FEATURE: 2015: Colour, Short Movies and Art Angels: The Best Albums from a Remarkable Year

FEATURE:

 

 

2015: Colour, Short Movies and Art Angels

IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Getty Images/Press 

The Best Albums from a Remarkable Year

__________

I am doing a multi-part series…

 IN THIS PHOTO: Grimes in 2015/PHOTO CREDIT: Holly Andres

that looks at the best albums from this century. It may sound random but I am coming back at those who feel the previous century has produced all the very best albums. There is a school of thought that suggests we have long-sine seen the finest from music and the past eighteen-or-so years has been a case of diminished returns. We may not have seen any Beatles-level works of genius but that is not to say the twenty-first century should be overlooked and is not up to the mark. I look at a particularly fine year, 2015, and the variation that arrived from it. Take a look at the exceptional albums laid out below and you cannot say the year was short…

 IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Getty Images/Press

OF wonderful offerings.

ALBUM COVERS: Getty Images

______________

Kendrick Lamar – To Pimp a Butterfly

Released: 15th March, 2015

Labels: Top Dawg, Aftermath, Interscope

Genres: Hip-Hop; Jazz; Experimental

Sufjan Stevens – Carrie & Lowell

Released: 15th March, 2015

Label: Asthmatic Kitty Records

Genre: Indie-Rock

Courtney Barnett – Sometimes I Sit and Think, and Sometimes I Just Sit

Released: 20th March, 2015

Label: Marathon Artists

Genre: Indie-Rock; Alternative-Rock  

Tame Impala – Currents

Released: 17th July, 2015

Labels: Modular/Universal, Fiction, Interscope

Genre: Psychedelic; Pop; Disco; Synth-Pop

Drake – If You’re Reading This It’s Too Late

Released: 13th February, 2015

Labels: Cash Money, OVO Sound, Republic, Young Money

Genres: Hip-Hop; Rap

Grimes – Art Angels

Released: 6th November, 2015

Label: 4AD

Genres: Synth-Pop; Art-Pop

Jamie xx – In Colour

Released: 29th May, 2015

Label: Young Turks

Genres: Electronica; House; Rave; U.K. Garage

Florence + the Machine – How Big, How Blue, How Beautiful

Released: 29th May, 2015

Label: Universal Island Records

Genres: Indie-Pop; Indie-Rock; Soul; Pop

Blur – The Magic Whip

Released: 27th April, 2015

Label: Parlophone

Genres: Rock; Alternative-Rock; Pop; Britpop; Art-Rock

Lana Del Rey - Honeymoon

Released: 18th September, 2015

Label: Interscope Records

Genres: Pop; Dream-Pop; Jazz; Trip-Hop

Beach House – Depression Cherry

Released: 28th August, 2015

Label: Sub Pop

Genre: Dream-Pop

Laura Marling – Short Movie

Released: 23rd March, 2015

Label: Ribbon Music

Genre: Folk; Folk-Rock; Alternative

CHVRCHES – Every Open Eye

Released: 25th September, 2015

Label: Glassnote Records

Genre: Synth-Pop

FEATURE: The Madness and the Mayhem: Twenty Years of Muse

FEATURE:

 

 

The Madness and the Mayhem

IN THIS PHOTO: Muse/ALL IMAGES/PHOTOS (unless credited otherwise): Getty Images/Press 

Twenty Years of Muse

__________

ALTHOUGH they were formed in 1994…

PHOTO CREDIT: Jeff Forney

the band released their first E.P., Muse, in 1998. At that point, Muse were, by their standards, fairly honed-in and controlled. Matt Bellamy, Chris Wolstenholme and Dominic Howard started life as three guys from Devon who cut their first E.P. at Sawmills Studios (situated in a converted water-mill) and released in on the in-house Sawmills label. That E.P. garnered a bit of attention and, by Muscle Museum EP, in 1999, D.J.s like Steve Lamacq were turning their heads and things were starting to get interesting. It was not long before the trio was signed after playing at Woodstock ’99. There is not much inspiration behind the band’s name – they thought ‘Muse’ looked short and good on a poster – but their first album, produced by John Leckie and Paul Reeve (alongside the band) did take them to the next level. Even from the start, Muse were getting people talking and garnering interest in the U.S. Lyrics on Showbiz (1999) dealt with fractious relationships and struggles establishing themselves in their hometown. Songs like Sunburn and Muscle Museum are among the best of Muse’s catalogue but their debut received a smattering of positive reviews. The guys were gaining comparisons to Radiohead and Jeff Buckley – names that would follow them for a while – and Matt Bellamy was establishing himself as a talented, if quirky, frontman. The mad-around-the-edges lyrics and musical histrionics were taking shape and critics noted how Muse were a lot more ragged and wild than many of their peers.

