INTERVIEW: Jaki Nelson

INTERVIEW:

Jaki Nelson

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THERE are few artists who have had such…

an interesting and eventful rise to prominence. I have been speaking with Jaki Nelson about her path to music and her musical origins. She talks with me about her latest cut, Dancing with Strangers, and its story; which albums are most important to her – I ask whether there are tour dates coming up.

Nelson tells me what it was like coming out to her parents whilst on stage; how Nicolette Sheridan has impacted her life; some rising artists we need to get behind – she ends the interview with a cool song selection.

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

My week has been crazy! I played two shows in two different cities this weekend. I had my first major wardrobe malfunction and thank God it wasn't as bad as it could've been. It's been quite the week.

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

(*Awkwardly stands*) Hi, my name is Jaki Nelson and I’m a bisexual top-ten, three-time Billboard Dance music artist.

Dancing with Strangers is your new single. What is the story behind the song?

Dancing with Strangers is the story everyone has been through (or will) at some point. It’s that period after a breakup when you’re still mourning your relationship but you’ve decided to turn that grief into something a lot more fun and a little less healthy - drinking and ‘dancing’ with strangers. It’s an exciting time because the song is #30, and climbing, on the Billboard Dance Club Songs chart.

Might there be more material this or next year? What are you working on right now?

Yeah. I have another couple of singles ready to go but it’s finding the right deal to put them out on. We almost had another song coming out right now but the deal wasn’t right.

Is it true a horse riding accident not only almost ended your life but led you to music?!

This is true. I was a show rider growing up. I was on a horse sometimes up to eight hours on a show day. Then, I had a bad accident: I was training a friend’s horse while she was out of town. To keep the story short, I went a little too hard on this horse and he didn’t like it. I ended up on the ground, world spinning; bleeding from my chin to my waist. The fall had ruptured my spleen, so I ended up having to get it removed.

I was stuck in the hospital barely capable of walking for about a week. Once I got out, I couldn’t run; walk up the stairs or do any physical activity for four months. I had been taking piano and voice lessons on and off for a few years at that point. It was the only thing I actually liked to do that I could still do, so I joined a band.

Nicolette Sheridan, I understand, is your ‘horse mum’. How did you two meet and what advice did she give you?!

I met Nicolette at the barn when I was nine-years-old. Nicolette and I would occasionally go on trail rides around Hidden Hills where the barn was located. That area of Los Angeles has the best trails. For my tenth birthday, I have a very vivid memory of her getting down on one knee with a chocolate cake she had baked for me and she sang Happy Birthday.

Then, she asked me to watch her new show which was airing that night. It was Desperate Housewives. I definitely should not have been watching that show at the age of ten.

I want to ask about the way you came out – on stage with your parents in attendance! Why choose that gig? What was your parents’ reaction?!

My parents don’t come to a lot of my shows. Most of my performances take place around or past midnight and my parents live most of the year in Florida; so they would effectively be staying up until 3 A.M. their time to see me. But, it was the biggest room I had ever played and my mom happened to be in town that night, so she decided to come.

The room happened to also be the biggest gay club night this side of the Mississippi River and artists like Lady Gaga have performed there. I had already recorded and was gearing up to release, Boys X Girls: my coming-out song. It seemed like the best way to do it.

My mom didn’t immediately react. I still don’t know if she knew what I was really saying. I went into the audience after the performance and all she said was “Great job, sweetie! I have a flight in four hours. Have a great night!”

We had a real conversation about it somewhere around a month later. Once we got through sorting out that “No, really; I’m super SUPER-bisexual; this is not just a reaction to that breakup (from Dancing with Strangers)” then she was supe-supportive and excited. Actually, she is also bisexual, so, her actual quote was “You’re just like Mommy!”

Your father toured with The Beach Boys! Has he been instrumental regarding advice and your career choice?

My father toured with The Beach Boys, Tanya Tucker; Leon Russell and many others. He has been a wealth of information for my entire life, from things that I really wanted to know all the way down to the things I definitely didn’t want to hear. He’s a singing drummer, so pitch and timing are VERY important to him (as they should be to any musician.).

For example, he knew that I didn’t want to hear about the timing I was practicing wrong on the piano; so he would casually walk over, turn on the metronome and walk away. As a teenager and a young adult, it’s been nice to always have a knowledgeable resource to turn to for advice on deals and such. I sometimes joke that I was “bred for this”.   

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

My earliest memory of having my own obsession with music was when my parents gave me a Walkman for Christmas (for the kids out there, a Walkman is a small mobile device that plays C.D.s). My first memory of having my own taste in music is when I would sneak into my sister's room and steal her copy of Britney Spears’ In the Zone album. I listened to that hundreds of times. I was probably eight.

I believe you went to school with Kylie Jenner! Do you still keep in touch? Did you know then she would become such a success?!

I did. My high-school had 7th and 8th graders on campus with us (terrible idea, by the way.). Kendall and Kylie were in 7th and 8th when I was a sophomore (I think?). We never really talked, but Kendall came to my high-school graduation party.

It was fairly obvious that they were going to do just fine in the world of entertainment. They were already pretty famous in 7th grade and it's not like their family doesn't know what they're doing in that area of things.

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

I hope to be hopping on a bigger artist’s tour - someone who is also working in and around the L.G.B.T. world. That would make my whole year. O.M.G.

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

SAN FRANCISCO PRIDE! I debuted my single, Dancing with Strangers, in front of half a million people, live, and people were so into it.

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

In the Zone - Britney Spears (explained above)

Closer - Josh Groban

I had been assigned to sing You Raise Me Up at my 5th grade graduation. After listening to that 200 times, I decided to listen to the rest of the C.D. A lot of it was in Italian, and it was such an emotional recording. I had no idea what he was talking about, but I learned every word. It was the first time that I realized that I had a musical interest in more than just pop music.

AM - Arctic Monkeys

I literally just realized right now that ‘AM’ stands for ‘Arctic Monkeys’. Anyway, it was the first album I ever heard that was absolutely perfect from top to bottom.

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

I would DIE to go on tour with Hayley Kiyoko…and I think the only stipulation I would include on my rider is that the dressing rooms would have to be smoke-free. I'm severely allergic to cigarette smoke.

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

I just did a whole bunch of them in California. I'll be doing Out on the Mountain on September 14 in Southern California. After that….well, follow me and see.

What advice would you give to new artists coming through?

Write music. No one is going to do it for you and, even if they do, it won't be as fun and it won't be as honest. Get to it.

 IN THIS PHOTO: Bobi Andonov

Are there any new artists you recommend we check out?

I just went to this showcase the other day that was absolutely mind-blowing. One that I was not expecting was Bobi Andonov. He's got an upper register that was so surprisingly incredible; it literally made me burst out in a giggle. I don't giggle. Charlotte Lawrence was also amazing. Same with Steph Jones. I left that event SO inspired. That right there is what music is supposed to do.

 IN THIS PHOTO: Charlotte Lawrence

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

I don't really, but I don't mind. Music is now and has always been my life. I got a boombox for my 10th birthday and stuck it in my bathroom, so I could listen to the radio in the shower. It’s still there. I have another boombox in my room. I play Classical piano when I want to unwind. I can't do anything productive without music to keep me focused.

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). 

Well; if you're up for reliving the worst heartbreak of your life, Water on the Bridge by Chelsea Cutler has been killing me for the last few weeks. If you're looking for something old-school-sexy, Sour Diesel by Zayn. And, if you want to feel great, check out Treat Myself by Meghan Trainor.

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Follow Jaki Nelson

Official:

https://www.jakinelson.com/

Twitter:

https://twitter.com/jakinelsonent

Facebook:

https://www.facebook.com/JakiNelsonEnt/

Instagram:

https://www.instagram.com/jakinelson/

YouTube:

https://www.youtube.com/channel/UC88qa-3kj1qvCG3qKmTzZ_Q

INTERVIEW: Rändi Fay

INTERVIEW:

Rändi Fay

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IT has been interesting discovering more about Rändi Fay…

and the video for her song, Supernatural. The songwriter talks about her start in music and how she had to give up her career as a veterinarian after a hand injury – Fay tells me about the music scene in Wisconsin and recommends some artists to look out for.

I was keen to know whether there are tour dates coming and what she hopes to achieve before the end of this year; a few records that are important to her; what sort of music she grew up around – Fay ends the interview by selecting a great track.

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

Hi! I’m amazing! I’ve had a great Labor Day weekend. Most of my family was up at my Door County, WI getaway and we did touristy stuff but also we are getting ready for my son’s wedding up in this area in two weeks. I’m also flying high off my release of Supernatural. We have so much to celebrate!

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

I am a vocalist and songwriter from Green Bay, WI (go, Pack, go!). Like most musicians, I have been making music forever but I waited until 2010 to begin my professional music career when an injury forced me to retire early from being a veterinarian. I will try any genre but am known for being a jazzy torch singer live. I have had four nominations for Jazz Artist of the Year in Wisconsin! My writing has really taken off while earning a Master’s certificate in Songwriting (2017) through the Berklee College of Music online program.

I work with amazing instrumentalists, co-writers; teachers and a fantastic producer, stretching my skills and challenging genre. I have recorded six C.D.s that are representative of my development as an artist, from Chill (Red Hot Chili Peppers) covers through jazzy/bluesy originals to my current work in this sort of earthy symphonic Pop. It has been quite a ride!

Supernatural is your new track. What is the story behind the song?

The inspiration behind Supernatural was the age-old controversy regarding what makes music ‘real’. A lot of musicians are down on some of the synthetic sounds used in music today. But, to me, music is what’s in the heart of the creator and in the ear of the listener. It’s music if it connects.

I wanted to write a song that could show this by layering two very ‘natural’ instruments; a bass (upright, fretless and electric) and my voice - and with some cool processing - to create a winding ‘supernatural’ duet. I had a willing player (Timothy Perkins), a willing co-writer; arranger and producer (Aaron Zinsmeister) and we went for it! After coming up with a groove and some basic melodic ideas, the rest was like was like sculpting a rose from buttercream frosting - so sweet!

The lyrics flowed in the same vein, creating a story of the surreal chemistry of love and desire and the intense magic of it when equally matched - like the bass and the voice -; no one-sided idol worship; a 'supernatural' relationship. The magic was key! Aaron and I etched our way through several lyric re-writes and two bouts of a terrible cold while recording on my part, but always coming up with something more precise and on target for the best version of the song!!

What was it like filming the music video? Might we see more material coming up?

Filming the video was a blast! We had a really sweaty day and rain was threatening, but all went as planned! I got up early and ran (Haha - wanting to sweat off a few last-minute pounds, I suppose!) to be ready for call at my home for hair and makeup at 7:30 A.M. We chose a last-minute dress change for Azure Hall (the gorgeous dancer) which producer Jocelyne Berumen had just found and it was brilliant! Honestly, the worst thing was my dress would pick up every drop of sweat or oil and show a mark. I was terrified to touch it.

We took a break in the middle of the day and later met Tim Perkins (the bassist) and Aaron Zinsmeister (co-writer and song producer) at a studio to film the indoor scenes against a ‘cyc’ screen, allowing that cool shadowless effect. We were done by six and eating Mexican food next door to celebrate by 6:30. Jocelyne was amazingly prepared and a complete doll to work with.

More material, coming up? Sure. We are already three songs into a fantastic album to be released next year!

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

This question will date me! Music has always been in my life. By four-years-old, I knew every song to Disney’s Mary Poppins. In fact, I thought I WAS Mary Poppins’ saying “spit spot” and rearranging the living room to look like an array of chimneys to Step in Time. I continued to learn every song from the early Disney movie: The Sound of Music to White Christmas to Jesus Christ Superstar.

I also loved the amazing Jazz crooners who were still a part of normal radio and T.V. play, like Frank Sinatra; Rosemary Clooney, Ella and the Rat Pack. I was crazy for A.M. radio (thanks to savvy older sisters!), with the fantastic vibe of the emerging Rock scene - the British Invasion! Herman's Hermits, The Animals; Clapton, The Beatles; The Moody Blues and Dusty Springfield - and that is all before I was ten. Haha. So much intense and creative music!

Is it true you almost became a veterinarian until you hurt your hand?!

I did become a veterinarian and practised for thirteen years until I hurt my hand. Following the first hand injury, I had four additional random injuries to my right hand or arm over the next seven years - yes, #accidentprone. I kept trying to return to veterinary practice then finally got the message! I have am still a klutz but my hands have been injury free since I became a professional musician. Now, my greatest fear has shifted from limb injuries to laryngitis!

Wisconsin is where you are based. Is there a good music scene there at the moment?

The music scene here is mixed. There are fantastic and extremely capable musicians, writers; performers and producers who are based in Northeast Wisconsin. You can make inspired music here. But, the live music scene is a challenge. I think that is true in many places these days. Many venues are not comfortable taking a chance on original music and there are some super, super cover bands around here - so, they seem to prefer the ‘sure thing’. I am just so grateful to those venues that have supported my music and to the fans that have come out to listen and make their efforts pay off!

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

Hmmmm…I am hoping to make good progress on writing my new project, Intuition. This is a studio project I am co-writing with producer Aaron Zinsmeister that is a concept album. The understory is about moving through fear and isolation to a place of courage and love - for your imperfect self and for an imperfect other.

Track titles include Mystified, Uncaged; Serenity, Rise with Me; Lone Wolf, Melancholia and, of course, Intuition. We are going for a ’Symphonic Pop’ sound – Disney-meets-Moody Blues-meets Evanescence; rich melodies and instrumentation, passionate lyrics; earthy grooves. It is a huge project and I love the challenge. I also would love to grow my email list. Please sign on! I can keep you posted on progress!

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

A favorite memory…I have so many of great memories from my involvement in music, some hilarious and some uplifting, as I have such an oddly diverse background. I will narrow the choices to a favorite gig moment...

We were a part of a showcase for nominees of the Wisconsin Area Music Industry’s annual awards: sort of the Wisconsin Grammys; raising funds for kids and music. We had a thirty-minute spot toward the end of the evening and my band just shot on stage and totally rocked. We were so tight. It was great to be playing together, making money for kids and enjoying the evening with others who were celebrating our nominations.

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

Only three? Oh boy. These are today’s choices!

The Beatles - Abbey Road

A miracle of variety, sounds and stories; each so individual and yet so memorable with ambitious instrumentation and that Beatles thread of consistency. You can recognize the fingerprint of each of the guys as they each were ready to take off on their own while working on this one final collaboration without knowing it. NO fear of pleasing their audience with being predicable either. I admire that!

Linda Ronstadt - Simple Dreams

Linda Ronstadt had an amazing voice and an amazing ability to cross genre and do it in a chart-topping fashion. Without me realizing it, I am quite certain she is one of the reasons I have felt it possible to sing in many different styles; to continue to hone different techniques and to believe it is possible to do that. This album pulls songs from Buddy Holly, Roy Orbison; Warren Zevon, Mick Jagger and Keith Richards; a fantastic variety of writers, songs; renditions and a single singer.

Eva Cassidy – Songbird

What a voice Eva Cassidy had - and such a short life! This C.D. is so haunting in that it is so simple, so sincere and so beautiful. Eva Cassidy was a cover artist who she gave her renditions an intimacy that came through in her recordings and transcends her early death. I would have LOVED to see her live, using both pronunciations and meanings of that term.

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

I would have a hard time choosing an artist. I am a huge fan of Classic Rock artist, and most of the musicians I have been passionate about are sort of winding downing doing their own thing. I know a ton of hard-working local and regional musicians who just rock! I love their originality, their musicality and their work ethic. I would love to figure out a way to be sure songwriters get their credits and that live music pays better wages so that all of these incredibly talented struggling artists are supported in the industry!

And, my own rider…being on my own for so long, I can’t imagine anyone ‘taking care’ of me in that way. Hmmm. My dogs backstage would be a blast; Diet Coke and ice; fresh flowers? And no T.V. Take my phone away too! Privacy, a masseuse and a hair and makeup artist? Now, that would be fun!

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

After the release of Supernatural, I have chosen to take a break from live performance. I have been progressively creating music in the studio which I am not able to play live with my existing instrumentation. My band is amazing and we have been doing fantastic acoustic ‘covers’ of my recent work.

But, this new project is completely crazy and I have to get into it completely to be sure it is the best it can be as created in the studio and then figure out how to share my new music live. I will still be doing some feature vocalist work for fundraisers and private events! And there is a side of me that would love to do some cover work - some straight, big band music or maybe Classic Rock? Hah. I still cannot decide on one genre!

What advice would you give to new artists coming through?

Experiment, play; learn, be open to new experiences and constructive criticism of those who are successful in the industry! There is a craft to be honed in creating music and you will find so many ways to better communicate your message. Honestly, never give up learning. Your music will be better for it!

 PHOTO CREDIT: Ali Henderson

Are there any new artists you recommend we check out?

7000apart, Spencer Jones; Ali Henderson, Caroline Dare and Jackson Mankowski.

 IN THIS PHOTO: Caroline Dare

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

I am a little compulsive, but I do love to chill…sort of intensely! Haha. I run, hike; ski, read; garden, bake; hang with my family; my grandkids, dear friends; my dogs and kitties…

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).

The Moody Blues - Nights in White Satin

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Follow Rändi Fay

Official:

http://randifay.com/

Facebook:

https://www.facebook.com/randifaymusic/

Instagram:

https://www.instagram.com/randifaymusic/

YouTube:

https://www.youtube.com/channel/UCdlbOvKMMVJtp3ZQrpfKwww

Spotify:

https://open.spotify.com/artist/6z2K3i2pOzxqutBtq1aJwI

BOTANICAL GARDENS PHOTOS:

CyclopsGirl

FEATURE: Everybody Hurts: The Importance of World Suicide Prevention Day

FEATURE:

 

 

Everybody Hurts

ALL PHOTOS (unless credited otherwise): Unsplash 

The Importance of World Suicide Prevention Day

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THAT headline…

 IMAGE CREDIT: Getty Images

might seem flippant to some but, when it comes to mental-health, I think we all have to ensure pain and anxiety. It is not an exaggeration to see every one of us with experience some form of depression or stress at some point in our lives. It need not be clinical or prolonged; maybe a bad period or a slump in their lives. There are so many cockamamie days that are marked through the year. Most of these are novelty days celebrating something irrelevant and whimsical. Days like today (World Suicide Prevention Day), when talk openly about suicide and reducing the numbers, resonates with all of us. Whilst we might not have experienced suicidality or known anyone who has committed suicide; we all know how severe the mental-health crisis and how hard it is to talk. In terms of music, I feel mental illness is especially pronounced and recognisable. Maybe it is because artists can express their depression through songs – there are many that do not feel comfortable opening up and are a little insecure about being that revealing. I get that and know, when I hear genuine pain come through in a song, there is catharsis but it is not a cure. I have known people who have considered suicide and certainly know famous musicians who have taken their own lives. Recent suicides like that of Soundgarden lead Chris Cornell (last year) hit me especially hard.

A lot of the time, we are not truly aware of the pain and darkness inside the hearts of musicians who, to the casual observer, seems fine and relaxed. There is a marked contrast between an artist on the stage and in the studio compared to who they are behind closed doors. I speak to so many artists and there is this definite split between those who have mental-health issues and want to keep it private and those who want to bring it to the open. Both are valid stances but I am always shocked how widespread and severe the issue is. Maybe we are less connected and human as a species what with the Internet and busy lives. If anything, in a way, it seems lonelier knowing many others have the same illness as you – like it is seen as common and you will be another face in the crowd. For me, creativity is an outlet of sorts but it is a solitary and busy life that can get you into a dangerous cycle (not being able to turn off and shut down). So many musicians cannot sleep because of anxiety and irregular working hours; many are stressed with the pressures of being a successful artist; others find the general energy needed to maintain a career takes a lot from their brains and bodies.

Looking at this website and #talkingsuicide; it seems 130 broadcasters, journalists; politicians, authors and popular figures have lent their name to a letter which is calling on producers to change how we talk about mental-health. Everyone from Fearne Cotton to Ian Rankin OBE has signed the letter and I wanted to quote a snippet:

“There is a huge job to be done to educate the public: to tackle taboos; to break down stereotypes; to report and comment on suicide in a responsible manner. We hope that you will play your part. We are not trying to censor media reporting – rather we are striving to encourage safer reporting. Samaritans and Mind offer free advice sessions to media outlets, covering safe and informative reporting of suicide and mental health.

Suicide is preventable; we can dramatically reduce the number of people who take their own lives. There is a body of research known as the ‘Papageno effect’ which shows that responsible stories, such as hopeful journeys of recovery, can help to highlight the importance of seeking help and can support efforts to reduce suicide. The language we all use to describe suicide can help or hinder this goal”.

