INTERVIEW: YUAR

INTERVIEW:

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YUAR

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THE epic duo of YUAR…                                                 

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have been talking about their new single, Exhale, and what its story is. Yury and Arina discuss how they found one another and started making music; why they moved from Russia to Tel Aviv – what the vibe is like in Tel Aviv and how they are going to move heading forward.

They reveal their musical tastes and how they spend time away from their careers; whether there are any gigs coming up; if we might see some new material coming out – they both pick a song to end the interview with.

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

Yury: Hi! The week has been really great. We received a lot of positive feedback on our latest single and video clip, Exhale; both from our fans and music blogs around the world. This is really cool for us, definitely encouraging! We’re also continuing to work on our new E.P. This week, we came up with the idea to invite some guest musicians to contribute. Our friends from New York and Moscow gladly agreed to play on a few tracks, so we’re pretty excited about that too.  

Arina: I just love modern technology! When you need a certain sound for a song and you know that only a specific musician can do it the best despite the fact they may live abroad you – it’s possible to just talk to them on Skype, send them the demo and then, in no time, you receive the tracks back with added parts. We live in a wonderful world!

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

Hi, everyone; we are YUAR – YUry and ARina, two musicians and music producers originally from Saint Petersburg, Moscow (Russia) now living in Tel Aviv (Israel); partners in music and in life for more than a decade. Our music is a blend of Indie-Pop/Electronic-Pop/Downtempo with Dance; Rock and Classical influences. But, speaking more candidly, most of the people who listen to our tracks or come to shows usually describe our sound as “authentic, original; fresh”.

Exhale is your latest track. Is there a story behind the song? How did it come together?

Arina: I wrote the melody (actually about four or five melodic lines – that’s why there are so many vocal layers and vocal textures in the song) about two years ago during a long walk in our beautiful blossoming park with our baby girl, Lily, sleeping in her stroller. Then, I brought the melody and some keywords and lines to our lyricist, Ilya Kutuzov, who writes magical lyrics.

Then, together with Yury, we started to work on the arrangement and sound at Kicha Studios (Tel Aviv) in collaboration with sound engineer Uri Barak. The inspiration for the sound of the song was a beautiful morning view on the Dead Sea with pink and blue salty haze; ideal lines of water, mountains and the sky. I said: “Yury. I want our new song to sound just like this view”. Ironically, Katya Telegina – the film director who created an amazing video clip for this song - chose the same colors and the same location! The shooting took place in an abandoned water park at Kalia Beach only 300 meters away from the place that inspired me so much.

That’s how the story ended up where it began.  

I believe you have an E.P. coming up. Can you talk about the themes and songs that might appear?

Yury: Well. It will include some new freshly-written songs as well as some others that we already play in our live shows. There will be a lot of acoustic instruments (more than on our previous E.P., Signal) like the kalimba, hang drum; trumpet and strings combined with experimental electronic sounds.

Arina: The E.P.’s aesthetic will be very pastel, using gentle hues of blush pink and blue (since there’s a lot of blue here in Tel Aviv: the sea and the sky etc.…). We think these colours reflect different shades of happiness and want this to be portrayed in the visuals of our E.P. as well.

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It is the first material since the birth of your daughter. Has that changed the way you write or how you prioritise music?

I think our attitude changed a lot. The main thing now is that we don’t have much time, so we avoid bullsh*t as not to waste it. In a way, I think we became more focused and effective than ever before as a result. The second change is that taking care of a baby has caused us to become more settled. Instead of touring around we decided to focus on writing new material, recording and E.P. and shooting music videos – all the things we can do without leaving our Lily for more than a week.

The last and the most amazing change is that our daughter is our biggest source of happiness, love and inspiration, which has opened up a world we can explore musically - I write these words now and feel how shallow they must appear to be compared to how I really feel and what I’m trying to say.

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PHOTO CREDIT: Ekaterina Bourindine

You formed in music in 201l. What compelled the decision to move from Russia to Tel Aviv? Did you notice a big difference?

The sun! Tel Aviv has an amazing vibe and the weather is such a bonus. During one of our visits to Israel in 2012 (Yury’s mom lives here) we both just felt that we needed to live in Tel Aviv as well.

Is there an active and interesting scene in Russia? Was it easy to build a fanbase and reputation there?

Yury: Definitely. There are a lot of interesting bands and solo artists in Russia. Lots of cool venues and festivals. But, I think there is no place on Earth where building a fanbase and reputation would be an easy thing. Artists need to work hard in any country.

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PHOTO CREDIT: Victor Zamanski

Why did you decide to make music together? Was there a moment when YUAR came to life?

It was a kind of chemistry between us from the very first moment when we met in Moscow and tried to play music. When I heard Arina singing and playing for the first time I was impressed by her unique musical approach; her very own musical vision. It was clear to me that she is a real talent.

Arina: Yes. It was chemistry, real magic - and it still is! Yury is super-talented, too. I was very impressed then and he continues to surprise me with his unique style and creative freedom. 

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

Yury: To finish our new E.P.

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

Wow; there are too many of them…stay tuned!

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

Arina: We’d love to play a support act for Laura Mvula and J.Views. They are really inspiring to us.

What advice would you give to new artists coming through?

Yury: Always try new things in music. Explore and experiment - it can only help you.

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

Arina: Although our main focus now is recording a new E.P., we’ll sure play some gigs here in Tel Aviv in August. Follow us on social media; we’ll post all the information about upcoming shows!

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IN THIS PHOTO: Noga Erez

Are there any new artists you recommend we check out?

Noga Erez and Buttering Trio are amazing.

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IN THIS PHOTO: Butterfly Trio

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

We usually go to the beach. It’s twenty minutes’ walk from our home…just Tel Aviv things!

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).

Yury: SOHN – Signal

Arina: Laura Mvula (feat. Nile Rodgers) – Overcome

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Follow YUAR

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INTERVIEW: Rival Karma

INTERVIEW:

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Rival Karma

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I have had a good time…                                                 

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finding out about Rival Karma and their new track, Little Something. Martin and PJ discuss how Rival Karma has evolved and changed since the start; the sort of artists they grew up around and take guidance from; whether there is going to be more material coming down the line – they recommend some artists we should follow and have a look out for.

The guys discuss working at Abbey Road Studios and where we can catch them on the road; whether they get any time to relax away from music; what advice they would offer musicians emerging; who they would support on the road if they had the chance – they each select a song to end the interview with.

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

Good, guys; keeping it ninja. We had a crazy weekend (we played three festivals), so this week has been the coming-back-blues-week…!

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

Hey, guys. We are Rival Karma. Martin is on Vocals and Guitars; PJ is on Drums and Vocals. Lovers of Rock music. Being a duo, we are on a permanent quest to find new and original ways to make our music different. We have been called the "Fathers of Ninja-Rock" - a new style of Rock music...but, we’ll let you be the judges of that!

Little Something is your latest release. How did that song come together? What is its story?

Little Something is the story of a once-loving relationship that is left to nothing but crumbling ruins; the wistful attempt to hold on to a painfully-dead sentiment. It is a song that vocalises that moment when you come to realise that a relationship is over and wonder if there is anything left, anything at all, even Just a little something. Sounds dramatic, but we’ve all been there really. It’s an explosive mix of disarray, disbelief and desperation – and, sometimes, relief!

It was recorded at Abbey Road Studios! What was it like being in that space? Was it quite intimidating?!

It was everything a musician can dream of, really.

There’s definitely something in the waters over there. Martin was singing through Nick Cave and David Bowie’s microphone. It’s like soaking in years and years of history through the walls. It’s very intimidating. Luckily, we were in one of the smaller rooms away from the limelight, so we could concentrate on our music and not be overwhelmed by the circumstances!

Will we see more material arrive from those sessions in the studio?

Yes! We have one other track that will be released in this format and we hope to make it a bit of a recurring release (if the studio will have us again). We dream of having a yearly Abbey Road, or other legendary studios, live release so our fans can see what we’re up to.

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Sam Miller produced Little Something. Was it cool working with him?

Sam is one of the best at what he does. He is like a magician of sound. His ears hear things you would never even imagine. He has a way of making you sound the way you want to sound and then some! He’s also become a friend now and we trust him fully with our sound. We’ll be working with him on our upcoming debut E.P. as well which we are super-excited about!

Rival Karma has slim-lined into a duo. Was there a reason behind transitioning from a band to a duo?!

There was no planning involved: it kind of just happened to us. Early last year, our bassist left then we replaced him with a friend of ours; then, in June, our guitarist left and we had to cancel a bunch of dates we had lined up as a full band over the summer. But, we decided to honour our acoustic gigs as a duo. We then rehearsed a couple of times plugged-in and music just started flowing out of us.

We had a Europe tour planned for October, which we refused to cancel, and after rehearsing for a couple of months we just decided to take on the challenge of playing as a duo over this tour - and the rest is history! We now honestly don’t picture ourselves as anything else; it’s so much fun! So liberating to just be the two of us on stage.

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Can you recall the artists you grew up listening to? Which musicians sparked your ears?

Wow. This is a hell of a question.

Martin: I grew up listening to the American classics; my dad was always playing The Stones, Neil Young; Led Zeppelin, Dylan. But, I was raised in the '90s in the U.S. so that decade really heavily influenced my playing and life. I remember buying Before These Crowded Streets with my pocket money (I know that album by heart). Sublime was a big album for me as well; that haunting distinction between Ska and guitar - and his lyrics were out of this world. The Black Album was a slap in the face…Red Hot Chili Peppers released Californication when I lived in the U.S.; Nirvana erupted…and the list goes on. It was the best formative decade for lovers of all things Rock if you ask me.

PJ: Led Zeppelin and The Beatles were a big part of my youth and musical upbringing which explains my desire to come to London. Dave Matthews Band, Tracy Chapman and the whole acoustic scene of the '90s and '00s really influenced my playing - in their unique take on drumming and sound crafting. The Seattle scene of the '90s was a huge influence for me. Dave Grohl is a god, Dave Grohl is a god.

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

Honestly; 2018 is like a birth (re-birth) for us. We’re going to let our debut E.P. out into the world and we want to bring it to as many people as possible. We have three objectives for us by the end of 2018:

- Tour at least four European countries.

- Get played by Lauren Laverne on BBC Radio 6 Music.