Muse’s eighth studio album, Simulation Theory, is out on 9th November and boasts a neon, futuristic-looking cover. If singles such as Something Human and The Dark Side suggest a band that are toning things down a bit and taking a new direction; the mad and crazy Muse we all know and love is still present. Twenty years after their first E.P. and the guys are unwilling to grow older gracefully and produce something a bit tame. Drones, released in 2015, is a concept album that drew some mixed reviews – I will come back to that later. Simulation Theory is a Synth-Rock album that explores simulation in society and the simulation hypothesis. The album explores fantasy becoming real and the idea that we all just lumps of code in the shape of lumpy sims. The videos we have seen so far are Science Fiction-inspired and there is an aesthetic vibe of the 1980s. Short of mullets and naff shoulder-pads, many of the visual effects and scenes evoke the colour and sensations of that decade. Every one of the eleven album tracks will have a video produced to form a single narrative that focuses on digital containment and escape. Muse were keen to break away from concept albums after Drones and it was suggested they’d release a few single for those not keen on listening to entire albums. It seems like they have changed course and are embarking on something conceptual, narrative-based and flowing – they want people to listen to all the tracks and get a sense of what the album is all about.

It seems like Muse are walking away from the restrictions of the guitar and experimenting more with drum loops and different styles. Matt Bellamy, when speaking with the BBC, explained his relationship with the guitar and new ideas:

"The guitar has become a textural instrument rather than a lead instrument," he told the BBC. "And I think that's probably a good thing.

"What's exciting about this period of music is you can mix classical with hip-hop and rock in the same song.

"As a rock band you're slightly one foot in the past, playing instruments like guitar, bass and drums".

It all sounds very exciting and it seems, twenty years down the line, the band have lost none of their edge and excitement. Even though they are not the whipper-snappers of their early days; they are upping their game and evolving all the time. Their artwork is bright and their sounds becoming bolder and, as I will argue throughout, Muse are far more interesting than your ordinary band! One of the reasons why I wanted to focus on Muse is because they definitely do not walk the same lines as their peers. It is true the Devon-formed band are unafraid to do things differently and document something that nobody else is. Look around and how many groups are tackling things like digital entrapment and simulation theory?! Muse are experimenting with music videos and themes; they are taking risks using new instruments; embarking on another concept but an entirely different look, sound and sensation than Drones.

After their debut album in 1999, the band released three fascinating albums. Reviews for 2001’s Origin of Symmetry were variable. Although it is seen as one of the best records of the year – and retrospective reviews have been more favourable – it did split opinion when first released. Some were giving it five-star reviews and many noted how the band was moving away from Radiohead territory. After only one album, Muse were loading in new content, texture and influences to create something accomplished and unique. Sensual, Classical and hugely ambitious; some reviewers felt Origin of Symmetry was overblown and marked it down. It is the weirdness and excitement of the record that marked Muse out as a band to watch and one of the finest acts coming out of the U.K. New Born is a breathy, edgy and spacey opening that sees Muse shred and rock it out alongside cosmic organ/electronics and a frantic chorus. Space Dementia is as eye-popping and peculiar as its title: Bellamy as an astronaut as sound who was producing something truly out of this world! Micro Cuts sees that weirdness stretched and it is almost impossible to describe the song! There are some forgettable songs – Screenager and Darkshines do not get mentioned a lot – but you cannot argue against the pedigree. Many fans rank this as the best Muse album because of the huge leap and all the imaginations being brought into the music.

Absolution, arriving in 2003, had very apt title. The band felt the word was appropriate given the fact they were making music in a new way and starting afresh. Previous recording sessions were rushed and ill-devised and this was the first time the band was setting proper time aside to make music. Bellamy had not quite stepped out to lead the way – he would go on to be the sole composer and writer soon enough – but the tightness of the band was starting to show. Although Absolution was recorded between various studios and with producers like John Cornfield and Paul Reeve; some true Muse classics were coming through. The promising band of before were now developing into arena-ready titans who were taking their music to new heights. Time Is Running Out and Stockholm Syndrome show the sort of nervousness and paranoia they would exploit in later works; writing beyond ordinary love and cliché themes. The latter track and Hysteria see Muse step into gnarly and finger-shredding territory whilst the piano was becoming a common trait in their music. There are not many bands today that use the piano in their music but, gifted with a very talented player in Matt Bellamy; songs like Butterflies & Hurricanes became symphonic, sweeping numbers that take the breath away. Maybe the last few numbers of Absolution are not as memorable as the standout cuts – it is quite too-heavy as a record – but it is a big leap from Showbiz and, in some ways, Origin of Symmetry. Absolution is a move sideways from Origin of Symmetry but, again, proved the band were unafraid to mix the slightly bizarre and eccentric with the conventional.

