FEATURE: B’Day at Twelve: How Beyoncé’s Influential Album Impacted Music in 2006 – and Still Does to This Day

FEATURE:

 

 

B’Day at Twelve

IMAGE CREDIT: Getty Images 

How Beyoncé’s Influential Album Impacted Music in 2006 – and Still Does to This Day

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I realise Beyoncé’s B’Day turned twelve yesterday…

PHOTO CREDIT: Beyoncé

but it is cool to fashionably late and, besides, Beyoncé herself turns thirty-seven on Tuesday (B’Day was released to coincide with her twenty-fifth birthday)! The album was meant to be released sooner but, in 2006, Beyoncé was still part of Destiny’s Child. Given the success of her 2003 debut solo album, Dangerously in Love, there was a plan to release a quick follow-up. Destiny’s Child’s fifth album, Destiny Fulfilled, was released in 2004 so that took precedence. That record was a success and boasted some taut and memorable tracks – it was clear the group was near the end and they were past their best. Beyoncé had a starring role in the 2006 film Dreamgirls and she was keen to get into the studio and get something cooking! A lot of B’Day revolves around Beyoncé as the new star being born: this actor who was assuming a rise in fame and getting onto the big screen. Rather than present something egotistical and arrogant, the album is more a look at her changing career and transition to a solo artist. Live instrumentation was used to record most of the track – she wanted a record that used live instruments and had a different sound to the records she had previously been involved with. It was a bit of a difficult and strange time during 2006. Whilst Destiny’s Child was a unit and viable; it seemed like things were winding down and, perhaps, one could sense Beyoncé wanting to lead and be out on her own.

PHOTO CREDIT: Beyoncé

You can look at the band as a unified sisterhood but, when it comes to big Pop/R&B groups, there is always a leader and that bigger personality. The star quality one could see as early as the debut Destiny’s Child album - their eponymous album in 1998 - was evident. Beyoncé was itching and full of ideas; she had a lot going around in her head and wanted to translate that into music. One can never accuse Beyoncé of streamlining and focusing when it comes to producers and students! Her career has been built around employing a range of producers and putting a few different cooks into the kitchen. Whilst the defiant and definite voice is hers; by using producers like Rich Harrison, Rodney Jerkins and Sean Garrett she had experience and different angles she could work from – not just sticking with one producer who might put the album in one direction and not expand. Female writers were employed too and that gave the album more structure and variation in the team. Whereas we feel the idea of employing a team and having a unit work on an album is a bit too much and lacks real skill; an artist like Beyoncé has that ambition and wanted B’Day to be as ambitious and big as possible.

Influenced by her husband Jay-Z’s use of multiple producers; recording took place in New York and four different rooms were used! In fact, it was four studios: this massive space where she could roam and get a different sound/timbre. Beyoncé and her team would brainstorm lyrics whereas producers, including the Neptunes, worked on beats and production. The R&B icon wanted things to be perfect and she did not want to feel constrained and controlled. Whilst her team did offer a lot of input and worked closely with her; you can feel a sense of liberation and inspiration throughout. Around twenty-five tracks were recorded in three weeks – that was several weeks earlier than the label wanted the album completed by. She used the best producers around and, because of that expertise and quality, things came together fast and her ideas turned into songs rapidly. A lot of artists, then and now, employ big producers but spend weeks in a studio and labour over songs with little result. They bleach all the life from the song and it all seems rather clinical and cold. In B’Day; you can hear an artist who wanted those hands and voices but intended to record an album that was her passion and ambitions coming to the fore. B’Day, like Destiny’s Child albums, used female empowerment and strength as a core but represented that theme through a range of styles and genres.

PHOTO CREDIT: Beyoncé

There was invention and variation back in 2006’s music but look at the albums being produced by female mainstream artists now and you can hear elements of Beyoncé’s first regency – where she was coming into her own and maturing into a member of a girl group to a standalone star! So many of today’s artists trip and slip between genres and bring in all kind of styles. They have that confident voice and lyrical style but, rather than rigidly stay within Pop and R&B; they stretch their wings and show a fearlessness – one can trace a lot of that back to B’Day. Bass guitar and congas can be heard in some moments; alarm sounds and effects; Rap vocals and sizzling percussion and incredible slams. It is a hectic and eclectic album that breaks conventions and goes beyond what was expected from a mainstream star of the time. Determined to raise the stakes and create something world-class; B’Day is an incredible statement from an artist breaking loose. Gender roles are shifted in various moments: keeping a man at home so she can keep his love with her; a sassy and exhilarated woman scorning those who dare cheat and mess around with her. There is explicitness and sauciness throughout the album – B’Day raised some eyebrows upon release due to explicit content and some very near-the-bone lyrics.

Kitty Kat is the heroine blaming her lover for not appreciating her; Beautiful Liar, a duet with Shakira, is about two friends discovering the same man cheated on both of them; Green Light is a standout song that had echoes of Dangerously in Love’s star, Crazy in Love. There were some midtempo ballads and softer moments but, unlike some of her later albums, there was quality and intrigue in those ballads. It is the harder edges and empathic strength that has always been Beyoncé’s calling card. Listen to the raw and animal-like growl on Ring the Alarm. Maybe not as political and charged as a lot of the material on 2016’s Lemonade; you can hear songs like Ring the Alarm would not only inspire Beyoncé’s contemporaries but the star’s own albums.

Although singles like Déjà vu and Ring the Alarm performed modestly in the charts; B’Day went to number-one on the U.S. Billboard 200 and it sold over half-a-million units in its first week. Beyoncé would record better-received records – including Beyoncé and Lemonade – but, to me, few that possess the same range of moods, sounds and movements. I love songs like Ring the Alarm because the messages are strong, the production slick and the central performance, combined with effects and great beats, get into the head and gets the body moving. Beyoncé was recording the same big and anthemic songs she had released with Destiny’s Child but now there was more of her stamp on proceedings. She showed her debut was no fluke and was able to shoulder pressure and expectation without her band members. Beyoncé, on her sophomore album, was shaping up into a modern star that was beholden to nobody and showing she was the equal of anyone else out there. She turned from this promising artist into a queen of music who was laying down a gauntlet and seeing if anyone would pick it up. That ambition and confidence gained during B’Day led Beyoncé to create two ‘visual albums’ Beyoncé (2013) and Lemonade (2016) – where there were visual films for every song that gave the albums a definite story and sense of style.

Almost every one of the tracks from B’Day has an accompanying video. This was rare in 2006 but it certainly inspired Beyoncé and has compelled other artists to follow suit. Even if you are not a fan of artists who release a slew of singles; it provides them an opportunity to flesh a record out and give it a visual, cinematic dynamic. Songs from B’Day like Déjà vu and Get Me Bodied became part of the musical culture. B’Day was the beginning of Beyoncé providing albums visual sequences that tell the album’s stories; an array of outfits and looks that provides every track its unique skin and sense of individuality. Various commentators and journalists have paid tribute to the album and how it transformed Beyoncé and music. This article argues B’Day is Beyoncé’s true masterpiece:

“B’Day,” especially, was just as much of a hit as “Lemonade” is today (Ed. note: I don’t agree with Libby on this one, but she is entitled to her opinion), and features some prime Beyoncé songs. But at least in my experience, it doesn’t get worshipped as much as other records of hers. In fact, it even gets overlooked at times.

What I think is perhaps the most notable feature of “B’day” is that it sets the stage for our current version of Beyoncé: fearless, in charge of herself and her sexuality, and sure of herself as an artist. The disparate musical influences on “B’Day” manifest themselves in later records, like her self-titled release in 2013, and “Lemonade,” of course. But with “B’Day”, Beyoncé didn’t have to be as serious — not that that’s a bad thing. She was fresh off her stint in Destiny’s Child while recording it, and that freedom allowed her to have fun and explore, while still making an amazing record that’s stood the test of time”.

PHOTO CREDIT: Beyoncé

This feature argued how some critics were harsh and attacked Beyoncé’s stance. She was raking in money and her stock was rising; she was living a life of luxury so they felt her messages of being betrayed and struggling rang a little hollow. They questioned the purity and meaning of the songs and wondered how authentic the Beyoncé on B’Day was. The article looks at how the album introduced new sides to Beyoncé and brought a lot from her:

“While B'Day isn't a fully showcase of her yet-to-emerge alter ego Sasha Fierce, Beyonce unleashes the spirit of Sasha on "Ring The Alarm, a cut that sees her conflicted about whether she should drop her philandering boyfriend and risk the trappings of her possessions and lifestyle or keep her rightful position as the Queen of her King's palace. Barking "Tell me how should I feel/When I know what I know/And my female intuition telling me you a dog/People told me bout the flames/I couldn't see through the smoke/When I need answers, accusations, what you mean you gone choke?," her suspicions are voiced loud and clear, but she ultimately decides to go against her better judgement, concluding "I been through this too long/But I'll be damned if I see another chick on your arm!"

Reviews aside, B'Day would prove the strength of Beyonce's star power, selling 541,000 copies in its first week of release at a time when the music industry was suffering a steep decline in sales. The album would eventually be certified triple platinum and has sold over 8 million copies worldwide to date and would net Beyonce a Grammy award for Best Contemporary R&B Album.

“… While not as successful and as well-rounded as Dangerously in Love, B'Day served as the first step in Beyonce's evolution into womanhood and saw her shed her innocence in exchange for the naughtier, grown and sexy persona she would adopt on subsequent releases and throughout her career. While its nearly impossible to declare which album by Beyonce is her best, B'Day is by far her most liberating body of work and its impact still echoes ten years later”.

Many might gravitate towards other Beyoncé albums as the best and finest assessment of her talents – you cannot argue about the influence of B’Day. It was the transition from Destiny’s Child to being a realised and assured solo artist; Beyoncé bringing in top producers and flexing her muscles; a strong and varied album that took chances and was recorded quickly; an artist who was involved in film and was determined to rule the world. B’Day was stepping stone between the great-yet-flawed debut album and 2008's, I Am… Sasha Fierce - that would see her become a bona fide star. Beyoncé released a B’Day visual album in 2007 because she wanted fans to see her videos and experience the album without logging onto YouTube. There is so much to love about the album and it is a fascinating window into a performer transitioning from an established group and making big steps into solo work. It would be a couple of years before Beyoncé truly captured the world stage and established her place as the Queen of Modern R&B but, a couple of days before Beyoncé’s birthday; it is worth looking back at an incredible and…

INFLUENTIAL album.

