INTERVIEW: Origami Crane

INTERVIEW:

Origami Crane

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THE chaps of Origami Crane…

have been talking about their new single, Turn Around, and its story. The New York band reveal how they got together and whether more material is due; their individual career highlights to date; the albums that mean the most to them – they select upcoming artists we should look out for.

I ask them whether there are tour dates booked and the advice they would give to musicians coming through; what it feels like getting up on stage and connecting with an audience – they each select a song to end the interview with.

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

Hey! We’re doing well. It’s been a nice week, getting back to life in N.Y.C. Jake just returned from Japan and Noah just returned from Colorado. The trips were both incredible but we’re excited to be back here working on our upcoming releases.

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

We are Jake Fine, Noah Wilson and Max McEwen, A.K.A. Origami Crane. We’re an Indie-Pop band based in New York City. Our music is first and foremost a lot of fun; it’s made for dancing but it also has a lot of heart. We like to describe it as playful, flirtatious and packing a punch for a three-piece band.

Turn Around is your current single. What can you say about its story and background?

Absolutely. Turn Around is based off one of our early experiences in N.Y.C. Long-story-short; Jake met a cute girl at a concert and they hit it off. But, Jake was afraid to ask her out so we (Noah and Max) encouraged him to turn around and go for it because then, in our new lives in N.Y.C., we decided we couldn’t let any opportunities pass us by.

Anyway…Jake got rejected but we got a great song!

What was it like working with Brent Kolatalo and Arthur Indrikovs on the track?

Brent and Art are fantastic to work with and amazing at what they do. It was very humbling to have professionals on our team who have worked with artists such as Ariana Grande, Jay-Z; Calvin Harris, One Direction and more. The tracks wouldn’t be the same without them.

Do you think we might see an album or E.P. next year?

We’ve definitely got more releases on the way so stay tuned!

How did Origami Crane get together? What drew you to one another?

Noah and Jake met week one of their freshman year at Berklee but the real story is how we met Max. We saw him in the local burrito shop in our neighborhood in Boston, wearing his signature trench coat and purple Converse and thought:  ‘We need to know that guy!’ Don’t worry; he doesn’t wear either anymore.

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

Well; the end of 2018 is pretty close. We plan to release Turn Around and two more singles by October and share them as far and wide as we can. Our band is now a little over one year old and we’re still completely independent, doing everything on our own. We are ready and looking for the right people to bring onto our team and help bring O.C. to new audiences.

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

Jake: One that sticks out to me especially is the recent experience of recording at Quad Recording Studios in Times Square. Tracking guitar and vocals in the same room that many artists I look up to have recorded in (including Coldplay, John Mayer; Beyoncé, Mick Jagger; Bob Dylan and more) - with a view of Time Square to accompany - somehow felt both dreamlike and absolutely natural simultaneously. I felt elated but also that, in a quite simple way, I was exactly where I’m meant to be, doing what I love most.

Max: The drive out to N.Y.C. from Colorado, where we used to live, to start our careers here. While at the time it seemed a little bit like torture, now it’s a bit nostalgic. We towed a trailer that was entirely full of music equipment and was bigger than the van, and weighed it down so much that it looked like the axel would break. Thankfully, it didn’t! But, what did happen was the van overheated and broke down just across the state line into Illinois.

We spent the day at a dealership getting it ‘fixed’ - with the $100 we could spare – then, later, had to sign a waiver that essentially said the car wasn’t safe to drive and that they warned us and weren’t responsible. The rest of the drive was all done at night - so the engine wouldn’t overheat – and in partial delirium from exhaustion. When we finally made it to N.Y.C. we had to move everything into the apartment immediately. We slept for fifteen-hours-straight that night and it still wasn’t enough. Good times.

Noah: One of my favorite memories is actually the single worst gig we ever played. Back in Colorado, we got booked to play in a small mountain town called Eagle. We drove four hours both ways in the dead of winter (and at the time our van was missing a door, so we had it patched up with a tarp and duct tape). We finally arrived to play at a draughty bar in support of an artist - who we won’t name - that treated us very disrespectfully. Despite everything, we played our best and the gig certainly made us closer as a band. It’s times like this when you know that you’re on the right path.

Which one album means the most to each of you would you say (and why)?

It’s funny you ask that because, for each of us, our favorite albums aren’t of the genre we play. However, they each influence our sound in many ways…

Jake: Certainly, one of them would be the album Bon Iver by Bon Iver

It was released right as I began a musical education at eighteen and became a cornerstone for my sense of beauty and musicality.

Max: American Idiot by Green Day

Because it came out right as I was starting to play drums and guitar - and my brother and I used to jam on the whole album for hours. It’s what really set me on the path of playing music for fun instead of just for recitals and school.

Noah: If I have to choose one, I’d say This Empty Northern Hemisphere by Gregory Alan Isakov - for its stunning lyrics and soothing arrangements.

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

We would want to be the supporting act to Coldplay. Their fanbase is amazing and their music has shaped our sound vastly.

On our rider, we would ask for a case of Colorado’s Left Hand Milk Stout to be included for after every show.

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

We have an upcoming headlining show at The Bitter End in N.Y.C., Sept 21st at 11 P.M. Other than that, we’re in talks but nothing is set in stone in respect to an upcoming tour. We’ll be sure to let you know!

Do you all love being on the stage? What is it like travelling between gigs and bonding with one another?

Being on stage is exhilarating. It’s our favorite place to be. Gigging and traveling together has certainly brought us closer and has done so through both bad and good shared experiences. There’s a certain sense of comradery that is unique to a band and is only cultivated through the feeling of playing and traveling together.

What advice would you give to new artists coming through?

Perseverance is key. Music as an art has so many aspects that are fun and fulfilling but participating in the music industry can be taxing. It requires a certain level of commitment and tenacity and our advice would be to approach your goals with those hardships in mind so you can instil in yourself the ability to overcome them.

IN THIS PHOTO: Skogsrå 

Are there any new artists you recommend we check out?

It depends how new: certainly Skogsrå has been a big influence of ours, despite being lesser-known in the U.S. Sam Wills is an amazing British musician that’s definitely a must. Having just released their new album, Fickle Friends is one of our absolute favorites.

IN THIS PHOTO: Sam Wills

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

Well; we all field several jobs in N.Y.C. to keep the finances afloat but, when we do get time off to chill, Max plays a lot of video games; Jake watches anime and Noah does yoga and always has a stack of books he’s reading.

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

Jake: Light on Me by Sam Wills

Max: I Am You by Haywyre

Noah: Into the Ether by Leif Vollebekk

Thank you so much to Music Musings and Such for taking the time to talk with us!

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Follow Origami Crane

 Official:

http://origamicranemusic.com/

Instagram:

https://www.instagram.com/oc_band/

Facebook:

https://www.facebook.com/origamicranemusic/

Bandcamp:

https://origamicrane.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCcTURYEB2s8Yfme0UXEEGgA

SoundCloud:

https://soundcloud.com/origami-crane

FEATURE: Forever and Ever, Never for Ever: Kate Bush’s Groundbreaking Album at Thirty-Eight

FEATURE:

 

 

Forever and Ever, Never for Ever

IMAGE CREDIT: Getty Images 

Kate Bush’s Groundbreaking Album at Thirty-Eight

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ON Friday…

IN THIS PHOTO: Kate Bush in 1980/PHOTO CREDIT: Getty Images

we are provided with another chance to celebrate Kate Bush! Having just marked her sixtieth birthday (on 30th July, to be exact); we have more opportunities to commemorate her work later in the year – a few of her albums will celebrate anniversaries and we can put her back under the spotlight. I hope there is more Kate Bush material coming next year – I get the sense something is brewing and she is working up to another album! 2011’s 50 Words for Snow was a critical hit and new direction for her. Fewer songs than most of her albums but longer, more explorative soundscapes that perfectly departed from what we view a ‘conventional’ (if you can ever apply that word to her?!) Kate Bush album and stepped more into Jazz territory. It is a fantastic record that points to a very interesting and curious future. I wonder whether subsequent Kate Bush albums will go down the same lines or return to her earlier work – a bit of a nod to her sapling days and the shorter Pop songs. In any case; that is all to come and what we might expect: we now look to the past and a Kate Bush album that changed the course of her career and broke new ground. I have talked extensively about her debut, The Kick Inside, and my love for it. If Kate Bush super-fans place it lower in their top-five – never getting above Hounds of Love, The Sensual World and The Dreaming – I wonder whether Never for Ever makes the cut?!

