TRACK REVIEW: DXTA - Going Home

TRACK REVIEW:

 

DXTA

PHOTOS: Ashley Walsh

Going Home

9.5/10

SINGLE ARTWORK: Alice Bradley

The track, Going Home, is available via:

https://www.youtube.com/watch?v=SA-fdg6l9UI

GENRES:

Alternative-Rock; Dream-Rock

ORIGIN:

Portsmouth, U.K.

RELEASE DATE:

16th July, 2018

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I get to look at slightly different subjects…

when thinking about DXTA. I have been following Dexter Krenal, whose solo project it is, and what he is putting out into the world. It has been a long road for him and he has gone through a lot but, right now, there is a lot to get excited about. Before I talk about the music and what is going on in his camp right now, I want to look at homelessness and sleeping rough; sounds that have a Punk flair and real personality to them; keeping going in the face of adversity and struggle; the world-famous Abbey Road Studios and artists whose music makes their way there; where DXTA can go from here – I will also have a quick look at artists who can change from being in a band to going solo and make things work. What strikes me about Krenal is how he has managed to come through some really bleak days and make things work out. It may seem odd to talk about homelessness in a music review but it is something I have spoken about before. I know a few musicians who are homeless and others who are sleeping rough right now. It is hard for many of us to imagine what they are going through and how hard their lives are. One might think Krenal would be thinking of anything but music when he was on the streets. The determination he had to get through the darkness and back on his feet can be heard in his sounds. Survival was key but there was always something working in the back of his mind that knew everything would be okay. In his new project, Krenal is joined by Rob Walsh on guitar, James Ford on bass and Kristian Driver on drums. It is a nice unit but one he might not have imagined would take shape. I predict big things will happen for DXTA and there will be much success coming their way. With Dexter Krenal as the lead and figurehead; it is going to be an interesting next few months.

It seems like music can provide a great platform to help the homeless and raise awareness. You only have to look at big cities like London and Manchester to see how prevalent the issue of homelessness is. I have just come back from Manchester and detected so many rough sleepers – something that is hard to see and cope with. I think the issue is getting more pronounced and things are pretty bad. Music can provide an outlet for those who are on the street. Not only is it a way of earning money but it is a source of creativity and channelling thoughts. I noticed a few homeless people in Manchester who played guitar and it seemed, to me, to provide some solace and guidance. I am simplifying things but I feel music has the power to pull us from the depths and give us some sort of direction. In the case of Krenal; he was sleeping rough in London and suffered drug and alcohol issues. He sought refuge in his hometown of Portsmouth and is was a challenging time for him. I met Krenal when he played a gig for me as part of his old band, Meat Loving Vegans. From that time until now, things have taken a turn and it might have seemed like he would not record any music again. Musicians are an important platform for raising awareness about subjects like mental-health issues and homelessness; struggles with addiction and political issues. I know Krenal has a powerful sound and, given his situation, I hope he unites with a homeless charity and helps get the word out regarding the plight of rough sleepers. He is not completely out of the woods but one hopes his worst days are behind him. In any case; it is a brighter route forward and music is keeping Krenal focused and moving ahead. I think a lot of the past experiences and torment he has faced goes into his current movements.

There is a lot of great music out there but I feel like something is missing. I mention bands like IDLES and Shame a lot because they produce great music but they have the swagger and sense of rebelliousness that you can hear in the classic Punk bands. Krenal’s previous incarnation had more spit and knuckles but DXTA has that distinct accent working away. There is no faking things with the frontman: he is an authentic bloke and does not disguise his voice to fit in with the market. If you had to compare his voice with anyone then I guess there is a bit of MGMT about it. It is a faint hint but it is there. In any case, there are few you can link him to. I feel artists lack a sense of authenticity and unique energy; we are missing bands who put the spark back into music and get into the ears. I am interested to see how Krenal’s project evolves and whether more material is coming out. I have been following Krenal, as I say, for a long time and know what he is capable of. As a stage performer, there is ample explosion and guts from the man. I love those artists who can put in a hellacious show and throw themselves into the crowd. That tactic might not work too well if you are playing at a Jazz club or in a coffee shop but for Krenal, and where he is used to playing, he vibes from the energy of the crowd. All of that intuition and physicality goes into the music. One hears plenty of heart and soul in the sounds and you feel a real bond with the singer. He is someone who has carried a lot of weight and, rather than let it bury him, channels that into incredible music. I will move on to another subject in a bit but feel it is important to keep on the topic of the music scene.

MODEL DESIGN: Alice Bradley

Look around the mainstream and there is little place for the older Punk sounds or something with classic edges. A few great Pop artists are emerging and it is good to see changing tastes but I do worry we have come too far to see a revival of the golden days. Maybe it is a class thing: the working-class musicians always struggle and not accessible to the big leagues. I am annoyed we have a situation where hungry and exceptional artists are being denied and things are set up for a particular kind of music. I long to see bands and artists who tell it like it is and win you with their ego-less persona. You get a lot of calculated discussion and songs when it comes to the mainstream. Look at what is being said and delivered right now and you have to ask how much freedom and flexibility there is. Many of us can identify with the music being put out at the moment but do you often take the time to explore the artist behind the sounds? Dexter Krenal is an intriguing figure who has an interesting story and has a bright future. There is nothing to suggest DXTA cannot be a big force in music but I ask myself how long it will take them. It seems the mainstream is less established to accommodate those with real talent and voice: you still have too many commercial artists that are winning a lot more focus than they should. I know DXTA will release more material and gig but, on sheer quality alone, I feel something good needs to happen now. You can hear that intent and know how much music means to them. With Krenal as lead and guiding voice, I feel there will be a lot of deep and interesting songs that go beyond the ordinary and love-based – a look at gritty sides of life and social observations. We can never get bored of artists who reflect reality and shine a light on what is not being said. For that reason, I feel DXTA are worthy of big love.

Not only do you get a bit of attitude and plenty of authenticity with DXTA but you have a central message that urges people to keep going strong and to hold on. Whether it is the depths of mental illness or addiction; sleeping rough or having a broken heart – Krenal is keen to show things can turn around and work out okay. It is all well and good saying things will be right but it is harder to believe. How powerful are words when they cannot transpose your situation and act as a magical fix?! I feel music holds the potential to change lives and change the world. Maybe it takes a lot of luck and community but, as we are more aware of social issues and big problems, social media acts as a great tool to unite and inspire. In the case of DXTA’s track, Going Home, there is a light at the end of the tunnel many of us can follow. Things have been tough for the lead but he is resolved to stay on a smoother course and see it through. Music is a therapy and safe drug for Krenal and an addiction that is a lot more healthy and secure than anything he has previously tried. I hope there are no relapses because, right now, he is in great form and keeping his spirits high. Listen to the latest track from DTXA and you feel a sense of the personal and revealing but there is a wider message to the people out there. Music should not solely be about sending big messages into the world but, if you have that platform, then it shouldn’t be about love and what is going on in your own life. I feel too many artists squander what music can do and do not explore bigger subjects. Maybe that is a sense of fear – commercial loss and people not responding – but so many of us are going through dark times.

Look at what is coming from DXTA right now and you hear a young man who knows the pains of isolation and fear and having to live on the streets. I can only imagine how his world fell apart and what he had to endure before finding his feet. I am not sure what the catalyst for the reckless behaviour was but, to me, it is a complex sense of events tied to a general frustration in professional and personal life. I hope there is more music to come from him that looks at his experiences and how he has managed to turn a corner. Even if those songs speak to one person and help them then it has been worthwhile and means music is doing what it should do – go beyond the speakers and connect with people. I feel too many artists are struggling to create something memorable and, in a market that is growing larger, that is going to continue. If they change tack and start reflecting something more substantial and meaningful then I feel music could really inspire and get into the mind. It should be more than just sound: artists need to project messages that are deeper and go past the cliché. Krenal is someone who can mix the familiar with the personal but turn the lyrics outwards and allow the listener to extrapolate whatever they need. The most powerful hit will be when he comes to perform songs like Going Home and how they resonate from the stage. With his band in tow and the ammunition inside of him; I feel he will get a great reception and go down a storm. Krenal has worked as a session musician and played the Reading and Leeds Festival with Misty Miller; he has worked with other bands and had plenty of experience. I know there will be a lot of gig chances for DXTA – and a chance for the people to connect with that incredible music.

It is not often an artist or song gets to Abbey Road Studios. Some are lucky enough to record there and be within touching distance of where The Beatles recorded their greatest sounds. I have never been there but really want to. I can only imagine how powerful and emotional it is walking through the doors and being in that stage. In the case of DXTA, the music was mastered there and you can hear the quality come through. That professional and legendary handling makes Going Home sparkle and pop. You can smell the studio and feel its blood running through the body of the song. I hope DXTA get a chance to play there and record an E.P. at those studios. It is a good start to have their music mastered at Abbey Road Studios and they can capitalise on that in the future. The latest song was recorded and produced at their guitarist’s studio down in Gosport. In a way, the song has taken a reversal role to Dexter Krenal. The man himself is based near Portsmouth and had his start in London. His song started life in Gosport but has been perfected and housed in London. I will talk a bit about Going Home’s video when I get to the song but there is a lot going on with DXTA. Even though there is not a big budget, you are attracted to the visuals and a song that gets right under the skin. Looking ahead and I wonder whether there will be another song before the end of the year. I have predicted a bright future for DXTA and I feel the momentum from the current single will lead to more releases. There is nothing to suggest Krenal and his band cannot take to some big stages and play the festivals. It is a bit late this year but I know next year will be an eventful one for them. We all want to bond with an artist or band that goes beyond the familiar and stays in the mind.

There is a lot of sound, momentum and energy that opens Going Home. There is a clash of drums and upbeat guitars; it has a 1960s feel and there is a jollity that mixes with the edginess. You are instantly connected to the song and compelled to move. As the whirling and cheery organ plays – forgive me if it is a different instrument – you hear Krenal come to the microphone and have his say. I can hear shades of bands like The Small Faces and there is a definite nod to past masters. What excites me is the unique voice of Krenal and how his personality reigns. He says, quite clearly, how he does not get along with anyone and seems to have that anti-social edge. The hero is afraid of dying – although he doesn’t know why – and he seems to be running from something. The song’s video sees Krenal rob a shop and gets away with a bag of cash. He points the gun at the owner and makes off with the stash. The symbolism and story of the video – the lead shooting a man who he bumps into whilst evading capture; nods to desolation and disconnection – make me think the song is a sign of desperation from a man who is making ends meet in nefarious ways and getting really scared. Mortality plays a big part and Krenal wonders why he feels fearful of his future. The composition has an amazing quality that matches frivolity and youthful energy with something more disciplined and dark. The excitement and electricity continue and you are following the plight of the hero. Things are surreal and the man cannot believe what is happening. Maybe it is a commentary on his situation and living on the streets or a look back at his past and the way his life has panned out. Going Home boasts that strong lead vocal that constantly questions, campaigns and strikes. Once or twice the vocal gets lost in the mix but, for the most part, it is clear and revealing.

I am impressed Krenal and DXTA did not go for an all-out assault regarding the composition. Maybe that was the first option but I feel the song is more potent given a sense of melody and optimism. I have mentioned a particular decade and band but, to be honest, there is so much working away. You get a fusion of decades and ideas that never seem to be distant and alien: it all hangs together and takes the song in different directions. The video follows the hero as he boards a train and heads home. His mate picks him up and they divide the money stolen and go their separate ways. All the while, the hero is being traced and tracked by police and there is that sense that he will be captured. The hero ends up being cornered and meeting his end and it seems to be a metaphor for walls closing in and being unable to run from the darkness. I know Krenal is in a better place now but I feel Going Home is a sign not to take desperate measures and find a way out of problems that involve criminality and risk. Maybe it is a wake-up call for him but, to many, it will ring true. I am one of those people who question what I am doing and whether it is the right thing. We can all get into the places where we feel trapped and not sure whether we should move or remain. Dexter Krenal has come a long way and he knows more than anyone what it takes to get clean and safe. Going Home is the sound of a man coming to terms with reality and making better decisions. I love how the band fuses together and the composition created. It is addictive and memorable and you will find yourself coming back again to discover new things. The song is a good sign of what the group/Krenal can achieve and what they can offer music. I would love to hear more material and am pumped to see where they head next. Maybe the sound will take a different slant but I feel there is a chemistry and formula in place already that is already established and solid. I can imagine Going Home going down a storm in the live setting and more gigs will come off the back of that. Make sure you investigate DXTA and follow what comes next – you will not want to miss it!

I have taken some time out to look at Going Home and what makes DXTA tick. This is a new project but one that has legs and big potential. Make sure you listen to the current track and see how far Dexter Krenal has come. I feel there are more singles coming and it will be interesting to see what sort of direction they take. In terms of sound; maybe it will mix some of Meat Loving Vegans’ sound and go in a more snarling direction. I feel Krenal can balance the rowdy and romantic and create his own identity. Right now, he has fused together a great sound that makes you come back time and time again. What gets to me is how he has managed to transition from painful and hard times and come through it. Maybe he is not completely free of his demons but the worst is out of the way, one hopes. Going Home has a personal origin but it is a mandate to people out there to keep going and stay strong. I will follow DXTA and what comes next and I feel there will be gigs coming up. I am not sure of the exact plan for the rest of the year but keep involved with the social media pages of DXTA and find what is coming up. I am impressed there are a lot of good photos available and the music is available across a number of sites. A lot of artists have a very vague platform and layout and their social media pages are weak. Maybe it is photos missing or they have very little information; they might be absent from some sites and it can be frustrating. It is important the music is strong and it gets into the brain. I find marketing and being visible is a crucial tool when it comes to standing out and capturing attention. If you have great music and know where you want to go then that is great but it is important, at a competitive time, to consider social media.

DXTA do/does it very well and it is pleasing to see. I would love to see them play and see how far Dexter Krenal has come. He has been through a lot of crap and there would have been points where he felt resigned and defeated. Coming from the streets and overcoming the black hole he was in is impressive but maybe he has a long way to go. It is never easy to get rid of addiction and ensure it does not come back into your life. I feel music is a very solid ground for him and something he can use to stay out of trouble and keep focused. A sense of optimism will come when the music starts to spread and more people share it. That has started already and I know it will continue as we head to the end of the year. Let’s all get behind DXTA and discover an exciting venture. The music reminds me a bit of the great Punk bands and, no matter what your tastes, it is impossible to deny the potency and wonder coming from the speaker. I have been a fan of Krenal for a long time now and it is great to see how his sound has shifted and shaped itself. I hope the success and determination continues and, in time, DXTA is allowed a passage to the mainstream. We are seeing bands like IDLES speaking about important things like masculinity and mental-health and it is striking much harder than a lot of what is coming from music. Maybe it can get a bit familiar and tired after a while but, if an artist can mix important subjects with something more familiar then that is a good blend. I am hopeful big success will come the way of DXTA and new songs will come. I am not sure what form the material will take but I feel the sound will get bigger and more ambitious. It is exciting to see the songwriter and lead grow and gain new traction. He has made his way from the streets and is in a position where he can inspire and grow. I hope the rise continues and DXTA is a name, soon enough, many of us…

WILL be familiar with.

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Follow DXTA

Twitter:

https://twitter.com/dxtamusic

Facebook:

https://www.facebook.com/dxtamusic

Instagram:

https://www.youtube.com/channel/UCYLjfA7T5pQCs8S613GJyyA

Spotify:

https://open.spotify.com/artist/0o4ThJSlWk0GZpSMxhWaLf?si=CE0mBradTF-LGZDh5Ts_xg

YouTube:

https://www.youtube.com/channel/UCYLjfA7T5pQCs8S613GJyyA

SoundCloud:

https://soundcloud.com/dxta

Bandcamp:

https://dxta.bandcamp.com/

FEATURE: The Benefits of Skipping Class: The Miseducation of Lauryn Hill at Twenty: An Album That Shows How Much We Need the Icon Back in Music

FEATURE:

 

 

The Benefits of Skipping Class

IN THIS PHOTO: Lauryn Hill photographed in New York City (1998)/PHOTO CREDIT: Anthony Barboza/Getty Images

The Miseducation of Lauryn Hill at Twenty: An Album That Shows How Much We Need the Icon Back in Music

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I have not long put my fingers down…

IMAGE CREDIT: Getty Images

from writing about another legendary artist who only released one solo studio album (Jeff Buckley, Grace) before I come to another! Grace has just passed twenty-four but, today, we celebrate Lauryn Hill’s The Miseducation of Lauryn Hill turning twenty! I am not sure what is happening in Hill’s camp but, through recent years, she has been involved in legal problems and occasional appearances. It is a sad day today: Aaliyah, a celebrated American artist, died seventeen years ago today. As I mourn the loss of a great and innovative talent; I have been looking at a brilliant, decade-owning album that managed to elevate Lauryn Hill from Fugees member to a standalone star. Forty-three-year-old Hill has been in the worldwide media for the wrong reasons the last couple of years. I wonder whether there is music brewing and we will ever see a follow-up to her 1998 gem. I recall buying the album and excitedly headed down to the record shop to snap up something I have worn to death. Back when we discussed music and shared albums; The Miseducation of Lauryn Hill was a revelation and profound earthquake in my circle. I had experience of music from black American music but had not experienced anything like Hill’s magnum opus. The incredible passion and command throughout the album blew me away; the way she switched from fighting and primed to tender and revealing was like nothing I had experienced before.

