FEATURE: The September Playlist: Vol. 1: The Dark Side, Kamikazes and One Shot

FEATURE:

 

The September Playlist

 ARTWORK CREDIT: Kyle Lambert  

Vol. 1: The Dark Side, Kamikazes and One Shot

 __________

THIS week has been one for…

IN THIS PHOTO: Anna Calvi

surprises and incredible releases. Nobody expected Eminem to release an album anytime soon. Kamikaze is the new one from him and it has been getting people talking. Fantastic, year-defining records from Anna Calvi and IDLES have got critics swooning and drooling; tracks from Kanye West and Muse are there in the mix.

It is a big and bold week for music; lots of fantastic tracks to get your teeth into. I have been excited by the raft and range of material and it is a good way to kick the weekend off. Have a look at this week’s finest and I am sure there is more than enough in there to keep you occupied!

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

___________

NAO (ft. SiR) – Make It Our Alive

Anna Calvi – As a Man

 PHOTO CREDIT: Hans-Peter van Velthoven

Muse – The Dark Side

Neneh Cherry – Shot Gun Shack

Mabel – One Shot

John Grant – He’s Got His Mother’s Hips

IDLES – Gram Rock

Eminem – Greatest

Noga Erez (ft. SAMMUS) – CASH OUT

PHOTO CREDIT: Mario Sorrenti

Kanye West - XTCY

Wild Nothing – Canyon on Fire

PHOTO CREDIT: Invision/AP/Rex/Shutterstock

Carrie Underwood – Love Wins

The 1975 - TOOTIMETOOTIMETOOTIME

PHOTO CREDIT: Dara Munnis Photography

Tash Sultana – Cigarettes

Blood Orange – Saint

PHOTO CREDIT: Natalie Somekh

King Krule – Biscuit Town

YAK – White Male Carnivore

Twenty One Pilots – My Blood

Panic! At the Disco – High Hopes

Flora Cash – You’re Somebody Else

Troye Sivan – Lucky Strike

Lauv – Superhero

Zhavia Ward – Deep Down

Gallant – Haha No One Can Hear You!

Arkells – Relentless

PHOTO CREDIT: Erica Snyder photography

Tor Miller – Friends with You

PHOTO CREDIT: Corinne Cumming for DORK

Nothing But Thieves – Forever & Ever More

Tess Henley – Better

The Kooks – Kids

Olivia Nelson – Never Too Late

KWAYE – What Have You Done

The Wombats - Bee-Sting

Hannah Barnett – Mining

RAIGN – Who Are You

MNEK – Correct

TRACK REVIEW: Danelle Sandoval (ft. French Braids) - Hands

TRACK REVIEW:

 

Danelle Sandoval (ft. French Braids)

Hands

9.1/10

The track, Hands, is available via:

https://soundcloud.com/danellemusic/hands-ft-french-braids

GENRES:

Pop; R&B

ORIGIN:

Los Angeles, U.S.A./Toronto, Canada

RELEASE DATE:

17th August, 2018

_________

I cover a lot in various reviews and it can be hard…

to come up with new things to say each time. In the case of Danelle Sandoval, there is quite a lot of new ground to cover. I wanted to talk about L.A. and the clemency of the scene there; posting covers online and starting down the music-sharing avenue; taking new routes into Pop and fusing vocals from Soul/R&B artists; finding new lease and life with a collaborator; Canadian difference and unique flair (compared to the U.S.); bringing in childhood influences and carrying them along with you. I will start with L.A. because a lot of songwriters go there and seek out guidance. It is seen as this desirable city to record and produce in because of the idyllic weather and scenery. I have never been myself but know a lot of artists who go there to get inspired. It seems like an obvious and age-old choice. Film actors and T.V. performers seek out the glamour and romance of L.A. For artists, there is a huge scene and a vast array of venues and contemporaries there. Like London; I wonder whether there is too much choice and it is a little intimidating. Certainty, one has the chance to drink in the full gamut of sounds and colours coming from Los Angeles. You go there with ambitions to be successful and get a load of gigs but, in many cases, it can be a struggle. I am not saying this to be depressing but it is true: L.A. is not for everyone. In the case of Sandoval; she has learned a lot from the city and started her creative life out there. The songwriter did a lot of good in Los Angeles and the fact she has the array of sounds she does, in my mind, is down to L.A. It is great to see an artist grow and take distinct aspects from a city. The rush and energy of Los Angeles fed into her blood and the ambition you need (if you live in L.A.) has pushed her to become bigger and better.

Los Angeles’ biggest draw and point, as I see it, is the choice and venues. It may not be easy to get noticed and stand out but, even for a smaller musician, you have chances. Los Angeles is a vast landscape and you can cut your teeth at smaller venues around the city. You can catch a gig every night of the week and get a sense of what the people want; check out local radio and do research regarding pitching music and what the D.J.s are listening to. It is the same situation with London: there is a dizzying array of people and musical options but, if you take your time and stay focused, you can learn an awful lot. Sandoval was in L.A. for a while and, for whatever reason, felt a bit of a funk. Perhaps it was the rush and exhaustion of being in a place like that but she sort of retrenched and needed a spark. People can get into that headspace: spending a long time in a city and finding it a bit tiring. I can understand why people come to L.A. and want to thrive there but I also get why many will get a bit weary and it can be hard to find that influence. What do you do when you reach that point when you need a new lease? Sandoval spent a long time working and pitching in L.A.; she was performing and recording but she wanted to take her music in a new direction. Maybe she has reached the end of what the city could provide and, one day, she met French Braids. He was in L.A. visiting – he hails from Toronto – and the two started to work on a new song, Hands. All at once, there was this new brain and voice coming out that compelled Danelle Sandoval and led to an instant and natural song. That is the way things go at times: songwriters need an additional voice and angle to uncover something rooted inside them.

In the case of French Braids; there is that experience mixing with the fire and energy of a young songwriter. Sandoval decided to split her time between Los Angeles and Toronto and, in many ways, take a big leap. Collaborators can be a saviour when it comes to renewed love and focus. Sandoval and French Braids worked on this new song and, compare it to her previous work and there is a definite difference. Look at artists through time and the way a new producer/collaborator can reinvent what they do. As an example – it might not be relevant to Sandoval – Madonna started work on her album, Bedtime Stories, and changed musical direction. A less saucy and adult version of what she was recording before; she joined forces with Babyface and that smoother, R&B-led direction resulted in songs such as Take a Bow. Not only is that song (and album) a more mature direction from Madonna; it shows her exploring new ground and moving into a creative space she had not stepped into up until that point. In many ways, the comparison is not too ambitious and far-fetched. Sandoval is a songwriter who has a love of R&B, as I shall explain later, and that is sort of brought out in her collaboration with French Braids. Many might say a songwriter should go their own way and trust their own voice. If you add other people to the mix then that might take away the personal and pure. They might have too much of an influence or it can seem more like a duet. Rather than overwhelm the song and have too much of a say; French Braids has put his elements and input into the song and brought out something fantastic. I can hear a lot of artists get a bit weary and need a sense of purpose and direction. Maybe they have released a few songs and, when it comes to the next phase, they do not want to repeat themselves.

Danelle Sandoval was in L.A. and was in a city that, I guess, was a bit overwhelming at times. She has been writing a lot and releasing material but there was something missing. Maybe she did not want to go in the same direction or perhaps there was fatigue forming. French Braids was a fresh mind and body and showed there was a lot more potential and brilliance to be mined from the songwriter. Many would forgive Sandoval for moving away and going somewhere quieter. Instead; Sandoval split her time between Canada and America and seems to be in a better place. Hands is taken from her forthcoming E.P., For Love, and things are going well for the songwriter. I wonder whether she will work with French Braids on future E.P.s and they will form a partnership. It is clear there is a close relationship and they get one another. Songwriters who feel like they need more company or a fresh pair of eyes could look out into the world for producers and artists. It may only be for a song or two but that new partnership can uncover something buried inside and bring it to the surface. From there, the mind is opened and it could lead to a lot more music. L.A. was a draw because of its glitz and polish. She wanted to succeed there and get some form of recognition. She did that but it is true something was lacking. Maybe it was soulfulness or a sense of authenticity. L.A. is more Pop-based and predictable when it comes to sounds whereas Toronto is a place that allows more personality and flexibility. French Braids allowed Sandoval to be experimental and step outside the box. She has retained the Pop edge and flavour but brought in other sounds and elements. This revelation and new discovery has transformed her music and opened her eyes.

Sandoval started posted covers online and released original music on SoundCloud from 2016. Although she began writing songs from the age of ten and playing guitar aged twelve; she moved to online and put her music out to the world. I feel a lot of new songwriters coming through have been going for a while. Many of us assume artists start fairly late and do not connect with music until they are adults. Maybe there are artists who do not have a lot of musical talent but, in quite a few cases; artists start as children and grow from there. It is impressive to know Danelle Sandoval has been playing for a long time and had that love instilled in her very young. She started by posting covers and testing the waters. Having that basic knowledge and passion within; she utilised the Internet and, when moving to SoundCloud, started to gain a larger audience. I know there are a lot of artists who have thrived and survived through the years without the Internet – or they came onto the scene before the Internet – but you cannot underestimate the value and market that is out there. I am thankful for the Internet because it allows me to put my work out there and see it shared. I love being able to connect with the wider world and having an audience. For artists; it can be hard getting a foothold and finding popularity but the music-sharing and streaming services are a valuable and limitless avenue for exploration. Sandoval can/does put her songs out on these platforms and can get instant reaction. Whilst it might be quite scary going out into the digital world; you can reach a lot more people through the Internet. Sandoval gigs and plays live as much as possible but she knows the potency of music-sharing websites. Chart her development and how she moved from a talented young musician to a fresh and energetic talent who is born to do this.

She matured to being this artist who wants to share her music with the world and knows what it takes to succeed. Sandoval was exposed to music as a child. Her Filipino mother would play her music and there was a combination of local sounds and her mother’s tastes. That music was then connected with Sandoval’s love of Pop and Hip-Hop. It was that revelation and choice of sounds that filtered into her mind and led her to record her own stuff. MySpace (remember that?!) was a portal used to get music out there; Sandoval went to YouTube and posted Lana Del Rey covers and, after that, things really started to take off. You can see all the little steps and how she has blossomed from the aspiring child and eager mind to someone who has utilised technology, music-sharing websites and current trends. Her first single, Chairs, was met with great success and got her a cover on Spotify’s Indie Pop Chillout playlist. It has been a long and busy road for the songwriter but I feel taking productive and sensible steps has played it part. To start, it was getting online and getting music to new hands. Now, as she has met French Braids, splitting time between L.A. and Toronto is the next big evolution. I feel every leap is important and scary but it pays off. I am not sure whether there will be a third one but, rather than quitting and feeling despondent; the songwriter has shown fortitude and made her way to a new plain. Success and longevity will come but, right now, a new single is out and it is exciting. I am looking forward to seeing where she goes and what we will get from her E.P. Clearly, Sandoval has a passion for music and a curiosity that she wants to exploit and spread around the world. I feel the songwriter will get those gig demands and play in a lot of different countries next year.

I have seen a shift in sounds between Sandoval’s earliest work and where she is now. It seems like she has moved from the Pop avenue and a certain L.A. sound to sprinkling in R&B and Soul. Influences are important when it comes to sound and direction and, in Sandoval’s case; one gets touches of artists like Mariah Carey and Toni Braxton. Rather than surrender her passions and give in; Sandoval brought in some new influences and pushed her music out. Hands has Pop flesh but there is something else working away. You get smoothness and silk; there is definite fire and something kicking. The production is more alive and richer; the vocal stronger and more nuanced. Lots of depths come out and I think, in order to move forward, Sandoval has looked back. Not only in terms of the age of her influences but when they came into her life. Often, looking to the future and taking from what is around you does not work. There are lots of great artists out there but many are compelled by what came before. In many ways, Hands is a fusion of the modern – production and lyrics – with the older and classic – vocals and music – and you have a great creation. I love artists who can change direction and do not feel the need to be commercial. Sandoval has embraced something insightful, fulsome and textured. I think she has found a new footing and is not going to abate anytime soon. Let’s hope she has plenty more material in the tank and keeps her sights set. I have a lot of faith in the songwriter and know she has much more to say. It can be difficult relocating and taking in new musical direction. Rather than let it bury and confuse her; Sandoval has assimilated it into her soul and come up with terrific music. I am determined to see where she heads and how her career progresses. I hope I have covered enough ground and provided background – where she came from and what inspired her.

You get some tease, beauty and trip in the opening moments of Hands. A wordless vocal from the heroine has a lullaby-like quality and it is dreamy. French Braids brings in some great electronics and production shine; you have a modern and cutting sound but one that never sounds too heavy and strict. There is intensity lurking beneath the surface but that is balanced with a sweetness and romance from Sandoval. The earliest lyrics – that find the heroine taking a chance in the wilderness – seems to be a signal and representation of where she is now. Rather than leaping into bad romance or a weird place; I feel there is a nod to her creative and geographical space. She has split her life between Canada and the U.S. and it seems to be a big step! It is scary and unknown but she wants to take the risk. I might be overreacting and looking down the wrong path but I got a clear sense Sandoval was talking about her new decision and working with French Braids. You get a real sense of trepidation but there is excitement and a sense of hope. As the lyrics progress, there are more romantic and physical connotations. Maybe there is a combination of passion and dreams or, maybe, the heroine is using her new movements and desires through the filter of love and physical passion. The heroine’s voice trembles and is breathless; you get a sense things are shaping up to be explosive and sweaty. Soon enough, my viewpoint changes from interpretations of musical desire to physical lust. Bodies are doing the speaking and she does not want conversation. Like Elvis Presley; she wants a little less conversation (and a bit more action). I can hear the intensity rise and something bubbling away.

Maybe it is a new relationship or something that has rekindled. In any case; it seems like there is an itch that needs to be scratched and an intense heat that is forming. Maybe I was quick to abandon the angle regarding songwriting and dreams. One can see Hands as a song about touch and intensity but, in many ways, you can feel a spiritual connection to music itself. French Braids keeps the production fairly simple as to allow, at first, the voice to build things up and create a mood. You get drum clicks and pointed electronic bubbles; there is a general movement but it does not crackle as you’d expect. That is not a bad thing at all. Rather than go for bold and reckless; the composition remains teasing and sexual. The vocal pitches itself between modern Pop and 1990s R&B and holds plenty of power. There is that call for loyalty and commitment. Hands are wandering and, in many ways, she wants to tenderness of faith and romance rather than the physicality of sex and something hollow. Perhaps this is a complex relationship but you can feel how much it means. Rather than rush in and make mistakes; the heroine wants to slow it a little and have her sweetheart stay. Her voice tempts and coos; it is tender and light but there is ample gravitas and lust that creates a rich and intriguing blend. New elements are brought in as the wordless coda returns. The beats sparkle and expand; you get more angles and edges that create a more fulsome and colourful sound. Little electronic rushes give the song a fresh fizz and definite warmth. From a rather reserved and somewhat restrained start; Hands starts to get a lot more mobile and sunny. It is a nice shift that pushes the song forward and builds images in the mind. Rather that build in new words and put too many lyrics in there; you get a return of the narrative – not wanting to talk and just wanting bodies and hands to do all the talk.

It never seems too explicit and full-on. There is romance and a purity that balances any suggestion of the shallow and quick. Whereas the verse had a set sound the first time around; there is a new flavour and direction this time around. Nuance and fresh revelation come through and you start to picture what is happening. I imagine two lovers who are new to one another but there is a recognisable connection and understanding. I keep thinking about music and dreams having physical manifestations. Sandoval is in a place where she needs grounding and the knowledge things will be okay. There is desire and ambition in her heart and a definite love. She does not want that taken away from her and knows she is taking a risk. It is a complicated song that can have distinct and different truths. Each listener will have their own viewpoint and interpretation. I was thinking about that mixture of love and music but, to be fair, we might be looking at a simple passion that is arriving at the right point in life – something needed but might not have legs. Sandoval will know what the origin is but, rather than give everything away, she allows some room for manoeuvre and personal relevance. By the end of the song, you are compelled to go back in and see if you missed anything the first time around. Hands has a very modern sound and slick production but you get classic edges. French Braids brings fresh ingredients to the mix but does not take away the true and trusted Danelle Sandoval sound. It is a great partnership that has resulted in a great song. It might be a new combination of talents but you can tell they work together. I hope there is more collaboration between them and they get to work on other songs. Hands is a great song that has summer vibes and energy but there are cooler and more teasing moments that are perfect for the colder months. I am curious to see where Sandoval heads and, in the coming years, how her music grows and builds. Even after a couple of songs, she has proven herself to be an exciting and interesting voice in modern music.

I wonder whether Danelle Sandoval will come to the U.K. and play here at some point. She will have Canadian and U.S. dates and, with an E.P. coming, there will be fresh love. Coverage is coming in for Hands and it seems many people are reacting. I am pleased and can tell the future is very bright for her. I love the song and can definitely feel a difference between what we have now and what came before. Progression and change is all part of the songwriter’s life. It is going to happen and can bring new energy to the bones. It seems Sandoval is primed and pumped for what comes next. Maybe international touring is a few years off but I would not be shocked if she got some big dates off of the back of her latest single. There are not many songwriters who would take risks like her and make such leaps. That is a testament to her desire and what she wants to achieve. Let’s follow her closely and watch a brilliant talent blossom. I shall end things in a bit but, before I do, distil why you need to get behind Sandoval. She has been around music all of her life and, from a young age, it seems to resonate. That love got into her heart and there was a decision to peruse music and bring it to the people. Working tirelessly and ambitiously for years; she worked her socks off and put covers into the world. From there, ears were primed and that led to original material. It won hearts but, at a point, that funk arrived. Now, Sandoval has progressed and made a decision to work with someone new. It seems she is in a great place and you can hear that defiance. It is the way she has handled obstacles and given her all to music that marks her out for success.

So many songwriters take an easy road and quit; others write material that is not pure to them and it can show. Other simply carry down a bad road and it can be quite hard to watch. If you want to remain in music and evolve; you need to think outside the box and take chances. Danelle Sandoval has come a long way and there is plenty more to come from her. Ensure you get your body behind Hands and investigate its every move. I am excited to see where she heads next and whether we might get to see her in the U.K. I can see a correlation between Sandoval’s live experience and how that feeds into her music. As more and more people get behind her music and spread the word; those demands will come in and she will be on the road. I know there are big plans and dreams in the mind of Sandoval; she wants to grow and continue to make music. I am thrilled she has come so far and created wonderful music. Throw some love behind the talented songwriter and keep abreast of everything she does. It is an exciting and promising period that will yield material, great reviews and gig requests. There are many songwriters who evolve and change direction but few have the same striking nature and sound as Sandoval. She is out there on her own and occupying special ground. She will continue to build and flourish; take in new sounds and, let’s hope, continue to work with French Braids. She may have found him by chance but, as they have created the wonderful Hands; I do hope that partnership continues for…

A long time to come.