The figures are out there and we can see the seriousness of suicides and how many people are affected. The suicides in men have hit a new low – fewer than there have been since 1981 I believe.

IN THIS PHOTO: Broadcaster, D.J. and journalist Fearne Cotton is one of the public figures who has signed the Talking Suicide letter calling for change in the media/PHOTO CREDIT: Getty Images/Rex

This is good news and leads me to believe education and openness are helping the plight. Nearly six-thousand suicides were reported last year and that accounted for 10.1 deaths per 100,000 people of the population. It may sound rather minor but that is still a huge figure. Great charities like MIND and The Samaritans are great charities and offer round-the-clock support and advice. The NHS provides a helpline and advice and there is that comfort there. It is also, as this article explains, worth dropping the word ‘commit’ when talking about suicide - adjusting our language when reporting. It is good to know there are people who can help but how often do we see mental illness seriously addressed on T.V. and in music? I will come to music in a bit but there are few documentaries, dramas and series that look at those who suffer mental-health issues and even fewer that look at suicide. This is why the letter that has been signed can lead to change and discussion. I know it is not nice seeing mentally ill people suffer or something as dark as suicide being discussed and televised but it is a way of raising awareness and instigating international discussion. Fundraisers, the major ones, we see on T.V. raise money for children and to fight cancer – where are those benefits for those with mental-health issues?! There may be smaller events but nothing that gets onto the T.V. Considering how widespread the mental-health issue is and the fact we all have some experience; why are we not allowing a national fundraiser to help those who struggle?!

I feel there is that taboo and stigma attached to mental illness. We can sympathise with someone who has a physical illness and it is not their fault. Many feel those who are mentally unwell can snap out of it and, as there are no physical scars, there is nothing wrong! The problem is this: there are scars! There are scars and tears and bruises and injuries. There are those with addictions and others who regularly contemplate suicide. It may not be visible to you but it is definitely visible to them! I am hopeful we can see more discussion in Parliament and T.V./film producers will do their part. There are some great campaigners out there and, in fact, mental-health is feeding more into music. In fact, there are mainstream Pop artists who document their anxieties and depressed feelings through song. This may sound like commercial jeopardy but it is a way of connecting with a predominantly young audience who go through the same things. I know it takes more than words and slogans to cure someone or talk them out of suicide but there is a lot of power knowing a big artist and a famous musician feels the same as we do. It a leveller and reality check that shows that, when you take everything into consideration, there are very few differences between musicians and their fans. Bands like IDLES, on their recent album, Joy as an Act of Resistance, have tackled mental-health and toxic masculinity. They are a tough and manly band but are sensitive and unafraid of exploring emotions, mental illness and suicide in their music. One of the reasons that album is doing so well and gained huge acclaim is because of their willingness to tackle these big subjects.

There is a lot of addiction and struggle in the music industry. The pressure and strain can lead many to self-destruct or close-off. Many take their own lives or can cause premature death through addiction. The toll is being felt but, with support and positive conversation we can see some real progression. We will never see the end of all suicides – some people do not want to be saved and their problems are too severe to be cured – but there are many who commit (I apologise for using the word but I know we need to stop seing suicide as sinful!) suicide because they feel ignored and misunderstood. Bullying on social media makes the issue worse; there are those who troll and abuse those who reveal their mental illness. Days like today, where we look to prevent and reduce suicide rates, are vital in order to get the ball rolling. Musicians are a powerful sector of society and the more that come out and tell their stories; maybe that will reach those desperate and in pain and give them cause to resist that voice that leads them to darkness. Suicide was a crime until 1961 – not sure what the genius logical behind that was?! – and it is considered a sin. If we tell people suicide is immoral and a sin; how are they ever going to oxidise their burden?! The media holds a lot of influence and needs to channel more energy and money discussing suicide and its severity.

I know how many musicians go through serious mental-health problems and how many, on a regular basis, talk about suicide. It is alarming and worrying to see and you feel helpless being sat at a screen – not knowing where they are and how to actually reach them. It is that intangible and digital façade of the Internet which can create a barrier and a sense of loneliness. I talk with a lot of musicians online but rarely meet them or actually see them. More forums and meetings need to be established; setting up dates and events so those who think about suicide can talk with one another and work on finding a solution. It is a long road but we are seeing changes. Artists, new and established, are talking about mental-health and suicide in music and that is reaching a huge audience. The stigma is being lifted – not that there ever was one! – and that helps a lot. It can be hard, if you are that low, accepting there is a way through and a chance of positivity. World Suicide Prevention Day is almost over but its cause and objectives are being felt, remembered and preserved. Many of us go through mental-health issues and that is as evident as anywhere in music. The format has a lot of power to make real change and to get people talking. The R.E.M. song said that everybody hurts and it pays to hold on. That may seem trite and impersonal but it is very true. Bringing something like suicide to the surface can go a long way and is a brave step. For anyone in that position and unsure how to go on; contact one of those mental-health charities or speak to the NHS. It may seem tough to do but being brave and making that decision might be the very best…

YOU will ever make.  

FEATURE: "Do You Kiss Your Mother with That Mouth?!" Can We Ever Be Rid of Sexist and Misogynistic Ideologies in Music?

FEATURE:

 

 

"Do You Kiss Your Mother with That Mouth?!"

IMAGE CREDIT: Alice Skinner for The Dots

Can We Ever Be Rid of Sexist and Misogynistic Ideologies in Music?

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MAYBE things have become cleaner and less explicit…

IMAGE CREDIT: Getty Images/Rex

in relation to decades-past, but I wonder whether music will ever get rid of sexist and offensive language. Artists like Eminem, even in 2018, are employing homophobic terms and language in his songs. Whether he wants to shock or is not willing to listen to anyone else; I feel he needs to change what he does and consider how his words will be received. It may seem funny to some people but I feel homophobia is still rearing its head in genres like Rap and Hip-Hop. Many might say that sexism and offensive language against women is still common in these areas of music. Sexism and misogyny are not new in the world of music. Artists like The Rolling Stones, on Under My Thumb, have used their lyrics to project women as submissive and inferior. Whether that ties in with the groupie culture and the ‘power’ bands had – women and girls at their mercy and keen to get close to their favourite musicians – I am not sure but you can look back at the history of popular music and there are plenty of examples of sexist and misogynistic songs. I will bring some of those in but I feel, even today, we have not completely got rid of that fetid and rather worrying side of music. Whether it is a Pop artist referring to a woman as a ‘bitch’ or ‘slag’ or the sort of explicit lyrics you can often hear from male artists – is it something we need to crack down on?!

In terms of swearing, it is allowed in music but it does not make its way to radio. Bad language is edited and does not reach the ears of many younger listeners but you cannot say the same for misogyny and sexism. Rap and Hip-Hop are not the only culprits. There are a lot of male performers who see women as their submissive underlings and objects they can control and, so long as they have money in their pocket, they can do what they want to them! Perhaps we do not have as many cases of explicit and worrying misogyny in music; a kind of sexism that was more evident decades back but, more and more, I am hearing male artists either objectifying women and reducing them to their appearance or acting like they are an ancient king – giving them free license to pillage and behave in an appalling way. It is a cockiness and arrogance that is beginning to wane but I wonder, in 2018, should we have to look through music and eviscerate artists who are guilty of such faults?! There are young listeners who will aimlessly sing along to something offensive where a woman is being demeaned and degraded – they might not know what they are singing along to or feel like it is a normal part of society. Artists like Robin Thicke and Kanye West have been accused of sexism before and, whilst the latter has cleaned up his music a bit and is starting to show maturity, there is still too much casual sexism crude imagery in genres such as Hip-Hop and Rap.

Even in Pop videos, where you will see a female in tight underwear and made to gyrate; I wonder what this says about music and how women are portrayed. Of course, many might say there is a fine line between art and offence: if a woman is comfortable doing it and it gets people talking then what is the harm?! I agree with many female artists when they are challenged about wearing little clothing and provocatively showing their bodies, that they are showing empowerment and confidence. They are not asking men to leer at them and using videos as a way of selling sex. The nature of body image and fat-shaming has come into the media the past couple of weeks. It never really seems to go away and I am concerned about how women are seen and viewed in the media and music; whether they have a ‘role’ to play and be more subservient and tame. This article looked at an example of an older song where the language was sexist/misogynistic  and forwarded the clock to a more modern example:

“A quick backwards glance and it’s clear that the arena of popular music has never been a brave bastion of political correctness. Time was when threatening a woman with violence was tantamount to foreplay. Young Girl, a 1968 ditty by Gary Puckett & The Union Gap, includes the lines: “You’ve led me to believe/ You’re old enough/To give me love… Get out of here/Before I have the time/To change my mind… Better run girl”. It’s got Yewtree all over it. Brown Sugar, The Rolling Stones’ seminal 1971 hit, is about African slave women being raped in the American Deep South. Tap your feet to that one”.

“…And what do we have today? Kanye West has been vilified for his 2013 album Yeezus, which had some sparkling imagery (“Eatin’ Asian p**sy, all I need was sweet and sour sauce”), Jay Z and Beyoncé had their hands slapped for seemingly glorifying domestic violence in Drunk In Love (Jay Z raps about Ike Turner forcing his then-wife Tina to eat cake) and then we have Robin Thicke telling us all how much we want it, while slime-ing around a studio set with three naked women, all at least a decade younger than Thicke”.

Look at some of the most-watched Pop, Rap and Hip-Hop videos and you will see a lot of cases where women – either as the lead or an extra – is dressed in little clothing and the male artist gyrates and controls her. Again, one can say there is a fine line between sex selling/salaciousness and misogyny. It is fine if the intent is good and there is general consent and harmony. In a lot of cases, these videos are reflecting lyrics that employ horrifying and sexist language; the images that tumble out would feel more at home in the 1950s! Sex has always been a part of music (and art in general) and we need to distinguish between crude and casual sexism and language that is valid and okay. Whilst it is okay to hear flirtation and seduction in lyrics, I argue against those artists who feel it is okay to demine and degrade women; a rather brutal and sick set of lines that make you wince. The article I have just quoted talks about parental guidance stickers that used to appear on C.D. warning of adult language and adult themes.

There is still a bit of competition in certain corners where artists go out of their way to outdo their peers and be more offensive. The sense that crudeness and being sexist makes them popular and edgy is something that needs eradicating. I have mentioned artists like Eminem, who is noted for his misogyny and sexism, and these big artists are influencing others and, more worryingly, those listening. Young listeners might parrot those words to girls/women and feel like that is what they are supposed to do.

“And while we may not be fully processing the words coming out of a pop star’s mouth, the next generation are. These lyrics, lurking beneath a catchy beat, teach teens that abuse of women is acceptable and girls that it is the norm to be objectified, so intrinsically woven are those messages into mainstream pop culture. So next time you find yourself singing along to the radio, it’s worth remembering these songs are, in their extremity, striking a chord with developing minds. Suddenly, it makes that poppy hook just a little less catchy”.

I know most male artists are fine and not guilty of stepping into this rather dark territory. One would imagine, with movements like #MeToo in force, they would take heed and realise there will be repercussions for treating women like meat. Maybe that is a problem: labels are not warning their artists and, so long as the song gets hits and streams, then you can say what you want!

Another article I found looked at one song, Devilman’s Drum and Bass Father, and how the author was hooked by the beats and tune but became worried by the lyrical content:

“From the first listen, all I gathered was Devilman ‘aint got no animals’ but he’s a ‘farmer’ and he ‘Don’t wear Gucci, Don’t wear Prada’. It wasn’t until I had listened to the song several times, that I discovered the grotesque and objectifying lyrics alluding to violent sexual abuse of women. One of Devil Man’s lyrics includes the lines, ‘When I have sex I like to push it in harder’ and ‘strangle the bitch with her I-Phone charger’. As if this brutal imagery wasn’t enough, the video, which now has over three million views on YouTube, features women, clearly heavily under the influence of drugs and alcohol, thrown around like pieces of meat”.

I listened to the song and instantly got what the writer was saying. He (Lawrence Gordon) argues that things are getting better and language is being watered down to an extent. Are we still letting too much of its through and not really concerned when an artist releases material that is filled with lewd images and disrespectful remarks aimed at women?

“What strikes me most about the sexist terms and phrases, so frequently used in music and consequently more prevalent in our everyday language, is the absence of equivalent abusive terms for men. Instead, in cases of inter-artist rivalry, the abuse hurtled at one another will involve curses directed at a competitor’s current or past intimate partners. Although, in twenty-first century music, women are unlikely to be named a ‘spinster’ or ‘harlot’, the same misogynistic values remain in language, with lexical choices such as ‘bitch’, ‘thot’ and ‘hoe’ being used to address and belittle women instead. This connotes to the ‘difference model’ in which Tannen describes men as using certain language to achieve and maintain high status. It could be suggested that male artists use particular lexical choices to describe and label women in order to be seen as more dominant, living up to the masculine stereotypes they hold dear”.

IN THIS PHOTO: Eminem (who often uses sexist and misogynistic language in his songs)/PHOTO CREDIT: Kevin Mazur/WireImage

Is the crude and casual misogyny that we hear in certain songs a way of selling the music and trying to become more commercial? Does the artist really support and believe in what they say or are they adopting a persona in order to push the envelope? This is not my consideration but others have asked this. Is Eminem, under the mantle of Slim Shady or Marshall Mathers (his real name is Marshall Mathers III) playing someone else and, therefore, fictionalising these lyrics? Does it make it acceptable for Eminem to use awful language and shocking images if he is playing a ‘character’? It is a hard debate in some senses but, in any case, young people will be listening to these words, intent and true or not, and repeating them through the school. The penultimate article I want to bring in looks a Weeknd song, Starboy, and how it takes you back:

 “…But if both women and men know that their favorite pop song contains rather crude lyrics and blatantly supports sexism, how are people being so supportive? For example, a feminist woman like myself still jams out to the newest song called, “Starboy,” by the Weeknd (also known as the “king of sexism meets steamy lyricism”) even while I am aware of the highly degrading remarks about women. One of the lyrics say, “Main b**** out your league too, ah / Side b**** out of your league too, ah” These lyrics are not even the considered to be the most “sexist” or “violent” lyrics.” Though I love to jam out with this song, I stop and catch myself wondering how these types of lyrics are considered to be “acceptable” to be released and listened to worldwide with very easy access to younger audiences”.

Many artists, female and male, have called for tighter restrictions and firmer actions against artists who write offensive and sexist songs. Nicki Minaj has spoken out against it and, in fact, you would struggle to find a female artist who finds the current state of music to be fair and clean. None of them wants to be objectified and most, you feel, have experienced misogyny and sexism during their careers. You feel songs that fuel the impression it is okay to be offensive to women is okay. Kim Deal (The Breeders, Pixies) has said misogyny is the backbone of the music industry and the business would not exist without it. This article brings together female fans who name the greatest (in a pejorative sense) sexists from music. There is this culture of denial that assumes the problem is being exaggerated and it is doing no harm. It is not only a problem in lyrics and music videos. Away from the studio, many women coming out and sharing their experiences with misogyny, sexism and sexual assault – either by a musician or a male figure within the music industry. It all comes down to a lack of respect and this feeling of being superior. This rather animalistic and disrespectful attitude to women, as Sarah Gidick wrote in this piece, is worrying:

“Denial and misogyny seem to plague this industry, where, at times, it feels like women simply aren’t welcome. According to the Annenberg Inclusion Initiative’s inaugural study, in 2017, female artists made up only 16.8 percent of the music industry. And nothing says “you’re not welcome” like lyrics (from some Grammy nominees, Childish Gambino, Travis Scott and Big Sean among them) calling women bitches, hoes, pussy, gold diggers and status symbols.

In 2011, Grammy-nominated Big Sean was arrested in Buffalo, New York, for third-degree sexual abuse, second-degree unlawful imprisonment and forcible touching of a 17-year-old. Cleared of sexual assault charges, the artist pleaded guilty to misdemeanor unlawful imprisonment of the 17-year-old fan. If he were anyone else, Big Sean would have been forever banned from teaching, flying an airplane or myriad other types of work for this charge. In the music industry, well, Big Sean is nominated for a Grammy this year”.

There are countless other articles that talk with female artists and lay out the obvious: whilst it might not be as rampant as years ago; sexism and misogyny are present and being cultivated in every crevice of music. I worry we will never be able to get away from this attitude where women are seen as game and receptive to incredibly juvenile, offensive and vile language. We can draw lines when it comes to female empowerment and confidence in videos and music but it is easy to detect obvious and unapologetic misogyny. Things are getting slightly better but we need to start sending messages to artists that their lyrics and behaviour is hugely damaging and is being absorbed by impressionable listeners. Rap and Hip-Hop are not the only guilty genres but it seems to be more prevalent here. Mainstream Pop is not immune and, from videos where the women are tied in bondage gear or pushed aside by the man; there are so many worrying and explicit images that are being commented on and shared by many out there. Some see it as okay and part of what sells the music. The thing is, you never get the opposite problem: how many women are abusing men in videos and sending out lyrics that reduce men to the level of lice?! There are some cases, for sure, but they are severely minor when compared to the men. Music needs to clean itself up and have a look at what is going out to the people. You can create memorable and popular songs without tossing around crude innuendos, blatant sexism and misogyny that would make Jim Davidson wince! The sooner we tackle those offenders and let it be known it will not be tolerated…

THE better it will be for everyone.

INTERVIEW: Coyote Choir

INTERVIEW:

Coyote Choir

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I have been chatting with Coyote Choir…

about their new song, Sing!, and how that came together. The guys tell me about their forthcoming album, Vol. 1, and the sort of things that will be included in terms of themes – they each select a favourite memory from their careers so far.

I ask what sort of music they are inspired by and which albums that would highlight as their favourite/are particularly special; if there are rising artists that we need to check out; whether there are going to be tour dates coming up – they provide some good advice for songwriters coming through.

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

It’s been a good week. We’ve released our first single from our first record called Vol. 1 that will be released in the near future (Nov. 2) and we’re planning for release dates to the concept lyric videos that we’ve been making over the past few weeks. We’ve also been writing new songs.

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

Paul and Jason Watkins. We’re blood brothers from OKC. Mathew Linton, I’m from the Pelican State. Jason plays rhythm acoustic guitar, keys and is the lead vocalist. Paul plays bass, plays keys and sings backing vocals. Mathew plays drums, acoustic guitar and sings backing vocals. We write the songs together and try to keep everything plain and simple during the days of creating. We’re grateful for the opportunity to make music together.

How did Coyote Choir get together? Was it quite a long and tough road to where you are now?

We’ve known each other for roughly fifteen years now. The three of us were involved in different bands and playing music with different people before we started writing for Coyote Choir. We had a season a few years ago where we were writing a lot and Jason and Paul had the idea of giving these songs a home under the roof of a new band project and coming up with a name. Calling the band Coyote Choir presented itself to us one day while listening to a song by Rodney Crowell.

Is there a mantra or mission statement for the band?

We came up with the idea of trying to make something for somebody out there to “keep the heart high”. We started out writing songs imagining them pulling someone out of a tough spot, so to speak, but what was interesting about those first songs we were writing was that they were unveiling a way to help us in our personal lives too. In a strange way, we were being comforted whilst hoping to serve somebody with a song. We also like the idea of helping people to recall the good times they have had, even if they are in a season of blindness. Try to remember.

Sing! Is your new single. Can you reveal the story behind the song?

Sing! was one of the first songs we wrote for Vol. 1. We got the idea for the title because we realized that we were drinking a lot of coffee and one particular tea called ‘Sing’ from a company called High Garden in East Nashville. We flirted with the idea of calling a song Sing, but we were also thinking of someone close to us that lost the desire to use their talents/gifts in this particular season.

We liked the idea of someone beginning to open their eyes to the truth about a unique attribute they have and is a special part of who they are. There are things that other people see in you that are beautiful even when you have a hard time believing it. So, we were trying to encourage someone out there to take back the gift that lives inside you because, perhaps, when you use that gift it’s a gift to others too. It’s a new day, sing!

It is from your album, Vol. 1. What are the main themes that inspired the songs?

The theme of Vol. 1 is awaiting a personal resurrection. Not to dwell heavy on suffering, but I think all of us had our own season of uncertainty about our feelings towards music and then, out of nowhere, you feel your heart start to heal and become excited again. We have a common thread in a lot of areas of our friendship and we love making music together but I think what we really love is hoping that the music will work its way in to comfort someone. We’re not interested in making songs that feel confusing and juvenile; it’s really a simple feeling we want to share with people. Loving others and remembering the good that was once had.

Have you all got a standout song from the album? Is there one that you hold dearest to the heart?