IMAGE CREDIT: Getty Images

1978’s The Kick Inside was a huge work that caught the imagination of most critics and, in any case, introduced a unique talent who was years ahead of everyone else. There was that inevitable pressure to follow up a debut smash with something that retained the urgency and beauty of that work. Lionheart was released in the same year and, whilst not as grand and original as her debut album, it gets an unfair kicking from critics! She was never going to follow up on The Kick Inside with anything as good given the label pressures and lacking time. If Lionheart is a more hurried and studio-based album – The Kick Inside assembled tracks Bush had written at home; I suspect more songs came together in the studio for Lionheart – then it is by no means a failure! Listen to cuts like Wow, Symphony in Blue and In The Warm Room; the weird twists of Hammer Horror and the swoon of Oh England My Lionheart (one of Kate Bush’s favourite songs of that album). It is a solid ten-track collection but because it does not have a Wuthering Heights on it; many saw it as a lukewarm effort and a bit so-so. I acknowledge there aren’t the same heights and peaks as The Kick Inside but it is an impressive and stunning record.

In any case; 1978 was a frantic year and, around this time, Kate Bush was touring both albums and bringing her music to crowds around the country (something she would not do again for decades!). Whether you see it as a new start or a chance to start afresh; Never for Ever was released in 1980 and, after touring and the need to follow her sophomore record with something exceptional, there were eyes and ears trained the way of the album. The next evolution and growth would happen when she released The Dreaming and Hounds of Love – that 1982-1985 period where she was coming into her own and capturing that debut album magic (to many, this was her finest career period and a moment when she stepped into a league of her own!). Never for Ever is important because it found Bush stepping into the producer’s chair. She had ‘assisted’ production on Lionheart but here, alongside Jon Kelly, they worked through the songs together and you can hear more of the songwriter’s fingerprints on the music. Perhaps it is the way I hear the songs but I get the sense (Never for Ever) was Kate Bush stepping up and starting that fight against the record label. She wanted to assert more control and produce an album that sounded right to her – not just a commercial record that would see her get famous and put her songs in the charts.

Kate Bush has always said how she wants people to hear albums rather than handpick singles (and skip through things). You can hear a mood and a narrative run through Never for Ever. It is a fantastic L.P. that has those instant and recognisable songs – I shall come to them – and those rare gems that reveal their beauty through repeated listens. In 1980, Never for Ever scored Kate Bush’s first number-one album and, astonishingly, it was the first album to enter the charts at number-one by a female artist. It is weird to think that, even in 1978, there had not been a female-created record that went straight in at number-one. Given the rather ho-hum reception for Lionheart; the exposure gained from touring and a rising profile meant there was a huge appetite for new material. I have watched T.V. interviews from 1980 and there is that sense of relief she is back after two years – such a long time to be away from the scene (almost laughable considering how long it takes mainstream stars today to produce records)! The hard work and touring paid off: Never for Ever, whilst not a Hounds of Love-level genius-work, gathered a lot of praise and singles like Breathing, Army Dreamers and Babooshka scored huge (and are considered some of her finest-ever songs). At twenty-one, Kate Bush became the experimental artist that defined the rest of her career...

With a combination of up-to-the-minute technologies and little-heard sounds and touches, it was a blend of the natural and advanced. Listen to the Fairlight CMI sound/sample on Babooshka (the noise of glass shattering) and you could hear Bush pushing herself and utilising what was big at the time. Although Kate Bush loves analogue and a more traditional way of working; she is someone who uses technology to add new dimensions to her music and provide a unique edge. More complex and bold than The Kick Inside; Never for Ever is an electric and exciting album that contains plenty of tenderness and early-career touches. Babooshka is Kate Bush reaching new heights and creating the sort of raw and explosive song that would be more commonly heard on The Dreaming. It is an addictive and awe-inspiring track that is hard to believe came from an artist only three albums in! That is the majesty of Kate Bush: she was able to bring these songs out and it seems natural and seamless. After that brilliant opener; we have Delius and Blow Away: flighty and bird-like; heavenly and supremely tender in all their movements and whispered tones. Even in the more ‘intimate’ and quieter moments, you have so much instrumentation, sounds and detail. Listen to the bass vocals of Paddy Bush (her brother) on Delius or the orchestration on Blow Away...

IMAGE CREDIT: Getty Images

If we associate Bush’s first two albums with a reliance on piano and a few other instruments – she was adding new elements by Lionheart... – there was an increase in ambition on Never for Ever. As I say; this innovation and stretch would get even bigger by The Dreaming – hitting its peak in Hounds of Love – but this was the album that signalled a transition. This article expanded on Kate Bush’s use of technology and her interest in new developments:

“The album is also important in terms of Bush's artistic development in the way it demonstrated her interest in new tech; this is taken from an article in the NME:

“As soon as I met the Fairlight,” Bush admitted in 1985 about the digital sampling synthesiser, “I realised that it was something I really couldn’t do without because it was just so integral to what I wanted to do with my music.” The possibilities are obvious on ‘Never For Ever’, the most lush of her albums to that point, where dreamy Minnie Riperton soul (‘Blow Away’) meets berserk vamping rock (‘Babooshka’). Its finest moment is the haunting ‘Breathing’ with Bush facing up to the burgeoning nuclear crisis as weapons move into Greenham Common. “What are we going to do/We are all going to die” is as direct as she ever gets, and has all the more grim power for that. ”

 PHOTO CREDIT: Getty Images

Never for Ever’s first-half has some great songs – bookended by Babooshka and Egypt – but the remainder of the album, if anything, is stronger. I associate records like The Kick Inside, Hounds of Love and even The Dreaming with stronger opening halves – that was not the case here! Never for Ever was not going to give all of its pearls away by the first five or six songs, oh no! Listen to the lesser-celebrated songs like The Wedding List and Night Scented Stock and they seem to say so much with very little explosion and weather. You get all that story detail and wonderful vocal work but you follow the lyrics and plot. You are drawn into the songs and taken into a beautiful and strange world. Violin, like Babooshka, is Kate Bush stripping away the clothing and going wild! The growling, elevated and harder-edged vocals many were unfamiliar with came into view and signalled another side to her remarkable voice – listen to songs on The Dreaming like Get Out of My House and that is intensified to scary levels! Perhaps she saves the two best (depending on where you put Babooshka in the pack) for the end. Army Dreamers, the third and final single from the album, is about a mother discovering her young son died during army manoeuvres – wrestling with her consciousness and what she could have done.

Not only is it hugely original and unexpected territory for a Pop song but it has a potent and sobering political message regarding the armed forces and how those protecting and preserving life can have theirs snatched away without warning. Its music video sees Bush wide-eyed and alarmed at the gunfire and explosions around her; a compelling piece that perfectly highlights the song’s messages and, actually, is one of the few pieces of her work she (Bush) was completely happy with! Breathing, on the other hand, is not about warfare and the army but carries an equally powerful message. The song is about a foetus that is aware of war outside the womb and the possibility of nuclear fallout. Lyrics also talk of the foetus absorbing the tobacco smoke of her mother (the line about breathing my mother in...) and a lot of the inspiration came from a documentary Kate Bush had watched regarding the possibilities of nuclear war and its fallout. Breathing is the first single from the album – rare to see a closing track as a lead-off single – and, whilst it only just dented the top-twenty (entering at number-sixteen), it is considered one of Bush’s best songs. She herself claimed Never for Ever was one of her favourite works and I get the sense a lot of questions and frustrations were resolved whilst making it.