IMAGE CREDIT: The Ringer

The fourteen-track record documents social injustice and the plight of the black population in America; personal strife and romantic distress; emancipation and liberation in the face of repression and judgement. One gets history and sociology; politics, feminism and civil rights in an album that never judges and pushes people away. It involves listeners of all races and classes and captivates you with its moods and incredible dynamics. There are interstitial fragments of a classroom – the opening gambit sees Hill absent from the role-call – and it is a nice narrative and hook that gives the album a real sense of immediacy and response. In a way, it is a concept album but not one that is stiff and off-putting. When I was in school (in 1998) I was hanging with other kids my age (fourteen/fifteen) and we were chatting about the best cuts from the record and quoting lines. My instant favourites were Doo Wop (That Thing) and Everything Is Everything but, in recent years, I have started to embrace Lost Ones and Final Hour.  Although there have been lawsuits and accreditation issues regarding The Miseducation of Lauryn Hill – the songwriter working with other musicians but not giving them propers – we cut that aside and revel in an album that is Lauryn Hill taking charge and setting a bar. She opened doors for many black musicians and left a huge legacy.

Hill became a media icon and was adorning the cover of magazines around the world. It was rare in 1998 to have a black female being proffered and celebrated – it is weird and alien today in many ways! Hill helped assimilate Hip-Hop into the mainstream and provide a female bent. Her debut solo album brought Soul (1970s) to the fore and pushed boundaries. It is a sloppy listen but its lack of technical perfection is its masterstroke: the freedom and easy nature mean it is more accessible than you’d imagine. Hill’s delivery is flawless and she has inspired legions of musicians. I will continue to offer my thoughts and perspectives but, as it turns twenty, The Miseducation of Lauryn Hill has been receiving tributes from the worldwide media. Kuba Shand-Baptiste, writing in The Independent, shared her experiences and love of Lauryn Hill:

“Gifting the world ageless, raw anthems, and endearing skits about life, love and spirituality, The Miseducation spoke with an honesty that only a select few in mainstream R&B could indulge in at the time”.

The author went on to look at Hill’s recent output: a yearning to record new material but a reputation that is synonymous with tardiness, controversy and an all-too-brief Fugees reunion. She says, in spite of that, The Miseducation of Lauryn Hill is being utilised and resonating with modern artists:

“…That aside, The Miseducation has had a rebirth of sorts this year. “Ex-Factor” was sampled twice – in Cardi B’s “Be Careful” and Drake’s hit feminist-lite anthem “Nice For What” – renewing conversations about the lasting legacy of the 1998 album…There’s a reason that this album refuses to fade into the background. So groundbreaking was it, with its penchant for infusing social commentary with R&B, soul and hip-hop beats, that you could argue that Lauryn’s The Miseducation, like Erykah Badu’s Baduizm the previous year, was one of a small selection of albums responsible for changing the face of soul and R&B as we know it”.

“Her voice, just as powerful as it was sweet, soared on every track on the album. “Nothing Even Matters”, a timeless, honey-dipped duet with D’Angelo, could have easily faded into the background had it been sung by someone else. Miss Hill’s vocals, pained yet understated, transformed it into something much more”.

USA Today were among the thanksgiving that concentrated on different aspects of the album’s brilliance/birth:

“…And, beyond its numerical success, “Miseducation” is a true expression of artistic greatness. Interestingly enough, the two songs from Drake and Cardi B, which serendipitously sent Hill’s music back to the top of the charts, both channel one of the album’s most compelling narratives -- the power and pain of womanhood. Released when she was just 23, “Miseducation” was famously recorded amid several defining events in Hill’s life -- her pregnancy and birth of her first child, the dissolution of the Fugees and her breakup with former bandmate Wyclef Jean -- that provided emotionally fertile conditions for her to record a classic.

In particular, Hill credited her pregnancy for giving life to this period of creativity. “When some women are pregnant, their hair and their nails grow, but for me it was my mind and ability to create,” she told Ebony in 1998. “I had the desire to write in a capacity that I hadn't done in a while. I don't know if it's a hormonal or emotional thing ... I was very in touch with my feelings at the time".

 

TIME looked at the album’s twentieth and how it exceeded all expectations. One would think Hill, stepping away from a successful band like the Fugees, would bury herself behind a team of producers and writers; play it safe and bring in a raft of collaborators! Instead, she demanded to be paid for every interview around the album’s promotion and was not going to be guided. She fought against control and bad decisions; stood out as this raw and defiant personality who was taking no sh*t and wanted to be remembered. TIME looked at the record and how the creator created change and conversation:

“The album bends expectations in other ways, too. On the masterful “Doo Wop (That Thing)” — which debuted at No. 1 on the Billboard Hot 100 in 1998 and won two Grammy awards the following year — Hill’s gaze is broad, and she cautions men and women against being exploited for sex and money. “Guys, you know you’d better watch out / Some girls, some girls are only about / That thing, that thing, that thing,” she sings on the tinny piano-backed hook. But also: “Girls, you know you’d better watch out / Some guys, some guys are only about / That thing, that thing, that thing.” Meanwhile, the strings-heavy “Everything Is Everything” is arguably a love letter to black communities and a meditation on injustice: “It seems we lose the game / Before we even start to play / Who made these rules?” Hill asks, extending a revolutionary sort of affection”.

PHOTO CREDIT: Getty Images

One can say this – the sassiness and boldness – was a media campaign and a publicity trick. It was not at all: Hill was on her own and not willing to be dictated to and have her material changed. Here is an artist who was speaking about women’s rights and race; she was discussing heavy topics and, in an industry that sees labels and managers control and dictate; Hill was not going to let this happen. TIME looked at other effects and ways in which Hill stood out:

“In this light, one thing that makes Hill stand out is how boldly she’s sought to take to task the very system that catapulted her to international stardom in the ’90s. In the past, for instance, she’s refused to give interviews without being paid for them, and once reportedly demanded $10,000 to participate in a cover story for Oneworld magazine. While some may see this behavior as excessive, you could argue that, for Hill, it was a show of power — or at least a means of trying to reclaim power from a system with a history of nickel-and-diming black artists. (This seems to be why Aretha Franklin often brought her payment-filled purse on stage with her, within eyesight.) Even something as outwardly bizarre and eye-roll inducing as Hill’s insistence on being called “Ms. Lauryn Hill” (her artist page on Spotify is listed as such) reasonably has meaning: It’s a way for her to command respect for herself when others fail to deliver it, and to do so specifically in an arena in which the status of female artists and rappers always appears to be up for debate — something Nicki Minajhas pointed out in recent years. The New Yorker’s Doreen St. Félix got it exactly right when she wrote earlier this year, “I resist the narrative that Hill is crazy or lost — that she has failed because she has chosen not to participate in” — or, I’d add, has chosen to subvert — “that which causes her strain”.

Many are stating how, in 1998, The Miseducation of Lauryn Hill was a dynamite that shook things up and opened eyes! In terms of women’s rights and racial tensions; one can argue we have gone backwards and not really made progress. There are fantastic black artists making changes and speaking loud but they are in a minority and there is a huge struggle ahead – so much inequality and a long way to go. Lauryn Hill’s incredible debut demands a follow-up. I wonder whether we will see that because, at a stressful and divided time, she is this endlessly-inspiring voice that could create some order and inspiration. Maybe it is the fact Hill has not followed up on her success and promise that creates the biggest impression. There is a chance a follow-up can be disappointing or take something away from her debut; maybe it will be ill-judged and lack any real bite. In any case; we have this incredible album that desires a brother or sister. Maybe, as The Ringer investigates, Hill’s age and youthful vigour might have inspired the album’s direction and quality:

“When an artist makes such a massively successful, groundbreaking, and format-defining work at a precocious age—think Mary Shelley writing Frankenstein at 20 or Orson Welles directing Citizen Kane at 25—it usually inspires the less precocious members of its audience (so roughly, everyone) to feel some combination of adoration and human inferiority: What were you doing with your life when you were 20, or 25, or 23? But maybe, too, there is something inherently youthful and thus reassuringly communal about such be-all-and-end-all swings for the moon. And so I like to temper this vision of an inhumanly precocious Lauryn Hill with the more human hubris of youth. “Lucky for us, like everyone in their twenties,” writes Kierna Mayo, the woman who famously put Hill on the cover of the preview issue of Honey magazine, “Hill imagined herself wiser than she really was”.

The piece also looked at modern black icons and the confidence of the contemporary female best. These are words I can get behind:

“The lesson is particularly resonant right now, this year. On social media, hyperbolic god-and-goddess worship of celebrities runs rampant. Queen Bey exists in a place so far above censure that SNL parodied what happens when a person suggests that something she’s done is anything less than great. Nicki Minaj, who is currently promoting an album called Queen, has been lashing out at anyone who dares question her greatness, sometimes sending her fan base to do her bidding and other times attacking constructive critics herself. But I was reminded reading Morgan’s book that criticism at its most measured and thoughtful can be an act of love, an act of seeing another person’s humanity and his or her potential for growth. Maybe this is what Hill needed—after all, Lauryn is only human. Perhaps that is how she should have been seen all along”.

I have vivid memories of The Miseducation of Lauryn Hill arriving in my white, working-class background – something that seemed so far away from Hill’s existence and what she was singing about. It didn’t matter, mind: I can relate to every note, in a way, and so too could my friends in the schoolyard. The album became a bit of a favourite and taught me so much about the world. I was more educated – ironic, given the fact I was in school! – and excited to dive into every song and note. As I mark the twentieth anniversary of the album with new appreciation and ears; I wonder whether we will see Lauryn Hill return to class and grace us with another biblical seminar. That is in her hands but, if you have not heard The Miseducation of Lauryn Hill; get in touch with a record that set a standard…

FEW have got close to touching!

FEATURE: One of These Days! How the Eagles’ Greatest Hits Compilation (1971-1975) Toppled the King of Pop’s Thriller as the All-Time Best-Selling Album

FEATURE:

 

 

One of These Days!

ALL PHOTOS/IMAGES: Getty Images 

How the Eagles’ Greatest Hits Compilation (1971-1975) Toppled the King of Pop’s Thriller as the All-Time Best-Selling Album

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IT is strange to think a greatest hits package…

that covers four years in a band’s career could outsell Michael Jackson’s epic album, Thriller. I always associate Jackson as being the artist who could not be beaten but it seems like a new wave of Eagles appreciation has seen their greatest hits record become the all-time biggest-selling disc. Compare Michael Jackson and the Eagles’ albums and there are big differences. Thriller is the album that finally got the King of Pop his throne and made up for a lack of award success following on from Off the Wall. That album gained huge critical acclaim but did not scoop as many Grammys as expected. Thriller, released in 1982, became an instant seller and was a step up from the 1979 smash, Off the Wall. Maybe, compared to other albums in his cannon, Thriller contained a few weaker moments. We do not often replay Baby Be Mine (on the first side) or P.Y.T. (Pretty Young Thing) (on the second side) but the nine-track album suffers no bloating and few wasted moments. The truly biblical tracks – Thriller, Beat It; Billie Jean and Wanna Be Startin’ Something – have gone down in the history books and, between them, saw Michael Jackson stand in a league of his own. Whilst there were various writers and producers that helped Thriller pop and resonate; it is the central performances from Michael Jackson that ensured the record sold by the millions!

Thriller has shifted over thirty-three million units (in the U.S.) and it seemed like its position as the best-selling album ever was cemented. It is no surprise Jackson’s masterpiece gained big applause back in 1982 and, given the fact it is a sleek and polished selection of Pop gems, is promise and brilliance will not dampen for a very long time. The tracklisting on the Eagles’ greatest hits selection is a banquet of treasures that, unfairly to Michael Jackson, is the cream of the band’s crop. Take It Easy, Lyin’ Eyes and Desperado; One of These Nights, Take It to the Limit and Tequila Sunrise are all Eagles classics and it is not the only album from the band in the top-ten best-selling albums. Hotel California, with the title-track as mysterious and popular as ever, is at number-three and there is a big appetite for the band. Look at the remainder of the top-ten and there are offerings from Led Zeppelin (Led Zeppelin IV), Pink Floyd (The Wall) and Fleetwood Mac (Rumours). The Eagles’ collection, Their Greatest Hits (1971-1975), has shifted five-million more than Michael Jackson’s Thriller and I wonder whether that balance will shift. The tussle between the top-two albums has been going on for a while now. Jackson overtook the Eagles in 2009 after posthumous popularity surged Thriller into the lead. Now, nine years down the line, and it seems like the leader is confirmed and in no danger of shifting.

I feel there is something old-school and romantic in the collection of songs. Maybe the Eagles, at their peak, represented an America that has been lost and forgotten. If Hotel California has been seen as a wild night with a band ripping up a hotel – there are numerous interpretations and theories – there is something settled, safe and memorable regarding the Eagles’ greatest hits. We can all hum the songs and recognise the brilliance at work. This piece asks why the Eagles’ greatest hits has overtaken Thriller and lodged into the mind of millions:

“…Now, it’s not a bad album by any means. “Take It Easy” is a good song, as are “Desperado” and “One of These Nights.” But how has a run-of-the-mill best-of collection sold more than 29 million copies? How did it, in 1999, manage to surpass Michael Jackson’s Thriller—a moon-landing of an LP—as the best-selling album in American history? (Thriller would reclaim the top spot 10 years later, following Jackson’s death.)”.

“When Their Greatest Hits was released in 1976, “best of” albums were a relatively new phenomenon in rock and pop music. The album’s initial success prompted a trend piece in The New York Times, one that included primers on nine other new best-of compilations”.

“It’s no wonder that record companies love to market these collections,” the Times’ Henry Edwards rationalized. “They cost almost nothing to produce; they sell with a minimum of advertising; and they are spared bad reviews by pop critics who, for the most part, ignore them.” (This didn’t prevent Edwards from slipping in some critical musings: “A genuine gift for melody coupled with vigorous playing and harmonizing occasionally enables the Eagles to overcome the vacuity of their recent hits.”) While Edwards understood why these albums were so beloved by labels, he couldn’t predict how fervently fans would eat them up”.

You may think it is a bit of an unfair advantage having a best of out there when Michael Jackson’s Thriller is an original studio album. I argue some of the Eagles’ best songs are not on that compilation but it is a solid collection of tracks that seem to connect. The fact so many of the songs have been endlessly played on the radio means they have embedded themselves in the mind and become the soundtrack to many of our lives. It is amazing to think, in a streaming age, we are still celebrating the album and have a lot of love for artists like the Eagles. I mentioned how America has changed and, in my view, the Eagles represented core values that have disappeared from the nation. One can hear something old-world and romantic in the best songs on that album; there is an easiness and open road that portrays a gentler and more hopeful America. Maybe many yearn for the past and turn to the Eagles because they have scored many of our lives. I wonder, as does this article, whether we can accurately determine what constitutes a world-class album and whether that mirrors cultural tastes/preferences:

“In 2018, sales numbers of any sort can seem like a quaint metric for success—the methodology for gathering and collating those numbers hasn’t caught up, in any satisfying way, to cultural shifts in how people actually consume music. It wasn’t until 2016 that the R.I.A.A. even agreed to tally on-demand audio and video streaming. (Now fifteen hundred streams count as one sale.) Yet, even long before streaming complicated the mathematics, accurately determining a record’s sales was something of a fool’s errand. Prior to the introduction, in 1991, of Nielsen SoundScan (itself a flawed point-of-sale electronic tracking system), the Billboard charts were determined by “store reporters,” or record-store clerks who would call the magazine and simply describe what was selling”.

IN THIS PHOTO: The Eagles

Do we really value the album as a concept and put much stock in the sales figures?! We are all so consumed by the streaming statistics and how many times a video is viewed on YouTube. Albums still sell but we rarely take a look at the top-ten and go and buy that album – why would we when we can hand-pick the odd song on Spotify?! The article I have just quoted asked whether we should care which albums are selling well:

“You might be thinking: But who even cares what is selling? The monoculture is dead! This is the age of personal autonomy! Commercial popularity is surely no longer a useful barometer of the national condition! But it’s also an era in which “influence”—as determined by the number of followers a person can amass on any given social-media platform—can be quantified with horrifying precision. This leads, on occasion, to a very modern sort of numbers panic. Earlier this month, the rapper Nicki Minaj released her fourth album, “Queen.” When it débuted at No. 2 on the Billboard chart, behind Travis Scott’s “Astroworld”—“Queen” sold a hundred and eighty-five thousand copies in its first week—she logged on to Twitter and posted a series of heated grievances, opining on the system and how it can be gamed. Numbers matter less than ever—until they matter the most”.

I wanted to raise this article because it is fascinating to see two big albums tussle and change positions through time. This Rolling Stone article whether the Eagles’ greatest hit has gained new reputation because of its influence on modern artists:

“The ubiquitous compilation influenced generations of future country stars. “A lot of younger country musicians did experience the Eagles [through Their Greatest Hits],” says Ken Levitan, a veteran country and rock manager who represents Kings of Leon, Trace Adkins and LoCash. “Every household had a copy of that record. If they didn’t hear it themselves, their parents were listening to it, so it became part of a fabric of their life. That record, and Skynyrd and Hank Jr., influenced the whole range of country artists”.

I can understand why Michael Jackson’s Thriller gained its millions-selling reputation and continues to shift: it is peerless and sees the Pop maestro at the top of its game; the songwriting is superb and you can listen to the entire album and not feel the need to wander off and skip through tracks. So, then, why do many people like the Eagles’ greatest hits – given that so many find a lot of the songs hard to swallow?! This piece offers some guidance:

“That still doesn't answer the major question: Why did The Eagles benefit so much more than anybody else? If yuppies were re-buying their favorite records to relive the music of their youth, shouldn't a plethora of similar albums be threatening their record? Yet outside of a similar Billy Joel collection that has now exceeded 23 million in sales, no other greatest-hits record has approached the dominance of "Their Greatest Hits." (Of course, Billy Joel's sales figure is assisted by the rule that counts each sale of a double album as two units.)

More credit must go to the changing sounds of country radio in that time period. Steel guitars and southern accents gave way to guitar solos and bigger drum sounds. The gigantic country acts of the time, most notably Garth Brooks, acknowledged the influence of songs such as "Take It Easy" and "Lyin' Eyes," and a 1993 country tribute to The Eagles topped the charts with more than three million in sales. This was a previously untapped market for the band, and a greatest-hits compilation certainly would be a perfect entrance”.