2006’s Black Holes and Revelations saw Matt Bellamy taking sole authorship of the work and, with it, really cranking up the tension. With its dystopian undertones and lyrics that looked at aliens, political corruption and revolution; it is another sign of Muse covering original and much-needed topics. They were still not your band who spoke about general anger and heartache – looking at a broken world and what was happening around them and filtering it through their exceptional spectrum. To be fair, there are a couple of conventional love songs (Starlight among them) but the more interesting moments are when the band reinvent themselves (again) and go completely bananas! Take a Bow kicks things off and talks of representing for sins and a sense of pending doom. It is more anxious and progressive as anything Muse had previously thrown out and, on Supermassive Black Hole, more sensual, slinky and Prince-like – one of their classic cuts and proof Muse could mix the mature and conventional with something a little quirky. The clash of the sensitive and thought-provoking Soldier’s Poem sitting alongside (or very near…) the razor-sharp and relentless Assassin – the band at almost Heavy Metal-levels of pummel and attack – shows they were brave when it came to programming and track sequencing! City of Delusion brings in Flamenco-like swagger and horns; a terrific full-stop ending and another great revelation from the band.

If some critics felt Muse should calm it and show some level-headed direction; they were shocked at the blistering finale, Knights of Cydonia! The track must rank alongside the very best closing tracks from any album! A song that urges people to fight for their destiny and take control; it is a riotous, galloping epic that finds Bellamy at his strange best. It is a cross between a spacey Prog-Rock song and a Western. The outro and closing moments are amazing! The riff and sense of spirit captivates you and the chorusing of “No one’s gonna take me alive!” is infectious. The six-minute song is another one of those Muse classics and shows they could easily mix humour and the grand with something base and simple (the riffs and composition are not as bat-sh*t-mad as the video or lyrics). Some critics felt the record was overblown and Black Holes and Revelations was a misfire. It was nominated for a Mercury Prize and was a big commercial success. The band embarked on their biggest-ever tour and played all around the world. As I shall discuss; Muse’s sets and gigs were becoming bigger and more sensational by the album! The Resistance (2009) and The 2nd Law (2012) led Muse to calm it down a bit but they were still interested in what was happening around them. A more Electronic and experimental album than Black Holes and Revelations; The Resistance features the bombast of Uprising with the closing suite of ‘Exogenesis’. Almost a Classical suite that shows how Muse, again, were not going to be limited and defined…

Bellamy shows his chops as a composer and strings together one of the band’s most spectacular realisations – even if some critics felt the three-part finale was a bit daft, unfocused and forgettable. A tighter and tauter album that some of their previous work, the Queen-influenced United States of Eurasia (+ Collateral Damage) is delightful.  The 2nd Law refers to the second law of thermodynamics and the album features a new range of influences – from Paul McCartney and Wings to David Bowie. Chris Wolstenholme takes his first writing credits with Save Me and Liquid State – talking about his battle with addiction and the personal problems associated. Some critics did not like the new direction the band were taking and the themes they were exploring. Perhaps there weren’t the same bonkers-mad songs of past albums but that same fascinating and epic Muse remained. Reviews were generally good but The Telegraph seemed to assess The 2nd Law best:

“More interestingly, for a proggy act, there’s a healthy dose of funk, making this a rare example of danceable prog rock. The disco feel of Panic Station – which nods at INXS’s Suicide Blonde, Queen’s Another One Bites the Dust, David Bowie’s Fame and Prince’s Kiss — ends up sounding a bit like a Scissor Sisters number.

Muse’s rather absurd spaceship may be welded together from bits of other acts – but it still flies”.

When speaking with NME about the release of Drones (2015); Matt Bellamy reflected on the way we are being surveyed and the atrocities of modern warfare. He gave his thoughts on what was lacking from modern society:

“Empathy seems to be seen as a weakness. We condition people to withdraw it to succeed. But really, it needs to be re-seen as a strength again if there is to be any kind of hope in the world”.