Before I wrap things up; here is a review from Sputnik Music, published in 2012, that seems to define the critical voice and the sort of assessment that came through in 1980:

“…Musically, Never For Ever naturally expands thanks to a more layered sound. The album features a vibrant mix of wet fairlight synths, pianos, fretless bass and layers of strings. The performances of the album fit smoother than on previous records as Bush goes for a more varied final product. 

Kate's third solo album was no masterpiece but a fascinating and necessary step in her discography. Bush's writing had finally evolved enough to the point where she could write without relying too much on image or style. Whether it's experimenting with her remarkable vocal range, creative arrangements, or vivid lyrics, Never For Ever shows Kate Bush improving in all the right ways”.

The Dreaming would finally see critical unity and praise came back her way fully; by 1985’s Hounds of Love, Kate Bush was a national musical treasure and had created one of the best albums ever. Never for Ever was an important step because she was keen to make an album that she had more of say in. Maybe she was a bit disappointed with many aspects of Lionheart but she was not going to repeat that experience.

IN THIS PHOTO: Kate Bush signing copies of  Never for Ever at London's Virgin Megastore in 1980/PHOTO CREDIT: Chas Sime/Getty Images

Her third album is more considered and its songs more varied; there are political images and messages alongside songs that would be familiar with those who loved her first two works – Delius and Blow Away for instance. There were some critical jabs at the album and some took a shot at Kate Bush herself but the public reaction to the album was stunning. The week following the album’s release, Bush undertook a record signing tour of the U.K. and, when at London’s Oxford Street, found queues that went right down the street! She proceeded to tour Europe and found a lot of love for the album. Never for Ever spent three weeks at the top of the album charts and remained in the top-seventy-five for a good deal longer than that. There was a lot more love aimed at Bush – compared to her previous album – and the feeling she was maturing and growing in confidence. The fact she co-produced the record meant she could make decisions in the studio and record the songs as she imagined them. New technology and bold lyrics themes were coming in at this point – they would define her career from here and, in many ways, Never for Ever was the true beginning of her 'golden period'. I prefer The Kick Inside in terms of quality and overall mood but I feel Never for Ever should be celebrated because of the milestones achieved (Bush as the first woman to have an album go in at number-one; not just in Britain but the world!). It turns thirty-eight on Friday and, whilst Bush would create albums more celebrated and popular, I feel that Never for Ever is hugely important because it was the start of a creative and personal growth that, only five years later, would see her…

IN THIS IMAGE: A fan interpretation of the Hounds of Love album cover image (by John Carder Bush)/IMAGE CREDIT: rosabelieve

RELEASE her defining masterpiece.   

FEATURE: Happy B’Day: The R&B Queen at Thirty-Seven: The Beyoncé Playlist

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Happy B’Day

IN THIS PHOTO: Beyoncé photographed for the September (2018) edition of Vogue/PHOTO CREDIT: Tyler Mitchell 

The R&B Queen at Thirty-Seven: The Beyoncé Playlist

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IT may seem incongruous and unnecessary to…

PHOTO CREDIT: Getty Images

mention the age of an artist like Beyoncé but, on her birthday, many are sharing their favourite songs of hers and celebrating her impressive back catalogue. She is only thirty-seven and given the fact we have icons of music performing well into their seventies; I feel there are decades more inside Beyoncé! It is scary to think she has really only just begun her career - and I wonder where she will head. Might see slow down and adopt a different style as she heads into the next couple of decades?! I feel we will get the same uplifting and emphatic anthems that have defined her career since she started life in Destiny’s Child. I first encountered Beyoncé in Destiny’s Child and was hooked on songs like Bills, Bills. Bills and Survivor; Say My Name and Jumpin’, Jumpin’ were big tracks that seemed foreign to anything that was around at the time. There were other girl groups in the 1990s (and the early-'00s) but mainstream Pop did not have the same swagger and potency as the music Destiny’s Child were bringing out. When they disbanded; I followed her solo career and am amazed by the way she has stepped out on her own and grown. I know she has producers and directors around her but that voice and confidence were all hers. Whilst Lemonade is my favourite albums from Beyoncé; look at B’Day (2006) and Beyoncé (2013) as examples of her hitting new heights and exploring fresh ground.

Every record she has produced has resonated in some way and stuck in the memory. To many, Beyoncé is a role model who shows what a modern artist should be all about. Whilst this is not a full-out exploration of her work; Beyoncé is keen to highlight important issues and spread positive messages. From sending out positive tones regarding body images to feminism and family – it is clear she is a great role model who is independent, fierce and a big supporter of the L.G.B.T.Q. community. She is loyal to her family and generous to her fans. There is confidence but you never get the ego and arrogance of some artists. Whilst Beyoncé has a reputation and sense of stature; she is a modest and down-to-earth figure who never lets controversy and the media get in the way of things. She has inspired countless artists today and continues to break ground and lead the way. I get the feeling we will see another solo album from her next year – she recently recorded an album with her husband Jay-Z under the moniker ‘The Carters’ (Jay-Z’s real name is Shaun Carter). Their record, EVERYTHING IS LOVE, gained a lot of great press and is proof the marriage and bond between the two artists is rock-solid. At a time when the U.S. is experiencing a bad presidency and so many issues; Beyoncé’s role in the world is clear.

She is a spokesperson for women’s rights and the plight of black artists/peoples; a strong and inspirational figure for girls/women and, for everyone else, a stunning talent who has not diminished and faded since her early days. She seems to get stronger and, when it comes to her live shows, they are more ambitious and spectacular. There are many more years of her music to look forward to but, as it is her birthday, a playlist of her finest cuts is in order. From the Destiny’s Child early days right through to her EVERYTHING IS LOVE album (with Jay-Z); I have collated a rundown of her best videos, first, and end with the playlist (I have not been able to include any Lemonade songs as the album is not available on Spotify) that charts her rise, evolution and revolutions. So many modern artists owe what they do to Beyoncé and, for me, she provides music that really hits me hard and gets into the head. There is always a message and driving forces, whether she is providing a stone-cold anthem or emotional song, that comes from the heart and make their mark. As we celebrate her birthday and look back at what she has provided; let us appreciate where she is heading and…

ALL the fantastic years she has ahead...  

FEATURE: A New Dawn: Who Should Succeed Chris Evans on the BBC Radio 2 Breakfast Show?

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 A New Dawn

IN THIS PHOTO: Chris Evans/PHOTO CREDIT: BBC Pictures/Getty Images 

Who Should Succeed Chris Evans on the BBC Radio 2 Breakfast Show?

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SOME big announcements have come out…

PHOTO CREDIT: Max Tollworthy/Goff Photos

of BBC over the past few weeks. Not only is there is the shake-up at BBC Radio 6 Music – a few swaps and shifts in terms of the line-up – but Chris Evans has announced he is leaving BBC Radio 2. He has been at the helm for eight years (at the station for thirteen years) and it is a big shock. I guess everyone has to leave at some point but I feel it is a strange time for him to go. Maybe he has done everything he can at the station but, considering he has such good ratings and an army behind him, I wonder whether there are personal reasons for his departure. Evans has been hosting breakfast shows, on radio and T.V., for decades and I feel his natural home is at BBC Radio 2. I am not one of his loyal fans – I listen to BBC Radio 6 Music at that time of day – but it is clear he has a verve, enthusiastic approach and respects his listeners. I guess the station has already selected his replacement but people are pitching which presenters should take over. There are some ridiculous and strange choices - Emma Bunton and Jamie Theakston are among those tipped! They host the breakfast show on Heart FM and, as Evans moved to Virgin; could the duo come across to BBC Radio 2? I feel they do not have the pull and style of show that would suit the station.

