of Kemet have been nominated – a Jazz band; making them a bit outsider – is designed to put into the fore a name/album people might not have heard. Your Queen Is a Reptile got a smattering of great reviews when it was released but is not leading the bookies’ charge of favourites. Novelist’s album, Novelist Guy, is a bold and brilliant effort by the skilled M.C. – might be worth punting some money on the record making it all the way! Last year was synonymous with grittier, street-addressing artists. Kate Tempest and Loyle Carner were among those tipped to win last year; in previous years, we have had the likes of Skepta and Stormzy battling it out and putting British Grime/Rap in the limelight. This year is more synonymous with Pop and Alternative sounds.

Many did not see Lily Allen’s No Shame coming: they were not of the opinion it would make the Mercury Music Prize list and I am not surprised. There is a snobbishness regarding Pop artists like Allen and their credentials. She is among the sharpest lyricists in the game and an enduring artist whose career has had its dips – she is back on form and producing amazing material. No Shame is a personal and hit-filled album that possessed few weak moments and is a deserved nomination. King Krule and the genre-hopping album, The OOZ, has divided the public but it is another one of those albums designed to raise a profile and raise awareness. There is that contrast this time of year when you get lesser-heard albums included alongside big names that, instantly, bookies mark as the sure-fire winners. Past years have thrown up surprises but we have not seen too many unexpected/minor acts walk away with the award for a few years. All the newspapers and online music sites are providing their reaction. It is another year where there has been contentment and contention; notable omissions and albums we are getting excited about. The Independent has provided their analysis:

“Where last year’s shortlist felt strong because it heralded the young artists leading the future of British music – from Loyle Carner to Stormzy, Glass Animals, Sampha and J Hus – this year, half the acts have previously appeared on a Mercury Prize shortlist in some shape or form, and many of the choices feel like safe, commercial picks, rather than bold or innovative works.

...Arctic Monkeys appear on the shortlist for a fourth time, for their divisive album Tranquility Base Hotel & Casino, while Florence & The Machine score a third nod for their album High As Hope. Pleasant surprises come in the shape of 21-year-old rapper Novelist, who scored a spot on the shortlist for his fantastic, self-produced debut album Novelist Guy, as did Nadine Shah, who made a powerful statement with her third album Holiday Destination, which was inspired by witnessing the xenophobia of holidaymakers on the Greek island of Kos”.

The problem comes with only having twelve names: maybe twenty is a bit much but I feel it would help please more people and strike that balance between recognising reliable and well-reviewed albums and those that are riskier and a bit alien. Last year’s nominations included Ed Sheeran (for %) and alt-J. IDLES were left out of the running for their album, Brutralism, and it felt like there was a London-centric vibe to the nominations. This year keeps London firmly in the mind – no less with Florence + the Machine, Wolf Alice and Lily Allen among the longlist – but there have been some risks taken. I have mentioned a few albums that are worth a tip but might not get the prize. Lily Allen and Noel Gallagher’s High Flying Birds have proved the most anger-inducing and divisive. Who Built the Moon? Did well in terms of sales and reviews but for Gallagher, a one-time Oasis hero-turned Dad Rock leader; does his nomination signal the Mercury panel taking a wider approach in terms of age and genre?!

There is no denying the album is great and celebrated – I wonder whether it is better than albums that missed out this year (more on that later). One of the troubles is South London taking too much focus. It is a great area of the country but last year saw a heavy focus on that part of the capital – Sampha’s win confirmed eyes and minds were lodged in the capital. This year, there is another big focus on South London and one of the clear favourites, Florence Welch, wears the area on her sleeve. If, music-wise, the award is moving in new directions; that reliance on London and the music coming from here is still too strong. Nominated-before artists like Wolf Alice and Arctic Monkeys (who are now the joint-most-nominated artists ever) have made some question whether their inclusions are worthy. I was worried about the criticism levied at Tranquility Base Hotel + Casino and how it was more Alex Turner and less Arctic Monkeys – fans have got behind the album and I am glad it makes the cut on this year’s prestigious list. Wolf Alice are a solid and incredible band who deserve to be there. In a year where there are few guitar-based acts – in terms of showing teeth and changing the game – it is good to see Wolf Alice riding high and in with a shot. Everything Everything’s A Fever Dream took me by surprise – I hadn’t even considered it but, again, that is the beauty of the Mercury Music Prize.

IN THIS PHOTO: Let's Eat Grandma (many expected them to be among the nominees for their album, I'm All Ears)

Some have queried that making the list of twelve but music is a subjective thing – someone, somewhere will take umbrage at certain albums making the cut! Everything Is Recorded by Everything Is Recorded is one of those records that took the breath (and still does) and, again, is designed to put a work out to the public that might have been missed the first time around. I felt Shame and Let’s Eat Grandma, for sure, would have made the list – they were the two standout favourites before nominations were read – and it seems like they are the biggest losses. The former, for I’m All Ears, created one of the best albums of the year: a kaleidoscope of colours, sounds and noises that deserved to be recognised. Shame are, in essence, this year’s IDLES: a Punk/Post-Punk gem that gets overlooked because…I’m not sure. I do wonder why the Mercury panel omitted an album that defines what the award is about: something that has captured the majority vote and seems to represent where the nation is in 2018. A lot of the gripes, in terms of journalistic opinion, relates to risk: the lack of risk taken regarding new artists and fresh talent. NME gave their opinions:

“‘Songs Of Praise’, Shame’s debut album, captured the imaginations of thousands across the continent on its January release, their acerbic takes on post-Brexit Britain spurring on a once-disillusioned youth. It’s impossible to ignore how the band’s incessant global touring schedule has coincided with a more politically energised pool of British teenagers, who split their time between Shame’s churned-up mosh-pits and hitting the streets, placards in hand. Likewise, that same South London scene spat out Goat Girl’s self-titled debut this year, itself a document of youthful discontent and the fantastical imagination that’s borne out of such suburban boredom. Both are glaring omissions from the Mercury shortlist. Matt Maltese, and ‘Bad Contestant’‘s piano-led witticism, is another confusing South London absentee… Few would deny that the majority of the albums nominated for this year’s Mercury Prize are worthy of attention – older and more established though their creators may be, there’s little denying their worth in the wider musical conversation. But for an award that claims its main objective is “to help introduce new albums from a range of music genres to a wider audience”, it’s inexcusable to overlook Britain’s fresher talents in favour of the Noels and Florences of the world – acts who’ve already earned themselves a place on the CD racks and coffee tables of nearly every household in the country. The Mercury – and the British music industry as a whole – needs to do better at supporting those newcomers”.

It seems there is the conscious tussle to recognise the albums that have earnt big critical praise – and, thus, are the best as defined by vote and feedback – and taking a shot on artists who are on the swing. There are so many artists unsigned and coming through who could be included on the list; bands like Hookworms missing (who many hoped would be nominated). No matter what way you go, you are always going to take a risk and piss off some people. I feel there are a few mistakes regarding omissions and I hope London does not win the award this year – even though I love the music coming from there right now! The best revelation from this year’s nominated dozen is the representation of female music. Past years – most, in fact – have been a bit slack putting female artists in the mix. There are still more male artists on the list (seven-to-five; Wolf Alice are female-fronted) but there is a definite closing of the gap.

IN THIS PHOTO: Lily Allen/PHOTO CREDIT: Katie McCurdy for GQ 

The fact so few bands are on the short/longlist – there are only four, in the traditional sense – makes me wonder whether the solo artist is starting to take over. In any case; the fact many female artists are on the list makes me happy. Lily Allen has, as we are seeing, drawn some raised eyebrows – she is an artist who has been around for a while and many wonder whether her latest album is her very best. It would have been nice to have Goat Girl – who amazed and bowled critics with their eponymous debut – alongside the female nominated. I am pleased Florence + the Machine has been nominated for High As Hope. Many might say, because she has been on the scene a while, other acts should have a chance. Few can deny she has hit creativity and personal maturity on her fourth album. It is amazing to think, nine years ago, she launched onto the scene with her unique and powerful (titanic) voice. High As Hope is a fantastic album and one that deserves its place – it is battling with Noel Gallagher as the favourite thus far.

Wolf Alice’s Visions of a Life is a bold, brilliant and varied album that stakes their claims as one of the nation’s best bands. Whilst there are some familiar names on there; I am glad there is that mix of commercial/popular artists and those coming through. The list is safe, in places, but has plenty of choice and diversity. Jorja Smith’s Lost & Found is an album that, again, represents what the Mercury Music Prize is all about. It is a complete and sumptuous debut from someone who has just turned twenty-one. When I heard her interviewed by Mary Anne Hobbs on BBC Radio 6 Music earlier – Hobbs announced the list at 11 A.M. – she came across as genuinely humble and stunned. A little shy and quiet; you can tell how much it means to the Midlands songwriter. The award has been missing female R&B-cum-Pop mixtures and it is good Smith has been recognised. Her June-released album – one of the freshest cuts of the twelve – marks her as a talent to watch closely. I would not be shocked if Smith went away with the gong on 20th September. This all leads to the album many are tipping to win: Holiday Destination by Nadine Shah.

Although I felt Let’s Eat Grandma should be among the runners; I have been extolling the virtues of Shah for years. She is one of those artists who never get the pomp and ceremony as your Noel Gallaghers and Arctic Monkeys types. She is a songwriter who has not dropped a beat and, on her latest return, talks about subjects such as immigration and entitlement.  She spoke with Mary Anne Hobbs earlier and spoke about the album’s title. Immigrants were winding up on Greek beaches and, rather than come and help and show concern; holidaymakers were moaning that their holiday was being ruined! Holiday Destination, according to Pitchfork, covered a lot of ground:

“Nadine Shah's third album surveys the refugee crisis, Syrian families, gentrification, “a fascist in the White House,” Islamophobia, and politicians’ demonization of the north of England. She does a lot of work in ten songs, but it rarely feels like it. On her first two albums, her theatrical voice oozed blood through fairly traditional guitar-band arrangements. But on Holiday Destination, the setting is brittle, brooding post-punk, her singing lowered to a glowering monotone that makes more subtle use of her vocal power. It sustains an unsettling mood rather than a series of bold-type headlines”.

The Line of Best Fit seemed to nail the album perfectly:

“While Holiday Destination is arguably Shah's most open LP to date, with all of her cards laid bare on the table for listeners to analyse and evaluate, it is by no means vulnerable or naive. This is a well thought-out record and is clearly something that has taken several years to coalesce and construct. Though the political edge can sometimes distract from the beauty of the instrumentation, articulation and overall composition, it never gets boring, with little twists and turns that get better upon every listen”.

Shah is my frontrunner and someone, I feel, wants the award more than anyone. That is not desperation: she has worked hard and sweated blood putting it together! When speaking with Mary Anne Hobbs; she endlessly toiled to make it sound how she wanted – a record that has anger and political themes but is accessible and packed full of memorable moments. I would like to see her win – or another great female artist like Jorja Smith or Florence Welch – but I feel Holiday Destination is the album this country has been crying out for. By that, it is more meaningful, potent and inspiring than anything being said by our Government. It is the apex of a career that has been getting better and better; a northern star who will topple the London hegemony and has crafted something truly timeless.

IN THIS PHOTO: Shame (who many expected to be on the list for this year's Mercury Music Prize for their album, Songs of Praise)/PHOTO CREDIT: Dan Kendall for Loud and Quiet Magazine.

Shah, herself, wished the album was relevant and prescient. The fact Greek homeowners are being blamed for the horrific fires happening there – where there have been multiple deaths and massive destruction – relates to them blocking paths to the sea. That seems, to be, the residents halting migrants getting to their property; blocking them from getting near their residence – the sort of thing Holiday Destination was built on! I am reading al the social media comments – the usual mix of gripes and kudos – and the websites publishing their pieces. There seems to be a consensus: most of the nominations are worthy and great but where is that risk?! I think there are one or two ‘surprise’ inclusions among the predicted stable. If you narrow it down to twelve, you can only do so much – I wonder whether even extending to fifteen would alleviate obvious criticism and allow for more width? I am pleased Arctic Monkeys' divisive album is on the list and there are great female artists; mainstays like Noel Gallagher are on the twelve (nominated). I am glad there is a great northern talent like Shah flying the flag and a move from Hip-Hop/Rap/Soul – it seems a more unpredictable year and it could be a tough one to call! Even though I am in Shah’s camp; you cannot bet against any of the dozen – Welch, Gallagher and Smith are ALL pretty tasty! There will always be grumbles regarding a shortlist and who makes the grade but that is the frustrating thing about the Mercury Music Prize. I am excited to see which way the judges go and, to all those nominated, I wish them…

THE very best of luck!

FEATURE: Dressed to Repress: It’s Okay to Talk: IDLES’ Samaritans and Tackling Masculinity Myths

FEATURE:

 

 

Dressed to Repress: It’s Okay to Talk

ALL PHOTOS (unless credited otherwise): Unsplash

IDLES’ Samaritans and Tackling Masculinity Myths

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WE live in a society where anxiety and depression…

are more common and uncontrollable than ever. We are told one-in-four people in this country will experience some form of mental-health problem in their lifetime. I always find that statistic myopic: there is a crisis that means mental illness is striking more and more of us; nearly all of us will suffer from mental-health problems at some point in life. Look at the testimonies and personal stories from people out there – the problem of controlling the ensuring mental-health crisis is distributing. I looked at this story from Mind (the mental-health charity) and a Lee Cambule – he spoke about his experience  as a man and how men are expected to be sturdy and stoic:

 “Strength, dominating positions of power, the hunter-gatherer, the idea that strong and silent is alluring/attractive, the “show no weakness” bravado of heroes in our media.

In many of these macho images, there is little room for showing poor mental health. The men who are most revered in society (famous, wealthy, successful, powerful) are not always ready to admit their struggles in public and that can leave the “average bloke” feeling uncertain about speaking out.

It is great that the tide is turning for men. When Prince William and Prince Harry began talking openly about their own mental health challenges, it gave the nation an incredible lift. One by one, more of these revered men are coming forward and openly addressing mental health; footballers, politicians, actors, anyone can talk about it. I do not consider that these men are weak or failing by speaking out, in fact, they are the brave ones.

