INTERVIEW: Carys Calling

INTERVIEW:

DSC_8245.jpg

Carys Calling

___________

I have been settling with Carys Calling…

sing.jpg

as she tells me about the new single, Honest. The songwriter talks about the track’s story and which artists inspired her to get into music; relocating and moving to a new city; which three albums are especially dear to her – I was keen to know whether there are gigs coming up.

Carys Calling discusses the importance of being on stage and connecting with people; what upcoming artists should remember; whether she gets time to chill and unwind; which rising talent we need to get behind – I discover which recent musical moment is most ‘memorable’ to the songwriter.

__________

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

Hey, Sam. I’m great, thank you! Are you well? I’m in the middle of moving from Bath to Bristol which is keeping me busy, alongside promoting the new single and working on a university deadline before heading back to Newcastle for a few days. Can’t complain!

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

Of course. I’m a Dark-Alternative-Pop artist, originally from Newcastle; singing/writing haunting raw songs. I always write lyrics first: I don’t play an instrument (YET), so the bare bones of every song starts with the words. I’m also obsessed with visuals to music, so I’m equally as involved with the artwork/videos.

I think a song can be transcended in different ways when you hear it and when you see the video/visuals. I had an accidental break from releasing/performing music when I moved to Bath, so expect more releases, videos and live gigs from the end of September!

Tell me about your new single, Honest, and how it came together. When did it start life?

Honest began one rainy November afternoon a few years ago when I still lived in Newcastle. I was living alone and in a new relationship that was quickly fading. The late-night talks blurred into silence, while the noise between the sheets continued. I was feeling emptiness and fireworks at the same time, clinging onto that feeling.

The sparks burned out and careless words were pouring out. I never released it but always hoped to. The production on it by my producer Tom Cory has just brought it to life in ways I couldn’t have imagined. I’m so proud of what it has become.

DSC_8049-2.jpg

How did ‘Carys Calling’ start life? When did you get into music?

I’ve been singing since I was young and constantly wrote lyrics from eight-years-old, that were more like poems, throughout school. I wrote my first vocal melody when I was twenty-one; then Carys Calling took shape in 2015 when I released Soaked My Skin. I grew up listening to ABBA. My mum would play it when we baked together and my brothers would blast Eminem. Quite a mixture!

We didn’t have a T.V. until I was twelve but we had videos so I would watch Friends. I remember the scene where Rachel is looking out the window when it’s pouring with raining and she’s upset with Ross; With or Without You by U2 is playing. I got the biggest lump in my throat and remember what an impact it had on me. I have always had such a crush on music with visuals.

DSC_8129.jpg

You are from Newcastle but moved to Bath. How important was that move to your career?

I had been itching to move from Newcastle for a year before I moved but I needed to finish my degree. I LOVE Newcastle but I’m always craving new people and new places. I love the challenge of starting afresh; not knowing anyone and shaping a life somewhere new. Every place I have lived has inspired writing, brought me close to new best friends and helped me grow through tough times.

The main reason for moving to Bath was to study my Masters. I feel like I’ve really found my true sound and image here. I don’t know if that would have happened if I stayed in Newcastle. If I feel too comfortable, I know I need a change. I feel very settled and happiest down South. I always think moving somewhere new and meeting new friends can never be a mistake and Newcastle will always be in my bones. As they say: you’ve gotta live life to write about it.

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

I grew up around ABBA, The Bangles; Elton John, Eminem; Norah Jones and Dido. A mixture of what my mum and brothers listened to. I grew up in the Northumberland. I used to actually find the silence calming and writing poems was my escape. I became hooked on music when I saw Fame in the theatre and Grease on video. I joined dancing and acting clubs - all centred around music - and I loved it. In my teens, I started watching shows like One Tree Hill, Friends and Grey’s Anatomy. It got me through some chaos.

I’ll always remember the episode of Hollyoaks I saw at a friend’s house: when Hannah was in hospital with anorexia and My Skin by Natalie Merchant was played; the visuals and script with music sent shivers right through me. That’s when I knew I wanted to give people that feeling through the music I would maybe one day write.

DSC_8065.jpg

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

By the end of 2018, I hope to be settled in Bristol - having performed a handful of shows with a full band - and to have released my next song, Friday Night Out, with a video too. Really excited to be releasing more music and playing more live shows.

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

This may sound random, but I played a gig a few weeks ago at the St James Wine Vaults in Bath. I played a song I haven’t performed in years and I forgot the lyrics; I just completely blanked. I brushed it off on stage and blamed the Strongbow I’d had two sips of. Haha....

Afterwards, I was so hard on myself and was so frustrated that I slipped up. It turned out to be the song that the audience liked the most, so it’s made me consider releasing it properly.  We’re all just human in the end.

DSC_8299.jpg

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

Norah Jones - Come Away with Me

I listened to this album for two-weeks-straight when I was doing work experience during high-school at a beauty salon. I was practicing nail art in the back and singing my heart out. That’s one of the moments I realised I wanted to be a singer and to write songs. I used Don’t Know Why for auditions into college and university. Something feels like home when I play this album. Beautifully familiar. She’s an effortless talent. She made me want to sing.

Phoebe Bridgers - Stranger in the Alps

I found Phoebe a few years back. The somewhat morbid darkness and honesty in her lyrics knocked me for six. I remember when I first heard Smoke Signals, Funeral and Motion Sickness. I was just absolutely frozen in awe. Her voice and stories are so pur:, I feel like she’s not censoring anything which is so fuc*ing refreshing. Almost like she’s just saying what we’re all afraid to say/admit? I’ve seen her live and every time I hear her songs it feels like the first time. I also cried out a brea-up while listening to this album. She’s a rare gem of an artist.

The 1975 - The 1975 (Deluxe)

I have been besotted with these lads since I saw them in Newcastle in the S.U. bar a few weeks after they released Chocolate. His lyrics move me so much. They’re brutal, heartbreaking; hilarious, awkward; clever and the truth. It’s not the obvious Pop I was used to. Obviously, there are some killer hooks, some absolute bangers; some slow heart-wrenchers and some depressing-as-hell ones…but you can NEVER guess what they are going to do. They are unpredictable; his writing and their songs are refreshingly surprising.

There isn’t always a huge chorus and I like that. They don’t always do what people expect. I feel like some songs can be better when they are simple and undone. They aren’t trying hard to impress, they are just being authentic. I could go on and on but when I first heard Robbers, Girls; Pressure, Is Somebody Watching You; Menswear, Sex and Falling for You; I just felt like I connected and related to the lyrics more than I ever had before with other artists. I listen to at least one song of theirs every day. They make me want to be better.

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

Phoebe Bridgers, without a doubt. Gluten-free donuts, Yorkshire Tea and Hobnobs. Oh, and tangerines! Gotta have vitamin C!

DSC_8038-2.jpg

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

Definitely. I will be playing in Bristol, Bath; London and hopefully Newcastle too. Aiming to have some dates in the book for this winter. I’ll be updating my website/socials as soon as they’re sorted!

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

It’s as important as the writing. If I’m not able to perform it, I don’t know what I’d do with myself. I’ve always felt a comfort on stage, unlike anywhere else. There’s something so special about singing songs I once penned at 3 A.M. in bed while having a brew, to an audience that choose to come and watch me play and hear what I have to say.

If I ease someone’s troubles or make their day or make them feel like they aren’t alone through my lyrics and songs then I’m doing something right. There’s no feeling like when people come and talk to me after I play and tell me how they felt or which song moved them. I am happy to be vulnerable and spilling out all my stories and I feel so lucky to be able to do this.

What advice would you give to new artists coming through?

Take it one step at a time and try your damned hardest not to compare yourself to another artist negatively. You could be comparing your step-three to their step-twelve. We all have our own pace and path. Believe in your art and try to tell the truth: people can see through the fake stuff in seconds. And it feels better if you’re honest.

sa.jpg

Are there any new artists you recommend we check out?

Sasha Sloan is my new favourite writer. You will not be disappointed. She’s not really new but she’s new to me and possibly to some others.

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

I try to make sure I do but I always end up getting distracted with music or writing in the end. My ultimate way to unwind is to go back to Newcastle and see my friends and family, get back to the countryside; have a few pints with my old school friends and reconnect. I find that music can sometimes make you disconnect; whether that’s forgetting to reply to texts, shutting off so I can write something; being busy gigging, rehearsing; working and at uni or feeling a little like I just wanna be on my own for a bit.

I have phases of it all but that’s my me-time: shutting off and putting my phone on airplane mode. That and a brew with a couple of biscuits. I think, nowadays, we all find it hard to unwind. We’re all so accessible and busy. I also ADORE going to live local gigs. There’s nothing like being in the moment in your own world while someone’s performing. Everyone’s having a shared but different experience and I really like that (smiles).

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).