FEATURE: A Time for Action: Why Bishop Charles H. Ellis III Groping Ariana Grande Makes Me Wonder Whether Cases of Sexual Assault and Inappropriate Contact Against Women in Music Will Ever Abate

FEATURE:

 

 

A Time for Action

IN THIS PHOTO: Bishop Charles H. Ellis III touching Ariana Grande after she performed during the funeral service for Aretha Franklin at Greater Grace Temple on Friday, 31st August in Detroit/PHOTO CREDIT: AP Photo/Paul Sancya 

Why Bishop Charles H. Ellis III Groping Ariana Grande Makes Me Wonder Whether Cases of Sexual Assault and Inappropriate Contact Against Women in Music Will Ever Abate

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YOU barely get a week in music or entertainment…

PHOTO CREDIT: Unsplash

without some crude and unforgivable event filing social media. The latest abuse and outrageous story revolves around Bishop Charles H. Ellis III groping Pop artist Ariana Grande. There has been music media coverage as to whether he groped or ‘grazed’ her. He has apologised and did not mean to be that familiar and inappropriate. Many have defended the man and said he was being friendly and he did nothing wrong: others have come out and claimed it another case, in a long line, or male figures assuming it is okay to behave in such a way. The image is online and we clearly see the bishop’s hand clasping the side of Grande’s breast - he then draws her closer with his hand around her breast. The complete and uncomfortable image is full of irony and injustice. The fact the incident happened at Aretha Franklin’s funeral is bad enough; the words at the bottom of that image – ‘One Lord, One Faith, One Baptism’ – make it laughable. The man, as an official of God and pious figure, is crossing a line and causally brushing it off. Many of his flock and followers have claimed he was not doing anything wrong and people are over-reacting. It seems, mind, there are double-standards when it comes to sex and physical contact. If a woman like Ariana Grande wears a short skirt or revealing outfits then she is shameful and asking for negative focus; if a man makes a move or gropes someone, intentional or not, then that is alright – maybe she was asking for it?!

PHOTO CREDIT: Unsplash

The contact is not as explicit and violent as we have seen. He did not fully grab her breast and squeeze or go any further but the fact there was contact on her breast makes me believe it was intentional. If that sort of thing is seen as okay then we have a real problem. It is okay to hug someone like Ariana Grande in respect but there is no need to let the hand wander there. If a woman were to touch a man on the bottom in such a situation then she would be called out. The fact that Ellis did it, and is a bishop, means he has had a lot of people backing him. Even if he apologises and says it was a mistake; it is another case of inappropriate sexual contact coming into music. Many might say this is a rather minor event and it will pass but that is not the point. It is the casual nature of that contact and how Bishop Charles H. Ellis III did not seem embarrassed or shamed. Look into the music industry and the facts speak for themselves. Female artists and those in the industry have come out and talked about their experiences The BBC’s Victoria Derbyshire show, in December last year, talked with women in music and their accounts of sexual abuse.

This article quotes from the show and brings together some rather shocking stories. I have quoted a couple:

“Lajoie, who spent nearly six years working for Sony/ATV in London from 2010, tells the programme that she was sexually abused in London at age 23 by someone working in talent management.

Lajoie, 29, says that the individual fell asleep on her sofa after a night out, but later climbed into her bed and molested her while she was asleep.

“I didn’t know how long he’d been doing it before I woke up,” she says. “He went back to sleep on the sofa and in the morning he was gone.

“It was one of the most horrible experiences of my life – I felt truly violated.”

“Chlöe Howl is a British singer/songwriter who was nominated for both the BBC Sound Of… longlist and the BRIT Critics Choice Award in 2014.

Howl tells the Victoria Derbyshire show that, around this period, a key member of her industry team was “coming on to me in pretty strong way… he was a lot older than me and we were meant to be professionally working together”.

She adds: “I was a teenager… as time went on he would encourage me into doing things I had never really done before like drugs, which I had no experience in whatsoever”.

PHOTO CREDIT: Unsplash

From labels and studios to gigs and interviews; there is a shocking truth that is not getting a lot of oxygen. Who knows the true extent of the problem in music as some women will be too afraid to come out and discuss their situation. Even if there is a casual contact – I still maintain Ariana Grande was groped – then is not acceptable and need to be dealt with strictly. Whilst some of us are aware of the horrors and extent of abuse in music; there are some who do not realise what is happening. There are legal barriers and issues regarding suing and shaming high-profile figures. Cases like what we saw with film mogul Harvey Weinstein have seen females in the film industry come out; movements like #MeToo have created more conversation and awareness – what of music and what is happening here? This article casts light on extreme cases of sexual violence in the industry and the fact it extends to educational facilities:

“Possibly the most extreme description of the horrors in the industry comes from former Pussycat Dolls singer Kaya Jones, who claims she was in a “prostitution ring” (“My truth.I wasn’t in a girl group”). Since it was discovered that Harvey Weinstein hired ex-Mossad agents to “…stop the publication of [his] abuse allegations…”, threats of that intensity appear plausible (Farrow). However, this is just a small snippet of the crimes that cover the music industry.

…Although a significant amount of these issues are found within popular music, other genres of music also have their fair share of sexual violence. Berklee College of Music, one of the finest music institutions in the world, recently announced it has dismissed eleven professors within the past thirteen years for sexual abuse and harassment (Larimer). In comparison to Elmhurst College’s music department, this would be equivalent to terminating the employment of all but one of their full-time faculty”.

IN THIS PHOTO: Ethan Kath and Alice Glass of Crystal Castles/PHOTO CREDIT: Getty Images

Many women do not come forward because they fear they will not be believed. Others fear commercial fall-out and pressure if they speak up. I have read about label bosses and men during video shoots taking advantage of female artists and touching them inappropriately. There seems to be this assumption, in some and not all men, that women are more submissive and should be grateful of their attention; a subservience and submissiveness – they need to remain silent and, if there is a bit of touching, then what is the bother! Not every man in music is that cavalier: the abuse and sexual assault allegations are shocking but we can only blame a small minority of men in music. Regardless of how prone and common these cases are - we ca– never truly count the cases and how far they extend – it needs to be stamped out. Maybe, in decades past, musicians took advantage of women and were more handsy because that is what happened. That gaudy and repugnant ‘groupie’ culture glamorised debauchery and that notion the male musician was untouchable and a god. I feel that attitude pervades and many assume power and influence means they can do what they want. Recent cases of sexual assault and abuse in the music industry bring in artists like R. Kelly – who was not charged but accused or running a sex cult and keeping sex slaves – Ethan Kath of Crystal Castles – who was accused of raping Crystal Castles singer Alice Glass – and members of the Polish Metal band Decapitated – the band were accused of kidnapping and raping a fan which led to their arrest.

I am only touching the surface: there are so many other cases reported and those that might never see the light of day! Most musicians and men in music are respectful and will never abuse a woman in such a way but, shockingly, there are far too many cases happening. Whether it is a rape or series of assaults or what happened to Ariana Grande; it seems to be a huge issue that warrants a lot more news time and media coverage. A lot of brave women are coming through; social media makes it easier to bring accusers to justice and highlight issues – do we really know the full extent of these abuse cases?! In a lot of the cases reported; the man in question has either been arrested or kicked out of a band but, whilst the right thing to do, many are still flouting their authority and feel they can get away with anything. There has always been sexual assault and abuse in music and we need to punish those culpable a lot more harshly. I am worried how many cases are not being reported and how nonchalant a lot of men are. They will touch a female inappropriately or harass them; take advantage and feel it is okay to make a move against their will. This grubby and horrible side to music has been occurring for decades and, as we saw as recently as a few days back, it is happening now. I know Bishop Charles H. Ellis III is not a member of the music industry but it highlights how female artists are treated; how endemic and widespread the issue is and, shockingly, how many people brush off such images/occurrences as minor and natural. If we are to see an end (or reduction) in cases, minor and serious, then those casual and culpable need to be dealt with…

IN THIS PHOTO: Ariana Grande/PHOTO CREDIT: Stephen Lovekin/Rex/Shutterstock 

A lot more severely.

INTERVIEW: Bones & Bridges

INTERVIEW:

Bones & Bridges

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I have been talking with Bones & Bridges…

about their latest single, Go Figure. They tell me its story and the story of their formation. I ask whether there is more material coming and what sort of artists influence their own sound – they talk to me about their favourite memories and albums.

I wanted to know whether Bones & Bridges have any artist recommendations and how they chill away from performing; what advice they would give to musicians emerging – the guys each select a song to end the interview with.

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

Hey, man. No complaints here; we’re good!

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

We’re Atom Martin, Tee and Anthony Arthur and, together, we’re called Bones & Bridges - a group from Toronto, Canada.

Go Figure is your latest single. What can you reveal about its story and inception?

We co-wrote this track with an amazing writer called Matthew Chaim and we just started jamming. The track reflects on the feeling of loving and supporting someone with all you’ve got, only to find out they never loved you at all. We drew from past relationship experiences as we felt that, at one point or another, we’ve all been both the hero and the villain in a relationship. We contrasted these easy lyrics with uplifting production and it really resonated with us.

Might there be more material coming later? Are you working on more stuff?

Absolutely. You can expect to hear a couple more singles before the end of the year.

Is it true Bones & Bridges formed at a writing retreat a couple of years back? How did you engineer that meeting and when did you start making music?

The thought of forming a trio was bounced around but wasn't taken seriously until we came back from that writing trip (November 2016). The initial plan was to do a writing trip for Jocelyn Alice's project in Nashville. However, when TEE presented the idea of the trio, Jocelyn was so excited that she suggested that we write for the trio instead.

We spent a week at her house writing and it was these songs that started the Bones & Bridges sound and gave us the belief that our skills combined could create something truly unique and special. Individually, we have all been making music for five-plus-years but, as a trio, we've been working together for two years.

Toronto is where you are based. What is the music scene like there? Is it a good place to create and play in?

The music scene here is really inspiring. Canada has been on the map for the last few years and there has been some incredible talent coming out of Toronto. It’s an awesome place to create and play in because there’s just so much diverse talent and everyone is hungry.

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

The three of us grew up in different areas of Canada so, naturally, we are inspired by a wide range of artists and sounds (Tee: Dr. Dre, Pharrell and Timbaland/Atom: John Mayer/Anthony: Otis Redding). What makes our sound special is that individually we come from such diverse musical backgrounds and tastes.

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

To be honest, right now, we’re just focusing on creating music. As soon as we have a show lined up, we’ll be sure to let you know.

Will you come to the U.K. and play? Have you ever been over here?

Tee: Definitely! I came over to the UK a couple of years ago for a writing trip. I was so inspired by the artists and level of talent out in the U.K.

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

Atom Martin: One of the early John Mayer albums (Inside Wants Out/Room for Squares)

They helped improve my guitar playing and was a big inspiration for me getting into writing and singing my own songs.