They are the ones who are “manning up”.

That expression is still often used for the wrong reasons, unfortunately. The concept that mental health can be conquered by simply acting more “like a man” is misguided.

Depression, anxiety, personality disorders and schizophrenia are no more or less difficult based on whether you got a Y chromosome in your DNA”.

Problems like substance abuse affect more men than women – about three-to-one in their 'favour' – and traditional male industries – manufacturing, for example – are in decline. The need to remain the breadwinner, at a time when mental-health problems are rising and the role of men in society is changing, means we are seeing more cases of depression, substance and suicide. History has always taught men to be the hunters and to shoulder any crisis without letting it get to them. There is a huge stigma around men about mental-health and talking about feelings. A further report, in Male Psychology Network, by Audaye Elesedy, look at the dogma of male stoicism and how men have to ‘gut things out’ and ‘man-up’. This rather age-old and damaging notion of men being emotionless and ‘stronger’/’less emotive’ than women is causing many to shut down and suffer in silence. We need to get out of this notion men should bottle things up and be seen as ‘strong’ all the time:

“The study of masculinity in psychology began in the 1990s and developed a deficit model, focusing mainly on problems attributed to masculinity. For example, masculinity was said to impose on men a narrow set of values and views, which leads to problems such as misogyny and homophobia. The crisis in masculinity today is said to be about men struggling to find their place in a world that no longer values the traditional male role of the breadwinner and stoical defender of the family. 

In 2013, Diane Abbott, the current shadow home secretary, described how rapid social change has left today’s men in a cultural tornado of traditional values, pornography and male cosmetics. She suggested that the path forward is a combination of a more flexible view of masculinity, strengthening the bond between fathers and children, and improving educational and career outcomes for men, but without making this a required part of masculinity”.

This brings me to IDLES and their new track, Samaritans. It is from their forthcoming album, Joy As an Act of Resistance (out on 31st August), and has got a lot of people talking. Frontman Joe Talbot discussed the meaning behind the song:

"There's been a long line of bullshit that has pushed men into a corner, where simple masking becomes a trope of masculinity and a catalyst for insanity. What we wear, what we eat, what razor we use, high performance chewing gum, go faster shampoo, how we treat women, how we treat ourselves, how we die. I truly believe that masculinity has gone from an evolution of cultural praxis to a disease. I wanted to encourage a conversation about gender roles by writing this song".

The song’s messages and mantras – the non-chorus standout, “This is why you never see your father cry” – are stunning and emotional.

IN THIS PHOTO: IDLES/PHOTO CREDIT: Tom Ham

Elsewhere, Talbot talks of a “mask of masculinity” and how it is wearing him. Talbot, and IDLES, skew and transpose songs like Nirvana’s I Hate Myself and I Want to Die – “I’m a real boy and I’ll cry/I love myself and I want to try” – and Katy Perry’s I Kissed a Girl – the frontman kissed a boy and liked it; delivered in manner that suggests there is no taboo and controversy doing such a thing - and, cleverly, highlight how popular music has, in its way, painted pictures of what masculinity is and how women, in a way, are seen as more expressive, emotional and honest. IDLES amaze and inspire us because they are a band making real statements. Even on Brutalism, their acclaimed debut album of last year, they were talking about the realities of life and bringing in characters and conversations that felt sentient, tangible and on-point. In a music scene still dominated by oblique, indirect and obfuscated glimpses of brutal truth and soul-searching honesty; IDLES are the razor blade in the apple; they are the killer who lurks in the closest – starting to quote Radiohead here…! - and the fish John Cleese pulls out his pocket and send an unsuspecting Michael Palin into the water (Monty Python’…). Aside from narrating social issues and the everyday man and woman in the world – another thing music has never really been good at documenting – they are willing to expose the shambolic insinuation men are designed to be closed-off and ice-cold.

Come back to that line about your father never crying: how many of us, compared to our mothers, have seen our fathers that vulnerable and emotional? I am the same. As someone who suffers from depression badly (and anxiety); I find it incredibly hard communicating, let alone being that open – I have not properly cried since I was in school! As a thirty-five-year-old journalist making plans and trying to make sense of things, it is very hard to get a sense of what I am supposed to be and what defines being a ‘man’. Look at this article that looks at millennials and how they should live and work as men:

“According to Vandello (Joseph Vandello, a professor of psychology at the University of South Florida), manhood has historically been based on rituals and traditions. Today’s young men face a unique challenge as there are fewer rites of passage than in the past. In generations past, military conscription has meant hundreds of thousands of young men have gone to war. That is not the case now”.

All of us have so much to deal with in this day and age that impacts our mental-health and our overall happiness. Men are still, in 2018, expected to be this rather robotic and unfeeling thing that gets on with the day and does not let the tears come – lest they are seen as ‘feminine’ or weaker, somehow!

IDLES are among a smaller number of artists opening up conversations and dispelling these myths. Suicide rates in men are increasing and it seems there is still that ideal of the man as a hunter: never showing their true feelings; made to feel they cannot talk about mental-health and their struggles. There are reasons – quoting the aforementioned article – why this has been programmed into our D.N.A. through time:

“Self-perception of manhood is tied to sexuality through an individual’s sense of control, according to Patrick Noel, an American University student who works with Men of Strength. The group focuses on preventing domestic and sexual violence on college campuses.

Sexuality “intersects with masculinity because men are taught throughout their lives to be in control of all aspects of their lives, from their emotions to their finances to their family lives,” he says. “A perceived failure of any of these things is seen as a failure of their masculinity”.

Not to disparage and doubt the humanity and understanding of psychologies and strangers but we need to force the conversation into the open. We have shows and forums where women can express themselves and talk about things happening in their lives. We are at a time when masculinity and sexism are words that could, if not discussed in the right way, cause offence. The role of masculinity, good or bad, is shifting and getting a real understanding of how men are supposed to interact and behave is being tarnished by high-profile celebrities and disreputable figures.

PHOTO CREDIT: Peter Macdiarmid/Getty Images

Most, good men are becoming more isolated and silent when it comes to their feelings and thoughts. There is a huge stigma, still, regarding manhood, emotional honesty and what we are supposed to be. There are phrases and sayings that wind me up no end. “There are people worse off than you” – like that is relevant and pertinent; an insult to what I am going through – and “It could be worse” – how do you know?! – are ones that boil the blood and show a complete lack of caring, awareness and humanity. Man-related tropes, dogmas and maxims like “Man-up!” and “Show some balls!” have been woven into the fabric of masculinity and manhood as subtly as an army drill-instructor beasting cadets through bloodied barbed wire. It is a toxic ideology that is claiming lives and creating massive confusion. It is refreshing to see a high-profile and important band like IDLES address masculinity, mental-health and emotions in such a meaningful fashion. They are not the only ones to do this – male artists have talked about mental-health and openness – but Samaritans seems like the most vivid and much-needed example of an act breaking from routine and mainstream-friendly themes and talking about something meaningful and serious. Already, after a day, the song has got men and women talking about masculinity, mental illness and gender roles.

Going forward, I would like to see something – maybe it already exists – on radio or T.V. where men can talk about gender and the nature of masculinity. It would help dispel this generations-old model that has done more to damage wellbeing and how men are perceived than anything. The sooner we get rid of the caveman-who-does-no-talk-about-anything to becoming more like, well, women…the better society will be! Reversing centuries of repression and emotional celibacy is a hard task but I am not proposing radical and instantaneous remedy: a productive and consistent series of movements and motivations that drag forth the caved and cowing dictator of masculinity – what it is now – and dethroned it. We need to, at such a tough and bleak time, urge men to talk about their feelings and confide in those close. It is a hard task, as I say: we have been indoctrinated and told to be reserved and self-seeking when it comes to our troubled thoughts. Nobody who gives a damn is asking that of any men – it is the impressions of the media and people who have no meaning in our lives propagating that image. IDLES have helped spark new chat and connection. It is important, as we move forward and think about masculinity and the mental-health crisis affecting men, we keep this ball rolling and ensure we…

 PHOTO CREDIT: Ania Shrimpto

KEEP the conversation going!

INTERVIEW: Caroline Kole

INTERVIEW:

Caroline Kole

___________

I have been speaking with Caroline Kole…              

about her new single, What If, and how it came together. She reveals whether there will be more material and takes me back to the start of her career – I ask which artists she grew up listening to and whether she has a precious memory from her time in music.

Kole tells me the three albums that mean a lot to her; some rising artists we need to get behind; whether there are going to be any gigs coming later in the year; some useful advice for artists emerging – she ends the interview by selecting a bit of a modern classic.

____________

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

Hello! My week has been great (smiles). We put out a single, What If, last week and it’s been getting really fun press! So, just busy with the promotion of that and, of course, ordering fall-semester textbooks!

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

Of course! I’m Caroline Kole. I recently turned twenty-one! Woo! I’m a full-time artist and full-time college student. I started on the music scene when I was eight; performing out at ten and opening for massive Country acts shortly thereafter and touring internationally with Reba McEntire in high-school.

We had success with #1 music videos on C.M.T. (Country Music Television) and lots of love and play from Sirius XM’s The Highway! Unreal experiences! The music evolved from Country to Pop when I took a gap year after high school - and now here we are on the surface of that new journey! I’m having so much fun (smiles).

What If is your latest single. What is the story behind the song?

Haha, well; who hasn’t asked their self “what if” at some point in their life? Since I’m where I’m at in life, I find myself asking that question a lot in regards to relationships. I tend to go after the boys I know I shouldn’t but, ya know what, what if I just went up and got him?! I have a tendency to go after what, and who, I want!

Is there going to be an E.P. or album next year, perhaps?

Perhaps (smiles). We have a lot of great remixes of What If coming out in the next couple weeks, along with lots of new music lined up! You and I will both see how we end up releasing it all. Haha!

You began your career at age eight (in Florida) and found your way to Nashville. How did you find yourself there? How important were the Bluebird Café and an encounter with Reba McEntire?

I had been going to Nashville for a couple years writing, forming relationships; cutting my chops before I met Reba. She came to a writer’s round I was playing at the Bluebird Cafe and I immediately started working with her and my manager Narvel Blackstock. That introduction was vital to my early career and, without a doubt, is the reason for the success that I had then and now!

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

Hahaha. My musical upbringing might be why I listen to the mix up of music that I do. I grew up on Pat Benatar, Brooks & Dunn; The Cranberries, Reba; Simon & Garfunkel, The Police and I remember my very first concert - Kelly Clarkson! Right after she had won American Idol…and I fell asleep towards the end (smiles).

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

My goal for the end of 2018 - and even just in general - is to release as much music as I can for people to listen to! I’m writing all the time, so I want to keep giving it to people! Hopefully, we’ll jump back into the touring scene (you’ll be the first to know!) but, right now, I’m so focused on writing alllll the songssss!

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

It’s honestly surreal when I think back on all the experiences I’ve had. One of my most memorable moments, though, is when I was getting ready to walk out to perform my opening for Reba and she was getting ready to go on stage after me (looking fabulous and sparkly and wonderful as always) and she said: “You and I are a lot alike, you know.” I still can’t really process that phrase. She’s the Queen of Country Music, for crying out loud!

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

Sheryl Crow – Detours

It will always take me back to Florida. My dad played that album all the time at our house and it will forever take me back to the “Salty/messed up hair from the boat ride, so let’s all jump in the pool until our fingers and toes are little prunes!”.

Twenty One Pilots – Blurryface

I’ve been a fan of them for years and seeing their success makes me so overwhelmingly happy - and that tour was INCREDIBLE. They know how to put on a show. 

Ingrid Michaelson - Human Again

This is the album that I listened to NON-STOP in high-school! Takes me back. Her lyrics are so real and quirky and I’ve always loved that about Ingrid (smiles).

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

Oh wow...I would say Twenty One Pilots but, honestly, I’d just be awkward the whole time. Ha! Either Ariana Grande, Katy Perry or Taylor Swift - they are such strong females in the Pop world and each of them knows how to put on a show! Such professionals! Great role models - and I’d love to get to know them on a personal level! Who wouldn’t?! (Smiles).

What advice would you give to new artists coming through?

Be prepared for everything! Be able to stay calm and collected when - not if - something doesn’t go as planned. It’s a crazy industry. If you can hang in there the universe will reward you!

IN THIS PHOTO: Tove Styrke 

Are there any new artists you recommend we check out?

SO MANY: Tove Styrke, Remmi; MUNA, VÉRITÉ and Superfruit to name a few.

 IN THIS PHOTO: MUNA/PHOTO CREDIT: ELLE Magazine (US)

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

Music is kind of a lifestyle - one that I love! I have a really cool cat named Rikki that I like to cuddle and snuggle with when I have a free moment. I also enjoy shopping and finding new brands/boutiques. My bank account does not enjoy that hobby.

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

I choose....Mr. Brightside by The Killers!

______________

Follow Caroline Kole

Official:

https://www.carolinekole.com/

Facebook:

https://www.facebook.com/CarolineKole/

Twitter:

https://twitter.com/carolinekole

Instagram:

https://www.instagram.com/carolinekole/

YouTube:

https://www.youtube.com/channel/UC93XImVKmPcUwPd5k9Ffxsg

Spotify:

https://open.spotify.com/artist/3kmXbS3akWikVvZNGpYEvu

INTERVIEW: The Velveteins

INTERVIEW:

The Velveteins

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SPENCER of The Velveteins…

has been speaking with me about the band's new single, All Night Baby, and what its roots are. I ask about the song’s animated video and whether there will be any more material coming along; whether the group all share music tastes; if we might see some tour dates come through – he tells me how they got together and started playing.

I ask Spencer which new acts we should watch out for; how important it is being on stage and getting the music to the people; the advice for artists emerging – he reveal what they hope to achieve before the end of this year.

____________

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

Very chill and relaxing. Mid-summer mojo is making everything feel good.

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

We are a band. We play songs we like. Addison (the drummer) and myself (Spencer, the singer/guitarist) write most of the music. We like old '60s Pop bands and newer rippin’ Psych bands and combine that in a way that sounds good to us.

All Night Baby is your new song. How did it come to be? What inspired the track?

We wrote it in mid-winter in 2016. It came together quick and easy. Kind of inspired by the fruitless nights of being young and watching young drunk people stumble around in the dark.