I think we enjoyed how every song turned out, in that we’re grateful for them. We probably have different songs speaking on different days but we have a song called Always There which is one that’s been on my mind lately. It’s really a straightforward song about a relationship that seems conflicted for reasons unknown but, even in the midst of separation, they are joined by the thread of love. One person may run and the other stays and waits for their return unconditionally. No grudges. No questions. It’s love taking them back in and love that’s always been there from the beginning.

Do you each remember the artists you followed growing up? Who do you rank as idols?

We share a common appeal towards music. We love all the music our parents and grandparents were listening to but we also try and discover new things as well. We love Elvis Presley, Eagles; Don Williams, ELO; Traveling Wilburys, Phil Collins; Garth Brooks, TRIO; Crocodile Dundee…so many people. It seems like Coyote Choir Vol. 1 is influenced by '70s singer-songwriters; '80s-era Pop music and '90s Country, all stirred in a cast iron pot seasoned with synths and ethereal sound. Through it all, with all the music we love, we’re hoping to not confuse the listener.

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

We’re looking forward to releasing Vol. 1 towards the end of the year (Nov. 2), and we’ll be recording our next batch of songs for the next album in October!

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

Mathew: One of my favorite memories regarding music is I had the opportunity to play the snare drum as a band mascot for Baker High School - beginning in 1991 through the time I started high school there. I am grateful for Ms. Heard, the director, for allowing me to play with the band but also how she showed us her love for symphonic music whenever she had the chance. She expressed a desire for symphonic music that was very moving.

Jason: My favorite memory from my time in music so far is a bittersweet one. Paul and I wrote a song called Boys’ Choir for our band, Clemency. We filmed a concept video for that song and recruited our good friend Kyle Nickel to play the main character. It’s a story of a son’s long journey home, returning to his father. We got to travel for several days with Kyle and our good friend and videographer, Joey Williams, through Oklahoma, Texas; New Mexico, and Colorado. The video turned out better than we could have ever hoped and the trip was one we’ll never forget. Shortly after that, Kyle became sick with a heart condition and passed away. At his funeral, the music video we got to make with him was played. It was heartbreaking and at the same time one of the most rich and meaningful moments I have ever had in music. Our time together, the video; the song, it all came together to celebrate his life in a way we never could have orchestrated. It was the most honored, humbled and proud I have ever felt making music.

Paul:  My wife Abbey and I had come across one of life’s obstacles that caused us a considerable amount of heartache. One that we hadn’t foreseen. We began to grow tired. We tried not to let it get us down but I’m sure that Jason and Mathew could see that we weren’t ourselves. I showed up late to a writing session one day and they played me a song that I knew they had written to us. It is a beautiful song of encouragement and hope that brings warmth every time I hear it. The song is the sixth track on Vol. 1 and is called I’ll Be Waiting Here.

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

Mathew: I’m not quite sure of the album that means the most to me but George Harrison’s All Things Must Pass has an album tone that can’t really be described. The songwriting; it’s soulful, it has longing and harmonically it’s rich in structure without being overly complicated. It’s an album with so much depth and feeling. I return to it quite often. Beautiful.

Jason: There are several records that mean a lot to me, but the one that stands out the most right now is the new Bon Iver record (22, A Million).  It is beautiful and sweeping, always calming; a soundtrack for life. It really lends itself to reflection and rejuvenation and is perfect for an evening drive. I still love it and can listen to the whole record from beginning to end.

Paul: This seems to be a nearly impossible task but I will go with my instincts. When I read the question, the first album that popped into my head was Bringing Down the Horse by The Wallflowers. It is a record that taught me to love music and song writing. It is one that I will never grow tired of spinning.

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

I think it would be fun to support Fleetwood Mac. Water and Chimes ginger chews sounds good!

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

We don’t have any shows scheduled at the moment and playing live is not out of the question. We’re enjoying living in this ‘creative camp’ that we’ve made for ourselves for this season. We like to stockpile our songs so we never run short. We’re inspired to write and record as much as possible and playing live does appeal to us - but it’s gotta be a specific time for that.

What advice would you give to new artists coming through?

Don’t throw in the towel when you’re down: try and stand up during the count. Honor your parents. Pray.

 IN THIS PHOTO: John Fulbright/PHOTO CREDIT: Vicki Farmer for The Independent

Are there any new artists you recommend we check out?

John Fullbright from Oklahoma; a band called Caveman from Brooklyn - and the last album that The Barr Brothers released we’ve been listening to.

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

I like to take walks for the state of mind and reading is something that I try and do as much as possible.

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).

Mathew: Bob Seger - Against the Wind

Jason: The Barr Brothers - Song That I Heard

Paul:  Rosanne Cash - Seven Year Ache

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Follow Coyote Choir

Official:

https://www.coyotechoir.co/

Facebook:

https://www.facebook.com/coyotechoir/

Twitter:

https://twitter.com/thecoyotechoir

Instagram:

https://www.instagram.com/coyotechoir/

SoundCloud:

https://soundcloud.com/coyotechoir

INTERVIEW: S.K. Wellington

INTERVIEW:

S.K. Wellington

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THE first interview of the week…

is with S.K. Wellington. I have been speaking with her about the new track, Moments Bliss, and what its story is. She reveals what we can expect from her upcoming E.P., Where the Earth Meets the Sea, and what it was like working with so many experienced musicians on the record.

Wellington highlights an artist to watch and tells me her favourite memory of her career so far; which three albums mean the most to her; when music came into her life and took over – she ends the interview by selecting a great cut.

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

Hey! I’m great. My week has actually been awesome. Just coming off of a string of shows in British Columbia to promote the new E.P.

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

I’m a singer/songwriter out of Calgary, AB. I led the band, The Wellington Folk, for about eight years and this year I transformed that band into more of a solo act under the name S.K. Wellington. My style is Indie/Folk/Rock.

 

Moments Bliss is your current single. What is the story behind the song?

I had experienced a real season of creative burnout and decided to take some serious time away from work and music. I spent a couple of months on Salt Spring Island. I was sitting in the public park in Ganges one day just fiddling on my guitar and really taking in my surroundings. I realized, in that moment, how free I felt; how much joy was returning to my soul. Just being present. No deadlines, no writing expectations; no work.

It was a really profound moment for me and the song just sort of started to form over the rest of my time on the island. The lyrics reflect that slow process of letting go of story, pressure and anxiety and just releasing expectation to be present. To me, that feeling of freedom and joy is what is worth fighting for.

It is from the E.P., Where the Earth Meets the Sea. Are there particular themes that inspired the songs?

All of the songs on this E.P. are documenting my experience on Salt Spring - my season of rest and reset. You’ll hear the sweetness of re-finding creative passion and also some of the intensity that came with learning to let go.

I believe there are some great and established musicians on the record. Was it cool working with so many eclectic people on Where the Earth Meets the Sea?

It was an amazing experience. It was the first studio album I’ve ever created with session musicians. Even going to a different city to record was a pretty immersive and new experience for me. It’s such an inspiring and beautiful thing to get people’s musical interpretations of your songs and to hear their signatures become a part of the project’s sound. Above all, though, they were all such great people to work with. Amazing talent; funny and kind to boot. We had a great time (at least I did!).

Do you recall when music came into your life? Which artists did you follow at a young age?

I always grew up around music. My grandma and mother both played the piano so I grew up listening to them play. When I was younger, I had a great Boyz II Men phase and then got really into Punk-Rock for some time. The first time I remember considering songwriting, however, was when I really started listening to some of my mum’s favourite music. I would just sit and intently listen all the way through James Taylor records and Tracy Chapman albums. I spent HOURS listening to Chicago. That’s when music really started to inspire me and become a bit more of an active interest/hobby.

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

I hope to enjoy the process of releasing these songs. They’re really vulnerable and I feel like I just want to enjoy the ride of sharing them with people. Trying to continue on in the actual spirit of the E.P. - no expectations, no stress. 

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

I have a few.

One of my absolute favourite music memories actually dates back to my first Wellington Folk release. I had the privilege of not only sharing the stage with my incredible bandmates, but also getting to play live with some other local talents. It was unreal to be playing my songs and experiencing such a FULL sound onstage. I remember feeling so humbled and in awe of the talent on stage. All playing songs I had written in my bedroom! Also, any recording experience is always a favourite for me

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

Fables - David Ramirez

I had been feeling really stale and uninspired in my listening when I found this album. I was blown away. I fell in love with his writing and style through that album. I don’t think he has one song that I don’t like.

Seeds - Hey Rosetta

I love this record. I was so pumped to discover a band that didn’t follow all of the normal ‘rules’ of music. I found I could relate to that aspect of the writing and really look up to Tim Baker as a writer.

Babel - Mumford & Sons

This was such a refreshing album to encounter when it came out. The strength of the lyrics - and to hear things like the banjo in a fresh way was really exciting.

*Bonus: Continuum - John Mayer. I love the way that guy plays guitar. I also never skip a track on that album, which is rare for me.

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

I’d want to learn to play the drums and support Hey Rosetta. Pretty far-fetched. I’m not a great drummer.

Will there be some tour dates coming up? Where might we be able to catch you play?

The E.P. release party is September 20th and then hoping to get East with the music soon as well.

Do you think you’ll come and play in the U.K. at all?

I’d absolutely love to. I have some dear friends from there and there are a lot of artists I love that would be neat to possibly connect with. It probably wouldn’t be until 2019 or 2020.

What advice would you give to new artists coming through?

Don’t feel the need to learn everything the hard way: connecting with some seasoned musicians and industry folks and asking questions can be an incredible resource when you’re just starting out. I’d also say to make sure to take care of yourself so that you continue to have the energy and space for your art.

IN THIS PHOTO: Wallis Bird/PHOTO CREDIT: Jens Oellermann

Are there any new artists you recommend we check out?

I was totally blown away at the Calgary Folk Festival this year by Wallis Bird. She’s definitely not a ‘new artist’, but she’s new to me! Her performance was unreal - her energy, musicianship and presence. I would definitely recommend checking her out.

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

I unwind by listening to music (can that count?); walking, spending time in nature and with my community. I also walk my dog 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).

Watching from a Distance - David Ramirez

Thanks so much for the opportunity to do this!

S.K.

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Follow S.K. Wellington

Official:

https://www.skwellington.com/

Facebook:

https://www.facebook.com/skwellingtonmusic/

Twitter:

https://twitter.com/SKWellingtune

Instagram:

https://www.instagram.com/s.k.wellingtonmusic/

SoundCloud:

https://soundcloud.com/skwellington

TRACK REVIEW: Billie Marten - Mice

TRACK REVIEW:

 

Billie Marten

Mice

9.7/10

The track, Mice, is available via:

https://www.youtube.com/watch?v=FXi5jVGwUu4

GENRE:

Folk

ORIGIN:

Yorkshire, U.K.

RELEASE DATE:

9th September, 2018

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THIS is going to be a 'shorter' (it's still quite chunky!) review than usual…

but one I felt I had to schedule in! There have been some fantastic and inspiring releases this year. I am still reeling from Anna Calvi’s Hunter and IDLES’ Joy as an Act of Resistance – two great albums that have just come out and left a huge impression on my mind! They are masterful works from two of our most special and talented acts. Paul Simon and Paul McCartney have released, last week, incredible albums and we get to see old masters and newer talents working alongside one another. It has been a great year for music and, with a few months left on the calendar, 2018 has thrown another gem into the treasure chest. I am one of Billie Marten’s biggest fans and was one of the first journalists to review her 2016 debut album, Writing of Blues and Yellows – for a now-defunct site called The Metropolist. I hope, when her new album is released, I can be one of the first to grab that and review it (it will be for Too Many Blogs this time). Aside from making a couple of silly judgements – I felt the tracks Emily and Green were weaker than the rest; the former, especially, is a masterpiece – I was blown away by this relatively fresh and untested talented. I also said, in that review, the album would be bettered by the young star but, in fact, its strengths and beauties are being revealed this far down the line. It is a record that continues to amaze and reveal hidden sides – a truly wonderful creation that has no weakness. I also compared Marten, when the album came out, to Kate Bush. Both released their debut albums as teenagers (Bush was a couple of years older than Marten) and both knock you sideways with their incredible voices. Both are impeccable and original lyricists and they both have few other bodies helping the music come together. Maybe the comparisons end there but it is exciting to see, forty years after Kate Bush arrived on the scene, another British teenager who looks certain to enjoy a very long and brilliant career.

Some commentators have puffed out their cheeks in relief that, after two years, Marten is back – it brings me back to Bush and, in 1980, when she came back with Never for Ever (after only two years away) it was as though she had gone missing and been rescued at sea! Nowadays, everyone wants music instantly and if an artist releases a successful record, they are expected to get straight back into the studio and follow it. Marten’s new material arrives after not so long a gap. Consider artists like London Grammar and Royal Blood who left longer pauses between their debut and sophomore records – neither have the same complexities and resonance as Marten – and it is really not that long at all! In any case, I felt she was about to release something and had a sense an album was on its way. Lo and behold, Mice has scuttled into the music world (it has been played live once or twice prior but it is new to most of us). One of my fears, following Writing of Blues and Yellows, was that Marten would drastically change her sound. At the end of 2016, critics scandalously omitted the album from their top-fifty (it was my favourite of the year) and many artists, wanting more commercial attention, would shift and compromise who they are to get ahead. The cover art/photos for Mice suggests a more mature, edgy and alluring artist – the cover sees Marten’s back, drops of water and goosebumps showing; her hair flowing and a sense of intrigue in the mind. Another promotional photo sees her in water, hair wet and a rather sullen look on her face. Those images are, at once, quite sensual, mysterious and grown-up. Consider the songwriter who adorned the cover of Writing of Blues and Yellows. It is a painting of Marten and shows her long hair showing, a focused look on her face and a sense of calm and beauty are evident. Match that against the new images and would we see a songwriter attacking Pop, Electro or a harder edge of Folk?! My heart was in my mouth – as her sound is perfect as it is – and, within the first few notes of Mice, it seemed like business as usual!

The two years since her debut album and now have seen Marten tour and play festivals. She has been writing and spending time taking stock; having a bit of a breather and studying. I am not sure whether the nineteen-year-old is balancing university with music but it seems, aside from a slightly different look in a couple of shots, she is the same woman we fell for back in 2016. Her Twitter account is filled with the same charming, kooky and humorous posts she beguiled us with back then – recent tweets include her snapping a rainbow and appearing standing by a tent at a festival with her thumb aloft. Her Instagram feed has the same photos and moments we’re used to. From snaps at her relatives or Marten hanging out and playing guitar; the multi-talented artist has not cut her hair, slapped on make-up and decided to reinvent herself as a mainstream Popstar-in-waiting. Pleasingly, it is her grounded and unique contours (not many teenage artists are so relatable and interesting) that go into her latest single. Writing of Blues and Yellows was released two years ago this month (23rd) and it seems like autumn is a season that suits Marten. That album had a crisp and autumnal feel; some slightly wintery and Christmas-ready songs in there – no surprise she would release her new material during the autumn. Although the sound and instant reaction are pleasingly familiar; there are changes and slight modifications. Writing of Blues and Yellows (aside from the song, Green) had fairly little percussion and, when it did appear, there was a sense of nimbleness and spring. Here, the percussion is more straight-forward and, in fact, sort of plays out of time with the guitar. The electric guitar has wooziness to it that suggests something a little confused, dizzy and in search of sanctuary...

It is a fascinating blend that marries the best electric moments of her debut album (Emily seems like the obvious example) and that reliable and spellbinding beauty that was rampant throughout the record. The guitar and percussion never stride too heavily and steal too much focus: they support the heroine as she talks about living her life all wrong; it seems that, lately, she is making unwise choices. Thematically, there is the same introspection and anxiety we found on Teeth and Lionhearted (from Writing of Blues and Yellows); the watery promotional image, in fact, makes me think of the doomed and submerged figure that was sung about in Bird. Before the first verse has been completed, Marten is mixing the old with the new. The production is beautifully clear and concise to allow the voice to shine up-front and sing loud (it is wonderfully clear; like her lips are right by the microphone) and you get caught in that odd wave of thudded and sparse percussion and twirling, staggering (in a physical way) guitar. Marten’s defining traits – her immaculate voice and deep, emotional lyrics – define Mice. If her single, Live, suggested a young woman ready to explore the world and see cities like Berlin; it seems, after returning and drinking in foreign waters, she is tasting the cold rain of England. Marten wrote Mice (or parts of it) during a miserable day in Cornwall (I wonder whether that is because of the weather or her mood at the time?) and recorded it in London with long-time collaborator, Rich Cooper. The songwriter felt, prior to writing it, she lacked purpose and felt empty. The lethargic and slumbered drums are the definition and embodiment of Marten’s weary shoulders and lacking smile. Maybe she has experienced bad relationships or struggled to find her place and feel connected with those around her. Whilst one sympathises with the heroine and forgives a musical frown (her debut album mixed anxiety and self-assessment with breezy and lighter songs like Hello Sunshine). Even when she is unpacking a clouded psyche and sense of alienation, it is the tenderness and crystal-clear elegance of her voice that buckles the knees.

The way she can elicit a sensual breath or hold a pure note to the heavens; go down to a more sullen key and then bring it back into poetic, balletic territory – if her personal life has been muddled and bad the last year, she has not lost her skillset and unique abilities! Marten’s smile is on the backseat and wall; she has separated the ones she loves and hates – she has said she saw people in black-and-white and was the anomaly in the middle – and is experiencing some spiritual depression. It is understandable for a successful teenage artist to feel uprooted and changed compared to the person who started to record the songs for Writing of Blues and Yellows. She has been exposed to big crowds and attention and had the task of following an album up that gained big critical respect. You can tell Marten is assessing a struggling time – one can imagine her sitting in the rain and having these lines going through her head – but knows there are positives to be found. “I can do…”, things that, as she attests “no human can do” and, whilst that is followed by confessions of a doubtful personality (judging herself and others) I get the sense the heroine realises her gifts and the fact she is a wonderful person. It is natural to doubt those around you, even often, and the songwriter seems to be too harsh on herself. If songs on her debut album, such as Heavy Weather and Hello Sunshine, brought you into the weather and exposed you to the elements; here, there is much more intimacy and closeness. You get the sense Marten is not outside but cloistered and contained in a safe space; maybe sitting in her room and watching nature go by. The title, Mice, is never really explained and that mysterious, oblique nature allows the listener to conspire. Does Marten see herself as a diminutive and vulnerable creature, susceptible to screams, fear and someone whacking her with a cricket bat?! Is she this fragile and lovable soul that is misunderstood or struggles to be heard? Is the title a reference to Three Blind Mice and an update to that rhyme? I feel like stature and vulnerability are at heart and, when looking at promotional photos of her in water and shivering, you know she is exposing her soul and bare bones.

The most affecting lyric in the song are the words “I’m tired”. Those words are delivered breathily and with a genuine sense of fatigue. The words hold and then fall; they seem to float and hold much more than two syllables – the heroine is trying to find her place and be happy but keeps making wrong steps and this is taking its toll on her body. Whilst there is a slew of younger female singer-songwriters who can wield a guitar and sing from the heart; there is nobody that comes close to what Billie Marten can do. For my money, her voice is richer and more beautiful than any out there. Her lyrics, not as poetic on Mice as, say, La Lune (the opening track from her debut album), are very direct and urgent. The Billie Marten who shed musical tears on Teeth is still looking for a hug and answers that will set her free. Coming back with a single that is more lyrically straight and direct is a good move. You can understand and empathise where she is coming from but there are still expressions that make me wonder. I am curious whether a breakup has changed her worldview or she is struggling to bond and understand her friends and family. Maybe success and critical pressure is creating a weight on her back or, simply, she is a young woman who is not quite where she wants to be right now. I imagine Marten as someone who could reside in a Parisian apartment with flowers by the window, paintings adorned throughout and a rather quaint yet historic-looking décor (a mixture of literature, bohemian touches and musical accoutrement). The teenager who wrote lines on a dead man’s bench in Cornwall, I feel, pines for European sun and art; an exploration and a sense of freedom. Elongating words and holding lines creates this gorgeous and spiritual thing. Pure emotion and naked confession are wrung from every line. Marten, as I glean from interviews and what I know of her, seems happiest when settled writing or with a book; some great John Martyn or Jeff Buckley vinyl close at hand and that sense that she is in her natural environment.