- Bag ourselves a couple of festivals for next summer (because we love playing festivals)!

- Have a groupie ask us to sign her breasts - because that’s a bit of a milestone for any Rock artist, eh?

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

Oh, there will be numerous touring dates! We’re still in the process of finalising the E.P. tour bookings - for after we finish recording the E.P. – but, in the meantime, we play all the time. We’re playing a really cool gig on 7th of August at The Monarch Bar & Venue in Camden alongside two bands we love and who have become mates, Romances and Big Peyote. It’s gonna be a rad night.

On 5th September, we’ll be opening for Malcolm Bruce’s band (Jack Bruce’s son - legendary Cream bassist) at The Camden Assembly. Those are just a couple of cool dates coming up. But, if you give us a follow on our socials, we’ll be announcing our tours soon!

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

Martin: My career is actually quite fresh in music, so all memories stick to mind. But, I’ll say that recording at Abbey Road is a bit of a milestone for us - and I’m super-excited for people to hear what we’ve been up to as the duo!

PJ: One time at band camp, I stuck a flute up my pussy. Nah…kidding. No, but, seriously; in our last Europe Tour, we had a date in a church in my hometown in Italy. The date was sold out, all friends and family and my people were gathered to listen to us play an acoustic set. I must admit that was a very emotional moment - I’ll remember that one for a long time!

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

It would have to be Queens of the Stone Age, hands down. They are the living embodiment of Rock and Roll. They have taken this style of music to new heights in their last two albums.

The rider. Ah. It would have to be a whole bunch of fresh and ripe fruit! We love our fruit. We wouldn’t say ‘no’ to a quiet room where we can concentrate before the gig. For after? Just a bucket of ice-cold Coronas and some homemade guacamole (Abuela made if possible. Haha) with tortilla chips. I’d (Martin) say a good glass (or two) of Lagavulin. I can’t get enough of that sh*t.

What advice would you give to new artists coming through?

1 - Stay Ninja; 2- Keep at it; 3 - Don’t be an ass.

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Are there any new artists you recommend we check out?

Ugh; so many! Our buddies Swedish Death Candy, we love them; a band called Hot Teeth. We were blown away by their set at Rock the Boat at The Finsbury (which, by the way, is a really cool night to check out). We’d love to mention RavenEye as well. We opened for them in the past. They’re beast performers and lovely chaps!

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IN THIS PHOTO: RavenEye/PHOTO CREDIT: Blackman Images

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

Martin and PJ: We like to cook w, to explore the cities e tour in and taste their culinary specialities. That’s why we can’t wait to get back on the road. Martin almost cried tasting a slice of pizza in Rome. Seriously; I saw his eyes water...

PJ: HAHA.

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

Martin: The Black Keys - Weight of Love

PJ: The Beatles – Something

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Follow Rival Karma

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INTERVIEW: Alice’s Night Circus

INTERVIEW:

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Alice’s Night Circus

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IT has been wonderful speaking with Alice’s Night Circus…       

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and stepping into a magical and fantastical world. Julia (Alice’s Night Circus) talks about the concept behind the moniker and what we can expect from her upcoming album; how she got into music and the artists/albums she grew up listening to – I ask her whether music lacks theatrics and energy and if more can be done.

The songwriter discusses tour dates and which upcoming artist we should look out for; what advice she’d give to new artists emerging; what she hopes to achieve before the end of this year – she ends the interview by selecting a rather good song.

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

I’m great, thanks. This week has been very busy as I’m heading into the prep-stages for a busy August in which I will be launching my Limited Edition Album Metamorphose!

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

I am Alice’s Night Circus. I’m a classically-trained singer-songwriter with I guess what you could call an 'eclectic sound'!

Can I ask how the concept of ‘Alice’s Night Circus’ came together? Are there artists and musicians who inspired you in terms of look and dynamic?

I have always been a fan of Alice in Wonderland, which is where the name ‘Alice’ came from. For a long time, I really considered joining Cirque du Soleil as I’ve always loved their beautiful music and creativity which started to bring the circus influence in - and I thought the visual of this wonderful circus setting up and inviting people to leave their lives behind for a moment in time was a really interesting idea.

I was probably more influenced by theatre and film than other musicians for my style. Tim Burton has been a huge influence alongside movies like Legend (the one from the '80s), Labyrinth; Dark Crystal and Moulin Rouge.

Would you say the single, Curious World, is the best demonstration regarding what Alice’s Night Circus is about? What is the story behind the single?

I always consider Curious World as a kind of ‘gateway’ song into the Alice’s Night Circus world. I think, both lyrically and musically, it invites the listener to come and join in and it’s often the first song people comment on. The song came about from me sitting in my music and craft room at home, which is filled with a lot of assorted curiosities and I always say that room is like stepping into the inside of my mind. I was considering what it would be like to invite people into this kind of world - and Curious World was the result.

It is from your upcoming album. Can you reveal any titles and ideas that will be covered on the record?

The title of the album will be Metamorphose - a word I thought highly appropriate as this album and all the songs on it were very much about me finding who I was; the message I wanted to send out into the world and then becoming that person.

There are a lot of themes across the album, ranging from very personal stories regarding my experiences with M.E. and learning to cope with an invisible disability; influences from some of my favourite literary sources such as George Orwell, Aldous Huxley and H.G. Wells; through to more light-hearted themes regarding being comfortable in your own skin and expressing yourself - as well as the odd spooky tale of a character called Mr Strange under the title of Penny Dreadful.

I am interested to learn which artists and styles of music inspire you. Which styles of music and artists have made the biggest impression on you?

I’ve had a very varied exposure to music from a young age including Pop, Rock; Jazz, Opera; Classical and musicals. I never found myself stuck on one genre particularly and tend to listen to a variety of music styles according to how I feel on any particular day, which means I can go from listening to a Heavy Metal anthem to an ‘80s Pop ballad and on to a musical number from song to song. That being said, there are some people who really inspired me to want to make music myself such as Queen, Muse; Florence & the Machine, IAMX and Danny Elfman in particular.

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So many new artists lack personality and a sense of energy. Do you think it is important to create a world that is full of fire, fun and theatricality?!

I think the music I listen to often does have a rather theatrical nature to it one way or another, either in the thematic vibe, the lyrics or even the live performance and for me, personally, I find it exciting and thrilling to bring a lot of drama and theatricality out in my music. I also have a lot of drama in my singing voice which comes naturally so I think I’m vocally suited to that style. I think people can be quite reserved sometimes, so it’s nice to be able to write music that encourages them to embrace the theatre of life so to speak!

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

I’ll finally have my album released and it’d be great to continue touring up and down the country; maybe aim to get some radio play and hit some Spotify playlists and see where it all takes me from there!

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

I have quite a few memories that particularly stand out. I remember the very first time I ever heard my music being played in public and I was hiding out at the back of the room at a gig and this couple got up and did the most beautiful ballroom dance to it. The room was enthralled. It was a very magical moment to be able to watch people react to the music like that and see how they interpreted it, even though it wasn’t live and was just being played between sets.

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

Muse - Origin of Symmetry

It was very tough to choose between this album and Showbiz. Showbiz was the very first time I ever felt I had fully connected to music I had found by myself…however, several of the tracks on Origin of Symmetry made me want to learn music so I could play and sing along. I was totally enthralled by the soaring space opera and how dramatic and theatrical it all was - and I spent hours trying to sing and play along on keyboard or guitar!

Queen – Innuendo

The Innuendo album is one of the first albums I ever remember listening to, thanks to my mum introducing me to Queen as a child. I remember sitting in front of a big old Hi-Fi system with headphones that were too big for me and listening over and over again. I love that nothing would hold Freddie back, if he has an idea, mad as it may seem at the time, he would fight for it and go for it and inevitably it would be ingenious.

Florence & the Machine – Lungs

I remember very clearly the first time I heard Florence & the Machine singing Dog Days Are Over. The music video was on the T.V. and it captured my attention and then I heard the lyrics. I loved that she could sing these quirky folksy Pop songs while singing about wolves and things dying and it was all quite dark. I really connected to her sound and I found her at about the same time as I first started to write original music - so it sticks in my mind because I remember thinking if she could do it, so could I!

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

If Danny Elfman were to ever put Oingo Boingo back together I’d be the first to toss my name in the hat to support their comeback tour!

As for the rider; it would be pretty simple: just allow my dog Gadget in the dressing room to hang out and chill with me!

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

I have a few gigs coming up. I’ll be in Lincoln on 26th August, Hastings on 15th September 15th; Llangollen on 22nd September, Gosport on 29th September; Kent on 20th October and Leicester on 23rd November. Details will be on my website and social media sites.

What advice would you give to new artists coming through?

I’d always say stay true to your message and, even though you are almost guaranteed to have knockbacks, just take them as life experience, grow; learn and use those experiences to make more music and keep going even through the dark!

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 IN THIS PHOTO: IAMX

Are there any new artists you recommend we check out?

Not exactly new artists but whenever anyone asks me this question I always heartily recommend IAMX immediately.

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

I listen to more music while I design and sew outfits for myself for Steampunk events, cosplay at conventions and stage wear. I’m really a big nerd at heart so I love movies, T.V. and I love attending conventions and Steampunk events. They’ve all got such a fantastic sense of community; not to mention that they really get me pushing my creativity forwards constantly.

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).

LP – Forever for Now

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INTERVIEW: Homesteads

INTERVIEW:

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Homesteads

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HOMESTEADS have been talking with me…

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about their new single, Tell Me, and the story behind it. I ask the Sheffield band what the vibe is like there and whether the North gets the respect and focus it deserves; which upcoming acts we should keep a peek out for – they reveal what tour dates are coming up.

I ask Homesteads how they got together and, given the chance, which artist they’d like to support; whether there is any time to chill away from music – the guys each pick a song to end the interview with.

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

With a busy list of dates for our tour, that we’ve kicked off, combined with the glorious weather we’ve been having; it would be hard to say our week has been anything other than great.

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

We are Homesteads; a five-piece English Rock band from Sheffield. When it comes to songwriting, we are all about the bottom line; memorable and uncompromising anthems - behind the wall of Rock energy that we dedicate ourselves to writing; the kind of choruses you love stumbling home humming to at 3 A.M.!