___________

Follow Danelle Sandoval

Twitter:

https://twitter.com/danellemusic

Facebook:

https://www.facebook.com/danellemusic/

Instagram:

https://www.instagram.com/danellemusic/

Spotify:

https://open.spotify.com/artist/7Dz9goFmVZZqvJxZoKg7pF?si=ttwYh1PUSVS01xtZennflA

YouTube:

https://www.youtube.com/danellesandoval

SoundCloud:

https://soundcloud.com/danellemusic

FEATURE: Change of the Guard: Why Lauren Laverne Taking Over (Temporarily) from Kirsty Young on Desert Island Discs Is a Natural and Respectful Move

FEATURE:

 

 

Change of the Guard

IN THIS PHOTO: Lauren Laverne (who will take over from Kirsty Young on Desert Island Discs this autumn)/PHOTO CREDIT: Getty Images/WordSmith 

Why Lauren Laverne Taking Over (Temporarily) from Kirsty Young on Desert Island Discs Is a Natural and Respectful Move

__________

THERE has been a lot of media interest…

IMAGE CREDIT: BBC Pictures/Getty Images

regarding Lauren Laverne’s appointment as the new (temporary) host of Desert Island Discs. Various outlets have approached the news in different ways. The Times asked who she was (in a wider, inquisitive and creative way); The Sun, typically, wanted to know how old she is (what relevance is that?!) who her husband is (see the previous exclamation in parenthesis...) and when she was in a band (not sure how that ties into presenting a Radio 4 long-running series that is unconnected with what she did in the past!). The news about Kirsty Young stepping aside to recover from illness was a surprise to me:

“Kirsty Young is to take a number of months off Desert Island Discs because she has fibromyalgia, and Lauren Laverne is to fill in for her.

Desert Island Discs returns to BBC Radio 4 on 16 September and Young will host the first two episodes with castaways opera singer Danielle de Niese and neurosurgeon Henry Marsh.

Laverne will host the third episode onwards.

Four presenters have hosted the show since it started in 1942.

Fibromyalgia is a long-term condition that causes pain all over the body and can bring on severe fatigue. Lady Gaga also has the condition”.

Anyone who is an avid fan of the programme (such as myself) would not have been aware of Young’s health concerns and that she needed time off...

IN THIS PHOTO: Kirsty Young with David Beckham on Desert Island Discs (in 2017). Beckham was the programme's seventy-fifth-anniversary castaway/PHOTO CREDIT: Sophie Mutevelian/BBC/PA Wire 

It is upsetting she is unwell - but it is good she has decided to take time away and rest. Laverne’s appointment is a great move. Desert Island Discs has an email/comment section where you can suggest a possible ‘castaway’ – the name given to a guess on the show – and I suggested her, once. It is a logical and obvious move: she has had a varied career; is a successful radio D.J. and a feminist (which has inspired how I write and argue for women's rights in music). Aged only forty (trying not to be too tabloid!) she has achieved more than most people twice her age! It has been a productive and happy last few weeks for Laverne. She has been hosting a morning show (10 A.M. to 1 P.M.) during the week for years now and is replacing Shaun Keaveny as the new breakfast host (taking care of the 7 A.M. to 10 A.M. slot). It is a good promotion and will be interesting to see what she bring to the show. I am gutted Kirsty Young is stepping aside – as I think she is the best presenter the show has ever seen – but I am glad Lauren Laverne is coming in. Her natural wit and warmth are very (Kirsty) Young-esque but that knowledge of new and older music, obligatory as a BBC Radio 6 Music D.J., is going to be a new angle. Laverne is pleased to get the gig and is honoured to step into such a converted role.

We need not get into fibromyalgia and its severity – it is incurable but can be managed – but everyone wishes Kirsty Young a speedy recovery! Some of the finest editions of Desert Island Discs of previous years have seen her get the best from her guests. Whether it is the incredible and revealing chat with Bruce Springsteen; the natural chemistry with Caitlin Moran or the way she coaxed tears from Tom Hanks – the finest edition of the programme I have ever seen – it is masterful! (A brilliant interviewer whose vast intelligence and intuition gets a lot from the castaway but also lets them explore and wander). Young walks the line between a serious news inquisitor and a warm and sympathetic presence. It is a hard act to follow but I think Laverne is a great replacement. She has her BBC Radio 6 Music show but is already a stalwart and fixture on BBC Radio 4 - hosting a late night edition of Woman’s Hour. This article from The Economist made salient reports regarding the decades-lasting show. Its popularity comes in its simplicity and consistency.

IN THIS PHOTO: Roy Plomley (who devised Desert Island Discs in 1941) recording a show in January 1967 to mark the 25th anniversary of the first programme/PHOTO CREDIT: Trinity Mirror/Mirrorpix/Alamy

“FOR nearly eight decades the seagulls have cawed, the waves have lapped against the sand and Britons have settled down to “By The Sleepy Lagoon”. The format of “Desert Island Discs” has hardly changed since it was first broadcast in 1942 from the Blitz-scorched BBC studios in Maida Vale. Famous guests select eight records to keep them company on a hypothetical desert island, answering questions in the gaps between them about their lives and careers. The last big innovations came in 1951, when castaways began choosing a book and a luxury for the ordeal (Sally Ann Howes, an actress and the first guest to take advantage of the new rule, plumped for garlic)”.

The presenters’ soothing and educated voices are the only unchanged part of Desert Island Discs. Aside from the rules of the game – choosing eight records, a luxury and a book; you can only save one record from the wave – the programme has diversified from the early days. Previously, guests were academics and figures of notes; samey and plummy voices that, by and large, picked Classical selections and it was all very nice. Now, we get guests from different races and nations; the music – whilst still too heavy for my liking on Classical – takes in everything from Hip-Hop and R&B (Jimmy Carr selecting Beyoncé and Jay-Z as a choice was a shock!) to Lonnie Donegan (the brilliant Sue Perkins chose one of his cuts when she was a guest last year).

I love seeing how Kirsty Young reacts to some out-there music choices – the castaways, in turn, do take the piss out of her slightly posh reactions – and Lauren Laverne is the first host in the programme’s history that will take Desert Island Discs in a new direction. The Sunderland-born musician and journalist has a new bag of skills and an approach to interviewing that is brilliant – a different tact and style to Young that will bring fresh nuance to the series. I am excited to see who she features and the rapport she cements with the castaways. The Economist’s article charted the presenters’ different styles and how the music choices have altered through the decades. A reason why I think Laverne is a natural choice for host is because of her warmth and experience. Previous hosts like Sue Lawley and Roy Plomley were brilliant but were a bit more serious and stern: Young’s appointment in 2006 changed Desert Island Discs and granted greater revelation. Guests during her reign have discussed revealing their homosexuality and suicide attempts; the death of parents and being involved in carnage and bloodshed. The music, too, is a bit more youthful and there is greater room for those big guests to extend and chat freely – something new came in and made Desert Island Discs more accessible and appealing to a younger demographic. Laverne’s task is a big one but I feel she will easily retain the audience and bring in even younger listeners; a new demographic and some great reviews!

PHOTO CREDIT: Getty Images

I am a relatively new convert to the programme – a few years or so – and usually gravitate to the editions that speak with entertainment personalities and those in music (other figures tend to be a bit too dry and their music choices a little boring at times). In any case; every edition teaches me something new and I get to discover something genuinely fascinating. From the opening crash of waves and seagull noise through to the mirrored calm of the closing bars – we all cast ourselves away on a Sunday and delight in a format that is tested, true and reliably wonderful. I think things will get even brighter for Lauren Laverne as her radio diary shifts and bulks up. Maybe there will be new T.V. options and journalistic avenues; even more demands from BBC Radio 4 and literary options – it is only a matter of time before she releases a novel or two! In any case; make sure you follow Lauren Laverne when she takes over in the autumn. Even though there is new interest in her and wondering who she is – she has been in the industry since she was a teenager and been a celebrated name for a long time! – but is good to have a reliable and safe pair of hands take over the reins (or something nautical-based!). I think we will see some truly revealing interviews and programmes that get tears and explicit confessions; plenty of emotion and candid humour – comfortable in Laverne’s presence and very trusting. Our thoughts and love go out to Kirsty Young but, when Lauren Laverne steps into the Desert Island Discs role very soon, we will see a professional who will keep the solid and familiar format true but bring her own unique personality and traits to the airwaves. I cannot wait to see what Laverne brings to…

PHOTO CREDIT: BBC Pictures

SUCH a legendary and beloved programme.

FEATURE: Golden Wonder: Fifty Years of Apple Records

FEATURE:

 

 

Golden Wonder

ALL IMAGES/PHOTOS: Getty Images 

Fifty Years of Apple Records

__________

WE celebrated Trojan Records…

turning fifty last year and, in addition to hearing a lot of the label’s music being played, it was amazing to discover a label that had lasted that long! We look at labels and so many of them come and go; the ones that have lasted lose their power. This year sees The Beatles’ eponymous album turn fifty - a great time to celebrate the label they founded, Apple Records. I am going to publish a piece about Sir Paul McCartney this weekend and look at a  genius whose magic and incredible music continues to delight the world. Although not every release from Apple Records was by The Beatles – solo work by George Harrison and Billy Preston is hugely notable – the boys’ 1968 (and after) work was the biggest draw. This TIDAL article looks at the record label and how it came to be; what it stood for an how it progressed:

“In 1967, following the death of manager Brian Epstein, the Beatles founded Apple Corps as an umbrella company for all of their creative endeavors, with sub-divisions that included Apple Retail, Apple Publishing and Apple Electronics. A year later, as the Beatles returned from their famous trip to India, the band founded Apple Records in London in 1968.

With a forward-thinking, artist-oriented philosophy, the label was designed to foster talent in a creative, nurturing environment, and provide an alternative to the traditional record companies that had dominated the British music industry since before World War II.

  “…While never run on a wholly commercial basis, Apple Records was nevertheless a functioning and successful record label in its early years. Between 1968 and 1973, Apple issued around 50 singles and over a dozen albums by artists who weren’t known on a first name basis as John, Paul, George or Ringo.

It’s an electric, eclectic collection, spanning musical genres and drawing upon influences from around the world.

Especially in the beginning, most of the label’s signee’s were acts the Beatles personally discovered or supported, and in most cases one or more of the Beatles would be involved in the recording sessions. Artists including James Taylor, Mary Hopkin, Billy Preston, the Modern Jazz Quartet, the Iveys (later known as Badfinger), Doris Troy and Jackie Lomax were all signed to Apple within the first year”.

I find a lot of inspiration and guidance thinking about what The Beatles wanted to do with Apple Records. They wanted to create a safer space where artists could release the music they wanted; there was no leaning and pressure from big labels and it was especially beneficial for The Beatles. I find, fifty years after the record label started life; how many artists have been inspired. Big musicians around the world, Kate Bush included, have set up their own labels and have decided to do things their own way. There are a lot of big artists who, one feels, are being guided and controlled by the labels who represent them.

I am not suggesting there should be a huge mutiny but it would be good to see more mainstream artists setting up their own labels and breaking away from the big boys. I know artists who have their own label but not recruiting or attracting that many artists – maybe I need to have a closer look. James Murphy (LCD Soundsystem) and Jack White (Third Man Records) have their own brand; Jay-Z has Roc Nation, Chvrches have Goodbye Records. It is great to see artists show some autonomy or, at the very least, provide a unique and reliable space for artists. These musicians provide options for musicians who either cannot get signed by big labels or want some freedom in their work. The Beatles’ last big record before 1968, Sgt. Pepper’s Lonely Hearts Club Band, was released through Parlophone in the U.K. The Beatles was the first album released through Apple and, although the band were cracking and straining, I wonder whether Parlophone would have released a double-disc/four-vinyl album that was so scattershot and eclectic. Each band member was on a different page; songs were recorded in different studios and there were few tracks (of the thirty) that contained every band member. The unhappiness in the ranks did not translate into poor material: The Beatles is seen as one of their finest and a hugely ambitious work.

IN THIS PHOTO: The Beatles in 1968

After 1970; The Rolling Stones’ manager Allen Klein took over control of Apple Corps and a lot of the label’s talent was dropped. When The Beatles broke up that same year; most of the recordings were from solo Beatles members – fresh signings were uncommon. It was a slightly uneasy three-year period that saw, in 1973, a return to Beatles work on Apple Records. The brand is gone now but, since its inception, it was responsible for releasing some fantastic records and inspiring other artists to set their own labels up. The article I have already quoted listed a few notable records under the Apple Records banner. James Taylor’s eponymous album (1968) is one of their finest releases:

“James Taylor’s self titled debut was the first recording by a non-British artist released on Apple Records. It was produced by Apple A&R head Peter Asher during the time Beatles were recording The White Album. After being shown the demos by Asher, Paul McCartney recalled, “I just heard his voice and his guitar and I thought he was great … and he came and played live, so it was just like, ‘Wow, he’s great.”.

Doris Troy and Badfinger proudly put their work in Apple Records’ hands – I wonder how far the label could have gone if it was controlled by one of the Beatles boys or branched out. That lone and proud apple did a lot of great work but, as we mark its fiftieth anniversary; I ask whether we will see anything like it. Look around the biggest bands of our time and could you ever see them establishing their own label and giving other artists a chance to join them?! It seems unlikely we will ever see the like again but, as I mentioned, the fact we see other big musicians with their own label, in many ways, came from The Beatles. We look at that iconic apple symbol and it is synonymous with quality and reputation. This is a great article that gives a full and frank history of Apple Records – in addition to highlighting several albums released through Apple and what made them so special. It seems, during the label’s brief regency, there were many highs and lows:

“Controversy also dogged the Scottish band White Trash, who issued two singles on Apple. While political correctness could be happily dispensed with if within the realm of TV satire, when it came to rock music, even a suggestion of reverse racism was stamped out by the cultural custodians of the day. Hence the truncated name, Trash, for the band’s second Apple 45, a storming cover of their paymasters’ ‘Golden Slumbers’/’Carry That Weight’.

The late Errol Brown, the much-loved voice of Seventies disco kings Hot Chocolate, was first heard on record thanks to Apple. In 1969, the group gave John Lennon’s ‘Give Peace A Chance’ a reggae make-over, and when they sent their recording to Apple for approval, Lennon loved it and instructed the label to release it forthwith. Intriguingly, the record goes beyond a note-for-note rendition of John’s Plastic Ono Band anthem — check out the changes in the lyrics for a true Apple original.

“…Bill Elliot & the Elastic Oz Band’s ‘God Save Us’ is a Plastic Ono Band single in all but name. The song was John Lennon’s fundraiser for the underground magazine Oz. In 1971, the editors stood in the dock, charged with that old chestnut, obscenity. Among the crimes committed in their ‘Schoolkids’ issue of May 1970 was a pornographic cartoon featuring a sexually aroused version of ‘Rupert the Bear’, whose ursine unimpeachability had been scurrilously corrupted into a Robert Crumb character from the waist down, in flagrante delicto with all his naughty parts clearly displayed. The editors ended up in prison, briefly, but their convictions were overturned upon appeal”.

It is clear there were some great releases and an impressive ethos behind Apple Records. There was speculation from the press that Apple Records was The Beatles’ way of tax-dodging and having to pay less money. That, as this piece explains, was refuted by Paul McCartney and John Lennon:

“From the beginning, The Beatles' members used Apple to put out records by other artists they liked, as Lennon and Paul McCartney explained in a 1968 television interview.

"We hope to make a thing that's free, where people can come and do and record," Lennon said.

"It'll be big, I think," McCartney added. "It's like a top. We're gonna set it going and hope for the best."

Apple put out three other singles on the same day it released "Hey Jude," including "Those Were the Days" by Welsh singer Mary Hopkin. That song also topped the charts”.

Most artist-established labels pre-Apple Records were vanity projects: they held little substance, business acumen or long-term ambitions. The Beatles, John Lennon especially, wanted it to be a bigger beast that could inspire the world. From music to film and T.V.; it was this huge idea that was much more than the world’s biggest band adding to their bank balance. Many can look at the subsequent Apple computers and the iPod as a realisation of what The Beatles were trying to achieve. Although today’s Apple is not run by any of the surviving Beatles or has their D.N.A. in its marrow; you can look at the unity of music and film as, in a way, stemming from that initial idea. People assume Apple Records was one of these dreamy and idealistic ideas that held little weight. The fact albums like The Beatles and Abbey Road was released through the label is big enough; other artists were releasing through them and, if things had worked out differently, I think the label could still be going today. We remember Apple Records and not only the material tied to The Beatles - everyone from Ravi Shankar and Ronnie Spector released music through the label. It was a busy, eclectic and ambitious label that made a big impact in its short life. Fifty years after its inception; we remember its heart, soul and huge mindset. That need to go outside a traditional label and, in many ways, create a special and safe community. Many of us associate Apple Records with different things but, for me, there are few things as powerful and iconic as…

THAT incredible logo!

FEATURE: Master Hunters: The Female Innovators Tearing Down Walls

FEATURE:

 

 

Master Hunters

IN THIS PHOTO: Anna Calvi/PHOTO CREDIT: Getty Images 

The Female Innovators Tearing Down Walls

__________

THERE is a long way to go…

 IN THIS PHOTO: Shirley Manson/PHOTO CREDIT: Michael Hauptman for DAZED

before music establishes an equal footing and sense of parity. I often write about sexism and feel the greatest fight against it is being made by women – few male artists and journalists coming out and attacking imbalance. It seems strange to think we have got to 2018 and we still need to have these arguments: battling sexism and asking why changes are not being made. It is not only sexism and a lack of opportunities for women that are being struck against. They are talking about sexual assault and being taken advantage of. I will bring in some innovators and those speaking out but, in an interview with The Guardian; Shirley Manson (Garbage) talked about the #MeToo campaign and one its more shocking sides:

“…This conversation inevitably leads to #MeToo, but it is Manson’s older peers’ response that she finds exasperating. “They say: ‘Well, I was raped and I didn’t complain about it.’ As though somehow they resent that protections are now encouraged.” As for her male peers’ complaints: “I want to say: ‘OK, I can offer you two options: you get to tell women they’re beautiful and touch them in the office as you’re sliding past the coffee machine. Or we can eradicate rape and sexual violence. Which one would you rather?’ Men want it all their way. I love men. I want men to step up.” Are men changing for the better? “No. Men are just a little more careful about what they say because they understand they can get into hot water fast”.

I wonder how far we have come and whether those in the seats of power are listening to these conversations and interviews and doing something about it. Certainly, discourse and anger are bringing issues like this to the light and oxidising something that needs to be discussed. It is the music and the sense of passion from these female artists that makes me wonder why we have to talk about sexism. By that, I mean they are equal and, in many cases, far more compelling and stronger than men. In Manson’s case, she has produced a sterling career and is seen as one of the most inspirational and consistent artists from all of music. Another artist that catches my ear is Anna Calvi. Her new album, Hunter is getting fantastic press. This is what The Independent has to say about it:

“…There is, of course, a fine line between sounding serpentine and plain meandering and Calvi isn’t consistently on the right side it. Some guitar solos, as on “Wish” and the otherwise thrilling “Alpha”, wang on a bit. But, overall, this is a powerful statement from a laudably liberated artist. A record red in tooth and claw”.

The Guardian has given it a five-star review and, aside from IDLES’ new album, Joy as an Act of Resistance, I am yet to find a more powerful and impressive record – both albums are released today.

When speaking with The Telegraph earlier this month; Calvi talked about gender and sexism in the music industry:

“I have long felt frustrated at the limitations of what a woman is allowed to be, on a very basic level,” says Calvi. “Perfect, smiling, accommodating. Why do I have to live up to these ideals because of my anatomy?”