Tee: Dr. Dre - Chronic 2001

I was always so curious as to how music was made but this album actually made me want to make music. While my work now is very stylistically different from this album, I have always loved how West Coast Gangsta Rap made me feel - Xxplosive is still one of my favourite instrumentals to date.

Anthony Arthur: The 1960s Stax Records ‘best of’ album

Otis Redding, Sam and Dave, so many soul classics. That was the first album I ever got – well, took - from my parents’ C.D. player in Florida.

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

Atom Martin: Our first show ever at the Drake Hotel. We put a lot of work into that. It was amazing to finally perform in front of a crowd. Even more amazing when the reception is warm. Good vibes!

Tee: I’ve got so many it’s hard to choose! One that sticks out to me was meeting will.i.am in a writing session out in L.A. a few years back. He casually popped by our session (as he knew one of the writers) and started dropping knowledge for about fifteen minutes straight. He then pauses for a minute as he hears our music looping in the background and looks at us and says: “You guys made this?!”. We nodded our heads and then he says: “Turn that sh*t up”. Definitely one of the coolest moments ever - and he wasn’t even wearing a spacesuit!

Anthony Arthur: I played an outdoor festival at a maple syrup farm in upstate New York. There was a very Woodstock-y (is that a word?) feel there. Everyone, including myself, camped out and we had an incredible time until sunrise broke through.

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

I would actually say Ed Sheeran on both accounts. Was very jealous of his recent self-cover collab with Andrea Bocelli. Two geniuses in their own right.

What advice would you give to artists coming through?

Atom Martin: Be patient and hone your craft. Surround yourself with good, musically-minded people and musicians who are better and more skilled than you are.

Tee: Work hard but, even more importantly, work smart. Just because you’re keeping yourself busy doesn’t always mean you are being productive towards your vision, your goals. Also, collaboration is key - working with others will help you keep an open mind and continue growing/learning.

Anthony Arthur: I would say be persistent: you don’t often make it in music off the bat. It’s a slow marathon slope. Therefore, you need to juggle work, life responsibilities and your craft. Never forget why it is you have your passion. For me, it’s knowing you can leave an impact on someone’s life, just having them hear you out.

IN THIS PHOTO: Charlotte Day Wilson/PHOTO CREDIT: Norman Wong

Are there any new artists you recommend we check out?

Atom Martin: Johnny Yukon; Charlotte Day Wilson and RY X.

Tee: Saya. An R&B artist from Toronto.

Anthony Arthur: Check out Daniel Caesar; a local Toronto dude who is blowing up - a voice like silk.

IN THIS PHOTO: Saya

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

Atom Martin: I always make time for myself at some point in the day or later in the evening. I like to meditate to calm myself. I can unwind in a number of different ways - it just depends on the day. A nice meal with close friends or me in solitude watching videos on my favourite YouTube channels.

Tee: I think most musicians will tell you that there is never enough time for anything else! I do feel it’s important to MAKE time to unwind and have a good work-life balance as this allows you to be more focused and productive when you are in work mode. I unwind by playing video games mostly as I find it a great balance between relaxation and brain stimulation.

Anthony Arthur: Away from music, a lot of family time and a lot of Netflix.

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).

Atom Martin: RY X - Salt

Tee: Saya - Played Out

Anthony Arthur: Hold On, I’m Comin’ - Sam & Dave

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Follow Bones & Bridges

Twitter:

https://twitter.com/bonesandbridges

Instagram:

https://www.instagram.com/bonesandbridges/

Facebook:

https://www.facebook.com/bonesandbridges/

SoundCloud:

https://soundcloud.com/bonesandbridges

PHOTOS:

Jordan Lenssen and Michael Accardi

INTERVIEW: Larry and His Flask

INTERVIEW:

ALL BAND PHOTOS: Ben Morse 

Larry and His Flask

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THE awesome Larry and His Flask…

have been talking about their new single, This Remedy. It is from the album of the same name and I was keen to know what influences and ideas go into the music. They reveal what tour dates are coming up and why there has been a five-year gap between releases.

I discover what the music scene is like in the Pacific Northwest and what sort of music they grew up around; the advice they would give to musicians coming through; albums that are important to them – they end the interview by selecting some cool songs.

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

Hello. We are doing great. We are on tour right now. Flew from Frankfurt Germany this morning to play a show tonight in Spain! This tour so far has been amazing. We are having a great time. It’s always nice playing in the U.K. and Europe.

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

Yes, of course. We are Larry and His Flask from Bend, Oregon (U.S.A.). We have been a band for fourteen years. Our members are Ian Cook - Guitar and Lead Vocals; Kirk Skatvold - Mandolin and Trumpet; Jeshua Marshall - Bass and Harmonica; Andrew Carew -Vocals, Banjo and Trombone and Jamin Marshall -Drums.

How did Larry and His Flask get together?

Jeshua and I (Jamin Marshall) started the band in high school with Ian Cook. A few years later, after many line-up changes, Kirk and Andrew joined the band just as we started touring full-time. 

This Remedy is your new album. What sort of themes and stories inspired the music?

It was more real-life events and feelings rather than story songs. Ian felt that it was time to put more of himself and his life into the songs. The overall idea is a rebirth of the band; a fresh outlook of positivity. The Remedy, if you like, to what had brought us down in the past. 

It is your first collection in five years. How come there was a bit of a gap between releases?!

We took almost three years off of the road and subsequently writing music. I was living in the Caribbean and the guys were working on other musical projects and jobs. But, we figured now is the time to bring some new music out to the people. It just kind of snowballed from an idea to a full album in one summer’s time and then we set to recording it in the winter. It turns out that all the guys were ready to go back at it. So, naturally, we have to do some touring as well to support the album. 

This Remedy is the latest single. Is there a story behind the song?

Yes. It is about using music as a positive force to overcome all odds and come through the negative influences in life; pushing back the darkness with song and love. It is about coming home. 

You hail from the Pacific Northwest. Is it hard getting gigs and attention somewhere relatively remote – or does the scenery and geography inspire music?

It inspires music for sure - and has always inspired our writing and playing style. But, we do have to drive a while to get to the gigs most of the time. 

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

Yes. We group up with a ton of inspirations, musically. We collectively love it all; from Billie Holliday to Motörhead to 2Pac and Gogol Bordello; from Rancid to Doc Watson to Stevie Ray Vaughan and David Bowie. We take bits and pieces from all over the musical spectrum.  

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

We will be back to the U.K. and E.U. in the spring and summer of 2019. The U.S.A. Fall Tour:

13-OCT: Boise, ID @ Neurolux Lounge; 14-OCT: Salt Lake City, IA @ The State Room; 16-OCT: Des Moines, IA @ Wooly’s; 17-OCT: Sioux City, IA @ The Marquee; 18-OCT: Saint Paul, MN @ The Turf Club; 19-OCT: Chicago, IL @ Beat Kitchen; 20-OCT: Detriot, MI @ El Club; 21-OCT: Toronto, ON (CA) @ The Horseshoe Tavern; 23-OCT: Brooklyn, NY @ The Kingsland; 24-OCT: Stanhope, NJ @ The Stanhope House; 25-OCT: Washington, DC @ Hill Country LIVE; 27-OCT: Kansas City, MO @ The Riot Room; 28-OCT: Denver, CO @ The Streets of London Pub

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

Jamin: Flogging Molly - Swagger

It changed my life.

Jeshua: Manu Chao - La Radiolina

It opened my mind to a musical dreamscape of romantic and political lyricism in a way I hadn’t experienced before.

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

Jamin: Yes. My favorite memory in music was playing the Warped Tour in 2007 and having my dad drive up to watch us play. We were able to get him backstage to watch his favorite band Flogging Molly. I don’t think I had seen him so proud and happy. 

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

Willie Nelson...

What advice would you give to artists coming through?

Be relentless in your art. Never give up. 

Are there any new artists you recommend we check out?

Willy Tea Taylor, The Harmed Brothers; Crazy Arm and La Armada.

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

I don’t have much time when I’m not working on the band in some manner. But, when I have a few hours or a weekend off, I like to be with my girlfriend and two dogs in Denver. Just hanging out in nature or on a boat somewhere. 

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).

Jamin:  Heroes performed by Motörhead

Jeshua:  47 Soul - Don’t Care Where You From

____________

Follow Larry and His Flask

Official:

http://www.larryandhisflask.com/

Twitter:

https://twitter.com/LAHF2018

Instagram:

https://www.instagram.com/larryandhisflask/

Facebook:

https://www.facebook.com/larryandhisflask/

Bandcamp:

https://larryandhisflask.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCj7UQPAmurDU03C3KlCGB3A

INTERVIEW: Carla J. Easton

INTERVIEW:

Carla J. Easton

___________

IT has been fascinating finding out about Carla J. Easton…

and everything going on with her right now. I ask about her upcoming album, Impossible Stuff, and what inspired the songs. I ask how her solo material differs from what she produced with TeenCanteen; if there are tour dates coming up – Easton reveals her favourite albums and artists she grew up around.

I ask what it was like working with Belle & Sebastian on their recent work and what she wants to achieve by the end of this year; if there is a treasured memory from her time in music; some rising artists that are worth checking out – Easton gives some useful advice for artists coming through.

__________

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

I've had a great week so far. Been pretty busy the whole of August playing various gigs – my own stuff and playing in other people's bands – so finally able to catch up with my nieces which makes me very happy and provides a much-needed boost.

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

My name is Carla J. Easton. I've been making music for about fourteen years now, starting off with the band Futuristic Retro Champions which I formed whilst studying at Edinburgh College of Art. I was the synth player and wrote all the songs. We disbanded in 2009 and I founded TeenCanteen – this time synth playing; writing and stepping up to the front as lead singer. We released our debut album, Say It All with a Kiss, in 2016.

At the same time, I wrote and recorded my solo debut album (which I released under the alias ‘ETTE’), Homemade Lemonade. Now I'm writing, recording and releasing under my own name. It's all a bit confusing! I would say I write Pop music – I love Pop music in all its various forms, be that supremely electronic or a big, symphonic noise.

Your album, Impossible Stuff, is out on 5th October. What sort of themes and experiences inspired the music?

I think this is my most honest record to date, lyrically. I decided not to self-censor – sometimes, I can be wary of revealing too much – and I really wanted to make a huge sound with strings and brass and a full band behind me. This record also marks the first time I really allowed myself the time to write and arrange demos. My mum was 'thrilled' when I asked if I could move back home to her house in Carluke for six months to write an album. I pointed out that both my brothers were allowed to move back home when they were saving up to buy houses; she said an album is not the same as a house. I beg to differ.

Regardless; I isolated myself and focussed all my energy on writing an album. A lot is based on lucid dreaming – the blur between reality and fantasy – the insecurities I face and ponder over and the balance between the mundane and the exceptional that happens through various friendships and relationships through life.