IN THIS PHOTO: Richard Bacon/PHOTO CREDIT: Getty Images

I feel the replacement for Chris Evans needs to come from the station itself – in the same way BBC Radio 6 Music brought Lauren Laverne into the breakfast slot to take over from Shaun Keaveny. I argue against having Simon Mayo in the slot because I do not think he has the energy and type of demeanour that would urge one to tune into the show. There have been a lot of male name tipped but I think a female presenter would be a better choice. Richard Bacon is another name dropped and, whilst he has experience and would be a solid host; BBC Radio 2 need to start making changes regarding gender and not go with male options. I was annoyed when Jo Whiley and Simon Mayo were paired in an evening slot and, whilst they are great individually, they do not have any connection or chemistry together. It seemed like a way of BBC Radio 2, in a rather feeble way, of having a woman in a primetime-ish slot. They could have had Whiley present solo or found a better partnership to fill a lucrative show like that. Breakfast is a time of day when we all start to tune in and need that lift. Evans’ captaincy has gained BBC Radio 2 millions of listeners and he can certainly get you up and awake!

IN THIS PHOTO: Claudia Winkleman/PHOTO CREDIT: Getty Images

It is sad to see him leave but, when thinking of his replacement, you need that relatable energy and a personality that is warm and interesting but has a bit of a cheeky side. Claudia Winkleman has a hectic schedule. She presents a Sunday evening show on BBC Radio 2 and hosts Strictly Come Dancing with Tess Daly. Maybe doing a weekday breakfast show alongside all that will be a bit much! I was thinking the two who will duke it out for the vacant breakfast show is Sara Cox and Zoë Ball. Both already have shows on BBC Radio 2 – Cox presents an evening show and Ball hosts Saturday afternoons – and they know the station’s layout. They are experienced and have a great rapport with their listeners. Both have similar energy and enthusiasm and you get a distinct style from each. I feel Ball is the warmer and more comforting voice whilst Cox, in a way, a bit more spirited and vivacious. There is not a lot to distinguish between Ball and Cox in that way: both are stalwarts and could produce incredible shows. I feel, for me, Sara Cox is the natural choice. I love Zoë Ball’s voice and presentation; the way she can get you in a great mood and has a vast knowledge of music.

IMAGE CREDIT: BBC

Her Saturday afternoon show is a brilliant formula and, whilst she could easily translate to weekdays; we need her at the weekend to keep us buzzing and moving – maybe a six-day stint would be a bit too much to ask!? She has presented a Saturday breakfast show before and knows what lies in store. Sara Cox has stood in for Chris Evans before and, come Christmas, I would like to see her named as his successor. There is a lot of talk regarding the gender pay gap in radio and how there are not really any solo female D.J.s in the big shows. All the drivetime shows are male-helmed or have a male-female duo. I think Lauren Laverne’s breakfast promotion on BBC Radio 6 Music should be paired on BBC Radio 2. She has proven how she can handle the role and easily slot into the void. She presents a 1980s show and can unearth the best of the decade but, like Ball, has a width range of tastes and, if anything, can bring a more contemporary and ‘cool’ edge to breakfast (compared to Evans). There is no doubting she would be a popular choice and not have to fight hard to convert Evans’ fans. You need someone who can hit the floor running and not need much time to bed-in. The big questions would be, if Cox came in, who would take her evening slot? You’d have to have a swap around but I think you could find a good replacement.

IN THIS PHOTO: Zoë Ball/PHOTO CREDIT: Getty Images

Cox deserves a larger audience and I know she would tackle the breakfast show with plenty of vim, humility and dedication. One reason why Chris Evans transferred to Virgin was the fact he is expecting twins! Maybe it is a bit less hectic and pressurised on the Virgin slot and he would more easily be able to shift family duties and the radio. Sara Cox has children but is not, so far as I know, expecting any new deliveries! A big problem we have in radio is certain stations having a set demographic. Lauren Laverne moving to BBC Radio 6 Music’s breakfast show will keep Keaveny’s followers firm and bring her listeners across. Keaveny will be able to keep a solid fanbase and, in fact, both D.J.s are hugely popular and have a similar age demographic. Greg James replaced Nick Grimshaw on BBC Radio 1 and that seemed like a sensible swap. I feel BBC Radio 1 has an issue converting slightly older listeners and, whilst that might be down to the music they play; are they being too rigid regarding the age and style of the D.J.s? I feel BBC Radio 6 Music is broader so does not suffer the same fate. BBC Radio 2 is seen as the place where middle-aged and older listeners go. Even though the average age of a D.J. at the station is probably in the forties or fifties; that is not to say they cannot recruit younger listeners. I thinking someone like Zoë Ball or Sarah Cox could attract younger listeners and new demographics.

IN THIS PHOTO: Sara Cox/PHOTO CREDIT: BBC/Leigh Keily

Positive changes regarding gender promotion need to be at the forefront of the mindset of those who will make the decision. I can understand if they hire Richard Bacon but look at some of the suggested names and there are few strong male choices. Who are you going to bring in that could replace Chis Evans? I am casing my mind and nobody springs to mind (in terms of the men). Simon Mayo, as I said, is a bad option and you really need to recruit from within the station. Because of that, the two favourites would be Zoë Ball and Sara Cox. Cox has the slight edge and I feel she could keep the pace and popularity of Chris Evans’ show going and bring in younger listeners! I am not going to jump from the BBC Radio 6 Music ship but I would dip in now and then, certianly. Being the BBC, they will probably make the wrong choice but I have faith they will do the sensible thing. Evans is a popular presenter but I feel you need to hire a replacement that keeps many of his traits and brings something new to the plate. We need to keep the energy up there are very few D.J.s who have his same electricity and oomph. Sara Cox would be a great selection and I would be interested to see what she does. In any case; thinking about gender should be paramount for the chiefs at BBC Radio 2. It is sad to see Chris Evans leave such a popular show but he wants to accomplish new things and take on fresh challenges. What they will be and what he has in mind will be curious to see but I know he is a big asset to Virgin. Many will be waiting with baited breath to see who succeeds him but, whoever it is, will surely have…

PHOTO CREDIT: Getty Images

VERY big shoes to fill! 

INTERVIEW: Grizzly Coast

INTERVIEW:

Grizzly Coast

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I have been finding out more about Grizzly Coast…

and her latest single, Zuzu’s Petals. I was keen to know the song’s origins and when she realised music was the career for her. Alannah (Grizzly Coast) talks about her musical progression and which rising artists we should spend a bit of time investigating.

I ask which artists she was hooked on growing up; whether there are gigs booked in the diary; what she hopes to achieve by the end of the year; what it is like being on stage and performing – Grizzly Coast tells me which artist she’d support if she had the chance.

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Hi, Grizzly Coast. How are you? How has your week been?

Feeling fine! My week’s been really exciting. Just anticipating the single and video release.

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

Sure. My name is Alannah Kavanagh but I play under (the name) 'Grizzly Coast'. I’m a Toronto-based Folk-Rock musician using music as a vehicle to tell stories. While the core of the project and its lyricism remains solo and very personal to me, this year Grizzly Coast has been growing into a full-band live act; so people can move with the music in a new way.

How did that moniker come to be? Is there a story behind the name?

There is! I lived on Vancouver Island as a teen and I kept visiting back for a few years after I graduated. The whole time, I was really struck by the natural landscapes of the West Coast. The lifestyle there was so lovely. We’d go down a winding road to the beach, pass goat farms and skip stones. Some summer days we’d just sit by the fish hatcheries, go for a hike or swim in the river before getting a burger at the food truck and going to a backyard campfire party at night.