How did Homesteads get together? Did you know one another before setting up a band

Myself (Ash), Aaron and Alex started off in an awful covers band and we just got sick of playing other people’s songs and formed Homesteads in 2014. At first, we were very Alt-Rock/Americana but we always felt we were lacking presence. We brought Jack in and Josh started to develop the supermassive Rock sound that we have today.

Tell Me is your new single. Can you reveal the inspiration behind the song?

Every great Rock band has a song fizzled with attitude that hits you with a stalking riff from the get-go. We knew, for our sound, we had to have something that stood out. Tell Me is all based around that big Rock riff and pounding rhythm that just grabs you by the balls and screams: “You think you know Rock?! This is fu*king Rock!”

With a strong sense of laid-back urgency and a roaring guitar tone, Tell Me lays the perfect foundation for something that makes you want in, right down to main chorus line: “Tell me/Am I still going your way?” This song is not going anywhere and it wants to stand out.

There is nothing more current than questioning the status quo, but it’s not just the punks in this day and age. There is a bigger state of questioning at the moment and society is starting to noticeably reflect and adjust itself.

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It seems like you’re in a creative and productive mode right now. Do you think there might be more material coming later in the year?

We always have a backlog of material included in our set. This helps the song really find its place and evolve over time. At the minute, we keep releasing a song at a time and then gigging around it.

We're always looking to improve our writing - that is a big part of what drives us to gig and get our music to the masses. A lot of time, creativity and bloodshed are put into the songs and I think that really shows. In short, the answer is ‘yes’. Stay tuned.

Being based in Sheffield; how do you view the current scene there? Are there are a lot of great acts coming through?

I would say there are plenty of decent bands out in Sheffield but I don’t think the scene is anywhere near as strong as places such as Manchester and Liverpool. We have discovered this as we are starting to play outside of our hometown more. Bands seem to be more invested in working together in other areas and we’ve found people to be generally more supportive - but that’s just based on our experience. If there is a scene in Sheffield, I’m sure the three of them will let you know.

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Do you feel the media gives the North the attention and respect it deserves? Do you feel music is too London-centric at the moment?

I don’t particularly think the issue is a lack of regional attention. I think it is more that the media neglects to cover upcoming bands. They focus on bands that have already broken through instead. I understand, to some extent, why this happens because, as the media, you will always focus on what gets you the most attention. It’s a problem that is very hard to find a solution for.

Can you give me an idea of the music that inspires Homesteads? Which artists do you all favour and follow?

We’ve got very different tastes as individuals but I would say the core of our sound draws from Stereophonics, Manic Street Preachers; The Beatles, Led Zeppelin and generally from a lot of English Rock bands through the decades.

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

We hope to have imprinted our band’s name on the inside of everyone’s eyelids to a point where ‘Homesteads’ rolls off of the tongue as easily as ‘Love Island’ and ‘Danny Dyer’. If we find any time in between, I’d like to laugh in Pierce Morgan’s face till he finally caved in and cries in a puddle of his own phone-tapped tears.

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

Playing to a full room at Fulford Arms in York. It was a massive buzz and it’s always great when the crowd gets involved. Nothing worse than playing in a pub to a bunch of mardy people with no energy who has already given up on life.

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

It would be too easy to say something generic: there are too many great Rock bands to name just one. I’d rather choose someone that we could upstage, but they’d still be sound about it because they’re too chilled to give a s**t . Like James Blunt.

The rider would be ginger biscuits served by Ed Sheeran because I could constantly use the quote “Another ginger from the ginger” and he’d love the attention - but I don’t want him playing any of his songs because James Blunt would upstage him to be honest.

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

We are on tour at the moment - and the dates are above.

What advice would you give to new artists coming through?

Make sure you love what you do because you will have to do a lot of it for free for a long time.

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IN THIS PHOTO: The Blinders

Are there any new artists you recommend we check out?

The Blinders, SHEAFS; Thomas and the Empty Orchestra and Hot Soles.

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IN THIS PHOTO: SHEAFS

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

Hardly. I think, when you dedicate yourselves to making music, that’s what you do to unwind.

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

All Star - Smash Mouth

Apeman - The Kinks

Another One Bites The Dust - Queen

There She Goes - The La’s

Sir Psycho Sexy - Red Hot Chili Peppers

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TRACK REVIEW: Robert O’Connor - No Second Chances

TRACK REVIEW:

 

Robert O’Connor

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No Second Chances

 

9.3/10

 

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The track, No Second Chances, is available via:

https://www.youtube.com/watch?v=3I00RqZy_RM

GENRES:

Country; Singer-Songwriter

ORIGIN:

Dublin, E.I.R.E.

RELEASE DATE:

18th August, 2018

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THIS review gives me the chance…

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to look at a few sides of the music industry. I will talk about Robert O’Connor in a bit but I wanted to look at the music industry in general and how being independent can take your music in a more personal and less stressful direction. I want to investigate Nashville-influenced sounds and blending Country and Singer-Songwriter sounds; transitioning from non-musical jobs into music; recording music to phone and being struck by inspiration on-to-go – I will finish by looking at O’Connor and where he is going to head. One of the things that strike me about Robert O’Connor is the fact he has had a bit of a varied and interesting time the past few years. That actually does a disservice to the hurdles he has overcome and what he has faced. Only this year, O’Connor returned to music after a five-year hiatus. I am not sure the exact circumstances behind the split and why O’Connor went away and came back to music. It seems like dealing with major labels and dodgy deals meant the music was going in a direction he felt unhappy with. The effect of having to deal with a lot of shady characters and being told what to write meant he stepped away and needed time to reflect. It is always assumed signing with a big label and having an A&R body behind you means everything will be taken care of and you will be fine. I know artists get to have their own say in any situation but it feels like there is so much mobility and flexibility being independent and guiding your own career. That is not to say O’Connor had all bad times when he was dealing with labels but it seems like he was being put in a hole that did not suit him. Maybe his music was being sold as commercial or it was going to be pointed more towards Pop and that avenue of music.

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There is always a risk you take when you sign with a label or have to deal with outside forces. I feel there is that divide between going alone and signing with someone who will listen and allow some form of creative expression. In O’Connor’s case; he took a few years out of music and wanted to rebuild after having a bad time. He has returned and is answering to nobody. Now, after a couple of singles, you can hear the differences – between what he is producing now and before – and there is a lot more ease and pleasure coming from the speaker. He has teamed with producer Stuart Gray and Steve Hogan. O’Connor needed a team he felt comfortable around and was not going to go down the same road as before. After assembling the small team; two singles were produced and recording went down in Country Meath. O’Connor, after that, hustled and has been getting his music out to the people. Maybe it takes more effort and personal commitment now – the songwriter is calling his own shots and has recorded songs that he wants to. I shall come to the sound of the music and where O’Connor might head but it is good to see him continuing and not soured by the experiences he had before. Previous single, You Found Me, was launched on radio across Europe, the U.K. and Ireland; many compared the song to the likes of R.E.M. and Fleetwood Max – it was a hit and showed the gamble had paid off. The single I am reviewing, No Second Chances, was written four years ago and produced at Jealoustown. Things are on the rise and it seems like he has found his path. It is not to say signing a record deal will lead to trouble but one must be prepared for a certain amount of negotiation, compromise and balance. The labels sign you because they have a vision of your music – this may not sit with your impressions and what you want to do. Being independent can be a lot of hard days but it means you have the chance to take your music where you want and not be constrained regards genre/sound.

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O’Connor is making plans to remodel his back catalogue and shape it how he wants to. Rather than keep things how it is and have a split between his new sounds and what came before; he wants to do a bit of a Paul Simon and take the songs back into the studio. A lot of artists rework their songs and feel they need to be seen in a new light – Kate Bush has done it – and I can understand why O’Connor wants to do this. Right now; he is pushing his songs into a more Nashville area. He calls his latest single ‘Nearly Nashville’ and it is a flavour of the U.S. that is for sure. I am seeing more and more artists inspired by what is coming from the Tennessee city. You get some British strands with No Second Chances but there is a twang of the Nashville. It is great to see how O’Connor has changed and evolved since his early days. I am glad he is taking this direction more than a mainstream Pop one. I do not mind some of the artists going down that route but there are big Pop names that rely on the easiest course and produced music devoid of soul, appeal and originality. That would be an easy way to go and I am glad he is taking a more sophisticated and fulsome approach. I wonder whether O’Connor will keep down this path and continue to write Nashville-inspired songs. The reason I wanted to talk about this side of music is how American Country is spreading quite a lot in the U.K. We are always told the British Country scene is a bit embarrassing and nothing to get excited about. Whilst we do not have a base like Nashville or an industry that has a tonne of great Country acts; we have some brilliant homegrown artists who are taking in U.S. sounds and blending it with something individual. I feel the Country scene will build here and become more authoritative. We do not quite have the weather and scenery of Nashville but I can understand why people are leaning towards that side of the world.

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A lot of Country artists talk about love but do so in a very emotive way. That may sound like a cliché of the genre but modern artists are not as wracked and dramatic as all that. Look at modern Country-Pop artists like Kacey Musgraves and you can see and hear plenty of life in the music. There is a sense of polish and energy that matches lyrics packing punch and personal pride. The songwriter is one of the finest examples out there of what can happen when you mix Pop and Country together. Robert O’Connor’s sound is slightly different but he could move in that sort of direction. I would love to see whether he goes in a more Folk-based place or he integrates Pop inside of Country. I really like the Country scene and feel there is a split between the U.K. and U.S. I can also imagine O’Connor spending some time in Nashville and recording over there. I know he is mega-busy right now but it might be worth spending a few weeks over that way and soaking in all the flavours and vibes happening over there.

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The idea O’Connor has now is to create timeless classics and not a quick-hit sort of song. He does not want to be seen as a disposable artist and have his music digested and then forgotten about. Maybe that was the problem he had before thing: he was writing stuff that appealed to commercial radio stations and intended not to challenge the imagination that much. A lot of artists do that in order to get popularity and tick boxes. It is understandable why they do that – so they get a big fanbase and can do well on streaming sites – but there is more value and worth to be found when you take a bit more time and write music that is meaningful to you. O’Connor took that break away from music and returned with a desire to do things how he wanted and record music that has that timeless quality. The media has been responding to his new work and the Irish songwriter looks set to get his music to new lands and territories. One can hear leaps and changes with every single but it feels like a Nashville sound suits him. In terms of themes, his latest single is more complex than sheer heartbreak and split. A lot of Country/Singer-Songwriters create something quite simple and predictable and it can be quite draining listening to that type of song. In the case of O’Connor; he has penned a song that goes through stages – the heroine not feeling the love and wanting to walk and him wanted her back near the end. The fact she offers no second chances mean he is walking on thin ice but, when he thinks about things, he feels he can be different and better. It is commendable he wants to produce material that is more substantial and remains longer. He does not want to have his songs heard and then forgotten about like so many artists do. Instead, he is penning tracks that have a lot of depth and you can hear the hard work and determination in every note.

