FEATURE: 2001: A Fine Vintage: The Albums That Defined an Extraordinary Year

FEATURE:

 

 

2001: A Fine Vintage

IN THIS PHOTO: The White Stripes in New York in June, 2001/PHOTO CREDIT: Getty Images/Press

The Albums That Defined an Extraordinary Year

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IT may seem random…

 IN THIS PHOTO: Destiny's Child backstage in the summer of 2001/PHOTO CREDIT: Gillian Laub

but I am keen to explore musical years from this century and make a case in regards their quality. There are many who say the music pre-2000 is a lot stronger than music that has come since – many others say very few genius-level albums have arrived this millennium. I feel some of the best records arrived in the 1990s and 1960s but we have seen some truly remarkable records since 2000. 2001, especially, was not shy when it came to immense L.P.s and, accordingly, I have curated and collected some of the very best from the year. For those who feel this century has produced few wonders and nothing to match what has come before; have a look at these golden albums and I am sure you will find much…

 IN THIS PHOTO: Radiohead in New York in 2001/PHOTO CREDIT: Danny Clinch

FOOD for thought.

ALBUM COVERS: Getty Images

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The Strokes - Is This It

Released: 30th July, 2001

Label: RCA Records

Genres: Punk; Alternative; Indie-Rock

Björk - Vespertine

Released: 27th August, 2001

Label: Polydor Records

Genres: Electronic; Trip-Hop; Ambient

Basement Jaxx - Rooty

Released: 25th June, 2001

Label: XL Recordings

Genres: House; U.K, Garage; Big Beat

The White Stripes – White Blood Cells

Released: 3rd July, 2001

Label: Sympathy for the Record Industry

Genres: Garage-Rock; Alternative-Rock; Blues-Rock

Daft Punk – Discovery

Released: 26th February, 2001

Label: Virgin Records

Genres: House; French House; Synth-Pop

Radiohead - Amnesiac

Released: 5th June, 2001

Label: XL Recordings

Genres: Rock; Jazz; Experimental; Electronic

Missy Elliott – Miss E… So Addictive

Released: 15th May, 2001

Label: Elektra Records

Genres: R&B; Hip-Hop

Alicia Keys – Songs in A Minor

Released: 5th June, 2001

Label: J Records

Genres: Soul; R&B; Contemporary

The Shins – Oh, Inverted World

Released: 19th June, 2001

Label: Sub Pop

Genres: Indie-Pop; Indie-Rock; Indie-Folk

Muse – Origin of Symmetry

Released: 17th July, 2001

Label: MCI Records

Genres: Alternative-Rock; Progressive-Rock; Space-Rock

Destiny’s Child - Survivor

Released: 1st May, 2001

Label: Columbia Records

Genres: R&B; Pop

Gorillaz – Gorillaz

Released: 26th March, 2001

Label: Parlophone

Genres: Rock; Alternative; Electronic; Hip-Hop

FEATURE: Mind Over Body: Is There Pressure on Female Artists to Look a Certain Way and Have an ‘Ideal’ Body Size?

FEATURE:

 

 

Mind Over Body

PHOTO CREDIT: Unsplash 

Is There Pressure on Female Artists to Look a Certain Way and Have an ‘Ideal’ Body Size?

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I have been seeing a lot of conversation strike up…

 PHOTO CREDIT: Unsplash

over social media about fat-shaming and those who want a woman to look a certain way. It is not only women being fat-shamed but I am hearing a lot of cases where women across the world are being judged on their appearance/size or criticised when at the gym or on public transport. I have witnessed it once or twice and know the entertainment industry, film especially, sees these sort of events pop up more than one would like. Hollywood is especially culpable of eating its leading ladies to look ‘ideal’ and ‘sexy’. One hears of so many actresses who are made to slim-down for a role or are judged on their size. A lot of times it is not even required for a role: so many women are told to lose weight or accused of being overweight because they do not fit into that mould and ideal hole. You see some actresses rebelling by having photoshoots where their curves, cellulite and true figures are revealed and not subjected to air-brushing. Whilst it is not only men calling for these changes and ludicrous modifications; there are some women guilty. It is part of a decades-long idiocy that has blighted the entertainment industry. Advertising asks women whether they are beach-ready and there are very few adverts that urge them to be who they are and promote the mind over the body.

 PHOTO CREDIT: Getty Images/Press

Many might assume the music industry does not suffer the same horrors because it is more of an audio art. There are fewer cases then you might see in acting but, for years, we have seen cased of female artists come out with their testimonies and experiences. It is happening still today and I wonder whether the reason we have very few female/girl groups now is because of the way they are controlled and how they are made to look. I feel a lot of the mainstream female stars of today are allowed a certain creative freedom but, to sell their records and get on the front of magazines, there is this need for them to be slim and ‘beautiful’. All female artists are beautiful but there is still too much expectation in regards what they look like as opposed what comes out of their mouths! I have been thinking of cases of fat-shaming in music and wonder whether we have come that far at all. A few years ago, before Selina Gomez recorded her album, Revival, she was inspired to write some of his material based on reaction she received on social media.

 IN THIS PHOTO: Selena Gomez/PHOTO CREDIT: Steven Klein for W magazine (March 2016)

Shots of her on a Mexican beach holiday appeared online. She had gained a bit of weight but it was nothing unusual and, to be fair, she is not someone who could ever be overweight – I think she had put on a few pounds but she looked great. Hurtful comments led her to turn that upset into material but maybe social media is making it a lot easy for females in music to come under fire because of their weight (recent, similar, attacks have arrived this year). Earlier this year, Sam Smith was accused of fat-shaming a women whilst on holiday. This article talked about an incident that happened whereby singers for The Sheraton Cadwell Orchestras were asked, if they were not slim, to wear loose clothing. They said they have an expectation with regards the physical appearance of their singers and expect them to be slim and physically fit. The email the players/singers received sparked a backlash and it was another sign of the music industry imposing insane rules when it comes to women and size. That is not the only example of women in music feeling shamed and judged. The video for Katy Perry’s song Swish Swish features cameos and guest appearances. It raised some controversy when it came to featuring comedian Christine Sydelko and a blatant case of fat-shaming:

“Among the guest appearances, YouTuber and comedian Christine Sydelko is featured throughout the video. Despite being known for her humor and other talents, Perry’s production team took the immature route of only using Sydelko to make “fat jokes”.

Tweets circulated about the video and many questioned the video’s producers as to why they showed shots of Sydelko eating – gained cheap and nasty laughs based on her appearance and eating habits. The article shed more light:

“These tweets suggest that Sydelko was perhaps unaware of the producer's intentions to only portray her as the “fat girl,” which makes the matter much worse. While the comedian is quick to joke about herself on her YouTube channel, it’s a different matter to make “fat jokes” at the expense of Sydelko in the video, especially if she was uninformed about how she would be portrayed”.

Although women are being more accepted and there is, perhaps, less judgement compared to past years; modern Pop singers are still sharing their experiences of being fat-shamed and cast aside because they do not look a certain way. Kate Nash, in this article from last year, talked about her experiences in music and how she was seen as overweight and not a desirable Popstar size:

"When you're a woman, you have such a strange relationship with your body because - especially when you're in the public eye - you're constantly being judged.
"People comment on my body all the time in a really inappropriate way, in a way I find completely offensive.

I saw it in serious newspapers where I've been called 'too fat' and 'too ugly' to be a pop star. It's so weird, but people feel like they can say that to you".

 IN THIS PHOTO: Anne-Marie/PHOTO CREDIT: Getty Images/Press

Anne-Marie, speaking to The Guardian early this year talked about her fight and how body issues affected her:

“I’ve become very aware of body issues and body confidence,” she says, adding that she still has issues with her body, relating to an earlier time in her life. “But I feel like I’ve taken time really figuring myself out to be able to talk about it now. If I’d written that same song five years ago, it’d be very different – even angry.” She took confidence from watching TED talks and accepted her figure as it is. (The fact that she is slim and athletic speaks to how crushing and indiscriminate body-confidence issues can be.) “Hearing other women talk about it makes you feel less alone, which is why big movements are so important”.

She is calmer and more confident in her skim but there was a time when she was comfort-eating and larger than she is now. Although Anne-Maris is toned and slim; she had curved and seemed like a more natural figure before – even if she was more anxious and her mental-health was not as positive. I wonder whether Anne-Marie’s changes were as a direct result of expectation in Pop and what she was ‘supposed’ to look like.

 IN THIS PHOTO: Rihanna/PHOTO CREDIT: @rihanna

Another example, where blogger Chris Spagnuolo attacked Rihanna because of her size – what little there is of her – drew huge criticism :

“Writing in his fiercely criticised blog post “Is Rihanna Going to Make Being Fat the Hot New Trend?” Mr Spagnulo, who calls himself “Straight Spags” on Twitter, said: “It looks to me like Rihanna is rocking some new high key thiccness [sic].

“And based on what I've seen, that means it's time to worry if you're not a guy who fancies himself a chubby chaser.”

He added: “A world of ladies shaped like the Hindenburg loaded into one-piece bathing suits may be on the horizon now that Rihanna is traipsing around out there looking like she's in a sumo suit".

I remember growing up on bands like the Spice Girls and remembering how the label bosses wanted the girls to be a certain weight. One can only imagine how strict their diets were and the sort of discussions that took place. Look at all of the girl groups from the 1990s – and before – and you know there were rules about what they could eat and how they had to look. Maybe the highlighting of feminism and body confidence means labels will not be able to get away with this sort of thing for much longer but I know full well a lot of mainstream artists are expected to be a certain size and what people consider ‘desirable’.

Sex and beauty are still huge parts of the music industry and there is that never-ending need for mainstream women to be conventionally attractive. Social media’s rise and exposure means artists are more exposed to negative comments and criticism regarding their looks. Whilst it is great to see body confidence emerge and female artists take a swipe at those who want them to slim and look a certain way; I worry too many artists are shedding weight based on the comments they receive from labels and social media. Selena Gomez and Anne-Marie are more svelte than before and artists like Kelly Clarkson have received hateful messages regarding their size. Artists such as Alessia Cara, Lizzo and Princess Nokia have written songs that looks at body positivity and ask women to be who they are. Whilst I agree there are fewer cases of women in music being fat-shamed, it is not completely gone and Pop artists especially are put under the microscope. There are magazines that still show slim women on the covers as what society wants and finds attractive. You see beauty magazines with bikini-clad models and, in Hollywood, how many ‘natural’ or curvier women are provided leading roles? Music is not immune to the toxicity and it has devastating impacts on artists. You rarely see curvier women in the forefront of Pop – aside from the likes of Adele and Beyoncé – and I wonder how far we have come.

 IN THIS PHOTO: Alessia Cara (whose 2015 song, Scars to Your Beautiful, is seen as a body-confident anthem)/PHOTO CREDIT: Getty Images/Press

A lot of music depends on selling that artist and how they look. If they have a slim physique and are slim then they can have more magazines shoots and T.V. appearances. Trolls on social media mean self-doubt comes in and we still expect people, mostly women, to be thin and ‘sexy’. In reality, women should be proud of who they are and not be told how to dress and what size they should be. That is easy for me to say but I feel labels and music bosses are not doing enough to drop this notion a female musician should be thin/skinny and social media makes it so much worse. It is great to see women striking against ignorance but I feel too many female artists are losing weight and being hit hard by criticism. We still do not place enough importance on mind and what comes from within as opposed weight and image. Every industry and corner of society has a long way to go but it seems even more insane music – as opposed industries where image and visuals are more prominent – judge women for being who they are. If artists like Anne-Marie, Rihanna and Kate Nash are being targeted because of their weight then I wonder how far the problem extends – none of those women are overweight or can be seen as ‘fat’. In any instant; music needs to be accountable and encourage women, in every genre and walk, to be who they want to be and do more to protect them against social media slur – whose business it how much a woman weighs and how relevant is weight when it comes to music?! The quicker we make positive changes and do not focus on image then the better it will be for everyone. I know music has come a long way but I am still troubled by how many incidents of fat-shaming…

 PHOTO CREDIT: Unsplash

ARE coming through.

FEATURE: A Certain Band Spring to Mind… The United Borders Project: Why Music Can Act as Therapy and Help Reduce Violent Crimes

FEATURE:

 

 

A Certain Band Spring to Mind…

IN THIS PHOTO: A mobile studio/music base on a double-decker bus set up by Justin Finlayson of United Borders/ALL PHOTOS (unless credited otherwise): Brunel Johnson 

The United Borders Project: Why Music Can Act as Therapy and Help Reduce Violent Crimes

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YOU do not need to look too hard…

to know there is a problem with violence and knife crime in this country. You turn on the news and we hear of stabbings and beatings; gangs and young people taking each other’s lives and so many random, senseless murders. It is especially pronounced in London and, whilst it is mostly between gangs and sort of revenge killings; there is a feeling so many young people are committing such crimes through boredom, a lack of identity and isolation. Maybe they are unable to work or living in areas that are derelict or under-funded. Some are from rough background and many feel like there is nothing out there for them. In a lot of cases, there are those who only know violence. Whether they have been running with gangs or grown up around a gang culture. Whatever the reason behind the rise in killings/knife crime in London; it is clear there is a problem the Government is struggling to get a handle on. This article from Huck written earlier in the year looks at an initiative run by the charity, United Borders:

“Justin Finlayson, the founder of United Borders, is a well-known local music producer who grew up in the diverse London borough of Brent. He refers to his hometown, Harlesden, as the Wakanda of the day due to its visible and prevalent Afro-Caribbean culture. However, over the last few years, reports of rival drug crews and local gang warfare have caused deep divisions among the area’s young community”.