Whereas albums like Black Holes and Revelations was about pushing things to the limits and employing lots of different sounds; Drones seemed to represent something simpler:

“But by our standards, it is back to basics,” Dom Howard points out. “Yeah, it’s layered and bombastic, but the start of that process was very different to how we normally do it. For the first time, he three of us in a room, eyeballing each other again. I think on 2nd Law, producing it ourselves, we spent so much time in the control room that we lost sight of ourselves as a band”.

There were a lot of good reviews for Drones but some were less keen. There was a concern the lyrics were a little repetitive and uninteresting; not as sophisticated and cutting as political bands like Rage Against the Machine – not as varied and appealing an album as what had gone before. The Guardian had their say:

“It’s the heaviest the band has sounded in some time, and exuberant enough for you to ignore Bellamy’s clunky lyrics. But Drones veers badly off target in its final third, most pointedly in overindulgent chamber suite The Globalist, which veers from Morricone to Metallica, and concludes, bewilderingly, with an adaptation of Elgar’s Nimrod”.

Perhaps it is a more slow-burning album than a lot of their work but it was clear Bellamy was still fascinated with what was happening around him; conspiracies, deceits and atrocities. That value and anger that goes into the songs appealed to me and I feel Drones has some of Muse’s chunkiest riffs and most interesting songs. It was another reinvention from the band and shows how, unlike a lot of their fellows, they were always keen to keep moving and exploring new ground. The touring that happened around the album, again, upped the budget and sense of spectacle. Go to one of their shows and you can see everything from drones and flying saucers to huge light spectacles and a dazzling stage set-up. A lot of bands like to go for something simple and focus on the music but Muse can bring carnival and party and still produce blistering live moments. They are one of the best live bands around and always bring something insane! Long-gone are the days when Prog-Rock bands used to have those crazy sets and it was almost like going to a weird play or some sort. You never know what you will get from Muse and that seems to be part of their charm. Each album is a completely new beast and has its own personality and skin. They have been going for twenty years (in terms of recorded and released material) and are not showing any signs of slowing down! Keep an eye out for Simulation Theory on 9th November and see where the chaps head next! They have cemented an incredible career and it looks like they have ambitions to go for a lot longer yet. Not only are they one of the best live bands in the world but listen to their material and there is nobody on the…

SAME planet as Muse!

INTERVIEW: Future Jr.

INTERVIEW:

PHOTO CREDIT: Jackson Todd

Future Jr.

___________

I been speaking with Future Jr.…

about his new track, Forget About Me, and what its story is. The Brisbane-born artist discusses his start in music and what he grew up listening to; whether there are going to be plans and tour dates coming up – he recommends a rising artist to watch.

I ask which albums are most important to him and why he decided to move to Austria; which artist he would support if he had the chance; whether he gets time to chill away from music – Future Jr. ends the interview by selecting a cool song.

__________

Hi, Future Jr. How are you? How has your week been?

Hey! I’m doing really good thanks! How are you guys? 

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

Of course! My name is Matt. I’m twenty-four-years-old, from Brisbane, Australia and I make music under the name Future Jr. 

What is the story behind the new single, Forget About Me? Was it exciting hearing it premiered on Zane Lowe’s Beats 1 show?!

It’s really just a little glimpse into my life. I recently had a period of my life where I had (wrongly) convinced myself I had to choose between my dreams of success and love. I’m a really driven person and it’s not often that you find yourself surrounded by people who understand that drive and the sacrifices that you have to make in music. So, it’s really just an open letter; a P.S.A. to say ‘I hope you know what you’re signing up for’. 

You were born in Brisbane and raised around music. How important was your family home regarding your choice of career?

It’s been super-important for me. I grew up in a really creative household. From a very young age, in order to keep me and my siblings entertained, my mum would gather us together and play some simple chords on guitar and encourage us to write our own songs and melodies to match the chords. It was little things like that - it happened all the time. I was lucky enough to have parents that encouraged me to chase what I was passionate about.

Which artists struck your ear at a young age?

I probably had less of the typical music education than most kids. I never really remember listening to the radio very much as a kid. I grew up in church, so Gospel and inspirational Pop artists like Amy Grant and Michael W. Smith were always playing in the background. The first C.D. that I bought myself though was a Hip-Hop group called DC Talk. I latched onto it, because they used these huge, loud drums samples typical of '90s Hip-Hop. It was the first album I just absolutely rinsed. 

PHOTO CREDIT: Jackson Todd

How important was it moving to Vienna and spending time there? Was it an eye-opening move for you?