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Before I look ahead and how O’Connor is writing now; it is worth looking at how he has transitioned and got into music. A lot of people might think, if you are in a non-musical job, it is hard to get into the business and succeeding. O’Connor used to work as a journalist but, one day, got a call and was told they (employers) could no longer pay him. He was faced with the challenge of transitioning from one career and trying to get back on his feet. That brings me to the lack of money in music journalist but, right now, I shall stay focused and concentrate on that side of things another day. After that, he became a security guard and, as he said, that enriched his songwriting skillset. He met all sorts of characters and people who he had never met before. A lot of excesses and some trouble; all walks of life and a variety of humans came his way and, because of that, he was given plenty to write about. I am not saying doing jobs like that are perfect if you want to spark a new songwriting fuse but it is a good way of broadening your horizons. A lot of songwriters do full-time jobs and it is tough balancing working full-time and concentrating on music. In O’Connor’s case; he moved between jobs – becoming an estate agent after that – and thought he would never be back in music again. O’Connor sells houses part-time and mixes two very different worlds. It is strange to think of the man in a suit and formal during the day and then with a guitar during the evening and performing songs to the crowds. Anyone who feels they cannot succeed in music and make impressions if they are working in other areas should take heart. O’Connor, himself, admits his C.V. is pretty varied and full. It looks like he has been restless and impulsive but, in truth, he was trying to adapt after being disappointed by dodgy music deals and being let down.

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I wonder whether O’Connor will continue working part-time – one hopes his career takes off and he does not need to. It interests me how occupations and different industries can actually be inspiring for songwriters. I have been working in various office jobs – all crap – but your mind is free to work and conspire when doing those jobs. They are never too challenging, always boring, but you get to meet all types of people and it massages various areas of the imagination. Regarding O’Connor and his plight; he has worked in eclectic areas of the working world and that sort of feeds into his material. I can understand why he has jumped a bit and was not sure what he wanted to do after his music career sort of hit a bad patch. Now, as he is back and looking ahead, I think he will have to dedicate more time to his career and, let’s hope, he is afforded the chance to play without needing to work. It can be hard balancing work and music but I feel O’Connor has a bright future. I think he will be able to spend time in the U.S. and, who knows, maybe relocate there in time. His new sounds are gathering a lot of pace and popularity so it cannot be long until big gigs are coming in and he is on a roll. Right now, he is getting back on tracks and guiding his music career in his own vision. I am excited for him and, already, he has lived quite an interesting life! His story should give guidance to those who are struggling with A&R teams and bad record labels. It is possible to walk away from music and return with new impetus and spirit. I feel Robert O’Connor will continue to build as an artist and produce a lot more material. I am backing the man to go all the way and impressed how far he has come. The spirit he has shown and the belief he has in himself is inspiring, that is for certain. Where he goes not is up to him.

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There is a lot of modesty when it comes to O’Connor and how he writes. Like U.S. Popstars such as Charlie Puth; he lays down ideas in voice memos on his phone. Rather than get into the studio and set time aside to write; he will put sketches and little ideas down and work on them later. Whilst I am against technology a lot and how we get hooked on our phones; they are really useful when it comes to capturing ideas and preserving imaginative ideas. A lot of songwriters do not write stuff down and they lose potentially huge hits. It is vital that any idea, whether good or bad, is kept and it can turn into something fantastic. The latest track from O’Connor, No Second Chances, sees the hero ready to walk out of a relationship and reaching the end of the road. He then, by the chorus, remembers the heroine saying she gives no second chances (or was it him?!) and he ends up asking her to take him back. It is a complex and vivid song – as I shall explore – that sounds like it came together in various stages. Maybe it is based on previous relationships but it has a story-like arc that is unexpected and unpredictable. You do not know where the song is going and it takes the senses away. I can imagine O’Connor jotted down some voice notes at various times and pieced it together after that. I wonder whether he could have created the song from scratch and without his phone. It is interesting to see how a lot of artists write and how technology can aid them. O’Connor found the note for his latest song from 2014 and sort of picked it back up. It is great we can preserve songs and ideas – it might have been lost without his phone and that could have been a big loss.

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I was keen to explore No Second Chances and what it is all about. O’Connor was not wrong when he said he was going in a more Country direction. It is great you get some reliable and familiar sounds come through and strike the heart. There is that Country-fried yearning and straining of the instruments. You get twang and the sounds of the American South come through. We are instantly transported to the U.S. and following our man down the road. When O’Connor comes to the microphone, he talks about his situation and how things should be different. It is great to see O’Connor’s voice blend against the high-pitched and sun-kissed guitars. He has a low and commanding voice that nicely contrasts and you get the heat of the background and a nice clash. The deep and impressive vocal talks about having his heart lent out and being in the girl’s hands. Things should be changing but it seems like they are the same. Maybe they have been together a while and it was hoped things would bloom and grow. Maybe a more serious commitment and a feeling they were heading somewhere. I get the sense there is a rough patch where they are going through the motions right now. What gets to me, early, is the sense of regret and how things seem defeated. He is never deflated but O’Connor seems like he reached the end and wants something new. That said; when he talks about his heart being played with, you get the sense he has invested a lot and trying to work out where things can be improved. The production is warm and polished but that does not bleed the soul from the song. Instead, you get a professional and lush arrangement that has cinematic grandeur and bristling emotion. The songwriter sings about walking away and not being able to unknow the heroine. Our man says it is too hard to be apart and wonders whether they can come back.

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He asks whether there is another chance – she said there would never be – and it seems like he has not given up completely. The verse sees the hero ready to quit and start afresh but the chorus hopes reconciliation and improvement will come about. It is nice seeing the heart come through in the chorus and him having that determination. I wonder what provoked the break-up and how they have got to this stage. It is quite sad seeing things fall apart and break. I guess they had a great thing going but something has happened to throw a spanner in the works. I am interested in songs that look at relationships and how they break up. Although O’Connor does not reveal the exact circumstances; he wants to recapture that spark and knows not all is lost. You are caught in the swell and spirit of the song and hope things will come back together. His heart holds on to hope and is unable to move past what he is. He sits at home alone at night and dims the light; he puts his favourite songs on wonders what happened. He wants to get back on track and begin again – regretting what has happened and knowing things are through. Electric guitar strains and aches as the hero rushes the words and gets out his plea. You can imagine him in the dark and trying to find wisdom in music. He is trying to put the story back in a good light but it seems like the best days are gone. That desire to keep anything alive and find some compromise is impressive. The impassioned vocal keeps you invested and the composition is tight yet expressive. There are Country elements alongside Blues licks and excellent production. It is a focused and nuanced song that hits you right away and will keep you coming back. I am not sure how things worked out between the sweethearts but there is a sense of friction that has hit the hero pretty hard. There are some great instrumental breaks and plenty of movement in the song. It goes through cycles and stages and you are compelled at every avenue. I rooted for the hero and I feel like things have been a bit strained. Maybe he is to blame in some form but he is trying to get everything started again and repaired. Whether that happens is yet to be seen. Let’s hope they reached some form of agreement and there is hope for the relationship.

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I am pleased Robert O’Connor is back on the rise and entering a new phase of his career. The man has had a tough time and the last few years have been defined by transition and changes. He is looking ahead and I think there will more singles and E.P.s coming down the tracks. Things are getting better and O’Connor is making music how he feels fit. Maybe his time with labels and dodgy dealers has soured him but, as I intimated, he is re-recording some of his older stuff. I am looking forward to that and I cannot wait to see where he goes next. His material has always been exciting so I am curious whether he will stick with a Country sort of sound or whether there will be more Folk and Pop elements mixed into the blend. Let’s look ahead and where the songwriter might head. I feel there will be some great gigs coming up and he could definitely do well in London. No Second Chances is a fantastic cut from the songwriter and proof he is on fantastic form right now. I am looking ahead for him and wonder whether he has plans to go to the U.S. I feel the American market would be a great fit for him and he could pick up lots of influence when it comes to Nashville. I know he will continue to work hard and get his music to the people. O’Connor is great when it comes to promotion and never rests. Radio stations and websites are reacting to what he is putting out and it is an exciting time for him. He is active on social media and keen to update the fans. That is quite rare to see with modern artists. A lot of people let things go and it can be hard to see what an artist is up to and what they are about. Even some mainstream stars like Bat for Lashes (Natasha Khan) have been off Twitter for a long time – that sounds random but I wonder what has happened to her! The songwriter is busy getting his music far and wide and I know next year will be his biggest yet. O’Connor has battled with the worst of the industry but he is back now and in great form. No Second Chances is a sign of where he is now and an artist doing things his own way. Long may this continue and I hope big demands come his way. Surely that cannot be too far away and I predict, by this time next year, the Irish songwriter will be…

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ON the edge of something phenomenal.

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Follow Robert O’Connor

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FEATURE: Always Forever: An Ageless Icon: Kate Bush at Sixty

FEATURE:

 

 

Always Forever: An Ageless Icon

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IN THIS PHOTO: Kate Bush (2014)/PHOTO CREDIT: Trevor Leighton

Kate Bush at Sixty

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THIS coming Monday will be a lot less gloomy…

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IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Chris Moorhouse/Evening Standard/Hulton Archive/Getty Images

than most other week-starters, that is for sure! Other websites have beaten me to the punch – I shall bring them in soon-ish – but there are few more excited about Kate Bush turning sixty than me! It seems strange Kate Bush is even capable of ageing – her music is timeless and, even today, it is influencing countless artists and making its voice heard! Maybe we will see announcements and new developments post-Monday – it would be good to think Bush is preparing music... – but I know she will celebrate in quite an understated and modest way. The last interview she gave was back in late-2016, I think. I heard her speak with BBC Radio 6 Music’s Matt Everitt regarding the release of the Before the Dawn performances at Hammersmith Apollo (in 2014). That interview is the most recent, I believe, piece of Kate Bush audio we have. If you asked me to name the three gigs I wished I had attended – whether that involves time travel or being better prepared – then Kate Bush’s 2014 bonanza would be right at the very top! The other two, for full exposure, would be The Beatles playing Liverpool’s Cavern Club in the early-'60s. I know Macca has just played a legendary, life-affirming set there but to be at that humble space and seeing The Beatles in their first flushes is something very few people can relate to and recount. The other gig is as modest but completely different.