There was a band in the Cowichan Valley called No Don’t Stop and they had a song called Grizzly Coast which I interpreted to be about how peaceful and lucky it felt to live there. I ended up making the title my Instagram handle years before I started playing music publicly and it got to the point where people associated those words with me. When it came time to name the project, it seemed like the natural fit! Since I live in the city now, the name is a reminder to slow down; appreciate my surroundings and tune into myself. 

Zuzu’s Petals is your new single. What is the story behind the track?

Zuzu’s Petals is something I wrote when I felt like I had, to my earlier point, tuned back into myself. I was in a relationship that ended around Christmas last year and while watching the holiday movie It’s a Wonderful Life, I started thinking about one scene in it. I won’t spoil but, basically, the main character goes through some hardships and he finds these petals from his daughter Zuzu’s flower in his pocket and realizes that everything is going to be okay.

Lyrically, the song isn’t so much about the breakup but the exploration of the newfound relationship I forged with myself after going through that low. I felt really boundless and hopeful about what I could accomplish after bouncing back and aimed to evoke that happiness in all aspects of the song.

Your debut album, Gold Lined Path (2017), mixes your love of music and poetry. Was there a point where you knew you had to pursue music and record?

It’s interesting to reflect on that because I knew I wanted to be a musician since I was a child. It’s just something I always felt strongly about. I used to play piano and guitar and write corny-preteen songs all the time in my bedroom after hockey practice and stuff.

It wasn’t until late in university though that I recognized that I wanted to pursue music and tell people that something I was totally scared to come out and say. I slowly developed a group of friends around me that were in the music scene and seeing all of them release their tracks gave me the confidence to do so myself. I was just beginning to learn about songwriting when I released Gold Lined Path; tracks that were essentially poems set to music.

I released that album so quickly. I basically just wrote my first songs and, once I had enough for an album, recorded them. This time around, I’ve been heavily focused on learning more about songwriting and production in an effort to solidify my sound before my sophomore release.

Which artists did you grow up around? Were you hooked on music from a young age?

Yes. I definitely was and, strangely, I was super-into Rock and Roll. It weird to think about now how in middle-school I was obsessed with AC/DC. I just loved them. But, I was also super-into bands I still enjoy like The Beatles, Led Zeppelin and The Doors­ – I had their posters all around my bedroom.

Around that same time, I had an older family friend, Katie who played in a band and I asked her to make me an ‘Indie’ mix C.D. I don’t think I even knew what that word meant at the time. She gave me a C.D. with Feist, Hawksley Workman; Broken Social Scene, Joel Plaskett; Joanna Newsom, Beirut and way more artists that I just became obsessed with.

Katie really influenced me since she was a few years older and I wanted to be just like her. So, I started playing the guitar, writing songs and emailing her the lyrics. And so it began!

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

Another single recorded, this time for the next full-length album; another video, a ton of live-shows and to begin recording my next album which we’re aiming to release in 2019!

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

It’s a toss-up between two things I’d say…

It always means so much to me when people, especially people I have no real-life connection to, reach out on social media to tell me how my music has impacted them. That’s honestly so affirming.

But, I think my favourite moment so far was when I played at the Burdock in February. I had taken a break from live-performances because I’d developed a very bad case of performance anxiety. So, leading up to that show, I really worked on getting over it through visualizations and just a lot of practising the songs. The show was phenomenal; the room was packed and I felt so grateful and, like, cured.

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

The Year of Hibernation – Youth Lagoon

I listened to this album when I was seventeen and it was a soft place to land at a time in my life where things felt very hard. I used to listen to it while walking around on the island. There’s a lyric on the song, 17, that says: “When I was seventeen, my mother said to me “Don’t stop imagining, the day that you do's the day that you die’” and my Emo-as-hell teen self was really eating it up.

Carrie & Lowell – Sufjan Stevens

Man. This album is just otherworldly in its exploration of what you can do production-wise with Folk-y music and also the topic of grief. Sufjan is such a diverse explorative artist. I’d give him my kidney for everything; all his sonically-unique albums have brought to me. My vavó was dying and we had always been so close, so listening to this was like a shoulder to lean on.

Let it Die – Feist

I used to listen to this on my iPod to fall asleep as a young teen and Feist sort of became a model for me - of a talented woman songwriter releasing music and really just killing it in the music industry. The album is full of amazing tracks like Mushaboom and Let It Die. When her song was in that Apple commercial and more people began discovering her I was annoyingly like: ‘Oh, yeah, Feist? I’ve been listening to her since grade-six’.

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

Damn. I could really go off with people I dream of touring with. But, I’d have to say Feist because she’s Canadian too and I feel like I could learn so much from her wisdom and years in the industry.

And…for the rider? Probably Perrier, beers; doughnuts and fresh flowers. Yeah, definitely those things.

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

In the process of booking a bunch of shows but the ones set in stone are: Queen West Art Crawl on September 22n; Indie Week 2018 in November.

How important is it being on stage and seeing your music connecting with people?

You know…I don’t purposely set out to play sad songs but, oftentimes, I find that the lyrics I write are quite detailed and honest and it’s not uncommon to see some tears in the audience at my shows. It’s really special to me that my personal experiences and lyrics can evoke others to reflect on theirs and feel vulnerable and cathartic in public.

What advice would you give to new artists coming through?

Don’t be shy about owning the ‘musician’ label: you are a musician. Everyone starts somewhere. Keep chipping away at small goals until they keep getting bigger. Try to not compare your first songs against someone else’s years of practice. A painter doesn’t start off making opulent and stunning pieces…you’re learning!

The person I was two years ago would be truly astonished that I released the Zuzu’s Petals video, and am playing live shows every month. You have to go out there and do it, not sit at home and think about doing it.

IN THIS PHOTO: Oh Geronimo/PHOTO CREDIT: Unfrozen Photography

Are there any new artists you recommend we check out?

If you like Folk-Rock with sentimental lyrics, check out my pal Ciaran’s band Oh Geronimo. Some other emerging bands/artists I’m into lately are Clementine, Wine Lips; Alex Mason and Modern Desert.

IN THIS PHOTO: Modern Desert

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

I really do my best to stay balanced at all costs so I definitely take time to chill because I want music to remain something I’m doing because I love it not a task to complete, you know?

I meditate every day and I really like going for walks in the park. Also; going for pho by myself with a good book or podcast in my headphones is basically my other hobby.

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

Chelsea – Phoebe Bridgers

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Follow Grizzly Coast

Official:

https://www.grizzlycoastmusic.com/

Twitter:

https://twitter.com/grizzlycoast

Instagram:

https://www.instagram.com/grizzlycoast/

Facebook:

https://www.facebook.com/grizzlycoastmusic/

YouTube:

https://www.youtube.com/channel/UCFZd2hGmVoNQQDfeWWNKkCg

Spotify:

https://open.spotify.com/artist/2oEB46vhVZKrAQSBTFLAlf?si=zZRkDx01QKCX8PFZBpztCg

INTERVIEW: Aidan Carroll

INTERVIEW:

Aidan Carroll

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THE superb Aidan Carroll has been telling me…

about his forthcoming album, The Other Side. It is released on 14th September and, ahead of its release, I discover the themes that inspired the record. Carroll discusses his musical past and why his parents were an influence; a few albums that are especially important to him – he recommends some artists to watch out for.

I ask the songwriter how he got into Jazz and whether he has a favourite memory from his career to date; if we might see the American come to the U.K. soon; what he would tell artists coming through in the industry right now – he ends the interview with a great track.

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

Greetings. I’m having a good week! Thank you for asking. Mostly, working on new music; my album release and prepping to play a show with my friend/artist Rush Davis who’s performing at an Amy Winehouse tribute here at the Los Angeles (Soho House) on Friday. Last week was a bit of a mercury retrograde vibe, so I’m happy to be moving out of that.