PHOTO CREDIT: Unsplash 

“…I am an ex-gang member,” Justin tells me. “Although, I don’t actually think of myself in that way because I didn’t have a road name or an official gang name. But my movements were identical to what we’re witnessing today.”

United Borders is the first youth project of its kind. A cross-border initiative between Hyde housing association and Catalyst housing association, it was started in August 2017 as a way of bridging the divide between the Stonebridge and Church Road estates.

However, finding the right location initially proved challenging. To avoid hosting it in one crew’s ‘no-go’ area, Justin decided to set up the programme on a double-decker bus, which he then converted into a makeshift music studio and classroom. In the mornings, he would drive to Church Road, before moving onto Stonebridge in the afternoons”.

That sounds like such a brilliant idea. There are plenty of buses going spare – more than enough for this project at least – and it can freely drive between boroughs and near estates and reach people who are cut off from colleges and educational facilities. There is a mobile booth/studio set up on the upper-deck of the bus and youths have been getting involved and learning about music. Whether laying down tracks or understanding production; they are being given a creative outlet where they can learn new skills and join like-minded peers. Youths from Church Road, at first, were getting off after the morning but many remained put and travelled to Stonebridge.

 PHOTO CREDIT: Unsplash

The fear that was there before is replaced by a keenness to collaborate and come together. Finlayson talks about government cuts and the link to gang activity. Areas are becoming gentrified and others, in need, are being ignored and falling into chaos. This leads to a lot of young people feeling ignored and scared. They cannot work or get an education so they are turning to crime and taking out their frustrations on others. It is sad to think so many lives are being lost or endangered because of a lack of funding and divides in the city. Finlayson spoke about the power of music:

“So why does he believe that music can help? What makes it such a powerful unifying force for the area’s young people? “Music is the soundtrack for life,” he says. “It doesn’t matter the age, gender, culture or environment. Most people utilise music to relax, escape, enhance or create – and this is no different with our young people today”.

There has been talk and accusation in the press that Grime and Drill artists like Stormzy are actually encouraging killings and spurring on this violence. The biggest consumers – tragically or ironically – of that music is the white middle-classes and they are not the ones being blamed for the violence. A lot of the young black kids who the music is aimed at is not being consumed as voraciously by them then others – one cannot accuse music for encouraging violence and making it seem cool.

 PHOTO CREDIT: Getty Images

The media has always blamed T.V., films and music for the rise in violence and anti-social behaviour and it would be naïve to blame entertainment for any of the crimes we are seeing on the news. There are more complex reasons than a lack of funding but gaining a greater understanding of what motivates gang violence and these senseless murders is paramount. In another interview, conducted by Brunel Johnson (the two sort of overlap); Justin Finlayson talks about reasons why youths are becoming involved with his scheme and jumping on the bus:

“The youth believe they are being deprived of the opportunity to excel and that the educational system has failed them. Justin believes that the educational system hasn’t just failed our youth but has failed us as adults too because we are only churning out younger clones. The answers for tomorrow require a different value system from the system which has created the vast inequality we see today. We need an education which doesn’t value violence because we can profit from it.

Justin said, “If younger people are given the trust to devise the education which can be a benefit to their generation then that work must start with a younger demographic. We can still learn things in a traditional way but it can’t come at the cost of todays world which is vastly technological. For starters, should we be allowed to profit from anything which impacts our environment negatively? These are the sort of questions I hope tomorrow’s generation can ask without any government opposition or argument”.

Maybe it is a bit simplistic to say music alone can cure the problems of gang violence in the country. There is a lot of anger in certain communities and maybe musical primal scream therapy would be better?! Maybe some Primal Scream would help?! I think teaching a lot of disaffected youths production and recording techniques is a good idea but exposing them to all sorts of different music is another possibility. I do not feel any genre of music is responsible for violence and crime but it is easy to get hooked on a particular genre that, they feel, speaks for them and talks about their lives. There is a wealth of wonderful music out there and it can be eye-opening being exposed to all these different sounds and artists. Therapy, whether through a bus or providing a convenient and safe space for youngsters is wonderful. It is clear that the Government is dropping the ball and unaware of the plight and struggle out there. Mayor Sadiq Khan has come under fire in regards the wave of stabbings in London but it is not right to put the blame on his shoulders. A lot of the issues stem from an imbalance in funding and seeing estates crumble and many of the capital’s young lacking any understanding and feeling like they are marginalised.

It is not only a London issue, of course: all over the country, there are problems regarding knife crime and violence and it is getting out of hand. I am glad there is something like The United Borders Project out there that is unifying two Harlesden areas together through mentoring, media classes and music. Justin Finlayson’s magic bus is a simple and mobile breakthrough that is already making a difference. Returning to the Huck interview; he was asked what his aims are and what he would like to see happen:

“For Justin, music is just the start. He hopes to eventually persuade Brent council to defy government cuts and pour more money back into the community, ultimately giving more young people the chance to broaden their horizons. He cites his childhood as an example, where he was frequently given the opportunity to leave the capital and spend time at activity centres in the countryside.

“My parents often say that if you were walking the streets in their era and saw somebody who was black, you’d instantly cross the road, greet them and walk together,” he adds, finally. “To see somebody who was black was seeing safety. How has Brent and the majority of the UK in the space of two generations, now seeing the reverse? To see somebody who is black, who looks like you is now a sign of danger”.

 PHOTO CREDIT: Unsplash

Gang members – from both sides – are already recording members and collaborating gives them a chance to set aside differences and use that anger as fuel for great music. Funnelling illogical tensions and that gang mentality into a genuinely productive, inspiring and wholesome pursuit can actually be a long-term solution. The mentoring happening means youngsters are finding jobs and arming themselves for the employment market. Educated, better-informed and with new meaning in their lives, the mobile school that they can go to and feel enriched is brilliant. I hope the scheme rolls out to other areas/estates and money is set aside to ensure it is a continued success. Rather than loitering around shops and looking for ‘excitement’; they have somewhere to be and feel like they belong. Maybe leaning more on the musical side of things could kick-start something huge. Now, we are witnessing warring gang members conspire through song. Music in its simplest form, just listening to it, can be a calming and wonderful thing. Allowing youths from all around London a chance to bond over music and talk about their experiences through the lens of old and new music is a cheap and easy fountain. Music is the soundtrack to our lives and the link we all have in common. Providing musical education and allowing young people the chance to lay down some beats and a song is so crucial.

 PHOTO CREDIT: Unsplash

There are lots of layers and reasons as to why there are these crimes and violence levels seem to be rising. Like soldiers; many of those who commit violent crimes suffer emotional and physical abuse. This is their way of retaliating and, in many cases, all they know. Justin Finlayson has hopes United Borders’ scheme will take off and continue to grow. I feel music is a perfect Muse for many disaffected Londoners. There is so much language and so many stories in music that can not only act as wisdom and guide but can be discussed and picked apart. Picking up an instrument provide a physical way of expressing emotions and pains – as does singing and writing. Maybe we are not about to see walls comes down and harmony break out but the more tied up and occupied gang members are then that will mean they are being taken off the streets. Whilst there are psychological reasons as to why violence is rising; a lot of the problem is a lack of communication and the assumption a blade is more powerful than words. These ‘differences’ gangs have are not divisive and different at all. At their root, these people are on the same page and they all want the same thing: to be heard and feel accepted; to find a place in society and not feel deprived. United Borders are doing great things and this musical therapy – alongside mentoring and social media classes – is already showing results. With those in power showing a real ignorance and not doing what is required of them – they are profiteering from human suffering – it is amazing to thing something as elemental and fundamental as music is making a huge difference…

IN so many people’s lives.

INTERVIEW: At Pavillon

INTERVIEW:

At Pavillon

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THE Austrian band At Pavillon…

have been discussing their new single, Lions, and what we can expect from them going forward. The band reveal how they got together and what sort of music they are inspired by; an album each that means a lot to them – I ask whether there are any tour dates coming up.

The guys talk about the scene in Austria and when music came into their lives; if they have favourite memories from music; what they want to achieve by the end of the year – they pick a great song to end the interview with.

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

Very exciting. The last couple of weeks, we have focused on the international release of our energy-boosting single, Lions. The reactions so far have been great!

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

We are an Indie-Rock/Pop quartet based in Vienna, Austria. Tobi (Bass) and Paul (Drums) are our rhythm section - they keep the whole thing together. Berni (Lead Guitar) and Mwita (Guitar and Singing) represent the melody and entertainment section.

 

Lions is your new single. What is the story behind it?

There are those moments in life where we do not truly believe in ourselves. In such moments, it’s easy to follow empty promises of success but, in the end, you are caught by the power and will of everyone else but you. But, if we are aware of our inner-lion, we can achieve something great!

Lions EP is upcoming. Are there particular themes that inspire the work?

To us, diaspora artists like Freddy Mercury or Bob Marley are really inspiring as they had to face lots of challenges based on their social, ethnical; cultural or migrational backgrounds. To us, they are lions or, as Freddie Mercury would have called it: We Are the Champions!

How did At Pavillon get together? When did you start playing together?

Mwita and Berni have already been friends since their high-school years. They decided to play together when Berni was proving to Mwita that he could play the Harry Potter theme with his guitar on the back which, indeed, is astonishing! It took up until 2014 when Paul and Tobi joined. Paul was pretty shy and introverted at the beginning but, when he was playing during the rehearsal breaks, we knew what he was capable of.

Tobi came into rehearsal room as a Jazz guitar player who wanted to play bass as a musical compensation. Turned out that he is as phenomenal on the bass as he is on the guitar. With Berni’s sense for melodies and Mwita’s incredible voice, we knew we could write some good music. But, most important for us, was the fact that we felt like brothers from the moment we met!

You are based out of Austria. Is there a strong music scene there right now?

Definitely! Especially in the recent years, the scene got way more professional which is also appreciated by the international music business and media. From our perspective, we are really happy to see that more and more guitar-based bands make their way onto the global market!

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

For Tobi, by the time he was in kindergarten, he was listening to his father’s old records: Led Zeppelin, Cream; The Monkees, Jefferson Airplane; The Beach Boys, The Animals, etc. This music fascinated and shapes him to this day. Berni started playing guitar at fifteen because he was obligated to do so in school. When he bought his first classical guitar, he just got addicted and couldn’t stop playing for himself at home. Paul, like Tobi, grew up on the record collection of his parents. It was (especially) Jimi Hendrix and his father’s hairstyle that got him closer to Rock music. The decision to study an instrument was done with the help of his parents, as his childhood wish was simply to play music on a stage.

Music arrived in Mwita’s life when he first started covering songs with his friends and they made up their own stories to existing songs. This was also the time when they went busking on streets. He is inspired by Benjamin Clementine - because he is one of the few who writes their music in an unconventional lyrical and musical way. This helps him to rethink his own songwriting.

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

We hope that our upcoming album, Believe Us, enables us to play our first world tour!

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

Well. There is this one memory that is quite important for all of us. At the very beginning, we were invited to play at a small festival in Italy. After an eight-hour drive, we arrived there and suddenly it started raining pretty heavily. So, when we entered the stage, there was literally no-one upfront. We looked at each other and decided to play this show as if it was our last. After a few minutes more, more people started to come closer to the stage despite the heavy rain!

At the end of our set, there was indeed a crowd who were applauding. Since this moment, we have decided to play every show as if it was our last! Because, if you believe in yourself and give everything, then you will be rewarded!

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

Mwita: Tokio Hotel – Schrei

I was fourteen when I bought this album. I could totally relate music and lyrics-wise to their music. This was my theme for a year. This album gave me strength, hope and energy at times where I felt down.

Paul: By the Way by Red Hot Chili Peppers

I was around twelve when it got released and my understanding of Rock music was still based on my parents’ vinyl collection. So, in 2002, I was at a drum weekend workshop which was in a really beautiful castle. While I was making my way through these huge corridors, I suddenly heard this crazy beat. I was following the rhythm and found myself in front of a drummer who was in his mid-twenties.

I was asking him which beat he was playing and he told me it was (the one of) By the Way by the R.H.C.P.  As soon as I was home I went to the record store; I bought the album and couldn’t stop listening to it up until today. It was my entrance into Rock music - and I am so grateful for that.

Tobi: In fact, it was a ‘best of’ album from Led Zeppelin

Because of Jimmy Page, I wanted to learn to play electric guitar. Later; John Paul Jones taught me bass. I was totally thrilled by these musicians.

Berni: One of the most inspiring albums I ever heard is the album In the Woods from Francis International Airport

I love every track because it’s extremely atmospheric and dynamic. I still get many ideas for At Pavillon’s riffs and sounds from this record.

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

Mwita would love to support Phoenix. Ideally, we would be allowed to use this huge mirror they were touring with in 2017!

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

Our next show will be on Wednesday, 19th September at Reeperbahn Festival, Hamburg. The venue is called Indra. It is the first place The Beatles ever played in Hamburg.

What advice would you give to new artists coming through?

Believe in yourself and love what you do. If you don’t do it, nobody will! 

 IN THIS PHOTO: Parcels

Are there any new artists you recommend we check out?

Parcels, LISS; Lo Moon; Her, Leyya…

 IN THIS PHOTO: Lo Moon

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

If there is any ‘off-time’, then we love to meet friends that we haven’t seen for a long time, go out for dinner; read a good book or convince our parents being a musician doesn’t imply we are junkies (smiles).