I think, without me knowing, it was super-foundational. My whole family moved over when I was seven. It gave me a taste for adventure. I grew up in an environment where my whole family were experiencing new things together. It’s also a city that’s drenched with so much quiet beauty and history - the birthplace of some incredibly important historical musical figures, like Mozart for example.

It’s a city that understands art and encourages the pursuit of it. Looking back, it was invaluable. Vienna never yells at you like a city such as New York would. It just quietly whispers and encourages you to create something. I think that’s the part of Vienna that will always stick with me.

Might we see more material next year at some point?

DEFINITELY. Lots of it. 

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

I’m actually about to head off on a big trip to L.A., N.Y.C. and London for a few months. It’s going to be a lot of songwriting and making art! I’m just so excited to start creating the next era of Future Jr. and write the next part of the story. 

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

I remember when I got the final masters back for my first E.P. It was late, I had just got back to my car after getting dinner with some friends and the email came through. I immediately plugged in my phone and sat there listening. It was the most surreal experience for me. Sitting there in an empty carpark, I was listening to the soundtracks of one of the worst years of life. After I finished listening, I sat there in silence for a bit then finally drove out of the carpark. It was one of the most still and quiet moments of my life. I left all the troubles of that year in that carpark. 

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

Bon Iver - Bon Iver

I had discovered Bon Iver in my last year of high-school - and the year after he dropped Bon Iver. It was the soundtrack to my coming-of-age and continued to be a pillar for years to come. The themes in that album about finding your identity had a huge impact on me. 

Phoenix - Wolfgang Amadeus Phoenix

This was the soundtrack of high-school for me. This was the album my friends and I would blast with the windows down on our way to the beach. I still remember hanging out with window of my friend’s beat-up Ford Lazer screaming out the lyrics to Lisztomania as loud as I could.

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

Haha, oh man! That’s a huge question. Right now, I would say probably someone like Lorde. I love what she’s doing and what she’s done from day one. She creates this music that’s authentic and uniquely her but still has these anthemic Pop hooks. I feel like the crowds there would also probably be willing to have more of a heartfelt experience at those shows. In saying that, maybe a bit of a guilty pleasure; supporting someone like Bieber would be pretty amazing as well. Haha.

I don’t even know what I’d ask for my rider. Haha! I’m not the most extravagant kind of person. I’d be content if there was just fresh pizza every night of tour. 

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

There are some tasty things in the pipeline at the moment. It’s a bit of a surprise. I guess we’ll just have to wait and see.

What advice would you give to new artists coming through?

Figure out early why you want success. Figure out why you’re making music. If you’re in this game for riches and fame then you’re in the wrong biz, kid. Fall in love with creating art for the sake of creating art, not for the sake of making money. 

 IN THIS PHOTO: No Mono

Are there any new artists you recommend we check out?

Wow, that’s so hard. There’s so many at the moment! My top new recommendation would be No Mono. They’re some local lads from Australia. They’re creating some incredibly intricate and soulful music. Picture James Blake crossed with Jamie xx.

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

I love the beach. It’s my way to switch off my brain; lying in the sand with the only sound being the waves crashing. That is my sweet-spot. It also always fills up my inspiration tank. If I’m ever feeling dry, I always head to the beach. 

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’ve been slamming this track since it dropped. Some serious early-2000s R&B/Pop vibes: Girls Don’t Cry (ft. Maribelle) - Young Franco

___________

Follow Future Jr.

Facebook:

https://www.facebook.com/futurejr/

Twitter:

https://twitter.com/futurejr_

Instagram:

https://www.instagram.com/futurejr_/

Spotify:

https://open.spotify.com/artist/6VcDfoZ0pgSOd5rtQDmbo0

TRACK REVIEW: Denton Thrift - First Light

TRACK REVIEW:

 

Denton Thrift

First Light

9.1/10

The track, First Light, is available via:

https://soundcloud.com/dentonthrift/first-light

GENRE:

Electronic

ORIGIN:

Leeds, U.K.