I like the video and its animation style. Can you explain how it was shot?

We shot it ourselves on this old Japanese 3-D film camera. Then, I stitched it all together and animated over top in ways that I thought were interesting.

How did The Velveteins form? When did you all meet one another?

I (Spencer) formed the band when I returned from living in Australia in 2014. We were all somewhat familiar with each other from brief encounters in the Edmonton music scene but I got the word out and asked Addison to be a part of the group. Dean (bassist) came along a little later.

Might we see more material from you in the coming months? Are you working on other stuff?

Certainly. We’re working diligently on new tasty things. Not sure about timeline yet, though.

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

We all have vaguely similar tastes: older '60s Pop and Soul. Newer Indie bands too.

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

Going on tour again in the fall and perhaps have some new songs out for sure.

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

Yes indeed tour dates. Not to be announced yet but mostly Canada and the U.S.

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

Being on stage is certainly a big part of it, but not the entire picture. Making a record is a whole different experience. One is introspective and the other one just raw extroverted energy. It takes two different minds to do each one. I like making records because it has unlimited potential unbounded by any sort of restraint.

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

We got to work with Lincoln Parish who played with Cage the Elephant on our first E.P. That was pretty insane because I grew up loving that band and suddenly here we were using all the same gear they used on Thank You, Happy Birthday. It blew my mind a little bit. Plus, I was only nineteen and couldn’t even go out and drink, so we had to get Lincoln to boot beers for us while we were hanging.

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

Support Elton John - and have thirty bottles of Tequila side-stage

What advice would you give to new artists coming through?

Just gotta keep crackin’ at it as long as you live.

IN THIS IMAGE: jo passed/TRACEOVER CREDIT: Ivanna Maria/ORIGINAL PHOTO CREDIT: @bellabebe__ (Instagram)

Are there any new artists you recommend we check out?

jo passed from Vancouver is sick. Also; the band LOVING.

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

I usually just drive to Tofino in my campervan and go surfing off-grid for a few days.

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

I choose Peace Blossom Boogy by The Babe Rainbow. It’s a banger

________________

Follow The Velveteins

Official:

https://twitter.com/thevelveteins

Facebook:

https://www.facebook.com/TheVelveteins/

Twitter:

https://twitter.com/thevelveteins

Instagram:

https://www.instagram.com/thevelveteins/

SoundCloud:

https://soundcloud.com/thevelveteins

Bandcamp:

https://thevelveteins.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UC6YH2vutxexAzkMcWnEXRhA

FEATURE: Demi Lovato: It’s Complicated: Do We Put Too Much Pressure on Young Artists?!

FEATURE:

 

 

Demi Lovato: It’s Complicated

PHOTO CREDIT: Getty Images 

Do We Put Too Much Pressure on Young Artists?!

__________

ALTHOUGH she is resting right now…

PHOTO CREDIT: Hollywood Records

and her family have asked for privacy at this difficult time; there was shock and upset yesterday on learning Demi Lovato had been rushed to hospital following a suspected heroin overdose. Social media lit up with sympathy and concern; fans and high-profile figures sending their best wishes and love to her. Although the full details have not been revealed – the cause of her hospitalisation has not been revealed – it is troubling seeing a bright young star put into the news because of such a horrible event. It is not to me or anyone else to guess why Lovato was taken to hospital or the circumstances leading to it but one thing that shocked me was the way some corners of social media reacted to the news. Rather than show humanity and wish the American artist a speedy recovery; there was a sense of apathy and humour – someone who has admitted to taking drugs in the past, in their way, deserved it. Others felt it was wrong to show such concern for someone who had put themselves in that position. Those people were swiftly shut down and admonished but it is concerning seeing so many young artists pushed to the extreme.

Demi Lovato is on the third leg of her Tell Me You Love Me World Tour and has been heavily involved with touring – barely able to catch a breath due to the demand. The twenty-five-year-old has been open regarding drug problems in the past. She has suffered alcoholism and an eating disorder after spending a year in a sober-living facility; the star has talked about cocaine and how, in a way, it has helped her cope with her bipolar disorder. In the documentary, Demi Lovato: Simply Complicated, she talked about her troubled times and overcoming the worst days. Drugs were discussed but the documentary set out to show the real Demi Lovato: the hard times and troubles she has had coupled with the strength from her fans and determination to record and take her music around the world. The documentary was a candid look at her school days and the bullying she suffered; her dating life and the ups and downs; the demands of touring and her everyday life. Lovato was scheduled to perform in Atlantic City tomorrow (Thursday) and head to Latin American for the final leg of a fifty-two-date tour. One cannot truly know what is happening in Lovato’s life right now but she is one of the biggest names in Pop. Her 2017 album, Tell Me You Love Me, was her sixth album in nine years and, between releasing albums, there is the touring and press.

PHOTO CREDIT: Getty Images

Demi Lovato is an artist who acts as a role model for her fans. She has battled illness and addiction but continues to perform and take her music to the audience all around the globe. The strength and determination to keep on playing and creating is not something many people could do. Rather than dwell and hide away; the Popstar has spoken about the realities of her situation and bravely opened up about her darkest days. Although the modern music scene is a tough battleground and it is challenging getting your music out there; I wonder whether we need to look at the expectations put on modern artists and the effects it can have. It is, as I keep saying, not to anyone to say what led to Lovato’s hospitalisation but the talented songwriter has faced enough problems over the years. Whilst she cannot take that much time off and rest between releases; it is heartbreaking seeing news like yesterday’s come out. She loves music and adores her fans but she could not have had too much time to unwind and find time for herself since her first album arrived in 2008. Each record involves rigorous and extensive publicity; there is the promotional trail and then the release itself – after which, she would tour through the U.S. before going abroad.

PHOTO CREDIT: Getty Images

Last year, she spoke with TIME and discussed her haters and standing up for what she believed in. She talked about music and its role in her life:

“For you, has music been a way to move forward?

Music has been very healing for me. It’s been a part of my life that’s really helped me cope with certain addictions and certain emotional issues, and death, and loss through breakups. And also creating memories. I’m at a different place in my life now, where I’m a single 25-year-old woman coming into my own and living on my own. So I’ve become lonely at times, and I’ve written about it. It’s definitely helped me”.

Although each artist is different – and there is no ‘golden rule’ regarding their work-rate and press attention – it seems like Lovato has used music and performance as a way of overcoming past struggles and connecting with people who make her feel safe and wonderful. Lovato was asked, in the interview, what advice she would give young artists – considering she was thrust into the spotlight early on:

“It’s a case-by-case scenario. For me, it was important to jump in early, because it saved my life. I was bullied, and I didn’t feel like I had much to live for other than music. So jumping into it was something that saved me. If I were to have kids and it wasn’t a life or death situation, I’d tell them to wait and grow up a little bit before they tried to pursue something that can be challenging for someone that’s young”.

We cannot really monitor every mainstream star to check they are okay but I feel there is still too much demand placed on the artist. You hear about artists suffering anxiety and burning out due to constant performance; others who are unable to switch off and spend endless time on social media – fuelling a sense of anxiety and not helping with their mental-health. Modern music is a constant game of promotion and image. Even if you are an authentic and open artist; you can never really escape the spotlight and the fact so many eyes are on you. The sort of reaction Demi Lovato received yesterday shows there is a lot of love out there for her – there is a camp that turns their nose up and feel we should not feel sorry. The mentality and physical strength needed to survive in the mainstream and remain vital is incredible. Although Demi Lovato boxes and is a blue belt in jujitsu; you can only imagine how draining touring is for someone like her – even for someone very fit and physically strong. Having to handle a mental illness like bipolar is hard in itself - there is the touring lifestyle and being in a new place every day. That is part of the machine and process but it is the sheer volume of gigs and how hard artists have to work.

IN THIS PHOTO: Carter Smith for InStyle

When speaking with InStyle earlier this year – she talked about some of the experiences of touring and her connection to the fans:

 “…And though she loves her fans and loves to tour—saying she gets butterflies only if “there’s someone I like in the audience”—meet and greets before and after concerts can be tough. “They’re very emotional. A lot of times people use that opportunity to dump their problems on me because they don’t know who else to talk to,” Lovato says. “They show me their cuts. I’ve had people come up to me and say, ‘I was going to kill myself until I got this meet and greet.’ And you’re just like, ‘What?’ Sometimes I’ll meditate afterwards. Sometimes I’ll just kind of breathe. I used to sage myself. It’s very heavy”.

That interview is a great piece where Lovato talks about exercise and speaking out against the bad in the world; being a role model and how she deals with stressful times. The photos show her tough and ready to swat away all-comers: a lean and confident figure ready to take anything on. I wonder how our perceptions of artists on the page and in interviews differ to that of real life. As I mentioned; with each album comes a tour and there is the balancing of personal life with music. Artists like Lovato have huge armies of fans on Instagram and they need to be kept in the loop. She has interviews and being shuttled from city to city.

The fact Demi Lovato is a fighter and has battled through so much in her life leads me, and many others, to feel she will go on and be okay. Whatever caused her hospitalisation yesterday – the actual facts have not been confirmed – I am seeing too many artists hit a really bad patch. So many are opening up about mental-health and how tough it is in the industry. Others talk about anxiety and how, because of constant touring and social media expectations, they never get a chance to rest and it is really draining. Demi Lovato is definitely personality and character in a Pop scene that is often 2-D and predictable. You have average artists who seem the same and do not really stand out from the pack. Demi Lovato is someone who stands out and compels the senses. From interviews in fashion magazines – talking about dating, boxing and meditation – to documentaries where she reveals all and talks emotionally about the past…someone who has enriched millions of lives and provided guidance to young fans who go through the same issues and struggles as she does. I get a sense someone will need to step in and give Lovato a proper chance to rest and evaluate things. The fans will be disappointed (dates have to be cancelled) but she cannot shoot right back into touring and shrug things off. Whether her hospitalisation is drug-related or something else – I am concerned there will be many in the industry asking when we can see her perform again and when she is back in action. There is a massive outpouring of love and everyone wants her to be okay. Rather than let time pass and see Lovato back on the road and carrying on as normal; we need to look at the biggest stars and the lengths they have to go to. Lovato is hugely adored and demanded around the world. I wonder, now, rather than talk about rescheduled dates and talk about music; letting her have proper space and privacy; give her plenty of love and take time out for herself would be…

 PHOTO CREDIT: Getty Images

THE best thing anyone could do.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Eliza Shaddad/PHOTO CREDIT: Melanie Tjoeng photography 

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

__________

THE weather is still boiling hot…

IN THIS PHOTO: Queen Kwong/PHOTO CREDIT: @del_photos 

so I am keen to keep the summer theme going and explore the best songs out there by rising female artists. It is exciting watching these songs come out and showing what quality there is! This edition delves deep into the world of music and finds treats from all around the world. I have explored songs from the last few months - and a couple taken from last year. My aim is to raise the profile of female musicians out there and tackle the imbalance in the industry - the way male artists, a lot, are prioritised. I hope these lists/features show what extraordinary female talent there is around us! As it is too hot to venture outside for too long; have a listen to the songs here; sit back and let these brilliant tunes…

 IN THIS PHOTO: Charlotte OC

TAKE you somewhere special.

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

__________________

Stella Donnelly – Boys Will Be Boys

PHOTO CREDIT: Kate Warren

Odetta Hartman – Widow’s Peak

Emily Hackett – Good Intentions

Lizzi – Anybody but You

Emma Bale – Cut Loose

Charlotte OC – Blackout

Sarah de Warren (ft. Danell Arma) – Gallery

PHOTO CREDIT: Renee Altrov/PHOTO MANIPULATION: Luis Dourado

Maarja Nuut (ft. Ruum) – Kuud kuulama

Delhia de France – Waterfalls

Indian Queens – Pretty Little Thing

Kate Stapley – Irises

NOVA TWINS – Lose Your Head

PHOTO CREDIT: Matt Lambert

Lotic – Hunted

Hockeysmith – Holy War

PHOTO CREDIT: Flore Diamant

Eliza Shaddad – My Body

PHOTO CREDIT: @del_photos

Queen Kwong – Fools Gold

Yumi and the Weather – Look At the Night

Sipprell – Personal

Sabrina Claudio – All to You

Caitlin Canty – Take Me for a Ride

Caswell – Lie to Me

PHOTO CREDIT: Chantal Anderson

Jess Williamson – Thunder Song

Laura Pieri – I Will Follow You

The Seamonsters – Max and Archie

la lune – love/sick

Lindsay Latimer – I Blame You (Bodytalkr Remix)

INTERVIEW: Desirée Dawson

INTERVIEW:

Desirée Dawson

___________

I have been speaking with Desirée Dawson…

about her new single, Just Fine, and what its story is. She discusses the musicians she counts as role models and whether we might see more material coming down the tracks – the Canadian artist reveals her favourite albums and what she hopes to achieve by the end of this year.

I was keen to know whether we could catch her tour and what advice she would give to fellow songwriters; if she has a favourite memory from music so far; which upcoming acts we need to get behind – she ends the interview with a brilliant song.

____________

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

The week has been so great. Very full and exhausting but great overall!

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

I am a singer-songwriter from Vancouver, BC (Canada) which is the traditional, ancestral and unceded territory of the Coast Salish First Nations people. My music is always authentic and my instrument of choice is my voice; although, I do support my voice with the baritone ukulele. The music I create is a deep dive into the human condition; drawing from my own life experiences and the experiences of those around me.

I have been writing and making music for a while but, since winning the CBC Searchlight Contest in 2016, things really have been expanding and growing for me in so many ways. Many of my songs have been playing across Canada on CBC Radio 2  and other stations. I am so thankful for the support as it has really helped allow the music I make to reach more people.

Just Fine is your latest single. Can you reveal the story behind it?

Just Fine is about me acknowledging these two sides of myself. One side is very fear-based: it’s scared, worried and confused and often tells me things like: ‘I should give up and stop trying to follow my dreams’. I've come to realize that this side of me is just trying to keep me safe. There is another side of me that is also trying to keep me safe, but not with scare tactics. This other side LOVES when I’m adventurous and wild. This part of me does not even comprehend playing small and is always encouraging me to listen to my heart’s deepest desires and to run, jump and dive into it!