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).

Her - 5 minutes

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Follow At Pavillon

Official:

http://www.atpavillon.com/

Facebook:

https://www.facebook.com/atpavillon/

Twitter:

https://twitter.com/At_Pavillon

SoundCloud:

https://soundcloud.com/atpavillon

YouTube:

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

FEATURE: The September Playlist: Vol. 3: Strange Mice in the Mariners Apartment Complex

FEATURE:

 

The September Playlist

 IN THIS PHOTO: Lana Del Rey 

Vol. 3: Strange Mice in the Mariners Apartment Complex

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THIS week delivers plenty of punches…

 IN THIS PHOTO: Billie Marten/PHOTO CREDIT: Liz Seabrook

and there are some big releases from Lana Del Rey, Billie Marten; The Smashing Pumpkins and Gorillaz. Alongside them, there are plenty of interesting cuts and offerings that stand out and guarantee an interesting weekend. It is a strong week for music that sees KT Tunstall rub shoulders with Orbital and Eminem; there is a new video from Sir Paul McCartney and songs from The 1975 and Nicki Minaj. Take a look through the selection of new releases and I am sure there is enough in there to keep you happy and active.

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

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Lana Del Rey – Mariners Apartment Complex

Billie Marten – Mice

Villagers – Again

PHOTO CREDIT: Frazer Harrison

Nicki Minaj – Barbie Dreams

The Smashing Pumpkins – Silvery Sometimes (Ghosts)

Gorillaz – Tranz

PHOTO CREDIT: Phil Smithies

Sea Girls – All I Want to Hear You Say

KT Tunstall – The River

Paul McCartney – Fuh You

Kate Nash – Hate You

PHOTO CREDIT: Craig McDean

Eminem (ft. Joyner Lucas) - Lucky You

The 1975 – Sincerity Is Scary

Black Eyed Peas – Big Love

Ciara – Dose

Dizzee Rascal – Don’t Gas Me

Mariah Carey – GTFO

Olivia O’Brien – I Don’t Exist

Aphex Twin – 1st 44

PHOTO CREDIT: Nate Ryan/MPR

First Aid Kit – I’ve Wanted You

Orbital – Hoo Hoo Ha Ha

Sleaford Mods – Dregs

Carrie Underwood – Love Wins

Pale Waves – One More Time

Rival Sons – Do Your Worst

Dani Sylvia – London on Fire

Good Charlotte – Self Help

IN THIS PHOTO: Jess Glynne

Too Many Zooz, KDA (ft. Jess Glynne) – So Real (Warriors)

TRACK REVIEW: RIDER - You

TRACK REVIEW:

 

RIDER

You

9.5/10

The track, You, is available via:

https://www.youtube.com/watch?v=ZA2VzbF_g78&feature=youtu.be

GENRE:

Alternative-Pop

ORIGIN:

London, U.K.

RELEASE DATE:

14th September, 2018

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THIS time around…

I wanted to look at a few different, new things. I will come to look at RIDER and her latest track soon but, when thinking about her style and changes, things do pop into the head. I will talk about authenticity in music and those who are very real and revealing in music; artists who keep things fresh and do not stay with the same sound; live performers who can bring something sensational and memorable to the stage; complete and organised artists who are not mainstream and have their own direction – I will look at where RIDER might go and what her future holds. I was watching a documentary on Amy Winehouse yesterday evening that put her album, Back to Black, under the spotlight. It was a classic album series that spoke with those involved in the album’s creation and collected archive interviews with Winehouse. The artists died in 2011 and yesterday would have been her thirty-fifth birthday. It was a bittersweet documentary that highlighted and exposed Winehouse’s unique and peerless talent and how she approached the recording of that album. The eleven-track record was released in 2006 and is an award-winning, confessional record. Where does RIDER fit into this speech?! Well; she does not have (luckily) the same tragedy and addiction issues as Amy Winehouse but the common factor is the sense of authenticity and personality one gets in the music. Winehouse wrote about breakups and those who let her down. She said how no fake or unlikable lyric made its way onto that album – she was not going to sing something impure that lacked any meaning. I was amazed by her candidness and sense of confidence. The songs throughout Back to Black have fantastic production values – thanks to Mark Ronson and Salaam Remi – but it is that central figure that makes things shine. It is sad Winehouse is no longer with us but artists can look at her epic album as a sign of just how good she was!

I listen to RIDER and I do not hear the same fakery and commercial drive as you get with many artists. Knowing her, I also know how much music means and it is a way of putting herself into the world. A lot of artists are warm and open in the flesh but there are things they cannot communicate through conversation. Like Winehouse; RIDER uses music as a way of confessing and exploring; digging deep into her soul and bringing from her heart lines and scars that make you think. Maybe the two artists’ voices and personalities are different but I can sense a very pure and hungry artist in RIDER. She does not put words into her songs that are aimed for radio-play and following the pack: her creations have that unique and stunningly emotional quality that stands aside and worms its way into the soul. Another reason why I wanted to look at Amy Winehouse was the honesty of her interviews. You did not have rehearsed lines and you could really connect with her. A complex human with troubles but a big and open heart; a very real artist who has inspired legions of new artists – I wonder whether we will see her like again. I do wonder how many artists actually mean what they say and how real their music is. I can detect those who are aiming for chart gold or writing music that has very little connection to them. RIDER does not waste words and ensures everything she puts out into the world is personal and from her mind. Maybe you feel that is no special thing but you would be surprised how many artists lack any real conviction and control over their music. In the vocal and delivery, I can pick up on an artist who wants the listener to listen to every syllable and take her music to heart. In an age where albums are less important and we are looking for a quick hit; RIDER is an artist who writes music that warrants serious investigation and time. Whether she is planning an album next year – I will touch on that a bit later – every song she puts into the world is very much her thoughts and emotions; lines that are meaningful and personal that we can all connect with and relate to.

I also hear a lot of artists who either stick with a same and familiar sound or lack any sense of direction and consistency. It can be hard cementing a sound and discovering what the listener wants. Music is about experimentation and bravery and it does take to get things right. I have been following RIDER since the start and she is someone who always wants to push her music forward. Her previous single, Hurts Me Too, stunned me and I was lucky enough to review it. That was an emotional and heart-aching song and, whilst it has plenty of fizz and memorability; You is the artist stepping into new territory and doing something new. The first few seconds of each song are vastly different. Hurts Me Too is a slower beginning and has more emotive and tearful beginnings. You starts off with crackle and plenty of spunk. One might say that split and development might lack focus but the opposite is true. Rather than repeat herself and write another song that spoke of heartache and pain; we have a different angle and an artist who keeps things fresh and evolved. I go back to Winehouse and how an album like Back to Black contained different musical styles – classic Soul and the girl group sound of the 1960s together with Blues – and lyrical themes. The opener, Rehab, is witty and humorous but delivers a serious punch; love songs throughout the record are varied and interesting and there is no repetition. RIDER is someone who can keep her personality and purity but does not want to repeat her. I spoke to her before her new track came out and she said she has been experimenting and looking to venture into new realms. It is encouraging finding an artist who is writing music that means something to her but provides something different and unpredictable. I am excited to see where she goes next and where her music is headed.

There are artists who can switch things up between releases but RIDER seems to be vibing from the city of London and the various scenes and sights. I look for artists who are original and do not repeat the same tricks. RIDER goes through heartache and relationship troubles but she has a curious and imaginative mind that does not want to remain still and ordinary. I love the boldness of her sound and how she makes such shifts between songs. I have hinted at a possible album but I think an E.P. is more likely. Maybe that will come next year and it is exciting to see her progress, develop and shift. Every song from her is an open and honest story that you can dive in and feel safe. You really root for her and feel a connection and that sort of potent emotion is hard to find. She is a true and authentic writer who wants others to learn from her music and know there is someone like her out there. I am going through change at the moment and moving. It is a bit scary and the future is not 100% sure and I wonder how things will go. I look to music to provide guidance and a sense of direction and I get that with RIDER. What you get from her is relatable words and music that is so rich and interesting. I am not sure of her exact process and how the notes come together but you can tell everything has to mean something! The songwriter has a team around her but she does not let them dictate and guide her sounds too heavily. Instead, she has a great band behind her and you get this collaborative process. It would be easy to repeat songs and, after success, stay on that course and not make too many changes. RIDER does not want to get stagnant or sound too predictable. Instead, you get songs that are their own beast and do not sound like anything that came before. This is something a lot of artists should take to heart.

I will talk about RIDER as a complete artist soon but it is her live performances that have been getting a load of love. I am yet to see her perform – I will amend this very soon – but the reviews are clear and positive. She loves performing to crowds and, being based in London, she has a lot of venues around her. What strikes me about her live shows is how much energy she puts out there. A great performer who does not repeat what is on the record – you get fresh nuance and revelation with every gig. I know she loves the connection with the audience and seems to be at home on the stage. It is great hearing her music in the studio but she seems to feel free and unleashed on the stage. Projecting a lot of movement, spirit and electricity; she is someone you need to see play and see what the fuss is about. I am reluctant to go and see some artists perform because I wonder whether they will provide value and are going to be worth it. In a busy age where we all have less time and money to go out; I see many of us staying at home and not venturing out. When you do go out to a gig, you want to make sure it is worth the trip and you’ll get something special. That is a lot of demand and pressure on an artist but there are plenty who can provide wonderful and memorable sets. RIDER knows all of this and wants people to come away from her gigs feeling different and having had a very special night. There are very few original tracks out there but she is growing as an artist and has a busy future ahead. When she takes to the stage, you know she wants people to come together and have a fantastic time. Rather than hide away and not put much out there, we get a wondrous and physical performance that stays in the mind for a long time.

I feel RIDER has the chance to perform a lot up and down the country. She is American-born and has experience playing and watching gigs over there. I know there is a part of her that wants to play back in the U.S. and I feel next year will be an exciting and busy one for her. It is her determination to get out in front of people and have her music heard that stands out. Rather than spend hours on social media and look at streaming figures – she has to consider that but it is not the most important thing – being out in front of people and getting their reaction is much more powerful and effecting. She played at The Water Rats not too long ago and it was a fantastic gig for her. The live shots you see in this review are from that gig and capture what she is all about. I have mentioned how she is a real artist and there is no fakery in what she does. This is especially true when she plays gigs. RIDER brings out her personality and has that instant bond with the people. In order to succeed in the music industry, you need to consider everything and ensure you deliver in every area. RIDER knows this and, in terms of live performance, is ready for new challenges and fresh audiences. I would like to see a U.K. tour – which will come with more material – but she is someone who would love to take to the skies and get her music around the world. One of the reasons I want to see her perform live is to see that reaction and how it makes people feel. A great performer should be able to connect with the crowd but there is a lot more to it than that. RIDER packs so much colour, energy and brilliance into her sets and I know she will get even stronger as a live artist.

Great artists, too, need to have multiple sides and tackle everything music puts in their path. By that, I mean they need to strike you with their personality and complete package. RIDER, having met her a couple of times, is ambitious and has a lot of plans for her career. She has feistiness but there is that honest and soulful quality that means she is open and human. She can relate to you and have that sensitive nature but she is an upbeat and positive human who wants to go as far as possible. Her website and social media profiles are fantastic and appealing. You can get a lot of information and know where she is heading next. A lot of mainstream artists are directed and they have to follow what the label wants. Artists like RIDER, although they have management, are not being dictated to and are restricted. Instead, she is able to craft her own career as she pleases and there is a great sense of understanding – that connection with the label and her management. Her band is around her and, when she shoots music videos, you have a great team that brings her stories to life. The videos are great and memorable. I remember watching the clip for Hurts Me Too and being impressed by it. It is an emotional watch and contains some striking images. There is a sexiness and physical excitement but one sees the heroine pained and teary. A Little Light, too, has emotional moments but there are some salacious and sexy moment – a passionate and exciting video that has a sense of joyride and abandon. Now, on You, you get even more excitement, colour and bounce. Each video has a different skin and does not repeat what came before. I know how much she puts into each video and how important it is to tell a story through film. Artists have limited budget but RIDER uses studios and the outdoors effectively and creates something special. Videos are as important as songs to me and you can get something out of videos you cannot from the songs – new shades and elements that are not evident in the original song.

I am always impressed by artists who have brilliant social media pages and a professional edge. RIDER has great sense of creative drive and imagination and brings that to videos. She wants fans informed and connected so ensures she brings us the latest information, photos and updates. You are part of her world and feel part of the team. Whether there is a collective noun for RIDER fans – might have to brainstorm that one – I am not sure but you always feel connected to her. This is important at a time when we are less connected as people. I struggle to bond with too much music and it can feel very impersonal. Some artists do not have high-resolution photos and do not consider the visual side of what they do. I know I go on about this quite a lot but photos are crucial in this day and age. There is no excuse for overlooking it and one cannot say they are too expensive. One can get a lot of photos taken in a single shoot and, even though it costs a little, it is an investment that will pay for itself. You know that band/artist is more serious and you get to see different sides to their personality. Rather than make people guess and struggle to piece things together; those who consider every element of music are going to resonate and be much more appealing. RIDER takes care to ensure her music and videos are the best they can be. I know she wants to go a long way in the industry and she is doing a fantastic job so far. There are few artists out there who have as much attention to detail and care as she does. I know she will go a long way and there is a very bright future for her. The fact she goes out of her way to deliver as much as possible and give her fans a great experience does really show. I know all this hard work will pay off and she will be a mainstream star in the future. We need those who stand out and are real; artists that are original and deliver huge value.