The E.P., Sight, is available via:

https://open.spotify.com/album/42XvDlhZTVCNqC4LA4Wuuy?si=o-Ai3O5yQM2vmzvIAFAGFA

RELEASE DATE:

17th August, 2018

_________

I am scaling reviews down in the coming weeks…

to focus more on bigger acts and other sides of music but, right now, I am looking at a few different acts who produce interesting music. I have found a lot of acts coming up for review are saying very similar things and are almost the same on paper which, for a review as deep as what I do, it is incredibly hard to write much and it has led me to look at the mainstream or artists that I know can produce something different and unusual. That is not a shot at the artists coming up for review and there is plenty to love about Denton Thrift. That said, I will be wandering over old ground because, being based in Leeds, it gives me a reason to look at the city again and duos that come together from rather different backgrounds; E.P.s and, again, why they are an important form of music; similarities in music and why there are common themes/sounds coming up; artists who have great potential and certain sides to look at; a bit about compositions and where Denton Thrift can go. Whilst I am covering old words when I come back to Leeds – it is an interesting city to look at but have reviewed a load of artists from here – it is worth noting a consistency and why the place is synonymous with interesting new music. I keep talking about the Londoncentric scene but it is worth revisiting. You get a load of personality and colour with London but I love the accents and variations you get from places like Leeds. The city seems to be teeming with fresh talent and artists that do things in a rare way. Years ago, I reviewed an artist from Leeds who played Electro-Swing and, more recently, someone who produces a mix of Nick Cave and Tom Waits. Whilst London and bigger cities can provide that sort of range; there are fewer limits in Leeds and a great sense of freedom.

What amazes me is how the city keeps on stamping out artists who have a rare mindset and do not follow the pack. I have not seen a place that has such a strange spirit where its musicians venture into unusual avenues. That is not to say Denton Thrift are bonkers and mad as crows but they definitely do things their own way. I feel there is a lot more to come from them and I feel they will remain in Leeds. The North is a fascinating place for new music and I feel the finest of the current breed will emanate from here. I think it used to be the way all the better northern artists hailed from Manchester but there is a definite case for somewhere like Leeds. A lot of its native venues are remaining open and many of the locals are ensuring the live music scene is thriving and sustainable. Leeds is, like any city, a bit pricey but a lot more affordable than areas like London. People are keen to explore the cool venues in Leeds and that means artists have places to play and do not feel the need to migrate. This is all positive and you can tell there is a real sense of identity and togetherness in Leeds. Because of all these factors, the music seems to be a lot more expansive, adventurous and original. Who knows where the city will go in the coming years but I am confident many of the venues will remain and local artists will continue to grow. I also hope the media take more attention of Leeds and reflect the great music that is coming from there. Over the years, I have followed what is coming from there and how artists approach older styles of music. Denton Thrift have a modern cut but there are classic stripes and older elements that weave into their sounds. Although Denton Thrift are based in Leeds, they hail from different parts of the world.

Their name comes from a year they spent in Denton, Texas and the duo hail from Devon and Northern Ireland. It is a rather scattershot and random togetherness you might think. The pair met whilst at the University of Leeds and it seems like their common ideals and desires have fused into fantastic music. I am getting more excited about duos as opposed to bands because you have that closeness and connection you do not get elsewhere. Music is at its stronger when those performing it are on the same page and you can feel that sense of understanding. A lot of bands are tight but I get the impression some of them are not communicating and there are tensions. If we look ahead, I feel bands will continue to inspire but there is a greater place for duos. Right now, the best albums in the mainstream are coming from solo artists but duos are starting to make a case. Most of them are in the underground and, in years to come, the exceptional music they make will grab more ears and become more influential. As opposed the solo artists, duos can produce a bigger and more varied sound, I feel. You have the option of providing something gritty and big or, in the case of Denton Thrift, music that is more emotive, atmospheric and detailed. It is going to be interesting where the Leeds-formed duo is heading and where they are going to base themselves. I have talked about Leeds and its importance but, in truth, they could head anywhere and find success. I hope they do settle for a while but, with critical acclaim behind them, it seems Denton Thrift have the chance to travel the world and bring their music to new nations. The music industry is a tough and competitive landscape that is impossible to gauge but I know how popular duos are right now and how well they can do.

It is all about that central connection and a sort of ersatz relationship that makes the music so together and intuitive – a lot of those in duos are in a relationship, in fact. In a duo, there is nowhere to hide really. You cannot stand behind a band member or retreat into the shadows. I have also spoken about E.P.s recently but, again, I need to bring them up when looking at Denton Thrift. Their four-track E.P., Sight, is full of different stories, life and fascinating sounds. It is worth noting why many new artists are producing E.P.s as opposed an album. Albums are obviously very expensive and it can be quite a challenge putting them together. The album market is not as strong as years past and people are more interested in singles. I worry that modern artists will struggle to sell albums and many do not have the patience to sit through there. This year has provided some immense albums but I wonder how often we will listen to them and how many other albums have been forgotten about. E.P.s are that useful bridge between singles and albums. I love albums but I feel the appetite is not what it used to be. Singles are great and give you that burst but you can say more with E.P.s and it provides a lot more flesh and bones. Maybe this is something the mainstream will take to heart. Might we be more accepting and willing to listen to albums if we had the gateway of E.P.s? I feel they are an accessible and nice way to hear more from an artist and you do not need to commit to the album. There are fantastic options in the underground and new music and I have been dipping into Denton Thrift’s E.P. lately. Many might say it is hard to distinguish between various duos in the same genres producing E.P.s and how do you separate them? There is some truth there but Denton Thrift inhibit their own world and you can hear their unique D.N.A. in every track.