Calvi is a passionate feminist who is speaking up for women and laying it out there. We have this perception (women) are supposed to sound a particular way and they are only meant to record a certain type of music. It has never been the case, in any time for music, women have only done Pop or something softer. Calvi, in the interview I have just quoted, talked about the idea of the male Rock artist/band being dead; an idea of what they represent and what they have always been about holding less relevance. I know for a fact a lot of male bands are conscious of image and how Rock artists of the past have been portrayed. More and more female/female-led Punk, Rock and Alternative bands are doing great things and bringing much-needed balance, difference and colour into the scene. Aside from a few great bands like IDLES and Yak; I am a bit bored of the rather cliché and predictable Rock band – the aimless riffs and boring songs.

PHOTO CREDIT: Unsplash

I listened to Calvi do a live session for BBC Radio 6 Music a couple of days back and she was mesmeric. The stunning, sky-scraping vocals and immense guitar chops; the command and hypnotic sounds that many in the industry feel cannot possibly come from a woman! From Patti Smith and Chrissie Hynde; there have always been strong and defiant women showing how strong and purposeful they are. Things are changing in terms of sound but, when it comes to shining a light on women in music, I am not seeing enough change. St. Vincent is another modern innovator who talks about gender and misconception. In an interview last year, she spoke about her experiences:

“The artist born Annie Clark explained that people have "a tendency to assume that if a woman is singing a song, it must be literally true.

"They think everything must be emotional, a diary, and obviously that's not the case," she said.

In the interview with British Vogue, she added: "People wildly underestimate women - they think we lack intelligence".

St. Vincent, like Anna Calvi, is an incredible musician and singer; an artist whose music is transformative and is writing deep and fascinating music – both artists have always been that way! They explore gender and women’s strength through their music; they speak against sexism and how a woman is perceived in the industry. If fans and critics are reacting and impressed by what they do; how many bosses, festivals and labels are taking notice?! I would love to see both of these artists headline the likes of Glastonbury but I wonder whether female artists will be taken as seriously as men. Sure; bands like IDLES are primed to headline but there is a definite role for female sensations who are producing incredible work. From Lizzo and Florence + the Machine through to Laura Marling and Nicki Minaj; women in all corners of music are showing how incredible they are and what they can produce. I feel the music being made by women right now is more interesting and varied than the male-made comparison. In an interview Laura Marling conducted last year to promote her album, Semper Femina, she spoke about her sexuality and being unsure of her femininity:

“Marling prompted a lot of speculation when she announced in a press release that the album was written during a "masculine time" in her life, after she had "gone on this trip of abandoning any sexuality".

She clarifies that today, saying she was simply trying to write about women from a "neutral perspective". But she admits LA prompted a period of androgyny.

 IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Getty Images

"People there are just a bit more far-out," she explains. "Nobody's got a job, they can dress however they want. A lot of my friends are queer or gender-fluid. So I was picking up on that.

"Then there was also my natural relationship with [womanhood]. I'm unsure. I'm unsure of my own femininity or masculinity.

"There are some circumstances in which I employ more of a masculine approach in order to protect myself; and there are circumstances where I indulge in my more feminine side because that vulnerability seems more important”.

Maybe it is not the case with Laura Marling but many women have to produce music more ‘masculine’ in order to get critical attention. Although their natural sound is incredible; people are still looking for the same old sound and something old hat. I wrote a piece this week about festival headliners and how artists like Dua Lipa – at Reading this year – are defining the new wave. She is a great Pop artist and, at a time when male bands are holding less influence; are fantastic and multi-talented artists like her and Sigrid the new headliners?! Surely, it is only a matter of time before these empowering and striking female artists get proper respect and attention. I think we have got into this mindset about the band – Rock, for the most part – being the profitable and ideal concoction in music. Women have always been vital in the progression and evolution of music but few are being listened to as hard as they should.

In this article, Beyoncé interviewed her sister Solange (Knowles) about experiences of sexism in the business; how she has been made to feel and react:

“As far back as I can remember, our mother always taught us to be in control of our voice and our bodies and our work, and she showed us that through her example,” Solange says. “Society labels that a control freak, an obsessive woman, or someone who has an inability to trust her team or to empower other people to do the work, which is completely untrue.”

When Beyoncé asks Solange about common misconceptions about being a strong woman — Beyoncé herself having often been criticised for her tight image control— Solange cites Jessica Hopper’s 2015 interview with Björk in which the artist laments how a man is almost always given the credit for her work. “One thing that I constantly have to fight against is not feeling arrogant when I say I wrote every lyric on this album. I still have not been able to say that,” Solange says. “That’s the first time I’ve actually ever said it, because of the challenges that we go through when we celebrate our work and our achievements.”

“It’s something I’ve learned so much about from you, getting to be in control of your own narrative. And, at this point, it should be an expectation, not something that you’re asking permission for,” she continued. In 2013, Solange and frequent collaborator, Dev Hynes, had a public falling out over writing credits on her EP, True (they have since reunited on stage)”.

IN THIS PHOTO: Courtney Barnett/PHOTO CREDIT: Elizabeth Weinberg for GQ

From Kacey Musgraves and SOPHIE to Anna Meredith to Hannah Peel; Cardi B and Mitski and Courtney Barnett; so much of the finest music from the past year are being made by women. I am finding Pop’s mainstream finest showing more determination and passion than ever before. Fantastic newcomers like Jorja Smith are leaving a huge impression on the music landscape and showing how strong female artists are. The names I have already mentioned are all worthy of headline slots; they are all incredibly gifted and potent artists who show who are laying down their voices. It is hearing artists like Anna Calvi and St. Vincent – the multi-talented musicians and sublime songwriters – that makes me a bit angry. They are right in everything they say and you only have to listen to their music to realise how stupid the gender divide is. Why are they not getting big headline slots? Why do they have to address sexism when, clearly, female artists are producing world-class material?! I am stunned (but not surprised) by the sheer wonder and fascination coming from the best female artists out there. So much of the Pop market sees male writers and producers run the show. I wonder whether female artists are being controlled by labels – who want men to write the songs and just have them sing. With a plethora of brilliant female Pop artists; are they being silenced and controlled?

IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: Samir Hussein/Samir Hussein/WireImage

Dua Lipa, in this article, explained how she learned a lot from male writers – regarding process and skills – but, when we think of women writers; there always seems to be men behind them – you never get that with men:

"You will notice of the big successful female artists, there is always a 'man behind the woman' piece. If it's Beyonce, it's Jay Z. If it's Adele, it's Paul Epworth.

"Me? It was Mark Ronson and the same with Amy Winehouse. You never get that with men".

I hope the Pop demographic changes so that more female artists are allowed to stand on their own and not be tied with men; create a less manufactured and directed sound and be allowed to write their own music. There are female artists who like joining with men but others who feel studios and labels are putting teams together to dictate what they do – no faith in their ability and voices. Beyoncé has spoken up and said women are assumed to have less money and power than men when that isn’t true; Lady Gaga has spoken about age and how women in their twenties do not give everything away; Nicki Minaj has said how, when she is being assertive, she is seen as a bitch – men are seen as cool and cutting. Other female artists have spoken about the idea of female-written songs and how people assume it is all break-ups, diaries and sensitivity – men are much tougher and more complex, many assume.

IN THIS PHOTO: Lady Gaga/PHOTO CREDIT: Kevin Winter/Getty Images for MTV

So many have a notion of a female-written song and what makes them tick. Others see female artists as controlled and lacking musical explosion; others write them off and assume they need men to call the shots. All of these misconceptions need eradicating and consigning to the past. The five-star reviews for Anna Calvi and big props for mega-icons like Beyoncé should not be brushed off and ignored. The army and sea of insatiably hungry, talented and angry female artists – who want to combat sexism and get equality – are doing more to music than so many male artists. They are speaking loud and, unless those who hold true power listen and take notice, we will see their fine work and voices get overlooked. Not that the music is being forgotten by the public: festivals, labels and parts of the media need to retune their dial and give female artists much more love. I have not even looked at the great female Punk bands and the underground emerging. Look at my all-female playlists on my blog; look at every music blog and site out there and, every day, you are seeing unbelievable female artists/bands captivate and attack. They deserve to play in a music world where they are not patronised and have to face any sexism. They warrant a place much higher up festival bills! It is not compromising and filling quotas; being conciliatory or doing something noble. From the intense anthems of Patti Smith and Aretha Franklin to the new blood of Anna Calvi and Dua Lipa; all they want is…                                                                                                    

A little respect!

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Sidibe/PHOTO CREDIT: Cassie Hunter 

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

__________

AS the nights start to draw in…

IN THIS PHOTO: The Menstrual Cramps

and the temperature drops a bit; I feel summer is slipping away. I wonder how many hot and bright days we have left before we are in autumn. In any case; I am keen to keep the fires burning and present summer-primed songs that get you in a better mood. Here is a list of female-led music that shows all the complexities of summer: the steamy and sizzling to the cooler and more intimate moments. Have a listen to the latest edition of this playlist and all the treats contained within. These are songs guaranteed to…

 IN THIS PHOTO: Holiday Sidewinder

PUT you in a better mood.

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

______________

Ainslie Wills - Society

Emily Frith – Better

Emma Remelle – One Last Drink

PHOTO CREDIT: Nick Helderman

Amber Arcades – Where Did You Go

PHOTO CREDIT: Thom Kerr Photography 

Holiday Sidewinder – Leo

PHOTO CREDIT: Shambala Festival

The Menstrual Cramps – The Smash

Laura Jane Grace – The Best Ever Death Metal Band in Denton

Okay Kaya – Habitual Love

Ah! Kosmos (ft. Özgür Yılmaz) – Wide

PHOTO CREDIT: Cassie Hunter

SIDIBE – What Should One Do

Lolo Zouaï – Brooklyn Love

PHOTO CREDIT: @olakrol_

Harlequin Gold – Youth

Ghost Caravan – Shine On

PHOTO CREDIT: David Hobbs Photography

Sfynx – Yoyo

Cristina Hart – House of Tears

Runrummer – Good for Nothing

Tina Boonstra – Concrete Heart

Salvation Jayne - Cortez

Sizzy Rocket - Harley

VALERAS – Painkiller

Kerry Goodhind – The Shallow

Lucy & La Mer – Got That Thing

RAIGN – Who Are You

PHOTO CREDIT: Helen Messenger Photography

Death of the Maiden – Horses

Clare Bowen – Sweet William

INTERVIEW: THRILLCHASER

INTERVIEW:

 THRILLCHASER

___________

THANKS to THRILLCHASER…

for talking about their new single, QUIT IT!, and what its story is. I ask them how they got together and which artists they are influenced by; how it felt seeing their debut single do so well; what the music scene is like in Pennsylvania and Rhode Island – they reveal the upcoming artists we should watch.

I was keen to know if THRILLCHASER are touring and what their favourite memories are; the advice they would give to artists coming through; if they get time to chill away from recording – they each select a song to end the interview with.

___________

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

Rob Lundy (Bass/Synth/Vocals): Hey there! We are doing great. It’s been a productive, albeit rainy week for us here at home in Rhode Island. We’ve mainly just been holed up in our practice space, rehearsing and writing like crazy.

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

We are THRILLCHASER; an Alt/Pop/Indie/whatever trio consisting of members from both Providence, R.I. and Philadelphia, PA. We officially went public as a band in October 2017 and are fresh off of the release of our debut album, A Lot Like Love.

Our lineup is as follows: Rod Pires: Vocals/Guitar; Nikki Zell: Guitar/Vocals and Rob Lundy: Bass/Synth/Vocals.

We also have a touring-drummer named Chris! People often wonder how we pull off the percussive aspect of our music live without having an ‘official drummer’ in the band, and he’s how!

QUIT IT! is your latest single. Can you talk about its formation and story?

The origins of QUIT IT! actually date back to the recording sessions of our debut album, A Lot Like Love. Us and our producer Taylor Larson had written the bare bones of the instrumental quite early on in the process of making our record; however, the song was never officially finished during those sessions due to time constraints.

After some time away spent launching THRILLCHASER into the public and debuting our album, we found ourselves still revisiting the ‘unfinished’ instrumental on our own time and, before we knew it, we were back in the studio early 2018 recording what would eventually become QUIT IT!.

Your debut single was hugely popular and was a massive success on Spotify. Did you feel a pressure to follow it with something even bigger?!

To be honest, whenever we enter the studio we just do whatever feels natural to us at the moment. We’re so early in our career as a band that we haven’t fully started to feel the pressures of living up to past-successes quite yet. Many people are still hearing THRILLCHASER for the first time and becoming fans, so the potential for growth is everywhere for us.

We have nowhere to go but up in a sense as such a new band and that is kind of liberating. While recording QUIT IT!, I’d say the overall band mentality was a general excitement over the fact that we were already working on new music despite having just dropped a record months prior.

How did THRILLCHASER get together? When did you all meet one another?

Rod (Lead Vocals/Guitar) and myself met back in 2012 when the two of us were only eighteen. We both originally started working together as members of a Metalcore band signed to InVogue Records called The Illumination. Once that group dissolved in 2015 with only him and me left standing, we sought out a fresh start and thus formed a new band with a more active-rock type of sound, American Wolves. It was during the process of seeking members for American Wolves in which we found Nikki (Guitar/Vocals) via the Internet. She drove several hours from her home at the time in rural Pennsylvania to rehearse with us and we all just instantly clicked.

Eventually, circumstances behind the scenes and within the industry led us to a point where we found the only viable option was to reinvent ourselves as a band, and so we started fresh yet again in late-2017 as THRILLCHASER.

PHOTO CREDIT: Shervin Lainez 

Which artists inspired you to get into music? Did you have musical idols growing up?

Bands like Blink-182, New Found Glory and Goldfinger were my initial gateway into the world of music. I’ve always dreamed of being in a band and traveling the world as long as I can remember, even before I knew how to play an instrument. I know that’s the case for everyone in THRILLCHASER; we were all born to do this.

You originate from Pennsylvania and Rhode Island. What is the music scenes like there? Is there a lot of good local venues?

Nikki Zell (Guitar/Vocals): Philly might not come across as a place that has a thriving local music scene, but the arts are strong within the city and surrounding areas. Everyone, for the most part, is a family; growing and supporting each other. There are countless venues, recording studios; songwriting and collaboration opportunities - meaning you can actually make a living as a full-time artist here. The spirit of the city reflects in its local scene. It shaped me into the artist and musician I am today.

Rob Lundy (Bass/Synth/Vocals): Back in the early to mid-2000s; the days of when The Living Room was still an active venue, the R.I. music scene really was something special. Things have fluctuated since then but, in the last several years, I’ve seen a lot of great talent and energy begin to emerge from my home city. I truly do believe the scene here is making a comeback.

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

Most definitely! Our next performance is September 8th, in Philadelphia at the Dockside Bar.

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

We absolutely would love to tour the U.K. at some point in the future. Most definitely, The 1975 and The Wombats are big influences of ours.

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

Dude Ranch by Blink-182

It’s the soundtrack to so many of my perfectly awkward adolescent moments that helped shape me into the awkward man I am today.

Nikki: No record in its entirety has ever personally spoken to me like Strange Desire by Bleachers, which came out at a very pivotal time in my youth.

Rod: John Mayer’s Battle Studies

One of my all-time favorites for sure.

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

Rob: I’d have to say that, collectively, one of our favorite memories is all of us sitting in the control room with our producer Taylor Larson watching him master the finished version of the record, thus completing the process of recording the album 100%. Metaphorically-speaking, it felt like standing triumphantly on a mountaintop after a death-defying climb and looking downward.

The energy in the room was so positive. We had undergone many trials and tribulations, endured many personal sacrifices and literally transformed ourselves as a band in order to make that album happen. It was a very proud moment for sure.

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

It’s a rock-solid tie between The 1975 or John Mayer for us.

As far as a rider goes, every venue would be required to have a cat that we could chill out with and pet in the green room before every show. I go nuts being on the road and not getting to regularly interact with any animals. Also; sushi. Sushi would be nice.

What advice would you give to artists coming through?

Stay determined, passionate and persistent. Eventually, it all pays off.

IN THIS PHOTO: The Wild Truth/PHOTO CREDIT: @bikerhunta

Are there any new artists you recommend we check out?

The Evening, The Wild Truth and Awaken I Am.

IN THIS PHOTO: Awaken I Am

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

Not really. Music is kind of all that I do in some way shape or form, especially since I also handle the managerial aspect of the band. I wouldn’t have it any other way, though. It’s what I love. 

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

Rob: Hard to Explain by The Strokes

Nikki:  Let’s go with I Would Die 4 U by Prince (because I am perpetually jamming out to Prince)

Rod: My Thoughts on You by The Band CAMINO

____________

Follow THRILLCHASER 

Official:

https://www.thrillchsr.com/

Twitter:

https://twitter.com/thrillchsr

Instagram:

https://www.instagram.com/thrillchsr/

Facebook:

https://www.facebook.com/THRILLCHASER/

YouTube:

https://www.youtube.com/c/THRILLCHASER

SoundCloud:

https://soundcloud.com/THRILLCHSR

Spotify:

https://open.spotify.com/artist/6hcnyhaZLyCWP3ZZvf09lz

INTERVIEW: DiRTY RADiO

INTERVIEW:

DiRTY RADiO

___________

SHADI and Waspy (A.K.A. DiRTY RADiO) have been talking with me…

about their single, Pleasures, and its story. They tell me what it was like working with Jafunk on the track and whether there is more material due; where they started recording music as a duo; the albums that are most important to them – I ask which upcoming artists we need to show some love for and get behind.

The guys reveal which artists they grew up listening to; the advice they would give to musicians emerging; whether they get chance to unwind away from music; what the music scene is like in Vancouver – they end the interview by selecting great tracks.

___________

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

Our week has been excellent, thanks!  We’re currently working on a new track with our friend Saint WKND and rehearsing for an upcoming festival performance.

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

Although we’ve experimented with a ton of different sounds in the past, we like to currently describe DiRTY RADiO as a mix of Pop, Dance and R&B. We love making hype, feel-good music. 

How did DiRTY RADiO get together? When did you start performing as a duo?

Although Shadi and Waspy started performing as a duo in the last couple of years, DiRTY RADiO began experimenting in the studio around 2012 with our third member, Tonez (smiles). We still consider ourselves a trio at the core and continue to work on everything together. 

Pleasures is your most-recent single. What is the story behind that one?

We’ve been a fan of Australian producer Ja Funk for a while now and would always play his music in our D.J. sets. He seemed to like our vibe as well and sent us an early beat for what Pleasures would become. We messed around with melody and lyrics and continued to send the song back and forth until we were all happy with it. It’s essentially about staying true to yourself by following your excitement and reaching all your pleasures one by one (smiles).

Was it cool working with Jafunk on it?!

Yeah. He’s super-cool and really talented. We enjoyed the process a lot! Hopefully, we can meet him in real life one day and party it up. 

Is there going to be more material this or next year?

We are gearing up to drop a fifteen-song album (!) this year. We’ve spent the last twelve months working on it and can’t wait to share. 

Which artists inspired you both to get into music? Did you have musical idols growing up?

Shadi grew up listening to all kinds of stuff: from Michael Jackson, Prince; George Michael and Steve Wonder to peeps like Jonny Cash, Led Zeppelin; Jimi Hendrix and the N.E.R.D. Shadi is definitely inspired by anything and everything! 