The opening notes of You are vastly different to anything RIDER has put out there. It has a gleefulness and sense of delight that makes me think of the 1980s. If anything, there are touches of Prefab Sprout around their From Langley Park to Memphis period. You are hooked and interested before a note has been sung and it is a fantastic introduction. The video sees RIDER and the band in a studio playing the song live. The heroine bounces and dances to the music and we know this is a song that wants people to get up and feel involved. We get shots of a bedroom and items; a sense of memory and today – a complex set of shots that make me think of someone rebuilding and taking new steps. RIDER talks about being reborn and not being who you were before. I have talked about her personal approach to music but here, it seems, she is directing her words at someone else. The girl in the song – I get the sense she is talking about herself to an extent – is not who she was yesterday and things are different today. Maybe there have experienced heartbreak and bad times but those memories are in the past. Perhaps things have been bad but they can get better. RIDER’s voice, too, sounds more alive and deep than I have ever heard. She attacks the song with so much energy and colour but ensures she injects plenty of emotion and honesty into You. The hard times have passed and now she is going into a good period. It is hard to avoid a sense of autobiography when you listen hard. Previous RIDER songs have looked at pain and struggle but now, it seems, she is thinking ahead and knows things are getting better. Maybe I am over-reaching but I can hear the heroine speaking to herself in addition to an anonymous heroine. You are sucked into the song and affected by its spritzing and delightful tones.

It is impossible to listen to the song and not feel the need to get a bit active and jump along with it. We hear about stars aligning and things improving and, when the chorus hits, that true explosion comes. It is a delirious and bold delivery that takes you by surprise and packs plenty of strength. On You, one hears a positive coda that urges people to move past the bad and realise better things are ahead. Whether a documentation of the anxiety we feel and how we can all get bogged down; I always feel like the song is speaking to me. Great tracks should have personality and be true to the artist but they need to be understood by the listener. We have always got this from RIDER but this is her most expressive and exciting track. Although there is a lot of modern production and elements, you definitely get that sensation of the 1980s and the Pop of the day. The song becomes more personal and love-based in the chorus. The heroine wants the boy to be the one who stole her heart and thinks about. Maybe there have been some hard times and setbacks but she knows things are getting better and they are rekindling the flame. Our girl is belting the words and pouring her heart out. It is exciting and thrilling to hear the song and the power that arrives from the vocal. Her band is tight and supportive and they create an incredible sound together. Even if there have been hard times; that physical connection and understanding they have is right and real. RIDER knows how strong the relationship is and how much it means to her. Unable to escape the wave of energy and delight that comes from the song; it is wonderful hearing something so thrilling and inspiring. A lot of songs still trade in misery and a sense of negativity and RIDER is determined to project something wonderful. The synths and electronic elements of the song have that nostalgic feel but are modern at the same time; the band is always in-step with RIDER and You goes through various phases. Taking the energy down a bit near the end – so she can focus on her subject – there is actually a bit of Alternative-Rock from the 1990s and 2000s. You had those elements of 1980s Pop but there is another genre-shift before the chorus comes back in. A song that evolves, mutates and twists; You is a great song that showcases RIDER’s powerful and nuanced voice – she puts in a really powerful performance and take you aback – and an artist who is keen to explore new ground. Considering her changes and how she creates something new every time; I wonder where she goes from here. It is a very exciting time in RIDER’s camp and I cannot wait to see where she heads next.

RIDER has made moves and developments between songs and she gets stronger by the release. I am a big fan of hers and am lucky enough to have spoken with her. I know she is curious and always looking to push and build her music. Her first couple of offerings have their own sound but, on You, there is something fresh and new coming through. RIDER does not want to stand still and repeat things. It is a great time for her and I feel, next year, she will go even further. I wonder whether she will bring an E.P. out and what she has planned. Her gigs are getting great reviews and she clearly loves being up on the stage. It is wonderful to see her vibe and bond with the audience and have so much fun. Enthusiasm is an important thing to hold onto and it will see her go a very long way. Ensure you check out her latest offering and its great video. I opened by comparing her, in a way, to Amy Winehouse. Both artists put themselves onto the page and do not write anything that lacks meaning and relevance. It is hard to detect fake artists from the real but there is never any doubt about RIDER. Another great thing is you never know where she will head next. Maybe she will stick in Alternative-Pop territory with flecks of electronic or she might take the lights down and go into a more Soul/Jazz realm. As we wonder whether she might step and what her plans are; it is worth looking at what she is bringing out now and how her stock is rising. A brilliant and passionate artist who is holding her head high and getting under the skin; I wish her a long and happy career in music. She can go as far as she wants and, with great people around her, has that comfort, partnership and support. This is important to keep a hold of and she knows this too. You can hear an artist who is born to be in music and wants to get people talking about her. You is a fantastic song from someone who is showing there is nobody out there like her. Give RIDER some serious love and time and, when she gigs next, make sure you get out there and see her…

DO her thing.

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Follow RIDER

Official:

https://www.riderofficial.com/

Twitter:

https://twitter.com/RiderMusicPage

Facebook:

https://www.facebook.com/RiderMusicPage/

Instagram:

https://www.instagram.com/ridermusicpage/

YouTube:

https://www.youtube.com/channel/UC_8fHwfPAhcObjV9B9c6mEg

Spotify:

https://open.spotify.com/artist/5G2EghUKgFfKXlghzyBVM6

PHOTOS:

Marieke Macklon Photography

INTERVIEW: Ishani

INTERVIEW:

Ishani

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I have been speaking with Ishani…

about her latest single, Dark Angel, and its very personal story. She reveals why she wrote the song and what comes next for her; when music arrived in her life; the artists that are inspiring to her – Ishani chooses three albums that are especially important.

I ask her what advice she would give to artists coming through and whether she gets time to chill away from music; what she wants to achieve before the year is through – she ends the interview by selecting a rather emotional song.

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

Thanks, man. It’s been pretty chaotic. I’m working in a studio in Brighton so lots of travelling back and forth to London. Hope you’re well too!

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

Hi! I’m Ishani. I’m a third-culture kid who is now based in East London. I’m a singer-songwriter who produces moody, down-tempo tracks with Trip-Hop and Alt-Pop influences. My latest songs are socially aware offerings dealing with mental health and the human condition.

Dark Angel is your new single. What is the story behind the song?

Dark Angel was my response to the deaths of two my friends to suicide. It combines sadness and anger woven together in a world that has been turned upside down.

It is designed to highlight Suicide Prevention Awareness Month. Why did you decide to look at suicide and raise awareness in that area?

Too many idols - Chester Bennington, Chris Cornell; Avicii, Kate Spade and Anthony Bourdain to name a few - have left us recently. It seems to be getting worse and worse and mental-health is so important. I wrote this song as an empath, because reading about so many successful, talented people taking their own lives affects me. I take all this negativity and turn it into something productive like a song. It helps me cope and understand.

Your music is getting stronger and more confident. Do you feel like you are growing as an artist?

Thank you so much! Yes, I definitely feel I’m maturing with my sound. In fact, I can’t wait for you to hear my next release. Working with Zaflon on these tracks has helped me to become more confident. He believes in my work and my sound and is an incredibly talented producer!

Might we expect material next year such as an E.P.?

My first E.P., Stormy Emotions, is coming this winter. I’m also working on a top-secret project on the side that I can’t wait to tell you about. Hopefully, I will be able to announce it soon!

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

I’m deeply influenced by artists such as Massive Attack, Portishead; Morcheeba and Hooverphonic. When I was young, I listened to Michael Jackson all day and all night! I like that his music had social messages and I like to bring that element into my music too. Eminem helped me get through my teen years and I listened to a lot of Alternative-Rock and Pop too. Growing up in India in the '90s, I’m also influenced by the Indian Pop music I listened to on the radio.

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

My main goal is to release my E.P., Stormy Emotions, and its title-track with a really cool music video that I am currently editing! I work with a great director, with an amazing eye, so I think it’s going to awesome.

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

I think watching my first music video on T.V. was the biggest rush ever! I couldn’t believe my eyes! It was a dream come true.

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

Garbage - Garbage

Because it was a present from my dad and he thought it would be funny to give me a C.D. that had Stupid Girl on the cover (ha ha). I actually fell in love with the band and still love them!

DJ Shadow - Endtroducing…..

One of my favourite DJ Shadow albums. I was so happy watching him live last October at the Roundhouse on the twentieth anniversary of the album.

Portishead – Dummy

This Portishead album introduced me to Trip-Hop, which has been my main musical crush to this day and still inspires the music I make. It is just the perfect album and feels completely timeless.

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

Kindness, A.K.A Adam Bainbridge. Lately, he’s been doing some soul-searching about his identity and being half-Indian. I watched a seminar he did recently talking about gender and identity in music and would be cool to work on some stuff with him!

What advice would you give to new artists coming through?

Keep putting new stuff out there. Make music that you like and not what you think other people will like. Hang out with people who nourish your soul. Enjoy the process. Push yourself and get out of your comfort zone. Don’t let social media bring you down and don’t compare your art to others. Support your favourite artists too. And always keep believing in yourself.

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

They say if you do something you love you'll never work a day in your life - it’s more like you never stop working in my case! I do find the time to do some yoga and chill. I love living in London. There is so much to do and see. I love getting out to exhibitions and shows or sitting in a dark cinema and losing myself in a movie.

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).

We lost a great soul last week - Mac Miller. I’d like to listen to Best Day Ever (bonus track version; I prefer it way more than the original). R.I.P. Mac. Gone too soon. Thank you so much! I really enjoyed this interview…

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Follow Ishani

Official:

http://www.ishanimusic.com/

Facebook:

https://www.facebook.com/ishanichakra/

Twitter:

https://twitter.com/ishanichakra

SoundCloud:

https://soundcloud.com/ishanichakra

YouTube:

https://www.youtube.com/user/ishanichakra/videos

FEATURE: “Do You Want to Hear About the Deal That I’m Making?” Old Dogs, New Kicks: Hounds of Love at Thirty-Three

FEATURE:

 

 

“Do You Want to Hear About the Deal That I’m Making?”

IMAGE CREDIT: Getty Images/PHOTO CREDIT/CONCEPT: John Carder Bush

 Old Dogs, New Kicks: Hounds of Love at Thirty-Three

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MY self-imposed Kate Bush embargo…

 PHOTO CREDIT: John Carder Bush

has already failed after a couple of days but, until November, I think there will be a gap! I was writing about her a few days back, when marking Never for Ever’s thirty-eight birthday, that she tends to release her albums in September and November. In November, 50 Words for Snow (2011), Aerial (2005); The Red Shoes (1993) and Lionheart (1978) have anniversaries and, just yesterday, The Dreaming turned thirty-six. Maybe it is something about the autumn/winter that gives warmth and extra relevance to the albums’ sounds? I am not sure but, on Sunday, we mark thirty-three years since Hounds of Love arrived. To many, myself included, Kate Bush’s fifth studio album is her at the most engaging, brave and free. I will talk about the album’s gestation and qualities soon but, to many, in 1985 we saw the legendary singer-songwriter free of shackles and finally creating how she always wanted. Certainty, struggles with record label control – she was with EMI until 2011 but always wanted to produce her own material without impositions – and creative difficulties blighted some of her work pre-Hounds of Love. Kate Bush began producing solo since The Dreaming (the album prior to Hounds of Love) and suffered nervous exhaustion off of the back of it. Her perfectionist tendencies and experimentation meant she would spend hours in the studio crafting songs and pushing boundaries. Strange instrumentations and effects would come in; she was at her angriest and least conventional when making that album.

IMAGE CREDIT: Getty Images

It is no surprise, given she wrote and produced everything herself, there would be strains and fatigue. She was undergoing a bit of a creative change from a relatively (by her standards) composed and commercial artist to someone who was going in a different direction. The Dreaming saw rawer vocals come in and a dark, more intense set of compositions come out. The compositions, in fact, marked her most assured and ambitious so far. Many critics did not know what to make of the album and some felt she had gone completely overboard! It is not a conventional record and, because of that, hairs were raised and eyebrows aloft! Contemporary reviews have been kinder and more praise-worthy - and many consider The Dreaming as the best Kate Bush achievement. Bush, based in London and shuttling between studios at that time, moved into the country and evaded a city she felt was exhausting and taking its toll. She wanted the freedom of nature and a space where she could breathe and create something less suffocated. Poor albums sales (of The Dreaming) and the long time it took to record and release the album meant Bush was determined to take time off and, when the next record was brewing, do things in a different way. In fact, three years is not that long a gap between records – so many of today’s big acts take much longer than that to release material!

 PHOTO CREDIT: John Carder Bush

Bush spent a summer out with her boyfriend, family and friends and was being herself. It was one of the first times since she arrived onto the scene, aged nineteen, she could escape the pressure and constant need for material and interviews. That breather and distance did wonders and she was able to soak in the calm of the surroundings and revise her plans. Rather than create an album that sounded like her last; she build a forty-eight-track studio in a barn – as you do! – and, behind the family home, it meant she could work at her own rate and be in a safe spot. As opposed the years in London working in studios and being pulled here and there; Hounds of Love would start life in a much different and positive environment. As this was her first time autonomous and independent – as a sole producer and making music in her own studio – the recording process altered. She would record demos and enhanced them when in the studio. The Fairlight CMI – which she brought in to Never for Ever and used ever since –, chorused vocals and Irish instrumentation (Jig of Life) meant she was not going to produce a simple and calmer record. If The Dreaming was an edgy and slightly angry album: Hounds of Love is pure ambition and awakening.