If some things have not changed since 2016, it is clear Marten herself has encountered transformation and new challenges. Mice might be a red herring in regards to her new album – we have no release date or title but Marten says it is ready and finished – but I feel we will get the same blend we saw in Writing of Blues and Yellows. Expect a woman wrestling with personal doubts and looking to find romance, happiness and new lands. There will be, I assume, songs about her mind and personal life; tales of ill-fated heroines and optimistic cuts that find her eyes open and her heart beating fast. I am not 100% sure but I am excited to see what comes next from her. If many end-of-year-pollsters failed to recognise the nuance and stunning variety of her debut album, I hope Marten realises it is a perfect thing that needs no abandonment, cosmetics and doubt. I feel the electric guitar will play more of a part (it showed itself on her debut but there was a lot of acoustic guitar and piano) and she is documenting a different period of her life. Mice finds her one album down and an artist who has seen the world; wondering what comes next and whether she is as open and kind as she should be. Billie Marten is that complex mix of ambitious and homebound. She loves the nature and quiet of Yorkshire but she yearns for travel and foreign lands; the chance to find fresh buzz, culture and people. She, in many ways, is like me: there is that hot ambition but, no matter what you do and how much you progress, there is always that feeling you can do better or are struggling. I can understand her viewpoint on Mice but there are countless hearts that love her and numerous arms willing to snuggle her close. I cannot get that image of Billie Marten sitting on a dead man’s bench (I wonder who he was?!) writing the last verse to the song. Like Eleanor Rigby in The Beatles’ famous song; you have the loneliness of a graveyard that comes to mind and the rain falling down; a tragic figure that does not have a face but, with very few words, you can picture them. Maybe Billie Marten’s Revolver is a few years away but, right now, she is proving there is nobody quite like her! Mice is a song you listen to time and time again. Oddly, it has a Christmas, snowy vibe to it. You can imagine the heroine walking in the cold or sitting by a fireside; looking out of the window and contemplating what comes next. The artist we were seduced by in 2016 has not left us and, in those two years, she has picked up new directions and her voice seems to be even stronger (if that is possible?!). Mice is a portrait of a woman who fears losing those who she loves and misunderstanding people in a destructive way. Alas, young poet..we understand you and know where you are coming from. We all love what you do and who you are – her Instagram posts and odd tweets make me smile – and there is never any chance, when you put out such wondrous music…

YOU will ever be unappreciated and alone!

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Follow Billie Marten

Official:

http://www.billiemarten.com/

Twitter:

https://twitter.com/BillieMarten

Facebook:

https://www.facebook.com/billiemarten

Instagram:

https://www.instagram.com/billiemarten/

SoundCloud:

https://soundcloud.com/billie-marten

YouTube:

https://www.youtube.com/channel/UC7B-nApg76kClvW-YBYezQQ

Spotify:

https://open.spotify.com/artist/02YLJJnWC7YQVixkjEBRn7

INTERVIEW: Annie Goodchild

INTERVIEW:

Annie Goodchild

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I was determined to squeeze in another interview before next week…

PHOTO CREDIT: Barbara Hess

and speak with Annie Goodchild about her new track, Ether. She talks about the importance of Boston and how the city influences her. I learn how music came into life and the moment she knew this is what she is supposed to be doing. She reveals a few albums that are especially important - I ask what we can expect from her upcoming E.P., Meditative Mouthfuls.

Goodchild looks ahead to gigs and where we can catch her; which musical memory is her favourite; what it is like being on stage connecting with an audience; the rising artists we need to follow – she ends the interview with a great song.

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

Hey. I'm good. Busy in practice, but that’s a good thing.

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

Sure thing. Hi. I’m Annie. I grew up in Boston; been obsessed with sound since I was a kid and would describe myself as a 'fierce dreamer'. Musically, I’ve had a really hard time describing what I make in just a few words - but I've landed on 'American-Roots-meets-Cinematic-Pop'. 

Ether is your current single. Is there a story behind the song?

Ether is the first song I wrote for myself. I’ve talked about this a bit before but I’ve had a close relationship with anxiety and, for a long time, I let my fear dictate what I do and don’t do. Ether is about finding balance in mysel: some kinda of harmony between the part of me that is self-conscious and the part of me that is finally showing up for myself. It’s my own mantra and a reminder of this symmetry at the moment. 

It is from the upcoming E.P., Meditative Mouthfuls. What sort of themes and ideas inspired the music?

For me, inspiration comes from everywhere. There are so many layers to the human psyche and I want my art to reflect that as much as possible. Instrumentally and musically, I really like to play with genre and create an abundance of sound or space in my songs. This has made it hard to categorise, but I can’t think of another way to create that feels right to me. 

During the time, I was writing this E.P., I was doing a lot of meditation and self-reflection about where I’m at and where I want to be as a person. I think the biggest theme of this E.P. is my relationship to fear: fear of letting go of relationships; fear of knowing if I try I could fail and the fear of learning to trust and count on myself.

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

Music has always been a hugely important part of my life. I grew up with a piano in the house and a mom who loved Classical and Jazz music. My childhood was filled with hairbrush microphones, shower acoustics and singing in Gospel choirs around Boston. I’d say my greatest early-age influencers were/are the great female voices: Aretha Franklin, Janis Joplin; Nina Simone, Whitney Houston; Etta James, Billie Holiday; Ella Fitzgerald etc.

PHOTO CREDIT: Barbara Hess

It’s hard to express what these women mean to me. They can take any emotion you’re feeling and turn it into sound. It’s magic. They've all saved me in their own way. Once I became a teen, I was introduced to Classic and Psychedelic Rock, which still influences my writing today: Pink Floyd, Led Zeppelin; Queen, The Clash; The Velvet Underground and many more were played on repeat

Do you recall the first time you took to the stage and became a musician? How did that feel?

Ooh, yes I do. I was eighteen, in Antigua Guatemala and I was terrified. Haha. At this point in my life, my anxiety was its own outlawed entity running wild; sabotaging, pillaging and that sort of thing. My friends didn't know I could sing or even wanted to and I don't think my family had heard me sing since I was a small child. Anyways; I was in Cafe No Sè, a tequila/mezcal bar very near and dear to my heart with some friends. There as an open mic happening and we’d just gone to enjoy; absolutely not to perform. It was late (and drinks generous); the house guitar was held up and Mike the greatest bartender asked who's singing next. My friend yelled out “SHE WILL!” and pointed to me. 

At this point, I'm ready to hide under a rock but this small bar encouraged me for the next ten minutes until I edged my way over to the bar stool in the front and said ‘ok’. I remember my hands shaking and staring at the floor. I sang Tracy Chapman’s Give Me One Reason; one of the only songs I knew how to play on guitar then and the whole place fell quiet. I was dying inside. I finished and was afraid to look up...but I got a big applause and the owner came up to me and offered me a weekly gig. I said ‘yes’. I’m forever grateful for that night. 

Boston is where you were born and raised. How important is the city’s music, past and present, to you?

Music is such an important part of a community and I’m really grateful to have grown up in a city that believes this as well. Boston is the home to the Berklee College of Music, the New England Conservatory; Club Passim, the Boston Symphony Orchestra and much more. It’s also one of the oldest cities in America which gives it its own special feel and history. There are great venues around the city. My friends, old bandmates; countless musicians and music students are keeping this scene alive today and fighting for these gems to stay open. So, if you’re visiting Boston go check out some local music and support the scene!

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

I think, what I want to achieve in 2018, will be the same goal for the rest of my life: I want to make music and art that feels honest; that pushes me forward and challenges me. I want to hustle the means to make that art and I want to connect with as many people as possible while doing it.  

PHOTO CREDIT: Barbara Hess

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

I was just talking about this the other day. When I was with my old band, Melou, I was performing at this festival on the North Sea called Oerol. We had played our set and covered Glory Box. I didn't know but the band we opened for, Andre Manuel, was there. Later that night, I was at their show with my bandmate and Andre Manuel and his band started playing a song with a really similar bass line. He saw me sitting in the audience looked at me and sang “I just wanna be a woman” and nodded for me to come up. I froze in place but Max pushed me up and said: “What are you doing?! Get up there!”

I went up locked eyes with Andre and the whole band and I jammed out this weird explosive version of both songs. It was like I had tunnel vision the audience disappeared and, for the first time on a stage, I wasn't afraid: I felt free and trusted in my power. It was a really significant moment for me.

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

That’s a nearly-impossible question for someone as indecisive as myself. So many albums have been the soundtrack to my life at different times but, at least for today, my top-three would be Pink Floyd's The Dark Side of the Moon. This was my high-school anthem. During this time, I fell in love; hitchhiked across America and went to Guatemala with a friendly stranger where I started really singing for the first time. 

The second would be Etta James’ At Last!  The album, the women; the voice is everything you could want and not know you needed from an artist. It also has maybe my favourite duet of all time on it (If I Can’t Have You featuring Harvey Fuqua). If you don’t know it, check it out! 

Portishead’s Dummy is coming in at three. Watching Beth Gibbons sing is like being cast under a spell. I think ‘big’ voices were such a big part of my early musical life that I had a lot to learn about subtlety, balance and control - or a controlled lack of control if that makes any sense. There’s something really sexy and truly vulnerable about Portishead but, at the same time, strong. This has also stuck with me in all my writing.

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

I’d LOVE to support so many artists, so I’ll just choose who I’d want to support today. I think Hozier would be a great artist to support or work with. I’ve been on a Folk and Blues-writing kick recently so it’s an exciting idea. If, on this magical day, I was supporting a handful of artists I’d have to add Laura Mvula, Brittany Howard; Robert Plant and the kids, Maggie Rogers and Matthew Herbert. 

If we’re talking hospitality rider, I’ll take all the Mexican food I can get my hands on. 

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

Yes, absolutely! I’m gonna be part of a cool music installation for this year’s Klang Basel on Sept. 14; heading to Bern on Oct 17 for my first E.P. release show. Then, Oct. 19 at Parterre in Basel which will be an amazing night. Feel free to stop by my socials for future gigs etc. I’m putting new ones up all the time.

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

Performing live is hugely important to me: to have a real connection to other people and to see the audience connect to the music you make is an incredible feeling. I think there are some artists who are really good at communicating who they are or how they want to be seen through social media. This is not a skill I have mastered yet. Until then, live shows are where it’s at. I feel most comfortable recording in a vocal booth; making all the weird faces I can to create the sound I want. It’s like an isolation tank for me but being on stage feels brave. Being on stage makes me feel awake and alive and terrified and thrilled. 

What advice would you give to new artists coming through?

My advice would be to stay true to who you are and, if you don’t know who you are yet, then be true to your process. Everyone will want something from you; they will want you to have an easier sound to digest (not projecting here at all…); they'll want you to look more like some made-up beauty standard, especially if you're female (seriously not projecting here). They will tell you to jump through certain hoops to get where you want to go. I call bullsh*t on all of this: build your own hoop or star…or multi-dimensional doorway and shimmy through that sh*t.

Are there any new artists you recommend we check out?

And The Kids is one of my favourite new bands. They are the kinda band I want to be best friends with and play with (call me for sleepovers!). Buscabulla are great as well. They are from Puerto Rico and have such a beautiful aesthetic to everything that they do.

IN THIS PHOTO: Buscabulla/PHOTO CREDIT: Franco Frontera

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

Ha. It’s a double-edged sword: I need more breaks from the business side of music. The music itself helps me unwind. On my dream day, I’d be teleported to some beautiful cabin with a view. I’d be alone; there would be a fire and tons of instruments and I could just write.  

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).

Just to full circle it all, I’ll put my favourite Hozier song, Cherry Wine. Thanks! x

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Follow Annie Goodchild

PHOTO CREDIT: Barbara Hess

Official:

https://anniegoodchild.com/

Facebook:

https://www.facebook.com/anniegoodchildis/

Twitter:

https://twitter.com/annie_goodchild

YouTube:

https://www.youtube.com/channel/UCAb96F6GrP2PBWJLtAD8WeA

Instagram:

https://www.instagram.com/goodchild.annie/

SoundCloud:

https://soundcloud.com/anniegoodchildis

Spotify:

https://open.spotify.com/artist/4lBcjMzkz39P14vLXMO2k6?si=mKLipqpzQACoLjt1tIPpog

FEATURE: “I’m Here Because…” The Power of Film and T.V. in Regards Discovering Music

FEATURE:

 

 

“I’m Here Because…”

ALL PHOTOS/IMAGES (unless credited otherwise): Unsplash 

The Power of Film and T.V. in Regards Discovering Music

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THE quote above is what you see endlessly…

when accessing your favourite songs on YouTube. We are spared the sentence on Spotify and SoundCloud but, with the comments enabled, you get to hear those three words all the time (on YouTube)! I used to get angry about the fact and get irked by people’s rather lazy discoveries. If, say, I was looking at a video for Michael Jackson or a Jeff Buckley song; the recent comments would be filled by people saying they were here (at this video) because they heard it on T.V. My normal reaction used to be a mix of derision and annoyance – why do people only discover great songs when they hear them on films and T.V. shows?! I have to confess I have not discovered a lot of new or older music through watching shows/films but I have reversed my attitude regarding others doing so. If there are great tracks that are not being promoted by Spotify and other outlets then how are people going to hear them?! There are only a handful of radio stations that play an eclectic mix and people tend to get settled in their ruts and routines. I have my tastes and preferences and I need to get out of that habit. I listen to BBC Radio 6 Music and BBC Radio 2 and, whilst I get to experience some great new releases; I wonder whether I am being as broad and explorative as possible.

I miss the days when I could have my eyes opened and find a song that is new to me – maybe one that has been around for decades. That thrill is hard to find but it does happen and then. I am not going to go to lengths and comment on YouTube but I am discovering songs from new dramas and comedies. Whether it is watching a new U.S. comedy or a drama on British T.V.; I have unveiled a few songs that are new to my mind. I rely a lot on radio and the Internet but, without a formal and visible music T.V. presence, I wonder whether music played on T.V. shows and film is the new music television. Great films can boast great soundtracks. I discovered a lot of new songs (new to my mind) through the Baby Driver score. Directed (the film) and curated by Edgar Wright; there were tracks on there that were new and some I had forgotten about! The fact I had not heard these songs on the radio made me a bit worried. I guess you cannot hear everything and catch each brilliant song but there used to be a time when stations like MTV and VH1 would introduce older songs to young listeners and play the latest hits. There are chart shows on music T.V. but they tend to be very niche and particular – the BBC Radio 1-listening audience and those who like their commercial Pop.

I know there are some good music shows on T.V. but it is hard to find. I also know there are some great new Pop artists emerging and some brilliant Folk acts; brilliant Hip-Hop innovators from the 1980s and 1990s that I am either unaware of or need to keep in my pocket. In fact, T.V. shows set in particular time periods can open up a soundtrack and give free license for producers and directors to go nuts. I often argue that we need music-based T.V. shows and dramas on the air. How often do we see shows set, say, at the birth of Hip-Hop or during the 1990s? A great film about the 1970s’ complex and rich music scene would be great to watch but introduce so much terrific music to a variety of ears. Radio is the most viable and popular choice for those who love finding new music but, as I say, we often do not switch between stations and get a full view of music’s tapestry. So many classic tracks never had music videos made so T.V./film can bring them to life in a way listening to an album cannot. The only problem I have with music on T.V. is when it is used for advertising. One might say there is no practical difference between using a song to score a dramatic scene or one used to sell a credit card.

I would look at those words and disagree! There are very few adverts, ever, that are classy and memorable – music, good music, should be left out of advertising and I wonder why some artists agree to have their songs used. Every year, we see a spate of Christmas adverts with horrible cover versions of great songs (usually by thin-voiced female artists). I wrote a piece about this theme last year and explored soundtracks and shows.  The reason I am revisiting the subject is (because of) the way we digest music and consume songs. Music T.V. is a dying force and new artists often struggle to get onto the radio. Streaming services usually promote the biggest artists and do not focus a lot on lesser-heard artists and older musicians. The only other way we can get a good musical education is through radio or word-of-mouth. Many of us are watching T.V. and film more than listening to the radio so it seems like a brilliant platform. I am against music in advertising but I feel there is a huge opportunity for brand-new artists and classic icons to get their music heard by new generations. I am frustrated sites like YouTube do not have an organised way of compiling playlists and opening our eyes – it is all about marketing and promoting newcomers/mainstream acts.

Whilst I object to the rather tiring way certain YouTube videos have that inevitable phrase – “I’m here because…” – the fact people are discovering music through T.V. and film is good. Since my last piece, things have not really changed that much. For many younger people; film soundtracks especially are an invaluable and accessible way of diving into a scene they are not aware of. It is much more palatable and potent having a 1980s soundtrack being accompanied by visuals and fantastic acting. Rather than get them to listen to the same songs on their phones or laptops; cinema brings them to life and can change the course of their listening tastes. This article looks at films such as Clueless and how they can define a decade (in terms of their themes and messages) but have no limitations regarding music and the soundtrack:

“Another perfect distillation of American class consciousness, teen romance and youth culture – with an Austenian twist – Clueless reinvigorated the teen film genre and its genre-spanning soundtrack covered all the scenes of the decade, including alt.rock, pop, rap, ska and retro covers (though, noticeably, no grunge). The platinum soundtrack is stacked with Capitol artists (thanks to a famous $1 million advance from the label) that includes Counting Crows covering The Psychedelic Furs’ ‘The Ghost In You’, Luscious Jackson, pop-punks Smoking Popes, Coolio (who’d been enjoying a soundtrack boost from the film Dangerous Minds) and even a nod to the Britpop phenomenon at the time with teen anthem ‘Alright’, by Supergrass”.

Certain film directors have defined decades and helped bring new music to millions. To me, there is nobody better at that than Quentin Tarantino:

“If John Hughes was the grand architect of 80s film soundtracks, then Quentin Tarantino was the auteur of 90s soundtracks. How else do you explain Harry Nilsson’s ‘Coconut’ being in regular rotation at college parties in 1992? Based on his filmography, it’s clear Tarantino was not only a careful student of classic cinema but also of classic albums. In this way, he owes more to Martin Scorsese than John Hughes, picking up the former’s knack for finding a classic song, only to completely redefine its meaning through its – often grisly – use on screen. 

As Tarantino explained in the liner notes to The Tarantino Experience: Ultimate Tribute To Quentin Tarantino album, “When I have an idea for a film, I go through my record collection and just start playing songs, trying to find the personality of the movie, find the spirit of the movie”.

The same article talks about directors such as Wes Anderson bringing music to the masses in the past decade or two and current directors like Edgar Wright proving to be golden curators. As the above-quoted article goes on to say; streaming services have transformed the role of film soundtracks:

“When the physical soundtracks market started to dry up in the 2010s, music supervisors and labels no longer had the big budgets to commission original songs. Enter streaming services and the resurgence and redemption of film soundtracks. With the right synchronisation license, older and current artists get to simultaneously introduce their music to a new set of fans and have moviegoers explore their wider discography. Just in 2017, the classic rock-driven Guardians Of The Galaxy Vol.2 soundtrack became the first soundtrack album made up entirely of previously released songs to hit No.1 on the Billboard charts”.

I have been listening to film soundtracks such as Grease and Saturday Night Fever and, between them, getting a taste of the 1950s/1970s and Disco. Grease’s vibe is more 1950s Rock ‘n’ Roll mixed with some 1970s winks whereas Saturday Night Fever is a pure Disco fest. Listening to soundtracks, after watching the films, makes me explore music made around the time the films were based. Maybe film is more powerful when it comes to music and opening minds but T.V. is important. A lot of us do not go to the cinema so services like Netflix and Amazon Prime let us see great and new T.V. shows from America. Without knowing it, we will see a great scene unfold and listen to a song that is fresh to us. We can pause the show or bring up the name of that song on the screen. Before long, we have that song in our mind and, because of that, we look in another direction and broaden our scope. I find radio stations are great but T.V. and film are a lot more eclectic and less limited. Filmmakers can dip into the musical world and bring that to people around the world. Maybe the YouTube cliché comment is grating but, if people are discovering music through film and T.V. then that can only be a good thing. I have discovered plenty of great songs through films but not so many through T.V. Alas; I am determined to keep my mind open and wait for the moment something brilliant arrives on the screen. When I do, I will go to YouTube and add that song to my rotation but I will resist the temptation to say…

IMAGE CREDIT: Getty Images

“I’M here because…”.

FEATURE: The 1990s in Modern Music: Pure Nostalgia or Genuine Progression?

FEATURE:

 

 

The 1990s in Modern Music

ILLUSTRATION CREDIT: LOZMULHEARN 

Pure Nostalgia or Genuine Progression?