What was it like working with producer Howard Bilerman?

Brilliant! The ten days in Hotel2Tango working with Howard are quite probably the best ten days of my life ever! Because I was working with Canadian musicians to make the record, there was no time to rehearse. I'd emailed them over demos in various forms – some very basic, some more fleshed out – prior to arriving in Montreal. The record really captures the energy and moment all the songs came together. We didn't have time to overthink any parts. Howard was wonderful in letting us develop and grow whilst keeping us on a steady path.

Do you have a personal favourite song from the set?

I think I'll always have a fond spot for Lullaby. When I wrote it, I knew it would be the album closer but I never envisioned how full and rich it would sound. After we had finished recording and mixing the choir section at the end and listened back I had to go and sit outside in the warm night air and have a cry. I was just so overwhelmed at what we had managed to create and there was a sense of relief from finally being able to realise the big sound I always have in my head and hearing it actually existing in the real world.

How does your solo work/sound compare to that of TeenCanteen?

I would hope that, lyrically, it's a development. Sound-wise, it's still very much Pop melodies at the core of what I do. I guess there is less limitation. With TeenCanteen, the records usually consist of drums, synth; bass and electric guitar. With this record, there is a lot of synths, pianos; drum machines, violins; timpani, brass; drums, bass; choirs, one-hundred-and-twenty-one string; tubular bells and even sitar!

Many might have detected you on Belle & Sebastian’s How to Solve Our Human Problems – Part 3 E.P. I believe you co-wrote and sung lead vocal on Best Friend. How did you become involved with the band?!

I had an email in my spam folder from Stuart asking if I would be interested in trying some co-writing and that he had seen TeenCanteen perform at a charity event I had organised. Initially, I genuinely thought the email had been sent to me by accident. I was really pleased with how Best Friend sounded when we finished writing and wasn't expecting to actually sing the song!

When did music come into your life? Which artists did you follow when you were young?

Music has always been in my life for as long as I can remember. My eldest brother is ten years older than me and, from a very young age, he would play me his favourite records and make me mix-tapes and I would raid his record and C.D. collection. I guess, because of the age gap, the bands he was listening to at eighteen were ones I was listening to at eight; so I was exposed to The Stone Roses, Oasis and The Charlatans as those were his favourite bands at the time.

The first band I fell 100% in love with was The Polyphonic Spree. They were 'my' band that I got my brother in to rather than the other way round. At thirteen, I discovered The Vaselines and that blew my mind. At fifteen, I uncovered All Things Must Pass by George Harrison and it changed my life.

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

To be perfectly honest; last year was so amazing and brilliant I didn't think I would ever top it! I went into 2018 wholly expecting it not to be as good as last year but somehow I still get surprised every day by new opportunities or things I have, somehow, managed to do with my time. I am so excited for people to finally hear Impossible Stuff yet so nervous too as it was such a big album for me to write and record. I'm looking forward to touring it and playing it live as much as possible.

By the end of the year, I would like to think I will have finished writing what will be my third solo album - which is a sentence I never dreamed I would say out loud! I have managed to record half of it already. Not sure how that happened. I guess it would also be good to try and have a small break before the year is out!

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

I just recently co-curated and performed at an event for Edinburgh International Festival called Since Yesterday: The Unsung Pioneers of Scottish Pop which is linked in with a documentary I have been working for the past two years with my friend Blair Young from Forest of Black. We are telling the story of all-girl bands/groups from Scotland starting with The McKinleys in the sixties right up to 2000 when the Internet had its big boom. The event meant I had to put a house-band together to learn and perform songs by Twinsets, Ettes; Lung Leg, The McKinleys; Strawberry Switchblade, Sunset Gun; Sorrow, His Latest Flame and Sophisticated Boom Boom.

Amazingly, we got most of the original singers in from each band to perform their songs with us. The response blew me away and I don't think I'll ever get over playing Sweet and Tender Romance with Jeanette McKinley singing it backed up by Emma Pollock on harmonies. Jeanette hadn't sung the song in fifty years and it was glorious to see her take centre stage at a big theatre during a big festival and get such an overwhelming response from the packed-out audience. I was so proud of everyone that took part and it was wonderful to provide a platform to so many overlooked talented women. The sense of community between all participants was really empowering and I'll cherish that forever - one big Sonic Sisterhood.

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

Tapestry by Carole King

The first time I heard Carole sing on one of my brother’s mix-tapes was breathtaking. The song was I Feel the Earth Move and it was the first time I heard a piano to the fore with a female singing. Carole's voice is genuine and her songwriting is one of my favourite of all time. I was learning the piano at the time and I think hearing her record and falling in love with it started me on my path to bashing out my own compositions on the piano and starting to sing. Her voice isn't a 'classic' Pop voice and neither is mine. I think that's ok.

All Things Must Pass by George Harrison

My dad passed away when I turned fifteen – that same summer this album as re-issued. I caught a documentary about it and asked my brother to pick me up a copy in Glasgow to bring back home to me in Carluke. This album provided me with much-needed comfort in dealing with and accepting death and life, love and loss.

Don't Say Nothin’ Bad About The Cookies by The Cookies

This is the record that singlehandedly got me obsessed with the sixties girl-group genre. Earl-Jean McCrea's voice blasted out of my stereo like an iron fist in a velvet glove and I was instantly hooked and wanted to know more. Hands down, my favourite girl-group of all time.

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

I probably wouldn't be that fussed about a rider, to be honest! I've definitely found over the years that the less you drink before a show then the better you perform! It's not that I'd want to support her - I'd just love to see her play live –: Carole King. She's on my bucket list to see perform live one day. I went to see Beautiful: The Carole King Musical at the beginning of this year and left in floods of tears because it was so wonderful. I can only imagine what my reaction would be to hearing the real-life Carole perform those songs.

Actually, thinking about it, I'd love to tour with The Polyphonic Spree. The handful of times I've managed to catch them live have been my favourite gigs ever and I've also been an emotional mess of happiness when I see them live. I went to their fifteenth-anniversary show of the Beginning Stages Of in Glasgow in 2015 and met Tim afterwards. I couldn't get a word out. I hugged him and started crying and said ‘thanks’. Seeing them live when I was sixteen way back in 2001 - hearing that big Pop noise – was the first time I thought 'I want to do that!'.

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

5th October – Glasgow, Broadcast (ALBUM LAUNCH)

11th October – Manchester, Indie Week UK

12th October – London, Sebright Arms

13th October – Brighton, Hope and Ruin

20th October – Edinburgh, Leith Depot

3rd November – Perth, Aberfeldy Festival

What advice would you give to new artists coming through?

Take your time. Develop your sound. Don't worry about trajectories. Have fun. Explore. Don't over-practice a song before you go into the studio - that's the big one! -; let it develop and grow when you are in there with a producer and band. Gut instinct is usually right. Don't do 'pay-to-play'. Have no expectations – then, when something happens, it's incredible! Support each other.

 IN THIS PHOTO: A. Wesley Chung/PHOTO CREDIT: Beth Chalmers Photography

Are there any new artists you recommend we check out?

Off the top of my head, my vinyl purchases this year have been U.S Girls’ A Poem Unlimited, Kim Richey’s Edgeland; Kylie Minogue’s Golden, Ben Kweller’s Sha-Sha (Record Store Day re-issue); Sorrow’s Under the Yew Possessed as well as a few charity shop finds – currently listening to The Partridge Family Album which I found last week!

From Glasgow: A. Wesley Chung's album, Neon Coast, is wonderful. I'm excited about a new band called Pocket Knife (ones to watch!) and am looking forward to the solo records from Jamie Sutherland (Broken Records) and David (Kid Canaveral) who is working under the alias Broken Chanter. There's a new bis album coming out later this year and I just LOVE BIS.

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

Try my best! Any spare time I love to see my three nieces Zoe, Rosie and Erin. They are fun and still full of wonder. I love finding and listening to records. Sometimes, I think the best thing you can do with a day off is to stick your headphones on and go for a walk.

____________

Follow Carla J. Easton

Official:

http://www.carlajennifereaston.com/

Twitter:

https://twitter.com/carlajeaston

Instagram:

https://www.instagram.com/carla.j.easton/

Facebook:

https://www.facebook.com/carla.j.easton/

Bandcamp:

https://olivegrove.bandcamp.com/album/impossible-stuff

Spotify:

https://open.spotify.com/artist/0qZ1ms8fpi1RPn7uYH8DPK?si=ntdaa409REizz_d4et-JTQ

TRACK REVIEW: The Oceans - Song to Molly

TRACK REVIEW:

 

The Oceans

 PHOTO CREDIT: Andreas Houmann

Song to Molly

9.3/10

The track, Song to Molly, is available via:

https://soundcloud.com/theoceansofficial/song-for-molly

GENRE:

Indie

ORIGIN:

Copenhagen, Denmark

IMAGE CREDIT: Bobby Mandrup 

EP 1 is available via:

https://soundcloud.com/theoceansofficial/sets/the-oceans-ep-i

 RELEASE DATE:

20th August, 2018

_________

THIS time around…

I want to cover a few things that seem to sum up The Oceans. I will look at one of their singles I was keen to highlight but, with EP 1 out; I have been compelled to investigate sides to them that stand out. I will look at Copenhagen and an area of the world that needs more attention; artists and that D.I.Y. ethic that means they do not follow the pack; setting up a record label and being able to release music on your own terms; music that represents the contrasts of a busy and varied city; E.P.s that forms part of a narrative and why the E.P. is favourable to the album; where the Danish band can go from here. I have not had the chance to look at Danish bands and artists and, for the most part, I am stuck in the U.K. with music. That is not a bad thing but it is always good to hop on a plane and go somewhere new. Maybe we think of German music when it comes to Europe but I wonder whether we consider Denmark and the music coming from there. Copenhagen, especially, is a great place for music. There is an eclectic population and artists are free to create as they see fit. Maybe there is not the same depth and opportunity as London but the mood is much more easy-going and the vibe is more chilled. In terms of venues; VEGA, Rust and Loppen show the variation that you can experience. There are the grubbier and earthier venues and the bigger, grander ones. I love the fact there is a great and tight-knit community in Copenhagen and there is that history. The Rumour Said Fire and Iceage are bands who hail from Copenhagen and have helped put the city on the map. Whilst the new generation are breaking through and will come to worldwide attention soon; I am seeing so many great and inventive artists that are worth checking out. The Oceans are vibing from the city and taking in all its colours and characteristics.