Waspy grew up listening to lots: Nine Inch Nails, Red Hot Chili Peppers and Led Zeppelin before really getting into Electronic music and Hip-Hop in high-school. He then got obsessed with Chemical Brothers, Daft Punk and Fatboy Slim. His biggest inspiration for pursuing music is probably Pharrell.  

Vancouver is where you are based. What is the music scene like there at the moment? Is it a great place to create music in?

Vancouver’s music scene is better now than it’s ever been. There is a ton of undiscovered talent and we’re constantly blown away by all the young, up-and-coming producers/artists. Check out Giuliano Rascan, Juelz, Nxsty; IMUR and Harrison Brome (to name a few).   

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

We are currently working on putting together a tour and can’t wait to announce the dates!

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

We would love to come to the U.K. We’re definitely inspired by the music! It’s our goal to nail down a European booking agent so we can perform there as much as possible. 

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

Shadi: Michael Jackson - Thriller and Bad were very special to me! I wanted to be M.J. so bad that I would dress like him as a kid, emulate his moves; his voice and his falsetto. 

Waspy: N.E.R.D - In Search of… or Daft Punk – Discovery

They inspired me to pursue my passion to become a music producer and inspired me to blend different music genres together. 

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

Shadi: Can’t really choose one but it’s definitely a highlight when I see fans recording their own covers of our songs (smiles).

Waspy: Too many to mention, but I’m constantly blown away by meeting people who we’re huge fans of and then working with them to create something greater than what we could have alone. 

What advice would you give to artists coming through?

Try to write a song every day - and don’t listen to the haters. 

IN THIS PHOTO: Cosmo's Midnight/PHOTO CREDIT: @alxjohnstone

Are there any new artists you recommend we check out?

Shadi: Right now, I’m super-into the new Cosmo’s Midnight record, What Comes Next. Fun fact for ya: they actually mixed our collab., Drop Your Love, with our boy Young Franco!

Waspy: I just got introduced to a dope producer named, J.robb, I’ve been feeling lately. Also loving the new album, Hive Mind, by The Internet and Cosmo’s Midnight’s new album, What Comes Next, is perfection.   

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

We’re both huge fans of videogames; going to shows and the gym - and movies are pretty important!  

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).

Shadi: Cosmo’s Midnight (ft. Jay Buddy, Jay Prince) – Lowkey

Waspy: Patrice Rushen - Remind Me (this is a classic that will make your day better whenever you hear it) 

____________

Follow DiRTY RADiO

Official:

http://www.dirtyradio.ca/

Twitter:

https://twitter.com/dirtyradiomusic

Instagram:

http://www.instagram.com/dirtyradiomusic

Facebook:

https://www.facebook.com/DiRTYRADiOMUSIC/

YouTube:

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

SoundCloud:

https://soundcloud.com/dirtyradiomusic

INTERVIEW: Giulia

INTERVIEW:

Giulia

___________

IT has been great learning more about Giulia…

and her latest track, Trippin’ Out. I discover the story behind it and whether there is more material coming; what she hopes to achieve before the end of the year; the three albums that mean the most to her – the songwriter suggests a rising artist we need to check out.

I ask Giulia whether there are any particular artists/sounds that inspired her; if she gets time to chill outside of music; the advice she would give to artists coming through – Giulia selects a great song to end the interview on.

___________

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

Good! Busy…but happy, thank you!

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

I am a very creative person and everything that happens in my life I love to write about and put into my art. To me, everything is personal and real. I have lived in South America so the Latin and Country music scene is a very big part of my life and my music.

Trippin’ Out is your new single. Can you reveal its story and inspiration?

It was actually a really fast process this time. I was running outside and I had the inspiration of writing a song about that feeling between two people when they first meet and lay eyes on each other; that incredible attraction where it makes you almost dizzy.  

Do you think there will be more material coming later this year? What are you working on?

For sure! I just finished my new album, Bother Dimension. So, a lot of new material I would say…

As an Italian-born artist; how much of the Italian music scene, and its people, do you bring into your sounds?

For the moment, not very much I would say…but they do have a very big Trap music scene in Italy going on right now that I really like. 

You moved to Argentina but I believe tensions between protestors and the Government forced you back to Italy. How did that time affect you as a person?!

I think I was too young to be really affected by it. I only knew one thing: that we were going home and I was very happy about that.

Which musicians and styles of music did you grow up around? Were you exposed to a lot of different music?

I have been influenced by a lot of different artists and genres in my life. A lot of artists have inspired me in different ways and helped to build me as an artist.

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

I hope that my album gets a good reception and that I’m able to do lots more live performances!

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

Every memory is great! I love to perform live so every show I've done. But, also, I love the time in the studio creating. I am a very creative person. 

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

Of course…

…Baby One More Time from Britney Spears (like every girl born in the '90s); Shania Twain's Come on Over from 1997 and, of course, Eminem’s The Slim Shady LP.

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

For sure. Hopefully, in October in the U.K

What advice would you give to new artists coming through?

Make sure you really want this - it is a huge business full of competition. Work hard and hope for some luck!

 IN THIS PHOTO: Two Feet

Are there any new artists you recommend we check out?

Right now, I’m loving Two Feet’s album. I love his voice and sound.

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

Well. I try to make sure I have time for my personal life, family and friends. That is always my priority.

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).

Love Is a Bitch – Two Feet

____________

Follow Giulia

Official:

http://www.giuliaofficial.com/

Twitter:

https://twitter.com/giuliamymusic

Instagram:

https://www.instagram.com/giuliamymusic/

Facebook:

https://www.facebook.com/giuliamymusic/

YouTube:

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

SoundCloud:

https://soundcloud.com/giuliamymusic

FEATURE: Write/Right/Rite of Passage? Are Social Media and the Internet Impacting Artists’ Literacy and the Ability to Communicate?

FEATURE:

 

 

Write/Right/Rite of Passage?

ALL PHOTOS: Unsplash 

Are Social Media and the Internet Impacting Artists’ Literacy and the Ability to Communicate?

__________

THIS is another topic I have covered before…

but I am culpable of falling into a trap! I conduct my interviews via email/Microsoft Word and I am finding, more and more, there is a real disparity when it comes to the accuracy of the written responses (it may be a career bullet but I totally get it and empathise). I forgive artists whose first language is not English but, a lot of the time, I find a lot of corrections need to be made. Maybe it is grammatical or punctuation but, more often than not, I will spend a lot of time re-writing or modifying answers. A lot of artists will abbreviate responses or write in a ‘personal’ manner – usually involving slang and poor English. I cannot wag the finger: look at most of my pieces and, more often than not, there will be something that needs correcting. That might sound like a worrying admission but I find it in the majority of published articles from other journalists. Nobody can create perfection and never make a mistake but there is a limit I guess! I envy the professional journalists because their language is richer than mine and I often find they make fewer mistakes. I check all my work and stare at it hoping everything is right but, inevitably, there are a few gaps and things that pass me by. In terms of musicians; I get some interviews back that need very little work and some that are shocking - again, it is not really the fault of the artist. I am not blaming them or embarrassing anyone because, as I say, I am guilty of the same thing...

Songwriting is a different discipline - and the way they are written is different from how you’d approach an interview or text. I wonder whether the way we write music and communicate on social media means we are less cohesive and accurate when it comes to writing in general. I write as much as I can to ensure I do not slip too much but most artists/people are texting and using short-hand when communicating. Tweets limit how much we can write in one go and, even with a healthy word limit; a lot of people are shortening words and writing in a very basic way. Maybe it has always been this way but I feel, more and more, the written word is less valuable and necessary than years previous. The reason I have brought this up (again) is not to wag fingers at artists but ask whether this problem translates to songwriting. Compare the legendary songwriters pre-Internet/a long time ago and the way they wrote. A lot of the best writers, now, are using punchier phrases and employing language in a more basic way. We still have florid and poetic writers but you seem to get fewer artists who pen in an imaginative and unique way. Maybe I am being all-sweeping and naïve but I have noticed a distinct change in style and originality.

I am finding a lot of songs with similar lyrics and many, to me...the language used in songs is more basic and unadventurous – there are artists who defy this but there is a trend. Maybe that is what music demands and what consumers want but I feel the Internet and texting have made its mark! There is a benefit to this new trend whereby we are inventing new words and phrases. In a way, we are changing the English language and bringing more accents and dialects into speech. The Internet means anyone, anywhere can express themselves and communicate how they like. I do worry the brevity of Tweets and posts mean we are trying to convey ourselves in a shortened and less accurate way. I am not suggesting we all break out the quills and write some prose but we are all taking less time to think about what we write and how it looks on the screen. Maybe we are rushed and living in an age where we need to converse ultra-fast and do not really get the chance to look up. Vocally, we are articulate and updating the language every year. I feel writing and the written word is fading into the background. At schools, tablets are used and English classes have different syllabuses.

Exam results are good but I wonder whether children switch off a part of their brain when they go online – less constrained and worried about accuracy and proper English. It has been many years since I sat exams and I think I am losing some of the fundamental lessons I was taught. Again; this might be worrying considering what I do but I feel I have a good style and command that is about right in comparison to everyone else. It is frustrating having to reword and rework written interviews to the extent where I am almost rewriting some – I appreciate every artist who comes my way and would not want to seem ungrateful! (It is not their fault in a lot of ways). I fear we are communicating more by phone and the Internet which means quick responses, short lines and a less joined-up approach. Most of the time, considering we are hurried; punctuation, grammar and spelling go out of the window. I am fascinated seeing how various artists write and how they approach lyrics. The lexicon of Hip-Hop has changed but not broken too far from its roots.

Modern Pop retains some of its older characteristics but so many artists are evolving the genre and writing in a very modern way – language is shifting and they are writing the way we speak. Maybe we will see few artists like Joni Mitchell and Bob Dylan but I am not so worried about the cessation of great poets and immense thinkers. There are ample intelligent and genius songwriters but, with vocal apps available, they are laying down tracks using technology. Even if they are writing something down; there are tools to correct the wording and we are not noting how it is done and where we are going wrong. This article, written in 2011, reacted to a study conducted by FYI Living – they studied musicians and compared their brains to the rest of us:

“Researchers tested the mental abilities of senior citizens and discovered that musicians performed better at a number of tests. In particular, musicians excelled at visual memory tasks. While musicians had similar verbal capabilities to non-musicians, the musicians’ ability to memorize new words was markedly better, too. Perhaps most importantly, the musicians’ IQ scores were higher overall than those who spent their lives listening to music rather than performing it.

The experience of musicians also played a role in how sharp their minds were. The younger the musicians began to play their instruments, the better their minds performed at the mental tasks. Additionally, the total number of years musicians played instruments throughout their life corresponded with how strong their brains remained years later.

“…The study also found that musicians who took the time to exercise between symphonies had even higher-functioning brain capabilities. This finding supports another recent study that reported people who walk regularly maintain healthier brains. With that in mind, perhaps joining a marching band now will make you the smartest person at the retirement home in the future”.

I can definitely see a correlation between learning an instrument (at a young age) and intelligence. Fewer artists are learning instruments – with sounds and music available online; a lot of electronic aids assisting musicians –; so maybe that is an answer? That sounds rather simplistic but I feel, the more we lean on technology, the less important language and written expression become. I am happy enough to edit and amend interviews – it is what I am supposed to do, I guess – but I myself am not free from blame. Perhaps less time on the Internet is the answer; picking up the phone rather than texting all the time?! The more we engage verbally, the more that is going to bleed into the way we write. I am fascinated by the songwriters coming through but find myself more drawn to melody and vocals than lyrics. Maybe I’ll pick up on some great line and quip but, when I was growing up, I was quoting entire songs and narrating them like speeches. Perhaps streaming and the competition today means artists need to deliver lyrics in a different way and songwriting’s evolution is necessary and unavoidable. It doesn’t help that most spellchecks are complete shite – as the one I am using has just proven! – and that is an issue. In any case; I think the written word is as important now as it has ever been. Maybe we are connecting in a different, faster way but I love artists who can write long interview answers and spend the time to open up. I think an improvement will come soon – forgive me for any errors in my writing... – but, as we all engrain ourselves into the Twitter/tweet culture and texting our conversations, that is going to have a big impact on songwriting and…

THE way we right (sic).

FEATURE: A Cherry Kiss in Brooklyn: The New Rock and Roll: Is the Nature of the Headline Artist Changing?

FEATURE:

 

 

A Cherry Kiss in Brooklyn: The New Rock and Roll

IN THIS PHOTO: Dua Lipa on Reading's Main Stage/PHOTO CREDIT: Corinne Cumming, Frances Beach for DORK

Is the Nature of the Headline Artist Changing?

__________

I did have a pop at Reading and Leeds Festivals…

IN THIS PHOTO: Muse (often the go-to when it comes to a festival headliner)/PHOTO CREDIT: Muse/Getty Images

exclaiming the lack of exciting bands topping the bills this year. Whilst I am impressed there were some decent bands adding some fire to the mix – Shame was among them – there were a lot of others who had been around for years and were, to be fair, past their premium! I know there are some great bands around but, until they are ‘ready’ to step up to the big stages; do we need to book the years/decades-old bands who are rehashing their career-best and not providing anything new or relevant?! I can see some good and powerful groups coming through but it might be a few years before we have a lot of them ready for headlining slots; perhaps the scene is changing and we are gravitating towards solo acts. I know solo artists have headlined festivals before but, traditionally, it has been the bands headlining the big festivals. I got a bit miffed when Foo Fighters were asked to headline Glastonbury last year; a bit bored by previous years where Muse and Coldplay repeated sets we have seen before and offered nothing new. Maybe, then, we should look to the solo artist as the natural and exciting new headline force! Certainty, there is greater choice and variation – the best solo artists can put on an incredible show and project the same amount of passion as a band.

Whilst I still contend the most interesting artists at this year’s Reading and Leeds Festivals were non-headliners (or non-bands); it was a bit disappointing regarding band music. We did not get a lot to write home about and, in fact, solo artists performing at the festivals grabbed the biggest headlines. Dua Lipa, especially, was applauded for her confident and incredible set. She is a fairly new artist and, with one album under her belt, many might have felt her part in the festivities would have been reduced and unspectacular. I think, in many ways, her performance indicates where festivals are heading. There is still a place for Rock and Alternative acts on the biggest stages but, with relatively few bands producing intense and crowd-uniting music – ones we haven’t seen before – it is the likes of Dua Lipa who are producing the biggest bangs! Even if you are not a fan of her music, you cannot deny her charm, energy and skill when it comes to command a crowd and getting people engaged. She is among the strongest young songwriters out there – Sigrid, too, who played Reading and Leeds, gained a lot of love. If you look at the sort of love Dua Lipa received; you would be forgiven for thinking she was ready to headline Glastonbury. DORK, when assessing her set, said this:

“The forty-five minutes fly by with hit after hit landing true. ‘Be The One’ and ‘Hotter Than Hell’ overflow with jubilance and sparkle, ‘Scared To Be Lonely’ flashes quiet and vulnerable before thrashing through. A final one-two of ‘IDGAF’ and ‘New Rules’ underline this as a moment. In years to come it’ll been heralded as ground-breaking. Right now, Dua will have to make do with ground-shaking as she gets the whole of Reading dancing to her beat”.

NME were complimentary and noted how Pop – with artists like Sigrid, ALMA and Pale Waves – was getting more attendance and feedback than a lot of the bands on the bill. They were full of praise for this year’s Reading and Leeds Festivals' Pop artists – even if some, myself included, were unimpressed by the overall strength and validity of the headliners. One thing we are learning is how the bigger festivals are diversifying in terms of genre. There are fewer solo Rock artists than there is Pop (acts) so I am glad the genre is getting an airing and it not all about bands. Whilst I am a bit wary and worried when it comes to the lack of headline-worthy Rock bands around; I am pleased there are Pop artists capable of producing banging and epic sets. Does that mean, then, that future festivals will replace bands as headliners and go with solo artists? I think there is a definite turn in the tide and, whilst there are headline-ready bands that can fill slots; there are a lot more ready and ripe solo artists. It is not long until Glastonbury announced their headliners for next year and I really hope the same tired and predictable bands are not topping the bill. There have been rumours everyone from Arctic Monkeys and The 1975 could headline and, whilst I am a fan of the former, I feel they are one of those bands who has had their day and, whilst they can produce a great set, is it going to be more memorable than a newer solo artist?

Maybe Dua Lipa is ready to headline Glastonbury but, as she impressed last year, Lorde might also be primed. It seems, in many ways, the female solo artist is shining bright right now. We have Sigrid and Taylor Swift; Kacey Musgraves and Katy Perry are all capable of turning in stunning headline sets. Many might say that is too ‘Pop’ and caters to a certain market. Madonna is another rumoured Glastonbury name and Beyoncé would put together a thrilling set. Paul McCartney, too, would be an excellent choice. Maybe we will see the first Glastonbury in many years where all the headliners are solo artists! I agree bands such as IDLES and Arctic Monkeys could do a great job but one cannot deny solo artists taking more influence and providing a great alternative. Fantastic Pop/R&B artists are starting to stride out; Rap/Hip-Hop talent such as Kendrick Lamar and Cardi B; British newcomers like Jorja Smith are making waves. Nadine Shah, too - who has just been Mercury nominated - would put on an essential and incredible headline set. Once upon a time, these artists would play other stages but it would be bands, for the most part, who would be top of the festival poster. There is that never-ending debate regarding Rock music and whether it still holds sway in the mainstream. I long to see a revival very soon but, as we have been programmed to see the Rock band as the natural headline acts; are we becoming rigid and not opening our minds to other choices?  

IN THIS PHOTO: Kendrick Lamar (who played at this year's Reading and Leeds Festivals)/PHOTO CREDIT: Getty Images

It is a faulty assumption to assume a solo artist is weaker and less exciting because there is one of them. Look at the festival headliners over the past few years and they are no more intense and exciting than the great Pop artists coming through: in fact, the more nimble and diverse nature of the genre means a more rounded, nuanced and interesting set can come together. Artists like Dua Lipa rely on energy and hooky songs but there are solo artists who bring pyrotechnics, big sets and production values to add grandeur and drama to their sets. Doors are being kicked down and windows opened. I am all for diversity when it comes to headline acts: so long as the quality is right up there, then we should be welcoming Pop and Hip-Hop onto the main stages. I am not sure whether Glastonbury will embrace the change and do something bold; I doubt Reading and Leeds, next year, will dispense with Rock bands and go with solo artists. What I do know is there are some incredible solo artists who are capable of producing the sort of headline sets bands have been famed for. St. Vincent is one of my favourite modern artists and I feel she is surely reading for a headline Glastonbury slot. She is much more than simple and fun Pop.

Her music has endless innovation and crosses genres; it is a banquet of emotions and, through her career, she has managed to remain essential and unpredictable. She is coming to London on 4th September to perform an intimate show. The stripped-back affair will be interesting to see and will show how she can go from a big and vivacious artist to a more tender and subtle musician. I would place money on St. Vincent being among the headline-worthy for festivals like Glastonbury. In reality, there is so much to choose from in the solo market. Look at the American Hip-Hop and Rap scenes; big artists like Beyoncé and Solange; British artists like Florence + the Machine and great female-led bands such as Pale Waves and Wolf Alice – the latter, especially, are a much more refreshing and appealing alternative to the slew of tired man-bands who headline the big festivals. Maybe this revolution and evolution will take a while to embed but we are already seeing it. Perhaps we are years off seeing true gender equality but when it comes to genre equality; I would say things are changing and the Pop solo artist, especially, is leading the charge. Many might scoff if I suggested Dua Lipa, Beyoncé; St. Vincent and Janelle Monáe could headline. What about SOPHIE, Natalie Prass or Phoebe Bridgers?!