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MAYBE neither of those words apply to why…

ILLUSTRATION CREDIT: Jack Dylan for Pitchfork

the 1990s is coming back in force to music. I am inspired by an article from The Guardian that asked why Britpop is back on the scene. That movement, to me, seemed to define a time when British music was at the forefront of the international priority list and bands such as Oasis and Blur were spawned and there was a lot of hope in the air. There are some, mind, who feel Britpop was shambolic:

“That's a grotesque simplification, of course. But it's also fitting, because a grotesque simplification is what Britpop became, a collection of lowest common denominators that ended up setting music back: a slavish devotion to a set of signifiers that included 60s music, mod fashion, football, and intoxication. None of those are bad things in isolation. But put together they resulted in a generation of bands and fans who resembled nothing so much as a parody of the football hooligans of a generation before. The racism of the hooligans was verboten, but the sense of Little England loomed large. While literal flagwaving – Noel Gallagher's union jack guitar aside – was a rarity, the concentration on Britishness in lyrics, dress, attitudes was at odds with British pop's historic magpie internationalism. Everything that made inspirations such as the Kinks or the Beatles interesting – their borrowings from black culture, filtered through suburban English eyes, or their wide-eyed sense of exploration – was left undigested”.

Maybe things were not as heady as when The Beatles and The Kinks ruled music but there was a unity and patriotism; a feeling the country was on the same page and the music coming from Britpop was genuinely world-class. There is a reason why we have an appetite for reformed bands like Cast and James (who have been going all this time so I can’t really say they are reformed). Earlier this month, Cool Britannia ran and it is a festival that brought together 1990s stars such as Space and Dodgy. The punters got to belt out hits they grew up with and the dance tent at the festival features a lot of legends from back in the day. Many might say the festival is nothing more than nostalgia and trying to relive the past but, given the reception and popularity of Cool Britannia; I feel this will lead to some movements and changes in music. The article I mentioned at the top of this feature brought together Cool Britannia organisers, Davis Heartfield and Jack Gray: Gray spoke about the 1980s and how many bands from that time are coming back:

“If you go back to the 80s thing, when Rewind started, Martin Fry from ABC or Tony Hadley [from Spandau Ballet] were playing small venues,” he continues. “Now they’re doing the Royal Albert Hall with an orchestra. I now want to give that platform to these [90s] artists”.

Bands like Sleeper vowed never to record another album and go back on the road but, after only a few gigs, they found themselves heading for the studio – it seems like they are back on the rails and embarking on a new creative phase.

This idea of reformation, as The Guardian explains, is more than a novelty – people have a definite fondness for the 1990s bands and new generations are turning onto their hits:

“It is clear that the era’s bands are indeed reforming or reactivating their recording careers to a noticeably warm reception. Last year, Shed Seven’s first album since 2001, Instant Pleasures, was critically well received and made the Top 10; Embrace reconvened after a lengthy sabbatical from recording in 2014 and both their subsequent albums debuted in the Top 5. “Our fanbase is amazing – they’re just so loyal,” says the band’s guitarist Richard McNamara, while waiting for his band’s turn on the Cool Britannia stage. “We’ve always been kind of the underdogs – we never really got the recognition that they all think we deserved – so that sort of magnetises them to us a bit more”.

The need to retreat and find comfort in solid bands with great hits during troubled times is understandable. We have dispensed with the flag-waving and jingoism of the 1990s but have retained a lot of the stalwart bands. Maybe Oasis will not reform but Blur are still (just) going; Ocean Colour Scene and The Bluetones are still playing and there are countless artists who were popular during the decade still going today. It is obvious why many are returning to the 1990s and want to bring the music back: it was a time when the country was still together and we did not have Brexit, Trump and all the other sh*t we have to deal with right now. Maybe there is escapism, in some part, but it is not mere nostalgia.

IMAGE CREDIT: Getty Images/Rex

Bands are not as popular and evident as they once were and music has changed drastically. Whether you like modern Pop and Indie; it is clear we have fewer iconic artists and sounds that remain in the head and have the potential to last for decades. I grew up listening to all the Britpop magic but was obsessed by the Dance music of the time. The bangers back in the day – everyone from The Prodigy to Urban Cookie Collective – filled my ears are still with me today. I listen to the equivalent today and do not hear anything as fresh, varied and long-lasting – maybe it was a sign of the times or technological development means we will never hear Dance that good again! Look at all the classic albums from the 1990s and we still take guidance from then today. Not only are festivals like Cool Britannia bringing in 1990s die-hards and new generations but modern artists are keeping the era alive. I hear shades of bands like Oasis and The Verve in modern artists; the best Pop and Dance of the time is being mutated and moulded into a 2018 template. Listen to what is happening in music and you cannot escape the fact the 1990s is back – maybe it never went away! For some, there is that need to escape from what is happening now and recognise a time when they felt safe and the music was of the highest quality.

IN THIS PHOTO: The Prodigy in the 1990s/PHOTO CREDIT: Getty Images/Rex

Britpop was all about the pride of Britain and celebrating some terrific sounds. I guess the Union flags and some elements of the movement were flawed and are best left in the past but you cannot deny the sheer quality and innovation of the 1990s. Britpop alone seemed to be the last time we had working-class bands at the forefront and shining bright. There was chart jostling between Blur and Oasis and Britpop outsiders – not quite as mainstream as the big guns – were dropping fantastic albums and classy anthems. You had the great Dance and Electronic songs; the Grunge movement and American guitar music. Check out the critics’ choice of the 1990s’ best albums and the brilliance you get is eye-watering. Pop legends like Michael Jackson, Madonna and Prince were entering new phases and producing great work; we still had Top of the Pops and music T.V.; MTV was still going and music magazines could be bought and digested. Music, in many ways, was much more human, involving and connective than it is now. We discussed the bands of the day and swapped cassettes/C.D.s around school. We could read a music magazine and read the latest news and watch the artists of the day bringing their hits to T.V. I hope 1990s festivals and the big bands recording new material leads to a change in the industry.

There is some great music being made now but there are definite holes and gaps that need to be filled. The lack of working-class voices at the top is one. We do not have the same sort of bands as Pulp and Oasis that were talking about society and life as we know it – maybe IDLES are replacing them but there are few other bands supporting them. I look at Club music and Dance tracks and there is nothing that spikes the mind. Given the fact that the nation is in a poorer state and we are more divided than ever; a revocation of the 1990s would not be a bad thing. Perhaps the iconic bands that are reforming and playing cannot spark that revolution themselves but they act as a guide to new bands and musicians coming through. Whether it is the Dance music scene retuning and improving or a swarm of great bands providing anthems and nation-uniting songs that will be remembered for years, I know something needs to be done. I mentioned how I can hear the 1990s in modern music and it is true the decade has never really gone away. I interview artists all the time and they often name-drop bands like Oasis as fountains of inspiration; others are drawn to Grunge and artists like Nirvana and Pearl Jam (more Alternative-Rock than Grunge I guess!). In terms of quality, the 1990s was far stronger than this decade and the '00s and there are a lot of lessons to be learned. Ironically, embracing a decade whose pop culture and music have stood the test of time and provided so much joy might be the way to…

IN THIS ILLUSTRATION: Noel Gallagher/ILLUSTRATION CREDIT: Biggi De

PUSH modern music forward.

INTERVIEW: Abraham Brody

INTERVIEW:

Abraham Brody

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MY final interview of the weekend is with Abraham Brody…

as he talks about his new single, Judith. I ask what the story behind the track is and what we can expect from his album, Crossings. The songwriter tells me what he hopes to achieve before the end of the year and, as an American-Lithuanian, what the music scene is like in Lithuania.

Brody now resides in Iceland so talks about the music vibe there; whether there are any tour dates coming up; the albums that are most important to him – he selects some rising artists we should get behind.

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

I am fine! Currently in Reykjavik where it is a sunny 10 ºC.

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

I am a singer, composer and multi-instrumentalist. I work with various influences: Electronic, contemporary Classical and Folk - and I like to layer these into my compositions.

Your single, Judith, is out. What is the story behind the song?

This song takes an ancient Lithuanian melody as inspiration and transforms into my own lyrics in English. I was thinking of breaking social norms. I dearly love Lithuania and they have come a long way since their independence from the Soviet Union in 1991 but the society is still too male-centric and hetero-centric for my taste. I wanted to tell an abstract story with this song.

It is from the album, Crossings. Are there particular themes and ideas that inspired the work?

The new album is coming out in November.

Unlike my previous work which mainly coming from the Lithuanian folk tradition (albeit Judith is the only song on the new album in Lithuanian!), the new album deals more immediately with my own life, relationships and experiences. The songs speak a lot about the relationships of our time, the transient-fleeting nature of how we often interact with others and the mythologies and mysterious of our own contemporary time.

I was listening a lot to Susanne Sundfør’s Music for People in Trouble, Antony and the Johnsons’ Cut the World, and Anna von Hausswolff’s Dead Magic while I was in the process of creating this so they were big influences.

You are an American-Lithuanian artist. What is the music scene like in Lithuania?

It is very vibrant. There are an incredible number of talented Lithuanian artists of all genres. We also have a deep history of folk traditions. Lithuanian has certain ritual songs that are still performed and were deemed by UNESCO as the oldest in Europe. So, it’s a mixed bag! But, I did feel that, while I love Vilnius (the capital) and the scene there, it was a bit too limiting - that is why I moved to Iceland. Although it’s a tiny country, the Icelandic music scene is one of the most creative and innovative I have ever seen.

Did music play a big role in your life as a child? Was the household you grew up on music?

Yes. I started playing the violin and piano first when I was six. I never stopped after that. My father was a Jazz pianist, so we also had a lot of music around and he taught me how to improvise. My mother is a writer and poet so I think her influence was more on the singing/lyric writing side of my work.

Your compositional skills have seen you compared to the likes of Björk. Are you flattered by such comparisons?

Very. I am not sure if that is true!

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

Along with finishing the new album, Crossings, I am working on a really exciting project with the string quintet Wooden Elephant; arranging all of my new songs with them. They are renowned for using very unusual techniques like milk frothers, vibrators (!); bells, wine glasses and percussion on their instruments to create a whole huge sound world. Their arrangements of Björk and Radiohead using only their wooden instruments is groundbreaking I think.

I hope to tour with them and grow this project - which starts at the London Jazz Festival in November. They are so rewarded to work with. I also hope that in Iceland I can absorb a lot of music here and maybe further develop my style in more electronic directions.

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

I have a few. To be honest, one was performing last winter in the Great Amber Hall in Latvia for an audience of one-thousand. It sounds really random but it is one of the most beautiful concert halls I have ever played in (and I have performed in the Southbank Centre, Kennedy Center in Washington; Prague Philharmonic etc.). This one had an incredible acoustic and looked amazing! I really felt my music could speak there.

The second, more recent memory I think would be recording the video of Red Sun with Wooden Elephant. I haven’t had so much fun working with a group like that in years.

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

Antony and the Johnsons - Cut the World (Live)

I cannot praise ANOHNI (formerly Antony and the Johnsons) enough. She is such an intelligent, brave performer and human being. Not only is her voice unbelievably powerful and emotional but I believe her message and her music is so strong that she is capable of inducing significant social change. Her music has helped me through really difficult times, as I am sure it has many people.

Björk - Medulla

My favourite album of Björk’s. In general, as a composer, she is incredibly creative and I love how many different textures, sound effects; layers and noises she explores and employs. She is also an extremely brave performer of course and I often hold her as a role model - not to be afraid to be different.

Susanne Sundfør - The Silicone Veil

I have probably listened to this album thousands of times. Susanne’s voice and her melodies; the way she uses synths and electronics - I just love it. Her music is not simple but it has the ability to catch in almost everyone’s ear. Even my mother, who listens to mostly Classical music, likes her! Her song, White Foxes, is one of my all-time favourite songs. Her lyrics are just amazing.

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

I actually couldn’t choose a musician, but it would definitely be one of the above three.

My rider…I think my current rider is already complicated enough to give any sound engineer a heart attack! But, if you really say that, probably I would be on vocals, synths; violin and organ. Then, I would have a string quintet (Wooden Elephant!), full choir and someone really good doing live beats.

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

Yes. Lots of things are in planning but, at the moment, I have confirmed shows in Lithuania (Vilnius and Kaunas, 28th and 30th Sept.); Oslo, Norway at Bla on 4th October; Reykjavik at Mengi on 6th October; National Sawdust in New York on 21st October and 18th November at the London Jazz Festival at Village Underground.

What advice would you give to new artists coming through?

Be yourself.

IN THIS PHOTO: Samaris

Are there any new artists you recommend we check out?

Well. She isn’t exactly new but I love JFDR from the Icelandic group Samaris. Also; Lithuanian Electronic musician Saulius Spindi.

IN THIS PHOTO: Saulius Spindi

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

Nature. In Iceland, there are a lot of opportunities to unwind in a mountain or hot spring or lava field! Haha.

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).

Antony and the Johnsons - I Fell in Love with a Dead Boy

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Follow Abraham Brody

Official:

https://www.abrahambrody.com/

Facebook:

https://www.facebook.com/Abrahambrody/

Twitter:

https://twitter.com/abrahambrodylt

YouTube:

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

SoundCloud:

https://soundcloud.com/abemcw64

Spotify:

https://open.spotify.com/artist/23QXqZQhXajNnWbZTdqVPP?si=8nLEUPbPTOOHcR8qpn-PYQ

INTERVIEW: Mark Pelli

INTERVIEW:

Mark Pelli

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I have been speaking with Mark Pelli…

about his musical past and his new single, You Changed Me. The Toronto musician discusses his ascension and favourite musical memory; which artists and albums have made an impact on him; when music came into his life – I ask what it feels like producing music for some of the music world’s big names.

Pelli talks about upcoming plans and where he heads next; which artists we need to get behind and follow; if there are plans in regards touring – he ends the interview by selecting a classic cut!

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

Hi, there (smiles). How are you? My week has been great, thank you! I played a music festival in Richmond, BC with my group Magic! and now I’m back in L.A. working in the studio. Hope you’re having a great week yourself!

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

Well. My name is Mark Pelli. I sing, play instruments and produce lots of music. Recently, I released my first solo single entitled, You Changed Me.

You Changed Me is your latest single. What is the story behind the song?

It’s a throwback 6/8 record, reminiscent of early-'60s Motown music. I’m very inspired by artists such as Sam Cooke and Smokey Robinson.

Might we see more material coming next year? How far ahead are you looking regarding material?

Definitely gonna be releasing much more material very soon. I actually have the entire album finished but I’m releasing songs one by one for a while and then I’ll probably drop the entire collection either later this year or early next year.  

Having produced for some top artists; how does that experience feed into your own music? Who did you enjoy working with the most?

Producing music for other artists has definitely helped me with my own. I suppose I’ve developed some technical skills that allow me to bring to life the ideas in my head. Playing in different groups of contrasting musical genres and attempting to produce records from various styles has been helpful as well so that I can draw from all these influences. If you liken music production to painting on a canvas, you’ll see the importance of having a large palette of colors from which to choose. 

I’ve been super-lucky to work with many fantastic artists over the years but recently I was in the studio with J. Cole and my buddy T-Minus. We produced the record Kevin’s Heart for him off his last release and basically decided to get back in again. J. Cole is a super intelligent guy and has great energy to work with in the studio. T-Minus and I make a nice production team and I hope to do lots more work with him in the studio.  

Did music play a big role in your life as a child? Was the household you grew up on music?

Music did play a big role in my life as a child. My dad played guitar in an Italian wedding band when he was younger. My uncle Chuck is a fantastic professional guitarist. My mom is a huge music fan and has a great voice and was constantly playing music around the house. I started learning piano at six and later started guitar at eleven, but took it more seriously at thirteen. I was super-nerdy about music and practised many hours every day. I learned to play drums and bass from asking other musicians what to work on. I studied classical piano and Jazz guitar in university.  

Do you remember the artists you followed growing up? Who do you rank as idols?

When I was younger, I had pretty broad musical tastes. When I was ten, I had cassette tapes of Beethoven’s third and ninth symphonies - I listened to those two symphonies over and over. Of course, with a child’s mind, I wasn’t able to fully grasp the full breadth of what he was doing from a compositional standpoint…to be honest, even as an adult, I still don’t come close (laughs)…but I did have every note and moment memorized on my tapes. The first ‘Pop’ tape I bought was Bell Biv DeVoe featuring the song Poison - I absolutely loved the bounce of the snare drum on that record. When I was fourteen, I became a huge Radiohead fan. I feel like their melancholic musical aesthetic, coupled with very interesting lyrical perspectives, really spoke to how I was feeling. I also loved The Beatles and listened to their entire catalogue as a kid over and over. 

At fifteen, I started playing in a Soul/R&B cover band and that was a huge pivotal musical awakening for me. I started being exposed to the music of Marvin Gaye, Bill Withers; Donny Hathaway etc. It was around this time I also began playing Jazz in school and that was also extremely impactful for me. I started listening to the albums of Miles Davies, John Coltrane; Bill Evans, Bud Powell etc. A few years after that, I started getting really heavy into Gospel music…admittedly not so much from a religious standpoint but more because the musicianship is so outstanding. 

I would try to absorb that style of music on the instruments I was learning to play. I still do this all the time. You can spend all day long not being able to play what Tony Royster Jr. has posted on his Insta story (laughs)…but even trying to do it has most certainly made you a better drummer/musician.

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

By the end of 2018, I’m really just hoping I can reach a wider audience with my music. I hope to be able to tour and provide a great musical experience for everyone (smiles).

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

I have some amazing memories from my time in music…

The one that stands out the most is when I opened up for Stevie Wonder in the South of France at a Roman Coliseum. Stevie was incredible as always and, after the show, I was introduced to him. I told him: “I love you Stevie” and he said: “I love you too”…even though it was clearly just his standard response to constantly being told he is loved, just hearing him say it made me feel great and I’ll never forget that experience. 

I’ve been super-lucky to travel all over the world playing music for gigantic crowds. I used to play with a singer named Justin Nozuka and we did some extensive touring mostly around Europe. When Rude exploded for Magic!, the touring insanity started again and I was lucky to go all across the globe numerous times.

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

It’s really hard for me to list my top-three albums of all-time, but I can tell you recently that my top-three albums have been:  Robert Glasper - Black Radio (volume 1); Kim Burrell - Live in Concert and Brad Mehldau - Live in Tokyo.

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

If I could support any artist today, I would choose Sam Cooke. I feel like his life ended so tragically and abrupt. The guy deserved to be alive much, much longer and create more amazing music. 

As for the rider, I would ask him what he wanted and just make sure it was all there (laughs).

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

The dates I have coming up are with my band, Magic! I’ll be playing an East Coast tour in Canada at the beginning of October. We’re talking about doing some touring in Brazil and Latin America soon as well but those dates haven’t been firmed up. I hope to also tour with my solo project very soon.

What advice would you give to new artists coming through?

The advice I would give to new artists is just to simply never give up. It’s so very difficult ‘making it’ in the music business so, definitely, don’t equate your self-worth with how well you’re doing - especially monetarily. I know this sounds somewhat ridiculous because there’s an obvious attempt at becoming successful inherent in the process of making music in the Pop realm, but really try hard to disassociate yourself from needing this success. Focus on making music that you like and measure your success based on how pleased you are with your music. You’ll constantly run into obstacles and that’s ok… just keep going. 

Don’t limit yourself to one thing. In addition to being an artist, you can also collaborate on other people’s projects and make new connections. Having a small-vested interest in numerous people’s songs largely increases your chances of earning money in the business. Whether you come in as someone who co-produces, plays instruments; writes lyrics, etc. it’s all relevant and necessary to make a good song.  Your songs are your assets. The more songs you’re a part of, the better. 

Are there any new artists you recommend we check out?

New artists to check out: Snarky Puppy is really amazing and my friend Larnell Lewis is one of their drummers. He’s absolutely incredible on the kit…gotta check them out. I really dig this band from Australia called Hiatus Kaiyote.  

IN THIS IMAGE: Hiatus Kaiyote/IMAGE CREDIT: Wilk

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

I really don’t get too much time away from music but I try to do yoga as much as possible and also go to the gym. I like swimming in the ocean too (smiles). I suppose that’s really how I unwind but I do work on music pretty obsessively. I don’t generally burn out though so I don’t really need to take time away. For me, working on music is my release.  

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).

Ok, sweet. I get to pick a song. How about You Send Me by Sam Cooke

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Follow Mark Pelli

Official:

http://markpelli.com/

Facebook:

https://www.facebook.com/MarkPelliMusic

Twitter:

https://twitter.com/MarkPelli

Instagram:

https://www.instagram.com/MarkPelli/

YouTube:

https://www.youtube.com/channel/UCbCrqTvi_LaIy6XHh33O0tw

SoundCloud:

https://soundcloud.com/mark-pelli

Spotify:

https://open.spotify.com/album/6o7Hsxt5gup9w8nKiU0V4G?si=kEcF-TGdSX6WUVEDnbPvUg

INTERVIEW: Handsomebeast

INTERVIEW:

PHOTO CREDIT: Daniel Jackson  

Handsomebeast

___________

THE guys of Handsomebeast…

have been chatting about the new song, Playboi, and filming its video. I asked how they got together and whether there is more material coming along; what sort of musicians and sounds inspire them; if there are any rising artists we need to get behind – they select albums that means a lot to them.