 PHOTO CREDIT: Per Joe Hansen 

What strikes me about Danish music is the emotion and nuance you get from it. I have been listening to a lot of U.K. and U.S. music at the moment and, whilst it is good, what I find is it will hit you and some of it might not stick in the mind. Danish sounds, for the most part, are a lot more stirring and detailed. Even when playing Indie music (like The Oceans); you still get something epic, physical and gripping. With the riotous and striking guitars; the scents and sensations you get from every note – I am not sure what it is about Copenhagen but the city seems to breed artists who dig deeper and have a bit more magic about them. The Oceans are releasing vinyl and they are proud to share their new E.P. It is a great work that takes in so many different themes and transports you somewhere wonderful. I am not reviewing the entire E.P. but can tell how much work has been expended. I am looking more to other nations when it comes to musical inspiration. The Danish people are friendly and warm and that seems to reflect in the music. On the other hand; there is something hard to put your finger on. I have listened to Swedish and German music; stuff from Norway and other parts of Europe. Denmark is rising and will, in years to come, compete with the U.K. in terms of influence and talent. I feel the media needs to spend more time away from what is coming from Britain and London and adventure more. Copenhagen has the history and grace; there is a mixed population and, above all, some wonderful music emerging. The Oceans are an example of the sensational and memorable music coming from the Danish capital. Follow what they do and make sure you investigate their new E.P. It is a work they have spent a lot of time crafting and want as many people as possible to hear it.

 PHOTO CREDIT: Andreas Houmann

More and more artists are releasing their own work and not relying on labels. I am often curious whether signing with a big label is as advantageous as you’d imagine. There is money and networking chances but how much freedom does an artist have?! You might be dictated to and that label wants to market your music in a very particular way. Artists sign up with impressions of success and having some control over what they do. I would be tempted to sign with a label if I were a musician and see where that took me. So many musicians, mind, are taking another road and producing music themselves. The downside to this tact is the lack of money that will come their way. They have to shoulder everything and finance all their music. They might have a P.R. label helping them out but, by and large, they need to take care of everything. Being D.I.Y. and controlling every facet means the music gets where you need it to go but it might take longer to reach the mainstream. The Oceans are doing things how they want to and have a concept that a record label might squelch. I will explain more when I come to look at their new E.P. but, right now, I want to stay on this theme. A great duo who have a connection and understanding; I feel a record label might divide their ranks and spoil their music. I am not down on labels but I feel there are advantages to going your own way. If you record in your own time and spend more time cultivating the music; it allows more natural expression and personality. You can release when you want and put it out in whatever format you like. The fact the Internet is available and music does not need to be released on physical formats; it makes it easier for artists to get their material out when they like and not have to spend a lot of money doing so.

 PHOTO CREDIT: Per Joe Hansen 

One of the biggest disadvantages of a label deal is the sound of what you produce. The guys of The Oceans have released their first E.P. and it is a more summer-time and upbeat feel. The second one, due next year, will be a more wintery and different-sounding one. I am looking forward to seeing what they come up with and how they progress. The concept they have in mind is impressive and I feel the fact it can flourish and resonate is because of the freedom The Oceans has. Labels often have an idea of what they want to do with an artist and how they want to push the music. Maybe they will not say too much regarding sonic direction but they might not be able to market and promote the work. It is crucial artists have their say and some control but they need to compromise to an extent. It can be scary and brave refuting the label and taking a D.I.Y. direction but there is something freeing and liberation. Artists get to push themselves and break new ground; they are not forced into a particular mould and there is that opportunity for creative flexibility. Money is the big object and it can be a struggle having to self-find music. Social media means artists can promote their work widely and directly contact radio stations etc. It is always going to be tough but more rewarding when you know you have done all that work and made music that sounds right to you. I see more and more artists doing this and, whilst it can be expensive, there are downsides that need to be shouldered. Doing the D.I.Y. thing is bold and impressive but there are artists setting up their own labels and taking that extra step. If you can fund your own label and release music through that; you get the benefits of the record label and have more personal control. The Oceans have taken this approach and you can hear how determined they are.

Stripped Down Records is their venture and it is impressive indeed. There are artists who set their own label up and, by having it, they do not have to fear having their material compromised or taken away. Big names in modern music such as Kate Bush have set their own label up – always regretful when they sign with big labels and are forced to release music when they are told. That is a pressure many musicians have: labels want them to put something out instantly and keep strict timetables. It is a pressurised and tough market out there and labels are keen for their artists to remain busy and not lose ground. I can see where they are coming from and the fact they need to do the best for their artists but many musicians want to release when they want and take their time. Creating a label not only benefits what you do and how the music sounds but you can draw in other artists and set up your own camp. Recruiting others into the fold can give that label a sound and direction and, before long, other artists will be inspired to establish their own labels. Maybe, again, finance comes into it and you cannot set up a label without having a business plan and a knowledge of what you do. Having that business mind and being prepared for slow success – it may take a few releases before success comes – is all part of the process. If you can negate and negotiate that then you might well be prepared for something marvellous. The Oceans have their own product and label and are stirring the imagination. Since their inception in 2014; The Oceans have progressed and evolved. They have always wanted to make music on their own terms and not be held back. That is something we need to see from a lot of artists coming through.

I can understand the imperative to want the label and have that financial security; the backing and expertise and industry contacts. Maybe signing with a label to start is good but, when you have a fanbase and foundation; you can break away and form your own label. Doing that, you get to capitalise on that success and will have the following/finance to do your own thing. The Oceans have crafted sounds that seems to represent the diversity and dichotomy of the city. Copenhagen is like any other capital city and, whilst there is rush and pollution; history and a certain calm does come through. The Oceans want to reflect this through their music and, with EP 1, they are starting conversations. This warmer and more urgent E.P. looks at various sides of the city and personal experiences. You get the big notes and sounds but there are more refined and controlled expressions. What gets to me is the way the duo takes from the city and pulls it into their music. Rather than projecting a fantasy of a city or let the listener work too hard; you have the music that infuses the senses and gets right into the imagination. I am curious regarding Copenhagen and what is happening there right now. You can never say two cities are alike and, in many ways, music is a way of expressing that difference and unique edge. London is a more packed and populous city but, in terms of Copenhagen, one gets a real sense of the physical and spiritual, oddly, in EP 1. Dan Joe and Linus Valdemar project a sea of noise and chaos and splice that with a calm and degree of tenderness. It might be hard diluting Copenhagen into an E.P. but, for the most part, the general idea of the city is taken in. I have been following the songs on the E.P. and you can hear those compositions connect and inspire.

IMAGE CREDIT: Bobby Mandrup 

It is hard to explain but, when listening to The Oceans, there is so much going on and a lot to digest. You listen back to the music time and time again and fresh stuff comes to the fore. Their first E.P. – I am not a fan of the title and feel they could have added a bit more to it – is the more light and edgy work whereas their second E.P. – you can guess the title of it! – is going to be, perhaps, more glacial and dark. It is a concept that, let’s hope, may translate into a third work. Previous singles like My Copenhagen Love and You & Me show you what they are creating right now. The major chords and sense of happiness that emerges through the E.P. is indicative of what I associate with nations like Denmark and Sweden. We often think their Pop and Indie scenes are a lot more refreshing and sunny than it is here. The minor chords and winter skin of their EP II is going to be a shift in a new direction and will be interesting to see. Working forward and I feel the Danish duo will produce an album and put more work out into the world. We often associate modern music with singles and E.P.s rather than albums. How often do you see big artists release E.P.s? Maybe that is the label coming in: the need for something fuller and more expansive. Given the fact few of us have the patience to listen to albums and we are cherry-picking songs; how much fuel and sustainability can we get from the album? I maintain the album is precious and worthy but, with streaming services available, we can take songs from records and not have to listen to the whole thing. New and underground musicians do release albums but it can be a more expensive process. E.P.s are a way of bringing music out and not having to wait until they can afford an album.

 PHOTO CREDIT: Andreas Houmann

A lot of times; artists have ideas for a few songs and they need to put them into the world pretty quickly. Most mainstream artists will release singles and then, after they have been ingested, they will bring out the album and that will be flogged to death. That is not quite the case when you look at newer artists. They have a different dynamic and the competition is a lot fiercer. The E.P. is that great and accessible way of putting together a few singles but not having to invest in an album or waiting that long. I would like to see more mainstream artists putting out E.P.s into the world. The Oceans have their new E.P. out and they already know what their second one sounds like. You could say they could put out an album that has two distinct sides. The problem with that is we would have to wait until the end of this year and it might be a bit strange having summery and light songs released in the winter. Rather than wait and have a disjointed album; they can split them in half and create a bigger impact. It is a good thing to have (the E.P.) and I always love to see them come through. The Oceans are determined to create a story and narrative when it comes to their E.P.s. Their new one is all light and has that relaxed and spritzing sound whereas, next year, we will get something a little more chilled and cold (in terms of the weather). I know the duo will release an album at some point but they can keep in the mind and ensure they have a consistent stream of music if they put out E.P.s. I am looking forward to seeing where they go and whether they continue the theme of concepts. I always love artists who can put imagination into music and do not stay with the same tired and predictable themes.

Song to Molly is a beauty that starts with frantic beats and chaos. You get something akin to rushing through the city and darting between cars. Whilst there are no sound effects and beeps; the racing drums and tough pulse gets you in mind of an urgency and need to be with someone. Maybe the hero is running to his girl or there is a chase ensuing. Guitars and a lighter mood come in that fuse with the beats. The soundscape envelopes you and one gets a sensation of sunshine and rain all at once. It is an intoxicating brew that filters through the nostrils and makes you smile. Before a word has been spoken; you have a real sense of what the song is about and its intentions. Luckily, I was sent a lyrics sheet when the guys pitched a review because decipherability is an issue. The sound is gorgeous and big but one of the problems is understanding the words and what is being sung. Maybe that is (because of the) accent and the heat of the music buries a lot of the words but it doesn’t matter too much – you are invested in the song because of the composition and all the other elements. The hero has jumped out of bed and lit a cigarette. He is putting clothes on and there seems to be a memory obsessing his head. Maybe a relationship has broken up and the heroine, Molly, has broken his heart. I have said how the music of The Oceans represents the city and what it is all about. I get a sensation of the traffic outside and someone who is in an apartment in the capital, Copenhagen. There is an oblique quality to the lyrics where you get contrasts and contradictions. The opening words suggest Molly has left and things have taken a tumble. The song goes on and pays tribute to the girl; how things are better and the hero has his girl by his side. You are always drawn to the mood and composition that keeps that energy going and slams around the head.