Because both of the parts of me are trying to keep me safe, they battle all the time. Hahaha. The song is about acknowledging them but letting them both know that I’m going to be just fine. After sharing this song for the first time, I got such a wonderful response from people. They also felt the same! Every show I play I have at least two people say: "Get out of my head! How did you know I was thinking these things?!" or "I feel like you just read out my diary in front of all of these people!".  I am so excited that this song allows me to express and be vulnerable, all while creating a space for others to do the same.

Might we see an E.P. or album later in the year, perhaps?

I have so many songs that are just begging to be let out into the world, so I feel like I will stick to putting out singles over the next little bit. But, I do have some E.P. plans in the works as well. Nothing concrete yet.

Which musicians inspired you growing up? Who do you count as role models?

I grew up listening to artists such as Lady Smith Black Mambazo, Stevie Wonder; Des’ree and Tracy Chapman as a young child and found myself listening to the likes of Lauryn Hill, Beyoncé; Daughter, Adele; Amy Winehouse, Lily Allen; Alicia Keys and a lot of Motown artists in my teens/early adult life. I think a combo of all of these musical storytellers, plus many of others, have helped inspire and guide me over the years.

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

More lovely music; more lovely collaborations and connections. Also; I have some pretty amazing tours planned - stay tuned! (Smiles).

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

A moment that is currently sticking out is when I played a festival in my hometown of White Rock, BC. My hometown is beautiful but it's a place where I hold some painful memories. I remember being on stage singing a song that was so vulnerable and I was scared how it would be received. I almost did not sing it. I was singing so strong, from my heart; on a stage right next to the ocean and, to my surprise, the song was a hit! I was met with so much love and support.

It felt like a homecoming to my hometown and truly stepping into myself (and accepting myself). So many people that day came up letting me know how much the connected to the song. It was a really special moment. The song is called Hey Brother - off my debut album, Wild Heart.

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

Gift of the Tortoise – Ladysmith Black Mambazo

I was afraid of the dark as a kid and my sister and I used to listen to Gift of the Tortoise to fall asleep when we were kids. It inspired me to see music as a source of light in the darkness. This album taught me that music is a powerful healer and that a whole song can be filled with life, even without any instruments! Oh, how powerful the human voice can be. It also was a nice glimpse into a culture very different than the one I grew up in as a young child - and I am very grateful to have been able to go to that place every night as a little one!

The Miseducation of Lauryn Hill/MTV Unplugged No. 2.0 – Lauryn Hill and 19 - Adele

Both Lauryn and Adele were crucial for me. Watching women express themselves so vulnerably and to tell such moving stories with their lyrics, but also with they range in their vocals, was really important for me to do what I do.

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

I would love to support Lianne La Havas, Alessia Cara; Alicia Keys or Lauryn Hill.

Here is a glimpse into my dream rider: peppermint tea, roasted dandelion tea; almonds, organic fruit platter; a clean floor to do yoga on, water; diffuser with peppermint and eucalyptus essential oils in it; a couple blankets and pillows for my team and myself to take a little nap if needed.

Can we see you on tour soon? What dates are coming up?

Stay tuned for dates at www.desireedawsonmusic.com.

Might you come to the U.K.? Do you like British music?

I do like British music and I hope to be in the U.K. next summer!

What advice would you give to new artists coming through?

Be yourself! Do your thing! The world is in need of YOU, not another version of someone else.

IN THIS PHOTO: Alysha Brilla

Are there any new artists you recommend we check out?

They are not necessarily new,  but I am going to send you a list of just a few of my fave Canadian artist in the scene who have recently put out some new stuff that is definitely worthy of checking out A.S.A.P.:

Alysha Brilla - Rooted (album)

Matt Storm - You Still Stay (single)

Sam Lynch - Light and Lines (E.P.)

Missy D + Kimmortal - XX (single)

Khari Wendell McClelland - Freedom Singer (album)

 IN THIS PHOTO: Khari Wendell McClelland

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

Lately, it’s been pretty hectic and I don’t have much time to chill. Luckily, I have expanded my team a bit and have more hands on deck so I am able to carve out little bits of the day for myself. I like to be with the trees somewhere. I like to be in my apartment with my plants and lay on the floor listening to other people's music. I like to spend time with my dear friends and be near the ocean or any big body of water!

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).

Beats ‘n’ Stops - Alysha Brilla

________________

Follow Desirée Dawson

Instagram:

https://www.instagram.com/desireedawsonofficial/

Facebook:

https://www.facebook.com/desireedawsonofficial

Twitter:

https://twitter.com/desireedawsonco

Spotify:

https://open.spotify.com/album/1rXZ5jnyiAyCwS1Obo03DM

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INTERVIEW: Overdog

INTERVIEW:

Overdog

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THE guys of Overdog have been…

talking with me about their new cut, Question Mark, and what it was like working at Decimal Studios with Chris Coulter. The band talk about their formation and the sort of sounds they are influenced by; whether there is more material coming down the line – I ask whether we can catch them on tour this year.

Overdog recommends some upcoming artists to look out for and tell me how they chill away from music; whether, in their view, Alternative sounds are coming back to the fore; what their favourite career memories are – they provide some useful advice for artists coming through.  

____________

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

Sam: Good, thanks! We’re all pretty busy preparing for our first tour and a new round of recordings, as well as lots of non-musical stuff.

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

Olly: We play intricate, melodic Rock music, with an emphasis on vocal harmonies and layered guitar parts.

Rob: I usually describe our sound as something of a fusion of Jimmy Eat World and Fleetwood Mac…

Sam: Maybe with some Biffy Clyro thrown in.

Adam: But there are some Post-Rock influences too.

Steve: It’s complicated...

Question Mark is your latest single. Is there a tale behind the song?

Olly: A certain relationship made me reflect on the limits of storytelling, and literature in particular, as a metaphor for understanding my own life. The characters of a book can’t change how their story ends. People, to varying extents, often can. I wrote the song in response to those feelings. But, hopefully, people can find their own meaning and have their own response to the song.

What was it like working with Chris Coulter and recording at Decimal Studios?

Rob: Working with Chris was a pleasure. He’s a chill guy but really knows his trade. He took the nebulous, half-formed ideas we had for the single and quickly turned them into tangible, awesome little additions.

Sam: He had exacting attention to detail, especially with all things guitar. I think he pushed us to a higher level in that way.

Rob: Decimal Studios is great; set up on a private island in the middle of the Thames near Hampton. When you amble across the bridge onto the lot, you feel like you are stepping into your own little private world. The surroundings really let us get into a great creative headspace.

How did Overdog get together? Was that an instant spark between you?

Olly: Most of us met at university and played in various bands together but, when this band got going in 2011, I invited Rob to join us - I’d played with him in a band at school. So, there was a pretty good set of musical relationships there already, but something definitely ‘clicked’ when all five of us played together the first time.

Your music has a great Indie/Rock sound. Do you think guitar music is evolving and coming back to the fore right now?

Sam: Personally, I think we have to talk about music evolution differently in the streaming age. I think that while there’s still a ‘mainstream’ of sorts, the easy accessibility of so much music opens up all these niches. I think people are listening within all these little genre bubbles and, you as a musician, you can do whatever you want and find your niche.

Adam: I think the distinctions between different styles such as ‘guitar music’ are becoming less important as time goes by as artists are incorporating ever more diverse sounds and instrumentation into their work. There is now so much cross-pollination between different genres the lines have become blurred.

Sam: I would say, though, that people still fundamentally want to see bands with stage chemistry and who take joy in performing – as well as having some original twists.

Is there more material coming from you guys? What are you working on?

Absolutely. We’re into a new phase of recording now and there will be more singles coming over the next few months, eventually leading to a full-length album. Watch this space.

Are you all inspired by the same sort of music? Are there particular artists that helped you find your own sound?

Olly: There are a few bands we all enjoy - Jimmy Eat World the most obvious example – but, really, we’re a very eclectic bunch. Rob listens to a lot of British and Irish Folk alongside bombastic Heavy Metal, whilst Adam has a background in Jazz, for example.

Rob: I think these broad and often contrasting tastes in music help us to write in unexpected or unconventional ways.

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

Sam: it would be great to get a touring slot and/or summer festival slot for next year. We’ve played a couple of urban festivals and are doing a short tour this month - but the full-on tour and festival experiences would be great.

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

Rob: Our gig at 93 Feet East on Brick Lane (in London) was memorable for me personally. Being a five-piece, we can often feel quite packed in on smaller stages but there we had room to really get in the zone and perform with a bit of swagger.

Olly: For me, it was the whole process of making The Breeze That Hits Your Ear, our E.P. from 2016. It was the culmination of a drawn-out but inspiring creative process and only possible thanks to the generosity of family and friends who supported our crowdfunding for the recording costs.

Adam: In a different vein, one of my favourite memories is when we all went slightly mad during an extended practice session in an underground car park in Zürich and invented a game called ‘Flangeponce’. I’ll say no more…

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

Rob: If they ever got back together, I’d love to support My Chemical Romance. I feel like Rock today is sorely lacking in genuine frontmen and women but Gerard Way is one of them. He’s one of the best Rock entertainers from the last twenty years and wants to put on a real show, rather than just play a gig. Sharing a stage with him and the rest of M.C.R. would be a blast.

Steve: I've always thought Muse put on a great live show - each of them are brilliant musicians and I love the range of sounds and influences that Chris Wolstenholme plays with. So, I'd love to play a show with them.

The rider would consist of lots of pain au chocolat…

Adam: …and lots of pasta and pesto…

Olly: …and hummus.

What advice would you give to new artists coming through?

Sam: Not to underestimate how important it is to keep developing your craft, your performance skills; your core music abilities. There have been times when I lost sight of this and felt like ‘we’re ready; we just need to get noticed’, when, really, there was still work to be done in honing my skills as a performer.

Adam: I don’t feel wise enough yet to give any advice…but, I guess the important thing is, if you love what you do, then you’re already successful.

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

Olly: We usually play in Central and East London but we are playing in Leeds on Tues, 31st July, Manchester on Wed, 1st August and Oxford on Fri, 3 August alongside some great acts from the States. Come!

IN THIS PHOTO: Those Handsome Animals

Are there any new artists you recommend we check out?

Sam: Some of the best acts we’ve played alongside so far include Those Handsome Animals (major-key-punky, melodic Rock); Acrylic (spacey, Scottish Indie) and Andy Ruddy (singer-songwriter; unforgettable voice).

 IN THIS PHOTO: Acrylic

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

Rob: Well, I’m an avid video gamer. But, I’d say video games are equal parts relaxation and irritation! Especially where competitive multiplayer games like Overwatch are concerned...

Adam: Usually, I like to read a book or listen to podcasts. I just finished reading the wonderful Neverwhere by Neil Gaiman which I’d especially recommend to anyone living in London, and my favourite podcast at the moment is the surreal and hilarious Athletico Mince.

Sam: We all chill out in different ways but I think we’re all highly aware of the importance of time off. You’ll produce your best stuff when you have that balance.

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).

Rob: I’d love if you could play Sam Kelly & The Lost Boys’ Chasing Shadows. Sam Kelly was a finalist on Britain’s Got Talent years ago and, since then, he’s gone on to become one of the most exciting young artists in British Folk!

Sam: Adam introduced me to the Dutch band The Mysterons and I’ve been obsessed with Turkish Delight for the past two or three months

Adam: Please could you play Compendium by Elder (from their album, Lore)

Olly: Phoebe Bridgers’ version of The Gold by Manchester Orchestra

Steve: I've been enjoying a lot of Frank Turner recently as a nice Rock/Folk mix. It'd be great if you could play Peggy Sang the Blues; mostly because I really like the bassline.

________________

Follow Overdog

Instagram:

https://www.instagram.com/overdogtheband/

Facebook:

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Twitter:

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YouTube:

https://www.youtube.com/channel/UC20z5FsUdJMmPTq00qXvw-w

Spotify:

https://open.spotify.com/artist/10wVfaa008I6L0N1tfOJJu

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PHOTOS OF OVERDOG:

Justine Trickett

FEATURE: National Album Day: Why We Should Celebrate It Rather Than Attack and Doubt Its Aim

FEATURE:

 

 

National Album Day

ALL PHOTOS (unless credited otherwise): Unsplash 

Why We Should Celebrate It Rather Than Attack and Doubt Its Aim

__________

EVERY music-specific day will draw some form of criticism…

and scepticism. Every day of the year, in fact, seems to be reserved for some hopeless and ridiculous cause – from pirates and emojis to God-knows-what! If you need to know what National Album Day is about and why it has been created; here is a little bit of an overview:

“A ‘National Album Day’ has been announced to take to place for the first time ever to celebrate the 70th anniversary of the album format.

The event, which will be held on October 13, will mark the culmination of a week-long series of events and activity around the country.

Planned activity will include retail events and artist personal appearances, classic album Sundays LP playbacks and artist interviews/fan Q and As and online listening parties.

A social media campaign (@AlbumDayUK / #NationalAlbumDay) will invite people to nominate and share the album that has most inspired them and at 3.33pm on 13th October – National Album Day – fans, stores, radio stations and public spaces will be invited to play their favourite album in full”.

Some might look at that summary and think it is a ploy to gain revenue and flog a dead horse – more on that later! It has been estimated that 135 million albums – more, in fact – were purchased or downloaded (or streamed) in 2017. This is a 9.5% rise on 2016 and vinyl sales continue to rise – 4.1 million in 2017 (the highest level since the 1990s).

More than five billion albums have been sold since the concept was invented and it seems we have not lost the appetite for the L.P. There are cynical and harsh voices that see the day, which will happen on 13th October, as a cash-in and chance for people to sell their old albums and crap nobody wants. I will bring in the argument against the day first of all. I am writing this piece as a reaction a feature that appeared in The Guardian today. Michael Hann, when reacting to the news of National Album Day, gave his impressions and felt, as the album is a bit of a bygone treasure, nobody would care too much about it. He began the piece but comparing albums to strawberries: people will buy strawberries throughout the year but the greengrocer, once a year, will sell ‘special’ punnets that are packed, branded and marked to look tasty and inviting. People, as he says, buy individual strawberries every year – why would they want a punnet when they are only going to squander most of it?! I find the comparisons to be fatuous and specious. For a start, people only buy strawberries at a very select time of year and never buy individual ones – people love a good punnet and, if you want a better fruit analogy, it is better to go with apples – selling a bag of apples rather than individual ones.