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Tyler Mitchell for Vogue (September 2018)

How about Cardi B, Jack White (he is a Rock artist but not a band) or Tom Misch? These are names I would like to see replacing the bands as headliners. I keep saying how many great bands there are but, at the very least, we need a headline blend of bands and solo artists/duos – not just the same names, sounds and faces we are used to seeing. This year’s Green Man Festival saw great sets from The War on Drugs; Bestival found Chaka Khan and Grace Jones take the roof off; the Cambridge Folk Festival had Rhiannon Giddens, Patti Smith and First Aid Kit (not your conventional Rock act; a stunning duo who produced a great set) providing thrills and memories. Even bands like Black Honey and The Big Moon, not your traditional headliners, show much promise. It is sad to see a slight decline in great new Rock/Alternative bands but I can see a current of newcomers flexing and shaping up. Maybe their time is a few years away but, right now, there is a real place for the solo artist (or the duo). The likes of Dua Lipa have shown they can carry the responsibility and, whilst not a headliner, have the tools and songs to provide a memorable headline set. Festivals should be diversifying and shaking things up but quality needs to come top of the list. I argue the artists lower down the bill at events like the Reading and Leeds Festivals and Bestival are much more engaging and promising than a lot of the headliners. Look at the non-Rock festivals like what we saw in Cambridge and I wonder, next year, will Glastonbury take a risk and capitalise on a changing current?! I hope so. If anything, it keeps festivals moving and adapting to the times. But, fear not! It may seem like the traditional Rock and Alternative bands have had their time in the spotlight but, before too long, they will be…

 IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: @ArcticMonkeys

BACK in the driving seat.

FEATURE: Stereo-type: Is Pigeonholing, Social Media Pressure and Musical Judgement Causing Mental-Health Issues?

FEATURE:

 

 

Stereo-type

ALL PHOTOS (unless credited otherwise): Unsplash

Is Pigeonholing, Social Media Pressure and Musical Judgement Causing Mental-Health Issues?

__________

A few news stories have caught my eye…

and caused some concern recently. We are being told, as this BBC article explains, how there is a rise in cutting and self-harm by teenage girls. Maybe it is not news to some people but if you look at the numbers and statistics; it is eye-opening and alarming reading:

“Nearly a quarter of 14-year-old girls in the UK said they had self-harmed, a report suggests.

A survey of 11,000 children found 22% of the girls and 9% of the boys said they had hurt themselves on purpose in the year prior to the questionnaire.

Rates of self-harm were worst (46%) among those who were attracted to people of the same or both genders.

The Children's Society report said gender stereotypes and worries about looks were contributing to unhappiness.

The self-harm statistics are included in the charity's annual Good Childhood Report, which examines the state of children's wellbeing in the UK.

The data on self-harm was analysed by The Children's Society after being collected in 2015 in the Millennium Cohort Study, a continuing research project following the lives of 19,000 children born in the UK between 2000 and 2001”.

We all know how common suicide rates are among young men and the extent and severity of the mental-health crisis in the country is worrying. This article, that told the story of Jamel Pierce of Denver, Colorado committing suicide after receiving homophobic abuse at his school really got to me.

The fact that he was a nine-year-old made it even more harrowing and distrusting. His mum, Leia, stated her son was proud to be gay and confided in her this summer:

“She said Jamel wanted to go to school and tell his classmates because he was "proud" to be gay.

Denver Public Schools (DPS) say crisis counsellors have been made available to students at Jamel's elementary school.

The school system sent letters to families on Friday about the additional counselling services for students.

The letter, addressed to the families of Joe Shoemaker Elementary School pupils, says Jamel's death "is an unexpected loss for our school community" and offers parents signs of stress to watch for in their children.

DPS Spokesman Will Jones told the BBC on Monday that the district is "deeply committed to ensuring that all members of the school community are treated with dignity and respect, regardless of sexual orientation, gender identity, or transgender status".

The fact that anyone, anywhere, would be bullied because of their sexual orientation is horrendous! I have heard, in the wake of this story, other gay men and women come out to reveal their stories of abuse and bullying. Another thing I heard, from U.S. songwriter Phoebe Bridgers, was the fact many people are judged on what they listen to.

IN THIS PHOTO: Nirvana/PHOTO CREDIT: Getty Images

Young boys who listen to, say Nirvana, are labelled ‘cool’ and ‘hip’ whilst young girls who listen to mainstream Pop are seen as ‘tragic’ and ‘lame’ by some. It is a sexism and discrimination that is contributing to the mental-health burden. You may not think there is a link between these stories but there is so much judgement, hatred and bullying in the world but, more than anything, people are being labelled, defined and abused because of who they are and what they like. I am one of those people who has their musical tastes but would never judge anyone on what they listen to.  There is a lot of great Pop music and I think we should embrace everything and not lazily define people upon their tastes. I think social media is adding to this problem. There is a burden – on young girls especially – to look a certain way and carry themselves according to what they see on social media. They are told how to look and what a measure of success looks like – if you do not look like a celebrity or have a particular sense of fashion then you are nobody. Maybe this is not the only reason why the rates of self-harm have gone up. So, then…how does music come into things? I am seeing a lot of torment, bullying and labelling in the industry.

IN THIS PHOTO: Phoebe Bridgers/PHOTO CREDIT: Ray Lego for Under the Radar

Bridgers had a point when she said people are mocked because of what they listen to. Girls are meant to listen to certain music and boys another – if you fall outside the circle then you are exposed to derision. I know a lot of L.G.B.T.Q.I.A. artists and, whilst all of them are comfortable expressing themselves, there is that feeling they will not be taken seriously and not get any airplay. One of the reasons I feel a bit uncomfortable in my own skin is because of the music I like and the fact I listen to some artists who might seem ‘uncool’ to some. I shouldn’t care what anyone thinks but there is still a stigma about musical tastes and expressing yourself that way. I like to listen to some mainstream Pop and have very broad tastes. I still think we all get pigeon-holed and defined into neat little boxes and categories. People will raise their eyebrows if you, as a man or woman, like music that is normally bought by young girls; they will be sniffy and snobby if blokes, who are taught to like Rock and edgier music, likes an L.G.B.T.Q.I.A. artist or something with a bit more personality. I, as a thirty-something man, are being marketed to like genres like Rock and Hip-Hop and that is my ‘demographic’.

I get sent playlists and suggestions that are based on nothing but stereotyping and market trends. I have never had to come out of the closest or face the same pressure young girls do regarding images; my burden is not the same but I feel there is so much pressure from society and social media. Music suffers from easy labelling and tribalism. I like a bit of sugary Pop and Country but I also like music from black artists and, well, pretty much anything. I rarely get sent suggestions regarding Queercore or feminist music – which I like – and I feel streaming services and social media are narrowing what we are supposed to be and still too reliant on cliché and expectation. Right through school, I had to see kids getting teased because of the music they liked. They were not cool or credible because they listened to stuff that was different or new. The reason I brought in those news stories and statistics is because, in every corner of the world, we are seeing the effects of peer pressure, bullying and narrow-mindedness. Whilst it less pronounced and explicit in music; there is still a lot of negativity and judgement. This article, written in 2011, asked whether tribalism is dead

“The past decade has seen a tearing down of the walls that separated popular genres. These were not always walls between warring enemies, but the borders separating different kinds of sound, whether reggae from ska or rock from indie, have been the site of skirmishes since the first track was laid down on shellac, and probably before.

 "Speaking to the Observer this summer, musician and TV presenter Jools Holland commented on the shift in attitudes. "People are much more accepting of different genres," he said. "In the past, people used to actually hate people who liked different music to them." And while Holland conceded some regret at the passing of these passions, he is pleased that most fans are not "so blinkered any more".

The real heat of tribal animosity was certainly still in evidence in the 1980s when the so-called "hip-hop wars" raged within the offices of influential music magazine NME. "A huge battle was waged about whether or not you could put Public Enemy or RunDMC on the front cover. NME readers largely felt that it should always be the Fall or the Smiths. It was at that point I realised that most of its readers were actually pretty conservative," said Observer writer Sean O'Hagan”.

Whilst I have felt uneasy about liking particular music and expected to listen to a certain sound; maybe the vulnerability and I others feel can be a strength. Phoebe Bridgers, when speaking with NME, talked about her unique music and being herself:

“…She continued: “I think I did an OK job of being enough of a fully-formed human being in my art to show my personality and just to be myself – instead of having to fit a weird mould. I think I can do whatever I want for my next record. It’s vulnerable, but it’s nice that I don’t have to fake it.

“People are realising that vulnerability isn’t a weakness, and the rise of mental health-related humour is making vulnerability feel like a strength”.

Maybe it is a complex argument but I think we need to look at judgement and discrimination in wider society and use music as a positive tool. Maybe there is not the tribalism of past years and, with streaming services, we are exploring music in new ways. We are all broader and able to experience so many different kinds of music. I still think mental-health issues surround the way music is marketed and who is meant to like what. I feel one of the reasons there is a relative lack of exposure for L.G.B.T.Q.I.A. artists and less attention paid to black artists because we still have these clans and expectation of what is seen as popular, acceptable and fashionable. Social media has helped push artists to public consciousness but I feel it could go further and help battle sexism, racism and discrimination. I still get playlists and adverts relating to what men my age are listening to – not based on fact or personal perspective. I am very broad with my tastes but I hesitate listening to some music, not based on quality, but how I will be perceived.

IN THIS PHOTO: Rihanna/PHOTO CREDIT: Mert Alas and Marcus Piggott for Vogue

If I came out and celebrated a new song by an artist marketed at young girls or showed some love for an L.G.B.T.Q.I.A. artist then I worry about what the reaction would be. Similarly, one reason why so many teenage girls are self-harming is the images of their favourite stars online. There are these glamorous and glitzy shots that give this viewpoint of an ideal shape and look. Living up to that is tough and unrealistic. We have come a long way in many respects but I feel there is far too much judgement and tribalism still left in music. Maybe it is not based purely on genre and what is trending: many artists are struggling because their music is being targeted at particular groups and not seen as mainstream-worthy. This causes depression and anxiety in them and, for their fans, there is a mirrored pressure. There are walls to be broken down and I feel music has the power to unite people and help improve society. Perhaps we are more accepting of people who listen to different genres to us but we still have a way to go. It doesn’t help when you get targeted by sites like Spotify or you see artists being marketed narrowly. I feel everyone should be able to listen to anything and there is no such thing as ‘girl music’ or ‘boy music’.

Girls should be celebrated for liking Nirvana, say, and boys for liking artists like Rihanna or Lady Gaga. Music is music and there is no such thing as a guilty pleasure or an ‘appropriate’ sound. I feel one of the reasons I have warned myself off mainstream Pop is because it is not directed at me – it is seen for younger audiences and, in a lot of cases, teenage girls. A lot of artists are feeling confined and down because they are expected to play and market themselves to their ‘fans’ – defined by the media and history – when, in reality, every artist should be marketed to everyone. I know my mental-health would be improved if I felt safer confessing my appreciation of certain music and did not feel isolated. Maybe it would not involve me going to a Taylor Swift concert but there are so many artists marketed at particular groups I like and I feel, if I stated that on social media, it would be met with raised eyebrows. In all areas of life, the rise in mental-health-related deaths and injury is rising. Identity and image play a big part in these statistics.  Music is a powerful and beautiful thing that can change the world. I feel more artists should come out and sing/speak against labelling and groups; how important (or not) image is and why certain music is marketed to particular groups. So many of us feel overlooked and lonely because we feel different and not part of ‘normal’ society. The truth is, in society and in music, we are not all different: regardless of tastes and choice, we are all worthy and…

WE are all the same!

FEATURE: The Thrill of the Scream! Michael Jackson at Sixty: The Mind-Blowing Sound and Vision of Sibling Unity

FEATURE:

 

 

The Thrill of the Scream!

IN THIS PHOTO: Michael Jackson is presented with a GRAMMY Legend Award by younger sister Janet Jackson at The 35th Annual GRAMMY Awards/PHOTO CREDIT: Kevin Mazur  

Michael Jackson at Sixty: The Mind-Blowing Sound and Vision of Sibling Unity

__________

THAT title might be misleading…

IMAGES CREDIT: Getty Images

and the reason why I have not included a shot from the video as the main image is that they (images online) are all grainy, blurred or bad-quality! I have included an outtake/shot from it but, for the most part, I wanted to highlight one special moment from Michael Jackson’s career. I have talked about his music videos and legacy; what he means to me and how he managed to transform music. Whilst Bad is my favourite album from him and Remember the Time (from Dangerous) is my choice Jacko cut; I have so much interest and fascination for Scream. It was the lead single from his 1995 album, HIStory: Past, Present and Future, Book 1. The single, actually, was a double A-side – the other song included was Childhood. Scream is cited as an aggressive song that kicks out at the tabloid press. Whilst Janet Jackson was not experiencing the same sort of attention and hassle as her brother; there is a unified anger at the nature of the press and celebrity. Recorded between the Hit Factory, New York and Flyte Tyme Studios in Edina, Minnesota between October and December 1994; Scream seems to be the clash of siblings at very different points in their career. Janet has released janet. In 1993 and songs like That’s the Way Love Goes proved to be a commercial smash.

IN THIS PHOTO: Janet Jackson in 1995/PHOTO CREDIT: Patrick Demarchelier

There was a four-year wait until The Velvet Rope was released and, actually, that record was released after she recovered from an emotional breakdown! It seemed press intrusion, personal problems and pressures contributed and got too much. Michael, on the other hand, faced allegations of child abuse in 1993 and it seemed, for both artists, Scream was an expression of release and accusation – both coming from very different places. If Michael is aiming more at the press and being wrongfully accused; Janet’s aggression seems more personal and inward-looking. Maybe I am wrong...but I can hear nuances in their vocal performances that lead me to believe they approached the song from different angles. I said the title of this article is misleading because, whilst the finished product is siblings at their finest; smashing a song and creating something incredible; there was a bit of tension in the studio and competitiveness – I shall come to that later. The $7 million music video – which I shall address – was the most-expensive video ever at the time and, in 2018, still holds that title!

Scream’s video won three MTV Video Music Awards and the Grammy for Best Music Video. What I love about the song itself is the way Michael and Janet blend. If it was pitched as a Michael Jackson single and the lead-off cut from a new album; you cannot say he steals the show! I am writing to celebrate Michael Jackson’s sixtieth birthday but, for me, Janet’s vocals and input help tip the song over the edge! She brings a balance of warmth and tension that gives the song a palpable rollercoaster feel. Blending with Michael and working alongside him closely; you never feel like these are siblings recording different songs: both are on the same page and determined to send out a big middle-finger to the media! Michael Jackson had a difficult relationship with the press that dated back to the 1980s. What with his changing appearance and his controversial videos; he was courting bad publicity and it seemed, by 1994/1995, it has reached boiling-point! The press claimed Michael was slowing his ageing process by sleeping in a hyperbaric oxygen chamber and bought a pet chimp, Bubbles. Today, he would have been ripped by social media and I can only imagine how he would have dealt with the abuse. The man, in essence, was being himself and was fed up with the hounding he got – 1989’s music video for Leave Me Alone (from Bad) was a definite shot against accusation and falsehoods. By 1993, Jackson was having bad images of himself in the press – his altering and radical appetence – and he was getting his balls kicked at every opportunity!

IN THIS PHOTO: Michael and Janet Jackson during the filming of the Scream video/PHOTO CREDIT: Getty Images

Taking Valium, Xanax and Ativan to cope with the stress; his health was deteriorating and his weight was a worrying thing to see – a very frail man who, once, was beaming and confident. Michael went to rehab and the media’s lack of sympathy and cruel headlines added to that pressure and upset. One can only imagine, as I shall investigate, what his mind was like when he stepped into the studio with Janet to record Scream – a mantra and bellicose mandate that unleashes all the pain and withheld words that he could aim at his tormentors! Critics were impressed by Scream and noted it improved on Jam’s slamming beats – and much of the material from Michael’s 1991 album, Dangerous. Around 1994/1995, even though he was the subject of press scrutiny; Michael was recording a lot and released singles like Earth Song and They Don’t Care About Us. The refrain of “Stop pressurin’ me!” compelled critics and seemed, for both Michael and Janet, to be them at their most alive and angered. The bite and spit both artists display throughout the song staggered journalists and was a big hit. In 1995, Scream’s eleven MTV Music Video Award Nominations was a record and the video has been listed by many critics as one of the best ever.

IN THIS PHOTO: Janet and Michael Jackson in a shot from Scream/PHOTO CREDIT: Getty Images

Michael was very happy with the results and stated he had worked very hard on the song and video. The creative influence of the song extended to No Scrubs (TLC) and I’m Out (Ciara). Whilst not on the same financial scale; the futuristic look was quite new to Pop and it opened creative doors for artists. In September 2009, a few months after Michael died; Janet performed the song as part of a medley tribute to her brother. I feel both artists would have liked to have performed more together and the fact Scream has such a legacy and influence makes me wonder what we could have seen if more Michael and Janet songs came together! So, then…what was the actual recording like? I have quoted from this article before but it is worth noting again. Jimmy Jam, Scream’s producer, recalls memories from the recording of the song:

“When Michael went into the studio, the idea was that he was going to sing it first and then Janet would go in and sing after him,” Jam recalled. “So Janet’s sitting there, me and Terry are sitting there, and Michael goes in. Before he sings, he’s just real calm and quiet, 'Can you turn my headphones up a little bit?' Then all of a sudden the music comes on and he starts dancing around the room, hitting all his signature moves. When it was over, I swear to God, it was just silence in the room. He said, 'How was that?' We’re like, 'Yeah, that sounded really good.'” This caused a bit of problem for Janet who had planned to follow him into the booth to record her vocals. Instead she decided she'd do her vocal later in Jimmy Jam and Terry Lewis' Minneapolis studio, away from her brother. “So we go to Minneapolis with Janet, where she does a great job on her vocal,” Jam continued. “We send it to Michael, he goes, 'Wow, Janet sounds great. Where did she record that vocal?' I said it was in Minneapolis. 'I’m coming to Minneapolis.' So Michael comes to Minneapolis to re-record his vocal, and it was a real glimpse into his competitive nature. It didn’t even matter that it was his sister.” According to Jam, 90 per cent of Michael's vocals on the finished version was taken from that original New York session”.

IMAGE CREDIT: Getty Images

If there was some rivalry and healthy competition in the studio; it was all loving and, to be fair, it was Michael being himself! It was nothing against his sister: the man has that reputation and legacy and wanted to make sure the song was an emphatic and career-reviving shot! He wanted to make sure this not only got him back on the upper rungs of the Pop ladder – not that he had really slipped! – but it would shut the press up and let them know what was on his mind. Janet was coming from a similar place. She was an artist under the microscope and growing in popularity. She was gaining big respect and, with that, comparisons to Michael and another level of pressure. The song is that resounding and incredible thing that draws you in and involves you. I can listen to it endlessly and find something new each time. One can hear a continuation of Dangerous’ sound and that harder Michael edge; Janet matches him and brings something spectacular to the song! She and Michael weave their voices and have solo moments. The production is polished but allows all the tension and aggression to come through fully. The video, some might see as expensive, is the extravaganza to end them all! The article I have just quoted talks about the video and how the label felt when they received the concept/budget:

“…Needless to say the label weren't exactly over the moon when they saw the final budget, which was likely further increased by the initial three-day shoot running to over a week. “I got on the phone with the head of the record label and he had seen the budget and was apoplectic,” Romanek said. “He started screaming at me on the speakerphone, “do you think I'm the fucking Bank of America? Are you out of your fucking mind?” I said Michael and Janet want something huge, you've given me no time to do it, the song brings to mind images of a spaceship and if Michael Jackson has his own spaceship it's going to be really impressive. There was this dead silence on the speakerphone and then I heard (puts on soft voice) ‘yeah, that's right’ and I realised Michael was in the room on the other end of the line which I didn't know”.