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

My name is Aidan and I’m a chameleon of sorts. I’ve been lucky to play bass for various cool people and travel the world playing Jazz, Rock, R&B…you name it. I find myself in a new life-phase working as a producer and writer working with like-minded artists. I currently am producing and writing my own music which falls somewhere in the experimental Soul/R&B/Jazz-infused landscape.

The Other Side is your upcoming album. What sort of themes and ideas inspired the songs?

Transformation, change; discovery, exploration and rebirth. The album is about finding new sides of myself as a person and musician and learning how to express those vulnerabilities through sound. This being my first project as a singer and songwriter, I find I write from a fairly personal place. There are some universal themes here as well such ‘love’ and ‘self-acceptance’ to name a couple.

The album is also dedicated to my father who passed away three years ago so his spirit is an important element to the project. On top of all that, there is a certain freedom I found in not following conventional forms so that kind of open exploration is a consistent theme throughout.

Is there a song from the album you are particularly drawn to?

Hard to pick one but, for now, I’m gonna go with Another Step which was written for my father. The vocal performance was quite tender and stripped down - I realized after recording it. I like the chords too.

You are a classically trained Jazz musician. How did you get into Jazz?

Honestly; Jazz just felt like a logical step for me in my music progression as a kid in high-school. I got into it from Classic Rock to Progressive Rock to '70s Fusion and then from there went backwards and started studying the classics. The very first time I heard it though was when my dad got Thelonious Monk’s album, Straight, No Chaser, as a gift from a friend. That and Pat Metheny’s album, Question and Answer - I really wore those out. Jazz is an immense music and truly a lifelong study. I feel grateful for having spent so much time in that world; it really keeps you humble as a musician.

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

I was surrounded by music being that my mother was a Classical pianist and professor and my dad a self-taught guitarist and singer. But, I do have a distinct memory from around eight-years-old when I had a vision sort of wash over me and I just knew then that I would play music for the rest of my life. That was it.

Artists I was drawn to when I was young include The Band, Bob Dylan; Robert Johnson, Jimmy Hendrix and a little later loads of grunge like Stone Temple Pilots, Soundgarden; Black Sabbath and finally, at the end of high-school, I got into some Hip-Hop like The Roots, Bone Thugs-n-Harmony and Nas to name a few.

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

By end of the year, I’d like to have begun the process of being self-sufficient as a producer and co-writer for other artists. That’s really the ultimate goal: to service others with my talents. As well, I’d like to have a good handle on the direction for my next releases as a solo artist.

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

Ohh, man; so many stories! Okay; a deep one: I was playing in Minneapolis with Lisa Fischer…I think this was two years ago in the fall. We were playing Gimme Shelter - the Stones song - which I have an open acoustic bass solo on, as in I can really take it wherever I feel like taking it.

That night, towards the end of my solo, I found myself playing the theme to John Coltrane’s A Love Supreme and Lisa caught it and then all of us plus the audience were chanting the melody and words meditatively. It was a beautiful moment. Later, after the show that same night, I found out it was Coltrane’s birthday that day… No. Words. Man.

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

Marvin Gaye - What’s Going On

Somehow, I discovered Marvin a little late. I had already left my hometown and moved to N.Y.C. when I did and, though I had heard artists like Stevie Wonder growing up, I just didn’t hear much classic Soul/R&B in my environment. Once I did, I could not stop listening to this album. It feels like classic Soul to me. The man had an incredible gift of being able to express *emotion through song - he’s been a big influence ever since.

Frank Ocean – Blonde/Blond

I had to pick one recent album and this is the one. In my opinion, it’s one of the greatest modern works of music. Everything from the songs, the vocals to the production creativity. Frank is one of the true innovators in music for me.

Jaco Pastorius – Jaco

This guy changed bass playing and music forever. His approach to the bass was completely original and unprecedented. He was only twenty-five when he recorded this album, his first album. An all-star cast, great tunes and performances. I was fairly young when I heard it and it was definitely an influence on me. The song, Portrait of Tracy, with all bass harmonics is a legendary standout. Check it out, y’all.

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

Francis and the Lights.

My rider would probably have something like beer, gin; vermouth, lemons; raw ginger, salad; fresh bread, charcuterie; Twizzlers, chocolate chip cookies; espresso machine, water and LaCroix. Haha!

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

I’ll be doing some shows around L.A. and other parts of the U.S. this fall with Rachel Eckroth and Lisa Fischer (I’ll be on bass for both). Stay tuned for more in the future.

Will you come to the U.K. and play at some point?

I sure hope so. I love it there. Toured in London twice in the past with other artists and would love to come back soon. Especially would love to collaborate with some artists and producers in the U.K. - some of my favorite music is from there.

What advice would you give to new artists coming through?

Write from your heart. Work hard. Network with people in a genuine way. Develop a team of collaborators you trust to help you execute your vision. Never give up.

 IN THIS PHOTO: Yaeji/PHOTO CREDIT: Lydo L

Are there any new artists you recommend we check out?

Yaeji, Big Red Machine; Rush Davis and Jimmy Edgar.

IN THIS PHOTO: Big Red Machine

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

I do! I find, as I get older, it becomes more important and I get better at finding time away. I love to exercise or get outside as a way to take a break and stay healthy. I’m an avid reader; love getting to museums when I can and just going out to the bar with my wife is a fave activity. Spinning records at home, too!

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).

Alice Coltrane - Wisdom Eye

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Follow Aidan Carroll

Twitter:

https://twitter.com/aidanbcarroll

Instagram:

https://www.instagram.com/aidancarrollmusic/

Facebook:

https://www.facebook.com/aidancarrollmusic

YouTube:

https://www.youtube.com/channel/UCg43Z4UPRmGmAErC3Wdu33g

Spotify:

https://open.spotify.com/artist/3c22UUex8Kk4L0kxuG1cG0

PHOTOS:

Deneka Peniston

INTERVIEW: Devin Kennedy

INTERVIEW:

Devin Kennedy

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IT has been cool speaking with Devin Kennedy…

about his latest track, Bad Habit. He discusses his musical start and studying at Berklee College of Music; which albums and artists are important to him; whether there will be more material coming later in the year – he recommends some rising artists to get behind.

I ask Kennedy whether he has a favourite memory from his career so far; how he chills away from recording and performing; what advice he would give to artists coming through – he ends the interview with a Bruno Mars track.

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

Hello! I’m doing well; thanks for asking! My week’s been a little hectic, which seems to be a trend lately. I’m splitting my time between writing and producing for others and continuing a push for my solo music. It’s definitely keeping me busy. 

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

Absolutely. I’m an artist/producer from Los Angeles, born and raised. I’m addicted to the craft of Pop music. 

Bad Habit is your new track. Can you talk about its story and history?

I think love has the potential to be our worst habit. We tend to pawn our worst habits on to others that we spend time with. In a way, the love that connects us is the bad habit. I wrote and recorded the song in one day at my home studio in L.A. 

Might we see an E.P. or album coming later this year?

You’ll have to stay tuned on that one! For now, I’ll keep pushing some singles and, if they become part of a bigger release, my guess is that that’ll be in the first quarter of next year. 

You are a multi-instrumentalist. Do you recall when you picked up an instrument? Do you think your talents regarding instruments give you a lot more creative freedom and flexibility?

I do. I have vivid memories of getting my first drum set for Christmas when I was three. I also remember my dad taking me to get my first guitar - it was very hard to play because my hands were so small. Being able to play and communicate on drums, piano; guitar and bass help me tremendously. I’m all for getting whatever I hear in my head into the computer as fast as possible. 

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

At a very young age. My grandfather was an accomplished concert pianist and my dad is a film/T.V. producer/mastering engineer. I grew up in studios and playing instruments. When I was really young, I listened to whatever my dad listened to: Led Zeppelin, the Eagles, Kansas…etc. I love those bands and, as I grew a little older, my musical taste developed into loving bands like My Chemical Romance, All Time Low; Fall Out Boy…etc. 

How important was your time at Berklee College of Music?