I am one of those people fascinated by the album and why some sell big and others do not really catch on. I wonder whether Michael Jackson and the Eagles will tussle and battle for those top-two spots for the rest of time? You have to ask which other albums can get near to them and would be able to budge their crowns – nothing from modern times has any chance of getting anywhere near! I think the Eagles’ greatest hits package seem to hold a lot of sway for modern artists in Pop and Country. There is timelessness to the material that seems to puts us in a better mood; a sense of satisfaction and reminiscence that other albums do not hold. Whatever the reason behind the success of the work; I have approached the album with fresh ears and appreciation. In an age where we care less about the album and need to see a reversal in our habits; I am happy to throw light on a couple of records who have been battling for the best-selling spot for years and years. Maybe Michael Jackson will come back and put Thriller back on top but, right now, the Eagles’ four-year-spanning songs of solid gold…

IS outstripping anything else out there.

FEATURE: Grace at Twenty-Four: Why Jeff Buckley Is More Influential Than Ever

FEATURE:

 

 

Grace at Twenty-Four

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

Why Jeff Buckley Is More Influential Than Ever

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THERE are few musicians I love more than Jeff Buckley.

PHOTO CREDIT: Mikio Ariga

Maybe Kate Bush steals the honour of my absolute-all-time-brilliant-and-best musician but there is something about Jeff Buckley that continues to make my heart skip a beat! He died in 1997 but, since then, he has managed to make a gigantic influence on the music scene. It is like the old Jazz masters who gained modest applause during their lifetime: the adulation and respect followed when they were not able to appreciate it. I have mooted, in previous Jeff Buckley-related pieces, how the man would have dealt with his current fame. He would have been pleased to know his music has endured and continues to get radio play and respect. I think the modern music would not suit his needs and personality. Even before he died, he bemoaned the stadium gigs and not having access to intimate spaces – he performed anonymously in some venues to get back to his roots and escape the sort of places he was expected to play. I feel future albums and movements would have had the obligatory stadium tours and endless T.V. gigs. He would be (if he had lived) in his fifties now so would have been enjoying the slightly more settled life of a middle-aged musician. Given the fact there was huge attention paid to artists like David Bowie and Prince when they hit that age; I wonder whether he would have had much rest and chance for privacy...

In any case; one of the reasons I hold Jeff Buckley in a special place in my heart is that honesty and warmth he gave. There was no ego and the need to hold back. Listen to any of his interviews and you are greeted by that soft voice and knee-buckling sound. He often flirted with the camera and pouted; sometimes he was shy and cool – at others, he would be quite angry or baffled. Maybe there was an air of playing up to expectations and projecting a more mysterious version of himself but listen to the way he talks and projects and you get a pure and beguiling artist who just wanted to make music and not be subjected to the glare of the media. I guess you cannot be a musician, at any age, and escape the rumours and endless demands. There is one reason why Jeff Buckley will always be in the news: his incredible debut album, Grace. Technically, it is his only studio record – he was starting work on his follow-up but died before completing it – and stands as one of the greatest records ever. Every time I interview an artist and ask for their influences; you always get a nice mixture of names. Jeff Buckley’s Grace is the album that, time and time again, keeps coming up.

I am not surprised Grace continues to compel musicians some twenty-four years after its release. Released through Columbia on 23rd August, 1994; Grace was an unusual album that did not fare too well. There were some good reviews but sales were pretty poor. 1994 was a year when gritty and bombastic albums were gaining the most critical acclaim. From Oasis’ Definitely Maybe and Blur’s Parklife to Hole’s Live Through This and Soundgarden’s Superunknown; Manic Street Preachers’ The Holy Bible and Portishead’s Dummy – it is, perhaps, music’s finest year but one where something harder and more ‘exciting’ was being favoured. Perhaps it was the transition from Grunge and the reaction to changing tastes; perhaps the role of the sensitive singer-songwriter was limited and ahead of its time. Tori Amos released Under the Pink in the same year but there was something strange and dark enough to impress the public and fit into the scene. Grace was the outsider that provided alternatives and options for those seeking something more sensual, emotional and tender. Buckley, on the album, showed plenty of passion and intensity in certain songs – Grace and Eternal Life – but it is the range of moods and extraordinary songwriting that, for some reason, evaded critical love. One need only look at Grace’s cover to realise what you were in store for: a brooding hero whose mystique and beauty would infuse every note of the album.

PHOTO CREDIT: Anton Corbijn

I feel the lack of genuine Rock bands and a solidified, central music movement – like Britpop – means the landscape is more varied and less cohesive. One cannot identify a particular taste and preference in today’s music. If 1994 was defined by its Britpop wars and brilliant American guitar music; today, there is nothing definitive and identifiable that artists can use as a guide. Buckley was not going to compromise and make something Nirvana-like or Pavement-sounding. He was outside the Grunge/Alternative nucleus and, instead, was taking guidance from artists like Joni Mitchell and Edith Piaf when creating his debut. Look at documentaries made regarding Grace and you get to see Buckley and his band entering the Woodstock space and all the magic coming together. Personnel and commentators noted how Buckley knew exactly what he wanted from his music and would often throw in strings and unconventional sounds to elevate a track. Many artists would play it safe or follow the scene: Buckley was an innovator and curious musician who wanted the music to stand out and was true to who he was. There are subtle shifts and turns but it all adds to a majestic and era-defining album. 

From the rush and ecstatic power of Grace – a song about true love and not fearing mortality – to the weaving and wordless runs of Mojo Pin; the heartache and loss of Last Goodbye and the fantastic cover versions (including Lilac Wine); it is a banquet of brilliance and wonder that could not have come from any other artist. I will talk about the legacy of Hallelujah but I have sort of side-stepped my original question. The reason so many modern artists are discovering and name-checking Grace is the role of more sensitive and evocative songwriting. Maybe the changing role of masculinity and the male singer-songwriter means there is greater room for an album like Grace. 1994 was a bad year for a tender and richly textured L.P. With the likes of Oasis and Soundgarden claiming big focus; Jeff Buckley delivered this terrific debut album that had nothing in common with its peers. Maybe it would have fared better in the 1960s and 1970s but it took a while for the music world to open its eyes to Buckley’s brilliance and voice. Today, there are a lot more albums like Grace and one can attribute that opening to Jeff Buckley. Artists are less afraid of being sensitive and exploring different areas of music. Whereas, back in 1994, bands were more popular than singer-songwriters; today, that balance has shifted and I wonder what would happen if Grace had been released today.

One suspects there would be the odd, criminal two-star review and some would turn their noses up. It would be a much more instant hit and see Buckley get his face all over T.V. Maybe that would be a poisoned chalice: a popular album means that exposure and many would put soundbites and personal life over the quality of the music. Look at other interviews Buckley conducted around 1994/1995 and you can see interviewers coming back to the same old subject. Whether it is his late, estranged father Tim Buckley or something else personal – it must have been tiring hearing the same things and always being compared to his dad. Grace is an album that has plenty of unanswered questions and deep thoughts; sweeping moments and some of the most beautiful music ever recorded. Conspiracy theorists and the media went nuts when Buckley drowned in 1997 and asked whether he foresaw his death in 1994. Songs talking of waves and water, perhaps, a sign of what was to come. The truth is that none of those songs foresaw anything but that is the way people’s minds work! Consequence of Sound, writing last year, encapsulated what Grace meant and why it delivered such an enduring and empathic punch:

“There is no replacement for the kind of singing Buckley does on Grace. It has an uncanny ability to summon memories of loss, a quality that’s almost intrinsic to its sound. But it’s also an instrument of blunt force, every high note finding the frequency of heartbreak, articulating how love feels at its most devastating.

 IN THIS PHOTO: Jeff Buckley with Nusrat Fateh Ali Khan, in New York, in 1995: Buckley called the Pakistani legend "My Elvis"

Yet for all the power contained within his voice, Buckley’s presence as a songwriter is the real reason why Grace endures. There was an almost magical innocence to Buckley; in interviews, he answered questions with soft, dreamlike speeches, and he was known for carrying around a sketchbook brimming with doodles and poems (many of which would later evolve into songs). He cared about music — both listening to and making it — with a fierce conviction utterly at odds with the slackerdom of his generation. This rare blend of innocence and intensity characterizes every scrap of music Buckley produced in his short career, from his grandest compositions to his barest demos.

We know this because, in the more than two decades since Grace was released, countless covers and demos have been dug out of the corners of Buckley’s career. In all of these posthumous releases — including the recent You and I — he can be heard finding his way as an artist, searching for his own sound through the music of his heroes. As enjoyable as these collections are, none can quite recreate the synergy that happened on Grace. It’s an album that Buckley crafted with passion, and it encapsulates everything that made his musical style so special. Some of the musicians and artists who worked alongside him in the studio still grapple with how Grace came to fruition”.

I agree with everything written there but would suggest post-Grace recordings are worth a look. From the songs on SKETCHES for My Sweetheart the Drunk – Buckley’s second album was to be called My Sweetheart the Drunk but he drowned as the band flew out to meet him and record – and his live albums; there is so much material that gives you a complete impression of the man and master. Maybe Grace is his defining statement but it is not the only thing Jeff Buckley put out into the world. Many people associate him with one album and, in many cases, a single song. Hallelujah has been much-covered since Buckley’s definitive version of the Leonard Cohen track (which he released in 1983) but it has never been equalled. The track is the mixture of everything Jeff Buckley was about. Every emotion and ember of his being went into making that song what it is and, as such, I argue there has not been a pure and transcendent like it. It is a sensational delivery that makes you shiver and takes you somewhere special. Even if the remainder of Grace were weak and inferior, many would still hold the album up as a treasure. The fact there are so many wondrous moments in the album makes it astonishing critics missed the boat in 1994. It is also no shock to see the record making an impact and finding fresh eyes twenty-four years after its release.

The Irish Times, writing in 2014, investigated Buckley posthumous work and stated how, in no uncertain terms, everything leads back to Grace:

“As with Tupac Shakur, the posthumous myth is often much different to what happened when Buckley was actually still around.

In terms of assessing Buckley’s work, all roads lead to Grace, the document that he gave us in August 1994. He had made various statements of intent before then: he had played in experimental rock combo Gods and Monsters with Gary Lucas, before striking out for solo turns in New York’s cafes and coffee houses, which produced the Live at Sin-é EP. But Grace was the big calling card.

The recording emphasised his vision for emotionally driven rock music with sweeping string arrangements. Aside from some cathartic, lovely original tracks, his debut also featured that mesmeric version of Leonard Cohen’s Hallelujah, a beautiful take on Nina Simone’s Lilac Wine, and a stunning ambient, choral version of Benjamin Britten’s Corpus Christi Carol. The album was a sign that Buckley was on the way to much greater things”.

So many people are coming into music because of Grace and what Jeff Buckley gave to the world. It is a record that never ages and is never too personal: everyone can understand what it is about and relate to the lyrics. The musicianship and incredible nuance mean even those who experienced the album first time are picking up on new things!

The genius behind the music might be gone but, more and more, we are seeing songwriters compared with Buckley; Grace is mentioned and it seems like the fascination will never end. Grace was not part of a scene or captured a single time in musical history. It was a stunning and unique perspective of an artist who was making music for people rather than the scene; someone who was happy to create the way he wanted and not compromise and negotiate. That sort of attitude and boldness did not translate to huge sales back in 1994 but, more importantly, the enormous legacy and reputation it has gained since then are more important. Many of the artists who created 1994 albums have either passed, retired or made less-effecting work. Buckley’s debut remains cocooned and protected as this sublime piece of work that cannot diminish and weaken with age. I think we need to mark the album with each passing year but look backwards and forwards. Visit the Live at Sin-é collection (the Legacy Edition) and these are recordings made in a New York coffee shop in 1993 – just before Buckley signed a record deal and headed to make Grace. It is the man performing in a space he felt at-peace in and wanted to return to. You can hear embryonic versions of Grace tracks taking shape and the maturing musician causing jaws to drop. The post-Grace recordings are hit-and-miss but there is ample evidence to suggest the follow-up album would take in a sharper and more Rock-driven sound. It is upsetting to realise Buckley would have made many great albums and, let’s hope, still hitting the road today. Rather than mourn his death - and the lone studio album - it is a great time to listen to Grace – and the documentaries and interviews conducted around the time – and discover an artistic statement like no other. The first lines of Grace’s title-track speak: “There’s the moon asking to stay/Long enough for the clouds to fly me away”. It is a shame the man who spoke those words is among the stars but, as we listen to his timeless masterpiece it is true…

PHOTO CREDIT: Mikio Ariga

HE will never leave our hearts.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Taliwhoah/PHOTO CREDIT: Undine Markus

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

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I am not giving up on summer…

IN THIS PHOTO: The Aces

and feel this collection of female-led music is the perfect way to keep the sun going and the heat rising! I guess we have another few weeks of summer so, until then, I am going to provide the perfect soundtracks to keep the body moving and the positive high in the mix. Included in this latest outing are Pop gems, R&B seducers and some brilliant, harder moments and some of the best music from new artists. Some of the songs are a year or so old but are perfect when matched alongside the brand-new and unfamiliar. Sit back and enjoy another selection of brilliant tracks that are definitely going to…

IN THIS PHOTO: Lauren Ruth Ward/PHOTO CREDIT: Tess O'Connor

KEEP the great weather flowing!

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

_____________

PHOTO CREDIT: Adeline Mai

The Aces – Fake Nice

Amara La Negra - Insecure

PHOTO CREDIT: @exquisite_eye

Taliwhoah - Sweetest Escape

PHOTO CREDIT: @mandorlalondon 

Lial – Heart Scars

PHOTO CREDIT: Leslie Colon

Ashe – Choirs

PHOTO CREDIT: Paul Bellaart

Sofie Winterson – Military Man

Empress Of – When I’m With Him

Your Girl Pho – I Can’t Take It

PHOTO CREDIT: Marcus Maschwitz

The Wild Things – Loaded Gun

bülow – You & Jennifer

Lauren Ruth Ward – Sideways

Jasmine Sokko – HURT

Ivy Adara – Rebels

PHOTO CREDIT: Will Edgar

Sloan Peterson – Our Love

SAARA – Sangria

PHOTO CREDIT: @Jan Lenting

Inge van Calkar - River

Fears – Blood

Eves Karydas – Damn Loyal

Clara Mae – Rooftop

KT Tunstall - The River

Liza Owen – Fallin

Indiana – Paper Cut

Eva Lazarus – Bad News

Hannah Wants (ft. Kate Loveridge) – How Long

PHOTO CREDIT: Cameron Brisbane Photography

Zoe Graham – Industrial Strength

INTERVIEW: Ricky Rebel

INTERVIEW:

Ricky Rebel

___________

THE fascinating and candid Ricky Rebel…

talks with me about his new single, The New Alpha, and what its story is. He tells me about his experiences with Michael Jackson, Britney Spears and Adam Lambert; being inspired by Madonna and the albums mean the most to him – the songwriter talks about his future and what we can expect going forward.

The American sensation discusses his bisexuality and support of the L.G.B.T. community; a gender-fluid society and not subscribing to the myth of ‘men need to be men’ – he ends the interview by selecting a classic Madonna cut.

____________

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

I am doing well. My week has been productive. 

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

I am a Billboard Top-40 recording artist who has toured with Britney Spears. Notable tracks on the Billboard charts include Boys & Sometimes Girls - a bisexual anthem - and If You Were My Baby - an '80s-inspired love song that has Prince’s actual synth on it. I am also a strong advocate for freedom of speech and expression and L.G.B.T. rights. 

 

The New Alpha is your current single – it is from the album of the same name. What can you reveal about the song’s stories and the themes address on the album?

The New Alpha is a record about freedom.

On the album, I sometimes express myself in a way that can be seen by some as politically incorrect. The New Alpha doesn’t live in a box of labels that society tries to impose on him: he lives outside of the box. The themes I explore on The New Alpha are sex, power; materialism and love. My favorite track is called Magic Carpet. It’s a sexual song with Middle Eastern undertones. 

Style and creating your own image is important. We have had some great musical style icons like David Bowie and Madonna. Who do you draw inspiration from?!

I draw inspiration from the two artists you just mentioned. I am lately inspired by political figures who are out there speaking their minds for free speech. I think it’s important that we fight for speech that we disagree with just as hard as speech that we agree with. One day, it might be your speech that is repressed. 

 PHOTO CREDIT: Kentö

I believe you are friends with Adam Lambert. How did you two meet? Is it true you raised Adam’s closet when you needed a stage outfit pretty quick?!

Adam and I met at the clubs in Downtown L.A. We used to gather a group of friends, dress in wild outfits; wear makeup and dance the night away. One night, I was headlining at the Roxy in West Hollywood and had nothing to wear. I called Adam for help and he let me raid his closet. He is a very generous guy. In return, the only thing I had to do was re-feather his jacket. 

Do you think society wants ‘men to be men’ and not show their feminine side?! What do you think about that and the rise in gender fluidity?

I think society doesn’t even know what a real man is. A real man is a man who can be authentic with who he is. A real man tells the truth. I identify as all-male, all-man every day. I can wear makeup, high heels; a dress, stockings; a suit and tie (sometimes at the same time) and it has nothing to do with my gender. These things are an expression of my creativity. I am absolutely not gender-fluid. I do not turn into a woman when I impersonate one. I’m acting. 

Has your bisexuality ever caused issues in music? Have you been told to hide your sexuality away?!

Absolutely. I was told, at the beginning of my career, to stay in the closet or else I would never make it. I was even locked into a sound booth while someone read Bible verses to me informed me that I was going to Hell. I knew that, one day, being honest and open about my bisexuality would be seen as a strength, not a weakness. 

Do you recall when you got into music? Which artists did you grow up around?