IN THIS PHOTO: Michael Jackson in 1995/PHOTO CREDIT: Robert Deutsch

If Thriller (the song) was noted for its innovation and breaking ground in terms of concept and cinema; now, over a decade down the line, the King of Pop was taking the music video to new heights – it seemed cost was not an issue and he was willing to go to incredible lengths to stand out and shine! The image Jacko has of himself around the time – a king-like figure that was in a league of his own – made press ridicule easier but who could argue against (Michael’s) impression? The man was still the King of Pop (and is now) and carried the weight of press bile and delivered something stunning. Scream would have been weaker were it not for Janet’s voice and guidance. She is the perfect partner for Michael and someone who could read him and react to his unique voice and style. A perfect combination of D.N.A. and simpatico; two artists who knew each other inside out and wanted to deliver a unified and solid message against the press. I feel, in the one song, both artists unburdened themselves and made it know they were not going to take pressure lying down! Twenty-three years after its release; Scream still stands aside from other songs. Not only in terms of its video and concept but the performances and emotions that crackle and explode on the record! It is another reason why, on Michael Jackson’s sixtieth birthday, we should remember him and realise why his spirit, soul and music…

PHOTO CREDIT: Getty Images

ARE sorely missed.

INTERVIEW: Ponytails

INTERVIEW:

PHOTO CREDIT: Kelli Anne 

Ponytails

___________

THE boys of Ponytails have been telling me…

about their new song, Cherry Pie, and filming its video. I ask about the song’s origins and how they will follow it up; which artists are important to them; the new breed we should be keeping an eye out for – they reveal tour dates and where we can catch them play.

I was eager to discover how the band came together; whether they get chance to relax away from music; if they each have an album that is particularly special to them – the guys each select a song to end the interview with.

___________

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

We're good, thanks! Our last couple of weeks have been pretty busy! We played a little show at Patagonia Vancouver on Thursday; we played Vancouver Mural Festival on Saturday and immediately after went to the Little Red Sounds studio with our good friend Felix (Fung) for a few days to finish up some music! We all work full-time jobs and just added a new member to our band, so we've been practising a lot for our upcoming release party. We just released a music video and two songs, so it’s been an exciting week!

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

We are Ponytails from Vancouver, BC. We are Harvey (Vocals), Liam (Bass); Graham (Drums), Travis (Guitar) and Jasper (Guitar, Vox and Keys).

Cherry Pie is your latest song. Can you explain how the song started and what it is about?   

We started this band about two years ago and our debut E.P. was essentially the first six songs we ever wrote. We were just learning to write and the curve was challenging at times but it helped us to grow. Cherry Pie went through a few changes before becoming what it is now. It originally was a lot slower and had a 1950s Doo-Wop vibe. Harvey is very direct with his lyrics: he writes what he feels in the moment; it's very concise. With Cherry Pie, he wrote it for his girlfriend, Michelle; although, at the time, they weren’t in a relationship. She’s a very independent woman and taught Harvey a lot about patience and wasn’t going to jump into a relationship quickly.

The song is about loving someone without expectation and allowing them to be whomever they want even if it doesn’t completely satisfy you. I know that it's not a new theme for a bunch of guys to write about their girlfriends – like, "I've heard that before?" But I feel, if you saw them together either at the show or even their personal life, you'd realize it's honestly a perfect song for their crazy love. 

What was it like making the video for it? Was it a lot of fun?! 

We made it with our talented friend Lester who has made all of our friends in Peach Pit’s videos - and they actually helped out too. We had a pretty small budget so they acted as Lester's assistants to help make things less expensive which was great. Plus, we just love hanging out with them; they’re great guys. It was essentially the Peach Pit guys; Lester and our band hanging out for two days and filming. Each take we were trying to get Lester and the boys to laugh and commit to the role.

There's a lot of hilarious extra footage that will hopefully make it out there one day. We could do a live recording and add it. The live version is like seven minutes I think? It's a great feeling that we were able to make something that we love with our good friends! That's the best part of this, isn't it? We genuinely love the people we work with! From the jam space to the show; to the studio, to the shoot we have been having a party.

Might we see more material next year? Are you working on more stuff? 

Yes! We decided to spread out the six tracks we recorded over a few months and release two at a time, one or two videos (depending on how each goes) and then we're taking November and December off of playing shows and ironing out all of the songs we've written - and recording a full-length album to be released probably this time next year. We've taken a lot of time into writing the new songs and I think people are going to be stoked on what we're making together!

How did Ponytails come together? When did you all meet? 

Pretty much, we're all branches of Harvey's friend group…we've had a few people join afterwards but myself, (Travis) Liam and Harvey have been there from day one; Graham joined before we went to the studio to record Cherry Pie, Twilight Heat and a few other tracks. His first show with us was in September when we opened for Widowspeak at The Biltmore.

Jasper joined the band in July when Ponytails and his band (Jasper Sloan Yip) played a music festival together and had a heart to heart at an after-party. His first show with was at our release party at the Fox Cabaret on 24th of this month. It was a magical night! 

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

We love everything! 

Between the band, though, everyone has different stylistic flavours that pop out when we're writing and arranging. We have trouble breaking down what genre we belong to as we have pretty diverse tastes. It's such a great question that, at the same time, would take forever to answer...

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

We are going on the last leg of the Peach Pits American tour. We will be in Seattle (October 27th), Portland (October 30th); San Francisco (November 1st) and Los Angeles (November 2nd)…and select Vancouver dates as well. We will be touring more in the future to promote our future releases.

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

Travis: On the Beach by Neil Young

It's so beautifully disorganized. Off-pitch harmonies, live band; bad notes, raw honesty and emotion...the second solo in Vampire Blues is literally one note and it's so amazing! I can't explain it; it brings me to tears.

Harvey: Beach House - Teen Dream or Animal Collective - Merriweather Post Pavilion

Both albums came to me at a sentimental time in my life and when I heard them for the first time it was unlike any music I had experienced before. I feel like both are groundbreaking for the genre and just beautiful to listen to.

Graham: Anderson .Paak – Malibu

Liam: It’s so hard to select the one album that means the most to be because there are so many records that have impacted me but there is one that stands out because it was the first record I ever fell in love with and obsessively listened to. That record is Sgt. Pepper’s Lonely Hearts Club Band. When I was six, myself and my two best friends would always end up at my place and gravitate to my brother’s record collection.

We would put on that album, grab tennis rackets or anything else that we could pretend was a guitar. We would then stand on the couch and air-guitar the whole album. I think, at that age, the reason that album first stood out from all the records in my older brother’s collection out was the album art. It was so bright and fanciful and engaged my young imagination. After listening to the record I felt the same way about the songs on the album. I knew all the words and still do. The album in its entirety is where is magic is for me. 

Jasper: One of my favourite albums of all time is Wilco's Yankee Hotel Foxtrot. It had a huge influence on the way I write, record and listen to music. I love everything about that album and could talk about it forever. Perhaps what makes it really special to me is that it still reveals new sides of itself every time I go back to it; even after, literally, hundreds of listens. 

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

Maybe not a favourite for Harvey, but this one time we were playing a show and Harvey leapt up on stage from the crowd to start the first song and the crotch of his pants exploded. He wasn’t wearing any underwear and the band didn’t stop playing so he had to finish the set as it was and make sure not to expose himself to the audience. You could tell that he was unsuccessful as I could see some people taking photos…to date, I've never seen any. 

As the band is hair-named; which members, facial or head-wise, has the best hair?!

Graham has the best hair; Harvey has the best beard.

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

The Grateful Dead.

The rider would be your own bed to sleep in every night of the tour.

What advice would you give to artists coming through? 

Play what you like not what's popular. 

IN THIS PHOTO: Babe Corner

Are there any new artists you recommend we check out?

Yes! I am really loving Vancouver's music scene. A short list of my favourites are Peach Pit, Leisure Club; The Prettys, Jasper Sloan Yip; Harlequin Gold, Blue J; Booty EP, Babe Corner; Necking and Frankiie! 

IN THIS PHOTO: Frankiie/PHOTO CREDIT: @ldzbar

Quick non-Vancouver shout-out:

Bad Animal, Port Juvee; Astral Swans, Layten Kramer and Peach Pyramid!

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

Music is actually all of our outlets. It is the most amazing thing in the world to play songs you love to people who love what you play. Harvey is a dedicated rock climber. He leaves the city and does it every opportunity he has. It’s a little obsessive in my opinion but I’ve seen the positive influence it’s had on his life. It’s a huge outlet for him.

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).

Travis: Layten Kramer - The Void

Graham: D'Angelo - Feel Like Makin' Love

Harvey: George McCrae - Rock Your Baby

Liam: The Beatles - Lucy in the Sky with Diamonds

Jasper: Wilco – Jesus, etc.

____________

Follow Ponytails

Official:

https://ponytailsband.com/

Twitter:

https://twitter.com/ponytailsband

Facebook:

https://www.facebook.com/ponytailsband/

Instagram:

https://www.instagram.com/ponytailsband/

Spotify:

https://open.spotify.com/artist/38JIaTxEaS1jCuJ3OULJ8g?si=ZgODt663Ro6vNnvd2sOaRQ

YouTube:

https://www.youtube.com/channel/UCk2Ng8y09bx4uBb_8TdyYpg

INTERVIEW: Kerri Watt

INTERVIEW:

Kerri Watt

___________

I have been speaking with Kerri Watt…

about her new song, Never (written by Danny from Embrace), and whether there is more material coming down the line; why artists like Michael Jackson are important to her; how she finds the energy to keep recording and performing – she highlights some artists to look out for.

I ask Watt if she has anything she wants to achieve before the end of the year; if there are albums she holds especially dear; if she has a favourite memory from her time in music; when music came into her life – she ends the interview by selecting a great track.

___________

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

Hey! I'm great and have had a brilliant week, thanks. It was my birthday this week; the release of my new single and in a couple of days I go on holiday, so all good things here. 

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

Hi! I'm Kerri, a music artist from Scotland. I write songs from the heart drawing influences from the likes of Sheryl Crow, Bonnie Raitt and The Rolling Stones. I play piano, guitar and host a radio show, The Americana Show with Kerri Watt, on Pulse FM here in Glasgow. 

 

Never is your new track. Can you reveal the story behind the song?

Never is the first song I’ve released that I didn't actually write: it was written by Danny - the singer from the band, Embrace. Danny and I had been friends for a while and I’d worked with his brother and bandmates in various capacities, so it felt right to sing a song written by him. It's quite simply a love song about always being there for someone. The lyrics are extremely powerful. 

Is it true Embrace played you the song and you added your own spin on it?

Absolutely. There have been a few versions of the song - Embrace ft. me (the duet); the orchestral version and now my own solo version. Interestingly enough, my version was first to be recorded and last to be released. The main difference between the duet and my version is the key...the vocals in mine start much lower and end at the top of my range. Need a good warm up before singing this one! 

Do you think there will be more material coming next year?

Totally. I'm recently back from a month-long trip to Austin, Texas where I recorded a whole new body of work...due for release 2019. 

You have been busy touring and recording the last few years. How do you find the drive and energy to keep going?! Do you feel you are at your most confident right now?

You know there are so many ups and downs. Last year, I played my first stadium show and a month later played to a handful of people in a pub. Keeps you grounded, though. I'm just so passionate about music and also entertainment; if I ever have a dip in energy it doesn't take much to get re-inspired. Plus, my best friend always gives me a good kick up the butt if I ever have a moan. I feel so fortunate to be living out my dreams daily and, with every new experience, I grow and feel more confident in my work. 

When did music come into your life? Which artists did you fall for at a young age?

Music, for me, started with Michael Jackson. As a baby in my cot, my parents would put on the VHS of the Bad Tour and there are videos of me bopping my tiny bald head along. My first self-expression through music was actually dance. I just heard these rhythms and melodies that made me feel good and, for a long time, I trained and planned to be a dancer. Singing didn't come until much later...about fifteen/sixteen years old. And, not until I was twenty-three did I actually take it seriously and start writing. 

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

At the start of the year, I set myself five goals. And now, towards the end of August, I have achieved three - writing an album, presenting my own radio show and getting in great shape for a Spartan race I’ve got coming up. So, I have two goals left to complete and can't reveal until I’ve achieved them...but I’m on track!

Besides those goals, I have lots of work and preparation going into getting the new music ready for release next year. This involves music videos, band rehearsals and website make-over amongst other things. 

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

The most obvious is opening for Coldplay at the Cardiff Millennium Stadium last year with Embrace. We played two nights and it was pretty surreal.

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

Astral Weeks by Van Morrison

He's my favourite songwriter of all time. His lyrics seem to transport me to another time and place. Maybe a place that only exists in the mind, I’m not sure…but the lyric content of this album is very ethereal. One of my favourite things to do is to daydream. I could get lost in the title track for hours and not know where the time went. 

Eagles by Eagles

I lived in California for a time when I was growing up and have spent much time there since. In my mind, I live in 1970s Southern California, surfing; playing music on Sunset Strip and living the dream. This album takes me to that place...and can always snap me out of a bad mood within that first guitar chord.

Bad by Michael Jackson

As mentioned earlier, this was the start of music for me - not only music but dance, creativeness and the world of entertainment. It has everything to do with why I decided at a very young age I was going to be a performer. 

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

Bonnie Raitt. I think she's the greatest and could teach me a thing or two about how to stay such a strong independent female artist for decades.

And rider...a personal Taco chef, ummm; some Cholula hot sauce and lots and lots of Haribo. 

Might we see some tour dates coming up? Where might we be able to catch you play?

Yeaaa! I'm playing some dates in October round the U.K. opening for Tom Speight.

5th - Manchester, Gullivers

6th - Birmingham, Ort Cafe

11th – London, Thousand Island

More dates always being added so keep an eye on my website.

How important is it being on stage and performing? Is it the place you feel most comfortable? 

It's the best place in the world. I feel comfortable and confident to be myself; to engage with an audience and bring together total strangers to share a moment. 

What advice would you give to new artists coming through?

Work hard. Some of it is luck but you need to be prepared when that luck finds you as you often only get one shot. Spend time figuring out what you like, what inspires you and what makes YOU feel good. If you stay true to that, other people will feel it too. 

IN THIS PHOTO: Izzie Walsh/PHOTO CREDIT: Dawncast

Are there any new artists you recommend we check out?

Mmmhmmm, always. Izzie Walsh is my fave right now. Check out her song, Not Today. A fresh and cool spin on Bluegrass and Folk. 

My brother, Fraser Watt, is a super-talented EDM producer and artist. His latest track, Corona & Lime, is such a summer vibe. 

IN THIS PHOTO: Fraser Watt

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

Yes. It's important to turn off sometimes and go out into the world to get re-inspired. I love hiking and exploring. I recently moved home to Scotland after twelve years away and have been loving adventuring in the hills and mountains any chance I get. I also love anything '70s-related and recently launched a collection of '70s retro clothing pieces I’ve been collecting from my travels around the world. The label is ‘killawatt’ and can be found on Instagram.

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).

Kaleo - Way Down We Go

____________

Follow Kerri Watt

Official:

https://kerriwatt.com/

Twitter:

https://twitter.com/kerriwatt

Facebook:

https://www.facebook.com/KerriWattMusic/

Instagram:

https://www.instagram.com/kerriwatt/

Spotify:

https://open.spotify.com/artist/6bPvOLNccTtmf23w6bngcS

YouTube:

https://www.youtube.com/channel/UCs70F2TV_jbE7tlilPCYREQ

SoundCloud:

https://soundcloud.com/kerriwatt

FEATURE: The Great Entertainer: Michael Jackson at Sixty: How He Changed My Life

FEATURE:

 

 

The Great Entertainer

IN THIS PHOTO: Michael Jackson during his HIStory World Tour/PHOTO CREDIT: Phil Walter  

Michael Jackson at Sixty: How He Changed My Life

__________

PERHAPS I will put out another piece about…

IMAGE CREDIT: Getty Images

Michael Jackson but I wanted to provide something more personal to mark his sixtieth birthday. I will end by collating my twenty favourite songs of his (to go with a larger playlist I put together for an earlier piece) but there is so much about the man to admire! I have been looking out at the media world and seeing what is already published – slim pickings considering all he gave to music and how thankful we should be! I will talk about Jackson as a performer and star but, before then, I will reveal when his music came into my life. I cannot remember the exact date but I know Bad was the first album of his that I got my hands on – it was around the late-1980s. At that time in my life (when I was just starting secondary school); music was very much part of my social life and a bonding ritual. I had a group of friends who lived nearby and we would, in addition to general play, talk about the latest releases and play them on the stereo. It sounds rather idyllic and romantic but often we could be heard singing along to the latest chart hit and various tapes/albums we had procured – the neighbours must have been infuriated a lot! Jackson stood out because of his personality and sense of electricity.

I got more into his music through the 1990s but the man’s mannerisms and vocals tics lodged in my mind. In an affectionate way, I and my friends would copy his dancing and repeat his best-known tracks. I was aware of his Thriller and Off the Wall work (at that point) and would fall for Dangerous later down the line. My first tastes of Jackson came in the form of his Disco cuts with his brothers. The difference between The Jackson 5 and Michael Jackson’s work blew my mind and the sensation of seeing a man evolve and come out of himself reflected on me. I was a shy kid – and am a shy adult... – but the sense of expression and liberated Jackson provided rubbed off. Through something as simple as dancing to his music and listening to his music, I gained a level of confidence and sense of belonging that was missing up until then. It can be hard fitting into groups and making friends at school but, for me, I struggled a lot to belong and feel involved. Music is the way I find a sense of community and purpose now and, from a very young age, it was a way to connect with the world and find my way. I was a fan of artists like Prince but Michael Jackson opened my eyes like nobody else. Seeing him on MTV and videos like Billie Jean and Beat It (from Thriller) was a sensational revelation. I would happily spend hours listening to Bad and would dive into the songs and let them carry me away.

PHOTO CREDIT: Dave Hogan

Watching the man own music videos and strut like nobody could touch him was an emotional thing. I could sense, under everything, there was a struggle and need to belong – the same thing I felt! Jackson was a lot older than me but, even as a star and big name, I was detecting a vulnerability and loneliness that was being quenched by music. Jackson was an enigmatic musician and I wonder how he differed away from the stage and studio. Much has been said about his private life and the press spent most his career hounding and poking at him. The less said about their reprehensible behaviour and obsessions the better! For me, Michael Jackson’s personal life is irrelevant and does not need to be discussed. I idolised him because of what he brought to music. He was a gifted and incredible songwriter who could easily stun when writing ballads and stagger when spitting anger and providing something exhilarating. His movement and dance gave children like me a channel and way of feeling less quiet and alone. He wouldn’t have been aware but his live performances and stunning videos were giving so many people a voice! By the time Dangerous came along in 1991, with a harder and more anxious sound, I was seeing Jackson cast off a sweeter side – apart from a few songs - and react to the press and accusations.