There is a problem with people/journalists thinking the album is dead or we are all so familiar with it there is no need for a specific day to celebrate it. Nobody is asking you and me to go to a record shop and part with your cash. Nobody is sticking a gun to your head and screaming at you to pick up Ed Sheeran’s % and playing it in full – if you do not listen to every track (turn Galway Girl up as loud as you can!) then you will get your brains shot out. The day is designed to show appreciation for a format that has touched us all and pushed the music industry forward! It is, in fact, a chance to showcase what richness and brilliance you can discover when listening to a complete record. One of the reasons why I disagree with what Hann says is we should not be proud of our picky selections and ignoring albums – having short attention spans and preferring singles are nothing to shout about and we should, in fact, question why we do that. We are all becoming less patient and not digesting music in the same way. Many claims the quality of music has been declining since we moved from physical forms and started embracing streaming – if people are not willing to listen to an entire album then why put the effort it?!

That is unfair on the artists...so many musicians are putting their all into records and have campaigns so they can get people invested in every single moment of the album – not just the singles we hear on the radio and the first things we encounter! Hann, in his piece, questioned the validity of the album and whether it has been a popular or worthy construct. National Album Day begins at 3:33 P.M. (see what they did there...?!) on 13th October and will be a chance to celebrate our love of the album and play our most-treasured record in its entirety. Hann turned his nose up at this suggestion:

“In truth, the real damage to the album was done by MSM anyway. It was done by labels seeing the CD as a chance to ravage fans’ wallets and purses by selling the physical product for massively more than it cost to produce. It was done by artists, given 80 minutes of time on a disc, packing them out with self-indulgent filler. And, of course – as Stephen Witt’s brilliant book How Music Got Free explained – it was done by MSM not being aware of the consequences of its actions: by concentrating on the CD, MSM converted music into a series of digital packages that were easily shareable across the internet”.

MSM, in this schematic, is ‘mainstream music’: the corporate octopus that has picked the album as a format up and ravaged listeners and fans by stripping their wallets clean. There is this rationale that C.D.s are a con because they have a few great songs and the rest of filler – far too expensive for what they are...

You can say the same about the vinyl – why do we pay so much for one?! I agree I always found it hard to rationalise why a C.D. cost about thirteen quid and what value there is in it! I always buy C.D.s knowing I want it and will not be disappointed – I do my research and, when purchasing, make sure I am not wasting money. Many might find it exorbitant paying, essentially, a quid a song and why they cannot find more onto a C.D. The restricted running time, in truth, means artists have to confine and compress themselves – Hann suggests artists are trying to justify charging that much by cramming any old rubbish on it! Artists do not set the price and control that; record labels get more of the pie and, if anything, the musician has always got far less than labels when it comes to albums. That has not really changed when it comes to streaming: the fact many of us do not pay for services like Spotify and YouTube means we are stealing music and unwilling to pay for albums! It is not the fault of the artist for our thrifty attitudes and how we want to get around paying. Music has not got to the point where artists are capable of a good song here and there and the rest is poor – we are provided options to stream for free and taking advantage; we are affording (ourselves) less time to digest music and far less patience as a species.

Hann ends his piece by making this point:

“And in a world where you no longer need to buy albums, why would anyone except the fetishist do so? The album is no longer the product, it’s the shop: the display from which the best things are plucked, and the worst things left behind”.

I argue against the point we do not ‘need’ to buy albums. By that, he means we can get stuff for free so we just pick the odd song here and there and leave the rest. Going back to his strawberry analogy and the streaming service is a sweet shop with an ageing and less-than-vigilant proprietor. Rather than ask him to decant sweets from the jars stacked on the shelf; children are picking odd sweets from the pick ‘n’ mix and unwilling to spend their pocket money if they can get away with that. This might be cruel but it is not the fault of the artist we are less reliant on the album: they are putting more effort in than ever and struggling to battle our streaming mindset and rather tight-fisted spending habits. If streaming services and the Internet did not make it possible to buy individual songs (or have them for free) then we would still buy C.D.s like we always did and explore the album fully.

The only reason albums can be seen as old-aged and irrelevant is we have let that happen – we are a poorer people and society for cherry-picking and missing out on a world of music. I agree with the point there are albums where there are fillers and not all tracks are perfect. You read reviews and, before you buy, can make the decision whether it is worth spending your money on an album with maybe four or five good songs. I often find that and, in the case of a few albums, I will buy the single/singles from Spotify and leave the rest. That has not changed: few of us go out and deliberately spend money on something we will be disappointed with. All the albums I have ever bought have been done so after reading reviews and taking a chance. If I find the odd song that doesn’t float my boat then I am not angry – paying a tenner or more for, say, nine or ten great songs I can listen to over and over seems like a pretty good deal! We want everything for free and are used to having luxury and convenience at our fingers. We stream T.V. shows and films at an absurd rate and have become so spoiled and pampered-to that we have forgotten the value of music and culture in general.

Launching the argument ‘for’ the album - I will look at another article that looks at why we need to preserve the album. In my view; music would not be where it is – so many artists out there and so much choice and innovation – were it not for the album. I grew up buying cassettes and listening to vinyl around the house. I would buy singles, on C.D., and then go out and buy an album – keen to explore that artist’s current mindset and share it with friends. All of the artists we listen to today have been raised on those formats and revelled in the album and all it holds. We do not love Joni Mitchell because there are a few good tracks on Blue – the rest is pretty crap but there are some pretty lyrics on one or two songs, I guess! NO! We marvel at every song and, for those who know what they’re doing, we buy the vinyl/C.D. and listen to every track. An album is a complete story and the full assessment of what the artist is trying to convey. If we cheapened their work by listening to one or two songs then it makes recording music and trying to connect with people completely pointless.

None of us would love or know about music were it not for the album; we all have our favourite and know, regardless of the quality of the artist,  the album is a beautiful (if flawed) technology. We can quibble over the hardware and technology of an album – the C.D. seems a little old compared to the sleek streaming alternative – but the argument you see above does not attack hardware and state we listen to full albums on streaming sites – it implies we have abandoned the album completely and handpick the odd song. Hann, too, made a point (that) C.D.s are available all year at record shops so why do we need reminding they are available – is it a chance for shops to see their old tat and make extra money from nostalgia and faded memories?! Artists write albums because they want to paint a vivid picture and give a full documentation of where they are and what they are trying to say. If we pick a few tracks and ignore the hard work they have done, then that is cheapening music and encouraging artists to rush off singles and not put too much effort into making albums. If we promote that then we are saying, effectively, don’t waste your breath because we want to hear a song or two and move on to the next artist! The BBC published an article and spoke with record shop owners:

“For Phil Barton, the owner of London record shop Sister Ray, there's one very obvious reason why albums are a big part of his life.

 IN THIS PHOTO: Sister Ray, London/PHOTO CREDIT: Pinterest

"Without the album, we wouldn't exist," he says.

"That's what we do, we sell records."

Although admitting "it's a good time for us" in terms of physical album sales, Phil suggests changes in the way people listen to through things like streaming platforms has had an impact on how some artists approach making albums.

"If you deconstructed certain albums coming out now - I'm pretty sure you'd just get a collection of songs that happen to be on an album.

"But take it back a little bit and I think artists were specifically making albums to be a body of work".

Bloosoms’ frontman Tom Ogden says bands want the full package out there and are concerned with every stage of the process. They love the artwork of the cover and involved with every song to ensure it hangs together. Artists go into the studio hoping the public hear all the songs and buy what they put out there. If we are propping bands up with a single or two and then discarding the rest then we are not going to appreciate the artist and, in essence, will not remember them. Albums are the mark of every artist and what we remember them by. We do not love The Beatles because of Hey Jude and celebrate Aretha Franklin because of Respect. I still love albums because every track tells a different story and gets into the head. If a track is not too good at first, I will listen a few more times and find something good – if I have given it proper time then I cannot quibble.

IN THIS PHOTO: National Album Day's ambassador (2018) Paloma Faith/PHOTO CREDIT: Getty Images

Artists want us to listen to an entire album and give it a chance; it gives a much more rounded viewpoint and can stun and surprise us. This year alone, I have found treasures that rank alongside the best albums I have heard this decade! If I had not listened to them, in full, then I would have missed out on so much. The fact we are consuming fewer albums and hold them in lower esteem is our fault and not that of the artist. We are becoming too hurried and uneducated; we are becoming snobs and petulant with our tastes. We want to pay as little as we can and are unwilling to give new music a chance – ironically, we drool over classic albums and rave about those vinyl records we bought when we were younger. We cannot say the album should not be celebrated and revived when we all grew up surrounded by them! Paloma Faith is the ambassador of the first National Album Day and, when talking about the event, said the following:

“I vividly remember being excited by so many classic albums as I was growing up, like Marvin Gaye’s ‘What’s Going On’, Dylan’s ‘Freewheelin’’, and Erykah Badu’s ‘Mama’s Gun’, although, if I had to pick one, the album that most inspired me was Tracy Chapman’s self-titled debut”.

IMAGE CREDIT: Getty Images

We all talk about those classic albums and how, even if there was one or two duff tracks, great they were. Look at the history of albums, as laid out by the article I just quoted, and you can see:

“In 1948, Columbia Records unveiled 12″ 33/3 rpm “microgroove” discs, which could house 22 mins minutes of music per side. Mendelssohn’s Violin Concerto was the first release. In The Wee Small Hours, Frank Sinatra’s 1955 suite of songs for the heartbroken and lonely, was the first “concept” album, sustaining its melancholy mood over 16 songs. With Rubber Soul (1965), The Beatles delivered a sophisticated, experimental body of work, proving albums could be more than a collection of singles and b-sides, paving the way for Sgt. Pepper’s Lonely Hearts Club Band (1967) Michael Jackson’s Thriller (1982) is the world’s best-selling album ever, selling 66m copies, with seven of its nine tracks released as singles. Dire Straits’ Brothers In Arms (1985) exploited the smooth sonic possibilities of the new CD format, which allows for 74 minutes of music, selling 30m copies. Drake’s new album Scorpion, featuring 25 tracks, broke records by racking up 1bn global streams inside a week. It was only released as a physical album two weeks after its digital debut”.

There are augments that claim modern songwriters have multiple writers for an album and they are less singular (albums). There are, some state, more filler on modern records and we are less likely to find anything to rival the best-selling albums ever – including Pink Floyd’s The Wall and Michael Jackson’s Thriller.

Albums are the soundtracks of our lives and can make the bleakest moments hopeful and okay. If we existed and remembered songs – rather than an album – then we would have such a fragmented and threadbare outlook. Albums, even if they contain some less-than-great songs, are how we all experienced music and what we talk about when fondly recalling. We are not giving modern artists the chance to have their work explored and fully appreciated – assuming there is filler and it is not worth our trouble. All of our bad habits need to be quashed and we need to remember why we all fell in love with music and how important to artists it is we buy albums and keep them going. Maybe C.D.s are less popular than years past but we still consume vinyl and have a big appetite for artwork and something physical. It has been shown that a higher number of younger listeners are buying albums – not only those past the age of fifty – and there are few better experiences than listening to an album in full and getting a vivid, fulsome and explicit sound of an artist’s statement. Rather than turn noses up at National Album Day why don’t we, at 3:33 P.M. on 13th October, play the albums that mean the most to us and show why the whole album, not just one or two songs, matters?! We are celebrating artistic expression and keeping alive music in its purest and most important form. Start questioning that and criticising a day that brings us together – not a chance to gauge wallets but highlight the brilliance of the album – why not get behind it and make it a permanent fixture! I don’t know about anyone else but I would not be a journalist, passionate about music and who I am today…

WERE it not for the album!

INTERVIEW: Jeen

INTERVIEW:

Jeen

___________

I have been finding out more…

about Jeen and her new track, Any Moment. The Canadian artist talks to me about her upcoming album, Gift Shop, and whether particular themes have inspired the songs; whether she feels there has been a change and evolution in her work since the early days – Jeen chooses a few albums that are special to her.

I ask if there are any tour dates coming up and what advice she’d give to artists coming through; if she gets time to relax away from music; which artists have inspired her; whether she has any goals to accomplish before the end of the year – she ends the interview by selecting a classic cut.

____________

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

I’m good (smiles). Busy!

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

I’m Jeen. Been putting out records on my own for a while now. I haven’t had to get a real job yet (smile).

Any Moment is your latest track. Can you talk about its origins and backstory?

It almost didn’t get on the record. I had written it for my publisher just to have and they had a big reaction to it; they asked if I could re-record it for the album. So, I played it for Ian Blurton (who was mixing the rest of album at the time) and he had the same reaction to the track. We decided to do it at Ian’s studio (he played some guitars and co-produced it with me) so it had a bigger sound than I can get in my attic.

Gift Shop is your upcoming album. Are there particular themes and personal stories that inspired the music?

For sure. I’m a bit of an anti-social introvert so that’s an ongoing theme. Haha. Trump had been recently elected at the time of demoing stuff so the state of the world was also on my mind. The general vibe is getting through life without losing it.

Do you think you have grown in confidence since your earliest work? Have you learnt anything about yourself whilst making Gift Shop?

Tons. I was never a producer but here I am making/producing my own records. This has been a huge learning curve and I feel I finally hit a bit of a stride with this album. It took a couple records but I think I know what I like now and, more importantly, how to achieve it. Keeping it simple so I don’t get in over my head. The addition of Ian Blurton mixing has also been a godsend. I can’t say enough about him and I hope to use him for everything moving forward.

Are there particular musicians who struck your ear when you were growing up? Who do you count as idols?

Ah, geeze. The Who, Pink Floyd; The Beatles, Beastie Boys; Janes Addiction, Nirvana…I was a '90s kid, so pretty good time for music. I also worshipped Cindy Lauder as a little kid.

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

I hope I’m writing songs for my next record by the end of this year.