Jeff Buckley played New York’s Sin-é café back in 1993. This would have been between the time he was a freelance artist and signing with Columbia Records. To be in that coffee shop and hearing the master reinvent and own some brilliant songs (from the likes of Bob Dylan and Edith Piaf to Van Morrison and Led Zeppelin) and showcase new material (that would feature on his sole solo album, Grace)…how can you put that into words?! The reason I lament missing Kate Bush’s where-the-f*ck-did-THAT-announcement-come-from gig(s) at Hammersmith is because, sadly, it might be the last time we see her perform. The fact those gigs were the first time she has performed since the 1970s shows how rare a Kate Bush gig is. I am confident she will bring another album out before ‘retirement’ but a show…is that ever going to happen?! I have the Before the Dawn L.P. – a multi-vinyl set, in fact! – and can attest to its spine-tingling sound and atmosphere. The fact I am still sad at missing it, and people who attended those nights buzzing and remembering it, shows what a never-ending and always-present musical force Kate Bush is. We look at Kate Bush in terms of her albums and videos – the rises and falls – but never really note the facts and records.

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IMAGE CREDIT: Getty Images

She was the first woman to score a number-one in this country with a self-penned song. That was in 1978, for Wuthering Heights, and has only been equalled a few times. I think, actually, we forget how few women reach the number-one slot in this country and how few of them write (solely) their songs – Kate Bush, in a way, is a reminder of what music should be about. The Kick Inside is my favourite album of all-time and one I can talk about and defend until the cows come home! (I even have lyrics from Moving, the opening track, tattooed on my left arm; lyrics from the closing track, The Kick Inside, tattooed on my right arm!). Most people argue Hounds of Love (1985) is the king/queen – I shall come onto that record in due course. The reason the album resonates and obsesses me every waking hour is (because of) the moment it arrived in my life. The record was released in 1978 – when Kate Bush was nineteen and living at home – but I was not born until 1983: I discovered the album in, about, 1989 and was starting to hear other albums of hers like Hounds of Love, Lionheart (1978) and The Dreaming (1982) - captivated by the music videos for songs like Sat in Your Lap. Most of my childhood experiences of music were male musicians. The Beatles were, and are, the voices that define what music means to me – the greatest thing in music history and the apex of human creativity and genius.

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 IMAGE CREDIT: Getty Images

The Rolling Stones, Led Zeppelin and Bob Dylan were all played on the family turntable; The Kinks and T. Rex were big fixtures. Aside from the odd female artists – like Carole King, The Bangles and Joni Mitchell – most of my early musical exposure was male-made. Michael Jackson was a big early influence but Kate Bush changed…everything. I remember Caitlin Moran talking about Bush on Desert Island Discs and recalling that Wuthering Heights video – the young Bush pirouetting and beguiling in, essentially, a nightgown! The reason The Kick Inside held hostage my young mind, and is my unerring favourite album, is the accomplishment and sense of confidence in a debut album from someone so young! I listened to the album (for the millionth-and-second time!) a few hours ago and was agog at the nuance and sense of endless revelation. Songs I sometimes overlook, like The Saxophone Song and Kite, revealed unseen brass and flight. It is controversial but, to me, The Kick Inside is the only Kate Bush album that contains no weak(ish) track. It does not have something as emphatic as Running Up That Hill (A Deal with God) on it but the sheer audacity, originality and beauty from Bush make every song timeless and perfect! Although the video for Them Heavy People – an underrated song from the album – stands in mind hottest; the genius of Wuthering Heights, and the legacy it has, is indelible.

The song has taken on a life of its own and, for someone so young, it is amazing to hear it unfurl. Kate Bush wrote Wuthering Heights without fully finishing Emily Brontë’s novel but I look at Bush, as a teenager, writing those songs. Some of the tracks were written when she was still at school – The Man with the Child in His Eyes was penned aged thirteen, in fact. There are modern artists who are teenagers and write some pretty good songs – Billie Eilish, a U.S. Pop artist, is one. We NEVER hear of anything as accomplished and phenomenal as The Kick Inside in our time – there has not, in my view, been an album as impressive from someone so young since 1978. Another reason I adore Kate Bush is that of the subjects she covers and her approach to the arts. One of the reasons I am such an avid and dedicated feminist is the effect and brilliance of Kate Bush. She had to fight from the outset of her career – she pitched to get Wuthering Heights released as a single; the record label wanted a more commercial cut like James and the Cold Gun instead – and was determined not be trodden on and treated like a girl. Interviews from 1978/'79 range from awed to plain patronising – some interviewers almost patting Kate Bush like an infant, assuming she is helpless and a weak little sparrow! There are some great videos and documentaries from that period - or shortly after. 

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PHOTO CREDIT: Guido Harari

The tenacity, determination and sheer strength Kate Bush has displayed from the start have inspired legions of female performers to take charge and kick the nuts of the musical patriarchy! Everyone from Madonna and Tori Amos to Florence Welch has taken something from Kate Bush’s treasure chest and incorporated it into their aesthetic. I will look at the remainder of Kate Bush’s career – 1978-now – but one forgets the humour and wit of the woman. When explaining her vegetarianism back in 1980; she felt it okay to eat plants because, let’s face it, they like the attention – “I think they’d be really sad if no-one paid attention to them” she said. She also stated they would go well with Marmite. She appeared on a show with Richard Stilgow – I am cribbing from The Guardian’s sixty(number)-based Kate Bush tribute; a little threadbare and hollow feature – and talked about her skincare regime. Whether talking about diet or beauty; music or how she was raised – we forget how witty and sharp Kate Bush was. In fact, when promoting her 2011 albums, Director's Cut and 50 Words for Snow; she charmed interviewers like Lauren Laverne (see later in this feature), Mark Radcliffe and Ken Bruce and provoked much laughter. Before I go back to discography and timeline; it is worth noting an EMI executive visited Bush during her twelve-year gap (between The Red Shoes and Aerial) and was there to see what she had been working on. The rumour she presented him with baked cakes is false...but you can SO imagine that scenario happening!

Back we go to 1978 and, after The Kick Inside, there was public and industry pressure for her to follow the acclaimed and spectacular debut. Lionheart was released that same year – how many modern artists do that?! – but it was a critical flop! Many felt short-changed and felt there were few songs that rivalled the likes of Wuthering Heights. It is, perhaps, her most (least-)mentioned record - and one that few people discuss! Although the songwriting dynamic was different – the debut was mostly written, at her home, before coming into the studio; the sophomore album was mostly written in the studio or rushed – there was plenty of gold on the record. The beauty and kiss of Symphony in Blue and In the Warm Room; the standout hit, Wow; the inventive and semi-weird quirk of the closing duo, Coffee Homeground and Hammer Horror. There are no nerves or any huge errors on the album but, pressured to quick-release a follow-up for The Kick Inside; Kate Bush was not allowed time to germinate, ruminate and create. One can see the period between Lionheart and Hounds of Love as a mission to gain full control and make music on her own terms. I will skip through those albums but look at the material that you hear on Never for Ever (1980), The Dreaming (1982) and Hounds of Love (1985) and you can feel that incline and sense of maturity grow.

Babooshka (Never for Ever) is Bush amping-up the kooky and intense; Get Out of My House (The Dreaming) is, at that time, her most vocally challenging and physically stunning revelation - a fuck*ing-nuts-at-times song that takes the breath! One might argue Kate Bush peaked during 1985’s Hounds of Love but it was an important record for her. Recorded at her own studio where she was holidaying and relaxing with her boyfriend - it was a less pressured and a more liberating process. This was a woman, in her mid-twenties, enjoying life more and putting together music at her own pace. She flitted between studios on The Dreaming so was keen to become rooted and calm during its follow-up release. Even though there is only three years between The Dreaming and Hounds of Love; it was her fifth album in only seven years! You can hear the revived and refreshed Kate Bush taking music in new directions. The first, non-conceptual side of the record contains brilliant gems like Running Up That Hill (A Deal with God) and The Big Sky; the title-track and Cloudbusting.

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IN THIS PHOTO: Kate Bush with her dogs, Bonnie and Clyde, in an outtake from the album cover photoshoot for Hounds of Love (1985)/PHOTO CREDIT: John Carder Bush

I mentioned how every post-The Kick Inside L.P. from Bush contained one (or more) less-than-genius songs – Mother Stands for Comfort is the Hounds of Love progeny that seems in need of extra-curricula assistance and patience. I can understand why the majority of Bush’s fans rank Hounds of Love above all else! It is clear she was going through a phenomenal period of growth, creative peak and independence. That would spill into 1989’s The Sensual World. Even Hounds of Love’s conceptual second-side managed to stun and amaze fans – some critics felt it a little out-there and dreary (how dare they!).

It, the concept, is a woman being stranded at sea and in need of rescue. Not only did that suite feature heavily in 2014’s Before the Dawn – it was Kate Bush’s first attempt at a conceptual arc (she would do it again on 2005’s double-album, Aerial). Rolling Stone, in their first-ever Kate Bush review, were not impressed:

“The Mistress of Mysticism has woven another album that both dazzles and bores. Like the Beatles on their later albums, Bush is not concerned about having to perform the music live, and her orchestrations swell to the limits of technology. But unlike the Beatles, Bush often overdecorates her songs with exotica ... There's no arguing that Bush is extraordinarily talented, but as with Jonathan Richman, rock's other eternal kid, her vision will seem silly to those who believe children should be seen and not heard”.