Early albums like The Kick Inside (her debut in 1978) put off some critics because of the high-pitched vocals and flightiness. Hounds of Love sees a deeper-voiced Bush swoon and swallow and, whilst hardly tame and calm, she was, perhaps, more accessible and digestible than she was back in 1978. Bush would go to create a two-side album with Aerial (a conventional first-half and experimental, suite-like second) and that all started with Hounds of Love! The record’s top part is full of singles and more conventional songs. The second-half, The Ninth Wave, is the concept of a woman being stranded at sea and in need of rescue. From the paen to sleep and relief (And Dream of Sheep) to the scuttling and twisted notes of Waking the Witch – a stunning vision and spectacular blend of styles! You follow the story and – although the woman is rescued in the end, according to Bush… – you feel the terror and uncertainty of the open ocean; the night coming in and the relief of being alive when the morning fog comes up. On paper, it sounds tricky to execute and realise but that, perhaps, is the first sign Kate Bush was unhindered and in an organic, inspiring space. Unafraid to go beyond the expected and try something new; The Ninth Wave is considered one of her finest achievements. She talked about recording the songs in a film-style series and bringing them to life in a different way. Although she achieved that, to a degree, in her 2014 live show(s), Before the Dawn; I wonder whether we will see a mini-film that unites those seven songs?

Maybe that will come but there is, for sure, that distinct split between the former and latter halves. The second is imagined and this single story. The opening portion of the record is, if anything, more personal and love-based. You get a nice shift in styles and tones - and the fact it all hangs together seamlessly and naturally is testament to Kate Bush’s instincts and talents. It is strange recollecting some of the stories from the recording. She has said, in a couple of interviews, how she was writing Cloudbusting and a wasp flew in the window and headed straight for her. In the middle of writing a line, she changed it so that it said “Ooh…I just know that something GOOD is going to happen!”. The initial pitch was more negative but, when presented with a kamikaze wasp, reverted to something positive and hopeful – who knows what legacy that song would have were it not for that random incident! The Big Sky, the fourth single from the album, was a tricky process that saw the song go through changes and re-writes. Written about the child-like sensation of watching the sky and gazing in wonder; it was a hard thing to piece together and I am not surprised! It is one of the most propulsive and impressive songs on the album and boasts incredible depth and variety.

With its big drums, shrieked vocals (at the end) and wonderful chorus; Bush worked at the song and, eventually, it came together. If some associate Hounds of Love with that suite and incredible drama; most highlight three particular songs as works of genius. Hounds of Love and Cloudbusting are often voted among the best Kate Bush songs ever and, with equally potent and imaginative videos, here was an artist stepping into her own league and becoming more immersed and involved with film. The songs themselves are hugely confident, accomplished and immersive experiences where Bush confesses to cowardice and seeing a fox ravaged by dogs (Hounds of Love – possibly a metaphor for heartbreak) and a fantastical weather device that can bring rain (Cloudbusting - about the very close relationship between psychologist and philosopher Wilhelm Reich and his young son, Peter, told from the point of view of the mature Peter. It describes the boy's memories of his life with Reich on their family farm, called Orgonon where the two spent time ‘cloudbusting’.). Cloudbusting’s video, too, sees a certain Donald Sutherland appear as Kate Bush’s dad! Utah Saints sampled the mentioned wasp-inspired line from Cloudbusting for their song, Something Good (1992), and the lyrics look at safety and danger; a child realising adults are fallible and you get that dreamy and extraordinary set of imaginative images. Hounds of Love sees Bush chased by dogs and you get a real urgency and tension – as opposed to the lighter and positive Cloudbusting (The Futureheads also covered Hounds of Love). Although both songs only just cracked the top-twenty; they are seen as among her best efforts and show what a leap she made after the tension and struggle of putting The Dreaming together.

We all love The Kick Inside but that album is associated with the one song: the record-breaking masterpiece Wuthering Heights. In many ways, there is that one song we associate with Hounds of Love: the epic and unforgettable Running Up That Hill (A Deal with God). A painful, honest and heartbreaking song; it asks what would happen if men and women could swap places and walk in each other’s shows. I believe the song was going to be called A Deal with God originally but there were fears around blasphemy and offending (in the same way God Only Knows by The Beach Boys caused some concern when it was released in the 1960s). Released on 5th August, 1985; it was the most-successful release from Kate Bush of the 1980s and peaked in the charts at number-three. Many nations would not play the song because it had the word ‘God’ in it and there was misinterpretation regarding the origins and story too. Running Up That Hill (A Deal with God) is about brokering a deal and seeing what it would like to switch roles; how we’d have a better understanding of each other if we could spend some time in a different form. Rather than represent a specific personal crisis – as many leapt to at the time – it is Bush asking that big question.

 IN THIS PHOTO: Kate Bush in a promotional shot for The Ninth Wave/PHOTO CREDIT: Getty Images/Rex

The twelve-track album is seen by most critics and fans as her best – although I will always pine for The Kick Inside – and, in 1985, so many of the U.K. reviews were five-star praise-pieces. The terror of The Dreaming was transmogrified into an anxiety about love and its unpredictablness. Critics noted how Bush had stepped away and rebelled against the label’s control and was fed up with the demands, machine and working in different studios. Inspiring to other artists then and now who feel constrained and cowed by record labels and commercial expectations; Hounds of Love is inspiring in so many ways. It heralded a new career phase that would find Bush asserting more personal control and, rather unsurprisingly, led to another remarkable album – 1989’s The Sensual World often comes very close to Hounds of Love when we look at her very finest L.P. Although the U.S. market did not really ‘get’ Hounds of Love – Running Up That Hill (A Deal with God) fared well but the album left many critics confused – she was a huge hit here and it seemed, seven years after her debut album, she had reached a sort of triumphant peak! A personal awakening and spiritual emancipation meant the Kate Bush who was frayed and criticised in 1982 was a critical and commercial darling in 1985. Whilst I argue The Kick Inside is my favourite album of hers; I acknowledge Hounds of Love is superior when it comes to sonic innovation, overall quality and its impact…

Pitchfork, in a review published on 12th June, 2016, seemed to hone in on the album’s impact and influence today:

“Hounds of Love proved there were no compositional mountains Bush couldn’t climb. While the second side asserted her vanguard bent, the first side yielded four UK Top 40 hits. Neither synth-pop nor prog-rock, Hounds of Love nevertheless drew from both with double-platinum rewards on her home turf, and yielded her first U.S. hits, even without a tour. And its idiosyncrasies have only fueled Hounds’ lingering influence: Florence and the Machine cribs its Gothic angst. Anohni mirrors its animal divinity. St. Vincent draws from its sexual politics and sonic precision. Utah Saints sampled it and the Futureheads covered it, both with UK Top 10 results. Coldplay’s “Speed of Sound” goes so far as to paraphrase “Running”’s rhythm, chords, climax, and highland imagery. It’s the Sgt. Pepper of the digital age’s dawn; a milestone in penetratingly fanciful pop”.

Another fan, writing last year, raised some interesting points:  

“Channeling other characters is what Bush has done since the beginning of her career with Wuthering Heights (1978), a song that precociously fuses eroticism with a voice from beyond the grave. In Hounds of Love, Bush’s extraordinary vocal performances are the musical equivalent of speaking in tongues. It might not be a perfect album, but there are few more thrilling, literate, and ambitious works of popular music. It is hard not to be spellbound by it”.

IN THIS PHOTO: Kate Bush relaxing in New York in 1985/PHOTO CREDIT: Getty Images/Rex 

Hounds of Love not only showed what a female artist could achieve but what was possible for a Pop musician. It is a unique work that shows no flaws, rough edges of any of the anxious moments that made their way into her albums prior to that. Free of the pressure from record labels and studios and in a new setting; Hounds of Love is Kate Bush alive, refreshed and renewed. It may seem strange I mark the album’s thirty-third anniversary but I feel, like all of her great albums, it needs to be marked every year and the music passed to fresh ears. Given the fact there are new movements and plans from Bush (her lyrics will be presented in a book in December); it is a great time to look at her albums and revisit some truly wonderful moments. Kate Bush, as this article documents, is rather pleased with Hounds of Love:

“…As for Bush herself, she remains fiercely proud of Hounds Of Love and has only good memories of making it.“At the time, it was such a lot of work,” she concedes. “The lyrics and trying to piece the whole thing together. But I did love it, and everyone who worked on the album was wonderful. In some ways, it was the happiest I’ve ever been when writing and making an album.

“…I know there’s a theory that goes around that you must suffer for your art – you know, all that stuff about, ‘It’s not real art unless you suffer.’ But I don’t believe this at all because I think, in some ways, this was the most complete work that I’ve done; in some ways, it’s the best and I was the happiest that I’d been, compared to making other albums”.

I will play the album in its entirety on Sunday and I hope fans of her work, and those new, re-explore the brilliant two sides to Hounds of Love. Whether you dive into the dangerous and lonely waters of The Ninth Wave or let the physical beauty of Cloudbusting and The Big Sky do their work; there is no denying how nuanced, powerful and inspiring the album is. There is no telling when a new Kate Bush album will be released but I am sure something is taking shape as we speak. Perhaps she has not hit those peaks since 1985 – although 2005’s Aerial is seen as one of her best albums – but I wonder whether she would have recorded many more albums were she to remain in London and work the same way she did prior to Hounds of Love. That period is so much more than the music itself and how well it did in the charts. It is the celebrated and in-demand artist taking a leap and getting away from aspects that were causing stress and too much pressure – a lesson to all of us in any situation. After The Dreaming came out; something needed to change and Bush needed space and time. By moving to the country and building her own studio, she gained that freedom and calm environment and, with new energy and wide eyes, Kate Bush went on to create one of the finest albums…

 IN THIS PHOTO: An outtake from the Hounds of Love shoot/PHOTO CREDIT: John Carder Bush

THE world of music has ever seen.  

INTERVIEW: Kramies

INTERVIEW:

PHOTO CREDIT: Ellie Nonemacher  

Kramies

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THE splendid Kramies has been letting me into his world…

and talking about the new single, The Hill Dweller. I learn how the song came together and what it was like working with producer Jerry Becker; what themes go into the E.P., Of All the Places Been & Everything the End (out on 19th October); which albums and artist are most important to him - I ask how he got into music.

Kramies discusses his upcoming plans and how he relaxes away from music; which artist he’d support if he has the chance; whether there are any tour dates booked in the diary – the songwriter ends the interview with a great song choice.

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

I’m in a happier place these days. Its Sunday here in Colorado and I’m planning a few trips for the end of the year. Especially excited for one adventure where I’ll be holed up in a little cabin, tucked in the Blue Ridge Mountains of North Carolina to start writing again.  

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

This has always been the hardest question for me. I always try to answer it with humor, but I’m sitting here with someone struggling to find the perfect answer and we’re laughing so hard at the weird things I say…

The simplest introduction is I’m an artist living in the mountains of Colorado and, for some reason, I seem to create dreamy, dark - yet optimistic – fairytales-laden music. Also, I laugh…a lot…and loud. So, we are creating quite a scene here. I’d say people mostly recognize me by my witch cackle - that can echo throughout an entire building I'm told.

The Hill Dweller is your new single. Is there a story behind the song? What was it like working with Jerry Becker on the song?

I only seem to write when a story starts to develop in my mind and they always seem to develop really fast. This particular story came to me while walking through the landscapes of Ireland. It’s a small piece to an entire tale. The whole E.P. is actually a story that came to me while residing that castle. The Hill Dweller was originally supposed to be the end of another song but it actually became the ending of the entire E.P.

I wrote it in the farmhouse of Shankill Castle in Ireland where I recorded the acoustic and vocals of the song. I then sent the project over to Jerry Becker. And, roughly 1 year later, Jerry sent back The Hill Dweller. He completely arranged it beautifully with deep layers and I fell in love with it. He’s a huge part of that simple song and I was pretty lucky to get to work with him - and it’s extra-special to work with a long-time friend.

Of All the Places Been & Everything the End is your new E.P. Is it true it was written in an Irish castle?! Did you find it a particularly inspiring place to be?

Absolutely. Ireland has always been a close place to my heart - the history, culture; landscape and architecture. I don’t even know where it comes from but when you’re given that setting to create, there are two things that happen. It either transports you to a different time frame, which helps you create, or it completely enamours your mental vision so you create something that is all your own. I have to say it was one of the hardest times to write because it was a struggle to push myself a little further. Further than what I have been doing. And, in the end, that experience has become the biggest part of the story.

PHOTO CREDIT: Ellie Nonemacher  

Is there a song/collaboration from the set that stands in the mind?

Yes. There are two, actually first: Everything the End. I originally wrote that song as a terrible Christmas song… I've always wanted to write an eerie Christmas time song...but that’s a story for another time. After I put it aside for some time, I finally sat back down with it and changed a few things. I just started piecing it together again, rearranging it and then sent it to Jason Lytle. When he returned it, I realized that this collaboration marked the first moment that the E.P. started to take shape. It all finally started to come together.

The second was The Hill Dweller. Hearing the ending of the E.P. really helped create a place to work backwards from and Jerry produced such an amazing ending.

When did you get into music? Which artists influenced you growing up?

As a kid, I grew up very shy. I always found myself putting on my dad’s headphones and listening to old Christmas and a Halloween records, to the point where my dad had to take the records away from me and tell me to go play outside. Those records had a huge impact on me. Then, I got to the age of where whatever was put in front of me that’s what I wanted to do or wanted to become. One Christmas, all I really wanted was a keyboard...but my parents decided to buy me a guitar instead. So, I would make up my own tunings and pretend it was a keyboard.