I started singing professionally immediately after I started taking dance classes at eleven-years-old. Before that, at five-years-old, I would sing Annie and Grease every single moment of every single day. Growing up, my mother and father loved The Beatles and Queen. They were always playing great music like that during my childhood. 

I am a big Madonna fan. Is it true you have worked with her label? (My favourite cut of hers is Take a Bow). Do you have a personal standout Madonna song/style period?

I was signed to Maverick - Madonna’s record label. My favorite era was The Blond Ambition period. I remember taping the entire show and performing it on-repeat in my room. I loved the fact that she would miss notes and not perform some of the dance steps perfectly, but she did everything with beauty and confidence. She was my hero when I was growing up. 

Is it true Michael Jackson gave you some advice? What did he say to you?!

Before I signed to Madonna’s label, I was signed to Michael Jackson’s label MJJ records. He told me that I should stay away from girls because they break up bands..

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

I want to headline a ten-city West Coast tour in the U.S.A. with other talented artists. 

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

Learning that I charted on the Billboard chart was an amazing day! I loved being invited to perform at the Cannes Film Festival. The whole trip was like a dream. The people were beautiful, warm and welcoming. They loved Boys & Sometimes Girls. 

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

Prince - When Doves Cry

That album is the closest thing to perfection.

Madonna – Music

That album taught me how to produce. It’s simple in its production style. Mirwai is a genius.

David Bowie - Reality and Low

David Bowie taught me to love my voice. He sings in a lower register like mine. He was the first rock-and-roller that I could identify with vocally. 

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

I would love to open for Britney Spears again. She was such an amazing person to be on tour with. She’s a lot of fun. Plus, we could talk about memories of being on tour together. On my rider, Britney and I would have to do Pilates together in my dressing before every show. 

How important is it being on stage and playing? Is it possible to describe the emotions you feel when connecting with fans in the audience?

Performing is everything to me. I feel most alive when I am on stage. The connection you feel is the closest thing to oneness. When I performed at New York City Pride this year, people were exuding so much love. It made me cry. The L.G.B.T. community has fought so hard to be where we are.

What advice would you give to new artists coming through?

Stick to your original idea of who you are and what you stand for. People in the industry will push and pull you in many different directions and waste your time. Don’t let them. Stick to your first version of who you set yourself out to become. That is the best way to succeed. 

 IN THIS PHOTO: Saint Heart

Are there any new artists you recommend we check out?

Every week, I go live on Instagram, Facebook and Periscope (@RickyRebelRocks) at 12 P.M. P.S.T. for all of my fans on a show called #TuesdaysWithRebel. I have featured some great artists that I am currently producing and/or just great friends with like PrettiBoiRoq, Glass Battles; DJ Hector Fonseca; Davis Mallory, Saint Heart; Twinkle Time etc. - all people that I love and admire. Elena Nazaroff, my stylist, also gives them a mini makeover. It’s a lot of fun. 

IN THIS PHOTO: Glass Battles

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

My chill time consists of working out, doing Pilates; listening to political podcasts (relaxing to me, believe it or not), getting facials; eating, napping and having sex. That’s a great way to unwind.

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).

Erotica - Madonna. That’s my spirit animal song

____________

Follow Ricky Rebel

Official:

http://rickyrebelrocks.com/

Facebook:

https://www.facebook.com/RickyRebelRocks/

Twitter:

https://twitter.com/rickyrebelrocks

Instagram:

https://www.instagram.com/rickyrebelrocks/

YouTube:

https://www.youtube.com/channel/UCpgTD3PBCHJsn_eO79DeYSQ

SoundCloud:

https://soundcloud.com/rickyrebel

FEATURE: The August Playlist: Vol. 4: I’ll Park in One of the Loading Zones and Call Your Mother…

FEATURE:

 

The August Playlist

 IN THIS PHOTO: Kurt Vile 

Vol. 4: I’ll Park in One of the Loading Zones and Call Your Mother…

 __________

THIS is an interesting…

IN THIS PHOTO: Anteros

and eclectic weeks in terms of new music. I have been getting to grips with all the various sounds coming out this week. There are new cuts from Kurt Vile and Villagers; Anteros and Disclosure have all released fresh music. Whilst there are few big-hitters and mega offerings; it is a consistent and varied week that should please most people out there.

Have a listen to all the gems and diamonds that have come out and I am sure you will hold many of them dear to the heart. A packed and busy week for music that is guaranteed to get into the head and lift the spirits!

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

___________

Kurt Vile – Loading Zones

Villagers – Fools

Anteros – Call Your Mother

Pale Waves – Eighteen

Menace Beach – Satellite

Disclosure – Where Angels Fear to Tread

Empress Of – When I’m With Him

Interpol – If You Really Love Nothing

The Chainsmokers (ft. Emily Warren) – Side Effects

Danny Ocean – Epa Wei

Courtney Barnett – Charity

LANY – I Don’t Wanna Love You Anymore

Cardi B (ft. Kehlani) - Ring

Christine and the Queens - la marcheuse

Grace Carter – Why Her Not Me

Vivienne Chi – Under Your Skin

CAGGIE – Thinking About You

KT Tunstall – The River

Liza Owen – Polite

Spring King – Paranoid

Indiana – Paper Cut

PHOTO CREDIT: Hysteria

Jain – Oh Man

Bill Ryder-Jones - Mither

MoStack – Liteness

Seinabo Sey – Good in You

Fall Out Boy – Lake Effect Kid

Zoe Graham - Industrial Strength

Hero Fisher – If I Die and Nothing Happens

Kodaline – Head Held High

Kiiara – Gloe

LAUREL – Adored

Jack Vallier - Anyway

Fyfe – Be There

Blood Orange – Chewing Gum

Barns Courtney – “99”

Eves Karydas – Damn Loyal

White Denim – Performance

Sivu – Submersible

TRACK REVIEW: INBAL - Hail in Madrid

TRACK REVIEW:

 

INBAL

Hail in Madrid

9.3/10

The track, Hail in Madrid, is available via:

https://www.youtube.com/watch?v=oIkaxdXvHuA

GENRE:

Electronic

ORIGIN:

Tel Aviv, Israel

RELEASE DATE:

12th July, 2018

_________

WHEN considering INBAL…

and her music; I am compelled to look at various things and understand how everything comes together. I will talk about Hail in Madrid soon but, right now, I wanted to study atmosphere and mood in songs; strong visuals and videos that stand in the mind. I will then look at artists who are hard to categorise and sounds that have a unique melodic flair; themes that are creeping into songs and being investigated more by musicians; a quick peek at music that can settle you and make you think at the same time. INBAL has based herself in a studio and been working on an E.P. The multi-linguist from Tel Aviv has been busy and working on some great material. Following from previous singles, Right Mistakes and Almost Twenty, she has been described as an artist to watch and someone who stands aside from the crowd. I listen to INBAL’s music and there is so much working away. It is not your average Pop or Alternative song and, each time you listen to the music, you take something new away. It is important to infuse a sense of mood and emotion into everything you do. One of the reasons INBAL has gained praise is because of the sense of beauty and passion entwined in every note. You can tell how much energy and thought goes into line and expression. She is a songwriter who is not aiming for the charts and anything that could gain quick streaming figures and popularity. Rather than compromise integrity and go for an easy option; INBAL makes sure the listener is immersed in a world of magic and mystery. I listen to her work, like Hail in Madrid, and you get that unique expression and fantastic sound. INBAL pitches the mood between dreamy and real; a clash of states that will have a different effect on different listeners. It is a real trip, in a good way, seeing what she produces and how it all comes together.

You may say creating atmosphere and mood is not that important: if there is a hook or big chorus then that is okay. I think there is a lot more pleasure and emotional impact when you find a song that has so much working away and a fantastic soul. It is brilliant diving into a brilliant track that takes your head and heart in different directions. INBAL is an artist who considers how the song(s) will strike the memory and imagination. I listen to her work and it is the sort that rewards repeated listens and study. There are not many artists in the mainstream that take care when it comes to nuance and real depth. I have been searching for artists that go out of their way to provide intriguing songs and break from the herd. INBAL is among the artists right now doing something amazing. Critics and journalists have backed her work and celebrated its majesty. It is hard writing a song that has a unique purpose and sound and then following that up with something equally special and stirring. INBAL is someone who can show consistency and not let her standard drop. I am amazed how she manages to provide such engaging and thought-provoking every time and not seem familiar. By that, each of her singles has their own skin and colours. Alongside this mood and emotion, you get plenty of drive and physicality. It is not all about playing it calm and taking the lights down. When you listen to Hail in Madrid; your mind starts to conspire and you get all these different scenes forming. You can watch the music video but I have switched that off at times and cast my own interpretations. Connecting video and audio is something a lot of artists struggle with. It can be difficult, on a budget, creating something complete and memorable. INBAL has accompanied her latest track with a great promotional film.

Many say music videos are dying and not as important as they once were. Maybe we have passed the glory of MTV and when music videos ruled the land but they are still important. I feel videos can add new dimensions to songs and it can bring something new and unexpected. I am one of those people who loves to see a great video and see whether it connects with the original song. If the artist gets it right; you can take something away you hadn’t expected and it is a great thing. INBAL ensures her videos capitalise on the potency and grace of her music and matches that with astonishing visuals. There are few fireworks and big scenes but you feel, when watching one of her videos, you are connecting with an artist who wants to remain in music for a very long time. She expends so much attention and work; taking care to ensure the maximum amount of emotional engagement and effect is produced. Music can be quite a soulless place where we listen idly and never really question its origins. Disposability is coming in more and more and I fear we are losing sight of music’s origins and purpose. Given the digital age, more of us are abandoning physicality and stuff like music videos. I want to return to the days when we were interested in music videos and actually questioned how the music came together and feel something pure – stopping in our tracks and letting the sounds sink in. Today, we are so quick to dismiss and can whiz past a song without giving it a moment’s notice. INBAL realises there is a problem in the modern age and we are all becoming less involved in music. Rather than pander to that and go for something cheap and simple; she aims at those who have longer attention spans and prefer their music more compelling and detailed. That reflects in the music videos.

It has been many years since we saw any classic music videos – maybe Childish Gambino’s This Is America ranks alongside the very best out there. Hail in Madrid is about the fine line between dreams and being awake; our perceptions of surreal events that happen in dreams and the illusion of being awake whilst we are actually asleep. She puts so many different emotions into the lyrics and takes care to craft songs that are meaningful and stunning. The videos are given the same amount of care and attention. You can listen to a song of hers and get your own visions but, when looking at the videos that accompany them, everything slots together and seems perfect. It might be risky taking that time to really produce great music and not following what so many others do. Maybe INBAL will not get the same hits and streams as the big Popstars but she appeals to those who are gripped by music’s substance and core. You can watch a video from INBAL or listen to a song and strip it away and take it apart. You wonder how it was all put together and how quickly it all formed. I shall move onto another subject but I have not really covered Israel and Tel Aviv. I have featured artists from this part of the world before and always find something different. You get a distinct British and American sound and way of working. If you look at music coming from Tel Aviv; there is something incredible and strange coming through. Many of us do not listen to music from Israel and consider the nation’s potential. I am a fan of the county and feel Tel Aviv especially is a fantastic place to discover fresh sounds. The city is a paradise for those who want to be inspired and find new impetus for songwriting.

The beautiful scenery and history feed into the blood and the people are friendly and wise. You have different cultures and religions alongside one another; beautiful vistas and great music venues. There is no one set ‘sound’ in Tel Aviv: one experiences a spectrum and so many different ideas and movements. INBAL has her own sonic flair and she seems to borrow from the heartbeat and lungs of Tel Aviv. Her upcoming E.P. was produced and mixed between Brazil, Helsinki; London, Tel Aviv and Seoul – and the U.S. I am a new follower of INBAL and what she does and can see her evolution and rise. There is nothing to say she cannot ascend to the big leagues in time and rank alongside the modern best. I have mentioned her visuals and music and how there seems to be this close relationship. INBAL’s unique style and melodic sensibilities are among the reasons why the music settles in the brain and endures. Rather than produce Pop bangers or compositions that are soulless; you can hear a distinct INBAL sound and note a musician that takes care to ensure each song is as striking and stirring as possible. I am looking at musicians now and there seems to be a general break away from songs of love and relationships and something more original. There are still those who focus on the ordinary and familiar but I love artists who step aside and write something that is a bit more unexpected. INBAL’s latest track looks at that blur between dreaming and being awake; not quite knowing whether you are experiencing something real or it is part of a dream. It may not sound like the most obvious thing to write about but dream-like states and our consciousness is coming more into music. Maybe it is a rebellion against commercial subjects but many of us want to find artists who document the new and sensational. Many of us, too, experience these moments where we are in a dream or cannot distinguish between reality and the surreal.

Every time a songwriter comes out with something that challenges the mind and takes you somewhere special; I often wonder how they will follow it up and keep away from rather stale and basic themes. INBAL would have experienced heartache and disappointment but, if she writes about it, she will not employ basic lyrics and copy everyone else. That lyrical intelligence and imagination is already set so it makes me urge INBAL to have a look at past heartache and mine that for gold. That sounds rather exploitative and cruel but I would love to see how she tackles this side of life and what the video will look like. More and more artists are moving away from love and investigating the human mind. The state of our being and the conscious vs. the unconscious is coming into music more. Maybe it is a recent development but I am pleased to see a more mature and interesting sensation come into the fold. I will move on to look at Hail in Madrid but, right now, I wanted to look at songs and artists who can calm the bones and keep you safe. One other reason why I love INBAL and her work is (that you) can dive into the music and escape. There is so much working away and you always feel comforted and engaged. I can listen to one of her songs and get carried away on a wave but, at the same time, think about my own life. I can see big things come for INBAL and I feel she will enjoy a long career. If you are not familiar with her work and why she is so lauded; make sure you take some time away and dive in. Many of us have stressful lives and tough times and, whilst it is good listening to music with energy and verve; I am always drawn to something a little more tender, alluring and dream-like. I can listen to an INBAL song and everything sort of melts away.

Maybe I have spoken a lot about aspects of INBAL’s music and how it comes together but, right now, it is worth looking at the song in question. I have seen a lot of press around Hail in Madrid and other people giving their impressions. It is always strange seeing how others view a song and whether they get the same things out of it as you. Rather than let them guide your own interpretation; I use critics are a general guide and somewhere to start. INBAL makes sure everyone gets something from her music. There is an odd mixture of calm and chatter in the opening moments of the song. You get acoustic guitar and a gentle strum but there is childish conversation and chat that fuses with that sound. The heroine comes to the front and talks about some sort of cosmic force and dream-like feeling. She can feel the rhythm and sensation of someone’s feet near her. At the start, you are not sure whether she is talking about a dream itself or that odd feeling when you are half-awake and not sure whether everything is real. The composition adds a nice feeling of confusion and dreaminess that affects how you view the song. I was caught by the immediacy of Hail in Madrid and how it made me feel. Once settled and pure; it starts to provoke feelings and interpretations. I was looking at that feeling of just waking up and having some of your dreams there. By that, I mean you think of something vivid and fantastic and it sort of remains once you wake up. Maybe the heroine is feeling connected with a lover or pining for something and that manifests itself in the form of a dream. She is struggling to draw a line between the dreaming and awakened state. I guess the subject of her thoughts might be fictional but I think there are unresolved issues and feelings that are working their way into her dreams.

There are those who feel there is no meaning in dreams and symbolism does not mean anything either. You can ascribe a meaning to dreams but, in reality, dreams is the unconscious mind working through problems it could not solve in the day; a random collection of thoughts and ideas that have no deeper significance. INBAL is talking more about consciousness and being wrong or right; she wants to be home for the night and I wonder, as I hear the words, whether we are witnessing a dream or something real. The distinct accent of the subject brings gravitas and new emotions to the song. Rather than feel disconnected and uninvolved with the song; you get right to the barrow and walk alongside the heroine. The music and lyrics have their own mindset but they connect wonderfully. In the background, you have that child-like chat and echo; you get ethereal notes and a soundscape that seems to separate the body and mind. The vocal is quite calm and restrained but holds plenty of weight and potential. The lyrics are never clear so you can definitely assert where they were born and what drives them. INBAL lets the listener come to their own conclusion and go in whatever direction they feel matters most to them. I have provided my feelings but, in truth, there is so much working away. One gets impressions of a deadly smile and lies; a strange explosion in silence and the heroine falling back again. Maybe she is trusting someone who cannot be trusted and looking for solid ground. Given the fact Hail in Madrid looks at the conscious and dreams; I keep wondering whether the entire piece is part of a night-time fantasy. It is interesting piecing things together and coming to your own conclusion. One of the reasons I wanted to investigate the song is because of all the colour and emotions working away.

The backdrop is not merely there to score the track and provide little impetus. The score is as integral and meaningful as anything in the forefront. INBAL weaves something beautiful and emotive together that, before long, makes its way to the front and get into the heart. The song stops and changes direction; there are odd little moments and evocative revelations too. This is not a song that keeps a steady course and has a predictable path. You get twists and turns and a real sense of the unexpected. INBAL has put so much effort into the track and that workrate really shows. Twinkling notes and galloping notes spar one another and you get that unexpected clash. By the end of the track, I was still taking it all in and figuring it out. My first impression was one of a dream that is bleeding into waking life; a feeling of loss and struggle that is hard to vanquish. Maybe the real situation and story are different but that is the thing: every listener will come to their own conclusions and witness something unique. With lush production and a commanding vocal; Hail in Madrid is a stunning offering from INBAL. Perhaps those who prefer their music primal and emphatic might take a while to get behind it but they will be broken and seduced soon enough. I keep coming back to the track and witnessing something fresh each time around. Hail in Madrid is a colourful and challenging song that will make you feel better but get you thinking at the same time. Not many artists can do that and, when you discover them, you need to put them out into the world. Make sure you put Hail in Madrid out there and spread the word. I am always stunned by artists who can create something unexpected that goes against the grain. INBAL is someone who will enjoy a long future and, on the strength of her current single, will provide a sensational E.P. Ensure you watch the music video for Hail in Madrid and watch all the stunning visuals come together. It is a great experience and beautiful video that does justice to a fantastic song.