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

Will have fall dates to announce soon but I only have one show booked July 24 in Toronto at the Monarch Tavern (9 P.M.).

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

I’ve been in bands since I was fifteen, so there are lots of memories. Last year, I did a writing camp in London (England). It was the first time I had been there, so that was cool.

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

Hard question. There are so many more than three, but here a few that really hit me:

Nevermind by Nirvana

I remember it coming on the radio and we were like ‘W.T.F. is this!’.

DFA - You’re a Woman, I’m a Machine

Such a great, heavy album. I’ve listened to it, like, a thousand times.

Radiohead - The Bends

It’s a pretty epic album.

Rubber Soul by The Beatles

That’s four. Ha.

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

Opening for Radiohead would be pretty dreamy.

What advice would you give to new artists coming through?

Don’t follow trends. Don’t undervalue yourself; music shouldn’t be free.

Are there any new artists you recommend we check out?

I don’t really listen to music anymore, to be honest. Sounds weird, but true. Hopefully, I’ll get out of this shi**y habit and then I’ll let you know (smiles).

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

I have three dogs so they’re good for that - and CBD. Haha.

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).

Hmmm. Let’s say Wish You Were Here by Pink Floyd

________________

Follow Jeen

Official:

http://www.jeenobrien.com/

Instagram:

https://www.instagram.com/thisisjeenmusic/

Facebook:

https://www.facebook.com/thisisjeenmusic/

Twitter:

https://twitter.com/thisisjeenmusic

YouTube:

https://www.youtube.com/channel/UCrgqWwvu7Y5Hd5xOjiUkf_g

Spotify:

https://open.spotify.com/artist/3lEWoA7lwwybODn5K0v2Bz

SoundCloud:

https://soundcloud.com/thisisjeenmusic

FEATURE: We Know You’re So Good: Seven Years On: Remembering the Incredible Amy Winehouse

FEATURE:

 

 

We Know You’re So Good

PHOTO CREDIT: Getty Images

Seven Years On: Remembering the Incredible Amy Winehouse

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THERE are few modern artists…

IN THIS PHOTO: Amy Winehouse performing on the Pyramid Stage at Glastonbury Festival in 2008/PHOTO CREDIT: Matt Cardy/Getty Images

who have made a bigger impact on music than Amy Winehouse. Today marks seven years since her death and, so long after the fact, we still mourn and remember the incredible artist. Whether you found Winehouse when Back to Black leapt into the world (2006) or discovered her music after her death in 2011 – we all have some connection with the late, great Jazz artist. It would be confined calling her music (purely) ‘Jazz’: Winehouse masterfully brought in R&B, Pop and Soul into her music. Right from her debut, Frank, people could sense there was something very special about Amy Winehouse. Life before Frank’s release (in 2003) saw Winehouse playing and singing in various groups. She was a one-time journalist for the World Entertainment News Network and, by 2000, became the featured female vocalist with the National Youth Jazz Orchestra. Channelling influences like Saran Vaughan and Frank Sinatra; this incredible artist was starting to come together. Winehouse’s best friend, Tyler James, sent a demo to an A&R executive and was soon signed to Simon Fuller’s 19 Management. Receiving a small amount each week, Winehouse continued to play and get her music out to the people. Although the singer was playing at Jazz clubs and getting her music out there; she was still an unknown quantity and it wasn’t until Island Records heard her music did her career start to make tracks.

PHOTO CREDIT: Diane Patrice 

Darcus Beese (at Island) heard Winehouse’s music by accident from the manager of The Lewinson Brothers – he showed Beese music from his clients which featured Winehouse as a backing singer. Unable to provide Amy Winehouse’s name; the manager had that secret, talented star all to himself. It too many months of searching and persistence before Amy Winehouse became known to Island Records. She had, by this time, signed a deal with EMI and there was fierce interest in the young artist. Frank arrived on 20th October, 2003 and drew some passionate reviews from journalists. Although not as hard-hitting and memorable as Back to Black; the album was a brilliant window into the abilities and influences of Amy Winehouse. That Jazz passion came through strong.

One can hear the likes of Vaughan and Sinatra in some numbers; mixed into songs by a young woman talking about her life and its highs and lows – from sex and immense passion to heartache, disappointment; through to accusation and slices from the street. A heady and eclectic collection of songs – Winehouse co-wrote every song but (There Is) No Greater Love (a 1936 Jazz standard composed by Isham Jones) – there was plenty of love from the critics. From the U.S. and U.K. to the rest of the world; journalists highlighted her subtle yet powerful voice; the blend of genres working away (many noted a comparison to Soul legends like Nina Simone and Erykah Badu) and how Winehouse provided an updated, modern-day Jazz sound that drew the listener in.

IMAGE CREDIT: Getty Images

It is the way she sprinkled Neo-Jazz and Soul together that buckled knees and dropped jaws – there was ample determination, passion and attitude to be found among the seductive, velvet-smooth and entrancing songs. If Back to Black was the masterpiece that cemented her reputation: Frank was a powerful indication of a definite star-in-the-making. Perhaps there were too many bodies in the kitchen – quite a few producers and writers assembled the music – and Winehouse herself, in terms of writing, was yet to stand out and establish her true abilities. Frank is, at times romantic and playful; sweary, definite and teenage the next – like the young woman battling through life and living the existence of a London-based Jazz heroine.

PHOTO CREDIT: Charles Moriarty

It is incredible, literally, seeing the way Amy Winehouse changed in the three years between album releases. A sweet-faced and, at times, shy star poured her heart out on her debut. We got glimpses of what was to come but, even at the start, a unique talent that British music was crying out for. The influence of the debut was Jazz and the heroines she admired growing up. Produced mostly by Salaam Remi; Winehouse shifted focus and plans when it came to the anticipated follow-up. Frank was shortlisted for the Mercury Music Prize and sold massively; it was a big hit but, in many ways, not the album Winehouse was truly capable of.

IMAGE CREDIT: Getty Images

Unwilling to simply bow to expectations and record a carbon-copy of that debut; Back to Black was going to be a very different-sounding record. Winehouse’s musical focus shifted to the girl-group music of the 1950s and 1960s; Sharon Jones’ band, the Dap-Kings, were hired to back her in the studio and on tour. Winehouse, like all the greats, was a perfectionist in the studio and would ensure every song was as honed and good as possible. Winehouse would play what she had sung in the studio in a taxi (a C.D. cutting) and got a viewpoint of how the public would hear her music. It gave her a very real and instant realisation of how her music would be experienced and perceived. By 2006, demo tracks of You Know I’m No Good and Rehab found their way to the U.S. – courtesy of producer Mark Ronson’s New York radio show – and there was a lot of excitement building. It is Ronson’s association and work with Winehouse that added new dimensions to the music and brought it to a wider audience. Ronson was keen to work with Winehouse because she, when they first met, was blunt and thought he (Ronson) would be older with a beard – and she didn’t like his stuff. That rather honest and straight-shooting personality intrigued Ronson and the two began a working relationship that would go right into Back to Black.

Ronson was doing things with the music that surprised Tom Elmhirst – who was brought it to help mix the record. Ronson was adding Beatle-esque stuff to the music and mixing/panning drums in a new way; bringing more out of the music and emphasising instruments in a way that had not been done on an Amy Winehouse record before. The growing and more confident songwriter dispensed with her Jazz influences and started to embrace R&B more wholly. A more mature and darker artist; songs looked at ill-suited lovers and the perils of heartache. We were seeing the transformation from a girlish, if sassy, artist into a more complex and tortured artist. The songs reflected a musician who was balancing increased attention with an everyday life – the stress, demand and performance alongside relationship issues and trying to find some downtime. Critics marvelled at her womanly vocals and lyrics that flirted and teased but had plenty of punch, tears and torment. The development and leap from Frank – in only three years – stunned many. Only four of the eleven tracks on Back to Black were co-written: three of its biggest hits were written by her alone: Rehab, You Know I’m No Good and Love Is a Losing Game. The stunning title cut was written with Mark Ronson – Ronson, alongside Salaam Remi, produced the album. It is interesting to see the split between the Ronson and Remi-produced tracks.

IN THIS PHOTO: Mick Jagger and Amy Winehouse performing on stage on the final day of the Isle of Wight Festival in 2007/PHOTO CREDIT: Getty Images

The Remi cuts had a softer, more Jazz-tinged sound. Although Winehouse had embraced R&B more by this stage; you can hear flavours of her debut on a few of the numbers. The Ronson numbers are bolder, more R&B-tinged and brassy. Many other albums might suffer this clash of worlds: Winehouse’s command and stunning songwriting ensured the album was a personal, fluid and cohesive effort. There was, naturally, huge attention and award chatter as soon as Back to Black came to the shelves. The sounds and fearlessness on Back to Black inspired songwriters like Adele, Duffy and V V Brown; Florence + the Machine, La Roux and Little Boots were taking note and would take Winehouse’s bold and stunning sounds to heart. It would not be an exaggeration to call Winehouse one of the most influential artists of this generation – her legacy is still being felt and so many young songwriters count her as their idol. In 2004, photographer Diane Patrice spent a day snapping the young Winehouse. Her recollections show the contrasts between the young star then (2004) and where she was by 2006/2007:

“Her voice, her face, and her features didn't match. She sounded like a 20-stone check-out girl, she sounded huge. It was a lived-in voice. The whole package was very endearing... a contradiction in herself,” Diane says”.

The photographer noted the state of her clothing and her living space:

“…In fact, the giggling photographer cannot get over the state of Amy's clothes: “Her skirt was absolutely filthy. She didn't give a damn that it wasn't clean... it stays with me because I never saw someone wear something like that at a shoot — I thought 'good on you, girl”.

PHOTO CREDIT: Diane Patrice/Whitebank Fine Art

Winehouse, during the shoot, was close to laughter and would take a phone call whilst she was being pictured. She was an honest and typical young woman living in London. The sense of disorganisation and shabbiness had a charm and working-class honesty that, several years later, would transform into something more toxic and troubling. The raising profile, combined with increased media attention, was affecting the anxiety levels and mindset of the musicians. She was being booed at gigs, around 2007, because she was noticeably intoxicated and nervous – some saw her drinking as the excess of fame; those close to her felt it was pressure-driven. The increased level of fame, demand for performance and media glare was having a detrimental effect on the star. She was being whisked between festivals and various countries; barely able to stand still and was struggling to keep hold of a more humble and secure lifestyle she had enjoyed pre-Frank. The days of playing in her flat and walking around London without a care were being replaced by huge gigs and constant focus. It was inevitable a heroine who took influence from Jazz icons – a genre known for doomed figures and a sense of tragedy – would suffer some of their fate. That might seem like a generalisation but, in my view, the constant tabloid focus regarding her love life and movements was creating needless strain.

IN THIS PHOTO: Amy Winehouse and her fiance Blake Fielder-Civil at the Coachella Music Festival in 2007/PHOTO CREDIT: Michael Buckner/Getty Images

Mounting controversies and substance abuse were derailing the artist and getting her name into the tabloids more and more. Winehouse was arrested in 2006 after punching a female fan – who had criticised her for taking Blake Fielder-Civil as a husband. Her associated with Fielder-Civil was creating a lot of tension. Although very much in love; it was apparent the influence and effect Blake Fielder-Civil was having on Amy Winehouse was causing more damage than good. The next few years seemed to consist of alcohol issues, self-harming and drug abuse; illness, inconsistent performances and troubles. The once-proclaimed and celebrated genius was becoming better-known for her legal and personal difficulties than her music. Crack cocaine and alcohol was taking hold and it was feared, unless big changes were made, the musician would not live long. There were gigs and performance from Back to Black’s release in 2006 and Winehouse’s death in 2011 – the fact there was not another completed album shows what impact drugs and drink had on her creativity. Amy Winehouse died on 23rd July, 2011 and sent the music world into mourning. Toxicology reports found she was five times over the drink-drive limit and that excess, impacting on a weakened and ravaged heart, dealt a fatal blow. Aged only twenty-seven – another genius star who became a member of 'The 27 Club’ – the brilliant artist was tragically cut short. The world had lost one of its finest musicians and most influential figures.

Rather than pour over her drink, drugs and relationship issues; it is not worth performing an autopsy and forensic examination seven years after her death. I blame the media and the pressures of fame for a death but, in many ways, Winehouse’s talent and brilliance created that popularity. She was a woman who wanted to play music and stay modest, real and humble – the same girl who grew up in London and drooled over Jazz legends and aspired to follow in their steps. The world of fame and constant media scrutiny is not what she planned for and her way of coping, sadly, lead to her demise. The shockwaves that greeted the news of her death shows how her short and brilliant career made a meteor-sized impression on the music world. Mainstream artists from M.I.A., George Michael and Lady Gaga paid tribute and revealed their heartache. Journalists, musicians and music lovers alike mourned the loss of someone who was primed to be an icon of the modern age.

The destructiveness and excess was a part of the complicated, challenging and beautiful soul that was Amy Winehouse. Her two-album career does a disservice to the full spectrum of her talent – posthumous releases collate material she did not complete and what-ifs from the artist. (It is well worth watching the amazing documentary, Amy (2015), to get an insight into who she was and why she was so loved). Today, as we mark her death; we also celebrate a brilliant career from an artist who was bold, brilliant and never boring! We have, in fact, never seen someone as accessible and fascinating as Amy Winehouse – I doubt we will ever see her like in this lifetime! Rather than dwell on the tragedy and loss; listen to the brilliant music (below) of Amy Winehouse and remember all the gold and glory…

PHOTO CREDIT: Diane Patrice/Whitebank

SHE gave to all of us.

INTERVIEW: Burning Velvet

INTERVIEW:

PHOTO CREDIT: Silas Risbjerg Terkelsen

Burning Velvet

___________

THE Danish artist Burning Velvet…

PHOTO CREDIT: Silas Risbjerg Terkelsen

has been talking with me about his new single, Fragile (released on 3rd August), and what it is all about. I ask what the music scene is like in Denmark right now and if he can reveal anything about his forthcoming album – Burning Velvet reveals which three albums are most important to him.

The songwriter discusses what he hopes to achieve before the end of the year; which artists he grew up listening to; whether there are going to be any gigs coming up; if we might see Burning Velvet play in the U.K. – he selects a great song to end the interview with.