Maybe there were fewer instant hits on The Sensual World but the maturity and incredible songwriter showed Bush was capable of reinventing herself and subverting expectation. Listen to the title cut and This Woman’s Work – the latter is especially important in her history and one of those songs that shows Bush has no equals or songwriting peers. The critical drool gets a little saltier and less warm post-The Sensual World…that does not mean we had seen the last of her brilliance! The Red Shoes – the first Kate Bush album of the 1990s – relied on the modern technology of the day, Maybe a bit machine-processed and compacted; some of the material sounded tinny, metallic; edgy and soulless (Kate Bush revisited a few for her 2011 album, Director’s Cut). Rubberband Girl is a stone-cold banger, mate; Lily and Moments of Pleasure are incredible; Why Should I Love You? is an under-loved and brilliant pearl. It is true the consistency and regularity of Kate Bush got a little less predictable after that record. We were treated to a fantastic return with Aerial – after a twelve-year gap – and have had two albums since then: 2011’s reworkings, Director’s Cut, and the exceptional 50 Words for Snow (featuring vocal input from Sir Elton John and Stephen Fry!). The fact we have only seen two original Kate Bush albums since 1993 makes me believe we might not see another, if at all, for a long time! Many didn’t expect two Kate Bush albums in 2011 so, for all I know, there might be another album ready to go! I have talked in academic terms and looked at the creative transformations of Kate Bush.

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IN THIS PHOTO: Kate Bush and Miranda Richardson in a shot from the short film, The Line, the Cross & the Curve (1993)/PHOTO CREDIT: Getty Images/Fish People

Before I wrap things up – and give my personal happy birthday! – a quick look at an article that caught my eye. Salon looked at the immense popularity of her Before the Dawn shows but asked why Kate Bush is not more popular in the U.S. It is an interesting proposition:

 “Many fans ask why Bush isn't bigger in the U.S., simply because her albums deserve to be heard by a wider audience. However, her influence has permeated modern music for decades. In the '90s, Tori Amos was inundated with Bush comparisons; when Joanna Newsom and Amanda Palmer emerged in the '00s, they received the same treatment. These connections tended to be facile and based on surface musical attributes; however, Bush's career blueprint — encompassing the way she steered her own musical ship, for example, or the crisp, ornate details underscoring every song — has inspired countless other iconoclasts.

This fluidity came into focus thanks to the '00s indie scene, which spawned a surprising number of Bush covers, including the Futureheads' yelping take on "Hounds of Love," Ra Ra Riot's delicate "Suspended in Gaffa" and Wild Nothing's moody version of "Cloudbusting." Today, her spiritual descendants are even more popular; Florence and the Machine, Years & Years, and Christine and the Queens all bear Bush's imprint.

Speaking to The Fader in 2016 about developing her style, Bush said, "It's a bit like how you develop a certain style as a pianist: It's just something that gradually evolves. The more you work, the more a certain type of character evolves. It was very much a phase that went with when I was working in dance. I wonder if, as I was exploring a technique of dance, I was also sort of exploring a technique with my vocals as well".

The enigma and sheer down-to-earth nature of Kate Bush strike me. I have thrown in a couple of interviews she conducted a few years back and she is startled when being seen as a recluse. She does not publicise her every move and is not attracted to fame and the public spotlight. Nobody knew Kate Bush had given birth, to her son Bertie, until she did an interview with Peter Gabriel two years after his birth! Bush turned down a chance to tour with Fleetwood Mac on their Rumours circuit in 1978; she kicked a paparazzi up the arse in 1991 – why wouldn’t you?! – and asked The Queen for an autograph in 2005 (Bush admitted she had been a Premier League tit that day!).

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IN THIS PHOTO: Kate Bush in an outtake from the Babooshka single session (1980)/PHOTO CREDIT: John Carder Bush

She is a big fan of Prince – who she recorded with – and David Bowie. Pink Floyd (and David Gilmour especially) were a big part of her early career; she used to get through twenty fags a day (certainly during her first couple of albums) and regularly contributed to her fan magazines. Elton John claimed Bush’s duet with Peter Gabriel, on Don’t Give Up, saved his life when he was in the grips of cocaine addiction. Running Up That Hill (A Deal with God) is her most-covered song (twenty-four times) and Wuthering Heights is her most-streamed song on Spotify. I want to end by talking about three different things.

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IN THIS PHOTO: Kate Bush during a shoot to promote her 2011 album, 50 Words for Snow/PHOTO CREDIT: Getty Images/Fish People

It is amazing to think Kate Bush has only recorded five cover versions in her career (not counting her takes on Folk songs). Among the covers is Elton John’s Rocket Man and Marvin Gaye’s Sexual Healing. One of the reasons I adore The Kick Inside, and all her albums, is the fact Kate Bush is the sole writer and voice! She has had others produce her material but has not given in to the temptation to hire other writers and get them to help her. So many female artists I talk to say they take control of their music because of her independent take and need for un-distilled identity. The modern music scene has so many Pop artists who hide behind hired-guns and have ranks of producers putting their records together – none of which come close to the likes of Kate Bush’s best. Some of the finest female artists since 1978 have either taken guidance from Kate Bush’s strength and talent or incorporated an element of her aura into their music. Madonna, debatably, leant on the fashion/rebellious – in the sense that she speaks for herself and is a fierce spirit – whilst others have followed Kate Bush’s connection to nature, literature and the spiritual. I ask all my interviews who they are most inspired by and the leading artist, by a mile, is Kate Bush. Men and women are learning from the legend and unable, still, to get a proper grip on her multifaceted creative brilliance.

She is sixty on Monday, so I will end with two brief utterances. I wanted to pay tribute to someone who has made a huge impact on my life. Not only is she the first strong female artist I took to heart but her beauty, musicianship and lyrical style compelled me to investigate music more and turn to poetry. I had heard nobody like her in the 1980s and was amazed at this strange and wondrous creature coming out of the radio. Without Kate Bush, it is debatable whether I would have even got into music journalism at all – the fact I go out of my way to fight for gender equality and raise awareness is because of the music she has put out and proof of what female musicians are capable of. That sounds condescending but Bush had to fight for control and the chance to make music her own way. When allowed greater freedom and independence, she went on to create her most-celebrated and loved album. So many modern female artists are in the same position and we need to use Kate Bush as an example of what happens when artists are dictated to and, in time, decide to break free of labels/strict guidelines. I will end by urging anyone unfamiliar with Kate Bush’s impressive and always-inspiring music to buy her records and watch interviews. She remains unique and one of those artists who was/is in a league of her own. The way she spoke and how she went about things amazes me. Although she is turning sixty; I think there are many more years left in Kate Bush – let’s hope she releases more material and there is another gig! Although many artists follow her example and are inspired by her work; it is clear the music industry does not…

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IN THIS PHOTO: A press shot for Kate Bush's 2011 album, Director's Cut/PHOTO CREDIT: John Carder Bush

MAKE them like her anymore!

FEATURE: From the Table to the Lathe: Inside the Empire: Third Man Records and a Glorious Return to the Past

FEATURE:

 

 

From the Table to the Lathe

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IN THIS PHOTO: Third Man Records' store in Nashville/PHOTO CREDIT: Third Man Records

Inside the Empire: Third Man Records and a Glorious Return to the Past

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WE are told that the traditional record shop…

is dying and becoming a bit of a novelty. Whilst it is true most high-streets do not boast a decent record shop; there are some pretty good ones if you know where to look. I go down to Brighton, to Resident, to get a good fill of all the latest vinyl and those classics I need in my collection! London has Rough Trade East and there are some good, smaller alternatives in various boroughs. It is hard to find a record shop, even in the city – a shop selling music, full stop, is starting to feel like a bit of a treat! I am fascinated by records and traditional vinyl because you can almost feel that creative transition from the writer scribbling at the kitchen table to the vinyl lathe coming out and all the manufacturing taking place – before it is minted, shrink-wrapped and dispatched to the store! Look at the cosmic universe of Third Man Records and you get something vintage yet forward-thinking. Look at the store to see the roster of artists under their wings. You can look at the official website and get all the latest happenings from the American enterprise. It was founded by Jack White (The White Stripes, The Raconteurs and The Dead Weather) and he balances running its bases and performing. White is promoting his latest album, Boarding House Reach, but can be found at one of Third Man Records’ bases in Nashville and Detroit.

One need only listen to Jack White speak and he is all about keeping things pure and simple – a man who does not care much for modern technology and taking an easy course! Third Man Records interests me as a business and idea. It started life in Nashville, after Jack White moved out of Detroit, but sort of returned home soon after – there is one base in Nashville and another in Detroit. The reason behind this, according to White, is to ensure it would survive. In Nashville, if someone is on a billboard and is successful; there is applause and people are pleased – the opposite is true in Detroit. There is more cynicism and a more blue-collar approach to such celebration: people shoot straight and it is harder to win the collective around. After successful and profit in Nashville; a store/base was opened in Detroit and things are getting bigger and better. White is signing new names to his label and covering a range of genres; vinyl is being produced and sold at the rate of knots and people come from all around to visit the Detroit or Nashville store. This article, published by Vulture last year, explores the success of the Third Man Records label and the artists being signed. First; it took us back to the very start:

“In March of 2009, when Jack White, Ben Swank, and Ben Blackwell opened Third Man Records’ headquarters in Nashville, they didn’t have grand ambitions to invade the city’s already-bustling music scene. Their plan was to absorb Tennessee’s rich music history while they began to press and distribute White’s and his colleagues’ records…

…Third Man had existed on paper since 2001, but for the first eight years they didn’t have a home base, and White had been focusing on his own music. In 2008, though, the White Stripes went on hiatus (they ended up breaking up officially in 2011), and White gained back the rights to his earlier recordings. “Licensing was starting to revert back to him at that time and we kind of thought, Oh well, we can actually do the label and start reissuing some stuff,” Swank says. By the end of that year, White, Swank, and Blackwell had decided to start the label in earnest”.

The article looks at the multi-dimensional aspect of the project and how it offers an all-in-one service for musicians and the buying public:

“…They bought a building in an industrial zone, just south of Nashville’s downtown, and set up an office, a storefront, a recording studio, and a live-performance space. Ben Blackwell, White’s nephew, moved down from Detroit, and Ben Swank, White’s longtime friend, moved from Toledo.

Their first official releases included several singles by White’s other band, the Dead Weather, a single by Kentucky-based garage rocker Mildred and the Mice, and a single by New York singer-songwriter Rachelle Garniez, along with some White Stripes reissues”.