With each new release, you can feel something new come through. I am a fresh follower but can already track changes and developments emerging. Critics have celebrated her work and noted her as one of the best new artists around. I would back that hypothesis and am excited to see where she goes from here. The approaching E.P. is a chance to see INBAL’s existing songs and new offerings mix alongside one another. I am one of those people who loves the E.P. and album and is not just interested in singles. Music should be savoured and enjoyed: those who quickly skip and pass by songs are missing out on so much. I do not think music will advance and progress if we ignore it or give it very little time. If you take an INBAL song as an example and what you get from it. Listen to Hail in Madrid and you will not want to simply have it on in the background and let it pass you by. You will want to put the volume up and make sure every note of the song gets into the mind. I am excited to see what we will get from her E.P. and where she heads from here. Those who have praised her work and highlighted her merits are looking forward and will surely be all over it. INBAL is someone who can make us interested in full works and taking a bit more time out. You cannot simply let one of her songs flow past and ease away. Let’s consider where she will head next and what her future holds. There will be gigs and developments but I feel there is a chance for a long career and real influence. The amazing songwriter has already crafted some wonderful singles but shows no signs of slowing. I would love to see her tour and take her music around the world. I know she has plans to play in Berlin and London and you need to check her social media channels for all developments.

I will end things soon but I want people to follow a modern artist who seems to take music back to its ideal start. We have someone who takes care to produce properly arresting songs and moments that will stay in the memory. INBAL takes care when it comes to visuals and how a music video makes you feel. Her live show is not something I have witnessed but I am sure it matches the brilliance and beauty of her music. You cannot escape the passion and purity that comes from every note. If you need a lift or want to think and reflect; there is so much in INBAL’s locker you can take away and enjoy. Make sure you do catch her live and see the artist up-close. I have talked a lot about her sound and various highs but I have not really discussed where she will head and how her career will work out. I feel there will be albums and more E.P.s arriving from her. It is always hard to predict longevity and which artists will stay in the consciousness. I know which artists will fade quickly and those who will be around for a bit. You cannot say INBAL will have a short career. Just listen to what she is putting out into the world and you get an artist who knows what it takes to succeed and what the people want. Hail in Madrid is another fine offering from a young talent who should be in your regular rotation. I will follow her career and see where she goes from here. I know there will be a lot more releases and maybe that sound will expand out. Right now, we have someone who can get the heart skipping and make the mind wander and imagine. I feel there is a chance for INBAL to push the envelope and kick the energy up. That would not mean compromising her sound or going in a Pop direction. What I mean is she has that passion underneath and I can see her tackling big and emphatic themes. Maybe she has the future worked out and I shall not dictate too much. I am excited to see her produce such strong material and go to new plains. Make sure you listen to her latest track and what it is all about. Her E.P. is not too far away and I suggest you get behind that too. Here is an artist who will go all the way and has many more years ahead of her. Hail in Madrid is a fantastic cut from an artist who does thing her own way and stands out as a star of the future. I have been listening to the song a lot and taking new things away each time I hear it. That is a hard feat and achievement at a time when we are still going for songs that are rather aimless and hollow. This will all change in time and artists like INBAL are fighting against easy instinct. If you have not discovered her brilliant work then get behind Hail in Madrid and fall in love with a brilliant…

AND distinct gem.

___________

Follow INBAL

Official:

https://www.inbal.co.uk/

Twitter:

https://twitter.com/inbalofficial

Facebook:

https://www.facebook.com/Inbal.music/

Instagram:

https://www.instagram.com/inbal_official/

Spotify:

https://open.spotify.com/artist/32dqNoPndQFsNPyoqNqQd7

YouTube:

https://www.youtube.com/channel/UCAUeGuMA8x_Ero4Crwjbs2A

SoundCloud:

https://soundcloud.com/inbalofficial

INTERVIEW: Em Hoggett

INTERVIEW:

Em Hoggett

___________

MASSIVE thanks to Em Hoggett…

for opening up for me regarding her latest single, What I Want to Say to You, and its emotional story. The E.P. of the same name is out and Hoggett talks about the music and themes running throughout; the artists and albums that inspire her; moving from the U.K. to Los Angeles – she tells me what the scene is like in L.A. right now.

Hoggett provides advice to upcoming artists and those who have been through the same experiences of rape as her; what we can expect from her going forward; a rising artist to look out for – she ends the interview with an epic song!

____________

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

Hi. I’m great thanks. It’s been a busy week. I’m working on the new album.

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

I’m a singer-songwriter and pianist. My music is soulful, sensual; dense…James Bond-esque in style. I trained as a classical pianist since I was four, so it’s all rooted in piano. What I Want to Say to You has a unique sound - partly because of subject matter, but expect Bond in the next album.

What I Want to Say to You is your new single. Can you reveal its story and how it came together?

What I Want to Say to You is a single that developed into a four-track E.P…

I was raped when I was sixteen. I suppressed it for years until it finally began to take over my life at eighteen. I couldn’t sleep, eat; work…do anything at all. My mum suggested I write a letter to my attacker, not necessarily to send, but just to get the feelings out on a page. Naturally, for me, this came in writing a song. 

I wrote What I Want to Say to You in about ten minutes; the words were just there…waiting. A few days later, I posted the song on social media; therefore, letting all of my friends and family know what had happened. This was the hardest thing I’ve ever done but it was so important. At the time, I was suffering with denial a lot. It was so easy for me to pretend it had never happened because nobody around me knew that it had. Once I posted the song, I couldn’t hide anymore and I finally had to begin the process of acceptance and healing. 

I entered a pretty rough few months after that, during which time I wrote Anger, which expresses the pure emotion of anger that is felt when you realise you’ve been abused. It was really important for me to put this song on the E.P. to let other survivors know that it is a totally normal and healthy feeling and not something to feel ashamed of or alone with. I then wrote Will It Always Be Like This, which questions if the rest of my life would be consumed by a painful dark cloud...(which it isn't, by the way - it does get better). The final song, Get Out, describes the feeling that this person and experience will live inside your body forever. I wrote this in the wake of the Harvey Weinstein scandal. 

Meeting producer Bruce Witkin was the essential ingredient that brought it all together. We got into the studio pretty much straight away and everything just came together. I couldn’t have asked for a better producer to work with. 

 

You survived a brutal rape and are using music to heal, not only yourself, but others. What is your message to other women (and men) who have been in the same situation?

If you feel able to tell someone what happened to you, do it. I think you will be surprised at the response…

Telling my family and friends was the hardest thing I’ve ever done but it literally changed my life. I no longer walk around with an unbearable weight inside of me. I was believed and supported. Once you tell someone, you begin to realise the truth: that this was not your fault. From this place of understanding and acceptance, you can begin to heal…you realise that this weight isn’t yours to carry around; you can begin to let go. If you don’t feel able to tell someone, try expressing your feelings around it. Expressing through writing, painting; singing…creating in any way and even just talking is SO important. Get these feelings OUT of you or they will eat you up inside. 

If you feel like you’d like to tell someone but are afraid you won’t be believed or you don’t know who to tell, you can contact me at the ‘Contact Us’ button on www.WhatIWantToSayToYou.com - I WILL believe you.

Might we see more material next year? How far ahead do you look as a songwriter?

Yes. I have another album ready to go; I’m hoping to get back in the studio as soon as possible.

I look pretty far ahead: I’ve got a lot of material to work with. I’ve been writing since I was thirteen and I have around four-hundred songs on my phone. I’d like to record some of those too…but this next album will all be songs I wrote in the past year.

You were born in the U.K. but live in Los Angeles. What is life like out there? Is it a great place as a musician?!

I love it! I feel so at home here. The sun, the relaxed atmosphere; the creativity…I feel like everyone I meet in L.A. is doing something artistic…they’re a writer, a model; a musician, a photographer; an actor.

It’s incredible to be surrounded by such creative energy all the time. Being a musician here is awesome. There are so many amazing musicians to play with, listen to and learn from. I’m an actress as well, so this is literally the perfect place for me…the creative juices never stop flowing.

Do you recall when you got into music? Which artists did you grow up around?

I was trained as a classical pianist since I was four, so music was a huge part of my life from a very young age. 

My music taste is incredibly broad. I grew up with a lot a variety. I listened to a lot of Soul/Jazz. I’m a total Motown lover. I also listened to a lot of Rock - and a lot of Alternative. Honestly, all sorts. One of my big influences is Jamie Cullum; Pink Floyd was big for me, Nina Simone; Marvin Gaye…also, Birdy…I think I took a lot of inspiration from her. Kind of all over the place here.

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

I’d love to get back in the studio and record a few singles for the new album - and to get W.I.W.T.S.T.Y. out there more. This E.P. needs to be heard. 

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

Wow…tough question. Honestly; recording with Bruce (Witkin) was such an incredible experience. Recording the piano and vocals was really special. I love performing too…so, a few of my live performances for sure.

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

I think I’d give a different answer to this question every year. Right now, I’d go with these.

Pink Floyd - The Final Cut

The emotion in this album is like nothing else. Pink Floyd have such an incredible way of using sounds to tell a story. I think they’re the filmmakers of the music industry. It’s amazing how you can listen to one of their albums from beginning to end and be taken on a total journey - and not just musically.

Bill Laurance - Flint

Bill Laurance on keys is just WOW. This album really speaks to me because it has so much skill, so much Jazz influence and a lot of upbeat tunes but still remains super emotional. I’m really into emotional stuff if you hadn’t noticed.

Frank Turner - England Keep My Bones

I’m a huge Frank Turner fan - it’s hard to pick one album. But, his lyrics are just incredible. I think he’s one of the most talented lyricists out there.

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

Jamie Cullum. What a musician. 

A lot for the rider…starting with a white grand piano.

How important is it being on stage and playing? Is it possible to describe the emotions you feel when connecting with fans in the audience?

It’s super-important to me: there’s nothing quite like live performance. When you’re with a band and you’re all on the same wavelength, just vibing together…it’s an incredible thing. You learn a lot from live performance too.

You really have to listen. 

What advice would you give to new artists coming through?

1. Don’t give up.
2. Write about what speaks to you.
3. Play more! Meet musicians. 
4. ENJOY. Have fun. That's why you're doing this, right? 'Cos you love it.
5. Be kind.
6. Stick with what’s true to you. NEVER feel like you have to do anything or have to be anything for an opportunity. Always stick with your instinct and the right things will flow to you. Don't get pressured into stuff you don't feel good with.

Are there any new artists you recommend we check out?

Not particularly new, but if you don’t know Tash Sultana, check her out. Jungle is an awesome song to start with. 

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

I do have time away from music because I’m an actress too, but that’s not exactly chill. When I do get to chill, I journal a lot; meditate, hike; travel, go to the ocean…all soul-cleansing stuff. I love to dance too and explore the world.

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).

Truth - Kamasi Washington. Wow. What a song

____________

Follow Em Hoggett

Official:

https://www.emhoggett.com/

Facebook:

https://www.facebook.com/emhoggett13

Twitter:

https://twitter.com/emhoggett13

Instagram:

https://www.instagram.com/emhoggett13/

Spotify:

https://open.spotify.com/album/5ecc39WWdxd5tpyc0elCaW?si=N7gDXbVtT7WkhppGFIWuzw

PHOTOS:

@suzanne_a_witkin_

INTERVIEW: Miki Fiki

INTERVIEW:

Miki Fiki

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THE awesome Miki Fiki…

have been talking with me about their single, Scrub, and how it came together. Their lead, Ted, takes up most of the questions and tells me about that unique moniker; what Nashville is like as a base; which artists they are all inspired by – he recommends some new talent to watch out for.

I ask whether there will be touring dates and the possibility of U.K. dates; what advice Ted would give to artists coming through; whether he and the band get time to unwind away from music – each of the band members chooses a song to end with.

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

Hey. Nice to digitally meet you! It’s been good. Just bopping between coffee shops and half-working, half-people watching (alongside everybody else).

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

I’m Ted and I sing and play keys for the group. Julia plays sax and Hunter plays bass. We all met in college at Belmont in Nashville and we’ve been putting out music and touring as Miki Fiki since early-2017. We’re based in Nashville but have been all over the eastern half of the U.S. in a blue truck.

Is there a story behind the band name ‘Miki Fiki’? How did that come to pass?!

My Facebook bio was “I’m one bad mickey fickey” for the longest time. I’ve forgotten what that’s from but, when picking a name, I wanted something that didn’t really mean much. I changed the spelling to ‘Miki Fiki’ because it looks nice stacked. It’s also slang for ‘motherf*cker’, but you don’t have to put that in.

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

It’s an angry song! I was feeling a lot of things at the end of college but anger kept returning and I couldn’t find a way to process it. The song is literally about a relationship but, while the attitude of previous songs is a desire to learn, loneliness or missing someone sweetly, this one is bitter.

I don’t recommend latching onto this way of operating but, for a couple minutes, I was able to write down a few cheap shots I could never say to the person. That time is long gone - maybe in part because I put it to music.

It is your most energetic song so far! Do you think it is a logical move from your initial single, Stranger?

It’s definitely in the same vein in terms of communicating hurt through somewhat more aggressive/bitter language than I’m accustomed to in daily life. That’s where I was at the time; trying to live measured and well-behaved to an extent. But, there was a lot, mentally, that needed to go somewhere and, in both songs, that extreme pressure found some space.

Which artists are you all inspired by? Did you grow up around a lot of different sounds?

We have some overlap but all three of us have fairly different musical upbringings. I was fully engulfed by Usher then The Avett Brothers. Julia’s people are Jeff Coffin and the late, great Aretha Franklin. Hunter’s are Alvvays, Whitney; Crumb and Shintaro Sakamoto.

Nashville is where you are based. What is the city like in terms of its scene and diversity?

I’m still trying to sort that out myself!

There are all kinds of scenes to fall into here but I more often find myself where my friends are. I could break them down into genres but the benefit usually comes from doing what you love around people you love who are trying to do the same thing. I haven’t hit a ceiling here by any means and, every time I’m ready to get rolling, there are people around to help me do that.

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

We toured heavily the first half of this year and are headed out for five dates in September up north. All dates are announced on our website and social media: 9/13 - Grand Rapids, MI: Tip Top Deluxe; 9/14 - Detroit, MI: New Way; 9/17  - Chicago, IL – Sofar; 9/18 - Appleton, WI - Stone Arch Brewpub; 9/19 - Minneapolis, MN - Nomad World Pub.

Might you come to the U.K. and see us here? Do you like the music here?

We would love to make a European trip someday. All we need are enough good friends!

If you had to select an album that means the most to you; which would it be and why?

Emotionalism by The Avett Brothers means a lot to me

I found it right around the first time I got REAL sad (fifteen) and the songwriting/messages hold up the older I get.

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

The first Miki show still stands out in my mind: there’s something special about being able to communicate in a way I’m proud for the first time in a long time.

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

Anderson .Paak. The rider would include Reese’s and Arnold Palmers.

What advice would you give to artists coming through?

The same thing I tell myself - which is to pay special attention as to whether or not you’re enjoying it and whether or not it’s growing you.

IN THIS PHOTO: The Pressure Kids

Are there any new artists you recommend we check out?

The Pressure Kids, Katy Kirby and Rand all come to mind. While they may not necessarily be new I believe they deserve to be appreciated by as many people as possible!

IN THIS PHOTO: Katy Kirby/PHOTO CREDIT: Kelsey Cherry

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

I’m working on not thinking about it 24/7 because it can really start to feel like work. I unwind by getting wound up in other things - be it running, reading or both. Still trying to figure out where to put a lot of this energy but, for now, it resides in one of those three places!

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).

Fever - The Pressure Kids

Juniper - Katy Kirby

Only – Rand

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Follow Miki Fiki

Official:

https://www.realmikifiki.com/

Facebook:

https://www.facebook.com/RealMikiFiki/

Twitter:

https://twitter.com/realmikifiki

Instagram:

https://www.instagram.com/realmikifiki/

Spotify:

https://open.spotify.com/artist/1O1r2qVtIFqlTJoB4jsJKd?si=FQugepJhR-i3JC42pbHalw

INTERVIEW: Makk Mikkael

INTERVIEW:

Makk Mikkael

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IT has been cool catching up with Makk Mikkael…

as she tells me about her latest track, Use Me. I was eager to know what its story is and whether we might see more material down the line – the Canadian artist talks about some of her favourite artists and albums.

I ask what Toronto and its scene is like right now; how her current material differs to her older stuff; how she unwinds away from music; what she would say to artists coming through right now – the songwriter ends the interview by selecting a cool track.

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

Hey. I’m feeling great, thanks! New music is out, so been super-busy with that.

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

Hi, guys. My name’s Makk Mikkael. I’m a singer/songwriter. I’m back and forth between Calgary and Toronto currently working on my debut album. I’ve been writing since I can remember and been passionate about music from a young age. I want people to feel anything they need to when they listen to my songs, to be transported to a different world and escape their day-to-day life. Music is so emotional: it’s therapy for many, myself included, so just to feel free, I think, is so powerful.

Use Me is your latest song. Can you explain the inspiration and backstory?

Use Me is my third single. We wrote this one based on of a girl being obsessed with a drug (more specifically, heroin). She’s dealing with withdrawals but always ends up going back to it needing it in her veins at all times. It’s completely controlling her life. Use Me definitely takes a darker turn; we wanted to portray something so real for today, whether it’s heroin or alcohol. We use these substances to escape reality.

How do you think it differs from your earlier material? Do you feel you are at your most confident right now?