I think my self-isolation and youthful nervousness projected me into music further and I taught myself how to play the guitar. I never tried to learn others’ songs and I never really fit into playing in a band. It was a combination of this and old holiday music that, I believe, shaped my sound. As I got older though, I fell in love with David Bowie’s album, Hunky Dory, Simon & Garfunkel and Led Zeppelin III. These all helped as well to mold my strange de-tuned songwriting style.

PHOTO CREDIT: Jérôme Sevrette

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

That’s a hard question to think about. Well; I would hope to find more comfort in the writing process and I hope to live enough experiences for another story to come to me...since I never know when it’s going to hit.

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

Unfortunately, most of my time in the early-’90s was fueled by drug addiction. It wasn’t until I got sober in 2004 that my music and life started to shape a beautiful chemistry. Since then, I have a lot of great memories - especially opening for really cool bands like Yo La Tengo, Granddaddy and Spiritualized. Playing some really unique sold out shows in Europe is always very memorable. But, just the fact that I still get to do this and create new E.P.s makes me so thankful.

PHOTO CREDIT: Jérôme Sevrette

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

Well, first: I have the tendency to listen to songs over and over, not a particular album. But, as far as the albums go…

The second side of Led Zeppelin II - Led Zeppelin

It is perfect by being imperfect. It has this depth of heaviness and intention that I find beautiful.

Hunky Dory by David Bowie

I cherish it because that’s how I taught myself to sing. The melody and emotion behind the vocals entranced me as a young kid. Being able to hear studio noise (the phone ringing in the background) is something that stuck with me my entire life.

Nothing Shocking by Jane’s Addiction

This is the first time I experienced heaviness on an album without it being considered straight-forward Rock ’n’ Roll.

And, one more, because today I’m enamoured with Joanna Newsom’s songs -’81 and Divers - because she is one of the most talented songwriters and has the most beautiful voice. I have listened to the song ‘81 a thousand times and still get choked-up.

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

As for a musician, without a question, it’d be Joanna Newsom. And, for rider: having a place to pass-out from nerves would be ideal too.

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

In the spring of 2019, I will happily be roaming through the Netherlands and France (and a few more other days are being booked and released soon too).

PHOTO CREDIT: Ellie Nonemacher

What advice would you give to new artists coming through?

As cliché as it sounds, don’t follow a trend or be try to be anyone else. There are million artists out there and everyone has a purpose. But, there is only one you. Be genuinely you and create from your personal emotions, heart and vision. That's where strength is - the rest will fall into place

Are there any new artists you recommend we check out?

It’s funny, because most of my inspiration comes from architecture and landscape so I never really listen or search out the new. New work typically falls in my lap, or I hear it in a movie; or maybe even heard it in passing.

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

This last E.P. was the hardest to unwind from. It’s just now, after a year-and-a-half, all starting to subside. I’m not sure why I’ve struggled the most with this one or what the result will be but the most I can do is spend time in nature and try to get away from the thought process that comes from creating.

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).

Divers by Joanna Newsom (or ’81). I’m slightly obsessed!

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Follow Kramies

PHOTO CREDIT: Jérôme Sevrette  

Official:

https://kramies.com/

Facebook:

https://www.facebook.com/kramies/

Twitter:

https://twitter.com/kramies

Bandcamp:

https://kramies.bandcamp.com/

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: LIZ LOKRE 

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

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THE next part of this rundown…

 IN THIS PHOTO: Amy Macdonald

mixes songs that project the colour and spritz of autumn with some of the sun and fizz of summer. It is another busy and eclectic list that showcases the best new female talent out there! Whether solo artists, female-led bands or female bands; it is a stocked and packed thing that will give you a lot to chew over. I am excited by the variety and quality that is out there and, as we head through autumn, I expecting many more great tunes to come along. Take a good listen and I am sure you will discover tunes that will stay in the head. As the weather becomes a bit uncertain and the nights start to draw in; let these female-led songs take you by the hand and provide you with a…

 IN THIS PHOTO: Big Joanie

FANTASTIC distraction.

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

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The Hempolics – Early in the Morning

LIZ LOKRE – Stop Runnin’

 PHOTO CREDIT: Bibian Bingen

Nana Adjoa - DOOA

The Buoys – Arm Wrestle

GIRLI – Young

PHOTO CREDIT: Jake Ollett

Body Type – Palms

Tia Gostelow – Phone Me

Akine – Money in Your Mouth

Jess Kent – Girl

PHOTO CREDIT: Anthony Yebra

Weakened Friends – Blue Again

Olivia O’Brien – I Don’t Exist

PHOTO CREDIT: Jen Squires - Photographer

Roxanne Potvin – All It Was

Nikki Yanofksy – Big Mouth

Tayla Parx – Me vs. Us

PHOTO CREDIT: Chad Kamenshine

Elena Goddard – Rivers Flow

Lennon Stella – Bad

Amy Macdonald – Woman of the World

Shake Shake Go – With You

Peg Parnevik – Break Up a Bit

Dani Sylvia – Green Eyes

PHOTO CREDIT: Emily Contador-Kelsall

imbi the girl - Swell

PHOTO CREDIT: Jo Higgs

Big Joanie – Fall Asleep

Georgi Kay - Toxins

ELVIN – Growing Fonder

PHOTO CREDIT: Ariel Kassulke

Life in a Tree – When You Know You Know

INTERVIEW: Basement Revolver

INTERVIEW:

Basement Revolver

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IT is an exciting time for Basement Revolver…

what with an album out and tour dates coming. Chrisy from the Canadian band discusses Heavy Eyes and what sort of themes influence the album; how the band got together and what sort of artists/tones inspire her.

The band each select a song to end the interview with whilst Chrisy highlights upcoming artists to watch; how it feels getting big love from the press; the one album that means the most to her – she provides some useful advice for artists coming through.

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

We are good! The week has been a little bit hectic - getting ready for Supercrawl and our upcoming dates but that is a good kind of hectic!

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

Hi! I’m Chrisy. I sing and play guitar in Basement Revolver alongside my pals Brandon on Drums and Nimal on Bass.

How did Basement Revolver form? When did you all meet?

I met Nimal when I was about eight-years-old when his family moved to Canada. Brandon and Nimal met at college - and then I met Brandon through music things! Basement Revolver started when I decided to experiment with guitar pedals and effects instead of making Folk music and Nim helped out for a battle of the bands. After that, Brandon joined and we’ve been going hard ever since.

Heavy Eyes is your debut album. Are there particular themes that have gone into the record?

I guess the general theme is tiredness? I don’t know that I have a word for it, but that feeling that you have after a long year; the calm after the storm.

The press and fans have really reacted to your music. How humbling is it to know they love what you do?!

It is very weird and kinda cool? I don’t think that we ever expected B.R. do go as well as it has and I am so, so thankful that it has. I really wouldn’t want to do anything else!

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

Aaron Weiss from mewithoutYou. One day I *dream* of playing a show with them. They were a very foundational band for me.

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

Hopefully, just to keep some momentum going into the New Year and to keep writing songs!

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

Brandon sleeping in the car. He always falls asleep. It’s a classic move.

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

I think that Pale Horses by mewithoutYou is the best album I’ve ever heard. It is just all around the perfect record for me.

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

Here is my list of top people I dream of supporting one day: mewithoutYou, Japanese Breakfast and Jay Som. I think those are all the bands I would undoubtedly fan-girl over.

We have watermelon candies on our rider! That’s what’s important (smiles).

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

We are supporting Amber Arcades for a bunch of dates in October.

Will you come to the U.K. and play? Do you like British music?

How could you not like British music?! Ahah! We are supporting Amber Arcades around the U.K. in October.

What advice would you give to new artists coming through?

Just keep going! It can be a bit of a rollercoaster: don’t let the quiet times get you down. There is always gonna be quiet times - it doesn’t mean that you’re a failure!

 IN THIS PHOTO: Ellevator

Are there any new artists you recommend we check out?

My fave coming out of Ontario right now: Ellevator, Ellis and Tallies

IN THIS PHOTO: Ellis/PHOTO CREDIT: Ariel Bader-Shamai 

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

Not really. Haha. I have three jobs to support my music endeavours. Hopefully, someday soon, I can pull back on some of that but you gotta do what you gotta do.

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).

I’m gonna choose The Drain by Ellis - and I’m gonna choose for the boys too!

Nim is gonna choose Walkaway by Weaves  

Brandon is gonna choose Blue Boy by Mac DeMarco

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Follow Basement Revolver

Official:

https://www.basementrevolver.com/

Facebook:

https://www.facebook.com/basementrevolver/

Twitter:

https://twitter.com/BASEREVOLVmusic

Bandcamp:

https://basementrevolver.bandcamp.com/

Spotify:

https://open.spotify.com/artist/2xaBaFw60ET6GJVxFLOc4s

INTERVIEW: Dancing on Tables

INTERVIEW:

Dancing on Tables

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WITH Colour Me Good out in the world…

I have been chatting with Dancing on Tables about the song and what comes next for them; what the story is behind that band name; how the Scottish crew came together – they tell me about their touring plans and where we can catch them.

Dancing on Tables reveal a favoured memory from music and whether increased live exposure have made them stronger performances; if there are rising artists we should check out – they end the interview by choosing a great song.

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

Hey! We are good, thanks. It’s been busy getting ready to release Colour Me Good on Friday. We did get to go to the AIM awards on Tuesday which was a fun one.

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

We are a five-piece from near Edinburgh (…nobody knows where Dunfermline is). Each of us have quite varied musical influences that we draw on when writing, but we are best described as Indie-Pop - somewhere between Circa Waves and Metronomy I would say.

Colour Me Good is your new single. What is the story behind the song?

It was a really fun song to write and a favourite one to play in the set. It’s a perfect song to encapsulate the feeling of summer. Our Space Race E.P. focused on the idea of missing someone, so we feel that Colour Me Good shows a much lighter and happier side of us that we haven’t put across yet.    

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

We have lots of material recorded that we will be releasing over the coming months. E.P.-three will be released at some point in 2019 - then we will decide where to go from there.

How did Dancing on Tables get together? Is there a story behind that name?

We were friends at school and started a band as we found it we could use it as an excuse to get out of some classes and are still here five years later. We actually played our first show without having decided on a name. We saw people dancing on tables during the night and decided that it was a better name than any we had thought of before.

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

We have all loved music from early on. Growing up in Scotland means that you are surrounded by the history and stories of acts that have gone on to play around the world. From a young age, I would be given old Orange Juice and Primal Scream albums, so I have them to thank for getting me into music. As we have two main singers, the songwriting of similar bands such as The Libertines or The Beatles (obviously) have been a big influence to us.

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

I think the main thing is that people like the music we release and enjoy the shows that we play in the next few months. I try not to focus too far in the future - so will just see what happens.

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

When we played smaller venues, we would do a thing at the end of the set where we invited people onto the stage to dance with us for the last song. The first time we sold out a venue in Dunfermline we did it and the stage was too packed to move…but it meant that I played the last song whilst watching my best friend attempt to dance for three minutes while right beside me. A strange one but memorable.

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

I remember the first time listening to Babyshambles’ Down in Albion album after being given it by a friend aged ten and being absolutely amazed by what I was listening to. It was the first time I got the urge to start discovering music for myself and gave me a taste of what else was out there to find. Who knows what I would be listening to now without it.

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

I would support The Killers and (because I wasn’t allowed to say this in my last interview). I would have lots of hummus and some Red Stripe. It’s a winning combination. I saw The Killers at TRNSMT this year and their live show is up there with the best I’ve ever seen. Also, Brandon Flowers just seems like a very interesting guy to talk to.

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

We are doing our own headline dates in England, as well as touring with Cassia over the next few months. You can catch us here:

13th October: Leicester - The Cookie (supporting Cassia)

14th October: Bristol - Hy-Brasil Music Club

15th October: Birmingham - Subside

16th October: Manchester - The Castle Hotel

24th October: Aberdeen - Drummonds (supporting Cassia)

25th October: Glasgow - King Tut’s Wah Wah Hut (supporting Cassia)

26th October: Newcastle upon Tyne - The Cluny (supporting Cassia).

You have played some great gigs and festivals. Has this exposure and experience made you stronger live performers?

I think the more often you play the more you want to see new places and play new, bigger venues. I think we have quite a strong live performance because we enjoy it so much and that comes across. It really is a hobby that we are lucky enough to do as a job.

What advice would you give to new artists coming through?

The best advice I ever received was don’t be a dick. You will get nowhere in music if nobody likes you, so be a genuinely nice person to everyone you meet because you never know who they might be. Also…have fun.

 IN THIS PHOTO: Cassia

Are there any new artists you recommend we check out?

Cassia are one of the most exciting acts around just now and we are really excited to tour with them. In Scotland, Retro Video Club and Declan Welsh & the Decadent West are two bands that seem on the verge of something big. The new album by Bad Sounds is one of my favourite of this year.

 IN THIS PHOTO: Declan Welsh & the Decadent West

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

It’s quite full-on all-year-round. As soon as one song is out, there is always more material to write or practice or people to meet etc. Most of the time, if I have a free night, I’ll spend it playing FIFA. What a wild life.

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).