Sasha Sloan – The Only

___________

Follow Carys Calling

DSC_8048-2.jpg

INTERVIEW: Adam Giles Levy

INTERVIEW:

4.jpeg

PHOTO CREDIT: Gemma Martz 

Adam Giles Levy

___________

THE terrific Adam Giles Levy…

9.jpeg

 PHOTO CREDIT: Lorena Lucenilla-Lavapies

has been talking with me about his latest single, The Ghosts, and his brand-new E.P., Peninsula. I ask the songwriter what sort of themes influenced the E.P. and which artists he is inspired by; when music came into his life; if he has any precious memories from his career so far – he recommends a rising act worth a shout.

I ask him what he has planned regarding tour dates; which albums are especially important to him; if he has any advice for artists coming through; which musician he’d support if he has the chance – Levy ends the interview by selecting a great song.

__________

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

I’m well, thanks. This last week has been pretty full-on. I played three shows at the Live at Heart festival in Sweden; flew to Barcelona for a show and, as I write, I’m on the road to Rome for the start of six-date Italian tour.

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

Of course. My name is Adam Giles Levy. I’m an Alternative-Rock, Blues artist originally from Frimley Green in Surrey, England. My second E.P., Peninsula, is out on 13th September, 2018! I released my debut E.P., Unravelled, in 2016 and have spent most of the time on the road since then. I cut my teeth in music playing and recording in Vancouver, Canada. Before committing full-time to music I was a lawyer, believe it or not.

The Ghosts is your new track. Can you talk about the song and its inspiration?

I wrote this one during a tour of Spain. It was inspired by the story of a people’s struggle to save their town from a major infrastructure project - a struggle which they lost leading to their relocation. The reservoir that resulted from this project is a beautiful place but with undeniably shady beginnings.

The video is really interesting! Where was it shot and who came up with the concept?

I’m glad you’re into it. The video was filmed on location in a small village called Collbato in Catalonia, Spain with the spectacular Montserrat mountain as a backdrop. The video was directed by my friend and collaborator Diego Urruchi from Media Attack, Bilbao. He also directed the video for Unravelled.

We recorded the video straight after finishing the new album before my band headed back to the U.K. and Madrid respectively. We recorded through a strange weather front which gave us all four seasons in the space of twenty-four hours. There are even some scenes with snow in them!

The Ghosts is from your new E.P., Peninsula. What sort of themes inspired the songs on the E.P.?

The struggle between humans and nature; John Paul White’s reminder not to forget our roots; a book called The Good Father; confronting bureaucracy and a dream involving horses. In that order.

10.png

Which musicians do you count as influences? Did you grow up around a lot of music?

Right now, the bands I have most present in my day to day are Rival Sons, Fink; Deap Vally and The Picture Books. My most-recent download was a remastered album of John Lee Hooker’s material. I don’t recall a time when music wasn’t present in my life. The two albums which I remember most from my childhood are Rumours by Fleetwood Mac and the Les Misérables soundtrack.

Do you recall the moment you got into music? Was there a day when you knew this is what you had to do?

There have been a couple of key moments. The first one was seeing trumpet extraordinaire Wynton Marsalis at the Royal Albert Hall when I was a kid. My mum took me to see him. I think he’s still the only musician to win a Grammy for both Classical and Jazz music. I was blown away by that experience.

The second was seeing John Mayer at the Hammersmith Apollo when he was touring Room for Squares. Seeing a performer as gifted as he is, close up; I knew that I wanted to strive for that too.

6.jpeg

PHOTO CREDIT: Gemma Martz

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

I have dates confirmed in Europe all the way up to the middle of December. So, I’d like to reach as many new people as I can in that time.

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

Right now, I’d say recording the new album. My band and I tracked the new album over five days in a studio north of Barcelona, Spain. Alex Gamble, who produced my previous work, came over from Toronto to produce and engineer. Jack Usher (drums) and Joseph Rideout (bass) came over from the U.K. and Laura Solla (guitars) came to join us from Madrid. The studio was residential so we were literally together twenty-four-hours-a-day for five days! It was an intense and hugely satisfying experience. I’m excited about releasing the new album.

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

I Forget Where We Were - Ben Howard

This is one of very few albums I can listen to front to back and want to put it on again as soon as it’s finished. Wicked melodies and tracks with dark undertones.

Head Down - Rival Sons

I bought this on vinyl the first time I saw Rival Sons live in Barcelona. Best live show I’ve seen to date.

Santogold – Santigold

I used to live in Bristol and loved it there. This album reminds me of that period. Good times.

7.jpeg

PHOTO CREDIT: Candela Paos

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

Hands down, Robert Plant. What an epic music life he’s lead! Massive respect for an artist who seems to have kept himself firmly in the present when it would have been easy to have leant on the music which brought him fame.

For the rider, I’ll take The Henry from Budgies Burritos in Vancouver and a bottle of Tripel Karmeliet (Belgian beer). Although, I might not make it out on stage after one of those…

Can we see you tour soon? Where are you playing?

Yes. It’d be great to see you at a show! All my dates are published on my website. I’ll be back playing in the U.K. in January 2019.

1.jpeg

What advice would you give to new artists coming through?

If you want to gig, invest in getting a decent recording done to showcase your best songs - even if it’s just a couple of tracks done acoustically. It’s competitive out there so try and always put your best foot forward when you’re marketing yourself.

dea.jpg

 IN THIS PHOTO: Deap Vally/PHOTO CREDIT: Shane Lopes

Are there any new artists you recommend we check out?

Deap Vally, a Rock duo from California. I played Sofar Sounds Barcelona with them and absolutely loved their energy. Their live show seriously rocks.

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

Yoga…and I like to read. I’m working my way through No Is Not Enough by Naomi Klein. I hang out with my cats; try and see the family and friends that I don’t see very often. I ride my road bike when I can.

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’d like Electric Man by Rival Sons

___________

Follow Adam Giles Levy

8.jpeg

INTERVIEW: gv.grace

INTERVIEW:

1.jpg

PHOTO CREDIT: Elise Mesner

gv.grace

___________

MY last interview of the day is with gv.grace…

GVgrace - 6 a (1).jpg

who have been telling me about their new single, F**k Golf, and its amusing video. I learn how Genevieve and Griffith got together and whether there will be more material coming next year – they tell me what sort of music influences them.

The duo reveal which albums mean the most to them each and if there are tour dates coming up; if they have a favourite memory from their careers so far; which approaching artists we need to keep an ear out for – Genevieve and Griffith each pick a song to end the interview with.

__________

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

We’ve had a busy week peddling this grass crotch far and wide.

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

My name is Genevieve and my partner/producer is Griffith, A.K.A. Inner Oceans. 

GVgrace - 2 a.jpg

How did gv.grace get together? When did you start performing together?

We’ve been collaborating musically for the last ten years and finally began a project just the two of us. Our first night in the studio we wrote two songs in about two hours - both of which appear on our first E.P., Heaven Mouth.

Talk to me about F**k Golf. Can you reveal the inspiration behind the song and how it came to mind?

F**K Golf came about after we listened to Malcolm Gladwell’s Revisionist History podcast. The specific episode is A Good Walk Spoiled. We wanted to write a protest song but from the perspective of the privileged perpetrator. It’s an absurd parody but the character in this song is what’s behind the classism that is creating harmful disparities in our society. We also wanted to reveal ‘her’ fragility as one who is also oppressed by playing into that role.

I like the video a lot! How did the concept come together? Was it cool working on it?

It was amazing. Elise Mesner was our dream director for this. We thought her aesthetic matched perfectly for the song. Needless to say, we were thrilled when she loved the track.

After we saw her treatment, we knew we had to do whatever it took to make it a reality. Somehow, everything came together. We met D.O.P. Michael Attalah whose eye and energy made this video world-class. We met James Joyner on a shoot and he offered to build us a full-sized diorama!

By chance, we were also able to pull in the legendary Hollywood snake handler, Jules Sylvester, and his beautiful albino Texas rat snake. There were more than twenty models, dancers; actors and assistants that volunteered their time to bring life to this video! It was the highlight of our year so far!

DSCF4358.jpg

Heaven Mouth EP was released earlier this year. Do you think there will be another E.P. coming next year?

YES! We are deep in the writing process. At this point, we are focusing on a string of singles but we imagine another E.P. release early next spring.

If I were to travel back to your childhoods; what sort of music would I find in your collections?

Genevieve: I was raised on a lot of ’60s/’70s Soul. Memphis Soul was my favorite (Al Green, Otis Redding; The Staple Singers…) and lots of Prince.

Griffith: Smashing Pumpkins and Enya. But, more than anything, I loved the classic SNES composers like Yasunori Mitsuda and Koji Kondo.

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

We want to introduce the character, gv.grace, to the world! We also hope F**K Golf can contribute to the social/political dialogue as we approach our midterms this fall.