Maybe the Nashville location is gathering more heat and interest – a bigger, better-known music scene and loads of local talent who can come to the studio and record. Looking at documentaries and interviews Jack White has conducted; he talks about the way Nashville is packed with eager musicians – if he needs a fiddle player for a song being laid down in the studio; he can ring them up and they can come down!

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IN THIS PHOTO: Third Man Records' Detroit base/PHOTO CREDIT: Third Man Records

Detroit is starting a resurgence but is not the thriving home of Motown and Garage that gave us some of the world’s best music.  There is a definite ethos and personality associated with the Third Man Records name, for sure:

“For the artists, signing to Third Man, which is still most famously associated with Jack White’s projects, provides an opportunity to stand out from the Nashville crowd. While still sticking to their country roots, they can tap into different scenes, and fans, outside the region. “I think if Joshua signed with somebody else, it would be great, and it could be good for his career, but it wouldn’t be as exciting,” says Swank of Hedley’s decision to sign with them”.

After launching the Third Man brand in Nashville in 2009; it has flourished and extended to Detroit, Michigan – one wonders how far it can go. I suspect, because White started life in Detroit and is based in Nashville, he will want to remain at the two sites. Maybe there is an opportunity for a New York base (The Bronx?) but I will come back to the expansion/diversification side of things later. I have a Third Man Records-produced 45 R.P.M. – it’s a Jack White single of Would You Fight for My Love? with a B-side of Parallel (written by Dean Fertita and Brendon Benson; his old Raconteurs band-mates) – and it is a wonderful thing.

It was recorded down in Nashville back in 2014 – when White was promoting and recording his second solo album, Lazaretto. The song was recorded at Third Man Studio and shows all the purity and work that goes into it. You can practically hear all the players in the room in perfect harmony. It is not a digital fest of technology and hugely edited notes – it sounds like a live performance one might expect from a Jack White show! Look at the documentary at the very top of this piece and the excitement one can feel from Adam Savage! When you walk through the door at Third Man – whether Detroit or Nashville – and you get a swathe of yellows and blacks. What impresses me about Jack White’s store-recording studio set-up is the fact one can get a tour around the site and see all the cool Third Man merchandise. There are T-shirts and badges and, most importantly, all the cool vinyl from artists under the label’s banner. It is like the coolest record shops out there but, unlike any other, it has a sense of style, vintage charm and quality most do not! The best part of the whole place is being able to cut a record live!

You can go onto a small stage and, as you are performing, engineers and employees are cutting the vinyl and getting it ready for completion. One can watch an all-in-on-spot process: from the live recording happening to the recording and cutting. Once the performance(s) are complete; the record is processed so it transforms from an honest piece of vinyl to a beautiful piece of art with a label – the record company and song-title etc. – with the hole in the middle; packed and packaged into a nice sleeve. None of that high-priced studio trickery and not having anything physical at the end! You get to see how music used to be recorded; relying on analogue equipment and getting the most natural performance. There is an option to recall in a smaller booth or on a stage; you can see the record going through a factory and ending up boxed and ready to dispatch. Whilst it might take a time to get the final product onto the shelf – or to the artist themselves – the joy of seeing everything come together, physically, is something lacking from modern music! I would love to see Jack White look at the reaction Third Man Records – with its store and loyal following – is getting in the U.S. and think about a London base. There are British artists on the label and, by adding a store/base here; it would be a great way to discover possible label-inclusions and get people talking here.

There is nothing that comes remotely close in London, or the U.K., right now. We have some great record shops but they are either quite small or only do the actual selling side of things. Artists are self-producing and choosing a D.I.Y. route over paying high studio prices. I can only imagine what the usual vibe is like in a modern studio – not a lot of soul and there is always the artist is not usually pressed for time! Instead, if there was a Third Man base here; you can get buy all the cool products/merchandise but get a chance to record something without all the digital interference and the rush of getting it right the first time – pushing the artist to up their game and helping to create a fantastic piece of work. It would help rejuvenate the British record store scene and be a huge boon. For music lovers like me; we can see how music comes together and get a much better idea of the recording process and all its manifestations. I listen to so many digital tracks but, even when I hear a record, I do not think about how it is made, what engineers/producers do and the actual physicality behind the record. All the lathes, machinery and workers; the effort and love that goes into making a single slice of vinyl – this is the sort of brilliance and love missing from modern music.

If we can inject that back into music, just a bit, it would encourage more people to get into music and take a bigger interest regarding music’s roots. We are becoming more obsessed by technology and making life ‘easier’. The interactive and social aspect of music is dwindling and, as I shall explore later in the weekend, we are less involved with live performers. I feel like a Third Man Records store/base in the U.K. would be a great move. In any case; the success and growth of the brand is an amazing story. I have never seen anything where one can buy music and see it go from recording to manufacture in the same space! Maybe it is the vinyl-heads and obsessives who drool over all the cogs, grooves and smells of somewhere like Third Man Records. I feel we need to move away from all the digital soullessness and start connecting with music in a more instant and physical way. Have a look at the documentary at the top of this piece – if you have not already done so – and see what you could expect if you were to head to Nashville/Detroit. The possibility, however remote, of seeing that idea come to life in the U.K. is enough to get the mouth watering. I mentioned a Jack White song, Would You Fight for My Love?, earlier and stated how much I enjoyed hearing its Nashville-recorded sounds. If we twist that question to the desire for a Third Man Records over here in Britain; I could pose it to everyone who loves music and provide a…

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 IN THIS PHOTO: Third Man Records' pressing plant/machinery/PHOTO CREDIT: Third Man Records

VERY easy answer for that one!

INTERVIEW: Michael Bernard Fitzgerald

INTERVIEW:

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Michael Bernard Fitzgerald

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MY final interview of the day…                                   

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is with the Canadian artist Michael Bernard Fitzgerald. He has been discussing his latest single, I’ll Be the Lighter, and how it came together. I ask him whether more material will arrive down the lines and which artists compel and inspire him – he recommends an artist to keep an eye out for.

Fitzgerald reveals a few albums that mean a lot to him and tells me how his latest work differs to that of his previous efforts; why songwriters like Paul Simon and Bruce Springsteen are important – he ends the interview by selecting a track from an artist local to him.

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

I’m great - how are you? Been with close friends and family for the last week, so no complaints there.

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

I’m a singer-songwriter from Calgary, AB (Canada). Been touring and recording internationally for the last decade. I look up to writers like (Paul) Simon and (Bruce) Springsteen. I write Pop songs that sound Alternative and sometimes a bit Folk-y.

I’ll Be the Lighter is your new single. Can you reveal its origins and story?

I’ll Be the Lighter is a love song. It’s about knowing all the intimate details about someone and being committed to the ride, no matter what. My favourite moments on a motorcycle are when it’s her and me on a two-lane highway. It’s about looking to start a fire that’ll never burn out.

I believe you are working on a new record alongside producer Dennis Herring. What can you tell us regarding themes and stories you explore?

I love exploring the concept of hope. I’ve got a thing for love songs as well. But, first and foremost, it’s about hope.

How do you feel your latest work compares alongside I Wanna Make It With You and YES? Do you think you have changed certain parts of your songwriting?

Definitely. I think you can’t help but shift over time. I still collaborate with the same people often but my perspective has definitely shifted as has the way I come at writing the songs and singing them.

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Do you recall the artists you grew up listening to? Which musicians inspired you to write your own stuff?

I’ll never forget watching Paul Simon’s Concert in the Park on V.H.S. I remember being completely blown away. I’m not sure which artists got me into songwriting but there are so many that keep me inspired to write.

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

I’d love to release this record, tour and write.

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

I don’t know that I can cite a specific time, but my favourite moments are the ones I haven’t planned for - the magic moments while playing; the ones that happen to fall in to place.

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

Graceland – Paul Simon

Prisoner – Ryan Adams

For Emma, Forever Ago – Bon Iver

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

There are so many. I’d love to get back out and do some more Bryan Adams dates; open for Springsteen on his Broadway run or play some dates supporting HAIM.

As for a rider…we don’t need much. Just need a few minutes to play.

Can we see you on tour soon? Might you come to the U.K. at some stage?

I’ll come back to the U.K. on a moment’s notice. Would love to be there more often.

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Is being on the road one of the best parts of being in music? Do you feel songs you recorded in the studio come alive and explore new territory when played to a crowd?

Playing has always been my favourite part. Songs always 'find themselves' live.

What advice would you give to new artists coming through?

Always make an effort to keep it fun.

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IN THIS PHOTO: Leif Vollebekk

Are there any new artists you recommend we check out?

I like another Canadian artist called Leif Vollebekk – he has a record out called Twin Solitude.

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

I do get some downtime. This last week has been spent outside - swimming and biking with friends and family.

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).

There’s another artist from my home province that has a song out that I think it wonderful. She’s a Country artist called Tenille Townes and her song is called Jersey on the Wall – I’m Just Asking

I like such a random assortment of music - and her song has been on-repeat at home.

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Follow Michael Bernard Fitzgerald

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INTERVIEW: Silent Forum

INTERVIEW:

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PHOTO CREDIT: Jaydon Martin 

Silent Forum

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THE boys of Silent Forum have been talking with me…               

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ARTWORK CREDIT: Jaydon Martin 

about their new single, How I Faked the Moon Landing. Officially released on 10th August; it is a memorable and exceptional effort from the Welsh band. They discuss filming the music video and whether other material will arrive in the future – they talk about the Welsh music scene and the media’s perception of it.

I ask them whether there are any gigs coming and how they found one another; if there are any rising artists we need to get behind; what advice they would provide musicians coming through – the guys end the interview by each selecting a song.

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

Richard Wiggins: Pretty great, thanks! We’re gearing up for the release of our new single at the moment, so we have been doing a lot of promo for that. It’s our first release on a bona fide record label - it’s hugely gratifying to have that support for what we think is our best ever material.

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

Oli Richards: We have been dubbed ‘Indie-Noir’, which I think sums us up well. Although, our new single possibly fits more firmly in the ‘Dance-Punk’ category. Over the last year, we’ve been taking our introspective Post-Punk sound and developing it into something a little more vibrant.

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How I Faked the Moon Landing is your debut single on Libertino Records. Can you reveal the story behind it and how it came together?

Elliott Samphier: How I Faked the Moon Landing was our original band name under a different line-up. We were fun Indie-Pop band in the beginning; so it seemed apt to name this new, more uplifting song after our old moniker.