 PHOTO CREDIT: Per Joe Hansen 

The vocal has a combination of warmth and caution and, whilst there are some missed words, one understands the emotions and intentions coming through. Maybe the opening verse about putting clothing on is after a night of triumph. The rest of the song is more celebratory and open and the hero has his friends around him. His blood is pumping and there is energy in his veins. Whatever your views of the song; you will be captivated by the sheer pulsation and movement of the music. You get carried away and taken where the song goes. You can almost see the hero walking out the door and putting his clothes together. Things are complex in the world and the hero’s head is blurry. He confesses some things are dead inside him and I get the feeling it is not as obvious as you’d imagine. The song suggests something blissful and calm but I sense something anxious beneath the surface. Maybe the hero has some sense of lift and purpose but I can detect some pain in his heart. He is, for the most part, free and connecting with a positive mood but I feel there are some complicated stories and days regarding the boy and Molly. You seem to project an image of the girl and what she is all about. Maybe there is cuteness and innocence but someone who has spirit and a darker side. The city is a backdrop to all the events and dramas that take place. Beats come down and the rampant sway of the music dips a little. You get ups and downs; there is rush but The Oceans take things down and cool it for a second. Song to Molly is a heartfelt offering that seems to have a happiness and warmth at its heart but I cannot forget some of the lyrics – that suggest something painful is lurking and the hero has a few doubts. Regardless of how you see the song; you will be drawn to its fire and heat. It races and rushes; there is a big mood and smile that brings you in and the song is perfect for the summer days. Even though we are now into autumn; you will appreciate the brightness and intentions of the track and can appreciate it in any weather. I have listened to the track a few times and get something new each time I play it. One gets something personal and emotional in the song but you can take the words and sound and apply them to your own life. The Oceans are a force that can speak for everyone and create music that never alienates a listener. That is a hard trick to pull off but they do this with aplomb right through Song to Molly. It is an excellent song that shows what EP 1 is all about.

PHOTO CREDIT: Andreas Houmann

I have loved listening to EP 1. Despite a bit of a crappy title; the music is anything but. I have been investigating all the threads and various ideas that are expressed throughout. You can follow the narrative and look at the songs on their own but they work best when taken as one piece. One gets a feel of the city and all the contrasts available within. Copenhagen, to me, seems to define what the guys are doing right now. They show the dynamics and contrasts of the capital but, in many ways, seem to talk about the city as a general concept. We all know how cold the city can feel but there is that buzz and electricity that is hard to resist. I think we all need to follow The Oceans and get behind what they are doing right now. The Danish guys are creating great music and, with their own label and D.I.Y. approach, they are taking bold steps and inspiring others. I would love to see other artists putting their own labels together and taking more control. I am not against labels but know there are advantages when it comes to setting your own label up. It is a brave and expensive step – and you need clout and knowledge – but the risk is worth it. I recommend people listen to The Oceans and follow what they do next. It is clear the guys have plans for next year and I wonder whether they will tour and bring their music around the world. Maybe they will come to the U.K. and it would be good to see them play over here. In any case; I feel artists and the media need to look to nations like Denmark and see what is coming from the country. We often get too hooked on America and Britain and forget there is a lot happening in other parts of the world. What strikes me about Denmark is the fact the music sound familiar but it has its own personality. Something unique and fascinating can be discovered and, listening to The Oceans, you get a sense of what is happening in the country right now. EP 1 is a good sign of what to expect from the country and a Danish way of working. Song to Molly is a great song and a wonderful side to an E.P. that is so busy and fascinating. You cannot listen to the music without being sucked in and following every note. Take a listen to The Oceans’ new material and, before long, you will fall in love…

WITH their gorgeous sounds.

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Follow The Oceans

Twitter:

https://twitter.com/TheOceansDK

Facebook:

https://www.facebook.com/theoceansofficial/

Instagram:

https://www.instagram.com/theoceansofficial/

SoundCloud:

https://soundcloud.com/theoceansofficial

FEATURE: Eponymously Yours… New Paul McCartney Material and Fifty Years of ‘The White Album’

FEATURE:

 

 

Eponymously Yours…

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

New Paul McCartney Material and Fifty Years of ‘The White Album’

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MAYBE there should be a limit on Beatles/Paul McCartney…

articles per year but if it were any other artist then I might agree - how could you limit such genius?! I feel, in a non-morbid sense, every year we remember music from The Beatles is a precious one. Last year, we paid tribute to Sgt. Pepper’s Lonely Hearts Club Band and its fiftieth anniversary. Stations and broadcasters played songs and presented pieces that looked at the album’s magic, influence and how it managed to change the landscape of music back in 1967 – it pushed The Beatles' boundaries and curiosity and, as such, led to a revolution in music. 1970 is the last year we saw an album by The Beatles (Let It Be), so it is a couple more years before we have to say goodbye to the fiftieth anniversary – there will be chances to mark each one of their albums through history but you cannot overlook the importance of those milestone anniversaries. The Beatles’ eponymous album – dubbed ‘The White Album’ – arrived at a rather curious and transformative stage in the life of a band who, then, was going through fracturing. I will have a look at the 1968 masterpiece and why its fiftieth anniversary (in November) should be met with intense celebration. This year has been a big one for Paul McCartney: Ringo Starr has been knighted but Macca has played some memorable gigs (including one back at the Cavern Club) and is in the midst of promotional duties. His new album, Egypt Station, is out on Friday and it will be the seventeenth solo album from the Beatles legends...

2013’s New was a fantastic album and one of his very best in years. I loved that album and, in my psychic way, predicted something would come from McCartney! I felt he has stuff brewing and, although he does not need to put material into the world, you can never imagine the man resting and retiring! Even in his seventies; McCartney has that desire and fresh angles. The singles from the record so far have included flirtatious encounters and, as he has said, other songs will look at depression and darker sides. It is a complex album but one with the reliable brew of catchy songs and quotable McCartney lines! The Freshen Up U.S. Tour 2019 kicks off on 27th May (2019) in North Carolina and there will be Canadian dates. Look at McCartney’s official website and you will see the full rundown. Singles like I Don’t Know, Fuh You and Come on to Me will be included and we will get to see his latest album mixed alongside older material. McCartney travels across Europe, the U.K. and Asia and it seems like next year will be a very busy one. I am amazed by the energy of the iconic songwriter! The reason I have written a few pieces about him lately is that of his durability and ambition.

McCartney does not need to tour anymore or record material. A lot of his peers – aside from The Who and The Rolling Stones – have slowed or stopped completely. Those who have survived and still have commercial viability are a lot more low-level and restrictive compared to their heyday. Paul McCartney, on the other hand, seems to be as intense and busy as the early bloom of his debut solo album. I will talk about The Beatles in the second half but look at his solo material and what he did with Wings and I am stunned he still has material left in him! To me, there are no finer McCartney albums (minus a band) than RAM (1971) and 1982’s Tug of War. The former was recorded not long after Wings started whereas the latter was released after the band broke up. Although McCartney has received some bumpy reviews and released some so-so albums (by his standards!); the way he keeps pushing limits and evolving what he does stuns me. Many might assume his potency and genius would wane as he hit his sixties and seventies but that is not true. Egypt Station’s recent releases show there is ample life and brilliance left in him. I know there will be a few more McCartney albums before his time is done – not trying to make it gloomy – but 2018 is a huge year for him. Not only is McCartney launching a new album and preparing for touring but two releases from The Beatles are celebrating big anniversaries...

I have already marked the fifty-fifth anniversary of their debut, Please Please Me, and, being The Beatles, it wasn’t long before they followed that up. With the Beatles was released on 22nd November, 1963 and had to follow up on the raw and live-sounding material from their debut. The fourteen track album features six cover versions but the band, McCartney especially, were becoming sharper and more ambitious songwriters. The lads were tighter and the sophomore record allowed them a bit more time. It was still a period where a lot of cover versions had to supplement their original recordings but one can look at that album as confirmation the band was here to stay! With the Beatles, like so much of their work in the early-1960s, captured the band on the rise and stole the public’s hearts. Maybe we were yet to see most of their classic slices – Please Please Me had Love Me Do and I Saw Her Standing There on it – but you cannot deny the band was reinventing Pop and offering something thrilling and eye-opening to hungry fans! Whilst it is important to mark that anniversary; I feel the media needs to be aware of The Beatles’ fiftieth anniversary.

IN THIS PHOTO: Sir Paul McCartney/PHOTO CREDIT: Mike Coppola/Getty Images

On 22nd November, it will be fifty years since The Beatles was released to the world. Whilst McCartney will be promoting Egypt Station and preparing for an active and hectic 2019; I feel there will be fond memories and a few tears when he looks back to 1968. Ringo Starr, one suspects, will feel a tinge of nostalgia and look at a time when the world’s biggest band were not only on the verge of collapse but recording some of their finest material ever. One of the reasons I want to look at the album early – I will formally mark it in November – is because the media tends to be a bit slack and insincere when it comes to celebrating artists and albums. They covered Madonna’s sixtieth birthday well but were lacklustre for Kate Bush’s sixtieth; they almost forgot about Michael Jackson’s sixtieth (even if he is no longer with us) and I hope The Beatles gets the same coverage and respect as Sgt. Pepper’s Lonely Hearts Club Band. One can compartmentalise The Beatles’ cannon into categories: the most important albums; the most influential albums: the most underrated albums; the most overrated albums etc. I feel it was remiss of people to scantily cover Please Please Me earlier in the year. Not only did that album introduce The Beatles but it is, in my view, more influential and important than Sgt. Pepper’s Lonely Hearts Club Band.

With the Beatles is a big one but, for me, I feel people should be inking their pens now and getting to grips with a white-covered album that is more fascinating and compelling (than most albums) ever created! One could spend days and weeks dissecting the record and why it resonates and remains in the heart. I feel McCartney’s role and music from the record is stronger than anything else - stronger than Lennon's gems, for instance. If he was the band leader during 1967’s Sgt. Pepper’s Lonely Hearts Club Band and was taking more control of the band during that period – he would have more creative control during Abbey Road and Let It Be – then ‘The White Album’ was, effectively four Beatles recording solo material. Very few of the songs (thirty of them in total) saw all the members in the same room jamming and united. Only five years after their debut album; pressure, personal relationships and changing dynamics saw the legends on the verge of collapse. They would produce a spectacular swansong with Abbey Road – knowing that would be the last thing they recorded (Let It Be was released after Abbey Road but recorded before) – but people feared The Beatles would not survive after their eponymous record. I was obsessed with The Beatles’ debut when I was a child but it is the boys’ eponymous album that left the biggest dent in my infantile consciousness.