The mire and controversy would reach a peak in the mid-1990s but, even by Dangerous, he was being hounded in his private and public life. I could sense that anger and disgust and, under all of it, detect a need for protection and help. That sort of understanding and heartache was very daunting for someone so young. I was about eight when Dangerous came out but, like Bad and Thriller, that album would, again, change my life. I was still struggling to find company and companions – apart from a small group of friends – and Jackson’s rising fame and huge gigs made me want to know more about the star. I was seeing much more than a songwriter come to life. In the way Madonna introduced me to the idea of an idol and performer; Michael Jackson was this rare and special human who was taking music to new levels. Few songwriters could touch him and, in terms of performance, nobody offered that blend of the physical, majestic and unique. Maybe Prince had his own vibe but I always preferred Michael Jackson! There are entertainers and great performers today but I feel we have lost the very best. Too much of Pop and R&B today seems the same and comparatively restrained. I do not feel the same way about today’s artists and, when I need that smile and boost of energy then it is Jackson’s music and videos I run to.

As I go through my adult life, he is still inspiring me and helping. Although he died in 2009; I can see how he has influenced artists today and how his legacy is bleeding into music. The fact nobody can touch him and Jackson stands on a plain of his own shows how mesmeric and meteoric his spirit was. I always get affronted by people who look at his past and accuse him; how they question his innocence and bring up all the bad things. They forget what he gave to music and how much he achieved. From breaking racial boundaries and raising awareness of racism on music T.V. to the staggering rise his career took – few others changed music and made more of an impact. I am still learning from Michael Jackson and do not think I will ever be able to get to the bottom of what made him tick. That mystery and complexity is in my blood and I am discovering new things about Jackson with every song and new spin – a man who keeps revealing fresh layers and eliciting new emotions. Not only did he help me find a place and remained focused as a child but I am compelled by him now. Among all the general pieces about Jackson – the ‘best of’ and his ‘ultimate albums’ – I wanted to provide something personal and state how he impacted (and still does) my life. Even though he is no longer around; his sixtieth birthday makes me happy and sad. I am glad I get to pay my respect and thanks but it is gutting to know we will never see the man release new material or tour. Many might come and go in music but the chances of discovering anyone who reaches Michael Jackson’s genius…

IN THIS PHOTO: Michael Jackson is presented with a GRAMMY Legend Award by younger sister Janet Jackson at The 35th Annual GRAMMY Awards/PHOTO CREDIT: Kevin Mazur

IS extremely rare!

FEATURE: Black or White: Michael Jackson at Sixty: How the Pop Genius Broke Down Racial Barriers and Revolutionised the Music Video

FEATURE:

 

 

Black or White

IN THIS IMAGE: Michael Jackson/IMAGE CREDIT: Andy Warhol

Michael Jackson at Sixty: How the Pop Genius Broke Down Racial Barriers and Revolutionised the Music Video

__________

THIS piece will bring in some treasured Michael Jackson videos…

IN THIS PHOTO: Michael Jackson in the video for Thriller/PHOTO CREDIT: Getty Images

but it would do him a disservice to do a simple list and get people to look at that! We cannot think about the King of Pop and not talk about music videos. Today, there is a serious question as to whether videos are needed and how valid they are. A lot of new artists are making great videos on a small budget but it seems the Pop elite, with the bigger bucks, are able to do something more imaginative that gets the YouTube videos coming. Most of the videos are pretty forgettable and there is the odd one that sticks in the mind. Look at the Pop titans of today like Taylor Swift and Justin Bieber and how often are you stopped in your tracks by one of their videos?! Maybe it is harder to break ground and push boundaries. The fact we do not have MTV and music video television – not like we did in the 1980s and 1990s... – means few people are seeing videos or they do not place them high in the heart. I love music videos and feel they are an integral part of a song. Even if you have a tight budget; you can do something fantastic and get people’s attention. I wonder whether Jackson would be pumping out the high-concept videos at the age of sixty!

It would be good to see the King of Pop bust his moves and thrill the people. Maybe his videos would be more ‘sedate’ but I couldn’t see the man sitting down calmly and recording something laidback! There is that golden age of MTV – from the 1980s to the end of the 1990s – where the music video was an art-form and that was our introduction to music. There was no streaming (or Internet up until a point) and radio was the only channel we could hear music. Videos, therefore, allowed a song to come to life and see the artist perform. From Madonna and Prince to Soundgarden and Peter Gabriel; I remember those eye-catching and fantastic videos that took songs to another level and remained in the mind. To my mind, nobody progressed and changed MTV quite like Michael Jackson. I am slightly relieved MTV doesn’t hold much sway these days because I am not sure it would be as progressive as it should be. One of the reasons Michael Jackson pushed so hard to get onto the station and put so much into the video was the resistance from MTV to put black faces on the screen. That racism was embedded into their D.N.A. and it took a lot of protesting and fantastic creativity (for them) to give artists like Michael Jackson the same sort of coverage as white artists.

One might say that racism made the videos bigger and better and, as such, gave him an edge. How did the rocky association Jackson had with MTV start?

“Despite Jackson’s presence on MTV through 1986, the network faced allegations of racism for giving scant airtime to videos featuring people of color. MTV executives have denied that racism was at the root of the network’s “blackout,” saying that black artists received little airplay because their music didn’t fit the channel’s rock-based format.

“MTV was originally designed to be a rock music channel,” said Buzz Brindle, MTV’s former director of music programming, to Jet magazine in 2006. “It was difficult for MTV to find African American artists whose music fit the channel’s format that leaned toward rock at the outset.”

With so few black rockers, adding African Americans to MTV’s roster proved difficult, according to the network’s co-founder Les Garland, whom Jet also interviewed.

“We had nothing to pick from,” Garland explained. “Fifty percent of my time was spent in the early days of MTV convincing artists to make music videos and convincing record labels to put up money to make those videos…”

There may be those arguments that few black artists were making videos but the truth is there was a fear they would not be taken seriously and excluded. Jackson’s classic videos like Billie Jean and Beat It created a huge explosion and excitement. This was not an artist lazily producing a video and expending little effort: a superstar was born and you could feel the anger, determination and passion in every frame!

ILLUSTRATION CREDIT: Brett Jones/ART DIRECTION: Crush Creative

How, then, did Jackson change MTV and open doors for artists?!

“It took major prodding to get MTV to play “Billie Jean,” the second track from Jackson’s 1982 album Thriller. Released Jan. 2, 1983, the single would go on to top the Billboard 100 chart for seven weeks, but Walter Yetnikoff, president of CBS Records Group, reportedly had to threaten to remove all other CBS videos from MTV before the network agreed to air the video for “Billie Jean.”

Garland denied such a confrontation occurred, telling Jet that the network began playing the video on its own. “There was never any hesitation. No fret,” he said. Based on his account, MTV aired the video the same day that executives screened it.

However “Billie Jean” ended up on the network, there’s little doubt that it changed the course of MTV. The first video by a black artist to receive heavy rotation on the network, “Billie Jean” opened up the door for other artists of color to be featured on MTV”.

Once doors were opened and there was that visibility – quite small but a step – it meant Rock took a back-step and R&B artists came more to the fore. Given the popularity of Hip-Hop and artists like Whitney Houston and Prince in the 1980s; MTV was given no choice but to diversify its playlists and provide visual access to black artists.

You can chart back to Michael Jackson and Billie Jean as a moment when things started to change. I realise it was not Jackson alone who created change: Hip-Hop artists and other Pop artists help inspire evolution and Jackson was among those whose incredible music was finally being seen and heard! I will look at Jackson’s changing appearance but one can chart back to his role in The Jackson 5 as starting revolution and visibility for black artists:

“As the Jackson 5, Michael Jackson and his brothers "became a cutting-edge example of black crossover artists," said Mark Anthony Neal, a professor of black popular culture at Duke University's Department of African and African American Studies.

"You basically had five working-class black boys with Afros and bell bottoms, and they really didn't have to trade any of that stuff in order to become mainstream stars," Neal said.

Young Michael Jackson was the first black "bubblegum teen star" in the vein of Monkees singer Davy Jones, Neal said”.

Jackson continued as a pioneer in the black culture when he broke barriers by appearing on MTV, and by breaking sales records with the 1982 album, "Thriller".

Before long, as I shall examine, Jackson stepped into a league of his own and, with the respect and trust of MTV, was pushing himself into the stratosphere. That issue of race was still an issue when videos like Thriller (from the album of the same name) came out.

The concept, Jackson turning into a beast, was almost what white T.V. producers feared: the evil and unsettling black artist; something inferior and inhuman in a way. By Billie Jean, as this article explains; roles changed and he was being seen as a hero:

“However, on what could be his most famous song, “Billie Jean”, he takes it a step further and becomes the object of adoration and what is more, of obsession for women and perhaps men to the point he is portrayed as a monster, unhuman. Unbeknownst to him at the time, this would become the curse of his every-day life. As with Prince, people were unable to label him, to put him into a well-known category and be ok with it, because he could not be and refused to be categorized”.

If the videos he did for The Jackson 5 saw him as a cute child with potential; the post-Thriller videos made Jackson a megastar who was breaking boundaries and giving a voice for black artists. How did Jackson break moulds and change music/videos forever:

“…In the end, both Prince and Michael created powerful, influential on-stage personas who delivered electrifying performances, witty lyrics and memorable grooves. They became master manipulators and made the world believe whatever they wished by taking their prejudices and projecting them back onto the audience. Jackson broke down his own records – nobody came close to them ever again - whereas attendance and earnings from tours was concerned and Prince became arguably the most prolific musician in popular music, the first African American to have a song, a movie and an album at number one in the charts”.

There is that discussion, and irony, if a man who sung that it doesn’t matter if you’re black or white (Black or White from the album, Dangerous) changed from the fighting and inspiring black artist to what MTV was promoting before he made breakthroughs: a white artist. There have been medical explanations or maybe it was Jackson taking a stand and ensuring he was going to be respected. In any case; race played an important part in his career: from the black artist we saw up until Thriller to the white man we would see in Bad’s videos (from 1987) - his skin was lighter by 1987 but would look radically different by 1991's Dangerous. Bad, amazingly, spawned nine singles – the album only had ten tracks on its original release (Leave Me Alone was added on a later release). Videos for songs like Bad and Smooth Criminal saw Jackson liberated and pushing on. Aside from Thriller’s world-dominating concept and impact; there was much more ambition by 1987 – much more complex and richer; bigger storylines and budgets. The fact Jackson released so many singles meant there was a greater opportunity and a bigger role for him on music T.V. Look at 1991’s Dangerous and how far Jackson stepped. Again, budgets increased the concepts became more ambitious.

Look at Remember the Time where Jackson starred alongside Iman, Eddie Murphy and Magic Johnson. Its Egypt-set story finds Jackson stealing the queen (Iman) from Murphy’s pharaoh and seducing her. It is almost like a film in itself: a big start and that chase; Jackson acting as the hero but Iman being given a strong and memorable role.  Again, we saw nine singles come from the album (Dangerous) and Jackson was collaborating with other actors/figures more than his earlier career. Black or White is that big statement and, aside from starring a young Macaulay Culkin, it split opinions but definitely made people talk. That transformation from The Jackson 5 to this completely changed artist. There was a jumbled start to the video and mixed messages; no real cohesion but something great came out of that video:

“Yet it was the final four minutes that ignited the furor: Alone on a soundstage streetscape, Jackson, sans music, transforms from a black panther into a human, dances, and gradually loses himself in a maelstrom of destruction and unabashed eroticism. Interpretations ran rampant the following day. Was that final bit ”meant to portray Jackson’s interpretation of the panther’s wild and animalistic behavior,” as Sony said in a statement? Was it an overdone attempt to shed his good-boy image? Was it merely, as The New York Times opined, ”the narcissism of a spoiled child throwing his toys”? Was the son-versus-father segment with actors Macaulay Culkin and George Wendt an allusion to Jackson’s own allegedly domineering father, Joe Jackson? “.

Whether you agree with the storyline or think it was a publicity ploy; there is no denying Jackson was taking chances and stirring things up. In the Closet finds him cavorting and dancing with Naomi Campbell in a provocative and memorable video; Jam is him, yeah, jamming on a basketball court in a tough and playful shoot – a man showing different sides of himself and bringing his songs to life. Maybe there was some doubt as to whether the appearance change was a chance to get attention and not have to fight but, either way; the King of Pop took music videos to new levels. I remember watching Remember the Time and marvelling at this extraordinary film coming to life. It gave new life and lease to a song that I had visions of in my mind – nothing as bold and exceptional as that! It seems, whether through incredible art or controversy Jackson became the face of MTV and inspired legions of artists. He was not producing flaccid and predictable videos: his promotional efforts stirred the imagination, got people debating and, at times, got the press questioning his motives. His post-Dangerous work produced a few fine videos (Blood on the Dance Floor and You Rock My World among the best; Earth Song vivid and disturbing.

Whether you agree with the sentiments and messages on offerings like Earth Song; it is clear Jackson wanted to say something deep and urgent with the video. How many modern artists are using music videos to deliver political and conservation messages?! Maybe Hip-Hop and R&B artists are but, in the Pop forefront, there is still the reliance on love and rather uninspired concepts. In many ways, Jackson’s music videos are more powerful and potent today – artists should be looking at his MTV heyday as inspiration; revitalise the music video and get people talking. Maybe the absence of music T.V. means we have less fascination with videos but there is no denying how influential Jackson was and what he did for artists. He gave an opening for black artists and took the video to dizzying heights. Thriller, as his standout video, made some of the biggest leaps:

“Thriller sealed MTV's reputation as a new cultural force; dissolved racial barriers in the station's treatment of music (though MTV has always denied they existed); revolutionised music video production; spawned the "making of" genre of documentary ("The Making of Filler," as Landis said at the time); helped create a market for VHS rentals and sales, because fans were desperate to see it when they wanted, rather than at the will of TV stations; and, in 2009, became the first music video to be inducted into the Library of Congress's National Film Registry”.

IN THIS PHOTO: Michael Jackson with Thriller's video director, John Landis/PHOTO CREDIT: Getty Images

Thriller was a multi-million-dollar beast but, in many ways, it captivated new directors, including Spike Jonze, and made them think there was a place for fun, filmic videos:

“Jonze took the freedom he sensed in Thriller – and also its eccentricity and humour – and ran with it, creating some of the 90s' most famous music videos, including the Beastie Boys' Sabotage and Praise You by Fatboy Slim, which also get continually spoofed. "When I made videos, whether it was with the Beastie Boys or Björk, we weren't chasing anything," he says. "It was never like some marketing thing. I just wanted to create something that would do justice to the song and I was excited about making, and I think Thriller was the same way."

Perhaps that's Thriller's ultimate legacy, and it's also why Jonze has become a key influence on film-makers creating videos for YouTube. As Psy's Gangnam Style proved, films shot relatively cheaply and quickly, and which don't require pluggers, or for the artist to necessarily have an existing profile, can have a global impact comparable to Thriller. The rules have been rewritten, unleashing a new surge of creativity”.

I love how Jackson’s creative effectiveness did not wane after Dangerous and he continued to explore the possibilities of the format. It is tragic to think how far he could have taken the music video has he of lived.

Look at the Scream video. With his sister, Janet, he managed to create a head-busting video whose budget made eyes water! This article looks at the song/video and its brilliance:

“Amazing lead single “Scream” – released twenty years ago today – however offered a more relatable and enjoyable sense of catharsis. A duet with younger sister Janet Jackson, and produced by Jimmy Jam and Terry Lewis, “Scream” finds the pair spitting out tightly wound lines railing against the press almost through gritted teeth, the industrial beats and clattering percussion encasing an incredible vocal performance from Michael that peaks with the line, “oh brother please have mercy 'cause I just can't take it”. Its sense of unleashed frustration makes it one of Jackson's most enduring songs outside of his 80s purple patch, the aggression sounding defiant as opposed to bitter. It also came with one of the best (and allegedly most expensive) videos of all time, director Mark Romanek housing the siblings in their very own wipe-clean, hyper-modern spaceship, complete with indoor zen garden, remote controlled art gallery and futuristic squash court”.

Anyone thinking the siblings would be harmonious and diplomatic was in for a shock. Michael, especially, was a bit of a nightmare. He spent, literally, a day looking for a perfect handclap sound. He would alter the volume and slave over his idea of the song. Janet Jackson’s career was faring better by 1995 – the song featured on Michael Jackson’s HIStory: Past, Present and Future, Book 1 – and this was seen as a chance to promote Janet Jackson.

The idea was for Michael to go in first and Janet to follow him. He went into the booth, asked for his headphones to be turned up and busted his moves. He asked how it was – they said it was good – and Janet had to follow him! The siblings were competitive and this was Michael’s way of regaining his crown and getting back into the public fore – even if the song was designed more with Janet in mind. Maybe the world-draining budget of Scream makes it impossible for other artists to replicate this today but, as this article continues; the promotional did inspire other artists and made changes to music videos well into the 1990s:

“…Needless to say the label weren't exactly over the moon when they saw the final budget, which was likely further increased by the initial three-day shoot running to over a week. “I got on the phone with the head of the record label and he had seen the budget and was apoplectic,” Romanek said. “He started screaming at me on the speakerphone, “do you think I'm the fucking Bank of America? Are you out of your fucking mind?” I said Michael and Janet want something huge, you've given me no time to do it, the song brings to mind images of a spaceship and if Michael Jackson has his own spaceship it's going to be really impressive. There was this dead silence on the speakerphone and then I heard (puts on soft voice) ‘yeah, that's right’ and I realised Michael was in the room on the other end of the line which I didn't know. From that moment the record executive guy knew he was pretty much screwed.” The space-age visual influence of “Screram” can be seen in the likes of TLC's “No Scrubs”, Lil Mama's “Shawty Get Loose” and, more recently, Ciara's “I'm Out”.

Look at the Internet and how the music video is changing and progressing. The interactivity we saw Michael Jackson project – bringing listeners into his world and giving them a sublime experience – is much easier to replicate now. The best videos from modern times (including Childish Gambino’s This Is America) are bolder, bigger and much more challenging the rather average and routine videos. There are other artists who have helped this leap but you can draw a line between Michael Jackson’s videos like Bad and Thriller and how artists are connecting with audiences today. I am not one of these people who has given up on the music video – even if there are fewer legendary offerings than past decades. Few artists have the same purse Michael Jackson had back in the day but his movements, physicality and concepts have filtered through the years and changed the modern music video. He transformed from this ignored artist who was held back by MTV and given excuses to the Billie Jean icon that changed the game; the megastar that produced more and more lavish and spellbinding videos. As we mark his sixtieth birthday and how he changed Pop and become a king; let’s not forget his arsenal of brilliant videos and…

 IN THIS PHOTO: Michael Jackson captured during the Bad video shoot/PHOTO CREDIT: Getty Images

THE impact they created.

INTERVIEW: Masa Diora

INTERVIEW:

 Masa Diora

___________

THE chaps of Masa Diora…

have been telling me about their upcoming single, You Don’t Love Me. I ask what we can expect from the song and what comes next for them. I wondered how the band got together and whether there are some upcoming artists we should follow.