The guys reveal whether they are touring and whether the American band are coming to the U.K. at some point; how they chill away from music; what advice they would give to artists coming through – they end the interview by selecting a song each.

__________

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

Eventful, to say the least….

Nick was actually asked to try out for the American Idol producers, who were in Houston for the auditions. He was told he was just too good-looking for T.V. Today is actually Nick’s birthday (Sept. 5). We are in the final stages of Olympic-training-level rehearsals for a tour next week.

We’ve been getting a ton of awesome reactions to our new video for, Playboi, which is definitely a quantum leap up in quality for us. We love how the song and video came out. Superstardom will surely be on the way.

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

Handsomebeast isn’t a band: it’s a lifestyle. We classify our music at times as Astro-Soul, or Space-Rock-Bump-‘n’-Grind - or as Psychedelic G-Funk. We try to make musically ambitious and artistic Pop music with a distinct Rock ‘n’ Roll flair...in the tradition of artists like David Bowie or St. Vincent.

Nick: Singer; pretty boi with a silver tongue. Proficient in most sports. From D.C.

Peewee: Intellectual bohemian that with golden fingers and smells like...flowers.

Tony: Ivory tickler; all-around hell-raiser; the soul of an old Blues player; future Country star.

Carlos: Backbeat of this venture; amateur botanist; father of a small businessman.

Jacob: That guy in the studio setting up mics; likes drum solos, fishing and medium walks up mountains.

Tell me about the new single, Playboi. What are the origins of the song?

We were watching a bunch of heist and crime movies at the time...I believe we experienced some osmosis during this process as that vibe seems to have seeped into the music. We also were interested in experimenting with more minimal song arrangements, compared to what we were doing before. We wanted to make a hot, hot hit.

The video looks like it was cool to film! How was the experience?!

It was amazing. We shot it in ONE SINGLE DAY in New Orleans with stud director/editor Richard White. He’s as equally handsome as he is talented. We tried to stage the robbery scene in a real bank but, for some reason, they would not allow us to. They even went as far as to shoo us off their property when we tried to use their exterior for the shot. Might have been something about the ski masks.

Is there more material coming from the band? Are you guys working on other stuff?

Absolutely. Everyone should keep their eyes glued on our Instagram page for more news on that. There MAY even be something coming very soon. We’ll definitely put out a longer collection of songs at some point next year, like an album or E.P. This also isn’t the last you’ll be seeing of the Playboi and his Goons.

How did Handsomebeast get together? Were you all in Houston at the time?

Handsomebeast really started hitting it when Nick moved to Houston from New Orleans in 2013. That’s also when Carlos joined the band. That being said, the band technically formed in 2009 while everyone except Carlos was at school at Loyola University, New Orleans. However, we had all been playing in bands with each other since middle school so we’ve sort of been a band for like fifteen years.

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

That list is seriously pages-long but we do love artists who are musically ambitious, but who also make Pop-focused music that brings people into the music. Anderson .Paak, Vulfpeck; St. Vincent, Outkast; Arctic Monkeys, the Eagles; Unknown Mortal Orchestra...that’s the tip of the iceberg right there. We all were lucky to have families that gave us great musical educations, on music from every era.

Tony was also somewhat of a Texan prodigy as a church music director and band leader as a young boy. Carlos also played in church a lot. Due to a lifetime of rock ‘n’ roll behaviors, neither one is technically ‘allowed anywhere near a church’ anymore. Go figure.

PHOTO CREDIT: Daniel Jackson  

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

Yes, indeed! In the U.S., at least. We are dying to get over to the U.K.

9/13: Memphis - The Hi Tone cafe

9/15: Asheville, NC - Foggy Mountain Brewpub

9/20: NYC - Pianos

9/21: Philly - Connie’s Ric Rac

9/22: DC - Gypsy Sally’s.

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

We would GIVE OUR SPLEENS (you don’t need them that badly, right?) TO GO TO THE U.K. We are thinking we might be better suited pulling a Hendrix and use the U.K.’s excellent music taste to get famous over there first and springboard into superstardom in our homeland. The British Invasion influenced Jacob’s parents, which is why we cover lots of '60s stuff. We Love Arctic Monkeys, Radiohead; Cream and Amy Winehouse. Obviously, wayyyy more bands than that but that’s probably the U.K. Mt. Rushmore for our band.

Given your band’s name; who is the most-handsome beast in the band?!

Our van. It’s so handsome and built like a beast. A purple 1995 Chevy G20 with matching interior and limo lights.

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

Jacob: Gorillaz - Gorillaz

The first C.D. I bought with my own money in fifth grade. Mixed my love of cartoons with Hip-Hop and Rock. Genre-bending music that stands the tests of time.

Nick: That was a fantastic answer by Jacob. I’d probably have to go with AM by Arctic Monkeys

Alex Turner is my favorite songwriter and I feel like that album is perfect front to back and has some really cool moments that blend Hip-Hop minimalism and glorious Rock ‘n’ Roll. Plus, when you add the fashion into it you get an even more visceral 3-D experience.

Peewee: Blackstar, because...(David) Bowie.

Carlos: Take Off Your Pants and Jacket by Blink-182

When I first started sitting down and learning how to play records from front to back, inside and out.

Tony: Californication (Red Hot Chili Peppers) because of Chad Smith.

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

We have had a ton of amazing moments (and many more to come) and we’re all best friends, so there are really too many to count but, if we had to pick one, it would be this one from Jacob:

Jacob: Mine was playing those songs for my dad after his funeral with you guys. It brought joy to my family in a very sad time. He would have really liked that (smiles).

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

Topo Chico Agua mineral water, Lone Star Beer; Sour Patch Kids and a pool table. We’d support Foreigner.

What advice would you give to artists coming through?

Make sure you make music you really enjoy playing. Make music with your friends. Make love to your own music. If you can’t, then your music isn’t good enough, yet.

 IN THIS PHOTO: TOMA

Are there any new artists you recommend we check out?

The Quintessential Octopus (NOLA), TOMA (ATX); Sleepy.Jay (HTX), Reflexson (HTX); Fat Tony (HTX-LA), Gio Chamba (HTX); Primpce (NOLA); Tygersounds (NYC), Vodi (HTX); Dollie Barnes (HTX) and Consumer (NOLA).

IN THIS PHOTO: Fat Tony

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

Shoot some pool (billiards), BBQ; fish, hike; play football, run and smoke.

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).

Jacob: James Brown – Get Up (I Feel Like Being a) Sex Machine – Pts. 1 & 2

Nick: Justin Timberlake – Montana

Peewee: The Ramones - Now I Wanna Sniff Some Glue

Tony: Phoenix – Chloroform

Carlos: Bruno Mars – Treasure

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Follow Handsomebeast

Official:

https://www.handsomebeastmusic.com/

Facebook:

https://www.facebook.com/handsomebeastmusic/

Instagram:

https://www.instagram.com/handsomebeasttx/

YouTube:

https://www.youtube.com/channel/UCJOGt6Z764qW8DLug_4mDgQ

TRACK REVIEW: Creature - Something More

TRACK REVIEW:

 

Creature

 Something More

9.5/10

The track, Something More, is available via:

https://wearecreature.bandcamp.com/track/something-more

GENRE:

Grunge

ORIGIN:

Newcastle, U.K.

RELEASE DATE:

27th August, 2018

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WHEN thinking about Creature…

it seems their name is very apt! I will come to the topic of Grunge and grittier sounds in music but, before then, I am compelled to investigate bands whose live shows have mess, scramble and memorability; bands and the artists they take influence from; creating a unique sound; the music coming from Newcastle and the North East – I will look at Creature and where they might head. I am getting excited about bands again because, at the moment, there seems to be a revival (of sorts). I mentioned this when reviewing yesterday and it seems, in the North, this is especially true. Maybe bands have always been hot there but here, in the South, it is the solo artist that is ruling. I am not sure why there is this charge and revival but, in many ways, some of the artists of the mainstream, like IDLES, show a band are capable of delivering something meaningful and deep whilst being exciting. In the case of Creature; they have a great dynamic and sound that serves them very well. Their live shows have been celebrated for having so much energy, physicality and endeavour. They are tight-knit and professional but there is that electric spirit that runs through their bones which means you can never know what will happen. I see a few live artists but, to my mind, the most memorable gigs are ones where the sweat is dripping and the crowd are jumping. There is nothing like being part of a crowd that is surrendering to that moment; enraptured and caught by a white-hot flame of energy and music. If anything, the band are more interesting and exciting live than most acts working today. They have picked up great reviews and are a hugely popular act in the North East.

I will talk about music from that area of the country but, before moving on to something new, it is worth sticking with the subject of the live act. Most of us tend to listen to music from our laptops or phones and we do not often get to gigs. We are getting out less and less and it is a shame we are all too busy or tired to get out in the evening. A lot of us still get to gigs but I think more of us should make time to go and see an artist and blow away the cobwebs. That is what Creature do: their shows get into the blood and they can deliver a catchy and emphatic set that is a pretty good night out. I wonder whether they will come to areas like London and bring their music here. Right now, they have a great local following and it seems like they are in productive mood. I feel a lot of us do not go to gigs because we assume it will not be as good as on the record or it will be too expensive. There are venues that are expensive and it can be a pricey night out but, more and more, it is becoming possible to go and see gigs. Most venues do not charge that much to get through the door and, so long as you keep the beers to a minimum, it will not break the bank! The reason artists are allowed to exist and thrive is because of gigs and the support they get there. We know there is not a lot of money to be made from releasing music so it seems, more and more, the money comes from merchandise and gigs. Artists like Creature need people to come out and see them – one of the reasons they provide a stonking and sharp set. I know they will continue to play this year and are setting their sights on a productive and busy 2019.

Yesterday, I spoke about bands and how they are starting to claim back credit. I am going into this more later today but one of the reasons why bands are making a bit of a comeback is because decades like the 1990s are coming back to the fore. I feel more artists, solo at least, are borrowing from the 1980s but it seems the 1990s is striking a chord right now. Maybe it is the unity and togetherness the popular bands provided; the sheer quality that was coming out and the way we all felt back then. Popular culture was a lot more exciting and inspiring and I feel like music was in a much better state. Maybe I am being wrapped in nostalgia but I am excited there seems to be a nod to the 1990s and bands are integrating sounds from that time. Creature’s live sound has been compared to groups of the decade such as Nirvana and The Smashing Pumpkins. You get a gnarly and explosive set but it is the sophistication of the sounds that stand out. Creature do not simply turn the amps up and aimlessly slam. They have a great set of songs in their pocket that provides a fantastic show. It is always interesting seeing where artists take their influence and what goes into their fold. I have mentioned a couple of bands but, alongside them, there are godfathers of Grunge and Rock acts such as Led Zeppelin and Black Sabbath. Creature are influenced by Neil Young & Crazy Horse and modern acts like PUP. They have quite a nice mixture of influences that drive what they do but that is not to say they take too heavily from them. I am always compelled by the artists others are inspired by and how they approach their own music. You definitely get a sense of the heavy and raw with Creature but there is definite intelligence and emotional diversity.

You can tell they grew up around some heavyweights and were exposed to brilliant artists as children. You look at their influences and more and more of them are from the past. I wonder whether there are enough solid bands/artists in today’s music to really captivate and intrigue newcomers. Maybe the likes of Royal Blood and Foo Fighters (although they started life a long time ago) are still worthy but the new breed are a few years off from truly igniting upcoming musicians. We have some great bands coming through but still, more and more, artists are looking further back and following what they grew up on. Maybe that has the way it’s always been but it is interesting to note. I have said bands are starting to swing back but it might be a little time yet before they are as prominent as they were back in the 1990s. I wonder whether that is a reason why bands are less popular than they were. Because solo artists are taking more attention and focus, it is harder for modern bands to get heard and, because of that, other bands are taking inspiration from further back. This sound all negative and doomed but I am pleased artists like Creature are poking through strong and determined to be a success. The more and more we uncover and promote these bands, the stronger and more varied the scene becomes. I am seeing a lot of great groups showcase their material and there are many possible stars of the future. Creature set in their own niche but I feel, the more exposure and gigs they get, the more they will craft their own sound. I will talk about their unique edge but they will start to create more of a personality when more material comes. Being compared to other acts is great but those who remain and continue to evolve are those who break away from influences and go their own way.

It is hard to be unique in music and, in fact, there are very few that can claim to be associated with that word. Maybe artists have a little bit of individual character here and there but how many artists can you name that are impossible to compare with anyone else?! I feel there might be a few and, although it is not the most important thing, it is always impressive finding someone who is in their own league. I think Creature have a lot of original intent and movements and, in years to come, they will be associated with the word ‘unique’. Most bands starting out will look at the artists they grew up around and, naturally, that is going to define what they do and how they sound. Whilst there are some obvious influences when you hear Creature on the record and live; I feel they are already showing signs they want to detach from the legends they love and do their own thing. There is a lot to suggest they will be a nationwide force soon enough and the way to do that is to have those influences with them but be defined by their own minds. Their new single, Something More, puts you in a familiar space but there is something unusual and unexpected about the song. It is a complex and hard thing, I guess. I love to discover artists that I can bond with straight away and have some familiar notes. You can get on board with their music quicker and that nostalgia value is great. You also get to discover artists they are influenced by and check out their music – seeing where that band/artist comes from and what goes into making their sound. How easy is it, in 2018, to be unique and not be compared with anyone? I feel like it is unwise to be too out-there and on your own plain because that will alienate people and can be a huge gamble. Artists that have a balance of original thought and familiar influence are what we need to hear.

At the moment, Creature have a dizzying array of influences and favourite sounds and that leads to deep and colourful music. I feel future gigs and records will see some of that stripped away and a more focused and linear sound emerge. They have already proven themselves to be a tantalising and superb live act and, on their recordings, something new presents itself. I like how they can possess these different auras and not feel confused and contradictory. I will move on from this subject because I am keen to return to the North and what is coming from there. Yesterday, I looked at a band from Yorkshire and was determined to convey all the great music and sounds coming from there. I feel Yorkshire is a fantastic county that does not get the credit it deserves and has so many wonderful artists working there. The North East has always been in my mind and, historically, it has always been relevant. Maybe we pay more attention to the North West and areas like Manchester but we cannot ignore Newcastle. Current North East artists like Nadine Shah are in the minds of the mainstream and there is a distinct difference between artists from London and places like Newcastle. Maybe acts in the capital get more attention and there is great variation but, to me, Newcastle artists have more personality and flair. You get something spunkier and more personable; a better brew that lasts in the mind longer. Creature are starting to come into their own and, with each movement, pressing their own sound and forging their own direction. The trio are making waves and getting that great local press. I am interested to see how they progress but I wonder whether they will remain in the North East.

Newcastle and Sunderland have great venues are becoming more gentrified. That is not to say the authenticity is being taken away and the cities are losing what makes them great. Venues are surviving and more money is being injected into the areas; licks of paint are being applied here and there and, whilst not as gentrified and expensive as some areas of London; the North East is becoming a more attractive and profitable and local artists are remaining there. I wonder whether the media will spend adequate time seeking out artists from there and bringing them into the light. The likes of Creature are doing great things and getting buzz but it will take more national focus in order for them to get where they deserve. I still feel there are very few eyes straying to the North East and that has to change very soon. I know Creature will be a success very soon and they are growing stronger by the year. I am watching where they go and what they have in mind. Whilst I think they need to remain where they are and continue to seduce the local audiences; their tour plans will need to include cities like London and Manchester. It can be expensive getting out there and getting gigs but I know they have music that will be taken to heart by punters there. They are among the most interesting and promising new bands around and that needs to be rewarded. Perhaps all that is to come next year and I am sure the guys have plans to spread their wings and get out there. I have covered a lot of ground and spoken about various things and I think there is a lot of life in Creature. Their sounds rumble and get into the brain; they have emotional sophistication and intelligent lyrics that mark them above the rather basic and aimless bands. I will move on to their new song, Something More.

One gets little chance for breath and reflecting when Something More chugs away. Like a Grunge-Devil locomotive leaving the station with a fire burning in the back and steam billowing; the guitars churn and the percussion rifles. It is a bold and exhilarating opening that gets the blood running and make you wonder what is coming next. There are slight hints of Royal Blood in the guitar and Nirvana in the vocals but neither is too obvious – that combination works well and it provides a great blend of emotions and sounds. There is talk of evil love and it being wrong; the hero is looking for something different and it seems like a rather tense time is unfolding. I was instantly thinking about love going wrong and a painful split: the possibility of movement and improvement are at the back of the mind. If some of the vocals get buried beneath the composition and there are some intelligibility issues at times – path of the course for a Grunge band and that intensity – it is not a big factor. You get a really authentic blast of 1990s Grunge but it is modernised and bespoke to the tastes of Creature. They have ingested great bands and take a little of each on board. The tightness of their performances and the explosion of the composition get straight into the brain. The guitars weave and bite like vipers whilst the bass and percussion drive the song forward and create an avalanche. Something More is a song that wastes no time in getting under the skin and make you feel alive. I was picturing the hero being annoyed by a lover or feeling like they are taking too much from him. A need for something different and more substantial is on his mind. It seems like the lead has been looking for a reason to stay and looking deep inside his sweetheart. Maybe things are not over and it has been a hard road to realisation.

There have been problems and setbacks but our man has staying put and discovering something new. I love how the band manages to fuse gritty and fuzzy notes together with a more polished production. You have a professional shine – that does not take away from the music – but some real dirt that works its way through. The more the song goes on, my mind starts to look at this relationship and how things are progressing. It would be easy to walk away from something that is not perfect but that desire for something more keeps the hero pining and searching. With huge vocals and soaring words; combine that with chugging and rampant strings; throw in some meaty beats and a general feeling of dark smoke and you have a song that keeps on biting and seducing. It looks like the hero wants things to work and they are going to make it. Whether wanting something more involves greater physicality or trust, I am not sure. Maybe there is greater complexity at the heart of the relationship. You definitely get hints of the 1990s and early-2000s in the vocal and song. Bits of Linkin Park mix in with the influences Creature name. It is a great sound that comes together and, although there are some influences working away, the trio manages to create something that is true to them and new. Certainty, in 2018, there are not many bands in the mainstream that have such a dramatic and impressive sound that offers more than easy riffs and vague lyrics. You get a sense of wisdom and maturity in the words and the band has taken the trouble to craft a composition that has nuance and depth. There is definite sexiness and sweat to be found in the lyrics. The hero wants to fill the space inside the girl – nobody does it like her – and he wants to feel more connected. You feel there is palpable electricity and lust working away but there is enough emotional maturity to ensure the song does not get too smutty.

The more it continues and the more you get involved; the more beauty and pleasure come to the fore. Creature throw in great little diversions and ensure the song is never predictable. It changes direction and attacks; it stops for a second and throws in some backing vocals. By the end of the song, your head is all over the place and it has been an exhilarating ride. I went back and listened to the song and got something new on that occasion. Something More reveals new skin and insight the more you listen and that is a mark of a great band. With great lyrics that are easy to understand but offer mystery and interpretation; a composition that takes the body and heart and does something strange with them – it is a fantastic cocktail that gets into every pore and does something fantastic. It is wonderful hearing the song come together and alive. I can only imagine what it sounds like on the stage and can imagine it is not as clean as it is on the record. The band have the option of being professional and disciplined musicians who can write brilliant songs but can strip them apart and open them up on the stage. It will be wonderful to see them play and I hope I get to see them play Something More if they come down to London. Whatever the truth behind the song is; I have been getting to grips with it and discovering a fantastic new band in the process. If you are not aware of the wonders of Creature and what they do then ensure you follow them closely and see where they head next. They are already proving they have the muscle and talent to go a very long way in the industry – I know they will continue to improve and grow as we go into 2019. An exciting and brilliant time for a fantastic northern band!

There is a lot to be excited about when it comes to Creature. Listen to their single and, if you can, get involved with their live shows and go see them. Check out their social media channels and follow where they head next. They have local gigs coming and, at the moment, they are promoting Something More. Many journalists have expressed their support and love for them and it seems they are hitting their stride. I wonder whether there will be more material coming next year and what the trio have in mind. I feel, based on their latest release, there is a lot of energy and inspiration in the camp. It is clear the band want to go far and have that great mix of older bands and modern influence. I have asked whether it is possible to be unique in this age and what the right balance is. You can hear everyone from Nirvana and Neil Young is the work of Creature and that mixes with the trio’s unique blends. Put that together and you get an intense and busy style of music that will appeal to a variety of tastes and ages. Let’s look ahead and see where Creature will go. I would like to see them get down to London and try and get some gigs in other areas of the nation. I think their sound travels well and they could find success at some bigger venues down here. The reviews for their live sets mark them as ones to watch and I feel that is something they should be proud of. With many people resisting the temptation to get out to gigs and spend money at venues; I feel the likes of Creature have an important role to play. I have not seen them perform but I would definitely be interested if they came down to the South. Listening to what they are producing now and you feel Creature will keep on making music and growing.