DSCF4122.jpg

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

Last year, we decided to go to FYF Fest in Los Angeles. We jumped into the sweat and grime of the festival and it just felt so good to be a music fan again! Nothing beats the feeling of having an almost teenage obsession over your favorite artists like being willing to stand in the heat - packed in from all sides - to listen to your favorite songs.

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

Genevieve: Marvin Gaye – What’s Going On

I hear an artist transcending their own talent and making something effortless. Looking through Marvin Gaye’s eyes at the insanity and brutality and seeing the beauty beyond all of it. He made something to help all of us through it.

Griffith: My Bloody Valentine - Loveless

It’s catastrophic, like a star. The sounds are unbelievably violent if you are too close. But, from afar, it’s breathtaking and absolutely beautiful…almost angelic.

GVgrace - 5.jpg

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

We both love Little Dragon. The daily catharsis of playing with them would be incredible. Our rider? Cat butlers? Yeah; we want cat butlers…

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

We will be focusing regionally on the West Coast through the year. But, we hope to begin more extensive tours through the U.S. in 2019. Definitely, we dream of playing in U.K. and Europe as well. Our next show is in L.A. at the Hi Hat on October 10th - Playing with N.Y.C. band Plastic Picnic and L.A. locals Laureline.

What advice would you give to new artists coming through?

The best advice we ever got was from esteemed music lawyer, Richard Grabel, and it seems pertinent to more than just music. He said: “The ones that make it are the ones that stick to their guns”. People can feel when something is made from a genuine place.

boy.jpg

IN THIS PHOTO: Boy Dude

Are there any new artists you recommend we check out?

Boy Dude. Sincerely kitchy love-jams from the forgotten vinyl multiverse. Your Smith works so hard and has the tracks to prove it. Check out The Spot. Pure Pop candy. Kitty Crimes. Producer/rapper phenom. Also, your future spirit animal.

kitt.jpg

IN THIS PHOTO: Kitty Crimes

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

We love nothing more than to go on long drives while listening to our favorite records. We love to explore and we love finding the soundtrack for those times.

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

Caribou - Silver

___________

Follow gv.grace

GVgrace - 14.jpg

INTERVIEW: TGC

INTERVIEW:

1.jpg

TGC

____________

MILLA from TGC has been speaking with me…

8.jpg

about the new single, ECG, and what its story is. I ask how TGC came together and how they craft and have that particular, unique sound – she talks about future plans and what it feels like getting kudos and acclaim from some big sources.

I was interested discovering how they became involved with the fundraising D.V.D./C.D. project, Hear Me Now, and whether there are tour dates coming up; if there are any rising artists we need to keep an eye out for – Milla ends the interview by selecting a great tune.

__________

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

We’ve had a great week, thanks! It’s been a long time since we’ve released new music, so it has been wonderful to reconnect with our audience. So far, the response has been lovely.

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

We are TGC - short for ‘The Green Children’. It’s just me (Milla) and Marlow writing and producing songs from the ground up. We are deeply inspired by story-telling, fantasy/sci-fi films and beautiful nature, like you can find in Norway where I’m from.

How did TGC come to be? When did you find one another?

We met at a school established by the great Beatle Paul McCartney – actually, in our very first songwriting class. I arrived late and Marlow was left without a partner. A moment of fate from which we never looked back after penning our first tune together.

ECG is your new single. Is there a story behind the song?

A lot of our songs stem from flowing improvisation in the studio and the music we create often dictates the lyrical content and mood of the song. So, with ECG, Marlow came up with most of the production and then I went immediately on the mic and sang my initial lyrical thoughts straight on the record. We have found that we make the purest music when we don’t spend too much time thinking over lyrics and subject matters before we get our initial impulses out.

You have very particular sound that is hard to compare to anyone. Do you take influence from other artists? What sort of music did you both grow up around?

We have a very broad taste in music but have always loved dreamy music that takes you away. These include classic artists like Fleetwood Mac, Eurythmics and Electronic artists like Røyksopp.

5.jpg

Big names in music journalism have backed your music and spread it far! How does it feel to get kudos from the likes of Rolling Stone?!

It is obviously very flattering. Our biggest joy has been finding an audience out there that genuinely seem to connect with our music. They often describe it in ways that are so accurate to our original intentions whilst making it. It goes to show how music contains a hidden depth that humans pick up on. It has been magical to see how people relate to us.

Tell me about the fundraising C.D./D.V.D., Hear Me Now, you released throughout Norway. How did that venture start and inspire you to raise money – from that work – for one of the first eye hospitals in Bangladesh?

We travelled to Bangladesh to visit the work of Grameen Bank, who are pioneers in micro-finance. This is the lending of small sums of money to women for the purpose of starting businesses. What we saw was incredibly powerful. Because of the work of the bank and its founder Prof. Muhammad Yunus, millions of women had become empowered and escaped severe poverty. It felt very natural for us to write a song in honour of their journey which then turned into subsequent trips and a music video shoot.

To our surprise, Prof. Yunus went on to win the Nobel Peace Prize and, with the video in place, we used it to raise as much money as possible for a new eye care hospital he was working on. The hospital helps people who have lost their sight due to cataracts and, because of its sustainable approach, two more hospitals have spawned from it. The credit is certainly not ours but it feels great that we could contribute.

6.jpg

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

Our biggest focus is just to make the greatest music and art we can; pushing ourselves and not accepting anything that we don’t absolutely love. What comes from it is a lesser focus at this point and not a major motivator for our creative flow.

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

I think meeting fans in person is always incredible. We have found people to be so loving and supportive, it is almost overwhelming. In a world where we always connect digitally, a personal interaction after a show makes music feel powerful and real again.

4.jpg

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

Every album and song is special in its own way because they reflect where you were as a person when they were written. I suppose our first album will always have a special place as it was the first time we produced everything ourselves, so were going out on a limb. It led to our direction ever since.

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

That is a tough question. We would say Enya but she never tours! Sure would be magical though.

2.jpg

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

Absolutely. We are working on that now and we will be touring in 2019 in Europe and the U.S. Hoping to announce show dates soon.

What advice would you give to new artists coming through?

To focus on the music and enjoying being creative. I am not sure focusing too much on success is a very complimentary component of a truly artistic life.

ILL.jpg

 IN THIS PHOTO: Illenium

Are there any new artists you recommend we check out?

Discovered Illenium recently through our mutual P.R. Very cool stuff.

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

We spend a lot of time in nature with no phones and no social media. It is so important to get into the body, since music can get quite heavy mentally. Lots of hikes and fresh air!

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 heard this song; don’t know if it is new or old but it is very nice! Promises Ltd. - American Eyes

___________

Follow TGC

TGC3.jpg

FEATURE: How to Be Invisible: The Lyrics of Kate Bush

FEATURE:

 

 

How to Be Invisible

1111.jpg

IN THIS ILLUSTRATION: Kate Bush/ILLUSTRATION CREDIT: Bijou Karman 

The Lyrics of Kate Bush

__________

I know I did say…

kate.jpg

 IN THIS PHOTO: Kate Bush in a promotional shot for her 2011 album, 50 Words for Snow/PHOTO CREDIT: Press

I would impose an embargo on Kate Bush-related postings until next year! The trouble is, you never know what you will get from her! One waits years for an album – the gap between 1993’s The Red Shoes and 2005’s Ariel – and, before you know it, loads of stuff comes along! Granted, we have not seen any fresh material since 2011’s 50 Words for Snow but I have every faith something will come next year. Bush performed her 2014 Before the Dawn set of shows in London and now, thinking the year would pass without anything from her, she has announced a set of lyrics. The book, How to Be Invisible: Selected Lyrics, will be released very soon. In fact; let me take a snippet from The Independent:

“The book, titled How To Be Invisible: Selected Lyrics, will be published by Faber on 6 December this year, with an introduction by the author David Mitchell, who previously wrote three spoken-word sections for Bush's 2014 Before The Dawn performances.

Mitchell said: "For millions around the world Kate is way more than another singer-songwriter: she is a creator of musical companions that travel with you through life."

He added: "One paradox about her is that while her lyrics are avowedly idiosyncratic, those same lyrics evoke emotions and sensations that feel universal".

Not only is the book a great Christmas gift (the book’s title is also the title of a song from her 2005 album, Ariel) but it does make one wonder what form it will take – will we see illustrations and which songs will be included?