I feel super-confident right now. I’ve been in the studio making lots of tracks with my producer Jody Tompkins. We’re experimenting with going darker and taking the music somewhere that the first singles were hinting towards. Everything that we’re creating is so cool. I’m excited to release this album.

Might we expect some more material next year? Are you looking ahead to an E.P. or something similar?

My album will be released, yes!

What is the Toronto music scene like right now? Are there are a lot of cool local acts emerging?

I love the Toronto music scene and feel like there’s a lot of space for creativity right now. The city is filled with talented individuals doing their own thing. It’s cool to get out and see what everyone is up to.

Do you recall when you got into music? Was there a time or moment when you knew you had to chase it?

From a super-young age, I had an experience on stage with my mom and I was hooked. I feel like that night something clicked in me and I’ve been chasing it ever since. The hunger has only grown with time and I can’t wait to release more music.

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

I’m currently working on my debut album so I hope to get that all wrapped up and released. From there, start touring…

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

When I was young, my mom brought me onstage to sing a song at this bar. I was super-underage (like seven. Haha). I sang Twinkle Twinkle Little Star and the way people were watching, the lights; everything about that night…I fell in love with it and knew I had to pursue this no matter what.

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

SZA - CTRL

It’s insane. I haven’t heard an album like this ever. I love that there’s a story top to bottom; each song completely flows into the next and expands on the story. She’s amazing.

Lykke Li - So Sad So Sexy

Totally different lane for Lykke Li. I’ve been a fan of hers for a while. I love how dark and twisted her lyrics and her new image is on this album. The colours and words are so vivid and Dream-Pop-sounding. I feel like this album is so necessary for millennials right now.

The Japanese House - Saw You in a Dream

Super-nostalgic vibes. It’s a short E.P., but listening top to bottom; it makes you feel lost in the best way. You can sit with your emotions and feelings and be still. Amazing.

How important is it being on stage and playing? Is it possible to describe the emotions you feel when connecting with fans in the audience?

Making the music is half of the puzzle piece: the other half is playing live. You need both. When I watch one of my favourite artists live It’s almost closure for me and I feel like I fully understand them and what was going through their heads when they wrote that song/album. I have yet to perform live. As of right now, I’m building the album and getting everything in order to play live. Very excited for it.

What advice would you give to new artists coming through?

I feel like, if you've found your sound, you're golden. It’s all about what makes you and your music unique. In an industry where so many artists blend together, what makes you stand out and makes you different is your ticket.

IN THIS PHOTO: Lou Val

Are there any new artists you recommend we check out?

I’m really into Lou Val. I like the low-key Toronto R&B a lot.

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

I honestly don’t need time away from music. I love when I’m fully consumed by it, always. Maybe that will change later on but, as of right now, it’s my passion. I’ll write/read to chill when I need a little break.

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).

Did We Lose Our Minds - Sabrina Claudio

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Follow Makk Mikkael

Facebook:

https://www.facebook.com/makksmusic/

Twitter:

https://twitter.com/makkmikkael

Instagram:

https://www.instagram.com/makkmikkael/

SoundCloud:

https://soundcloud.com/makkmikkael

Spotify:

https://open.spotify.com/album/7qCrxbKAlYDXCKVyYDFNcm

INTERVIEW: Zyles

INTERVIEW:

Zyles

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I have been chatting with Zyles…

about his single, Sundresses, and what its story is. Zach reveals how the moniker ‘Zyles’ came to be and what his plans are regarding material and gigs. I ask the U.S. songwriter which artists are important to him and albums that have made an impact – Zyles selects some new musicians to follow.

I ask what it feels like (for Zyles) being on stage; when he got into music and started playing; what he wants to achieve before the year is through – the songwriter gives useful advice for those coming through at the moment.

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

Hi! Thanks for having me.  It’s been a balanced week: working on some new content, staying engaged in the tech world. Things are moving.

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

Zyles is my artist project. It’s accessible Pop music and a wrapper for my worldview, with a focus on the themes that are particularly compatible with that packaging. The melodies are catchy, the production is lush; the guitars are funky. The focus is often on relationships, with a bend towards what I find aspirational as a twenty-something city-dweller.

How did the concept/moniker of ‘Zyles’ come to? What does it embody?

When I was in college, I studied Chinese and spent a semester in Beijing in a language program. We signed a language pledge, had all of our classes in Chinese and traveled around the country. My Chinese name sounds somewhat like Zyles. Zyles today doesn’t have much to do with China necessarily, but, for now, it’s coupled with experiences I’m happy to associate with a public-facing identity.

Sundresses is your new single. Can you reveal the story behind the track?

A summer ago, I had an opportunity to spend many weekends in Wine Country, only about an hour north of where I live in San Francisco. There was a particular vacation mindset that struck me, where not only were visitors there for a weekend off, but there was usually a special occasion involved - weddings, milestone birthdays. These converging groups were often from metropolises all around the country, on the opposite side of young adulthood, but shared a cosmopolitan experience.

Sundresses portrays some romantic fantasies of these vacationers. Some of the attraction is traditionally sexy: “Bikini for the hot tub, nothing when she exits”; and some of it is more about shared class and stage of life: “You might make more depending on the year, my dear”.

I believe more material will follow. What can you say regarding future singles and their story?

Summer is almost over. We’re going to move into more pensive territory. Then, we’re going to get a little bit naughty. The settings will be closer to home, rather than the vacation destination of Sundresses. But, it’s going to fun and it’s going to provocative - and you’re going to want to move.

You are based in the Bay Area. Is it a good area to record in? How does the setting and dynamics of the place influence how you write?

I don’t think it’s an exaggeration to assert that the Bay Area is among the most relevant locales in 2018. It’s teaming with themes worth writing about and these themes definitely show up in the music:  fancy vacation destinations; today’s new money billionaires; people convinced (rightly or not) that they’re going to change the world.

But, these reasons are outside of music production. It’s worth noting that these reasons aren’t outside of music in general: through Instagram and YouTube, Google and Facebook control a large part of the distribution. I’ve thoroughly enjoyed meeting a lot of today’s few Bay Area artists but I have N.Y.C. and L.A. roots these days and tend to travel to produce final versions of the tunes. 

You were born and raised in Manhattan. What sort of music did you grow up around and were influenced by?

I was lucky enough to have exposure to virtually every type of music up close while growing up. Field trips to Carnegie Hall in elementary school; family visits to musicals on Broadway. My first concert was Cream’s reunion tour show at Madison Square Garden. The Jazz scene was perhaps the most differentiating. Events at Jazz at Lincoln Center was particularly spell-binding for me. At least as important, I had friends and family to share these opportunities with.

Do you recall when you got into music? Was there a time or moment when you knew you had to chase it?

I had been exposed to a few instruments since a very young age. When I picked up the guitar for the first time around twelve or thirteen, songwriting opened up for me…and that was it. It’s not a huge exaggeration to say that, for me, methods of diving deep into music like learning theory, exploring different genres; playing with arrangement and producing have all been tools to enrich those songs I want to write.

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

There are a few modest venues on the West Coast I’d like to play as a headliner. Finding an audience to fill those venues and turning it into a cohesive tour is the dream for me this year.

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

When I was in high-school, I interned for the Jonas Brothers’ business manager. I would go backstage at the concerts and, when I wandered into the crowd wearing my pass, I would get mobbed by fans insisting I was distantly related to them.  It was pandemonium. I was just an observer but it gave me a sense of the power of the music; the palpable energy where everyone is just in suspense for the next moment. Even the parents were into it.

Sometimes, I encounter the phenomenon on a micro scale: when the audience is hanging on a note of a solo, or responding to that jump into falsetto. But, to have it simply in anticipation? I’m still searching for that…

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

There are too many to say which are most meaningful. But, here is a meaningful set of three:

Oh Mercy – Bob Dylan

I could have picked any number of Dylan records: there is a dozen of them that means a lot to me. The Daniel Lanois production on this record was haunting and new to me when I first heard it. And, like so many Dylan records, he nails so many emotional states that each of these songs connected with me at one time or another.

The Royal Scam – Steely Dan

I aspire to have something in common with Steely Dan in my songwriting - and this is their quintessential guitar record. It rocks, it gets funky and it’s so tastefully jazzy. I had the opportunity to see them perform the album in full at the Beacon Theater in high-school.

Fever by Kylie Minogue

I heard some songs on this record when it came out and found it terribly catchy. Then, my parents bought it for me and I was so embarrassed after seeing Kylie wearing no pants on the album artwork. I was something like nine or ten years old. I come back to it occasionally as an adult and simply enjoy the Disco-style production.

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

I’d play with The 1975. First of all, their fans are intensely into the music - I’ve experienced it firsthand at one of their shows. They also have great musicianship, truly interesting songs and I imagine I’d learn a bunch from them.

For the rider, I just want to have some bananas with my name on them. There have been too many gigs and sets in my life recently with banana shortages.

How important is it being on stage and playing? Is it possible to describe the emotions you feel when connecting with fans in the audience?

In the case of playing for an audience already familiar with the music, the live show is a celebration of a song well-written, well-performed. It’s important in the sense that it’s an opportunity to offer fans a more intimate experience with the music.

However, as an artist in the early stages, I’m sometimes playing to an audience that doesn’t know the music very well, if at all…and that’s tough. Step one is to get the audience dancing. Step two: having them connect with the song on first listen a live setting is quite the feat. As a musician, it’s fun to get lost in making live music.

What advice would you give to new artists coming through?

Go for it, but not until you’re ready. I sang one of those falsetto Prince song at a showcase recently and there were some As and Bs above tenor C. I had been recording that week and not practicing in that range and coming up against my ceiling in our single rehearsal. One of the producers discouraged me: “Don’t go for it.” He had a point. It was risky. I would have had to put in my time to pull that off on stage with high confidence.

It’s the same with music generally: put in the time and perfect the craft because, when you go for it, you’re going to be vulnerable; burning that social and literal capital and you want to do that at the right time. But, when that time comes - and it will - put everything you have into that note, that release.

 IN THIS PHOTO: Merci Raines

Are there any new artists you recommend we check out?

I’ve met some exciting new artists that intersect with the group of producers I work with: Merci Raines and Livia Blanc are a couple I’m excited about. 

IN THIS PHOTO: Livia Blanc

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

Finding an afternoon to visit a park. Leaving everything at home but my keys and a book is one of my preferred ways.

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 read the other day that Elon Musk is losing his edge. And, buried in that article is that he’s dating Grimes. What? She’s probably having a tough time. And then I Googled to confirm and it looks like they unfollowed each other on various social media platforms. What a world. Let’s play Flesh without Blood

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Follow Zyles

Facebook:

https://www.facebook.com/zyles/

Twitter:

https://twitter.com/zylesmusic

Instagram:

https://www.facebook.com/zyles/

SoundCloud:

https://soundcloud.com/zyles

INTERVIEW: Cha:dy

INTERVIEW:

Cha:dy

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THE superb Cha:dy…

has been chatting about her latest single, Like a Boi, and how an unusual source of inspiration led to its creation. I ask her where she heads next in terms of material and whether she might tour; the artists and albums she is influenced by – she highlights an artist to look out for.

Cha:dy reveals why she moved from Paris to London; what she wants to achieve before the end of the year; how she chills away from music; the advice she would provide artists coming through – she ends the interview by selecting a great track.

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Hi, Cha:dy. How are you? How has your week been?

Hello! I'm very well, thank you. I just came back from Budapest and I was lucky to be able to attend Sziget Festival, which was amazing.

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

My name is Cha:dy. I was born in France, near Paris. I am an artist, I make music; sing and write. My style is a mix of Alt-R&B, Urban Jazz and Caribbean flavours.

Like a Boi is your new single. Can you describe when the inspiration struck?

It came from this guy I was seeing - who was kind of insecure about our relationship. He once said to me that I was behaving ‘like a boy’ - probably referencing the fact that I am very social, outgoing and confident and, for some reason, that particular phrase really bothered me and stuck in my head! It was as if he was implying that confidence was reserved only for men and he made it a gender thing...

So, I wrote a song about it!

Like a Boi looks at the patriarchy and how women can be strong and inspirational. Do you think more men, in fact, should be putting the same message out into the world?!

Oh yes, absolutely. I love hearing my male friends saying out loud that they're feminists. It's always great when men spread the word about equality, privilege and feminism. It definitely helps the movement. Men are our allies in that fight. 

What comes next in terms of material? Are you looking ahead at an E.P. right now?

I'm definitely looking to release a second E.P. soon but, for the moment, I want to focus on singles.

PHOTO CREDIT: @everythingart1998

You started in Paris but moved to London. What was the reason behind the move? How does the music of both cities compare/differ?

I've been to London a few times - when I was still living in Paris - and always loved how the city was always busy and, culturally, very rich and very youth-orientated. London is the music capital of Europe so it made sense to me to come and develop here. 

Can you reveal which artists played a role in your early life? How did you get into the industry?

Artists like Amy Winehouse, Lauryn Hill; Beth Ditto and P!nk were huge inspirations in my life. I've always been amazed by their vocals, their songwriting and stage presence. Moving to London and focusing on music definitely helped get a foot in the door. In the music industry, you really need to hustle, put yourself out there; release music and you get a chance to have a little place in this crazy industry.

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

I’d really like to go on tour and actually meet people. Today, we focus a lot on our presence on social media platforms and, yes, it’s a great way to share music and connect with the audience. But, I want to go out and meet them, talk to them about my journey; my songs, add a couple of bad jokes; laugh and cry with them and really connect. That's why I love doing live gigs.

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

When you're performing live and people know the lyrics and start singing your songs is such a great feeling! One of my favourite gigs was when my band and I headlined a very small festival in Milton Keynes called Rixonbury. We started our set and there were only ten people by the stage and, after a few songs, you could see all the people leaving the other tents to join our stage - and we had an absolute blast.

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

Back to Black by Amy Winehouse

For the jazzy melodies and the heartbreaking lyrics…it’s just a beautiful album.

Comedown Machine by The Strokes

It was the soundtrack to my late teenage years and soothed a few heartbreaks back then!

Telluric by Matt Corby

I mean; this album just speaks to my soul. The production, the songwriting; incredible vocals. Great for a rainy day - or just any day, really!

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

I don't have dates just yet but I’ll be sure to let you know!

What advice would you give to new artists coming through?

To get out there and release that song that they've been working on for ages. As artists, we are such perfectionists and we never think a project is finished or ready but, more often than not, it is ready...so go share that great song!

IN THIS PHOTO: Ciscero

Are there any new artists you recommend we check out?

Ciscero. He is killing it right now. He's been featured alongside great artists like GoldLink but, boy, it's his time to shine.

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

I've started to exercise four times a week and it changed my life - making me more positive and productive; just happier in general. It has really helped me get through quite low times too. I highly recommend it. It's good for the body and the mind.

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

Stay by Ciscero (ft. Devin Tracy). It's my tune on-repeat right now.

____________

Follow Cha:dy

Facebook:

https://www.facebook.com/chadymusicpage/

Twitter:

https://twitter.com/ChadyMusicPage

Instagram:

https://www.instagram.com/chadymusic/

SoundCloud:

https://soundcloud.com/chady-music

YouTube:

https://www.youtube.com/channel/UCnBTZ2arOZRvzAL0Ao8jzlQ

Spotify:

https://open.spotify.com/artist/3wfE5KsXnfTugSFCbfyC4V

INTERVIEW: Matt LeGrand

INTERVIEW:

Matt LeGrand

___________

IT has been great speaking with Matt LeGrand…

about his new track, 12:00 AM, and how it came together. He tells me whether there is going to be more music coming down the line; what the music scene is like in Chicago right now; which artists made an impression on him growing up – he selects a musician we need to look out for and follow.

LeGrand gives some advice to artists coming through and tells me which three albums mean the most to him; if we might see him tour this year; how he relaxes away from music – LeGrand reveals what he wants to achieve before the year ends.

____________

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

Hey! I am doing fantastic! My week has been pretty good. It has been filled with music (as usual) and I’ve gotten to spend time at home with my family!

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

Sure! I am Matt LeGrand; a recording artist hailing from Chicago! My life is pretty normal except for the fact that I get to do music professionally. I am a shy and introverted person but all of that seems to go away when show time comes! I really just love what I do and I want to do it for the rest of my life. Connection through music is where I am the happiest and, more importantly, it’s where I’m the most myself!

 

What can you reveal about your new single, 12:00 AM? How did it all come together?

It’s out in the open now so it has all pretty much been revealed! (Laughs). No, I’m kidding. There are still things to be revealed - like, there might be a music video coming out soon! We did this record about a year ago and I am so happy that it is finally out. The release process can feel like a strange limbo sometimes! I recorded this song with a great team down in ATL.

One of the producers goes by the name of Blac Elvis and his discography truly speaks loudly! It really felt correct and organic because we wrote and recorded it to completion in only three hours. 

It is an emotional and powerful song. How long did it take to nail those emotions and passion in the studio?

Like I said in the last question, it only took me three hours to track all of my vocal parts. It just flowed so easily. I was in a good headspace, personally, and I was just happy to be there! I think the song reflects that joyous emotion. 

What comes next in terms of material? Are you working on further material?

An E.P., more videos and touring! Keep your eyes open in October!

Being based out of Chicago; what is the music scene like there? Is it a great place when it comes to songwriting/creating?

Chicago has always had a great music scene. One thing I love is that you can find live music every night anywhere! Even when the brutal winter is present you can still find some live music. I live in one of the most fun, creative neighborhoods in Chicago - and being a musical individual in this area is the best. I’m finding inspiration everywhere! Meeting other creators in a city like this is so special because, somehow, I seem to find something new about myself in another!

How did you get into music? Which artists compelled you growing up?

I got into music when my mother took me to my first concert which was The Rolling Stones! That is where I fell in love with the attitude, emotion and power of it all - the idea of being on a massive platform and the freedom to share your stories.