One can hear the closeness of the members and one knows each song means an awful lot. Again, like a lot of artists lately, mental-health is back in the spotlight. There were years in music when you never heard about subjects like mental-health and it was seen as stigma. The music you get is emotive and open and Denton Thrift are unafraid to discuss deeper and darker subjects. Many of us suffer mental-health issues and it is important musicians document this and provide their own assessment. I am keen to see whether mental-health becomes a bigger part of the musical landscape and how the subject grows. As I said, it is becoming more common in music and so many artists are tackling the effects of poor mental-health and how they impact relationships. Many might say it is a rather depressive subject to cover but it does not have to be. Denton Thrift bring melody, light and a sense of optimism to the area. They are not producing music that drags you down and makes you want to hide away. They investigate, on their E.P., how it can be hard to reflect and have any sort of inner-calm when mental-health impacts on relationships. I guess a lot of people can relate to this problem and, through the music, there are answers and sympathetic tones. The media is reacting to their music and note how bold they are compared with their earliest work. Each new single seems to be a big step and you can hear the confidence grow. The best music around needs to have a balance of darkness and light and, I feel, have some form of education and information. If you cannot relate to what is being said or do not take something new away from the music; how likely are you to come back? Artists who remain in the mind are those who understand this and ensure their music ticks these boxes.

I mentioned how I am moving away from reviews in a bit and that is simply because of the familiarity. As my reviews are long and I like to tackle themes around an artist/track; it is becoming harder to find new angles to explore as so many artists are producing similar themes/sounds. I feel Denton Thrift are among the last remaining artists in my diary where I can find fresh insight and places to explore. I get a lot of submissions from British artists and those who play in the same genres; the same sort of lyrical themes and, after a while, it gets impossible to find fresh things to say. I long for an explosive Hip-Hop artist/band or a cool Soul female – something that I have not heard for a while that gives me a spark. You might say my blog attracts a certain type but my output is varied and I never exclude a genre. Denton Thrift, as I mentioned, are the last of the more original acts I can explore from different sides and say something new. I am impressed by their music and intrigued by their backstory and, if anything, it would be nice to see more come from them. The photos I have included are great and well composed but I wonder whether a new photoshoot is coming from them. They look great on camera and have a clear idea of how they want to look. I feel another set of snaps could bring new people their way and show another side to their personality. I’d also like to know how they met at the University of Leeds and which artists drew them together. You can hear the odd influence in their sounds but I wonder what they grew up around and whether there are particular artists that bonded them. I feel there is a lot more to explore from Denton Thrift and they have unique edges that can come to the fore.

Before I go onto to look a track from their new E.P., I wanted to look at the compositions and why they stick in the mind. I mentioned how duos have variation and a flexibility you do not really get from a solo artist. You can get fascination from a solo artist but how much variety can you find? They are only one person and, whilst you get some great composers, I feel there are constraints and it can be difficult to push things too far. Duos have that extra member and, as such, there is that chance to add more texture, weight and eclecticism to the music. The compositions of Denton Thrift have been commended because they have so much life and expression within. You are not listening to two people who are lazily stringing songs together and have not thought of the music. I long for artists who take care to really craft music and ensure they augment the lyrics. One might feel songs of struggle and a lack of self-reflection might be mirrored with rather tense and dour sounds. This is not the case with Denton Thrift. They bring their lyrics to life but their music seems to exist in its own world. Emotions, visions and stories burst from the music. It is wonderful stepping inside what they do and swimming in the music. I feel this is one of their biggest assets. So many duos are focused on lyrics and vocals but do not expend as much energy when it comes to compositions. Listen to the songs on Sight and you get a new experience and story with each track. I love what they are putting out right now and I am excited to see where they can go from here. I chose First Light to review because it stands out strongest but, to be fair, you can find much to love about any track from the E.P. It is the way you can close your eyes and let the music get inside the head that really stands out. I feel so much modern music lacks a soul and you can feel rather detached from the whole experience. Denton Thrift ensure the listener is treated to something wonderful and allowed to paint their own pictures.