The connection and chemistry they have is what shines and sparks. I did not mention it further up when looking at what they do but you can hear how close they are. I can hear a lot of bands where you know the balance is off and they are not on the same page. Look at what Creature are throwing out and they definitely have a closeness and kinship that makes their music so solid. Make sure you check out the band and follow their movements. It has been a busy and productive year for them and I know next year will be even bigger. If anything, I hope more people cast their eyes to the North and take a greater interest in artists up here. There is nothing to suggest the area will remain dormant in the critical mindset and we will hook onto London. The more great acts coming from there the easier it will be for the national media to break away from the obvious and show a bit more boldness. In order for music to be diverse and all-inclusive; we all need to get out of our comfort zones and search other areas of the country. I know Newcastle and the North East have always been relevant and active but, with the media being largely based out of London, it is harder for artists in the North to get their due. Creature do not have to move location and compromise who they are in order to get ahead quicker. They have a great live sound and sound gilded and solid when in the studio. As bands come more to the fore and there is this change happening; it is the time for the likes of Creature to rise and bite. The intrepid trio has crafted a brilliant song in Something More and it hints at a very bright future. Get behind the guys and give them your support because, in a tough and busy music scene, they are a shining light. It may be a while before they hit the bigger leagues and get mainstream attention but, if they carry on like they are, they will make that transition…

WITHOUT many problems.

___________

Follow Creature

Twitter:

https://twitter.com/creatureband

Facebook:

https://www.facebook.com/wearecreature

Instagram:

https://www.instagram.com/creaturesband/

Bandcamp:

https://wearecreature.bandcamp.com/

SoundCloud:

https://soundcloud.com/creature-uk

INTERVIEW: Party Nails

INTERVIEW:

PHOTO CREDIT: Bia Jurema

Party Nails

___________

I end the day by speaking with Party Nails…

PHOTO CREDIT: Bia Jurema

about her latest song, My 404, and what it is all about. Elana (Party Nails) talks about songwriting influence (including mental-health) and her upcoming album, Past Lives and Paychecks – I ask whether she considers herself spiritual in terms of love and life.

I wanted to know what it felt like moving to New York to pursue music; which artists and albums are important to her; whether there is an aspiring talent we need to get behind; what tour dates are coming up – Party Nails reveals whether she gets time to unwind away from music.  

__________

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

Hi! I'm good. This week has been emotional, fun and a lot of work. The usual, I guess? Haha.

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

I'm Party Nails. I'm originally from Chatham, New York and I now live in Los Angeles. I started writing songs when I was eleven and never stopped! I started becoming interested in recording and production when I was a teenager. It wasn't until Party Nails came about that I was able to merge my love of songwriting, singing; sound and production - and Electronic, Pop and country music.

When did ‘Party Nails’ come to be? Is there a story behind that moniker?

It's weird to think back to the beginning because it was so unlike what it is now! Initially, Party Nails was a duo and I was more interested in my solo project at the time which was weird Art-Electronic music. I didn't want to ‘conform’ and Pop felt like conforming, at the time. But, the more I continued to develop my skills, the more I realized that Party Nails was everything I'd been working toward and waiting for. So, the very beginning was 2013 or 2014. But, it wasn't until 2015 that it was totally my project. That early period was dramatic. It has not been a short or easy journey by any means but I wouldn't change it because I learned so much and, for that, I am so grateful.

The name itself came from watching a group of girls get ready for a night out. I loved how much joy doing their nails contributed to it.

 

My 404 is your latest track. What is the story behind that track?

Luke, who is in Coast Modern, played guitar in my live band when I first moved to LA. So, we have just kept in touch and, one day, they sent a couple tracks they were looking for vocals on because they were doing a mixtape. I really liked this track in particular and wrote My 404, hoping it would be on their mixtape. When it didn't make the cut, my management suggested I make it a Party Nails song. So, I played it at a few shows and liked the vibe and response and decided to do it.

What's funny is that we didn't have any high-res versions of the instrumental because Coleman (of Coast Modern) had broken his computer or lost his hard-drive or something. So, I cut my final vocals to an MP3 and we mixed that. I had pitched down the MP3 too because the version they first sent me was too high for me to sing to. NOT what you're ‘supposed’ to do but here we are... 

Past Lives and Paychecks is your upcoming album. Are there core themes and stories that inspired the songs? Do you have a favourite cut from the record?

I loved making this record so much. If no one likes it, I will still be so proud and happy that I was able to work and create something that is how I felt and what I wanted to communicate, lyrically, melodically; sonically and rhythmically. I know I will evolve forever and there are a million records I want to make by yesterday, but there was a special peace and calm that came with making this and I think it's important for me to acknowledge that.

The song, Clothes, was the first song I wrote with the intention it would be on this album. It was terrifying in the beginning because I knew stuff that had never come out of me would start coming out of me. Clothes was written like that - it was hours of me sitting and playing with ideas and then suddenly there was this song there in my mouth and on the page and it had such a personality that I could understand and feel excited by. I imagine it must feel similar to meeting your child for the first time? Haha. And it was about loving someone unconditionally, so that tempered the rest of the record-making process. It made it less scary to keep challenging myself.

The power of love is a big theme on the record. But, there is more than love. How Can We is about the modern world, our belief systems and spirituality; the irony and sadness inherent in that mix. It sounds really specific, but I try to imbue all of my music with some self-awareness of our era, so power, money and religion are all themes on this record for that reason. Art with that awareness, it's more fun; it's thoughtful and smart; it feels more real. In my opinion. So, that's what I always strive for.

PHOTO CREDIT: Bia Jurema

I get the sense you have quite a spiritual outlook on life and love. Would that be fair to say?!

Haha, yes. How could you tell?!

I love mental-health awareness. I go to therapy and I keep a notebook. I try to grow and ‘spread light’ and be my best self. I use tarot cards occasionally. I try to be as consistent and present for my friends and family as possible. Honestly, that usually just consists of more hugs and better listening!

I know you started performing early. Was it quite scary moving to New York and perusing music in the big city?!

I was eleven the first time I played and sang alone on stage and I was shaking. Before that, I played viola and sang in choir at school.

I was twenty when I moved to New York City. It was nerve-wracking because I had about $100 at first. And then I spent it when my brother's car, which I was borrowing, got towed. It was a whole series of unfortunate events. Living in New York, there were many unpleasant moments but, in general, it wasn't scary. I actually left N.Y.C. because I knew I needed to try something else. It felt like the only music happening in New York was Indie-Rock and it was becoming obvious that I wasn't moving forward in that scene at all.

 PHOTO CREDIT: Bia Jurema

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

My earliest music memories are of Bob Marley and Neil Young. Harvest Moon is still one of my favorite records. Later, I was really taken by Led Zeppelin and this box-set of girl groups that Rhino Records put out...my mom gave that to me for a birthday, I believe. SO much over the top lyric-writing and girl Punk power - even before punk was a thing.

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

I hope to have a good album release and an amazing time touring in the fall and winter - and some new things ready to release in the New Year! Next year, I hope to tour Europe!

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

There are so many it's really hard to choose.

One of my favorite songs to have come out in the last five years is Somebody to Anybody by Margaret Glaspy. After watching every video of her I could find; I saw she was playing a show in Los Angeles so I went to the show. She and her band were incredible. They played so well together and had this gentle strength that you could feel. And…her voice. There is nothing like it.

After they played for about forty-five minutes, her band left the stage and Margaret did a handful of songs by herself with just her guitar. One of them was Harvest Moon by Neil Young, actually. I was completely enamored. At one point, I looked around the venue and realized that everyone (including myself) was crying. Not a dry eye. That was magical.

PHOTO CREDIT: Bia Jurema

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

Robyn's Body Talk series is a masterpiece and, without flooding all of our attention, became a massive influence on a lot of Pop music that came after it.

SZA's CTRL changed my life. It's so solid, yet vulnerable and unexpected. It's smart, it's earnest and, lyrically it's a perspective I didn't even know I was missing. SZA has inspired me so much.

(It's really hard to stick to just three!)

White Blood Cells by The White Stripes was huge for me. I was eleven or twelve and would listen to it very loudly. I didn't really understand how modern Rock music worked. I didn't understand what it meant to be cool, or to play with sound or to play shows and get the crowd riled up. I lived eight miles outside of a town of two-thousand people so we didn't have any of that! But, this record had such great and memorable songs on it and ignited an interest in me that never stopped growing.

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

Sheryl Crow or Paramore. That would be incredible to witness every night.

If my rider was limitless, I'd be sure to put Nutella, La Croix and graham crackers on it. Also, socks and a massage...a pep talk from a professional pep talker, too. If that's a thing?

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

I'm touring the U.S. this fall/winter. I'm really sad that I'm not going to be going to Texas again. But, all the other cities I've either been to already or I'm going to for the first time! More info at http://partypartynails.com:

* w/ Bad Bad Hats

^ w/ Somme + Eve 6

Oct 30 - Nashville, TN*

Nov 1 - Birmingham, AL*

Nov 2 - Atlanta, GA*

Nov 3 - Gainsville, FL*

Nov 4 - Orlando, FL*

Nov 5 - Jacksonville, FL*

PHOTO CREDIT: Bia Jurema

Nov 7 - Charlotte, NC*

Nov 8 - Carrboro, NC*

Nov 9 - Norfolk, VA*

Nov 10 - Richmond, VA*

Nov 11 - Charlottesville, VA*

Nov 13 - Newport, KY*

Nov 14 - DeKalb, IL*

Nov 15 - Davenport, IA*

Nov 28 - Salt Lake City, UT^

Nov 29 - Seattle, WA^

Nov 30 - Portland, OR^

Dec 1 - Los Angeles, CA^

Dec 5 - Kansasville, WI^

Dec 6 - Grand Rapids, MN^

Dec 7 - Detroit, MI^

Dec 8 - Chicago, IL^

Dec 9 - Springfield, MO^

Dec 11 - Pittsburg, PA^

Dec 12 - Poughkeepsie, NY^

Dec 13 - Philadelphia, PA^

Dec 14 - Asbury Park, NJ^

Dec 15 - Boston, MA^

Dec 16 - New York, NY^

What advice would you give to new artists coming through?

You are going to be challenged in ways you can't even imagine. And, that's okay: it's part of what will make you a stronger artist.

Don't quit!

 IN THIS PHOTO: Bad Bad Hats/PHOTO CREDIT: Zoe Prinds-Flash Photography 

Are there any new artists you recommend we check out?

If you haven't already, check out Bad Bad Hats! They aren't ‘new’ but they might be ‘new to you’.

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

‘Yes’ and ‘no’. I do a lot of writing, personal essays and poems. I enjoy working. And I have trouble unwinding, unfortunately so, sometimes, I get sick. (I'm sick right now! Because I had trouble relaxing over the weekend and instead just fretted and paced!). For when I need to take a step away, I'm always looking for something funny. I LOVE comedy.

My friends have a writing and performance group called Maiden Voyage that I'm lucky enough to get to see in person because we all live in Los Angeles. After their shows, my face hurts from laughing. I like to spend time outdoors, but I haven't been doing that nearly as much as I should lately. I like to cook and bake 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).

Bad Habit by Your Smith. I can't stop listening to it since I first heard it a couple weeks ago

___________

Follow Party Nails

PHOTO CREDIT: Lindsey Byrnes  

Official:

https://www.partypartynails.com/

Twitter:

https://twitter.com/partypartynails

Facebook:

https://www.facebook.com/partypartynails

Instagram:

https://www.instagram.com/partypartynails/

SoundCloud:

https://soundcloud.com/partypartynails

FEATURE: Queen Nadine: Why I Feel Nadine Shah Should Win This Year’s Mercury Music Prize

FEATURE:

 

 

Queen Nadine

IN THIS PHOTO: Nadine Shah/ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images 

Why I Feel Nadine Shah Should Win This Year’s Mercury Music Prize

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A few days back…

at the AIM Independent Music Awards; it was good to see some great artists celebrated. The reason why the awards are more credible and impressive than any others is that of the variety and quality of artists acknowledged. The awards saw the likes of Peggy Gou and Tracey Thorn walk away with gongs. Thorn was presented with a lifetime achievement award whilst Peggy Gou saw her track It Makes You Forget (Itgehane) celebrated as the year’s best. IDLES won an award for being the hardest-working band - ironically, too busy working to collect it! – and it was pleasing to see so many great artists, who would be excluded normally at the mainstream ceremonies, get their props. The speech and award that caught my ear was that given to/by Nadine Shah. She saw her latest work, Holiday Destination, win the award for the best album and her speech was filled with humour and great lines. The album itself, as I shall explore, is one that asks big questions and takes risks. It is not your usual safe and routine album that looks at relationships and never really pushes the envelope. Whilst there is plenty of melody, uplift and great tunes; the reason why the record is successful and gained huge reviews is that of the talent of the woman who wrote it.

The Whitburn-born artist is a second-generation immigration and knows how hard it is for immigrants to feel welcome and like they belong in the country. Their plight is difficult and many risk their lives to be here. I will return to the subjects of Holiday Destination and why the album warrants a Mercury win (the ceremony takes place on 20th September) but, look back at Shah’s previous album, Love Your Dum and Mad, and you can see themes emerging. That album tackled mental-health issues. She spoke to journalists after the album was released and stated that two of her close friends/former boyfriends took their own lives; Shah wanted to shine a light on mental-health being seen as a social stigma. Released in 2013, the record saw critics and observers ask her to speak and have her say. Earlier this year, when speaking with the Evening Standard, she revealed how hard it is being in a rather unique situation:

“I’m finding it quite difficult at the moment,” she tells me. “I’m a female musician who’s made a political album, and my first album was about mental health, and I’m a Muslim. So I get asked to speak at so many things that I have to start saying no”.

Love Your Dum and Mad was released in 2013 and 2015’s Fast Food saw Shah’s stock rise and more eyes come her way.

One of the reasons Nadine Shah has gained a lot of love and is standing out is because of her empathy and reflecting on something serious. In the same interview, she talked about artists who write escapist music and why it is important to go beyond that:

“There’s definitely a place for artists who want to provide escapism as well,” she says, “but I think the reason you’re an artist is you have a heightened sense of empathy. You can see something and kind of feel it. So you tell people’s stories. I think that’s your main job”.

Holiday Destination seems to be her most personal and angry album. When tackling mental illness and suicide; you knew how much those words meant and how she wanted to disintegrate the stigma out there. Immigration and feeling displaced have been part of her creative consciousness since the start. I will bring in more-recent interview snippets but, when speaking with The Guardian, as she promoted Fast Food (2015), Shah discussed her experience:

“The only reason why I was so determined for people to hear that I was Pakistani was so my nieces – my cousin’s children, two beautiful girls – could have Pakistani role models,” she says. “We didn’t have any growing up. So I think it’s almost wonderful that they can see it’s realistic and achievable, I can be from this culture and making this music.”

  “…Her relationship with her father’s Muslim heritage was not always easy. “[At school] I loved being a bit different. I’d get a day off for Eid. Or at show-and-tell I could bring in these amazing outfits that my aunts would send over. It was only after 9/11 that there was lots of racism. From then on it was awful to be Pakistani and I would lie about it. I would say I was Persian. Arabian. Anything that wasn’t … but then finally leaving Newcastle and moving to London, a really multicultural city, I’m 10 a penny!”

Her family experience and understanding of the immigration crisis around the world feed into music. She has stated in interviews how, as an act of resistance against President Trump, she is applying for another visa and will not be pushed down. Shah wants to see more commercial artists talk about political subjects and tackle areas that are being unexplored. Her success has provided her with a larger platform on which to campaign; exposure has provided her with the chance to write music about something more substantial and rare than having a broken heart. That unique position she is in – a political Muslim woman in music – is something she always has to take into consideration. Speaking with NME earlier this year, she spoke about Islamophobia and the rise in nationalism – her desire to see more artists do what she is doing:

“Not in an arrogant or vanity way, but I’m glad that my album is present because I wanted to see some political artists,” Shah told NME. “I think that part of my job is to document the times that we live in. I wanted to speak about the rise in nationalism and a decline in empathy. Also, as a Muslim female in this industry – there’s not very many of us. I wanted to speak about Islamophobia for one; it scares me and it scares my family”.

I have listened to Holiday Destination repeatedly and a few things strike me. It is full of nuance and has so many layers. You hear something new when spinning it but it is those stark images and that emphatic voice that gets into the head. We need a political album to win the Mercury and set an example. The prize is designed to recognise the best albums and artists that do not get big mainstream applause – and are able to say something important and change music. Previous years have not seen a lot of socially-aware and important albums take the prize. We have to reflect quality and the best album but, in the case of this year's rundown; the best album (from Shah) is also one that delivers a big punch and plenty of food for thought. I would consider it an outrage if she does not walk away with the award on the night - the effort she has put in warrants true recognition!

Shah ticks all the boxes and, to boot, she has the personality to take her music as far as possible. She is open and natural in interviews; always funny and intelligent and has a great beauty - not important but it is hard to find a flaw or anything wrong with her. I am always blown away by the energy she brings to interviews and how fascinating she is to listen to. I will finish by conveying my feelings regarding the album but music awards like the Mercury are designed to boost artists that are doing great work and are not the go-to option when it comes to the big radio stations and magazines. Shah might not court the same attention as Nicki Minaj or Taylor Swift – one feels she wouldn’t want to hang with them and would be a bit put out by their entourage and rather delicate demeanours. Every interview I read Shah had given, at some point, seems to involve a drink and a cheeky grin – that’s the kind of person you want leading music and showing the way! Nadine Shah has given a fresh interview with The Guardian and has spoken about her progression and award nomination.

PHOTO CREDIT: Katherine Anne Rose for The Observer

I will crib a photo from that shoot – legally and all fair, guv! – but there are revelations and insights that show why Holiday Destination is the result of an authentic voice. Shah talked about her experiences with racism at school and how she was outcast and alienated by ignorant peers (a Guardian quote that sees Shah cheekily swirling a drink!):

“I’ve never been white enough to be white, or brown enough to be brown. At Asian weddings, I’d get called ‘gora’” – a Pakistani slur sometimes used to describe a white person – “and in school I’d be called Paki.” On the single Out the Way she sings: “Where would you have me go / I’m second-generation, don’t you know,” because, she says, swirling her G&T, “people were starting to say to me on social media: ‘Go back to where you come from’, and I was like: ‘What? Whitburn?’”

She explained how she was disappointed certain artists made the Mercury shortlist (Noel Gallagher, for one) and was annoyed that artists like Gwenno did not make the cut. I thought Let’s Eat Grandma would be a shoe-in and felt Young Fathers and Shame would be among the chasing pack. There are some interesting nominations for this year’s awards but I feel, as Shah does, there are not many political commentators on the list. Given the fracture and friction around the world; the political divisions and racism rearing its head – why are artists still not looking beyond the bedroom and condoms crusting up their shoes?! You have mainstream artists pouring out their bleeding hearts or male bands talking about their bawdy adventures and recklessness. Genuine, rawer artists like are out there and a couple of recent albums, as I shall end on, have followed on from Shah’s lead and look set to be nominated for next year’s Mercury!

Shah, in the interview, said how she as bullied in a relationship when writing the album and, whilst great for lyrics and inspiration; perhaps it is best to walk away and take some time out. I mentioned how Shah would not hang around Taylor Swift but she has respect for artists who can reach millions and hold that kind of power – would we be out of the E.U. if Taylor Swift rebelled against it, for instance?! She knows artists like Arctic Monkeys and Lily Allen do not need the award – given the themes they explore and the fact they are established and past their prime – and the songwriter is not keen to make another political album...even if she is one of the leading political songwriting commentators out there. It seems, as she stated in The Guardian, she is brewing with ideas for a new album and has opinions regarding gender visibility and bias:

“The first lyric of the album I’ve got so far,” she says, “is ‘Shave my legs, freeze my eggs / Will you fuck me when I’m old?’” She wishes there were more stories like these in music, as an antidote to the number of male musicians over 50 who still manage to infiltrate the charts. “Men, older men, they’re heard,” she says. “There’s hardly any older women by comparison. I want someone who is 60 to sing to me and say: ‘You know what? It’s like this. I had a terrible pregnancy, I couldn’t breastfeed, [the baby] didn’t latch’. I want someone to say: ‘Listen, I was 32, and I had endometriosis, and I was going to have to have all my organs out’. Or: ‘I got to 40 and I couldn’t have a fucking kid.’We need older women’s voices more than younger women’s voices right now. There’s a real lack”.