The guys reveal the albums most important to them and what sort of artists they grew up around; if tour dates are a possibility; what advice they would give to musicians coming onto the scene – they each pick a song to end the interview with.

___________

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

Hey! We’re all really good and immensely excited to finally share our music as a band – the countdown has officially begun! It’s been a productive week for us - but no different from any other as we‘re constantly writing and recording new tracks.

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

I’m Jonty. I play the lead guitar and produce alongside Callum.

I’m Callum. I play the keys; I sing, write and co-produce the songs.

I’m George. I sing, I play the rhythm guitar and I’m also a songwriter for the band.

How did Masa Diora get together? Is there a story behind that name?!

Callum: Me and Jonty met whilst studying Music Tech at college and bonded over our love for experimental music and art.

Jonty: The band then came together after I contacted George asking if he fancied making some music. Once he was down, I asked Cal the same question. We’d previously made music together in the past but never thought of forming a band until later on.

As for the name; we wanted something that simply sounded cool! The name is an anagram of 'dioramas' which are those 3-D model things you had to make in high-school for art/history classes – where you had to create a little scene - a moment in time - to tell a story which is exactly what we are doing through our art. After we had ‘dioramas’, we then made ‘Masa’ – a wordplay of N.A.S.A. (we love space) – and ‘Diora’ simply followed to create ‘Masa Diora’ (pronounced: may-sa dee-aura).

You Don’t Love Me is coming soon. What can you reveal about the inspiration behind the track?

We spent some time creating a story of our own – a tragic fiction about an unrequited love and how one's mind can become so disillusioned by the obsession of a 'perfect world'. Y.D.L.M. is where this psychedelic journey begins. You gain the first glimpse of our character and how he deals with the emotion of loving someone who does not love him back, which inevitably takes a turn for the worse.

What might we expect in terms of forthcoming material and future plans?

Expect something (very) unique. We’ll be dipping our toes into the streams of Jazz, R&B and Rock as we experiment with our predominantly psychedelic sound. The story in which we’ve crafted continues throughout each track and each release.

Do you think there is a U.S.P. the band has that singles them out from others?

Certainly. We’re a band with a story and an emphasis on art. We take time and effort to focus on every aspect of our presence - that being our music, visuals and look. Our music is hard to compare to anyone currently out there which stands us out from the crowd.

In terms of artists and music; what did you all grow up listening to?

Jonty: I grew up listening to a range of music, from Sam Cooke to the Wu-Tang Clan. The biggest inspiration for me to learn the guitar and get into music was listening to artists such as Van Halen, Jimi Hendrix; Pink Floyd, Guns N’ Roses and the ELO.

Callum: I can remember the first ever song I played on guitar was Mr. Tambourine Man by Bob Dylan, followed by Cat Stevens’ classic Father and Son. It was tracks like these that also got me into songwriting and, also, realise my passion for creating music of my own.

George: I grew up listening to a lot of Fleetwood Mac...and I absolutely loved Bobby Caldwell; picking some taste in music up from my dad who loves Jazz, and my mum, who just loves music in general. Names like Jimi Hendrix and Metallica really set me on the right path to begin learning guitar; artists such as Frank Ocean and Frank Sinatra got me into singing (my two favourite Franks).

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

We would love to tour! After we have a few releases under our belt, the live music scene won’t seem so far away at all.

What could we expect in terms of your stage show? Is the stage somewhere you all love to be?

We have so much energy when writing and we soon want to take that energy to the stage. Our shows are something that we want to make really memorable, as much an audio experience as a visual one to match our psychedelic sound and retro sci-fi vibe. We also have a keen eye for detail and a love for tech – so expect something a little ‘different’.

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

Jonty: I’m stuck between The Dark Side of the Moon by Pink Floyd and Rodeo by Travis Scott as I remember just loving the production on both albums – they both really inspired me to develop my music and production and skills.

Callum: Although it’s not exactly an iconic album, nor is it necessarily my favourite, + by Ed Sheeran stands out as one of the most influential for me in terms of realising my passion for music. It just reminds me of how I started out and brings back a lot of good memories.

George: I love the Another One by Mac DeMarco. It really inspired me to start learning guitar and made me realise that music was the thing for me. And, still to this day, it helps me to focus on that passion and mute all the stressful things in my life.

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

Sounds corny but our favourite memories have always been sitting down with each other and creating a completely new piece of music as you just don’t know what you’re going to make or where it’s going to take you. It’s a thrill which is very addictive.

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

George: I’d actually love to support someone like Mac DeMarco as he’s another big inspiration for both me and Jonty.

Callum: In terms of who has inspired me to create something different and experiment with music, I’d probably say Bon Iver. Wait…am I allowed Fleetwood Mac?

Jonty: For our rider, we’d request a bottle of wine (quite likely to be more than one) for each gig so that, hopefully, by the end of our career we’ll all be professional wine connoisseurs. And, if we had butlers, then we’d have them dressed in some retro-looking space uniform and address us all as ‘captain’. Oh…and we’d have to have a few beanbags – like, big ones.

What advice would you give to artists coming through?

Just keep working on what you love; experiment and continue to craft your own sound. There will be someone out there who appreciates your music as much as you do...don’t give up on it!

Are there any new artists you recommend we check out?

Yes! Two bands from our old college are also releasing some bops too: The Zangwills and Delights.

IN THIS PHOTO: Delights

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

Music is how we unwind. Haha! But, music aside, we’re all huge T.V./film buffs so if we’re not out chilling with our mates, then we’re either at home binge-watching a T.V. series on Netflix or at the cinema watching the latest sci-fi.

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).

Thank you for having us; it’s been a pleasure!

Jonty: Little Wing by Jimi Hendrix

Callum: Little Lies by Fleetwood Mac

George: Johnny B Goode by Chuck Berry

____________

Follow Masa Diora

Official:

https://www.masadiora.com/

Twitter:

https://twitter.com/masadiora

Facebook:

https://www.facebook.com/masadiora

Instagram:

https://www.instagram.com/masadiora/

INTERVIEW: Lemzi

INTERVIEW:

Lemzi

___________

IT has been a real thrill speaking with Lemzi…

IN THIS PHOTO: Lemzi with Tonia Soulbird

who tells me about the E.P., Ton x Lemz. He discusses working with Tonia Soulbird and putting the E.P. together; what is coming next for him and his music; why artists like Eminem were influential and important to him growing up (and now) – I ask whether there are some upcoming artists we need to investigate.

Lemzi reveals what he hopes to accomplish before next year and which three albums are most important to him; what he thinks of the British Grime scene right now; how he has improved and developed since his early work – he selects a pretty ace tune to finish the interview with.

___________

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

Yo. All good, man. Nice, relaxing week so far. What about you?

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

I call myself an artist as opposed to a musician. I don’t have any music theory knowledge and can’t play any instruments but I can make my words sound good! I have my own event, Hidden Gems LIVE, which has been successful in getting a lot of the best U.K. acts on stage and I also go into schools as a Rap music tutor!

You hook up with Tonia Soulbird on the Ton x Lemz E.P. How did you two meet?

We met a little a while ago at an open mic in Stratford called Newham Nights that took place every last Sunday of the month (shout out Abena the Actress for organising the show as long as you did!). It was a really good vibe down there generally and we just came together naturally. We rated each other’s music and, more than that, each other’s character.

In the open mic, we saw a batch of talented artists as well such as Kemi Sulola, Diamantina; Jay Scriptz and a lot more! The first thing we worked on together was Hidden Gems the single and that involved meeting up in Leytonstone Tesco Costa; writing the bars and a few signs that told us it was something to continue and spread...

What do you think Tonia brings to your work that elevates it? Do you plan on working together again?

Some soul…and that powerful female energy that matches what I bring to a song/performance etc. Before anything, we’re good friends with a lot of mutual interests and outlooks on life so, because of that cohesion, we tend to find it an enjoyable process working together. We’ve got tours, shows and videos all to do so we’ll definitely be working closely!

Your 2011 mixtape, LemziFreeBies, spawned a series of lauded and impressive works. How do you think you have developed as an artist since then?

In pretty much every way, without sounding arrogant. I’m still developing and progressing and working with new artists challenges me to approach things differently. However, I’ve found my base sound and the mixtape series of LemziFreeBies was just me growing in front of a small audience. Learning how to operate in a studio, watching how some of my peers executed their ideas; working out finances for the studio!

Everything I do now comes from that mixtape phase of my life. I keep all of those songs up there so, wherever someone joins on the journey, they have a reference to note how much progression has taken place.

What do you think of the British Grime/Rap scene right now? Is it as relevant and strong as it was back when Dizzee Rascal shot onto the scene?!

There are two ways I look at it: talent and reception. The talent, to me, is the best the U.K. has ever had and we have a genuine spectrum from the Grime scene, to Drill; Afro-Swing, U.K. Hip-Hop etc. Even the R&B scene is really coming into fruition with artists like Rebecca Winter, Ella Mae; Kemi Sulola etc. I’m proud to feel a solidified part of this scene.

However, from my perspective, reception is still far too imbalanced. The Hip-Hop/Neo-Soul/R&B scene gets a fraction of the attention that Afro-Swing, Drill or the other more contemporary genres have. But, it’s all a process. I feel the more the aforementioned genres develop a credible scene in their own right: with events, D.J.s; radio shows and collabs etc. all between these artists, the Hip-Hop scene will get its proper recognition...

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

I remember the first artist that really captivated me and I can remember being really into Eminem. I saw Lose Yourself on the T.V. a lot and I learned all of the lyrics - at around ten years old – then, from there, I wanted his album (which introduced me to other artists like Dr. Dre, 50 Cent; The Game etc.).

This completely switched in 2004 when I got into Grime. Grime music and the whole scene genuinely shaped my perspective on the world at that age (around twelve years old when I was first introduced to it). I was suddenly a lot more aware of my surroundings; picking up on reference points, postcodes and clothing etc. It was a mad time. A lot of energy and huge characters, especially in East London where the majority of the M.C.s were from. I was most into Kano, Dizzee; Roll Deep...to be honest, almost anyone that was doing grime between 2004-2008 got my interest at some point. It was a lot.

It was interesting for me in particular because I was in a private school, not like Eton or anything, but it was a good one. We had people from all over the East - Beckton, Mile End; Leyton etc. - but just a few of us from these areas. So, I didn’t even grow up around loads of other people really into Grime; just a small group of us. It was only during uni that I really started meeting other artists and discovering even more music.

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

Man...it’s only a few months but I want to do a lot in this time. I said, at the start of 2018, this year will be phenomenal so I’ve given myself no chance but to end it well! Ton x Lemz E.P. is out now, so we are working on getting at least one video arranged; doing a headline show, other shows and maybe more.

I’ll also have a solo demo album finished, depending on how everything is going. It will be out before the end of 2018. I will definitely release a couple of the singles before then as well as a documentary...

I’m currently trying to create a syllabus that I can take to these schools; something more structured that will hopefully inform the students about the music, history; social implications and everything around the music too. Hopefully, I’ll have at least one, if not two Hidden Gems LIVE events in this period; get some new artists on the stage sharing their gifts. That’s a chunk of the plans but God moves so let’s see how everything envelops.

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

There’s been a lot, you know. A lot of not great memories from the earliest days but they were all learning curves rather than actually bad experiences…

One of my favourites was the first full live band set I did in Rich Mix in October 2017. Between me, The Bandem; Tells & Tonia we brought my E.P., Autumnal Aura, to life. It was a whole process and being on the stage with such a good audience made it feel special.

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

Dr. Dre - Chronic 2001

This album to me is the best-produced Hip-Hop album of all time. A lot of the topics and viewpoints wouldn’t even be recorded in this day but it works as a great timestamp of the turn of the millennium with mad performances from Hitman, Dre; Snoop Dogg, Eminem and more. The composition, structure and production – as well as executive production – was phenomenal.

Jill Scott – Who is Jill Scott? Words and Sounds Vol. 1

Nostalgia...an album everyone in my family enjoys. Jill Scott, through this album, was one of my introductions to Neo-Soul (and assimilating this with Hip-Hop and Spoken Word). The esoteric messages, the lyrical prowess; vulnerability mixed with self-confidence and production is timeless.

Kano – Home Sweet Home

Stuck between this and Dizzee Rascal - Boy in da Corner but I give it to Kane here. Home Sweet Home showed me how to spit, had bangers; smooth songs and I had both Nobody Don’t Dance No More and Signs of Life as my most-played songs for a looong time.

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

Alicia Keys. I want to see Butterflies and Diary live myself but I think we could make some great music together too. Especially if she brought Swizz Beatz.

In fact; my rider would be that we would have to create some music between the three of us and she would need to give me a whole folder of samples (royalty-free) to send to my producers.

What advice would you give to new artists coming through?

Do this for the right reason. Someone should be able to ask where do you see yourself in five/ten years and music still being a big part of whatever you’re doing. I love music and have done since I remember hearing Eminem, who galvanised me to express myself through words. Passion is key as is patience but the journey is special. Don’t overlook it just because you’re not doing the O2 and Wembley after what you thought was ‘the hit’.

IN THIS PHOTO: Kemi Sulola

Are there any new artists you recommend we check out?

My team, the EXCLUSIVE Collective (Ferns, Wyllis; Timmy B & Jerome Leetz); Tonia, Tells; Kemi Sulola, Melvillous; Choze, Sharna Cane; K The Infinite, Boy Nash; Amelia Poamz…and I’ll stop there or this will be my longest answer...

IN THIS PHOTO: Choze

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

Yeah. I do music full-time, including going to schools/institutions and my events but I have a great family that I spend time with. I have a girlfriend who’s almost always around and my closest friends don’t do music, so I’m in and out of the scene in that regard.

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).

Wyllis – Baka! Boom issa (sic) banger!

____________

Follow Lemzi

Official:

https://www.lemzi.com/

Twitter:

https://twitter.com/lemziartist

Facebook:

https://www.facebook.com/lemziartist

Instagram:

https://www.instagram.com/lemziartist/

YouTube:

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

INTERVIEW: CAGGIE

INTERVIEW:

CAGGIE

___________

THE wonderful CAGGIE has been telling me…

about her new single, Thinking About You, and how it came together. She shares her experiences of L.A. and reveals whether there is more material coming; which artists and albums have been most important to her; if there are any gigs coming up – she recommends some emerging artists to watch.

I ask her about her time in Made in Chelsea and whether music was always her calling; what her favourite musical memory is; what she wants to achieve before the end of this year; the advice she would give to artists coming through – CAGGIE ends the interview by selecting a great modern cut.

____________

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

It’s been good, thank you. My second single has just come out and was on New Music Friday, so I am pretty happy...

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

I’m a singer/songwriter from London. I tend to focus on writing about past love. I’d describe my music as 'romantic nostalgia'.

You have just released Thinking About You. Can you reveal the story behind it?

It’s about when I first moved to L.A. I was feeling a little bit lonely - and it was the first time I felt ready to tell my story.

Might we see an E.P. next year? Are you always working on new material?

Absolutely. I would love to go straight in for an album. But, let’s just see. I’m always working on new stuff, whether that’s just writing down ideas or being in the studio. I like it to be dispersed when I am in the studio - I enjoy going in when I am filled with ideas so it’s always a special and exciting experience. It can feel redundant if I am in there every day.

Many will recognise you from Made in Chelsea. Was that desire to go into music always there? Do you feel more yourself and free to express your true personality through music?!

Yes; very much so. I have always loved music. In fact, I’d say it’s my one true love. It’s taken me a while to be able to admit that. Because, for a really long time, I felt like it didn’t love me back. Music can be incredibly cruel in ways but, in the moments when it does work - however fleeting they are -, it’s magical...and, yes, I feel freer. It’s a question I think about a lot in a lot of detail...

But, in an attempt to give you the shorthand, I think I tried to be someone else for many years; in order to feel safer and to fit in in ‘life’. I have always felt like a bit of a loner - and found that my favourite moments are often in isolation when my only companion is a notepad. I rather enjoy my own loneliness…which is quite reflective in my music; probably not the first single so much but my other material. A friend mentioned it recently and said: “How can Caggie be so sad and what does she have to be sad about?!” which I found quite funny. I definitely project a certain version of myself to the world.

I recently found a journal from when I was twelve and, in it, it said: “What is your favourite thing about yourself?” and I had written: “That I am always a little sad.” I found it amusing; almost paradoxical. I can pretend to be a lot of different people but you’ll always find my truth in my music.

How important are London and the people regarding your inspiration? What is life like there for a young artist?

I wrote my favourite songs in L.A. But, perhaps, that’s because I was lonelier there. But, in the same breath, coming back to London as I am today does have the essence of a new beginning at the moment…which I am enjoying.

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

I was raised on Oasis, Madonna; Whitney Houston and Michael Jackson. My house wasn’t musical, so it was really what any other kid was hearing on the radio or obsessing over at school. I was always very into film soundtracks like The Wedding Singer or Moulin Rouge. What was compelling about '90s Popstars is that they were this full package, almost cookie-cutter-persona that I think is about to come back...they were untouchable. I don’t necessarily think that connects to me but I think we are about to see a resurgence of that with the likes on Nina Nesbitt.

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

To bring out more music and to establish a musical family around me - and to have things ready for 2019. I think it’s gunna be a great year.

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

There was one when I was singing this song that I had rehearsed to the bone; I have never worked so hard on anything in my life. And, when it came to record, it was like it wasn’t my voice coming out: it felt like something else; something entirely effortless…like it was just happening. I was able just to feel the emotion. I learnt a lot from that experience, that the homework is crucial. It’s the groundwork you do first then the emotion comes in and decorates.

It’s a highly emotional song and was a very moving experience for me. I recently performed it on radio and someone watching said whatever happened just then, whatever you tapped into, hold onto that.

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

I’d say Imogen Heap - Speak for Yourself

This album was sort of the soundtrack to the first summer I first fell in love. I remember listening to it over and over again. And, when I listen to it now; I feel like I am sixteen all over again.

Then; I’d say Damien Rice – O

It’s such a phenomenal album. Beautiful songs filled with so much emotion. It also takes me back in time a little…  

And, third; India Arie – Acoustic Soul

I remember me and my best friend listened to this album so much growing up. I would just sit in her room playing the guitar and writing songs.

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

I would love to support Lana Del Rey. My rider would involve sage and gin.

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

I’ve got a show at Hoxton Square Bar & Kitchen on 13th September called Gold Dust.

What advice would you give to new artists coming through?

Just be true to yourself. Don’t be concerned with what’s coming out now: work hard to get to the core of what is going to make you special. I am not the most musical. I don’t play, I don’t speak musically either - but I have a natural ear and a way with words that is unique to me. So, figure out what your strengths are.

IN THIS PHOTO: King Princess

Are there any new artists you recommend we check out?

King Princess and Sasha Sloan.

IN THIS PHOTO: Sasha Sloan

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

Yeah, a lot. I like watching T.V. shows. I have just been watching The Innocents on Netflix. But, I like to chill and do music stuff like practise singing like other singers I like. Or, just play around on the guitar...

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 think one of the best songs out at the moment is Grace Carter - Why Her Not Me

____________

Follow CAGGIE

PHOTO CREDIT: @markbarnfield 

Twitter:

https://twitter.com/Caggie_Dunlop

Facebook:

https://www.facebook.com/caggieofficial/

Instagram:

https://www.instagram.com/caggiesworld

Spotify:

https://open.spotify.com/artist/1heHpKKrCRibu4H4CjNjAD