About eleven-or-so of The Beatles’ tracks were written by McCartney; John Lennon had about the same amount, maybe more (even if his contributions were not quite as potent) and, aside from the odd song where credit could have gone to Lennon and McCartney (Birthday among them), Ringo Starr and George Harrison had their say. I was hooked by the silliness of Ob-La-Di, Ob-La-Da and The Continuing Story of Bungalow Bill. The latter is a John Lennon song and features Yoko Ono backing vocals, a silly story and a cute chorus. It is an atypical Lennon cut! McCartney was usually the one who would provide whimsy and cute but here, unusually, Lennon provided something child-like and, sadly, inane. I loved it as a child because it was singalong and showed the complexity and variation of a fascinating songwriter. It was McCartney’s knees-up-and-a-barrel-of-beer-down-the-local kick of Ob-La-Di, Ob-La-Da that got into my brain. Match that chirpiness and catchiness against another McCartney song like Blackbird and it is an extraordinary thing. Blackbird addresses civil rights struggles and holds political messages. Its birdsong and calm demeanour carries weight and is regarded as one of his best songs. Look at the thrilling opener of Back in the U.S.S.R. and it is almost like the McCartney opener from the debut, I Saw Her Standing There. Lennon and Harrison pitched in on Back in the U.S.S.R. – all handling percussion, guitars and various instruments – and, with Starr absent, it was a song that lacked a Beatle but showed the band, and Macca especially, had not lost the golden touch!

The four-sided L.P., The Beatles, has different sides that show eclectic spirit and four minds on different pages...but determined to add their talent and create a sensational album. It is a scattershot record but those two lead songwriters, once united, were creating genius alone. I will look at Lennon’s contributions – we cannot forget George Harrison’s While My Guitar Gently Weeps – but McCartney was in inspired form. Helter Skelter almost invented Metal: a rampant and raw song where the man screams and shreds…almost alien compared to the tenderness and emotion of Blackbird! Wild Honey Pie (on the first side) and Martha My Dear (the second side) are less substantial but show sophisticated arrangements and new sides to his songwriting. I Will is an underrated gem and Mother Nature’s Son ranks alongside his very best from that period. The band were tense and not at their communicative best. There were storm-outs – Starr quit the band and returned – and sessions would often compartmentalise The Beatles. One might be recording a song in one studio whilst McCartney would be laying material down on his own. Like Fleetwood Mac’s Rumours; it is amazing the album was actually made, let alone the fact it ranks alongside the best albums of all-time! One can understand and appreciate why personal issues and pressure infiltrated The Beatles’ camp by 1968. Sgt Pepper’s Lonely Hearts Club Band and Magical Mystery Tour (that included Penny Lane and Strawberry Field Forever) rocketed them to new heights and, retreating from touring somewhat, there was a lot of pressure and speculation.

IN THIS PHOTO: The Beatles in 1968

They had to follow that mighty year and, exhausted and in need of recharging, the Transcendental Meditation course with the Maharishi Mahesh Yogi in India (between February and April 1968) gave them new fuel and inspiration. McCartney and Lennon both identified the band needed to get away from everything and find spiritual guidance. The duo would meet in each other’s rooms in the afternoons to review their new material. If dope implicitly compelled a lot of their material around Rubber Soul and L.S.D. was impacting their minds in 1967; nothing illegal – aside from the odd bit of weed – was clouding their brains in India. Renewed, focused and intent; the band were prolific and, with George Harrison developing hugely as a songwriter; it seemed like things were on the up. The traditional and brotherly unification in India dissipated when the band went into the studio. I feel McCartney suffered a lot during the recording. His material is/was extraordinary but Yoko Ono’s introduction into the mix – and the heroin addiction she and Lennon both shared – led to temper and anger (from Lennon), division and two songwriters with a distorted and frayed line of communication. Apple Corps was established in 1968 and the band felt they were invincible. Perhaps there was ego and an inflated sense of self-belief but it is clear drugs and a new relationship in The Beatles’ camp affected things drastically.

The guys were not used to an outsider/non-Beatle in the studio so consistently; so that tension and unusual situation led to spats and breakdowns in the band – not only with the members but George Martin and engineer Geoff Emerick. Lennon found McCartney’s songs sweet and cloying: McCartney saw Lennon’s efforts as unmelodious and provocative. Starr left the studio on 22nd August during a session for Back in the U.S.S.R. following McCartney’s criticism of his drumming. (Starr would often sit at the studio’s reception waiting for the other members to turn up). If Lennon and Ono had their own orb and bubble; Harrison was working quietly and avoiding as much conflict as possible; McCartney was adapting to seeing a musical brother being taken away and feeling that tension – Starr, in many ways, was being isolated and having to come between all this electricity and stress. Only sixteen of The Beatles’ tracks had all the band playing; many knew the end was coming but, despite this, so much brilliant music came through. The Beatles is important because it signified a definite shift and strain; the ambition of the record and the varied, decades-lasting songs stood out strongest. It seems like a reissue of The Beatles is almost ready and we will see the original material and, who knows, there might be unheard cuts and some rare offerings! Sgt Pepper’s Lonely Hearts Club Band had a reissue that included outtakes and conversation in the studio: The Beatles, I hope, provides some in-studio conversation, more songs and a chance to really dive in.

Maybe that detail and level of exploration will offend the short-attention-span generation but, being such a crucial album, it is much-needed and exciting. I have talked a lot about McCartney’s brilliant contributions (on the record) but Lennon beauties like Julia, Everybody’s Got Something to Hide Except Me and My Monkey; Glass Onion and Happiness Is a Warm Gun are insane! Those songs, alone, are among the best Beatles material – like McCartney; John Lennon was in inspired form and all over the map. If McCartney was writing civil rights songs and amping up to eleven; keeping it cheeky and providing his usual banquet of the eclectic; Lennon was writing extensive and experimental songs (Revolution 1), teasing and sexy numbers (Sexy Sadie) and Goodnight (a great closer that sees Starr take lead vocals). If there were some great reviews in 1968 – a lot of great reviews retrospectively – many were expecting something similar to what The Beatles were creating in 1967, as this feature highlights:

“The White Album was very different from what The Beatles had done before, and that led to it being much disliked when it came out. People were expecting Sgt. Pepper Number Two, but that was not The Beatles way, as in their world, everything needed to constantly change. People seemed shocked by this album. It was stark and much more basic rock n’ roll compared to Pepper, but thankfully over time it’s grown to become one of the most loved Beatle albums, even climbing to number 10 on Rolling Stone magazine’s “The 500 Greatest Albums Of All Time”.

What is the beauty of the album? Why has it managed to captivate and stun for all these years?! Jon Dennis, writing in The Guardian in 2011, explained why The Beatles was important to him:

“Like the Beatles' earlier albums, the White Album is eclectic, but here the songs are in conflict rather than harmony. They collide with each other, some in your face (Helter Skelter), others lurking in the half-light, daring to be discovered (Long, Long, Long). Why was I initially shocked by the White Album? I found – I still do find – the album's close devastating: the musique concrete of Revolution #9, the apex of the Beatles' introduction of radical art into the mainstream, is followed by the schmaltzy lullaby Good Night. The contrast is mind-blowing. The Beatles knew how to close an album”.

Whilst there was confusion from critics in 1968 – who were taken aback by the width and size of the album! – it needed to be that long. If you cut it down to a single album then you deny so much great material and insight. Maybe you do not like George Harrison’s Piggies or The Continuing Story of Bungalow Bill but it all tells a story. They are puzzle pieces and parts of a tapestry that showed a band going from together and hopeful to the verge of splitting up. The article I have just quoted seems to sum up what I and many others feel:

“…I love all the Beatles records, but knowing them so well, I don't often listen to them now. The White Album's the one I return to more than any other. I disagree with the suggestion that the White Album should have been a single album. Its flaws make it more interesting. And its sprawl, its endless variety and the Beatles' adventures into their subconscious makes it unknowable”.

IMAGE CREDIT: Alejoari

This 2013 article from Consequence of Sound celebrated The Beatles and talked to artists/musical personnel/popular figures inspired by the record. Comedian and writer Eliza Skinner, when talking about McCartney’s Blackbird, said this:

“Blackbird” might just be the perfect song. It’s the song that makes all the other songs feel stupid. When other songs took hours to get ready to go out, “Blackbird” just threw on a t-shirt and looks better than everyone. “Blackbird” doesn’t even know how to put on make-up. And the other songs can’t even hate “Blackbird”, because it’s actually really nice and cool and lets you borrow its sweater, like, whenever. It’s perfect”.

The article, published five years ago, concluded by talking about The Beatles’ eponymous album and why that personal title and blank cover seemed to define where they were. There was no image and grand design (like Sgt. Pepper’s Lonely Hearts Club Band) and no concept. This was their most personal work – even if the members, once so close and in love, were drifting apart (the below snippet is from the article I have just quoted):

“At the brink of a new decade, a decisive shift in the Beatles, punctuated by revolution, “Good Night” is the closing hymn of a record stuck in between a time perpetuated by tumultuous shifts. Forty-five years later, it still beckons to the listener — unsure of what promises tomorrow will bring, but hopeful about the sheer possibility”.

‘The White Album’ is one of the most divisive Beatles albums – between critics then and reinterpretation now – but I feel it is one that deserves huge respect. In November, when it turns fifty; I hope the media comes out in force and spends a lot of time writing about it!

I get why people feel John Lennon’s contributions were the most significant but, to me, McCartney is the shining star. From the giddiness of Back in the U.S.S.R. through to Blackbird and Helter Skelter; he covers so much ground and, in the process, created timeless songs. In any case; I know he will look back at 1968 and, whilst there were tension and uncertainty in the ranks of The Beatles, the music that came out of their eponymous album showed, above everything, music ruled everything! We have a couple more months before the official celebrations but I wanted to pay tribute to an album that was a big part of my childhood; something I listened to on cassette and sung along to. Paul McCartney is living through a year that sees his older Beatles work being marked alongside his new solo stuff. It is amazing the man in his seventies is hitting the road with a new purpose - many of us will look back at work he created in his twenties and marvel. Many can argue which Beatles record is the best and which one stands in the mind longest. I still maintain Rubber Soul (1965) is my favourite whereas many say Revolver (1966) is their best, quality-wise. If you want to look at their most accomplished, ambitious and fascinating offering, I feel nothing gets close to the brilliance, tension and scattershot visions of…

IN THIS PHOTO: The Beatles in 1968

THEIR eponymous genius!

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Iyamah 

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

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TECHNICALLY we are now into autumn…

IN THIS PHOTO: Maddie Simpson

and I must put the summer playlist to bed. I will continue my all-female playlists but will have to give it an autumnal bent. This selection balances the heat and sparkle of summer with the cooling breeze of autumn. It features some of the best new female artist in music and songs that will get right between the bones. A striking, sensational and memorable collection of tunes that shows what a variety of genres and configurations there are on the market – female-led songs that take you somewhere special. Take a listen and have a gander at the awesome tracks that will surely…

 IN THIS PHOTO: Annie Goodchild/PHOTO CREDIT: Larissa Jordan Photography

KEEP the weekend buzzing!