____________

Hi, Burning Velvet. How are you? How has your week been?

I’m doing real fine. I am having a holiday from my day-job…so, I am having a good time with my family and playing a lot of guitar and writing new songs.

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

Well. I have been performing under the moniker ‘Burning Velvet’ for about six or seven years now. Burning Velvet came into being just after I moved with my family from my hometown of Copenhagen to the small town of Svendborg. In 2016, I signed with the small Danish label Celebration Records. In 2016, I released a digital single and a vinyl 12” with two tracks recorded mono, straight-to-tape. In 2017, I released my debut full-length titled Night Light//Slow Grass as a double-vinyl L.P. (three-hundred copies) and also on streaming services worldwide. The album is written, produced and recorded in my home and is my own take on lo-fi Folk - with inspiration from traditional American music genres such as Bluegrass, Country-Folk and Blues.

Following the album release, I went on a large tour in Denmark, Germany and Switzerland; give solo shows alongside Long Tall Jefferson (Switzerland) and Poor Nameless Boy from Canada. After recording, mainly solo, I decided to make a new sound and I put together a band with my good friends and great musicians from Copenhagen. So, the current direction for Burning Velvet is less traditional and uses synths, female vocal and a whole bunch of other tricks.

Fragile is your latest single. Can you reveal the story and how the song started life?

Yes, that’s true. I wrote the first drafts on the song about two-and-a-half years ago. I was having a condition with my left shoulder, meaning it popped out of the socket every other minute. So, I had to get it stitched back together again and this meant many weeks of not being able to use both hands. So, I couldn´t work, play the guitar or anything much really. But, I have this old electronic ELKA organ with a cheesy rhythm section So, I could make the music on this using just my right hand. Back to the theme of the song…this little setback of mine made me think how fragile we really are and how quickly things can change.

In a broader sense, I just wanted to bring thought to changeability and that we should really appreciate whatever good we have around us. Things can easily fall apart – and, for the human race, I think that social cohesion is of very big importance as an agent of keeping a balanced world situation.

It is from your forthcoming album. Are there particular themes that inspired the record? What can we expect?

The record is titled LISTEN. That is meant in a wide sense of the word. Of course, I hope people will listen carefully to my music and, especially, I hope that my lyrics somehow will inspire thought for the listener. But, the title is meant to reflect that we all could benefit from listening as opposed to just hearing what is happening around us; that we should understand what really happens in the world before we judge or take action. I think a true understanding of the state of things is very often bypassed in these times - overflowing with information coming in large from the big social media platforms.

The songs Standing in the Sun (released in May) and Never Mind Me have been written with today’s children and young people in mind - and the need of keeping this planet a good place for generations to come. Also, a central theme in the songs is changeability and the responsibility of adults to keep peace and make the world a progressively better place for their children.

PHOTO CREDIT: RISBJERG.IN Creative Playground FB

As a Danish artist; can you tell me what the music scene is like there right now? Are there a lot of great artists coming through?

I think the Danish music scene is quite interesting right now. When I was young, most Danish bands did not really catch me. But, I think the scene has developed quite a lot the last ten-fifteen years. There is a lot of original, high-quality music coming out. There is a big underground scene with Punk kind of things; there is a good Psych-Rock scene and we have good Electronic names.

Also, where I live - in the small town of Svendborg (only twenty-seven-thousand) - we have a good music scene keeping up with around seven/eight-hundred live music events a year. I was a little anxious of moving from Copenhagen to a small town but Svendborg has proven to be a great music city to me. There are so many great musicians and people are very open and try new constellations.

PHOTO CREDIT: Silas Risbjerg Terkelsen

Which artists did you follow when you were growing up?

Well. At a very young age, I indulged in my father’s vinyl collection with The Who, Led Zeppelin; Jimi Hendrix, Neil Young; Lou Reed, Velvet Underground; Pink Floyd and all those '60s and '70s greats. I was a teenager in the '90s, so there was a huge development in the music scene when I was in high-school. But at the time I listened to Nirvana, Sonic Youth; Red Hot Chili Peppers and Primus.

Then came Trip-Hop and I was very much into Portishead, Massive Attack; Tricky and Morcheeba. I also was, and still am, a big fan of Morphine (from Boston in the U.S.). Calexico and Sixteen Horse Power; Mojave Three, Red House Painters; Dirty Three, Nick Cave; Giant Sand, Howe Gelb and those great American Recordings - Johnny Cash also influenced me quite a lot.

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

I am releasing my sophomore album and I hope to start recording my third album this fall. I already have songs for a couple of albums – they are taking in new directions. Also, I hope to get some good live shows.

PHOTO CREDIT: Silas Risbjerg Terkelsen

Do you think you will visit Britain this year at all? Do you like music from the U.K.?

We don´t have any dates in Britain as for now. I like a lot of the music coming from U.K. The Stone Roses are a favourite of mine - and all the Trip-Hop bands have had a great impact on me.

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

Burning Velvet will be a special guest at the only Calexico (a U.S. band) concert in Denmark this year. That will be August 20th and we are playing a new very intimate festival in Denmark called Høst Møn in August. We are currently working on a getting a showcase at Reeperbahn Festival (in Hamburg) in September - that might be the show closest to Britain this year. Hopefully, we will get a chance to play somewhere in Britain in the future.

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

I have a lot of good and bad memories – but, what comes to mind first is when I was in my twenties and had a Trip-Hop band called Tibitinas. Young and full of hope, we went to Bristol with our three-song demo...hoping for Tricky or 3D to be hanging around the next corner and see our talent (smiles). Of course, that didn´t happen. But, we shopped around with our demo to all the small labels in Bristol and then went on to London.

We ended up in Glasgow where we met the drummer from Teenage Fanclub who liked our music and had a small label with a friend - and he was eager to put out our music. So, we rushed home to Denmark and made a full album. But, for some reason, nothing came of releasing in the U.K. and we ended up releasing it ourselves.

This might sound a downer of a story but, to me, it is a great memory of travelling the U.K. with my best friend and being all worked-up with our new sounds just taking in the world.

PHOTO CREDIT: Silas Risbjerg Terkelsen

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

The most important album to me would be Yes by Morphine

I heard them live in New Orleans and it was a very special evening seeing Mark Sandman - and me discovering the album at a very open stage in my life.

Sweetheart of the Rodeo or Easy Rider (soundtrack) by The Byrds

That introduced me to the Country genre, alongside Neil Young’s Harvest.

Also, the album Weld (live album) by Neil Young & Crazy Horse

It is just the greatest Rock record I know. Those guitar sounds are so great.

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

Neil Young would be a good bet. Including a chat with his guitar tech (smiles). But, supporting Calexico this August means a great deal to me. I have a been a fan since their first record, Spoke, so that is huge for me too.

As for the rider; a friend of mine told me it should always hold Prosecco (wine).

PHOTO CREDIT: Silas Risbjerg Terkelsen

What advice would you give to new artists coming through?

Make art! Put some depth into the art you are making. Play live whenever you can; write great lyrics, write great music and play with feeling to the best of your abilities.

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

I have a full-time day-job, too; a family and two beautiful kids. So, playing and writing music is my kind of unwinding.

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).

Sometimes, I play with my friend, Jeppe Højgaard. He is a very gifted musician playing Free-Jazz/Free-Folk. He makes some pretty artsy Folk. Give it a go if you have your ears open to something out of the ordinary

________________

Follow Burning Velvet

Official:

http://celebrationrecords.dk/work/burning-velvet/

Facebook:

https://www.facebook.com/burningvelvet/

YouTube:

https://www.youtube.com/channel/UC4OwiOh6UzW0kaXGQa_Pwyg

Spotify:

https://open.spotify.com/artist/4TGaI5C7Z4l8gSCOdQVaUj

SoundCloud:

https://soundcloud.com/burningvelvet

FEATURE: Cheeky Chaos and Bollywood Colour: Why the Club Night, Hungama, Should Be Taken to Heart in the Capital

FEATURE:

 

 

Cheeky Chaos and Bollywood Colour

IN THIS PHOTO: Revellers at Hungama/ALL PHOTOS (unless credited otherwise): Iolo Lewis Edwards  

Why the Club Night, Hungama, Should Be Taken to Heart in the Capital

__________

I keep saying how tormented and fractured…

the world is right now – even the sunshine and summer heat cannot distract the mind from the fact there are unending horrors and bad news. Even when walking around a city like London; the perfection of the sunshine and calm weather dulls into insignificance when you have to bustle shoulders and get crammed onto a sweaty and cramped Tube. One can go to a park to get some escape but, for the most part, those of us who are drawn to the city and its adventurous spirit are stressed more often than we should be. I learn something new every week I am in this job and am always being made aware of cool club nights and events happening around the country. I was reading a piece in The Guardian – I shall come to later – that looked at a club night, Hungama, and what its aim is: diversity and true togetherness. I feel the country is becoming less together and unified by the day: political movements and deceit are balkanising our nation into tribes and political cliques. We are far less spirited and ‘one’ as we have been in some years! If you look at those in the country who are most alienated and overlooked – you could easily put the Asian community into that camp. Camp, in fact, is being celebrated and recognised at the East London club night! I know there is a big Asian community in East London but, for the most part, there are particular areas with a large Asian concentration. The graph below shows the dissemination and spread of Asian members in the London community – you can see there is a large spread in areas north of the River Thames…not a lot going on further down south.

IN THIS IMAGE: The 2011 census shows the Asian (or those who identified as Asian) population in London/IMAGE CREDIT: Getty Images

The largest population of Pakistani and India residents is in the North East/West of the city: look further South and there are relatively few Indian/Pakistani Asians in boroughs to the south of the river. We know the white population of London is declining, as people move to quieter areas, but the total number of Asians in the city is very low – the 2011 census established around 18%. The Indian population is the largest representation of London Asians – knowing around one-fifth of a city’s population is Asian makes me wonder whether more should be done to assimilate Asian culture into London. There is a thriving and bustling Asian community in Brick Lane and the surrounding areas – I wonder whether we think too much as to why there is a larger Asian population in certain parts of London?! In any case; race and diversity are important areas we all need to address. I wonder, at a time when the nation is divided, the L.G.B.T.Q.I.A. Asian population feels more divided and ignored than most. I wrote an article a few weeks back exploring alleged racism – against black patrons – happening around East and South London. There is a definite door policy, at some clubs, to exclude black people who, to them, do not seem to fit with their ‘ethos’ – the wealthier, cooler and more attractive club-goer. London is among the most embracing and respectively of the L.G.B.T.Q.I.A. community but, with more clubs closing and others being gentrified, it makes Hungama a rarity that should spark the imagination.

I can only imagine the alienation felt in some parts of London. It is hard enough identifying as gay or bisexual – in terms of people’s reactions – but finding a space where you feel safe and understood is near-impossible for some. I will talk more about Hungama and why I think it should spread through London, and the nation, but I wanted to bring in an article that spoke with Hungama’s brainchild, Ryan Lanji.

“…The brainchild of London-based fashion and art curator Ryan Lanji, Hungama – which loosely translates to ‘chaos’ or ‘uproar’ in Urdu – was born after he noticed the lack of spaces and club nights allowing queer South Asian people the chance for their culture and sexuality to seamlessly co-exist. It’s also one of the only events in London to bring queer Asians together with the rest of the LGBTQ+ community, as they aren’t always one and the same.

“When I first moved to London eight years ago, I was very shaken in [LGBTQ+] spaces,” Ryan explains when I manage to grab a spare moment to chat with him by the bar. The club is heaving at this point, and we find ourselves having to shout over the music. “When you go to LGBTQ club nights, they can sometimes be fetishitic or kinky,” he continues. “The culture is very experiential and experimental. But this can be jarring for someone who’s grown up hiding who they are from their family, only to be thrust into a world where you can be anything you want”.

I am glad Lanji has recognised how difficult, even in 2018, it is for openly gay members of the Asian community have their voices heard and to find common ground in a busy and vast city. He is not gentrifying the L.G.B.T.Q.I.A. experience or trying to fit in with the surrounding area – Hungama is explicitly a vivid, vivacious and authentic slice of Asia. The Indian experience, and Bollywood, plays a big role. When asked why to go with the Bollywood theme; Lanji recalls his past:

“I used to be obsessed with Bollywood music but I’d left it to the wayside,” Ryan tells me, speaking about how it often feels like queer South Asians have to leave their culture behind once they come out. Ultimately, he hopes that attendees – a significant proportion of whom have come with their significant others – can dance to the music they grew up with alongside throwback chart hits, only this time with “our boyfriends or girlfriends and not wonder if we’ll ever get the chance to be loved for ourselves.” But he’s also keen to stress that Hungama is just like any other night in that it’s a place to let loose. “The night itself has organically become a party that celebrates being you, who you are, who you love and who you want to be”.

A survey from Stonewall found that over half of people of colour experience some form of racism in the L.G.B.T.Q.I.A. (or +) community. There is massive Islamophobia and racism, as the article explores, and it seems progressiveness and true acceptance is not as established – in the community – as it should be.

IN THIS IMAGE: The 2011 census shows the Indian (or those who identified as such) population in London/IMAGE CREDIT: Getty Images

There is discrimination and judgement from those alien to the L.G.B.T.Q.I.A. experience…let alone the Asian dynamic and flavour. Asian culture, in a way, has been a part of the British experience for a very long time. We are all aware of the Bollywood scene and there is, for the most part, tolerance and love aimed at the Asian population. The graph above shows where the concentration of Indian populous is located. There are huge swathes of the population where the Asian population is thinner and less visible. I worry there are very few spaces in London where the Asian population feel truly integrated and accepted. Apply that to those in the L.G.B.T.Q.I.A. scene and that experience is a lot lonelier and more fraught. The Guardian, when they reviewed the Hungama club night, gave their impressions:

“The night is held at Metropolis in Bethnal Green, London, which was recently converted from a strip club. It is set to run quarterly, with takeovers also planned for other clubs and bars across London. Having begun in a London pub in May 2017, then running a night in Shoreditch House, and now this, the growth is exponential. Lanji says the Metropolis booking is a personal milestone, as many of his formative clubbing experiences and explorations of queer nightlife were in east London.