Classic-Rock was a genre that made me fall in love with playing; bands like The Stones, The Beatles; Cream and Led Zeppelin took over my spare time away from school. I was gifted my first guitar two weeks after that concert and I’ve been studying ever since!

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

I hope to achieve my first tour and a better understanding of who I am.

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

I don’t think a favorite memory has happened yet: I think that is still ahead of me. My favorite thing to do is to perform for people. Each time is new and exciting. The way the audience reacts is very fun to see for me. If there weren’t people to share this music with then I would be lost. It means the world to me that people just take time out of there day or they decide to spend their evening with me. That is my favorite thing about doing this!

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

American Idiot by Green Day

It had such a massive impact on my decision to pursue music as a career. I started in Rock bands in high-school that were influenced by Green Day and other similar acts. This album is a Rock opera. It’s a story from top to bottom and I just really appreciate the time and effort that was put into that piece of music. 

The Joshua Tree by U2

I grew up listening to this everywhere. My mother had it playing in the house, in the car and everywhere else that music can be heard. Each song is special and brings me back to a time of easy living. 

Let It Be by The Beatles

Because, who hasn’t been impacted somehow by them?! Even if you’re aware of it or not, everyone has most likely been influenced by them someway or somehow. Let It Be is one of the greatest songs of all time - and that’s all there is to say about that!

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

I’d open up for Ed Sheeran.

My rider would entail cats to be in my room and a writing session with Ed at least once a week!

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

Yes; soon! It’s coming. I’m not sure about dates yet. Stay tuned on my Instagram.

What advice would you give to new artists coming through?

Be prepared, be nice; work hard, don’t take yourself so seriously and don’t get caught up in the illusion of it all. It’s truly not worth it. One of the best things I’ve ever been told was this: “It’s sad to be ready and never be called, but it’s tragic to be called and not be ready”.

IN THIS PHOTO: Nate Fredrick

Are there any new artists you recommend we check out?

I had the pleasure of meeting a great new artist while he was passing through Chicago. His name is Nate Fredrick and his storytelling is really quite good. He has a folky, acoustic vibe and a humorous attitude. I really suggest that you check him out. My favorite song from him is Latoka Drive.

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

I get more time than you think. It’s a patience game for me right now. I have a lot going on that just needs to fall into place. It’s sometimes very lonely as well, I won’t lie, but I can’t picture myself doing anything else. I tend to nap a lot so that’s my favorite method of unwinding.

Also, picking up things that have nothing to do with music helps me find new energy and inspiration. Sometimes, I’ll just unwind by picking up my guitar just for fun. 

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

Smile - Nat King Cole. Thank you very much for having me!

____________

Follow Matt LeGrand

Official:

https://mattlegrandmusic.com

Facebook:

https://www.facebook.com/MattLeGrandMusic

Twitter:

https://twitter.com/mattylegrand

Instagram:

https://www.instagram.com/mattlegrandofficial/

SoundCloud:

https://soundcloud.com/matt_legrand

YouTube:

https://www.youtube.com/channel/UC2s4ow3SCxccbldznztzJcw

INTERVIEW: Josh McGovern

INTERVIEW:

Josh McGovern

___________

THE excellent Josh McGovern…

has been telling me about his new single, Weight, and how it came together. He reveals his favourite albums and the artists who have inspired him; what it is like being based down in Brighton – McGovern tells me whether more material will be arriving.

I ask the songwriter whether he has a favourite memory from music; if he gets time to unwind at all; which rising artists we need to seek out; whether there will be touring dates – he ends the interview by selecting an awesome cut.

____________

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

Hi. My week has been great thank you. Me and my band just got back from playing The View Stage at Boardmasters. So tired but happy!

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

Sure. I’m a singer-songwriter from Brighton who makes Folk/Americana music.

Weight is your new single. Can you reveal its origins and story?

Weight is one of my more honest songs. It’s a fairly dark piece about loss and mental-health. You know; the real things people face every day. I wanted to make something real people could relate to, so I wrote Weight. 

Listening to it and I can tell it means a lot to you. Was it emotional and tough recording the song?!

For me, each song represents a different period of my life. I mostly tend to write autobiographically about experiences I’ve had in my own life or those around me. Weight was written about a particularly hard time for me so recording it and singing it, especially, was quite an emotional experience.

Will there be more material before the end of the year? What are you working on?

I have lots of songs written and recorded. I hope to release a proper record as soon as I can. I’m also planning a winter tour.

Brighton is where you are based. Is there a pretty eclectic and interesting scene down there? Where should we visit if we head down?

Brighton is an amazing thing. Everything, including the music, has always been eclectic. There is a growing community of Folk musicians down here; we all get together and play shows with each other at nights like Folklore Sessions - it’s starting to become a real community. 

Which artists compelled you growing up? What sort of music were you raised on?

My dad brought me up on artists like Neil Young, Joni Mitchell and Leonard Cohen. Although, he wasn’t a musician himself he made sure I understood the importance of music and the value it holds.

Do you recall when you got into music? Was there a time or moment when you knew you had to chase it?

For me, it was being a kid watching videos of Neil Young perform. I remember watching a video of him playing in his twenties at Massey Hall; he was singing Ohio, I think. I kinda knew then that it was something I wanted to do; I haven’t really looked back since.

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

Having just released my third single, Weight, I’m still caught up in the excitement of that. I plan to put my debut record together as a lot of people keep asking me to release one after hearing the singles.

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

It’s all been special. It’s hard for me to say but, if I had to pick, I would say the time me and my band spent at Retreat Recording Studios. It was a seriously humbling experience to record in the studio. Some of my favourite records have been made there – and it was good to work with Ben Thackeray, who has been a part of so many amazing projects.

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

That’s a hard one!

Nathaniel Rateliff - In Memory of Loss

This record will always be in my top-three. For me, it was the sound to my late-teens and will always hold a special place in my heart - if you haven’t, you gotta hear it, man. 

Neil Young - Harvest

Growing up, I always used to pretend I was in my own movie. Everyone’s got their theme music: this album was mine growing up. It’s my bread and butter.

Marty Robbins - Gunfighter Ballads and Trail Songs

This is a bit of an obscure choice I realise, but my grandad in Ireland used to sing songs from it all the time. When I got older and listened to it properly, I realised it was a masterclass in Country harmonies and songwriting. I’ve been fascinated by it since. 

I could go on with Johnny Cash, Bon Iver; Leonard Cohen etc. but those are my top three (I think...).

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

It would be a dream to support so many artists but, if I could pick any artist in the world, it would have to be Laura Marling. Forget the rider; opening up a show for her would be enough!

How important is it being on stage and playing? Is it possible to describe the emotions you feel when connecting with fans in the audience?!

It’s everything. I always find it hard to put into words: there isn’t anything in the world quite like it. Even if it makes a difference to one person, it’s so worthwhile for me.

What advice would you give to new artists coming through?

Don’t give up. Write as much as you can, write all the time.

 IN THIS PHOTO: The Hungry Mothers/PHOTO CREDIT: Bess Hildick Smith

Are there any new artists you recommend we check out?

There are a few artists really sticking out for me at the minute. The first one is The Hungry Mothers, a band local to Brighton. The second is Deirdre Faegre; an incredibly talented female singer-songwriter from California, originally, who now lives in Brighton. Deirdre was kind enough to join me on harmonies for some of my records. She has an incredible vocal.

 IN THIS PHOTO: Deirdre Faegre

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

I unwind with my headphones on. For me, that’s a good escape. I also love cooking; I used to work as a chef.

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).

Neil Young - Ohio (Live at Massey Hall, 1971) 

____________

Follow Josh McGovern

Facebook:

https://www.facebook.com/Joshmmusic

Twitter:

https://twitter.com/joshmcgovernhq

Instagram:

https://www.instagram.com/josh.mac/

SoundCloud:

https://soundcloud.com/joshmcgovernhq

INTERVIEW: Baby Jey

INTERVIEW:

Baby Jey

___________

IT has been cool speaking with Baby Jey…

ARTWORK CREDIT: Molly Little

about their new single, Someday My Space Cowboy Will Come, and what its story is. I ask the guys what we can expect from their album, Someday Cowboy, and how they managed to complete the record in only two days!

I discover how Baby Jey formed and what sort of music they are inspired by; the upcoming artists we need to get behind and support; if there are going to be tour dates coming up – they each select a song to end the interview with.

____________

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

The week’s been great. We’re getting ready to drop the second single off the record this week so that’s exciting. It’s called U Don’t Have 2 Go Alone.

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

Sure! We’re Baby Jey; a Canadian band currently based in Edmonton. We’re getting ready to release a new record called Someday Cowboy on Maintenance Records on September 14.

Someday My Space Cowboy Will Come is your new single. Can you tell me how it came together and what inspired it?

When we wrote these songs, we were listening to all kinds of different stuff: lots of Country music from the '80s like Tanya Tucker, Keith Whitley and Johnny Lee; lots of Soft-Rock like America and Carole King, lots of Prince. I guess our first single - Someday My Space Cowboy Will Come - is a play on ‘Someday My Prince Will Come’. It’s a fun little tune about having a mirage in the desert.

Someday Cowboy is your upcoming record. What sort of themes inspired the songs that will feature?

Jeremy: There’s a certain feeling of nostalgia to a lot of the album’s lyrics - we reminisce about tobogganing as kids and dreaming about cowboys. It’s fitting that I was able to play the same piano that I first learned on.

Mitch Holtby is in the mix for your new record. How did you meet him?

Mitch started playing shows in Edmonton in 2007. That was long before any of us were even old enough to go to shows but, once we got older, we definitely started seeing him at shows. Mitch came out to one of our shows in the spring of 2017 and asked us to open for him later that year. He seemed like a good fit to work with because we knew we wanted to go for a poppier sound.

Is it true the record came together in two days?! Why did you decide to home-­record and lay it down so fast?

Jeremy: Mitch had been moving back and forth between Edmonton and Montreal. He had a bunch of his gear in Edmonton but no studio and no piano. We realized we could use the piano at my parents’ house and pay Mitch to build a temporary studio in their living room.

The band had played a bunch of shows leading up to the recording sessions, so we were able to just track the record live-­off­-the-­floor. Of course, we did do some synth and vocal overdubs after those sessions.

How did Baby Jey get together? When did you meet one another?

Jeremy: Both Dean and I had been active in other projects in the Edmonton music scene from 2012­-2015. Then, I left Edmonton to go to school in 2015 and a lot of my musical interests changed. When I came back, Dean and I started jamming. Then we went for lunch one day and I asked him if he wanted to start a band.

Is there more material coming next year? What might we see next?

Jeremy: We have at least another twenty songs written - so we definitely plan to keep recording and keep putting stuff out.

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

We’re playing a send-off show in Edmonton on August 24th at the Kasbar in the basement of Yianni’s on Whyte Avenue. Then, the full record drops on September 14. By then, we’ll be in New York so we’re hoping to secure a New York show that week.

You have achieved a lot over the past year. What do want to tick off the to-­list before the end of this year?

Shoot a music video if possible!

If you each had to select an album that means the most to you; which would they be and why?

Dean: Bryan Adams ­- Reckless

Classic Canadian album with timeless songwriting and dated drum sounds. ­

Jeremy: JT ­ - James Taylor

PHOTO CREDIT: Mitch Holtby

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

Not just yet: the best is yet to come (smiles).

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

Paul McCartney.

Two bottles of sparkling water; one bottle of tequila; a bag of all dressed chips and a V.H.S. of the season recap of the 1992 Toronto Blue Jays season.

What advice would you give to artists coming through? ­

Hope for the best, expect the worst.

Are there any new artists you recommend we check out? ­

Lovelet! Ghost Woman! Perpetuals!

 PHOTO CREDIT: Ghost Woman

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

I think, for both of us, playing music actually helps us 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). ­

Dean: I Am In Love -­ Jennifer Lara ­

Jeremy: Miami, My Amy ­ - Keith Whitley

____________

Follow Baby Jey

Official:

http://babyjey.net/

Facebook:

https://www.facebook.com/thebabyjey

Twitter:

https://twitter.com/thebabyjey

Instagram:

https://www.instagram.com/thebabyjey/

SoundCloud:

https://soundcloud.com/thebabyjey

Bandcamp:

https://babyjey.bandcamp.com/

FEATURE: Beat the Monday Blues: Songs to Energise the New Working Week

FEATURE:

 

 

Beat the Monday Blues

ALL PHOTOS: Unsplash

Songs to Energise the New Working Week

__________

EVERY Monday morning is a slog…

and it can be hard getting inspired to face work and the rigours of the week! Maybe it is the thought of the weekend or a daily ritual that gets you through that tough Monday – we all have our ways of coping and enduring. I do think music can create positive vibes and give the boost needed to get through the cruelty of Monday. I have inspired a short playlist of songs to give that lift of energy, keep the sunshine hot and ensure you have enough energy to make it through Tuesday. Have a listen to these tunes; take a little from each of them and, hopefully, they will give you the ammunition to make Monday…

A good day.

FEATURE: What Attitude Problem?! Are Modern Artists Fighting Against the Bland?

FEATURE:

 

 

What Attitude Problem?!

IN THIS PHOTO: IDLES/PHOTO CREDIT: Pooneh Ghana for DIY

Are Modern Artists Fighting Against the Bland?

__________

I wonder whether there is personality and spark…

PHOTO CREDIT: Unsplash

in the modern music scene. Following the death of Aretha Franklin and what she gave to music; I asked whether there are modern artists and will we ever see someone who has that true gift to elevate about the average and stand the test of time. After writing that, I got to thinking about modern music and the characters that stand out. I chose IDLES as the cover stars because, right now, they are promoting their album, Joy as an Act of Resistance. It is their second effort and will be released on 31st of this month and a lot of attention has been swirling around the Bristol band. Their music is mixing the attitude and physicality of Punk but the subject matter is much deeper and more profound. The band are striking against toxic masculinity and values that have actually been passed through society for decades. There was a time – and it still happens now – where a certain way of living and expressing was seen as ‘manly’ and normal. It involves bottling things and being tough; being hard, lary and keeping emotions down. IDLES want to speak out against that and show how stupid that way of life is. They manage to perform music that has spit and plenty of grunt without subscribing to that notion a band needs to be all about sex, violence and promoting bad messages. They have vulnerability and sensitivity but mix that with youthful, everyday and relatable subjects.

Not only is their music and lyrics packed with depth, humour and intelligence but the band seem like the genuine deal. It has been many years since Punk died and there are very few modern bands that match the energy and inspiration of the past masters. Whilst few of the Punk bands of the 1970s talked about anything emotive or vulnerable; their music and electric spirit captured a mood and there was that rebellion – the ability to ignore crowds and strike a chord. A lot of modern bands are producing music that fits into the mainstream and does not really stand out. Aside from bands like IDLES and Goat Girl; Shame and Wolf Alice; I wonder how many groups have genuine personality, depth and resonance. It has been years since artists like Madonna and Michael Jackson ignited the scene and compelled people with their personality and incredible music. There was something at once edgy and revealing that stood them out and means, this many years down the line, we think of them and keep them in the mind. Modern Pop and R&B has some inspiring artists but I am rarely compelled by what I hear on the radio and T.V. Those genuine personalities and characters are fewer than they used to be and I wonder whether we are too spoiled and less concerned with vigour and true depth – too distracted and involved in technology to look up.

IN THIS PHOTO: Madonna/PHOTO CREDIT: Luigi & Iango for Harper's Bazaar

Maybe there is a definition difference between ‘edgy’ and ‘soulful’. This article, where the author recounts experiences of the 1990s compared to today seems to back my general thoughts:

“Compare how people partied back then to how people party now, you'd think the '90s partying was conservative. Let's not forget American Pie of all great things, creating the word "MILF" as well. Things were peachy in retrospect; the driving force was teenage angst and that's how great the '90s were. We could afford to have the countries main musical reflection be because of teenagers being teenagers, not because we had war or the country was in a major economic slope. Nirvana, Offspring, Pearl Jam, Sublime all appealed to the rebelling youth emotionally, and because you could smoke to them all. As baffled as I am, things were entirely great, plus I was born. America was a Triple-A economic powerhouse, eventually being led by Bill Clinton leading just the very beginning of what would dramatically change the next generation; the technological evolution”.

I would not go as far to say modern music is boring and lacks soul but it seems like there are few artists talking about things that matter today in a meaningful and interesting manner. There are artists fighting against the Government and evil in the world but most artists tend to speak from the heart and write in many familiar and safe ways.

PHOTO CREDIT: Unsplash

Perhaps we will never see true icons and decades-enduring artists emerge but I wonder whether music has lost its fun, edge and force. Alongside the promising R&B/Pop artists and new bands; how often do you listen to a song or see an artist play and are genuinely moved and stunned? I started my looking at IDLES because you can never accuse them of being boring. There is so much to their work and they have so much heart and soul to go alongside the brilliant songs and sweat. Bands, once the reliable source of rebel, fascination and drama, have become a little restrained. There is invention and great albums being released but the sense of cool and swagger seems to have gone. Maybe it is still here but seems less real and exciting as it did years ago. It is a strange time where we have all sorts of artists, sounds and options available. The industry is as varied as it has ever been but there is not much brightness and boldness among the beige and lacklustre. It goes back to my feature regarding icons and whether the market encourages artists to make a difference and speak out. I listen to a lot of music but I rarely see interviews (or listen to them) and are hooked by what is being said; listening to songs and feeling here is a hero/heroine that is saying something new and compelling. The only real idol we have – who has been performing since the 1990s – is Beyoncé, I would say, and that seems rather sad.