Thank you very much. I will pick my favourite song just now: You Don’t Walk Away from Love by Peace

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Follow Death Machine

Facebook:

https://www.facebook.com/dancingontablesmusic

Twitter:

https://twitter.com/dancingontables

Instagram:

https://www.instagram.com/dancingontables/

Spotify:

https://open.spotify.com/artist/0onRfrkoTz3yrMeP2Ymhhc

BAND PHOTOS:

Lucy Foster

INTERVIEW: Death Machine

INTERVIEW:

Death Machine

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I have been spending time with Death Machine…

as they talk with me about their new track, Isle of Mine. I ask what the story behind the song is and what we will get from their upcoming album. The band discusses their musical tastes and how Death Machine found one another.

The Danish band recommend rising artists to watch and reveal what their touring plans are; if there is any time to chill away from music; what advice they would give to artists coming through right now – they end the interview by selecting a song I have not heard before.

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

Jesper: Besides being a musician, I also work as a graphic designer and the last week has been really busy. Too much work! (And surrounded by people who don’t recognise all my efforts). Quite a crappy week, actually. But, I’ve also, with great excitement. Been looking forward to releasing our new single.

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

Morten​: Hi. We are a lo-fi Folk band called Death Machine. The band consists of Jesper Mogensen on Vocal and Guitar, Simon Christensen on Keys; Sven Andersen on Drums and Morten Ørberg on Bass. Death Machine's musical expression is based on American lo-fi Folk and likes to mix traditional songwriting with more abstract chanting elements. We play music that mixes spherical and earthy elements.

Isle of Mine​ is your new single. What is the story behind it?

Jesper: When I write songs, I start out playing around on the guitar while singing complete nonsense. In this case, I kept singing the words "isle of mine". When I began writing the lyrics for the song, my first intention was to delete that phrase but, as the words got down, it suddenly made sense. My subconscious is always one step ahead I guess.

I write about stuff from my own life and Isle of Mine is about finding a way back to yourself at the end of a relationship. A sort of defence mechanism where you try to detach yourself from your partner. I believe a relationship is dead a many years before the actual breakup. In this state, we tend to live in mentally solitude. Living on separate islands.

It is from your upcoming third record. Can you tell us what sort of themes and ideas influenced the material?

Yes. Isle of Mine is from our forthcoming album. We are still in middle of recording it and are still experimenting a lot, but I guess we tend to seek a more tribal kind of feeling on this album. More heavy beats than on our previous two albums.

How did Death Machine get together? When did you start playing together?

Morten​: In 2013, Sven and I played in another band. Jesper had been to a couple of our concerts, but we never really spoke a lot after these concerts. But, when Jesper suddenly did not have musicians for a band for a Death Machine showcase, he contacted us. We only played one concert and then went to each side.

Several months later, we met randomly at a bar where we decided that Death Machine should be a trio and immediately started writing songs together. The first song that came out of it was the song Loans. Not long after we got Simon on the keys because we had difficulty creating the spherical sound on the stage. Simon was the perfect match; the starting point for our collaboration is and always has been that the music is central and not the single band member's ego.

You are based out of Denmark. Is there a healthy and promising music scene there?

Jesper: In my experience, the Danish music scene has never been better. There are so many talented people and new bands all sounding like professionals. I think it has to do with the new technological opportunities. You can record an album in your bedroom and it sounds great. You don't need expensive studio time anymore.

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

The most important artist is difficult to say. You keep evolving as a person and your taste in music changes. But, the first musician who inspired me was Michael Jackson. I wanted to learn to dance like him. Then, later, I started listening to techno. But, the Grunge wave made me want to play music. The Danish band Psyched Up Janis got me into playing drums. I don't listen to any of them anymore though. Recently, I've been listening a lot to Bonnie Prince Billy. Kind of my idol at the moment.

Simon:​ I still remember the kind of breakfast I had when I heard on the radio that Freddie Mercury had died. Queen were my childhood idols. Live at Wembley was a very worn V.H.S. Since then, Mogwai, Sonic Youth; Radiohead, Grandaddy and Arab Strap…my idols are still Thom Yorke, Thurston Moore and Freddie Mercury. The best concert in a while was Florence + the Machine at Roskilde.

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

Jesper: By the end of 2018, I hope the new album is ready to be released. That is my focus at the moment.

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

My favourite memory has to be our concert at SPOT Music Festival. The venue was perfect for our music and, before the concert, we were very nervous as to whether anyone would come to see our show – but, luckily a lot did and we got really nice feedback. A lot of good stuff has happened since then.

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

Morten​: It's hard to answer. I have many favourite albums, but I especially like Pink Floyd's Dark Side of the Moon, Fleetwood Mac's Rumours and The Beach Boys’ Pet Sounds - because these three masterpieces cause both memories and big feelings and I never get tired of hearing them.

Simon​: It’s difficult to say, but maybe Sufjan Stevens’ Illinois album. That album got me into the Folk genre. I kind of found my place as a musician: what I wanted to do and could do. But, there are many good albums out there. All of them inspiring.

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

Don't know about the rider, but I could be cool to support Bonnie Prince Billy or Radiohead. Hopefully, chat a bit with them too.

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

Jesper: Unfortunately, we don't have any U.K. dates but we have a lot dates around Germany, Austria; Switzerland and Denmark this autumn. Just check our Facebook.

What advice would you give to new artists coming through?

Don't have that much advice because we still in the middle of coming through. But, I guess a general piece of advice would be to remember to be true to yourself and the music you make.

 IN THIS PHOTO: Palace Winter/PHOTO CREDIT: @PalaceWinterDK

Are there any new artists you recommend we check out?

There is a new band called Palace Winter. They write really good songs! Also, Marie-Louise Munck. She is, in my opinion, one of the best singers in Denmark.

 IN THIS PHOTO: Marie-Louise Munck

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

Jesper: Don't have that much spare time - but I like Netflix.

Simon: Not much time, but watching the Premier League; playing with my girls and drinking coffee are some of the ways I relax.

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).

Jesper: Chad VanGaalen - City of Electric Light

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Follow Death Machine

Official:

http://celebrationrecords.dk/work/death-machine/

Facebook:

https://www.facebook.com/Deathmachinecph/

Instagram:

https://www.instagram.com/deathmachine_cph/

YouTube:

https://www.youtube.com/channel/UCU0NrEvOSpgA78X1QTbX9_g

INTERVIEW: Terry Emm

INTERVIEW:

Terry Emm

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THE excellent Terry Emm has been talking with me…

 IMAGE CREDIT: Alban Low

about his latest single, The Leaving, and looking ahead to his E.P., Ornate (out on 21st September). I ask whether there are themes and stories that inspired those works and, after a six-year gap, he is coming back into the music – he reveals his favourite artists and some albums that are especially important.

Emm talks about a favourite musical memory and tells me a rising artist we should check out; if touring is a future possibility; the advice emerging artists should absorb and consider – he ends the interview by selecting a ‘90s classic.

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

Hi, Sam. Busy but I’m starting to thrive off of it.

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

I’m a singer-songwriter, originally from Bedfordshire but I recently relocated to Hertfordshire to get into a denser countryside. I now live opposite the former residence of English nobleman, writer and Quaker legend William Penn. My first album, White Butterflies, came out in 2009 and I’ve steadily followed it up with regular releases when I’m feeling the music. Styles on my albums have varied from Acoustic to Indie-Pop to Rock and Electronic - wherever the wind takes me.

What can you tell me about the track, The Leaving, and its story?

The Leaving was originally titled Love Is a Fear and was always one of my favourite songs to sit and play by myself for years but, for some mad reason, I never recorded or released it. It’s about the fear of getting into new relationships, change and the fleeting yet beautiful interactions we have in life.

It is from your E.P., Ornate. What sort of themes and stories define the E.P. would you say?

The E.P. feels like a brand-new chapter to me but is quite rooted in the past and nostalgia with most of the songs being around for quite a while. Now, I feel like they have the production style that I always wanted for them. I was aiming for understated beauty; the kind of thing you’d want to listen to on headphones by yourself or could disappear into on a long night-time countryside drive. I’ve tried to keep things simple yet underpin certain moments and move into different styles where a sort of timelessness can hopefully be created.

This is your first work in six years. Is there a reason for the hiatus?

I actually quit music after a long stint of gigs that took a lot of energy and soul out of music for me. The industry changes so rapidly and I feel like I’ve never been fully able to capitalise on good achievements I’ve attained through it. I like to think of it as casting pearls before swine but it may be that being a musician is just as tough as everyone says. I realised I had never had a long period of not pursuing music goals and it was really good to switch it off for an extended period of time and see what else life had to offer.

That may always be my problem with trying to do music as a living. It’s so much heartache being an artist and also having goals to achieve something with it. You do some tracks and play some gigs and people say it’s good so you think ‘how far can this go?’ and then the goal posts move back and the industry evades you.

So, I forgot about music for a long while and figured it’d come back to me when it needs to; did some travelling without the guitar for once; visited a lot of temples and magical places in South America, which was amazing, and wrote a book on past life regressions - that type of thing. All of that turned out to be equally important in my life than my previous music dreams. Eventually, when moving house, I did the cliché thing of trying to ‘get back to my roots’ by unearthing and looking through old demo tapes, minidiscs and C.D.s I’d recorded when I was younger. I liked the purity and innocence of them and how I’d just record things ‘for me’. Songs like Sun and Moon and The Leaving from the E.P. were then re-ignited. It was then an invitation by my friend Jonathan McMillan to record at his studio, The Smokehouse in London, that prompted making the E.P.

Listening to your work; I get the sense you are more attached with old-school recording and an analogue sound. Do you think you are more enamoured with the music and recording processes of the past?!

On this E.P., I loved having a lot more space in the studio. The Smokehouse Studios, where it was recorded, made things feel like I was recording a live set. They have a wicked analogue desk that everything went through and I respect and love that kind of thing. But, also, digital is so flexible and easy that it made things easy to create original atmospheres on the tracks and edit out me constantly saying ‘are we rolling?’ at the beginning of tracks quickly. The E.P. is a combination of both: looking backwards and forwards.

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

I was raised on Oasis, The Kinks; The Beatles, ‘80s Pop and Northern Soul but quickly developed my own tastes and moved into all kinds of territories. Red House Painters are a big influence on me and other acts of that ilk but recently I’ve been listening to D Double E, Bleachers; Grand Drive, Harry Shotta; Barenaked Ladies and I loved the comeback album from Busted for some strange reason! I also have a list of music from films I’ve watched recently that I must get into more…

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

To tell you the truth, I’m a bit wired for a T.V. or film music sync right now. I’ve always loved when I discover new music through T.V. or films and feel like I’ve got a lot of material that could suit that type of thing in many ways; so more writing and working on that side of things could be good. Of course, if any musicians reading this like my stuff and fancy taking me on as tour support, I may be persuaded to emerge from my current meditative river-side-hidey-hole to do it too.

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

Wow; hard to pick! Maybe driving around in my friend and fellow musician Craig Currie’s (of The Nimblewits) car on the way to open mics with the windows fully open and turning up Nick Cave’s The Mercy Seat to full volume or re-recording all the jingles at the studio on his radio show. There’re so many funny moments from my first two albums recorded with Richard Durrant.

His kids rolling me up in their front room carpet; being a ‘silhouette oarsman’ at his old Ropetackle ‘Airport Club’ and going to the Adur Beer Festival during recording sessions. Also; gigs I did in Germany were fun in a glass, cube cafe in Mainz - which turned into a late-night smoking session - and a house concert where most of the audience had dyed blue hair.

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

Johnny Coppin - Songs of Gloucestershire

It’s the most beautiful album you’ll ever hear and reminds me of my time at uni in Gloucestershire and of Folk clubs. Also, there’s a song on there, Piper’s Wood, which I can’t listen to without welling up.

F.S. Blumm - Summer Kling

Every year, when summer kicks in, I have to dig out this quirky experimental gem. It’s rich in odd, improvised music which comes together into stunningly pretty pastel arrangements.

Brent J Dickey - Overblind (E.P.)

I’ve no idea if it’s available anywhere still but I love this wacky, sparkling Indie-Pop E.P. and listened to it solidly for a whole two weeks whilst driving around America for the first time, taking in the culture.

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

Would love to open up for Billy Bragg. I think it’d be a raw show and my mother’s maiden name is also ‘Bragg’, so maybe he owes me one by default.

Rider-wise: Jaffa Cakes and rum are a rider for real singer-songwriters (to slightly quote Kano)…hold tight James Chadwick; that’s a real O.G.

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

I have no plans to get back touring as of yet - unless someone comes up with an awesome tour schedule for me.

What advice would you give to new artists coming through?

Be yourself and make sure the music is as good as it can be before you put it out. Don’t get hung up on milestones like touring, press; radio etc - just keep going with as much creativity as possible. Get friends and other artists involved as much as possible. If it works out, great - if not; just be proud of the music you’ve made and the fun times.

 IN THIS PHOTO: Josh Wheatley

Are there any new artists you recommend we check out?

Josh Wheatley from Nottingham is a fine young singer-songwriter, writing far better songs than I could ever dream of coming up with…

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

I’ve been watching a lot of good films recommended by my girlfriend recently and love escaping on country walks, plus getting into historical and philosophical interests. I recently went to Italy to check out the birthplace of Giordano Bruno.

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).

Mark Morrison – Return of the Mack

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Follow Terry Emm

Official:

http://www.terryemm.co.uk/

Facebook:

https://www.facebook.com/terryemmmusic

Twitter:

https://twitter.com/terryemmmusic

SoundCloud:

https://soundcloud.com/terryemm

FEATURE: Trends and Waves: Twenty-Five Years of Steve Lamacq on the Radio: Where Have All the Long-Serving Tastemakers Gone?!