I feel Holiday Destination will win the Mercury in a year that has seen a few other artists come through and go beyond the predictable. This month has seen Anna Calvi and IDLES release career-best, year-defining records. The former, Hunter, looks at gender and the patriarchy; it explores women’s roles and the strength they have – a gusty and striking album from a virtuoso guitar player, songwriter and vocalist. IDLES’ Joy as an Act of Resistance looks set to break the top-five in the album charts and has been getting five-star reviews all over the shop. That record, like Shah’s, looks at subjects that are seen as stigmatising or controversial. They tackle mental-health concerns and toxic masculinity – delivered with fire and incredible tightness. I feel a movement has been started where artists are looking at something more important and hard-edged. It seems, even given these artists, Shah stands out alone! I cannot think of another female Muslim songwriter who is in the same position as her. That sort of pressure (if that is the right word?!) could be a burden or seen as an obstacle but, for Shah, it is a chance to change things and bring about progression. I am confident Holiday Destination will win for Shah and she will get to deliver a pretty epic acceptance speech! The record sounds haunting and stirring but it wants us to open our eyes and, as an alternative to the broken-hearts-and-spurned-relationships we see all over the place; it would be great recognising an artist who, unlike some of her peers on the Mercury list, is actually talking about something important. I would be disappointed if Shah does not win the award and, when she does, I would expect her to stride up, gin and tonic in hand, and provide one hell of…

A fuc*ing good speech!

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Let's Eat Grandma/PHOTO CREDIT: Laura Harvey for The Line of Best Fit 

An All-Female, Autumn-Ready Playlist (Vol. I)

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I started this series in the summer…

IN THIS PHOTO: GRAACE

and, given the fact it is autumn, I am starting a new series up! Here is a selection of female-led sounds that are guaranteed to keep the heat and excitement of summer going but get you ready for autumn and all the colour it offers. I have looked around and selected the best new songs – and a few from last year – that will get into the ears and excite the brain. Have a scan through this assortment of female-driven songs and I am sure there is something in there that will inspire. The weather is getting cooler and the nights are drawing in but, with music like this, that is…

 IN THIS PHOTO: TRILLS/PHOTO CREDIT: Mitchell Collin

NOTHING to fear.

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

_____________

Tkay Maidza – Growing Up

PHOTO CREDIT: Sven Serkis

Evvol – Oceania

PHOTO CREDIT: Mitchell Collins

TRILLS – Speak Loud

PHOTO CREDIT: Michelle Homonylo

Dilly Dally – Doom

Charlene Soraia – Where’s My Tribe

Ella Vos – White Noise

The Pink Slips – Texas

Zairah – Sex + Cigarettes

Sarah MacDougall – We Are Fire

Cherry Glazerr – Juicy Socks

GRAACE – Last Night

My Ultra Violet – Wilde as Me

PHOTO CREDIT: Laura Harvey for The Line of Best Fit

Let’s Eat Grandma – Falling Into Me

Rachel Button – Will I Be Ready

Suzie Stapleton – Negative Prophet

Cally Rhodes – Your Place

Ladytron – The Island

Kelly Oliver – Botany Bay (Trad.)

Kelela – Jupiter

Chelsea Cutler – Cold Showers

Chelcee Grimes – I Need a Night Out

Million Miles – Honey

Anna Wang – Hindsight

Jess Williamson – Wild Rain

Jess Connelly – Mine

Grizzly Coast – Zuzu’s Petal

INTERVIEW: Mike Edel

INTERVIEW:

Mike Edel

___________

MY final interview of the day is with Mike Edel…

who talks with me about his new track, 31. I ask him what the song’s story is and which artists/albums have inspired him; whether there are going to be tour dates and whether there are any rising artists we need to keep an eye out for.

Edel tells me his goals for the remainder of the year and his favourite musical memory; what advice he would give to artists coming through and whether he gets chance to chill away from music – he closes the interview with a good song selection.

__________

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

It has been good, even though I got really sad yesterday. But, this morning, I woke up early and me and my band are rehearsing today and I went for a long walk and it was really great. I think balance and health and positivity are important!

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

Mike Edel. I’m Canadian but I currently spend my home time in Seattle, WA.

31 is your current track. Is there a story behind the track?

The song is about not letting time and age get you down. One time, I noticed all my friends were talking about was renovating their basements and buying houses - and I realized I wasn’t in my twenties anymore.

Do you feel the song is a rebuttal and rebellion against what you are ‘supposed’ to be in your thirties?!

There are forces of our culture and society and our families - and our bodies and stuff - that want us to sit on our couches and watch Netflix and work a nine-to-five and have a kid and renovate our basements. All these things are totally fine, but it’s sort of me dealing with the questions of how my life will look in these stages.

Is there going to be more material coming in the future? What are you working on right now?

Yes, there will be!

In terms of music; who do you count as idols and influences? Did you grow up around a lot of music?

I grew up playing drums in a Blink-182 band and also at church. I waded my way through both of those things and I think I listen to a lot of really great music these days.

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

Happiness and contentment, to be honest. I am a bit of an ‘achiever’ and I want to tone that down today.

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

Every day! My friend Jeremy and bass player Jeremy are sleeping on the couch beside me in a kitchen and I keep referring to this as ‘his bedroom.’ This is my favourite moment.

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

My friend Sam Weber just put out a record/E.P. It’s seven-songs-long and I like listening to it because it’s not exactly what I do. But, I like listening to it and I feel like I can get inside his mind a little when I listen; sort of like when Harry Potter and Voldemort get into each other’s minds. It’s called New Agile Freedom.

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

9/5: Kelowna, BC | Fernandos

9/6: Calgary, AB | The Gateway

9/7: Whitefish, MT | The Great Northern

9/13: Victoria, BC | Rifflandia Festival

9/15: Vancouver, BC | Westward Festival

9/16: Parksville, BC | REALM

10/4: Red Deer, AB | Bo’s

10/5: Edmonton, AB | Up+DT Festival

10/20: Burlington, VT | Nectar’s

10/24: Toronto, ON | Burdock

10/25: Ottawa, ON | Cafe Dekcuf

10/27: London, ON | London Music Club

What advice would you give to new artists coming through?

Celebrate the little victories!

IN THIS PHOTO: Grouper

Are there any new artists you recommend we check out?

Grouper - Grid of Points is what I’m listening to right now and it’s very, very cool.

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

I’m gonna get a job at a brewery and then work for two days and then leave town for a tour. That’s my new thought on how to chill and unwind and have some friends around.

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).

Grouper - Parking Lot

___________

Follow Mike Edel

Official:

http://mikeedel.com/

Twitter:

https://twitter.com/Mikeedelmusic

Facebook:

https://www.facebook.com/mikeedelmikeedel/

YouTube:

https://www.youtube.com/channel/UCvCZBgLb3EOFtx-rduNAZzw

SoundCloud:

https://soundcloud.com/mikeedel

INTERVIEW: Maria Matveeva

INTERVIEW:

Maria Matveeva

___________

IT is interesting stepping into Maria Matveeva’s world…

as I ask her about the track, Princess of Ukok, and working with Deep Forest on the piece. She tells me about her music plans and what we will get next; when music came into her life and when she left her hometown of Omsk (Siberia).

Matveeva discusses her plans going forward and whether she has any ambitions to fulfil; what advice she would give to artists coming through; where she sources inspiration – she ends the interview by selecting a great song.

__________

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

Hello! I am good. My week was great, thank you.

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

My name is Maria Matveeva. I was born in Siberia (Russia). I am an Opera singer. I have a Classical musical education in Piano and Academic Vocal. During a certain period of my life, I performed Opera, Chamber and Sacred Music. It was a period of ‘Classical music’ in my life. But, I always dreamed about creating something new and innovative in music; to do some kind of experiment mixing different musical styles, electronic sounds; ethnic elements ...

My first experimental C.D. named ROSES TIME was released in 2000 in Russia where I mixed Classical music and Electronic sounds. But, later, my Classical music studies brought me to the world of Opera; taking me away, as it seemed to me at that time, from my dream. Only many years later,  when I met the legendary leader of Deep Forest - Eric Mouquet, did I begin to realize my old dream! At that time, I also met other wonderful musicians such as Mike Garson, Alessandro Alessandroni; Alex Elena and others. It was an amazing collaboration and a wonderful experience in the new - for me - world of Pop music.

Talk to me about the track, Princess of Ukok. What is the story behind it?

The inspiration for the song Princess of Ukok comes from a really fascinating story...

In 1993, the group of archaeologists from Novosibirsk, led by Natal'ja Polos'mak,  discovered a sacred place at the foot of the mountains on the Ukok Plateau in the Altai Mountains region of Russia called the ‘Russian Shambala’. This region is one of the most mystical places in the World where there is still a strong presence of shamanic culture and tribal peoples’ heirs of the Gorny Altai Kurgan Pazyryk culture. It is a timeless place where people still live in harmony with nature and communicate with the spirits. The group of archaeologists found an ancient mummy of a mysterious young woman known as The Ukok Princess by the name of the place where she was found, Ukok plateau.

Shamans from Altai believe that White Mistress or ‘Ak-Kadyn’ - like they call her in their language - was a spiritual priestess and her early death was a part of her spiritual mission. Thus, she maintains a balance between our world and the world of shadows. Princess of Ukok is a symbol of Altai and she is the protector of this land. In this song, I express my spiritual connection with the Princess of Ukok singing about her difficult destiny and her return to our times from the magical land of Altai to the whole world.

How did you come to work with Deep Forest? What was it like working with the first French Grammy winner?!

At the time, when I was singing Opera, I had a dream to collaborate with my favorite artist Eric Mouquet - the leader of the legendary group Deep Forest. I always was a big fan of this group and I really love their music. Finally, my dream has come true. We met in France and began our collaboration and, as a result, produced some tracks inspired by the harmony and magic of my land. Eric is a wonderful person; a great musician. For me, it’s a great and exciting experience to collaborate with him!

One day, Eric Mouquet told me a very important phrase that became for me a rule: “You must be honest in your music and always be yourself …". So, I follow his advice. The work on our joint project, Siberian Trilogy, opened up for me new facets of my abilities.

Siberian Trilogy Project is your E.P. Are there themes and particular stories that inspired it?

The theme that unites all songs from the E.P., Siberian Trilogy Project, is Siberia - my birthplace. I’ve chosen to follow this way because I felt the need to share with my audience the colors, charm; mysteries and sounds of an unknown world. At the same time, I have a possibility to tell the story of my life through this music; about the places where I came from, about incredible people that I have met in my life: shamans, princesses and ordinary people.

I am seeking the way to create a different original musical mosaic. The stories I tell are related to Siberia, to the Altai Mountains called Russian Tibet. Russia is a great country that has rediscovered its traditions after dark times. It boasts a rich folklore full of colors and shades that are very important for an artist’s creativity.

You are a celebrated soprano. How did music arrive in your life? Did you grow up around a lot of different music?

In my family, there are no professional musicians. My father is a scientist; my mother is a teacher at the university. My lovely grandmother, Maria, was a teacher of geography and astronomy but she loved the music a lot and she always sang at home. Since I was a small child, she used to sing me Russian folk songs, romances…

At the age of five-years-old, I decided to become a pianist (smiles) and began my study on piano at the musical school. And only at the age of seventeen, after graduating from the physics and mathematics college, I learned that I possess a naturally delivered classical soprano voice.

Omsk (in Siberia) is your hometown. When did you decide to move to Italy? Do you still find time to get back to Omsk?

I left my hometown, Omsk, many years ago. I understood that, in order for me to move on and create a career, it was necessary to study a lot. I planned to study in Moscow, but I was invited to study in another city in Siberia, Khanty-Mansiysk. It was an amazing period in my life. I had many concerts, performances. After one of my performances in Moscow, I was invited to continue my study in Italy, in the Conservatory, Benedetto Marcello, in Venice. That's why I decided to move to Italy.

Every year, I and my son go to Omsk to visit my family and my friends to get an extraordinary inspiration in the Deep Siberian Forest (smiles). For me, visiting Russia - and especially Siberia - is a sort of energy recharging. That's why it so important to me!

Do you have any ambitions to fulfil before the end of the year?

The new single, Kalinushka (from the Siberian Trilogy Project), created together with Deep Forest will be released in this autumn. Also, the Siberian Trilogy Project itself will be released too. The work on a new video clip, Kalinushka, has a particular importance for me. Here, for the first time, I perform not only as a singer, author of lyric and actress but also as a director of a video!

So, for me, this work is very exciting and, at the same time, responsible. Hope you will enjoy this video clip. I am also working on another project right now. Let it be a surprise to my audience!

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

I had different periods in my creative path and all of them are very important to me in their own way...because every period gave me certain experience or taught me something.

I remember all periods but I try to live here and now. So, I like this period in my music. I could describe this period as ‘conscious creativity’; the creation of something new and the period of intense internal work.

Which three albums mean the most to you would you say?

What a difficult question - since I have much more than three albums, which for me are very different (smiles).

So, let it be:

Mike Oldfield's The Songs of a Distant Earth

Deep Forest and Rahul Sharma’s Deep India…

And, the wonderful soundtrack from the film Gladiator by Hans Zimmer and Lisa Gerrard - and many others…

What advice would you give to new artists coming through?

First of all, be prepared professionally; listen to a lot of good music from different musical styles and different musical epochs to cultivate your personal musical culture and find your own individual style. Be yourself and believe in what you are doing!

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

Now, in summer, I have enough time to relax (smiles). But, for me, music is like a part of me so, when I'm alone and I have time, I try to create some new ideas. I always take with me my book, in which I write new ideas that come into my head, even when I'm on the beach (smiles). 

But, when I feel tired and emptiness and the inspiration does not come; I realize that my energy is exhausted...in order to return that energy and inspiration to myself, I practice yoga, meditation; swimming, dancing. Also, travel, nature and even watching an interesting film helps in restoring mental balance.

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).

If you can play it for me, I’ll choose the composition that I love - Only Time Will Tell by Mike Oldfield.

Thank you!

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Follow Maria Matveeva

Official:

https://www.mariamatveeva.co.uk/

Facebook:

https://www.facebook.com/Maria-Matveeva-254058064635321/

YouTube:

https://www.youtube.com/channel/UCqt-Ii-N5v4e8LI0anyL7rQ

INTERVIEW: MASUMI

INTERVIEW:

MASUMI

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I have been speaking with MASUMI…

about her latest single, Run Baby, Run, and what its story is. She talks about life in Los Angeles and what comes next for her; what sort of music she grew up around; whether there are tour dates coming up - she reveals what she hopes to achieve by the end of the year.

MASUMI tells me how an earthquake in Japan changed her world and ambitions; which rising artist we should get behind; the three albums that are important to her – she ends the interview by selecting a great track.

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

Hi! My week has been amazing! The release of my single - that I’ve been working on for so long - was nerve-wrecking but then, having so many positive reactions from it after the release made it all the work worth it. I’m on the plane to Japan as I am writing this and I’m headed to Tokyo to release the song as well. So, the excitement continues!

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

Hi. My name is Masumi! I came from Tokyo, Japan to pursue my dream of being a singer/songwriter and I’m now based in Los Angeles! I play acoustic guitar and write songs that are in the genre of Indie/Folk/Pop. My mission is to bring hope and empowerment through the art of music!

Run Baby, Run is your track. What is the story behind the song?

Thank you for asking! The music and lyrics are written by me - and Marko Fazio is the producer of this song. He relentlessly worked on it with me for a year to really bring the emotion and the message I wanted to convey through this song. In 2016, I received a life-changing offer to be managed by a prestigious management team in Japan. I decided to walk away from this career-defining moment and chose to remain in the States to explore possibilities that were more aligned with the artist I wanted to grow into. But, that brought a dark period of depression and self-doubt. I was confused if I made the right choice.

A stranger popped into my life during that time and left me a message to “live with urgency” because “time is running out”. It slapped me awake. It was my second awakening - and helped me get back into motion again. Run Baby, Run is a fight song and it tells the story of finding the warrior within us and letting our strength guide us to our authentic selves. The Astronaut in this music video represents the stranger who blew life back into me.

I was incredibly fortunate to have Loic Zimmerman, who worked in films like Ghost in the Shell, Guardians of the Galaxy; Harry Potter, True Grit and Prisoners, to work for my music video. He beautifully captured the visions I had using The Astronaut and the story I wanted to tell. Marko brought the emotion of the song to the ears and Loic brought the emotion of the message to the eyes and, together, it creates a visceral experience. I can’t be more grateful for the people who were involved with the making.

Is it true the 2011 Tohoku earthquake inspired you to get into music?! Was that a seismic moment that opened your eyes?!

Absolutely. I always felt like there was something else that I really wanted to pursue other than going to university and study Anthropology. But, I didn’t realize how much music and singing meant to me until that moment where I was standing in the middle of the earthquake. I saw my entire life flash by my eyes and all I could think of was how cowardly I was to never pursue that one thing that meant so much to me. And that was music!

You moved to Los Angeles. How important is the music scene there? Did you settle into the city quite quickly?

I was born in Palos Verdes, CA and moved to Japan when I was three-years-old. So, it felt like coming home in a sense. But, of course, entering the music scene didn’t feel that way. I constantly felt overwhelmed by the amount of talent that I was surrounded by - and talented musicians are everywhere in Los Angeles! It’s inspiring, motivating but terrifying at the same time. I’ve definitely grown as a musician being in such a competitive market. 

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

Yes. I loved American mainstream Pop growing up! But, J-Pop artist like Utada Hikaru and Shiina Ringo were my favorite artists to listen to and I was also in a Punk-Rock band in junior-high-school; so I would listen to a lot of U.K. Punk-Rock music as well. My brother, who is ten years older than me, would always play R&B like D’Angelo and Brian McNight on a loudspeaker at the house, so I was exposed to a variety of different music as a young age.

You have appeared in some big music videos and enjoyed a lot of success. Is it a bit of a blur looking back on it all?!

Oh. You are so kind for saying that! Haha, a little bit! I definitely had been blessed with opportunities to be a part of exciting things recently and I can’t wait for more to come!

Might we see more material next year at some point?

Yes! I’m working on my new single that I’ll be releasing at the beginning of next year! I’m really excited for this song and to get back into creative mode in the studio.

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

This year was full of transformations for me. Personally and musically as an artist, so much growth took place this year. The launch of my single, Run Baby, Run, marked the new beginning for me as MASUMI. My tangible goal for the year will be to definitely have the new single wrapped and also to elevate my live performance style to better communicate the artist that I am.

But, most importantly, my biggest focus for the rest of this year is to achieve a solid foundation and clarity about my identity as an artist. I’m starting to finally understand what message I want to carry out after writing many different songs. Now is the time to zoom in on what exactly I stand for and build myself on that solid ground.

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

I have to say, going to Japan with my acoustic trio - MASUMI Trio - was one of my fondest memories! Having musicians that I grew to call family and play with them in my own hometown; feeling the support from everybody every show we played was truly fulfilling! Opening for Moby at the NAMM Show 2015 was also incredibly humbling as well.

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

All of Nina Simone

Jeff Buckley - Live at Sin-é

It changed the way I looked at singing. He expresses himself so authentically with his voice without having second doubts or fear. It gives me chills every time I listen to it.

India Arie - Acoustic Soul

I listened to this album so many times and I never get bored of it. It makes me feel like I'm having conversations with an older sister or something. So much wisdom and love in this album.

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

I love Bishop Briggs!

Will there be some tour dates coming up? Where might we be able to catch you play?

I’ll be back in Los Angeles to play a show in October (date T.B.D.). I’ll make an announcement through my social media as well!

What advice would you give to new artists coming through?

Trust in your greatness and the warrior within you!

IN THIS PHOTO: Matt Maeson

Are there any new artists you recommend we check out?

Matt Maeson (Cringe – Stripped)

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

This is something I had to work on: to nurture myself away from music to keep balance. My favorite way to unwind when I have the time is to do ahinrin-yoku (bathing of the forest) and go hiking or walking around the forest.

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

I LOVE Jeff Buckley’s cover of Be Your Husband. It gives me chills every time. Please play this song! (Smiles). Thank you for your time in reading this xx

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Follow MASUMI

Official:

http://www.masumicherrie.com/

Twitter:

https://twitter.com/MASUMI_Cherrie

Instagram:

https://www.instagram.com/masumi.music/

Facebook:

https://www.facebook.com/MASUMI.official/

Spotify:

https://open.spotify.com/artist/7cKulXsXjXbFKGP0Vuzv3J

YouTube:

https://www.youtube.com/channel/UCxF1uiW6BLiOVKz7ekkolUA

SoundCloud:

https://soundcloud.com/user-507546172