I am thrilled there is something out that is non-musical. We have been holding out for news of a new album but I think, importantly, we are being treated to a book of lyrics. I would imagine her best-known tracks will make the cut but one feels this is a chance for a real retrospective and look into her creative mind. We look at those extraordinary videos and are beguiled are stunned by their physicality, beauty and unusualness. All of us can name a list of Kate Bush songs and will sing along to the lyrics when we hear them on the road. Tracks like Wuthering Heights and Running Up That Hill (A Deal with God) are etched into the memory but, if we heard more of Bush’s music on the radio, we would be singing along without realising! Being a super-fan; I know most of her songs by heart but I feel one of the reasons I have become so involved with her music is because of the words. Her music transformed and evolved from her debut album, The Kick Inside (1978) and consider the themes explored on 2011’s 50 Words for Snow. The arc and progression is evident but, on every album, you get a different feel and sensation. Even from the beginning, Bush was tackling subjects such as childbirth and menstruation; the maturity of the love songs and the way she could bend words and employ unusual phrases put her on a platform all of her own.

11.jpg

 IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Alamy

We have her albums and, on many of them, there are lyrics in the linear notes/booklet. With her vinyl being hard to get hold of – you can buy them on Amazon but they are pretty pricey – it seems now, more than ever, is a great time to release a book of lyrics. Kate Bush is one of those artists who loves the album concept and, as such, goes to great lengths to craft stories and songs that link together. If we only associate her Wuthering Heights or an album like Hounds of Love then we are only getting a portion of what she is about. The cloth-bound book will, one feels, bring together a chronological narrative of her music and, one suspects too, there will be images and stylised words. Given the fact most of her songs were not given a music video, I wonder whether How to Be Invisible: Selected Lyrics will be a storybook where there are pictures and a series of images to score each song. In any case, I feel Bush has broken new ground. Faber & Faber have not released a book of lyrics from a female artist before – she is, once more, breaking new ground! Many of are still blown away by the maturity one finds on her first couple of albums. Songs like The Man with the Child in His Eyes and Wuthering Heights were written years before the album was released – the former, I think, she wrote at thirteen! – and one is intrigued to see those words on the page. How did someone so young and new to music manage to weave and create such spellbinding lines and images?!

There was a lot of good music in 1978, when her debut came out, but most of the mainstream were focusing on the same things: love and relationships and the sort of thing that dominates to this day. Kate Bush was writing about that but she was not willing to pen tropes and lazy lines. Her way with words and how she wanted the listener to immerse themselves in the music comes through. Every album you listen to; you get that amazing voice but are compelled to follow the words and imagine. Tough and political themes are present on records like Never for Ever and The Dreaming; she would explore issues around the displacement of the Aboriginal homelands and its destruction (The Dreaming); a foetus fearing nuclear war (Breathing) and a mother watching her son go to war to die (Army Dreamers). How many artists do you see today that consistently explore hard-hitting and weighty topics on their albums?! Maybe they will address something unique now and then but, for the most part, you know what to expect. A lot of artists write about what they know/live but Kate Bush is more like a novelist. She can weave fantasy and the cosmic with the natural world and affecting images. The more we listen to music through the Internet and stray away from vinyl – we still absorb them a lot but they are in the minority – the less we are remembering lyrics and placing importance in them.

I am one of those people who feels music is defined by lyrics and the way and artist expresses themselves through words. One can argue, if Kate Bush’s lyrics were ordinary and routine then, no matter how great her vocal prowess, the songs would not be as resonant and popular. It is the way she would cover subjects not often heard in music that made people talk about her songs. Nothing was too edgy or unsuitable for musical exploration! Bush brings her inimitable and personal touch to every song and the book will be a great guide to anyone going into songwriting. A great artefact and treasure for die-hard fans; How to Be Invisible acts as a lyrical sermon; a way songwriters can see what she writes about and how those words leap off of the page. I know we can read her lyrics online but there is something impersonal and rather cold about reading from the screen. You can carry the book around and scan it in a quiet moment. For me, I am looking forward to seeing how the songs are illustrated and which tracks are selected for inclusion. Grab a copy when it comes out on 6th December and discover first-hand why Kate Bush is considered one of the greatest songwriters ever. Given the little surprises she throws our way, who is to say what we might expect…

2.jpg

 IMAGE CREDIT: Getty Images/Faber & Faber

NEXT year.  

INTERVIEW: Mira of Schmieds Puls

INTERVIEW:

Schmieds Puls 3 (c) Ina Aydogan_.jpg

Mira of Schmieds Puls

___________

WITH the album Manic Acid Love out…

Schmieds Puls 1 (c) Ina Aydogan.jpg

I have been speaking with Mira of Schmieds Puls about the record and what the story is behind the latest single, Don’t Love Me Like That – she reveals her favourite three albums and talks about how the band got together.

I was keen to discover whether there are tour dates coming and, as an Austrian band, what the music scene is like there; if she has plans before the end of the year – Mira talks about a special memory from her time in music.

__________

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

Hi! Thank you. I’m very tired - but it’s the kind of tired that feels good because you know you’ve given your all and now you can finally rest.

The week’s been really busy. I finished filming another music video on sunday, released my homemade one for Don’t Love Me Like That; played three shows at three very different places (the very west of Austria; the very east and Vilnius, Lithuania) and celebrated the release of the new album.

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

My name is Mira Lu Kovacs. I am a singer, guitarist; lyricist and composer from Vienna, Austria. I like to play in various bands but Schmieds Puls is the one that is all mine. And I live for it. I like to think that my music is a new mixture of whatever you think ‘Singer Songwriter’ means; Jazz (if you must) and Grunge.

How did Schmieds Puls get together? When did you all meet?

I met Christian Grobauer (Drums) and Walter Singer (Double Bass) through a friend who asked us to play with him at his piano recital. I fell in love with their kindness and  the finesse they put in every single note, so I invited them to a jam. Shortly after that we had our first gig - that was five years ago.

Don’t Love Me Like That is your latest single. Is there a story behind it?

What I tried to express was my undecidedness when it comes to relationships. Nothing is ever only one thing. I am so easily driven away, so it is a constant back and forth with me in relationships (of all sorts). I guess it is the hardest thing for me to trust somebody. I can’t have my heart broken all the time and I feel like I have to protect it constantly. I have no other protection shield than simply turning away soon enough or maybe never really letting myself fall too deep…

Manic Acid Love is your new album. What is the inspiration behind the title? Are there particular themes that inspired the music?

Yes. Although, ‘manic’ is really the main emotion on this album. I can be really obsessive over things that are important to me - like music, the language I use and create to express myself. I feel a strong need to be understood so I need to make myself really clear. But, if I’m not careful it overwhelms me and that initially positive and strong energy (1., the ‘mania’) somehow turns against me (that’s 2., 'acid’). With this album I tried to get closer to my  'zen' me (and 3., ’love’) by pushing out the bad energy and setting boundaries for people who overstep them. 

I’m not there yet, obviously. I’m still easily distracted and irritated. Mostly by men who want to correct me or tell me that I am crazy.

Is there a song from the album that stands out as your favourite?

I am really happy about the whole piece, to be honest, so it’s hard to pick a favourite. But, of course, Superior (Fuck You) is very therapeutic and healing for me and it makes me laugh while performing it.

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

Blondie, Ani DiFranco; Whitney Houston; Lauryn Hill; Radiohead, Tanita Tikaram; Tom Waits and Paula Cole. All very important artists that I still adore!

Schmieds Puls 7 (c) Ina Aydogan.jpg

Schmieds Puls are based in Austria. Is there a good music scene in Austria right now?

Yes!  There is massive-good stuff happening in Austria, actually. Not only is the German-speaking field thriving but also the Hip-Hop scene is finally getting some attention. I think people started to think big again, which manifested in big ideas on and off stage…

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

To be able to breath in and out three times in a row and think of absolutely nothing. To be okay with my shortcomings and actually maybe even love them…? I know it’s a big dream. Zen for thirty-five seconds.

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

There are many. Each release so far was a big deal for me because I feel like a part of me is being set free at the same time - as if you’re sending off a message in a bottle or something…

There was a beautiful and intense performance this year I did in front of fifty-thousand people. To my surprise, I got really calm when I entered the stage. For the first time ever I wasn’t nervous at all at a gig. The crowd seemed so unreal and I just went somewhere else during these minutes.

Schmieds Puls 12(c) Ingo Pertramer.jpg

PHOTO CREDIT: Ingo Pertramer

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

Paula Cole - This Fire

I got into her music when my English skills were non-existent so I didn't understand the lyrics. But, the phrasing in Paula Cole’s singing is just (so) unique. Also, I don’t know anybody who writes songs like Mississippi or Hush Hush Hush or Nietzsche’s Eyes… a masterpiece!

Radiohead - Hail to the Thief

I am picking this album because it’s the one that got me into the Radiohead madness. After that, I listened to the rest. Of course, I think all Radiohead albums are some of the best pieces of all the music that was ever made. But, Hail to the Thief understood my teenage self the best! So dark, so dee; so intense! We Suck Young  Blood, I Will; 2+2=5 etc.