FEATURE:

 

 

Trends and Waves: Twenty-Five Years of Steve Lamacq on the Radio

IN THIS PHOTO: Steve Lamacq/PHOTO CREDIT: Dean Chalkley 

Where Have All the Long-Serving Tastemakers Gone?!

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THE BBC is celebrating twenty-five years …

 IN THIS PHOTO: Noel Gallagher of Oasis with Steve Lamacq in one of the Radio 1 Evening Sessions in 1997/PHOTO CREDIT: BBC/Getty Images

of Steve Lamacq on the radio. He made a name for himself on Radio 1’s Evening Session with Jo Whiley and is now over on BBC Radio 6 Music – championing new music and looking as strong as ever! When BBC Radio 6 Music announced it rejig – a new breakfast host and a bit of a swap-around – Lamacq’s show as untouched. He is clearly a big and important figure at the station and is someone who is always on the look-out for great new talent. ‘Lammo’ (his nickname) is always stopped in the street - as he told the BBC in this piece - and so many people base their record collections around his recommendations. In the BBC feature/interview, he talked about the early-mid-1990s and some great moments:

"…In April '94, at Radio 1 Sound City in Glasgow, Oasis played live on Radio 1 for the first time. A day later, Kurt Cobain passed away, and the whole musical axis shifted. From then on, there seemed to be a new record or a new band every week: Ash, Gene, Supergrass. It wasn't just indie guitars though, we used to play the likes of Bomb the Bass' Bug Powder Dust in '94, which was a terrific hip-hop record, and even a bit of reggae too”.

Lamacq saw the decline of Britpop but, from 1998 onwards, noted how artists such as Blur were still putting out great content. Discovering bands like Idewild; he remarks how people were looking for a new Pop wave and guitar bands like Radiohead.

 IN THIS PHOTO: Steve Lamacq with Jo Whiley in 1995

Whereas Doves were offering fresh sounds that excited critics; bands like Muse and Coldplay were filing the ‘Radiohead void’. There was a lot of searching and curiosity how the music scene would shift and what would come in. Lamacq was at the forefront when artists like The Streets came in at the beginning of the new century; great acts like The White Stripes and The Libertines poking through and persisting. Lamacq is, actually, a protégée of the legendary John Peel. If Lammo has been surveying the waves and bringing us the best new music for a quarter-century; he has Peel to thank for that curiosity, insight and wisdom. The late, great Peel is seen as the definitive tastemaker of music and a reason why so many D.J.s are doing what they are doing. I remember discovering The White Stripes through John Peel’s shows and live sessions. 2008-2012 saw more women come to the forefront and a particular favourite of Lammo’s, Florence + the Machine, has recently chatted with him. Championing new music from Florence + the Machine and PJ Harvey; Lammo was invested in this new wave and moving with the times. One of few tastemaking D.J.s who has seen such radical shift through the decades – now, with a more eclectic and unpredictable scene; he is keeping on top of everything and endlessly rummaging vinyl crates and keeping his ear to the ground!

 IN THIS PHOTO: Steve Lamacq with IDLES’ Joe Talbot/PHOTO CREDIT: BBC/Getty Images

The man may have gone from BBC Radio 1 to BBC Radio 6 Music (and worked for BBC Radio 2) but he has kept that same laid-back and passionate vibe we all know him from. Not only is he on-hand with all the best new records but he is an avid fan of live music. I remember when he travelled the country earlier this year as part of Independent Venue Week and was broadcasting from a selection of small venues. You just know live performances and gigs are what Lammo lives for! Current favourites like IDLES owe a little debt to the D.J. I got turned onto their music because of Steve Lamacq and it is worth tuning into his afternoon show (from four during the week) if you want to discover what is hot. If one might expect to see him sipping a pint in his favourite London boozer; it seems his wild gig-going days are being curtailed by family commitments. As he explained in an interview with The Daily Mail, life has changed somewhat for him: 

“His hectic gig-going schedule, which at its peak topped 200 per year, has been modified by the demands of a two-year-old daughter Lizzie, who he is bringing up in South London with his partner Jen. But the urge to unearth fresh talent still burns. Celebrating his 2005 nomination for a Sony Radio Academy Award – he finally received their Lifetime Achievement Award in 2013 - Lamacq was enjoying a quiet drink at the pub he is currently sitting in, when the realisation dawned that he was missing out on a momentous event, taking place just up the road. ‘The Arctic Monkeys were playing The Dublin Castle,’ he groans. ‘Their first-ever London gig and I didn’t go”.

I am one of those people who follow Lamacq’s show and find myself going away and seeking out new bands and artists. When speaking with NME earlier in the year (he was promoting his show, Going Deaf for a Living), he stated how he discovered bands and how his curation and passion has changed:

“I still don’t like shouting about a band until I’ve seen them live. There are a number of times when you hear a great record, but then you go see them live and realise they’ve only got two good songs and very little presence. I get annoyed sometimes by bands who rely on ad-libs and horrible Americanisms like ‘how you guys doin’?’ Come on man, you’re from Woking – you’re not Dave Grohl. Either don’t say anything and be enigmatic, or build a rapport. Don’t fill the gaps with platitudes, I’m not interested.

“While the manner in which we’re sent music is different now, the manner in which we fall in love with a band is pretty much the same. I saw Idles and Shame live before I’d heard any music. Idles at The Thekla in Bristol were just terrific. The singer looked like he wanted to kill everyone in the room, not least his band – but the whole place is full of a sense of community. Then I saw Shame at an all-dayer in Brixton just before they left school after their A levels”.

IN THIS PHOTO: A favourite of Steve Lamacq (and an artist many of us have discovered through his show), Florence + the Machine/PHOTO CREDIT: Buda Mendes/Getty Images

There is going to be a lot of celebration over the coming days and you can listen to all the shows he has done to celebrate twenty-five years in music. I know there are some good tastemakers in radio at the moment – including John Peel’s son, Tom Ravenscroft – but how many legendary and decades-lasting examples do we have?! Sir Terry Wogan and John Peel are no longer with us and it seems like there are only a few out there who have put in the mileage. I am a fan of D.J.s like Annie Mac and Lauren Laverne – who are always looking out for great new music – but I am impressed by Steve Lamacq’s longevity and constant energy. Maybe fatherhood will reduce his gig-going but listen to his show and you know how much music means to him. The joy he has when discovering a great band or unusual solo artist. I think Lammo is one of the last long-serving D.J.s who can be described as a true and loyal tastemaker! Listen around and you would be hard-pressed to discover someone who has enjoyed his time on the waves who brings us unheard/lesser-heard music time and time again. I wonder why we do not have that many more mature and older D.J.s who are continuing to look out for the best of the new. Perhaps digital streaming services have taken their toll in regards how we find music and some D.J.s have had to provide a more mainstream show.

 PHOTO CREDIT: Getty Images

I am a big fan of those D.J.s like John Peel and Lammo (and even Tony Blackburn) who survived musical changes and shifts and rode the waves. To have that enthusiasm and commitment year-in-year-out is impressive indeed. I know we will see a lot of today’s D.J.s endure and continue to uncover musical gems but Lammo is among the last of those D.J.s who has been going for yonks and shows no signs of slowing. I guess his reliable and popular show means he has a platform on which to campaign and shine a light on fantastic sounds. There are so many journalists and websites out there highlighting new music and playing the role of the tastemaker. As this article explains; many are curating lists for streaming sites and doing better than computers (in terms of what is selected and creating a great playlist). There is an army of so-called tastemakers (myself included) who are doing things online. I still have a lot of respect for radio champions who can have a personal and direct contact with listeners and get their own voices heard. The potency of radio is evident and I am always drawn to D.J.s rather than journalists when it comes to new music. Maybe the rise of streaming and the Internet means many D.J.s are phased out or we rely more on blogs etc.

There is a role for the Internet and music websites but there are few out there who have had the same experience and times as Steve Lamacq. From being sworn at (repeatedly) by Liam Gallagher back in the 1990s on the air to sitting in a hotel interviewing Nirvana – so many rich and memorable events that you do not really get these days. Lammo has that backstory and catalogue of memories; he is looking ahead and excited by what is finding. As those long-lasting tastemakers dwindle and the nature of musical discovery is becoming more digital and impersonal; I am glad to see where will be a decade from now and how many of the established tastemakers are still around – I am sure Lammo will be at the controls and where he is right now. There is a lot to be said for that D.J. that goes out of their way to champion new music and put in the miles. Steve Lamacq is not alone, of course, but he is one of the few around who can fondly recall the Britpop days and those first-hand experiences. As he (and the nation) celebrates twenty-five years on radio I wonder whether, in years to come, we will be celebrating D.J.s like BBC Radio 6 Music’s afternoon stalwart. I hope more and more people, with a passion for new music, go into radio and understand how powerful that connection with the listener is. We may have a sea of blogs around that can bring you the latest discoveries and treasures but nothing beats those established and committed D.J.s who have been there, seen it; done it and, quite literally…

 PHOTO CREDIT: Javier Garcia for Buzz

BOUGHT the T-shirt!  

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Yassassin/PHOTO CREDIT: Tess Parks for DORK 

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

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FOR an autumn-ready playlist…

 IN THIS PHOTO: WAYI

you need music that is colourful and has a mixture of warmth and chilliness. I have compiled some songs from great female artists (or female-led songs) that convey the spectrum of the season and will stay in your head for a long while. Whether investigating Pop, Soul or some new R&B; here is a selection of cuts that are perfect for an autumnal day. It may be wet where you are or you may be experiencing a sunny and warm day. In any case; I have a good playlist that will keep the mood up and ensure the day is a pleasant one. Take a listen to the songs and you may well discover some artists…

 IN THIS PHOTO: Beth Macari

THAT you have not heard before!

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

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 PHOTO CREDIT: Darius Williams

Elsa Hewitt – Power

PHOTO CREDIT: Poppy Marriott

Grace Gillespie - England

Yassassin – Wreckless

 

PHOTO CREDIT: Tom Farmer

Majestic Minds (ft. Marlie, Haides) - Oxygen

Cooper Phillip - Speak in Tongues

Ingrid Witt – Fuck Your Ego

Betty Who – Taste

Beth Macari – Clone (Radio Mix)

PHOTO CREDIT: Dean Street Designs

Chorusgirl – No Goodbye

Black Belt Eagle Scout – Indians Never Die

PHOTO CREDIT: Lauren Maccabee

Emily Burns – Cheat

WAYI – Temporary

ArsenLuna - Bleu

Ashley Campbell – Looks Like Time

Emily Zeck – Avocado Toast

Lo Lo – Convenient

Keep Shelly in Athens – Celebrity

Fiona Harte - White Picket Fence

Kelsy Karter – God Knows I’ve Tried

Sophie Beem - Stars

PHOTO CREDIT: Ismael Quintanilla

Jackie Venson – Keep On

Natalie Stovall – Can’t Love You No More

Jaki Nelson – Dancing with Strangers

iiola – sickly sweet

Billie Marten - Mice 

Queen Naija – Bad Boy

INTERVIEW: Carys Calling

INTERVIEW:

Carys Calling

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I have been settling with Carys Calling…

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.

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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.

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.

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.

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.

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!

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.

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

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Follow Carys Calling

Official:

https://www.caryscalling.com/

Facebook:

https://www.facebook.com/itscaryscalling/

Twitter:

https://twitter.com/caryscalling

YouTube:

https://www.youtube.com/channel/UC9wDIBnQIGC3dlKDludL8JQ

SoundCloud:

https://soundcloud.com/caryscalling

Spotify:

https://open.spotify.com/artist/1tILIXpJFz1MskOu4M6NCx?si=SpeEWUh5QxKJv1AFUPG9bQ

Instagram:

https://www.instagram.com/caryscalling/

INTERVIEW: Adam Giles Levy

INTERVIEW:

PHOTO CREDIT: Gemma Martz 

Adam Giles Levy

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THE terrific Adam Giles Levy…

 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.

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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.

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.

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.

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.

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.

 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

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Follow Adam Giles Levy

PHOTO CREDIT: Gemma Martz 

Official:

http://adamgileslevy.com/

Facebook:

https://www.facebook.com/adamgileslevymusic

Twitter:

https://twitter.com/adamgileslevy

YouTube:

https://www.youtube.com/channel/UC8XBveXS24F3oaJHiAYLaqg

SoundCloud:

https://soundcloud.com/adam-giles-levy

Spotify:

https://open.spotify.com/artist/0L8V0okTShCHERAVGru0lJ

INTERVIEW: gv.grace

INTERVIEW:

PHOTO CREDIT: Elise Mesner

gv.grace

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

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.

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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. 

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!

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.

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.

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.

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.

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

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Follow gv.grace

Official:

https://www.gvgrace.com/

Facebook:

https://www.facebook.com/gvgracemusic/

Twitter:

https://twitter.com/GVGRACEFACE

YouTube:

https://www.youtube.com/channel/UC5iAQrJb1nK1GDc_AdrJ7fw

INTERVIEW: TGC

INTERVIEW:

TGC

____________

MILLA from TGC has been speaking with me…

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.

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.

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.

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.

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.

 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

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Follow TGC

Official:

https://www.tgcmusic.net/

Facebook:

https://www.facebook.com/thisistgc

Instagram:

https://www.instagram.com/thisistgc/

YouTube:

https://www.youtube.com/channel/UCLy0ilmyU47qrwjw95TTz0A

Spotify:

https://open.spotify.com/artist/0TKIN6ssV2jhUlRm3r7U4z