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

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Em Hoggett – Get Out

PHOTO CREDIT: Iona Taberham Photography

Ella Janes – I Think It’s Going to Rain Today

Tommy Genesis – 100 Bad

Zhavia Ward – Deep Down

Maddie Simpson – Love Me Loud

Icona Pop (ft. CMC$ and Grx) – X’s

Kodie Shane – Nola

Hamzaa – You

Ilse DeLange – Sun & Shadow

Ashnikko – Nice Girl

Paigey Cakey (ft. Geko) - Loving

Marie Bothmer – Halbes Du

Rapsody - Sassy

Katelyn Tarver - Labels

PHOTO CREDIT: @sianlouiseLDN

Mega – Chariot

Annie Goodchild – Ether

Dolores Haze – Banana

Lauren Ray – Babylon

HoodCelebrityy – Love

Iyamah – Silver Over Gold

Ginny Owens (ft. Resound) – Stand with Me

Sophia Danai – Guns and Gold

Masumi – Run Baby, Run

Doja Cat – MOOO!

Jillian Jacqueline – Sad Girls

MUNYA - Hotel Delmano

INTERVIEW: Mary Miller

INTERVIEW:

Mary Miller

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I have been speaking with Mary Miller…

and finding out about her latest single, H.D. The songwriter discusses her E.P., Fiction, and how she got into music; why Liverpool’s magic is in her bones and blood; the upcoming artists we need to look out for – Miller chooses three albums that are important to her.

Miller looks ahead to tour dates and what she wants to achieve by the end of the year; if there is any chance to chill and unwind; when music came into her life – Miller selects a great song to end the interview with.

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

Hi. There’s been a lot going on which I love; it’ll be good to finally relax, though. You?

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

I’m Mary Miller; a singer/songwriter and producer based in Liverpool. I make cinematic, dreamy; dancey soundscapes.

H.D is your new cut. Can you reveal the story behind the song?

H.D is about partying to forget things; specifically, someone who upsets you. It’s about reaching a state of mind where you no longer care - if you’re ‘H.D.’ you’re just free from that uneasiness and feel like you’re able to see everything a little clearer.

There are elements of the 1950s and genres like Trip-Hop and Dream-Pop. Was it a hard song to put together – or do those sounds reflect your musical tastes?!

It’s never a conscious choice to convey a certain genre as much as trying to recreate the song the way I hear it in my head. They come through as a reflection of tastes but, as I have so many elements going into the song, it takes a really long time to get the song to a place I’m happy with - sometimes six months or more!

Your E.P., Fiction, is coming soon. What sort of sounds and themes might we see explored?

Similar to what you’ve heard: ethereal, cinematic soundscapes and, as for themes: attachment and escape. 

When did music come into your life? Which artists did you follow when you were young?

I started playing the guitar at nine and started writing songs after learning a few chords; then my mum bought an eight-track tape and I learnt how to record and loop things to make a song. After that, I didn’t get off it.

Liverpool is where you are based. How important is the city’s musical past and present to the music you write?

Massively. The love for music within Liverpool is tangible; without a doubt, it’s my favourite city in the world - I genuinely feel like an adopted Scouser…there’s a huge sense of originality in Liverpool; so many artists with sounds you couldn’t compare to anything you’ve heard before, completely doing their own thing…and it creates an atmosphere unlike anywhere else. The support for artists is also phenomenal: the city really cares about helping up-and-coming artists reach the next level and do everything they possibly can to see that happen.

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

I hope to have the E.P. out (Fiction) and for people to love it, and to play loads more cities! So far I’ve only played London, Manchester and Liverpool so it would be brilliant to branch out.

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

My first gig at The Arts Club - it was just a support slot but it was my first time playing on my own and that was a completely new feeling. I loved it.

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

Kanye West - My Beautiful Dark Twisted Fantasy

I really struggle to pick a Kanye album: it constantly changes but I love how cinematic M.B.D.T.F. is.

Fugees - The Score

Not many albums can touch this! That dark, brooding sound with a gritty Hip-Hop beat driving it definitely had an effect on the music I make.

Bombay Bicycle Club - A Different Kind of Fix

This just completely takes me back to being a teenager - they were, without question, my favourite band growing up and listening now still adore it and go straight back to that place.

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

If I could support anyone it would be Kanye. The rider would be loads of Dr. Pepper, loads of chicken nuggets and dogs.

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

27th September with Laurel at Sound Food and Drink (Liverpool) and then I’m playing Off the Record in Manchester on Friday, 16th November! Also; London on 22nd October at The Old Blue Last. Dates are always updated on my Songkick page, through which you can access through my Facebook, Twitter etc. and follow!

What advice would you give to new artists coming through?

Just make music that sounds good to you.

IN THIS PHOTO: DUCKWRTH

Are there any new artists you recommend we check out?

DUCKWRTH, Laurel; Biig Piig, Yellow Days; Puma Blue, Smerz; Joji, Col3trane.

IN THIS PHOTO: Laurel

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

Relaxing usually involves eating and a takeaway. Making music definitely helps me unwind, though - it’s just when you’ve worked on something for a while and get the feeling you’ve been waiting for.

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).

DUCKWRTH – MICHULL.

____________

Follow Mary Miller

Twitter:

https://twitter.com/marymillersound

Instagram:

https://www.instagram.com/marymillermillermiller/

Facebook:

https://www.facebook.com/marymillermillermiller

SoundCloud:

https://soundcloud.com/marymillermillermiller

Bandcamp:

https://marymiller.bandcamp.com/

Spotify:

https://open.spotify.com/artist/0qZ1ms8fpi1RPn7uYH8DPK?si=ntdaa409REizz_d4et-JTQ

INTERVIEW: Maike

INTERVIEW:

Maike

___________

THE terrific Maike…

has been talking to me about her new single, Paradise, and how it came to be. I ask her if she feels settled in London – she is German-born – and whether more material is coming; a couple of albums that mean a lot to her – she reveals whether there are plans for touring in the future.

Maike tells me about her experiences in the U.S. and how music came into her life; what advice she would give to new artists emerging; her favourite moment from her career so far – she ends the interview by selecting a great Lana Del Rey song.

___________

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

Hey (smiles). I’m really great, thank you. My week has been great. I’ve just got back from a few beach days in the Netherlands, which was naiice…

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

Hey, everyone. Thanks for reading this and getting to know me a little better (smiles). I am a London-based singer-songwriter and I love writing my own tunes - which I describe as commercial, hooky and storytelling Pop music backed up by big music production. I just released my latest single called Paradise which is out on all streaming platforms - including a music video that was premiered by VEVO on YouTube.

Paradise is your new single. Can you reveal its story and background?

Paradise is a song I wrote three years ago, actually. I wrote it about a relationship I was in back then; a relationship that came with expiration date and was doomed to fail. I went for it despite all the warning signs and pretended it would last forever. In the songwriting, I used a metaphorical and German-inspired phenomenon called ‘Geisterfahrer’. It means ‘An individual who drives going the wrong direction on a highway; often with headlights turned off at night; usually thrill-seeking, drunk or suicidal’. I loved that term so much that I wanted to portray that feeling in the song and use this specific car ride as the main image of the song.

What do you have planned for the future? Might we see more material coming?

Hell, yeah; absolutely! I have two more single releases planned for this year and am sitting on quite a lot of finished material for months to come also. The future is looking bright as so many things are planned. I am currently planning the next music video shoot for a Hallowe’en release and couldn’t be more excited.

You are German-born but studied in the U.S. You are now based in London. Do you feel settled and in your true home here?

That’s a great question and something I’ve been thinking about a lot. To answer the question, I can say that I now feel more at home than I ever felt in London. I had a rough beginning moving here, living with strangers; hitting college, getting myself into the British music scene and not knowing anyone.

Today, three years later I have built important contacts; great working relationships and found the love of my life, also. Ideally, I would have a home base in the U.K. and then fly to different countries and cities regularly for ‘work’. So, I guess I am quite flexible when it comes to feeling home and grounded.

How was your time in the U.S.? Does the music scene differ there to London in many ways?

It was incredible! I had the best time and was impressed by their lifestyle and how friendly and open Americans were. I was very young back then and think that my character and personality was influenced strongly through my experiences in the U.S. The music scene over there does differ to our approaches in London for sure. To name one significant observation; I felt was that people still had a little more time and patience when it came to collaborations.

I worked in many home studios with producers and songwriters who simply wanted to create something cool together regardless of how much money they could profit from you. I also found that there was never that much of a rush or time limit as I experience a lot when working with people over here in the U.K.

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

Yes, indeed. I started playing the piano from the age of four - not that I was very good or something but it certainly does open your mind to music in general. I recall listening to nothing but Pop music growing up and annoyed my family with those “High and annoying Pop voices” - such as Britney Spears and Christina Aguilera - all the time.

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

I would like to build my fanbase more till the end of 2018…and get serious industry attention.

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

Hmmm, yes; for sure! That would be a memory of working with Adi Yeshaya on my very first single release in 2014. Adi worked alongside Prince for many years as his song arranger and it was an absolute pleasure to work with him in the studio and get to know him personally.

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

I’m a massive Taylor Swift fan; so her album 1989 is one of my all-time favourites as her lyrics speak to me and, over the years, I managed to fill every single song of that album with my own personal stories. I love to analyse Taylor’s writing in all ways as she is, in my opinion, one of the best songwriters in the world.

Charlie Puth also really became a guilty pleasure of mine and his most recent album release, Voicenotes, is beautifully crafted and a great blend of different styles like Jazz, R&B and Pop that I love listening to.

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

In the past, my focus has been more on writing, producing and promoting my music. From late-September onwards, my gigging and performance period is gonna kick in properly. From previous gigs, I can say that playing is a wonderful and raw way to tell your stories and it’s the most amazing feeling when the audience looks at you; listens and connects with you through the performance. It has something intimate to me when people come to you after a gig and share that they can relate to your writings and melodies - and that I’ve been able to put in words what they can’t.

What advice would you give to new artists coming through?

Try to achieve as many skills as you can. From my experience, things turn out way better when you’re able to do them yourself rather than giving them in other people’s hands.

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

Funny enough, I don’t really like to unwind much. I give myself small breaks like hanging out with friends or watching a movie but, other than that, my head is always switched on in ‘creater mood’.

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).

Oh yeahiii; please do! That’d be National Anthem by Lana Del Rey (which is my current jam).

____________

Follow Maike

Official:

https://www.maikemusic.com/

Twitter:

https://twitter.com/maikemusic

Instagram:

https://www.instagram.com/maikemusic/

Facebook:

https://www.facebook.com/maikemusic/

SoundCloud:

https://soundcloud.com/maike_music

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

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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

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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)

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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

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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.

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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

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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

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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.

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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) 

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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

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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.

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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).