Ani DiFranco - Evolve

Unique style in every way. Can’t compare it to anything…plus, her guitar playing influenced me tremendously!

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

I don’t dare to dream. I’d love to play with Jack White or Feist. But honestly, they don’t need anybody!

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

October 23rd at Sebright Arms, London. I’ll perform a solo set and I’ll bring my favourite Wander guitar.

Schmieds Puls 2 (c) Ina Aydogan.jpg

What advice would you give to new artists coming through?

Don’t rush with releasing albums. Play play play until you get to know yourself better and have a fanbase that can make an album really go places. There’s no need to rush it and your ideas will only get better!

Are there any new artists you recommend we check out?

Well. I think the scene probably knows about Moses Sumney by now. Sevdaliza was also a big discovery for me this year.

sex.jpg

IN THIS PHOTO: Sevdaliza

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

No. I don’t often, especially these past months. But, I have my rituals. I need my breakfast time and, if possible, I just stay in bed and have breakfast all day. I like to be alone and get my things in order.

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).

Because a one-song/one-album kinda person - meaning I can spend months and years with only a few songs or albums that fascinate me and I won’t ask for anything else - I don’t know much music, especially the classics. I am only slowly discovering them. But, I won’t ask for Paul Simon’s Bridge Over Troubled Water - it’s too embarrassing that I haven’t known it for my whole life until last month. So, I suggest Changes by Black Sabbath. If that’s a no-go, I choose Broken Boy Soldier by The Raconteurs, pleeeease.

Thank you!  - best, Mira.

___________

Follow Scmieds Puls

Schmieds Puls 9 (c) Ina Aydogan.jpg

INTERVIEW: Will Bowes

INTERVIEW:

1.jpeg

Will Bowes

___________

I have been speaking with Will Bowes…

7.jpeg

about his single, Mad at the World, and the inspiration behind it. The actor/musician discusses how the disciplines weave and what it was like working alongside Jennifer Lawrence; if there is more coming up from him; which albums are important to him – the Canadian tells me when music came into his life.

I ask Bowes if he is hitting the road and which new artists we need to get behind; whether he gets time to chill when he is not making music – the songwriter ends the interview by selecting a rather good tune.

__________

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

Hi, guys! My week has been very great, thank you. I’m talking with you fine people and about to go to the premiere of a film I’m in at TIFF, so I have nothing to complain about right now!

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

Of course. My name is Will Bowes and I’m a singer/songwriter, actor and filmmaker from Toronto.

Mad at the World is your new single. What is the story behind the song?

Yes. Mad at the World is basically how I, as well as I’m sure a lot of other people, are feeling right now. It’s a song about feeling frustrated, dissatisfied and helpless surrounded by the negative energy we’ve been subjected to lately. But, it’s also a song about hope and optimism - and a belief that things will get better. Toronto, where I live, suffered two extreme attacks this year and it was those attacks that made me feel like I had to write this song.

Do you think there might be more material coming next year? Are you working on other stuff?

Ye. I am always working on new material and I can’t wait to share it when it’s ready. I am also the lead singer in a band called GOLD COMPLEX and we have a record coming out this fall! It’s a Soul/Pop band with a horn section and it’s music that makes you want to move your body!

You are an actor who has worked alongside, among other people, Jennifer Lawrence! Do you think disciplines you have learned as an actor feed into your music – or might the reverse be true?

Yes! I worked with Jennifer right before she got crazy-famous; she is really cool and down-to-earth. I think the two feed into each other for sure. From a performative standpoint, of course, but also both fields are about conveying emotion. About opening yourself up and letting people into your soul, to a degree.

4.jpeg

Do you recall the moment you got into music? Was there a day when you knew this is what you had to do?

I guess this applies to everyone but I just remember noticing how much music could have an impact on the way I felt as a kid. I remember one time my dad was cooking dinner and playing Bob Marley and he said to me: “Listen to this music, it’s supposed to make you happy and feel at peace” and that was the first moment I think I realized how significant music can be for people as a cathartic experience. I first wanted to be a singer and then I become obsessed with film and I’ve been chipping away at the two for years now.

In terms of musicians; what sort of stuff are you into? Who were you raised on?

Definitely, Neil Young.

Fisher Price used to make these brilliant little toys for kids and it was a cassette player, attached to a microphone that you could carry around and sing along to. I used to do that with Neil Young’s Decade album. I was raised on an assortment of music for sure; definitely Neil Young, The Beatles and Joni Mitchell are stand-outs.

3.jpeg

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

I think I just really want to feel completely comfortable expressing myself with creative projects and not worrying about how they’ll be perceived. I’ve spent too much time analyzing and maybe not enough time just living and doing.

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

I think just the feeling of playing a great show and knowing that the audience is vibing with you one hundred percent is the best feeling you can have in music.

5.jpeg

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

Ok, well; as I mentioned: Neil Young’s Decade.

The Beatles’ ‘The White Album’

Because it was just the soundtrack to my childhood.

And, no word of a lie, I really enjoyed Christina Aguilera’s album Stripped as a kid

She’s such an incredible vocalist and was twenty-one when she released that album. It’s underrated in terms of being brilliant music. I’m dead-serious.

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

Probably a cliché answer but I think it would have to be John Mayer. I’ve always loved his music and feel that our two sounds would probably work together. And, exclusively red M&Ms in my rider, thank you.

6.jpeg

Can we see you tour soon? Where are you playing?

I plan to tour with my band, Gold Complex, and also play some solo shows. Sorry I don’t have a more definitive answer but I will soon!

What advice would you give to new artists coming through?

To actually DO things. Create things. Make music. Play shows - even if they are to empty rooms and you feel like a complete idiot afterwards. Just do it. Don’t talk about wanting to do it. Do it.

ap.jpg

 IN THIS PHOTO: Aphrose/PHOTO CREDIT: Jen Squires - Photographer

Are there any new artists you recommend we check out?

Yes. There is a local artist who I love in Toronto called Aphrose. She’s an amazing Soul singer and you would love her stuff!

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

I like to stay extremely active. I think that’s just a part of my personality but I love watching movies. I love the feeling of turning my phone off and going to sit in a movie theatre and immersing myself in an experience like that.

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’m honoured! Ok! My friend just played this amazing song for me called Tadow by Masego and FKJ and I promise you’ll like it! Thanks for having me

___________

Follow Will Bowes

2.jpeg

INTERVIEW: Lo Lo

INTERVIEW:

top.jpg

Lo Lo

___________

IT is good to catch up with Lo Lo…

6.jpg

and talk about her new single, Convenient - it follows on from Yours and is the next step in the story. The songwriter reveals what she wants to achieve moving forward and tells me which three albums mean the most to her – she recommends some rising artists we should investigate.

I ask how music came into her life and, given the choice, which artist she’d like to support on tour; if she gets any time to chill away from making music; what advice she would give to artists emerging – Lo Lo ends the interview by selecting a great track.

__________

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

Hi Sam! I am doing great, thank you. The week has been hectic, but good! 

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

Hey guys! I’m Lo Lo and I’m a singer/songwriter from Toronto!

Convenient is your current track. What is the story behind the song?

If you’ve been following, Convenient is actually the follow-up to my first debut single, Yours. It’s also what comes next in the story. After my breakup, I had a really hard time making a connection with someone. I got in touch with an old friend who had moved away and also just gotten out of a long-term relationship.

We ended up being each other’s rebounds - we had a summer fling. But, that’s all it was: a rebound. This song underlines that fact. Afterwards, I heard he said some pretty mean things about me and I wasn’t happy. I came home after finding this out and I wrote Convenient.

How do you think it differs to a track like Yours? Do you find you are changing and evolving as a songwriter?

I definitely think I am always changing and evolving as a songwriter and an artist. It differs to Yours because it’s a little more intense. It’s darker. Yours came from a sad place but Convenient came from an angry place, so it has a slightly different vibe.

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

Yes, sir! I’m actually hoping to release another single this year and hopefully three or four songs in the New Year as part of a package. I can’t wait.

2.jpg

How did music come into your life? Which artists did you follow as a child?

As a child, I watched Shirley Temple movies religiously. I think my grandfather was the first to show me them. She was definitely my inspiration for wanting to be a performer. I made my mom put me in acting classes, singing lessons and tap dancing classes. Growing up, I was your typical ‘90s kid - a few of my favourites that I followed were the Spice Girls, Backstreet Boy; NSYNC and Hilary Duff.

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

I hope to put out more music! It’s seriously killing me. I really want to show the world what I’m all about.

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

Right now, I don't know if I have one in particular. After releasing my first single, Yours, I got so much positive feedback. So many people I knew, or didn't know, reaching out. Hearing my song playing in my favourite clothing stores. Man, it was all epic.