The most important...

Berklee taught me how to have an open mind; to embrace high-quality music regardless of genre. I am not a producer, writer or an artist without my time there.  

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

By the end of 2018, I want to have some more music out and I want to get out on the road and start meeting some of the amazing folks who have been streaming my solo music all year. 

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

So many great memories. Last week, I had the pleasure of headlining The Peppermint Club and having some of my best friends open the show. We had a packed house and it was one of the most exciting nights of my music career thus far. 

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

Welcome to the Black Parade - My Chemical Romance

My favorite album ever. Emotional. Raised me. 

Continuum - John Mayer

Easy listening. Relaxing. My go-to. always. Have probably listened to this album over one-thousand times.  

24K Magic - Bruno Mars

A masterclass in production and songwriting. Showed me how to truly embrace Pop music. 

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

I would love to open for John Mayer. One of my al-time-favorite musicians.

I don’t even need a rider for that. I’d show up unpaid; I’d bring my own food. My only condition: gummy worms in my dressing room. 

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

Definitely. You’ll see some more West Coast dates pop up through the fall and then we’re hoping to head east and potentially add in some international dates in the first quarter of next year. 

What advice would you give to new artists coming through?

Be-open minded. Collaborate often and with as many people as possible. Serve the song, always. 

Are there any new artists you recommend we check out?

A R I Z O N A - one of my favorite bands 

The Habits - Friends of mine 

Brooke Williams - Very cool L.A.-based artist.

IN THIS PHOTO: Brooke Williams

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

These days, I don’t get much time away from music but that’s exactly how I want it. When I do get a moment, I love sitting down and listening to vinyl or playing something mindless like RollerCoaster Tycoon. 

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).

Throw on something funky. How about That’s What I Like - Bruno Mars

____________

Follow Devin Kennedy

Official:

https://www.devkennedymusic.com/

Twitter:

https://twitter.com/devkennedymusic

Instagram:

https://www.instagram.com/devkennedymusic/

Facebook:

https://www.facebook.com/devkennedymusic

YouTube:

https://www.youtube.com/channel/UCVtLo_ZXl1l8NGyy0e-k6OQ

SoundCloud:

https://soundcloud.com/devkennedymusic

INTERVIEW: KING

INTERVIEW:

 KING

___________

THE terrific KING has been talking with me…

about her new single, Mango, and its unique origins. I ask whether there is more material coming our way and, as a Danish artist, what the scene is like in Denmark; which rising artists we need to check out; if there are going to be tour dates – she shares a treasured memory from her time in music.

I was eager to discover how much came into her life and, as a dancer, whether she brings that experience and movement into her videos; whether she gets chance to chill and unwind – KING provides advice to artists coming through.

__________

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

Hi, there. I've been well, thanks! I’m currently in sessions; always grinding…!

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

I’ve been putting out music since 2016. I started releasing stuff via SoundCloud. I was recording with producers in Copenhagen first, then I was in Oakland California with some old-school Hip-Hop dudes and then I ended up with a creative bunch in Stockholm. My first ‘properly’ released track, Promise, was recorded in Stockholm and then I flew to Cuba to shoot the video with an old friend of mine. He is white, so ended up spending a few hours with immigration there.

Mango is out now. Is there a story behind the song?

So many things I could say about Mango; don't know where to start. Mango is Cuban slang for a ‘hot guy’. Sounds crazy, but I wanted to write a song surrounding a mango for a while and this spring it just hit me. It sort of just came to me in the studio when I was writing the song.

We were vibing heavily with each other, Crille and I (the producer), and we more or less jammed into it and the song started taking shape. We ended up bringing a couple of Copenhagen/Cuban guys in on piano, drums and all sorts of percussive stuff. We had a proper Caribbean vibe going on! 

I'm not gonna lie; this record was the hardest record I've made. Once we got the demo cut, it was a very tough process getting the record actually released. I fought a real battle with the label and producers to see it through but I triumphed ultimately, so it’s very dear to me. As far as the writing goes and studio flow, it was a smooth and beautiful process and I believe the song retains that vibe.

You are a dancer and choreographer. Do you think it is important to bring a lot of movement to your music and videos?

I sort of automatically think in movement and rhythm and I can even think out specific movements and visual cuts as I write songs. I intertwine with it I guess….

We flew to Barcelona to shoot this video; most of it is filmed in Saint Cugat. I really love that town and I wanted to film there with friends. It felt so special to do the video there. So, basically, everyone in the video is friends. We brought the whole cast in for the last scene in my video.

Might we see more music coming along before the end of the year?

I’m in the studio in Los Angeles throughout September. I try to do different things and challenge myself and everyone around me, so you could pretty much expect anything from me. So be ready.

Do you recall when music came into your life? Do you recall the first record you bought?

Listening to Marc Anthony, Niña Pastori; Backstreet Boys, Britney Spears; Robyn, Lil John and Chingy to name a few. I think all of the above has influenced my music. The first album I held in my hand was a Madonna C.D. First one I bought was the Kevin Lyttle single, Turn Me On.

Might we see more music coming along before the end of the year?

Yes. Working on my follow-up to Mango as we speak. It will probably be way different than Mango….we’re playing around tons of super-sh*tty lo-fi Electro synthy stuff. Sounds real Germany. Hahaha.

You are a Danish artist. Is there a strong music scene there?

There are sooo many new artists and can’t even keep up. But, I would have to say that the producer Snavs is my favourite. I also work with him and we just released a track on his new album, SS18.

What do you hope to achieve in 2019?

My debut album will be out in the spring! And I hope for world peace!

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

I played a college festival this summer. That crowd was so great. It felt like the summer of '67 in there. It was all love and good vibes. Incredible…

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

I would definitely have opened for Michael Jackson and Aretha Franklin. I heard she hated air conditioning, so I can relate.

Put MINIMUM twenty-six degrees Celsius in my rider! With Michael, I would have asked for a complete replica of his silver glove at that show.

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

I will be in the studio for pretty the remainder of this year. Working on my debut album - which will be out in the spring of '19. So, I hope to tour heavily surrounding that release!

What advice would you give to new artists coming through?

Oh, man - too soon for me to give advice to anyone. Stay true to yourself, I guess. That’s the only way…

IN THIS PHOTO: Yoshi Flower

Are there any new artists you recommend we check out?

I’ve been a big fan of Yoshi Flower since his first demo. He’s this Detroit kid that’s got this Hip-Hop, rockin’ vibe with a very authentic sound going on. Mavi Phoenix is also awesome. I think she’s from Austria…

IN THIS PHOTO: Mavi Phoenix/PHOTO CREDIT: Lukas Gansterer

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

With music - and I choreograph pretty much everything.

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).

Put Yoshi Flower on please! Brown Paper Bag….

____________

Follow KING

Twitter:

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INTERVIEW: SAHARAS

INTERVIEW:

SAHARAS

___________

THE guys of SAHARAS…

have been telling me about their new single, Shake My Fever, and what it is all about. I was eager to learn how they met and how music came into their life; what they have planned going forward and a couple of rising artists we need to get involved with.

The band reveal their favourite albums and tell me how it feels being on stage together; whether they get time to unwind away from music; what they hope to accomplish before the year is through – the chaps each pick a song to end the interview with.

__________

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

Hello! We’re all good, cheers. Recovering from Reading Festival but we’re very excited about the release of our new single this Friday. We’re also looking forward to a show we’re playing this Saturday over at the Trinity in Harrow.

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

We’re SAHARAS; a four-piece Alt/Rock band with added synthesised pulses and textures out of Windsor, U.K. The band is made up of Nando (Lead Vocals and Guitar), Dan (Drums); Matt (Bass) and Alex on guitar and backing vocals.

How did SAHARAS form? When did you all meet?

We’ve known each other since primary-school and have always shared a mutual love for music whilst growing up listening to the same bands. In early-2014, we decided to start writing music together and here we are! Still going strong and enjoying it as much as we did back then.