A female clubber remarks that “there really isn’t anything else like this”. She has come to Hungama with a group of other South Asian friends, one of whom is having a dance off with a blue-faced drag queen (I suspect the reference point is Jadu, an alien from the Bollywood sci-fi movie Koi Mil Gaya). Chatting more, it turns out this was his first time at a queer night. To say he is as immersed as the performers is putting it lightly”.

The U.K. club scene has never really been mainstream – certainly not in recent memory. We all know about the big venues of London that cater to Rock, Pop and Alternative artists. What about those smaller clubs that host Dance music events or Techno nights?! The sphere and graph get smaller when we look at the Asian community and L.G.B.T.Q.I.A. members who want to express themselves and feel true identity. The clash between the day-time experience and sensation to that of the Hungama night – a violent and revelatory gulf that should act as an impetus to keep Hungama fuelled and playing; other clubs need to react and realise there is a clear call for more of the same. The white L.G.B.T.Q.I.A. are not short of options in the city regarding nightlife – compared to the Asian communities – but it can be harder for those used to a different culture and sound to feel belonging and comfort in certain clubs. Hungama does not pander or exclude anyone: everyone is welcome and there are, like in some clubs, barriers and objections at the door.

PHOTO CREDIT: Unsplash

We are a long way off seeing the L.G.B.T.Q.I.A. community find true footing and balance in London. More is being done to ensure nights like Hungama are in the press and starting conversations. I worry the black population is being excluded from a lot of clubs and forced to go outside of London or ensconce themselves in clubs specifically set up for the black community. My anxiety extends to the Asian population and, to a larger sense, those who want somewhere like Hungama on their doorstep. It would be good to see the night franchised and licensed throughout the city – making its way to other cities and areas of the nation. In any case; greater visibility and acknowledgement of the Asian community in general needs to happen. I still feel there is too much tension and divide in the city. Instead of dwell on statistics and separation; the vitality and celebration Hungama has provoked – even for those outside the Asian L.G.B.T.Q.I.A. community – has caught media imagination. The glamour and chaos; the cheekiness and reckless abandonment; bodies raptured and joyous in the sense there is freedom and no judgement – this is what we want to promote in London. Hungama is starting small but, already, it is recruiting those who feel, in normal life, they are not as assimilated into the city population as they’d like. 

Hunagama’s true aim is to welcome anyone in the community. Look at the photos from the club night and you will see white faces alongside Asian; those new to this type of thing and those who feel like it is second nature! That message is vital: this is not a night where only certain people can attend! That openness and community-conscious initiative cannot be overlooked or ignored. I hope it leads to more events/nights: it will help London create greater togetherness, at a time when there are so many racial tensions and fears. Maybe it will not happen overnight but, for those who attended Hungama; you can see how much it meant and the impact it had on them. At a time when there is endless bad news and stress getting to all of us; it is great to hear about a celebration of an event that is trying to bring happiness and dance to London. I hope the momentum builds and, before long, Hungama (or an equivalent club night), finds a home in…

EVERY corner of the capital!

INTERVIEW: Chantitown

INTERVIEW:

Chantitown

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WITH her E.P., Cause and the Cure…

out in the world; I have been speaking with Chantitown about the stories that go into it; what it was like working with Jim Hustwit; whether she grew up around a lot of music as a child – Chantitown highlights some new artists that are worth some serious time.

I ask whether we might see any tour dates coming through; Chantitown reveals a few albums that impact her in a big way; what she does to relax outside of music; what advice she would give to artists coming through – she picks a couple of great songs to end the interview with.

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

I’m hot…there is a heatwave in London which is amazing on the one hand as people are smiling but, on the other hand, we are clearly not conditioned for such heat in the city - dreaming of the coast as we speak! I’ve been recording my second E.P. in the studio. It’s been a good week.

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

OK. I am Chantitown. I have just released my debut E.P., Cause and the Cure, and, if you have not experienced my music, I can try to sum it up by saying it will take you on an epic journey. I kind of cross genres so it’s hard to describe my sound, but it’s a fusion of percussion, guitar, strings and electronic sounds. It’s taking Folk and Indie roots and displaying it with my own fresh, contemporary twist. That sounds like it made zero sense. Forgive me; it made sense to me!      

Cause and the Cure, your new E.P., is out. Are there distinct themes and points of reference that influenced the songwriting?

I like to tell stories through my songs based on real moments - usually my own moments - but I tell other people’s stories, too. Themes on this E.P., I would say, include reflection, acceptance and letting go.

Is it easy, when recording an E.P., to look from the outside and watch it all form – or are you completely immersed and only really take it in at the very end?

I am passionate about telling a story: I get fully immersed but it’s not aimless without direction. I know exactly where I am heading with a song. Sometimes, I am surprised where is leads me but most of the time I know where it’s heading.  I’m not a control freak, just clear on my vision.

What was it like working with Jim Hustwit on the E.P.?

It’s amazing working with Jim. He is ridiculously-talented. I am really fortunate he was able to work with me. Not only does he share my wicked sense of humour (I am surprised we get any recording done with all the laughing) but he actually understands me and all the weird sounds in my head that keep me up at night. I don’t think I would have produced this E.P. in quite the same way without him. I will be forever grateful we crossed paths.

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

Gosh, yes! I had such a passion for music. My mum was a walking-radio with no ‘off’ button: she never stopped singing so, yep, I grew up around a lot of noise! By the time I was in high-school, my dad upgraded us from terrestrial T.V. to satellite; I was hooked on MTV and VH1. I listened to absolutely everyone from Nirvana to Janis Joplin. The million hours on Unplugged, watching The Cranberries, Eric Clapton; Alanis Morissette and Pearl Jam. The list is endless.

In terms of songwriting; Carole King, Stevie Nicks; Tracy Chapman and Joni Mitchell all fuelled my hunger for writing songs that had meaning and depth. It helped me refine my own style. On the other end of the spectrum, I also listen to Jay-Z, Biggie Smalls and Tupac; so I’m mean at rapping…like, seriously good. Ha! I am constantly inspired, daily.

How important is your heritage and parents regarding the sort of sounds you like and how you approach music?

I was born and raised in London but my parents’ roots lead back to India and East Africa. I think my love for percussion and certain sounds come from the music they played whilst I was growing up - and you can hear subtle hints of this in certain songs. My dad also liked Bob Marley and The Beatles, so there was a lot of good music to appreciate.

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

Sell-out Wembley!

Bad joke…I would be happy to sell out a caravan! To establish myself further and keep writing and producing songs that are authentic and take people on a journey. I will have my second E.P. out towards the end of this year which I am excited about So, lots to look forward to.

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

There will be tour dates - and I can’t wait. I am still recording and have not established these yet. My social media and website will keep anyone who cares in the loop!

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

Yes. This one…releasing my E.P. Seriously; I have been writing songs since I was thirteen and have many fond memories relating to music, but recording this album has been the most rewarding and humbling experience.

I have had to take a look at myself in the mirror (with no make-up!) on more occasions than I wish to and have confronted difficult times in the process. I have laughed, cried; tripped over and knocked my head (for real) and everything in-between. I am proud of myself for getting this far: anything more is a bonus.

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

Are you kidding me; just three?! I could easily name thirty but I will do my best with three purely based on how I am feeling today. I am sure it would change tomorrow.

Tracy Chapman – Tracy Chapman; Lauryn Hill - The Miseducation of Lauryn Hill and Joni Mitchell’s Blue. They all represent different times in my life and their work is just exquisite.

 

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

All three artists I mentioned above are alive!

What advice would you give to new artists coming through?

I tell myself to make sure you can look in the mirror and say to yourself “I did everything” whatever the situation, whatever the outcome. That’s all we can do; to give it our everything.

IN THIS PHOTO: Laurel/PHOTO CREDIT: Andrea Mae Perez

Are there any new artists you recommend we check out?

Artists I have stated to follow include Laurel, Låpsley; AURORA, Novo Amor; Arctic Lake, Billie Eilish; Daughter, Charlie Cunningham…I could keep going.

IN THIS PHOTO: Låpsley

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

I am on the run all the time - in a non-criminal way! I like yoga and surfing when I can find the time. Being with my girlfriends; taking a long bath being immersed in Himalayan salts. Ha! I love the English countryside and take every opportunity I get to escape the smoke. There is nothing like the smell of fresh manure to make you feel alive!

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).

Aww. Well thank you so much for playing my songs! I can only choose one song…ok. I will say Låpsley - Falling Short and Minimum by Charlie Cunningham. Dammit, that’s two!

________________

Follow Chantitown

Official:

https://chantitown.com/

Instagram:

https://www.instagram.com/chantitownmusic/

Facebook:

https://www.facebook.com/chantitownmusic/

Twitter:

https://twitter.com/chantitownmusic

YouTube:

https://www.youtube.com/channel/UCMeg8lDbWSnKSqmIhhqwTpA

Spotify:

https://open.spotify.com/artist/2Jxbo8wmx3XX4Fm99XvDUl?si=Grh4ztUOQByG6PrtOE0Zlw

SoundCloud:

https://soundcloud.com/chantitown

INTERVIEW: Rumours

INTERVIEW:

Rumours

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IT has been pretty cool speaking with Rumours…

about their sound and the new single, Tell Me What You’ve Done. I discover how the band got together and whether they are looking ahead in terms of more new material; whether there are tour dates coming up – also, which new artists we should get behind.

I ask them if they have any ambitions to achieve before the close of 2018; whether the members all share the same sort of musical tastes; if they get time to unwind away from music at all – they provide some great advice for artists coming through.

____________

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

HEY! We’re very good, thanks! This week’s been pretty exciting, actually! Just played an awesome Sofar Sounds last night and now we’re getting ready to shoot our new music video in Dorset this weekend.

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

Sure. We are three friends, musicians; artists and food lovers based in London. This ‘adventure’, Rumours, started about three years ago. Our sound is still evolving and it’s a bit hard to pigeonhole – but, often, people refer to it as 'Electronic-Soulful-Pop'.

Even though us three still are at the very core of the project, the family has recently grown and we are now six musicians on stage during our live shows. We had the pleasure to play in many good venues and events in the past couple of years - so, it has been a great journey so far!

The single, Tell Me What You’ve Done, is new. Can you reveal what its story is? How did the song come together?

The song came about while we were all living together in North East London about a year ago. Mark had a piano by his bedroom window looking over the street and, since it was pretty hot at that time of the year, he would often look for ideas at night - that might help give the track a bit of a mysterious flair. Hahah. The meaning of the song is a mix of personal experiences and pure imagination, really.

Did the fact the song received such praise when played live compel you to get it released as a single?

Absolutely. We almost thought of not releasing the track at all: we had it sitting there for quite a while and probably, as it often happens, our ears were getting a bit tired of it. But, as soon as we started playing it live, people were really feeling it and we had great feedback after our gigs. So, we thought that it would have been rather stupid not to release it. Haha

How did Rumours get started, as it were? When did you find one another?

Mark and Fede grew up together in a small city in Italy, then moved to London and met Marion at uni; did a couple of gigs together and decided to start a project that could embody our different personalities and musical influences.

Are you looking ahead to more material - or do you take it a song at a time?

The further ahead you’re able to plan the better. We have a good amount of material waiting to be released at the moment. We keep on learning how to improve; being more organised and efficient as we go along. We definitely appreciate that having a clear idea of what’s gonna happen a few steps ahead is always better.

The band is composed of different nationalities and personalities. Do you all have, roughly, the same sort of musical tastes? Which artists did you all grow up with?

It’s quite fair to say that, just like our personalities, our musical tastes are quite different and various. Fede’s a massive fan of The Roots and he’s really into Electronic music and Hip-Hop; while Marion’s musical background leans a lot more toward Folk-y singer-songwriting and Ambient music.

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

We want to release a lot of music and do it and consistently in order to reach a wider audience. We also want to be proud of anything we do, no matter the outcome.

We want to expand our team as much as possible: it’s our understanding that being independent could be the right way to go at it nowadays, but to do so successfully you need to be able to surround yourself with a lot of passionate and reliable allies.

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

We surely have more than one. Probably going abroad to play has been some of the most fun and thrilling experiences. Playing to a sold-out Parkteatret in Olso and getting on the bill at Dimensions Festival in Croatia will always be precious memories to us.

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

Loads of premium gin?! Hahah. Marion would probably ask for a lot of healthy and hardly accessible food, though (smiles).

What advice would you give to new artists coming through?

Listen to other people’s advice, but also remember that music is a very subjective matter: when you really feel something is right, don’t be afraid to go for it.

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

We are currently planning our next headlining gig here in London. We’re thinking around October, so keep an eye on our socials (smiles).

IN THIS PHOTO: Octavian

Are there any new artists you recommend we check out?

We really like Octavian and he’s rising very quickly, so he’s surely one to keep an eye on. Also; DRAMA is a very interesting duo from the U.S.; then jadu heart, who also have both female and male lead vocals just like us!

IN THIS PHOTO: jadu heart

As you are called ‘Rumours’; do you have a secret/rumour about another member of the band – or do you have a favourite rumour?

Hahah. Not sure we can reveal each other’s secret here - not if we’re to keep a peaceful relationship between each other. There’s a rumour going around that you would send a bucket of beer to the funniest interview...is that true?!

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

It depends on the time of the year. There are months where music is all we breathe, eat and dream of at night but, to be honest, this summer is quite good, distraction-wise.

Fede is developing his passion for sailing; Marion’s becoming a fitness machine and Mark’s loving the fact that he’s got a garden for the first time.

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).

Nice. Thank you! So; we’ll go for Constant Surprises by Little Dragon

Little by Octavian

The Big Unknown by Elder Island

________________

Follow Rumours

Official:

http://www.allaboutrumours.com/

Facebook:

https://www.facebook.com/rumoursmusicuk/

Instagram:

https://www.instagram.com/rumoursmusicuk/

Twitter:

https://twitter.com/TweetRumours

YouTube:

https://www.youtube.com/channel/UCENaAPgmn0LwlV4vzJhhu4g

Spotify:

https://open.spotify.com/artist/5bO42TbrMZJkPV49ULoQON

SoundCloud:

https://soundcloud.com/rumoursmusicuk

PHOTOS: 

Will Freeman