3.JPG

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

Taylor Swift - Fearless

I’ve said it many times, but Taylor Swift is one of the reasons that I’m never afraid to write about real people and true sh*t. Every song on this album was once my anthem. She didn’t care what anyone would think when she wrote about real things in her life and that helped me realize that…neither do I.

John Mayer - Battles Studies

This album came out right when I was first learning to play guitar, which is the first instrument I ever learned. That’s really special to me. I can confidentially say I once knew how to play every song on this album. 

Gavin DeGraw - Sweeter

If you know me, you know my love for this man. This album came out right when I started writing songs of my own. This album influenced me a lot. Even though we obviously have different styles, I take a lot from him. I strive for my songs to have the authenticity and soul that these ones do. Sign me up.

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

I’d love to support Billie Eilish. That girl is so dope it’s insane.

Dream rider would consist of lots of red wine and lots of puppies around at all times. Also, iced Caramel Macchiatos and Pillsbury cookies. 

1.jpg

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

I’m still figuring out exact tour dates but I’d love to make it out to the U.K. obviously (smiles).

What advice would you give to new artists coming through?

Keep pushing, keep grinding; don’t give up. Put out music that is genuine and that you love - someone else will love it too.

sas.jpg

 IN THIS PHOTO: Sasha Sloan

Are there any new artists you recommend we check out?

Relatively new - Sasha Sloan. Her song, Normal, is fuc*ed-up good. Another good one is LeRiche. Check out Under Covers.

le.jpg

 IN THIS PHOTO: LeRiche

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

I try to make chill time for myself. It’s funny because, a lot of times, I unwind from real life by playing guitar or writing a song about how I’m feeling. Non-music-related, I usually unwind by going on long walks with my mom or by watching T.V. My guilty pleasure is The Bachelor.

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).

Since we were just on the topic of favourite albums, here’s one of my favourite songs from one of my favourite albums: Run Every Time by Gavin DeGraw

___________

Follow Lo Lo

5.jpg

INTERVIEW: Midnight Mschief

INTERVIEW:

top.jpg

Midnight Mschief

___________

I have been speaking with Midnight Mschief…

6.jpg

about their beginnings and how they found one another. The guys tell me about their new single, Ride, and filming its video. I ask how music arrived in their lives and what they have planned going forward – they each pick a song to end the interview with.

I was interested to know what they all hope to achieve before the end of the year and whether they had favourite memories from their careers so far; which rising artists we need to get behind and follow – they provide advice for artists coming through.

__________

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

Firas Viirgo: Amazing as always! Moved into a new place and setting up my room and studio…its all in one room. Haha.

Reem: It's been busy. Been working on some new music for you guys.

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

Firas Viirgo: What’s good; it’s yo boy Jermaine from the 305…just messing. My name is Firas. I go by ‘Viirgo’ as my producer name. I’m a Haitian-Omani dude who films most of our band’s music videos and watches a lot of foreign movies.

WNDRSS: My name is Fatma Mirza. I go by WNDRSS or, as my friends call me, ‘Tutu’.

Reem: My name is Reem from Midnight Mschief. I'm the color red on our logo.

Ride is your latest single. Can you reveal the story behind the song?

WNDRSS: Ride was the first song written by the two singers in the group - Reem and I. The song is a light-hearted Hip-Hop track about meeting someone who makes you careless about your surrounding; it’s about that feeling you get when you meet someone and find them interesting.

Reem: It's one of our personal songs. My bandmate and I wrote it together while video chatting as she was in a whole different continent. We wrote it in one all-nighter.

Firas Viirgo: What’s funny about Ride is, when WNDRSS and Reem wrote it, it was kind of based on a true story from a person I personally know that the band members haven’t met. She was in love with him, he got the signs but didn’t want to move forward ‘cause he valued their friendship a lot…and just like that...boom…you’re in the friend-zone.

The video looks like it was interesting to film. Where did you shoot that?

Firas Viirgo: Kris directed the first half in New York and, when she travelled to Dubai to see her family, I directed the second half of it with her.

Reem: It was shot by a photographer and a model whom are acquaintances of Viirgo in the U.S.

Is there going to be more material coming from the band in the future?

WNDRSS: Definitely. We are currently working on an album - we want to provide music that is undeniably great and has its own unique sound.

Firas Viirgo: Most definitely! We are working on our first album called Remember Everyone’s Damaged. The story behind the album reflects on the first color off our logo (R.E.D.). It will showcase how society have this ‘mask’ on; to prove that everything going about in their life is fine no matter how successful or happy they are. We are all fragile. We are human.

How did Midnight Mschief form? When did you all get together?

WNDRSS: We met in March while we were in different countries – U.A.E., Oman and the U.K. We found that we have a common love and passion for music and have been making music since.

Reem: I was first introduced to Firas through his cousin. She took a video of me singing in a parking lot and she took my number and told me about her having a producer cousin who's been looking for a female singer. Soon after Firas contacted and, as soon as we started working, he told me about him wanting to form a girl’s band and mentioned Tutu and sent me some of her work. I agreed on the spot as they are both talented artists. We've been working since starting with us being in three different countries then, finally, united a few months later.

Firas Viirgo: I met WNDRSS online and we’ve been speaking back and forth a couple times; just short talk. I was creating an online band at the time through a Reddit forum and asked her to join. She agreed…but the band didn’t last a week. Haha. Although, she was the only member then who kept sending my vocal demos consistently. She told me: “Firas, fu*k ‘em; let’s go make our own small band”. She’s straightforward so I liked that and followed her since.

When did music arrive in your lives? Which artists are you inspired by?

Firas Viirgo: Man…for as long as I could remember. I could tell you that the two artists that inspired me to start producing at nineteen was Maya Jane Coles and Detroit producer/singer JMSN

Reem: I was introduced to music at a very young age as I come from a musical family/background. My mother used to sing in college and my father is a poet - getting it from my grandfather who is a national singer and poet. I was first introduced to the piano and then went on to singing and songwriting. One of my favourite artists is Jordan Rakei! His music is beautiful, inspiring and very soulful.

3.jpg

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

WNDRSS: A full album release and listening party - and at least two music videos.

Reem: We'd have dropped our new album hopefully by then. We'd have a few gigs locally and internationally also with the hope of expanding our fan base.

Firas Viirgo: Having a successful album listening party and starting a solid foundation by establishing our band’s brand in the Middle East and gain recognition from dope sources. Whether it be an known artist or a popular Spotify playlist

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

WNDRSS: I started writing Rap music from a very young age. When I was twelve, I spoke to my music teacher at school and asked him if I could do a live performance at the assembly and he said ‘yes’. I was very excited and a friend of mine who also enjoyed writing rhymes joined me on stage. Although the management at school was shocked (and not in a good way), the whole school cheered once we were done. I don’t remember what I had written for that anymore, but I know it was great.

Firas Viirgo: My favourite memory has to be being grateful that I have met two very driven and committed artists in my band.

Reem: Well, it's a very recent one as I performed in an open mic, mostly improvised with some amazing local musicians. It was spontaneous and beautiful. It was an amazing experience.

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

Firas Viirgo: Priscilla by JMSN

That got me into producing and the level of production in that album was and is insane. This was 2013…

2.jpg

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

Firas Viirgo: RICK JAMES, BIIITCH! Haha. I think I’d literally die in the first week of touring with him. But, on a real note, it would either be Russ or BROCKHAMPTON. I would have a bunch of medications available (for minor sh*t like a flu or cough) ‘cause I get mad-sick when I travel to another country for some reason.

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

Firas Viirgo: We are gonna throw a private listening party on Nov 11. It’s hard touring around the Middle East as there are hella load of rules and regulations. But, we will find a loophole.

What advice would you give to new artists coming through?

Firas Viirgo: Be consistent and have a plan. Don’t try to freestyle your way ‘cause you’ll end up in a limbo…you don’t want to end up like DiCaprio in Inception.

ada.jpg

IN THIS PHOTO: Adam Nabeel

Are there any new artists you recommend we check out?

Firas Viirgo: Any of the Omani artists making noise in the city. We got Adam Nabeel, Wassup Nile and Emaan Zadjali. Oh; you should definitely check out Saffron. She’s based in Dubai and we’re doing a collab. album.

Reem: I’m much more of an old music type of person unfortunately: I don't keep up with new music that much but there are some amazing upcoming raw local musicians here in Muscat.

emaan.jpg

IMAGE CREDIT: Emaan Zadjali

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

WNDRSS: Going on nature trips is my favourite way to unwind. Sometimes, the music gets too loud and I need some silence to refresh. It also helps whenever I have a writer’s block

Firas Viirgo: I’m always surrounded my music whether I like it or not. If I’m not producing, I’m listening to some other artist’s production or watching a film (and the soundtrack being so amazing that I have to dig deep into it).

Reem: To me, I don't feel the need to chill away from music as it is my escape I tend to turn to music to unwind; it's relaxing and accompanying.