Alex is Dan’s younger brother and he’s been around supporting the band since we started out; whether it’s been going to near enough all of our gigs or putting together the video for our track, Mirrored. It was definitely natural to implement Alex into the line-up sooner rather than later and we’re proper-buzzing to have him on board – the four-leaf clover is complete!

Shake My Fever is your new single. Can you reveal the story behind the song?

In terms of inspiration, the lyrics are centred around having someone new coming into your life and shaking things up in a euphoric and lustful way – to the point where you doubt whether it’s too good to be true in comparison to previous experiences. Overall, it’s a light-hearted and upbeat song which is quite different to what we normally tend to write about.

It follows on from Sweat. Will there be more material coming next year?

We’ve put the majority of our time and focus into writing new material over the last couple of months and have got some demos to show for it - and we’ll be testing the songs live over the course of our next few gigs. We’re definitely looking to keep progressing and to release new music by early next year, latest! We really enjoy recording.

How did music come into your lives? Which artists were you fans of growing up?

The beginnings of our love for music coincided with the beginning of secondary-school, around 2005/2006. Debuts from Arctic Monkeys, The Kooks and Bloc Party helped pave our way toward a particular ‘taste’ in music and led us to explore influencers of these bands such as The Strokes, The Cribs etc. Alex would listen to Dan’s records and this lead to his similar tastes also!

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

First and foremost, we just want our music to reach a broader audience and we’re hoping that the new single will help us do so. Additionally, we want to keep playing the live circuits and branch out further afield. Ultimately, we’re aiming to expand our fanbase!

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

Hearing everything coming together in the studio recording our very first single was a very special memory that we have and always will. Every time we have returned since that feeling returned and has seemed to have grown; long may that continue! Aside from that, listening to one of our tracks getting played on BBC Introducing radio was definitely a highlight for us.

Which one album means the most to each of you would you say (and why)?

Matt: The album I would never skip or even shuffle would be Humbug - Arctic Monkeys

A ‘tricky’ third album which I would describe as their strongest. I loved the change of direction down a slightly darker path, whilst retaining everything I’d come to love about the band both lyrically and musically.

Nando: Mine has to be Given to the Wild by The Maccabees

This album inspired, and still inspires, my musical style in terms of guitar and the sound I aim for on a personal level. The guitar work is amazing on this record and it carries out a lot of reverb – something I can’t live without…Orlando is also a hero of mine.

Alex: This has to be one of the hardest questions for any musician to answer; however, right now, I have to lean towards My Love Is Cool by Wolf Alice

As a group, they’ve created something very special and pure in this album and I find it so easy to get lost in its dark and dreamy sound. Also, I have to mention Joff’s creative and unconventional approach to guitar playing; he’s definitely a massive inspiration towards my own development in music. Oh…and they’re wicked live too.

Dan: My favourite album has to be Total Life Forever by Foals

The album has always spoken to me artistically and stylistically, with Spanish Sahara being the single that influenced my musical direction growing up as a late-teen. From a drumming perspective, Jack’s style of drumming carries such a wide variety of speed and consistency and his technique is preserved throughout the album. This is something I’ve always hoped to achieve through my own drumming style.

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

We think we can all agree that it would have to be Foals. They are an immense inspiration to us, stylistically and musically.

As for the rider; we’re quite cheap so any beer would do (Matt prefers a lovely smooth ale). We’d also demand rum ham! If you know, you know…

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

You sure can! As it stands, we’re playing Notting Hill Arts Club for Turtle Tempo on 15th September supporting Leader. Following on from that, we’re playing a DPRK Records showcase for the Windsor Fringe on 3rd October.  Following this, we will be looking to play plenty more shows in and around London. You can keep up to date with our shows via our Facebook and Spotify!

Do you all love being on the stage? What is it like travelling between gigs and bonding with one another?

We love sharing the stage together. We treat it as a celebration of the time and dedication we put into writing our songs. It is very rewarding when you get a positive reaction from a crowd! Travelling between gigs is generally a cosy experience; transporting gear and ourselves around in a Fiesta and Polo (but you have to make do). We use our time travelling to gigs to share new songs we’ve discovered with one another. A good time is had by all.

What advice would you give to new artists coming through?

Keep writing new material, experiment; express yourself and, above all, enjoy what you are doing!

IN THIS PHOTO: FAERS

Are there any new artists you recommend we check out?

FAERS and Hot Dreams.

IN THIS PHOTO: Hot Dreams/PHOTO CREDIT: Benjamin Edward Simmons

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

Music is our way to unwind, but we also enjoy a good T.V. series: It’s Always Sunny in Philadelphia is a big favourite of ours. The pub is always on the cards too.

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

The Growlers - Late Bloomers

Sports – Panama

Phantogram - You Don’t Get Me High Anymore

Hot Dreams – Plungepool

____________

Follow SAHARAS

Twitter:

https://twitter.com/SAHARASuk

Instagram:

https://www.instagram.com/saharasuk/

Facebook:

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SoundCloud:

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YouTube:

https://www.youtube.com/channel/UCPYEEhDdkG6NXefPjEu_vYw

INTERVIEW: Naomi Banks

INTERVIEW:

Naomi Banks

___________

I have been talking with Naomi Banks…

about her new single, Hourglass, and how it came together. She tells me whether it took a long time to cement and perfect her voice; whether there is going to be any future material coming; some albums that mean a lot to her – she recommends an artist we need to check out.

Banks tells me whether she gets time to relax outside of music; if there are going to be any tour dates coming up; what she wants to achieve before the end of the year – she reveals when music came into her life.

__________

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

Hello. I am very well, thank you. My week has been wonderful! 

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

Yes, indeed. I’m not quite sure of my genre; I guess it falls under ‘Neo-Jazz’. I trained as a Jazz musician so everything is heavily influenced by that but with modern production. 

 

Hourglass is your debut single. What is the story behind the song?

It is about a very close friend of mine who stopped speaking to me as he didn’t feel like I was there for him. I realised he was absolutely right and felt terrible when looking back at how much he did for me.

How does it feel having the single completed? Are you already looking ahead to other songs?

Yes. I was bored of this song two years before I released it. I’ve got so many (songs) and I’m excited about releasing them.

I especially love your voice. Do you have to work hard to create that tone/sound?

(Smiles). Yes, very hard. My mum was gutted when I said I wanted to be a singer as I really wasn’t anything special. Luckily, she is so she taught me everything I know. It took a long time to make my voice sound how I wanted it to.

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

Both my parents love music so I was surrounded by it my whole life. I loved The Carpenters and The Beautiful South more than anyone! 

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

I hope to have an E.P. released and perhaps a pet parrot…but I’m still doing my research.

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

I don’t think I could give you a single album I listen to regularly! But, my favourites have been Pink Floyd - Dark Side of the Moon; Caravan Palace (love all of their albums equally) and a few tracks from JAIN’s album, Zanaka. She has the most amazing music videos also!

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

Paloma Faith!

Well; I would like - if for every gig I do - someone leaves their favourite game or instructions for a game they like. Even if it is Hide and Seek.

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

Nothing is set at the moment but definitely doing something big in London before the end of the year. 

What advice would you give to new artists coming through?

I don’t think I’m in a position to give advice to people but maybe remember that there is no formula. Don’t get demoralised!

IN THIS PHOTO: Tom Bailey

Are there any new artists you recommend we check out?

I’ve just discovered a guy called Tom Bailey. Loving his music.

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

I certainly do. I live on a boat and I longboard a lot. 

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).

Laputa - Hiatus Kaiyote

____________

Follow Naomi Banks

Official:

https://naomibanksinfo.wixsite.com/naomibanks

Twitter:

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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

__________

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

__________

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

___________

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.

__________

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

____________

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.

__________

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

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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

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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.

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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

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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.

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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).

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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