RW: In terms of the meaning of the song, lines like “Music’s not business – we’re destined to be a local band not on the local radio” jump out to me now. Ironically (and thankfully) this song has actually had four plays on BBC Radio over the last week. We were using this song as a platform to prove what we were made of; I think it sounds driven and purposeful.

Are you thinking ahead to other material - or keen to let the single get out there and bed-in?

Dario Ordi: We have another single, A Pop Act, finished and ready to go. It’s a little weirder and wilder than How I Faked the Moon Landing. We then have a further ten songs which we are recording with our producer Charlie Francis over August and September; this will make up our debut album.

OR: We’ve been really pleased with the initial reception of this first single and are hoping to pleasantly surprise people with what we have coming next.

What was it like filming the video for How I Faked the Moon Landing? Was it cool putting it together?

ES: It was filmed by our good friend Jaydon Martin who has taken charge of the visuals for all of our new material. It was filmed in Barry Island, which is a wonderfully strange seaside town in Wales. Luckily, the locals humoured us by letting us play on the children’s rides and dance in the arcades. Jaydon filmed us on an old-school camera, so the resolution and aspect ratio gives all the footage a peculiar ‘out of time’ feel – it’s a pretty funny video!

RW: It was great to have an opportunity to show off my superb dancing skills.

How did Silent Forum get together and find one another?

OR: We all met via Internet message boards. It’s weird to think that we only know each other thanks to the Internet.

DO: I joined the band a little later than the others; it involved a formal audition - which seems bizarre now!

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Cardiff is where you are based. What is the city like in terms of its music and sounds?

RW: Cardiff’s music scene is on the up - although it’s a shame to still see people primarily referring to '90s bands when they talk about Welsh music. Libertino Records are really helping shape things up; we love La Forme and Adwaith - it’s a privilege to be amongst their ranks.

Can you recall the artists you grew up listening to? Which musicians sparked your ears?

OR: At sixteen my dad's Heart and Soul Joy Division box-set opened my eyes to musical catharsis and Post-Punk all at once - Siouxsie and The Bunnymen soon followed.

DO: I remember listening almost exclusively to Heavy Metal between the ages of thirteen-fourteen.

RW: Before I was into music, I was into Pop-Punk (kidding) - bands like NOFX. I remember listening to Radiohead’s In Rainbows when I was fifteen and absolutely hating it; then listening to it twice more in the following days and then absolutely loving it - that kicked off my obsession with music.

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

ES: We will have finished recording the album by then and will have planned a tour for 2019. We’d like to have been played on BBC Radio 1 and (BBC Radio) 6 before the year is out. We’re playing HUB Festival in August which is going to be fantastic.

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

DO: We recently performed a soundcheck at about 6 P.M. in a bar/café to a room full of Paul Weller fans (and lookalikes) - that was pretty entertaining.

ES: Writing a new David Bowie-esque track, Don’t Overcook It, in half an hour. It was baffling to see it come together so quickly!

RW: I will never forget singing into the faces of a couple who were snogging at the back of a room during a gig. There was a circle of people around myself and the couple. When they tore themselves from each other’s faces, they were incredibly surprised.

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

Supporting Protomartyr would be huge for me - the world’s greatest Post-Punk band. Or maybe BROCKHAMPTON - the world’s greatest boyband.

OR: I'd love to support our mates Perfect Body and have a rider made up of only two things: a cheap bottle of red wine and no work the day after. It’s good to have achievable dreams…and wine.

ES: I’d definitely go for Interpol. They were a real game-changer with my music taste! I'd want Quorn scotch eggs. They're the bomb!

DO: I would support Stephen Malkmus and die a happy man. My rider would always consist of mostly cinnamon swirls.

What advice would you give to new artists coming through?

Playing music with friends is the most fun thing in the world - don't forget that.

ES: Don't try to write music for anyone else or to be popular: write something you love yourself regardless of how it sounds. Don't be shy to experiment!

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IN THIS PHOTO: Haru Nemuri

Are there any new artists you recommend we check out?

RW: Today; I discovered this amazing Japanese Noise-Pop band, Haru Nemuri - they are gloriously catchy but with a proper bite. Also; A.A.L. (Against All Logic) released an amazing Deep-House record this year with beautiful Soul samples which make the project sound like Future-Disco.

OR: Check out the aforementioned Perfect Body from Cardiff. Also; check out SOPHIE - who sounds like Pop music in a fairground mirror.

DO: Yes! SOPHIE is making waves.

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IN THIS PHOTO: SOPHIE

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

ES: I love to play board-games and not your standard Monopoly or Cluedo - there's a real explosion of innovative, new table-top games at the moment!

OR: A lot of my chill time involves music, too. I unwind by reading and listening to ambient music. A cup of redbush also helps.

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).

OR: I'm currently loving the new BROCKHAMPTON singles. 1999 WILDFIRE is...well...fire

ES: Honey by moow

DO: I can't stop listening to Trains Across the Sea from the first Silver Jews record. David Berman was one of the best poets of the 1990s.

RW: Garden Dog Barbecue by GoGo Penguin - it is an incredible Jazz take on Dance music

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Follow Silent Forum

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INTERVIEW: Lindsay Latimer

INTERVIEW:

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Lindsay Latimer

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I always love musicians who can project their…     

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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!

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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.

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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.

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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.

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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.

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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.

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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.

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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 

________________

Follow Lindsay Latimer

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

FEATURE:

 

The July Playlist

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 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…

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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

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Jack White – Corporation

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PHOTO CREDIT: The Telegraph 

All Saints – After All

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The Internet – La Di Da

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David Bowie – Zeroes

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Miles Kane – Cry on My Guitar

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Pale Waves – Noises

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Ward Thomas – Lie Like Me

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Blood Orange – Jewelry

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Fall Out Boy - Bishops Knife Trick

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P!nk – Secrets

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PHOTO CREDIT: Patrick Gunning

Sea Girls – Too Much Fun

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Chainsmokers (ft. Emily Warren) – Side Effects

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Charli XCX – Girls Night Out

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

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PHOTO CREDIT: Jonathan Vivaas Kise

DAGNY – Landslide

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Elley Duhé - Way Down Low

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HONNE – Shrink

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PHOTO CREDIT: Lottie Turner

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

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Karen Harding – Picture

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Maggie Rogers – Give a Little

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Sneakbo – Mercy

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Tinashe – Throw a Fit

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ABISHA – Nothing Matters

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Tom Odell – Jubilee Road

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PHOTO CREDIT: Imogen Forte

Estrons – Cameras

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Catherine McGrath – Cinderella

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BETA WAVES – Love Love Love

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Girl Crush – Past Life

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Halestrom – Buzz

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PHOTO CREDIT: Bazza Mills

Kyle Falconer – Poor Me

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Joel Baker – Harder to Fall

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Chloe Lilac – Stolen Liquor

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Santigold - Run the Road

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Metric – Dressed to Suppress

TRACK REVIEW: Seaker - Dreaming

TRACK REVIEW:

 

Seaker

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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…

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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…

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FOR a fantastic young artist.  

___________

Follow Seaker

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INTERVIEW: Laura Pieri

INTERVIEW:

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Laura Pieri

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IT has been really interesting learning more…       

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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.

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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. 

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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. 

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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.

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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.

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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. 

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 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.  

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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!

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Follow Laura Pieri

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INTERVIEW: Tilly Valentine

INTERVIEW:

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PHOTO CREDIT: Luke Hopkins Photography 

Tilly Valentine

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THE fantastic Tilly Valentine…                                    

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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!).

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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!

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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.

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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!

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IN THIS PHOTO: Jack Vallier

Are there any new artists you recommend we check out?

Jack Vallier, Jaz Karis and YEBBA.

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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

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Follow Tilly Valentine

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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?

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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

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IT is true you can never please everyone…

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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.

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...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.

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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.

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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.

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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.

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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…

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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

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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…

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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”.

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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. 

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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.

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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.

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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!

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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.

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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…

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 PHOTO CREDIT: Ania Shrimpto

KEEP the conversation going!

INTERVIEW: Caroline Kole

INTERVIEW:

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Caroline Kole

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I have been speaking with Caroline Kole…              

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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.

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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!

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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).

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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!

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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).

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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!

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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.

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 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!

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Follow Caroline Kole

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INTERVIEW: The Velveteins

INTERVIEW:

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The Velveteins

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SPENCER of The Velveteins…

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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.

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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.

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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.

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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.

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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.

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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

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Follow The Velveteins

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

FEATURE:

 

 

Demi Lovato: It’s Complicated

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PHOTO CREDIT: Getty Images 

Do We Put Too Much Pressure on Young Artists?!

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ALTHOUGH she is resting right now…

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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.

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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.

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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.

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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…

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 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

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

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

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THE weather is still boiling hot…

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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…

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 IN THIS PHOTO: Charlotte OC

TAKE you somewhere special.

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

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Stella Donnelly – Boys Will Be Boys

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PHOTO CREDIT: Kate Warren

Odetta Hartman – Widow’s Peak

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Emily Hackett – Good Intentions

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Lizzi – Anybody but You

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Emma Bale – Cut Loose

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Charlotte OC – Blackout

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Sarah de Warren (ft. Danell Arma) – Gallery

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PHOTO CREDIT: Renee Altrov/PHOTO MANIPULATION: Luis Dourado

Maarja Nuut (ft. Ruum) – Kuud kuulama

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Delhia de France – Waterfalls

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Indian Queens – Pretty Little Thing

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Kate Stapley – Irises

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NOVA TWINS – Lose Your Head

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PHOTO CREDIT: Matt Lambert

Lotic – Hunted

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Hockeysmith – Holy War

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PHOTO CREDIT: Flore Diamant

Eliza Shaddad – My Body

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PHOTO CREDIT: @del_photos

Queen Kwong – Fools Gold

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Yumi and the Weather – Look At the Night

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Sipprell – Personal

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Sabrina Claudio – All to You

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Caitlin Canty – Take Me for a Ride

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Caswell – Lie to Me

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PHOTO CREDIT: Chantal Anderson

Jess Williamson – Thunder Song

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Laura Pieri – I Will Follow You

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The Seamonsters – Max and Archie

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la lune – love/sick

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Lindsay Latimer – I Blame You (Bodytalkr Remix)