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).

WNDRSS: Arin Ray (ft. DRAM) - Communication

Reem: Kaiit - 2000 n Somethin

Firas Viirgo: The Blaze – Queens

Their music video is the best storytelling I’ve ever seen

___________

Follow Midnight Mschief

66.jpg

INTERVIEW: Fiona Harte

INTERVIEW:

9.jpg

Fiona Harte

___________

THE superb Fiona Harte has been telling me…

si.jpg

about her debut single, White Picket Fence, and the story behind it. The Northern Irish artist resides in New York and I ask what compelled that move; whether she is looking ahead to future material and what sort of music she grew up around.

Harte reveals some rising artists worth a look; if there are any gigs booked; whether we might see her back in the U.K. soon, playing; the advice she would give to artists coming through – she ends the interview by selecting a great song.

__________

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

Hey, Sam. It’s been great! My first-ever single just came out today so it’s been busy but exciting.

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

Sure. I am from Ireland but currently based in New York. I moved over here to pursue music and have been trying to play as many shows as possible. I play guitar and my music is quite stripped back – ‘Acoustic singer-songwriter-style’ I would say.

White Picket Fence is your debut single. What can you reveal about the song’s story and how it came together?

I wrote the song after listening to a friend talk about a really crappy relationship she was in. I could sympathize with her from my own experience and the song was written within about an hour after she left my apartment. I wrote it on the balcony of the apartment I lived in in Dublin at the time. The song focuses on how your desired person can control your emotions by doing so little. Even though the song portrays as sad, it refers to having hope; perhaps for that love or another.

How does it feel knowing the song is out? Are you already looking ahead to new material?

It feels great – I can finally say I am an artist! I’ve taken my time recording a lot of stuff and waiting for the right time. This feels really right now. I am absolutely looking into my next release. I have started planning it already – it should be out before Christmas (smiles).

2.jpg

In terms of musicians; what sort of stuff are you into? Who were you raised on?

I love poetic lyrics, so a lot of Joni Mitchell and Carole King. I currently listen to a range of stuff. More recently, I have been listening to Jorja Smith, Daniel Ceaser; August Greene, stuff like that. An artist I love at the moment is Bruno Major. 

You are from Northern Ireland but based in New York. How inspiring is New York regarding your songwriting and creativity?

New York is incredibly inspiring to me and always has been. I love it here. The only thing I find, sometimes, is it gives me so much to write about but so little time to write! I feel like I am always running somewhere in this city.

4.jpg

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

I would love to have another single released and play as many shows as possible.

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

Yea. I think it was playing The Bluebird Cafe in Nashville. I have never been so nervous. The guys (in) In the Round were insanely talented and the audience really does not make a sound! It was a really magical night for me.

3.jpg

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

Joni Mitchell – Blue

It reminds me of when I first fell in love with music and writing. It’s an album I compare everything I do to, in order to get the best out of my own work. It will never be near that level (laughs) but I do always think of it after I complete something. I don’t know why.

David Gray – White Ladder

I just think it’s one of the most beautiful albums ever written. The production is incredible and I have always been a fan.

Dolly Parton – Here You Come Again

My mum always played it and it always reminds me of her. Great songs, too!

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

I would love love, love to support Frank Ocean. He’s one of my favourite writers! Rider. Haha. Maybe Milanos and Cab Sav (laughs).

8.jpg

Can we see you tour soon? Where are you playing?

I just played The Bitter End last night and have a Sofar Sounds on 27th September. After that, I will be doing a few shows in Ireland. Tour is on the cards; possibly 2019.

Do you think you’ll be back in the U.K. to perform at some point?

Yes. Sooner rather than later. I have a trip planned there for November.

What advice would you give to new artists coming through?

I am still learning a lot but what I really became aware of recently is how I should always stick to my gut feeling. If something doesn’t feel right, it probably isn’t. And, always be in control of the creative/release process as much as you can. It’s so important to be happy with what you put out.

mar.jpg

 IN THIS PHOTO: Maria Kelly/PHOTO CREDIT: Ruthless Imagery

Are there any new artists you recommend we check out?

Yes. I love an Irish singer called Maria Kelly – her songs are amazing. And, also, a New York-based band called the Newcomers Club.

NEW.jpg

 IN THIS PHOTO: Newcomers Club

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

I do. I kind of go through phases of writing a lot and then not very much. I was trying to write a song every day for the past while. Right now, I am going through recordings of all my songs and re-writing which is fun. I just meet up with my Irish friends and go to the pub to unwind!

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

Thank you for doing this!

Joey Landreth - Still Feel Gone

___________

Follow Fiona Harte

6.jpg

INTERVIEW: Amigo the Devil

INTERVIEW:

8.jpeg

PHOTO CREDIT: Kelsy Filler  

Amigo the Devil

___________

IT has been cool speaking with Amigo the Devil…

1.jpeg

about his latest song, Cocaine and Abel, and what its story is. Amigo the Devil (Danny) talks about his forthcoming album, Everything Is Fine, and what we might expect; the songwriters and albums that are important to him – I ask whether there are any tour dates approaching.

I discover when music came into his life and how an Amigo the Devil live set differs to the studio experience; if he has any goals to achieve before the end of the year; if there are rising artists we should get behind – he selects an awesome song to end the interview on.

__________

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

We had some really dry months out here in the Hill Country and finally got the rain everyone has been hoping for so, besides the floods and not being able to float in the creek part, it’s been a good week. Floating in any body of water is probably my favorite feeling in the world.

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

Well. My name is Danny. I was born and raised in Miami, got restless at about seventeen and started moving around, trying to ‘find myself’. Haha. I tried immersing myself in the culinary world, retail; random creative jobs and finally found a home in the brewing industry.

The music I play is very dark thematically but none of it is meant to glorify misanthropy; simply present and analyze it. It’s hard to beat something without understanding the mechanism behind it so it seems logical to try and humanize what so many people simply try to ignore because it feels icky and it’s ‘bad’.

Cocaine and Abel is your new track. Can you reveal the story behind it?

The process for these lyrics was so much different than older songs. Instead of trying to craft and tell a story, it simply told itself. It would be hard for me to disclose the personal details within the song because at that point - I feel like it would shift into a song about me and that’s not why it exists.

Writing it, personally, helped me out but, hopefully, everyone that hears it will get whatever they need from it at that moment. It’s one of those moments where I can’t really take credit for this song because it just...came to existence...it was just born and I didn’t really have much say as to whether it would be or not.

The album, Everything Is Fine, is out on 19th October. Are there particular themes that inspired the songs?

If I had a single string to weave through each song on the record, I think it would be doubt and how alright that is to feel. Not necessarily doubt as a mechanism to fail through, or a platform to avoid living from atop of, but more as a mirror to identify and accept what can and will be better. I just wanted to be honest about my faults and fears in case someone else felt them too.

Somehow, it feels better to know you’re not alone in the pit and eventually, with enough people, everyone helps each other climb out of it. Like a human pyramid without the cheerleading outfits or depending on the situation with them? Who am I to say...

2222222.jpg

Ross Robinson produced the record. Was it cool working alongside him?

Working with Ross still affects me to this day after months of finishing up at the studio. It was an intensely positive experience for me. We had such a good time recording this record and when I listen back to the songs, I can still feel the energy we had in the studio on the record itself.  You know how they say we only use a small percentage of our brains? Working with Ross felt like I was trying to reach the unused part.

Whether we tapped into it or not doesn’t matter; only that we were working towards the beyond at all times and it’s something I carry into my everyday life. Is this how people start to lose their minds?

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

I learned to play guitar when I was around fourteen because of a band I wanted to join and we ended up playing for quite a while. Started playing shows around that same time with those dudes and then we started touring around sixteen. I missed so much, including high-school graduation, for the tour and I remember the show in PA the day of got cancelled. Wasn’t really from a traditional high-school anyway, so I guess it didn’t matter much.

Growing up in Miami, there was always a limit to how far South bands would come so most of my musical taste came from BMX magazines and videos like Props Road Fools. From The Get Up Kids to Tom Waits; Napalm Death, Testament; Carcass, Godspeed You!; Black Emperor, Thrice; The Adolescents, Killing Joke; ISIS, The Album Leaf and Fiona Apple. Converge was a big one for me because they were one of the bands that did come down to Miami and the first time I saw them (must have been like thirteen) it was the craziest thing I’d ever seen. I think it was them and Today is the Day. 

Those are just some of the bands off the top of my head - there’s a million more I’m sure but those are def. some of the staples.

4.jpeg

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

One hell of a New Year’s party?

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

I honestly don’t. There isn’t one moment that would be fair to place above another one that immediately comes to mind and, since I don’t want to keep you here all day, it’s fair to say they’re all pretty damn great.