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Mark Pillai for L'Officiel (2011)

Like Aretha Franklin; Beyoncé is more than an artist who performs her songs and that is it: she is an activist and modern-day figure who wants to inspire generations and, as such, is fascinating to watch. I love a lot of her R&B peers and, whilst I think their music has edge and firepower; I am not overly-drawn to the person behind the songs. Do a quick Internet search – asking questions around music’s lost cool, magic ad substance – and there are articles that look at older artists and what is coming through now. I understand how hard it is being unique and saying something real and fitting into the modern scene. So many artists have to compromise and watch what they say. Mainstream artists of the past had to follow rules and watch what they say but you did get those genuine articles who whipped up a storm and caused eyebrows to raise. Can you see that happening in the modern market? Music is always interesting and meaningful but there are far fewer characters and creators putting genuine enticing and enigmatic albums; we do not have many bands that can get the eyes widened and linger long in the memory. I wonder why there are few willing to take risks and turn their noses against the rather controlled, conservative and conventional music scene.

PHOTO CREDIT: Unsplash

I think we owe it to those musical pioneers and icons to look at modern music and encourage free spirit and excitement. I am being rather harsh on modern music and I know full well there are exceptional writers and performers who are doing wonderful things. Aside from the odd band and solo artist; so little of today’s market and offering blows my mind and get my standing up, excited by what is coming from the speaker. IDLES are a small example of a band that can have fun and genuinely rally against the ordinary but deliver a potent and emotional truth. The music world has so many brilliant artists doing great things but I think a lot are holding themselves back and not exploring their full potential because they fear commercial backlash and criticism. We are becoming safer and more scared to be bold and create these fantastic and original artists – talking about politics, sex and modern life in a very fascinating and new way. Maybe it is impossible to reverse reality and modern music so we can please everyone and set the world alight. Music has changed vastly over the years and, like it or not, what we hear now is how much will sound and fare for many years to come. I can accept that but long to discover artists who break rules and the mould and stick their tongue out – where have all the pioneers, big personalities and rebels gone?! I have not lost all hope but, as I listen to older music more than what is coming out now, I yearn to see the day when we see something interesting and inspirational…

 IN THIS PHOTO: Unsplash

BACK in the music industry.

FEATURE: The Second Summer of Love: Thirty Years On: Its Controversy and Headiness – and Whether a Third Summer of Love Is Possible

FEATURE:

 

 

The Second Summer of Love: Thirty Years On

IN THIS PHOTO: Spectrum in Jubilee Gardens (6th June, 1988)/PHOTO CREDIT: Time Out/Getty Images

Its Controversy and Headiness – and Whether a Third Summer of Love Is Possible

__________

IT seems each Summer of Love…

IN THIS PHOTO: A crowd of hippies during the Summer of Love in 1967/PHOTO CREDIT: Getty Images

involves a degree of excess and controversy! Not many of us were alive in the 1960s when there was that viewpoint of hippies joining together and a certain amount of 'experimentation' and free love ruling the scene. Artists like The Beatles, and Sgt. Pepper’s Lonely Hearts Club Band (1967), seemed to soundtrack something extraordinary and unusual – a unity and community that we do not often associate with the modern world. It may sound idealistic to suggest that Summer of Love as all perfect and countercultural. There was some violence and the drug-taking courted enough media focus. Against warfare and political tensions; it seemed like there was that hunger and desperation for a more peaceful and ‘relaxed’ lifestyle. Maybe it was a bit of a dream and ambition that did not properly define what the 1960s was all about. I only hear about the 1960s’ Summer of Love through photos and archive footage but I am always supportive of any movement, however brief, that provides chance for people to bond and detach from the starkness of the world. The music coming from that time was as experimental and blissful as the substances that were being ingested; the recklessness and lack of consequences. It may seem like I am bagging that time but the colour, music and spirit that was in the air captured something.

The spirit and sense of freedom being exposed and explored helped lead, through a few decades of separation, a second Summer of Love. It happened in 1998 and was a little different to the 1960s’ version. The 1980s’ incarnation has different music and drugs of choice. I keep coming back to that subject of drugs but, as I shall explore, it, again, became the centre of the media’s attention. Maybe acid was the ruling muse then – whereas pot and acid, in combination, was dominant in the 1960s – but the music was the biggest difference. A lot of celebrations will happen next week that look back at that time when, once more, the nation was together and something incredible was in the air. Whereas the Summer of Love extended to America back in the 1960s; the raves and Acid music (House and Dance, too) seemed to be a particularly British thing. Britpop was years away and, after during a time when Margaret Thatcher was in charge and there as so much division around. If you are foreign to how the 1988-started movement captured the nation; here is a rundown from Mixmag:

“In 1988 a seismic change occurred in British society. It was caused not by a violent insurrection, demonstrations in Trafalgar Square or shadowy forces manipulating social media. The source of this bloodless revolution was a bunch of records from Chicago, Detroit and New York, a love drug called ecstasy and a load of potty youngsters doing the St Vitus Dance.

The hippie original may have been way back in ’67, but dance music’s Summer of Love was 30 years ago, an explosion whose shockwaves are still now rippling out across the world. It changed the fashion, the drugs, the clubs, the politics and the high times.

 IN THIS PHOTO: Danny Rampling at Shoom, 1988/PHOTO CREDIT: Getty Images

“…The music of that period became known as acid house, but it’s a shorthand for wildly divergent sounds that range from funky pop records played by Alfredo in Amnesia to Detroit techno, Chicago house, New York garage and even hip hop. In 1988 this music combined with a powerful new narcotic to create arguably the most far-reaching and long lasting youth cult we’ve ever seen. It was the year that British youth discovered how to turn on, tune in and drop one.

Suddenly, all previous certainties melted away like a pill dissolving on the tongue. A new era was afoot. It was all about giving it a go and not giving a fuck. Gas fitters became DJs, aircraft personnel became record label owners, bank managers jacked it in to run clubs. Everyone was an impresario, everyone knew someone who’d made a tune. Qualifications? Fuck ’em. All you needed was the gift of the gab and a set of decks”.

To be a part of this new movement and scene; you did not need any qualifications and expertise. The somewhat grey and ordinary scene of 1988 – when music was not at its peak – was causing a lot of youngsters to feel isolated and purposeless. Suddenly, there was this wave of mind-opening music and spaces where everyone could congregate and lose themselves. The soundtrack – which I shall explore later – seemed to open doors and change things. I was a child in 1988 but was already aware there was not a lot to get excited about during that period. Each city had its clan of D.J.s who were bringing music to the people. Liverpool had Andy Carroll and Mike Knowler; there was Graeme Park in Nottingham and Nightmares on Wax in Leeds. London has Colin Faver and Eddie Richards whereas clubs like Asylum became hotbeds for this new expression and freedom. We look back at the 1960s and drugs that were circulated during the first Summer of Love. Whereas a lot of club experiences before 1988 involved hostility and drunken recklessness; ecstasy came in and seemed to change everything – something Mixmag reflects on in their article

“There was another magical ingredient that had turned house music from a fad to a phenomenon: ecstasy. “Ecstasy was the accelerator,” says writer Matthew Collin. “Ecstasy was the drug that bound people together. It didn’t create the music, but it did help to create a community around it. And it gave it that passionate intensity. Of course, there would have been an electronic dance music culture without it, but it definitely wouldn’t have happened in the same way.” Once they’d been thrown together, it seemed as blindingly obvious as two parts hydrogen and one part oxygen”.

PHOTO CREDIT: Dave Swindells and Gavin Watson

There was confusion as to the extent of drug-taking behaviour; many were actually taking acid as it was cheaper and more available than E. The new Summer of Love was disconnected with Margaret Thatcher’s Britain and gave a voice to a generation that felt like they were being ignored and shunned. Thatcher did not speak for them and represent Britain how they viewed it. These D.J.s, clubs and songs seemed to emancipate the masses and, as with any great movement, create a wedge. There were the conservative and stuffy clans that turned their noses up and felt the new Summer of Love was all about drugs and disregard for the authorities. There were iconic spots coming up that have lived in the memory and we still talk about today:

“In Manchester the resident DJ at The Haçienda’s Friday night, Mike Pickering, had been playing house since the first releases on Trax in 1985. By 1988 he had built the night into one of the strongest in the city. Then ecstasy arrived. “We were going to The Haçienda before it all kicked off,” recalls clubber Catherine Obi. “And then we walked in one weekend in our normal club outfits – black tights, DMs, MA1 bomber jackets – but people were all in T-shirts, sweating. I was like, ‘What the fuck is going on?’ Within a month we’d had our first pill and we were just loving it. It was very, very strange how quickly it switched. It was like mass hysteria. But that was what was so good about it. All of a sudden it was like, ‘oh my god, look – everyone’s in it together! One nation under a groove’”.

PHOTO CREDIT: Getty Images

I will talk about the legacy of the 1980s’ Summer of Love but the scene was always threatened. U.K. laws made after-hours clubbing challenging and there was the fear that police raids and surveillance would compromise the fun and longevity. A lot of clubs were sprouting around the M25 and there was easy access to the countryside and city. It was easy for people to drive to raves and become part of something exceptional. The intensity of the raves and parties meant the scene died down when the 1990s came around; it was harder to license big parties and the media scandalisation created moral panic and Government uproar. The media’s uproar and the obsessive tabloid coverage meant the Summer of Love would close down. Writing in 1998, The Independent spoke with Adamski about his experiences and what defined the times:

“Adamski was one of the first to perform house music live. "NRG" was a top 20 hit in 1989; 1990 saw his collaboration with singer Seal, "Killer", reach number one. His new album, `Adamski's Thing', is released on 27 October. His daughter Bluebell sings on one of the tracks.

"Acid house suited me: I loved partying, l loved taking drugs, I loved music that sounded good when I was on drugs. Some gay friends took me to Ibiza in 1988. And I popped my first E there. From then on it was wild, hedonistic. My hits provided me with a lot of disposable income and fuelled the drug-taking. I'd spend a few hundred quid every weekend. I went to Thailand, Goa, Glastonbury ... potentially spiritual places, but all I can remember was being off my nuts. I'd mix everything with E: acid, charlie, vodka. I would shag everyone in sight, male or female. My seven-year-old daughter, Bluebell, is a love child from that era. I met her mum at a boat party. We bonded over chemicals. [They split up in 1991 and Bluebell lives with Adam]”.

PHOTO CREDIT: Getty Images

The Summer of Love was a revolution and revelation for those who were in boring jobs and wanted to break free. The struggling economy and a Government run by Margaret Thatcher was not designed for a lot of youths who were ignored and not part of her plans. The great music and legendary D.J.s provided a temple and safe space for those who wanted to be with their tribe and feel loved. That almost-spiritual connection between person and the music was, in many ways, aided and heightened by drugs. Maybe we associated E and acid with that time and feel it is the reason why things came to a halt. Were it not for a certain ‘inspiration’ one could argue we would not have seen such media coverage. That coverage brought the Summer of Love to the majority and showed there was this new movement who did not want to be part of the Thatcher-ruled Britain.  Whether you see that as good or bad; one cannot deny the necessity and influence of the Summer of Love that happened in the 1980s. I shall leave it to Mixmag to talk about the legacy of the movement:

PHOTO CREDIT: Getty Images

“But the Summer of Love was in no way a failure. It changed our views on sexuality, race and class. As Genesis promoter Wayne Anthony says: “It would have taken decades and decades of awareness campaigns to bring us all together. MDMA did more for multiculturalism than anything the government has ever done.” Acid house influenced advertising, film-making and art. It worried governments so much they introduced legislation to control it. It terrified breweries to the point where they introduced hilariously lurid alcopops to tempt kids back to booze. It transformed city centres and ushered in a new era of late-night licensing. It changed the way pop music was consumed. It changed pop itself.

What happened yesterday is what has allowed us to make today better, and the future bright. The values of the Summer of Love continue to influence a generation of young clubbers who are actively engaged in club politics, from the rights of transgender dancers to safe spaces for women, and whose activism has also been instrumental in the mushrooming of female DJs on our scene – nowadays some festivals have a 50/50 gender booking policy. Unthinkable in 1988”.

There are good and bad parts of the Summer of Love – much like the original in the 1960s – and it would be unfair to say it was a fad or ill-conceived revolt.

It was less about rebelling against boredom as it was creating a platform and space for those who felt isolated and lost. The music and innovators that came out during that time have influenced music today and I feel, like 1967 and 1988, there is a need for something in the air. The nation, again, is under a Tory rule and there is more isolation and division, arguably, then those two time periods. Music, now, does not have a singular movement of life-force that defines the time and unites people. There is this division and segregation; so many loose threads of scenes that have not woven themselves into a cohesive and colourful whole. The drug laws and rules would be huge and strict but you need not have a scene that is defined by drugs. Maybe it would be hard to have that much fun if it were not for stimulants and excess. You could have alcohol and some fun but it is important not to create a movement where the law and Government are clamping in from the very off! There are great D.J.s who could fuse elements of the two Summer of Loves and create new and exciting music. We have great clubs out there and I feel 2018 or 2019 would be a perfect backdrop. There is a lot more music and variety now than back in 1988 and the options are open for artists and D.J.s to create their own soundtracks.

PHOTO CREDIT: Dave Swindells

I feel there is more dissent and stress circulating than any other time in recent times. The mainstream does not have a Britpop-like force that will unify us and bring something joyful. The bliss and reaction we need will come from the underground and the clubs. Whether a third Summer of Love involves House music or something retro; a modern reworking of Dance or something completely new – there is a chance to mix things up and go wild. That wildness can be through creativity and music but there is always going to be the risk of drugs and drink playing a part. I am not condoning it but it is arguable the other two Summer of Loves would not have spread and caught on like wildfire were it not for substance. Everyone feels the strain of modern-day Britain and I think something accessible could be created so music lovers of all tastes could unite and enjoy. We often look to the mainstream for that massive inspiration but I feel, when it comes to something blissful and pure, there is not the talent and mindset available to initiate such grandeur and credibility. As we celebrate the 1988 Summer of Love and all it gave to music, good and bad, it makes me think, thirty years down the line, it is a prime time for…

 PHOTO CREDIT: Matthew Smith/Rex/Shutterstoc

A third incarnation.

INTERVIEW: Petrie

INTERVIEW:

Petrie

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THE incredible Petrie…

have been speaking with me about their new track, June, and its background. I ask what it was like working with JESS on the track and whether the summer-time sound hides something more anxious – I discover how Petrie got together and which artists inspire their sound.

I discover what Petrie are planning next and which rising artists we should look out for; whether there will be touring dates coming up; the advice current musicians should heed when starting their careers – the guys each select a song to end the interview with.

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

Fuzzy. Lots of admin; finished some demos; wrote a lot of poems.

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

We’re Petrie. One of our managers recently coined the term ‘credible Pop’ to describe us, which we like - lets the music do the talking. Have a listen. If I told you it was liquid Dubstep you wouldn’t listen, would you? It may be the most beautifully crafted thing you’ve ever heard but those darn labels can turn you off before you’ve even loaded the private SoundCloud link.

Tell me about the song, June. What started its creation?

We were in the studio with our dear friend Kosuke Kasza one evening when he hummed a tune, which we immediately turned into that cute guitar riff and then sort of quoted throughout the track. Up until that session, we hated making the instrumental first but his energy was so infectious we laid down a lot of the instruments and most of the melody that evening. He was practically bouncing off the walls…it was fantastic. After that, we recruited our hero/muse JESS to help us with the lyrics, which is when we really got stuck in.

It seems like there are doubts posing underneath the sun-kissed sounds. Was there anxiety and deep emotion in mind when the song was formulated?!

You better believe it. Ironically, there is nothing we dislike more than the notion of a ‘SUMMER BANGER’; so this song kinda poses as one - while the narrator essentially admits their experience of love is frivolous, completely situational and ready to collapse. Rather sweetly, I think, the love interest seems to totally agree.

JESS pops up on the track. When did you start working together?

George, the conventionally attractive one, met JESS at college and then I properly met her studying the same course at uni. So, the stars aligned. She’s an incredible, honest lyricist and, holy hell, can she sing. I’d listen to her all damn day if she’d drop some freaking music (SOON! We’re actually mixing it right now. Hehehe). 

How did Petrie get together? Do you recall when it all sort of clicked?

We used to play in RAWWKK BANDDSS together before George heard Burn by Usher (laughs). Eventually, I moved from producer to all-round ‘band member’ when we started writing everything together. Now, neither of us can write anything on our own but we’re trying in case this ends miserably.

The media and fans have shown a big response to your music. How does it make you feel getting that sort of feedback?!

HAHA. It’s reassuring that you think that...

Which artists are you influenced by? Who are the musicians who have made the biggest impact on the band?

Honestly? Joni Mitchell, Young Thug and Nirvana.

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

We’re playing a headline show at The Waiting Room in Stoke Newington on 20th September and we’re very excited. It’s gonna be our best one yet we’re sure of it.

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

We once got guest-list for a sick club night, turned up embarrassingly drunk and got swerved by Aminé. He just went and danced on his own. It was really weird.

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

Frank Ocean. Sorry to be obvious, but, yeah. Chips on the rider.

What advice would you give to artists coming through?

Keep writing. You’re probably terrible right now and you will be for years (we’re still terrible, I think) but you’ll look back one day and think ‘damn that was fun’ and then you’ll start to delude yourself that those songs were good…it’s a trip.

IN THIS PHOTO: Saint Torrente/PHOTO CREDIT: Noah Margaret

Are there any new artists you recommend we check out?

Our elusive JESS - when she releases this damn tune. Saint Torrente makes incredible Avant-Garde, theatrical Pop and really kicked us up the butt, lyrically. Imogen writes VAST and gorgeous songs that tear our heart to shreds.

IN THIS IMAGE: Imogen/IMAGE CREDIT: Fionn Hutton

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

No.

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).

Loz:  Honeycomb by Deafheaven

George: Margate by Sports Team 

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Follow Petrie

Facebook:

https://www.facebook.com/petriesound/

Twitter:

https://twitter.com/petriesound

Instagram:

https://www.instagram.com/petriesound/

YouTube:

https://www.youtube.com/channel/UCgh0p7O_WotEAuQKjzdETsA