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

Pedro the Lion - Control

As far as Pedro records go, I’m torn between this and Winners Never Quit but I’m sticking to Control because Second Best is a top-three song for me at all times. The songs on this are so, so, so heavy and so far from Metal. The timing, the lyrics...it’s a record I reference a lot as an example of dynamics and using quiet to make something more intense as opposed to filling every space. First to last track, it’s flawless to me.

FIona Apple - Extraordinary Machine

This is one of those records that make me feel as good about myself as it does bad. It’s also the kind that puts how I feel into words for me; descriptions I would have never come up with on my own despite them being my own feelings. At the same rate, there isn’t anything Fiona has ever done that I’m not a sucker for.

Jason Isbell - Southeastern

Modern-day masterpiece. Even if you ignore that each song is itself a major accomplishment, I chose this because it’s one of the best examples of what a record should be front to back. The track-listing, the moods; the flow...it’s a coherent sentiment. The whole record tells one sonic story through completely unrelated concepts. Bahhh; it’s so goddamn good.

9.jpeg

PHOTO CREDIT: Mike Dunn

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

There’s a loaded few months coming up. We have a few festivals coming up: Sing Out Loud (St. Augustine, Sept 22nd), Crucial Fest (SLC, Sept 28th) and Aftershock (Sacramento, Oct.14th). After that, we leave on a full U.S. run with Harley Poe that starts on Oct. 17th-Nov.18th. In December, we’ll be doing U.K., Paris and Amsterdam for the first time! We’ve been out there a bunch but never to play, so it’s exciting for me. I won’t bog this down with all the specific dates but they’re all on the site and around the Interwebs.

How does your live set differ to what you play in the studio? Are there big changes and adaptions?

It’s a huge difference and, personally, I prefer it that way. Every time an artist plays their set differently to how the record sounds, it feels more intimate to me. It’s a new experience that can only be had in that moment. As much as I say that, though, it isn’t really a choice for me. Haha. There just isn’t anyone else on stage with me so it’s impossible to recreate the record.

It was and continues to be a huge learning experience when it comes to adapting the songs, recorded as a complete band on the record to a solo environment but that’s half the fun. Turns out to be very interactive and I’m grateful to everyone who comes to the shows for putting up with my sh*t and helping out! Hell…who needs a band when you have so many awesome people with you in a room?

7.jpeg

 PHOTO CREDIT: Karen Jerzyk

What advice would you give to new artists coming through?

It sounds so strange as the first piece of advice but don’t ignore merch. Get creative. This isn’t even from a financial perspective: it’s your most tangible marketing. What I struggled the most with, and this applies to solo artists more than bands, was the embarrassment of playing songs that meant so much to me while no one gave a sh*t.

This was when I was trying to get shows anywhere I could, local bars; coffee shops...a bar full of people talking over the songs; ignoring my existence in general and the worst part is that I couldn’t blame them. It wasn’t their fault because, most of the time, it was me coming into their local spot expecting them to stop their lives to listen to someone they didn’t know.

With that in mind, don’t blame yourself or take it out on your craft. It’s not you and, although it feels like hell because there’s no other band members to rely on for motivation/fun/support in moments like that, the more personally you take it, the more it’ll eat your will to find ways to make them want to pay attention. That’s the game: How do I make them WANT to pay attention? Sometimes, it’s as easy as having a cool shirt design they see when they walk in. This phase doesn’t last forever if you keep your head up and learn from every experience instead of punish yourself through them.

emma.jpg

IN THIS PHOTO: Emma Ruth Rundle

Are there any new artists you recommend we check out?

Too many...

On my playlist right now: Colter Wall, dakhabrakha; King Woman, Tyler Childers; The Dead South, Jack Ladder & the Dreamlanders; Alex Cameron, Emma Ruth Rundle; The Bridge City Sinners, C.W. Stoneking; Pharmakon, Timber Timbre.

(I know some of these have been playing for a while but still new in the grand scheme of things).

CW.jpg

 IN THIS PHOTO: C.W. Stoneking

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

Alicia (my better looking, more intelligent half) and I always try to keep busy one way or another off the road. Sometimes, it’s tracking down weird sh*t for the house, hosting friends and showing them around and, other times, it’s just floating in the creek with a cigar listening to weirdo songs - but usually it’s just brewing beer. We also travel as much as we can, so plotting how to get places takes a huge chunk of our downtime.

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 wanted to ruin everyone’s day, I’d say Loudon Wainwright III - Good Ship Venus but, since I can’t suggest that with a good conscience, I’ll leave you with one of my other favorites: Leonard Cohen - Take This Waltz

___________

Follow Amigo the Devil

5.jpeg

FEATURE: Seventeen Years On… The New York Playlist

FEATURE:

 

 

Seventeen Years On…

coi.jpg

ALL PHOTOS: Unsplash 

The New York Playlist

__________

IT has been seventeen years…

new.jpg

since we all had to endure that terrible day. Seeing the images of the Twin Towers being struck and felled by terrorists on 11th September, 2001 is one of the most horrifying things I have witnessed. It hardly seemed possible or real when watching the news reports come in. I was preparing to leave for university and, moving to London, it was a very worrying time. The bravery of the rescue teams and fire services in the aftermath is the defining image. I was amazed by the resilience of the people of New York and how they came back strong. It is inspiring to see how the city has rebuilt and continues to fight on. There are few things I can do to mark the anniversary of the day but, in honour of New York and its spirit; I have looked at the great artists who have come from New York (or are defined by the city; songs that name-check New York) and the fantastic music they have created. As we remember that eventful day in 2001; rather than dwell on the horror and loss of life, it is the togetherness and defiance that stands proudest. We will never forget those lost during the attacks and the city that stood up and refused to be beaten. The New York music scene is a rich and varied one. Looking back at classic artists and bands who have put the city/state on the map I will, in my way, help remember those lost and celebrate a proud people who will never…

news.jpg

BE silenced.  

INTERVIEW: Jaki Nelson

INTERVIEW:

6.jpg

Jaki Nelson

___________

THERE are few artists who have had such…

5.jpg

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.

__________

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.

2.jpg

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”.   

4.jpg

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.

3.jpg

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.

bb.jpg

 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.

cha.jpg

 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.

___________

Follow Jaki Nelson

1.jpg

INTERVIEW: Rändi Fay

INTERVIEW:

1.jpeg

Rändi Fay

___________

IT has been interesting discovering more about Rändi Fay…

4.jpeg

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.

__________

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!

3.jpeg

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!

5.jpeg

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!

7.jpeg

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!

8.jpeg

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.

9.jpeg

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.

6.jpeg

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!

2.jpeg

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!

ali.jpg

 PHOTO CREDIT: Ali Henderson

Are there any new artists you recommend we check out?

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

ca.jpg

 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

___________

Follow Rändi Fay

10.jpeg

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

FEATURE:

 

 

Everybody Hurts

end.jpg

ALL PHOTOS (unless credited otherwise): Unsplash 

The Importance of World Suicide Prevention Day

__________

THAT headline…

world.jpg

 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.

im.jpg

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.

fea.jpg

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?!

ends.jpg

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.

he.jpg

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?!"

wo.jpg

IMAGE CREDIT: Alice Skinner for The Dots

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

__________

MAYBE things have become cleaner and less explicit…

stops.jpg

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”.

em.jpg

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:

1.jpg

Coyote Choir

___________

I have been chatting with Coyote Choir…

2.jpg

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.

__________

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.

3.jpg

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.

6.jpg

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.

11.jpg

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.

john.gif

 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.

ca.jpg

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

___________

Follow Coyote Choir

5.jpg

INTERVIEW: S.K. Wellington

INTERVIEW:

Copy of SK7.jpeg

S.K. Wellington

___________

THE first interview of the week…

Copy of momentsbliss.jpg

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.

__________

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!).

EP Art Final.jpg

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. 

Copy of SK11.jpeg

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.

Copy of SK4.jpeg

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.

wa.jpg

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.

___________

Follow S.K. Wellington

Copy of SK8.jpeg

TRACK REVIEW: Billie Marten - Mice

TRACK REVIEW:

 

Billie Marten

759b049fbc1db5addf6fd781c1a084f27d4ecd94.jpg

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

_________

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!

___________

Follow Billie Marten

end.jpg

INTERVIEW: Annie Goodchild

INTERVIEW:

11.jpg

Annie Goodchild

___________

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

Annie Goodchild_press pictures 2017_credits_Barbara Hess_3.jpg

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.

__________

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.

Barbara Hess.jpg

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. 

Annie 1.jpg

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.  

Annie Goodchild_press pictures 2017_credits_Barbara Hess_5.jpg

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.

Annie 2.jpg

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.

and.jpg

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.

b.jpg

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

___________

Follow Annie Goodchild

Annie Goodchild_press pictures 2017_credits_Barbara Hess_7.jpg