I wonder how much artists really think about the complete picture and whether compositions are heavy in their mind. By that, I worry there is a need to produce something rushed or not understand how much nuance and joy you can bring from a well-thought-out composition. Denton Thrift provide a complete experience that hits all the senses and I am not surprised they are getting a lot of love. Critics are noting how Denton Thrift are growing and they seem to up their game with each track. You get a different skin in each number and, when collected together on an E.P., nothing sound out of place or foreign. It is a whole story and you will struggle to find your favourite track. A lot of E.P.s have a clear standout and maybe there is a weak track in the pack. Denton Thrift have ensured their E.P. is a more rounded, quality-assured and balanced work so that you are drawn to each song and nothing comes across as half-formed or unimportant. Maybe that is because of their bond or the way they want to tell a story with Sight. In any case, they are getting under the skin and turning many heads. At this rate of progression and realisation; I feel they have a very long future and it will not be long until they are playing some big stages. I think their music can get even bigger and, when taking it to the stage, one wonders how emphatic, swelling and sensational the music can sound. The duo is promoting their E.P. at the moment but I feel they are already looking ahead to more material. You can hear the hunger and desire in their voice. I feel I have covered a lot of ground regarding the duo and it is time to move on to a song of theirs. I wanted to look at First Light because it is getting a lot of heat and it is really interesting to hear.

I talked about compositions and how few artists genuinely think about how the listener will react. First Light seems to project so many different sights and emotions within the opening seconds. The delicate and electronic notes are sparse but there is a rhythm to them. The smokiness of the combined vocals and the way the words are projected means you get a real sense of emotion coming through. The composition mutates and there are backing noises and new flecks that add dynamics and suggestions. One can hear a lot of The xx coming through. This is not a bad thing but that is the first act I thought of when listening to the song. The male-female vocal style (breathy and sullen but with plenty of engagement) and the compositional style reminded me a lot of the early work from The xx. Many might see this as a problem but, if anything, it is s strength from the duo. You get a real sense of who they are and there is not any need to copy what is already out there and piggy-back off of another artist. Denton Thrift talk about falling down and a sense of struggle but one of the only criticisms of the song is a lack of decipherability in some areas. I have noted this a lot with artists but, when lyrics are projected a certain way, you do risk losing clarity and intelligibility. One gets a lot of seduction and passion from the vocals but some of the words are hard to detect. You can pick up a few bits here and there but, early on, it is a little hard threading the story together because words do come apart. Maybe this is impossible to rectify given the vocal style of Denton Thrift but, actually, you can piece together all the elements and narratives from the composition. Beats crackle and there are electronic flickering. So much is working away and the composition itself does so much work. Your mind races as you keep up with what is happening and you start to imagine little scenes.

The vocals become clearer and more focused when you head into the next verse. I get the impression things are falling apart in a relationship and there is a coldness coming through. In terms of the vocals, one gets a real hit of Soul and silkiness. It is a luscious and smooth deliver that packs a real punch. I got impressions of two sweethearts on different pages and things starting to crack. You never get a sense of anxiety and stress when listening to the song. Everything is delivered with a real calm and you settle into the song and are free to wander. That need to approach the light and find something more positive is evident. Maybe things have got bad and you get a feeling tense emotions have frayed a relationship or poor mental-health has impacted things. As you are in the darkness and the subject is struggling to find footing; there is that call to step into the light or start afresh. This is my interpretation but the reality might be different. Elements of the East – in terms of the electronic sounds and how they resonate – fuse together with stiff beats and those luscious vocals. I am always attracted to that composition and how it evolves and shifts. The duo have taken care to put so much into the music that you can listen to the composition alone and feel addicted and intrigued. Again, as things start to develop, some of the lyrics get lost again but it is never too much of a burden. Music is about the whole experience and what you get from it. I feel First Light is about a sense of rebirth and the promise of the morning. You can hear how there are struggles in a relationship and personal crisis. It looks rather bleak in places but that spirit of betterment and improvement shine through. My abiding takeaway is turning something bad into good and making some important steps. It is a great song from Denton Thrift and the standout from their Sight E.P. There are a lot of duos out there but Denton Thrift are among the most inventive and interesting out there. Many eyes will look their way and see what they can come up with next.

I wonder where Denton Thrift can go and what they have coming up. Maybe the remainder of the year is going to be taken up promoting Sight and seeing how far they can spread it. It has been out for a few weeks and is picking up some good reviews. We all know how hard it is to succeed in music and how many others are sort of doing the same thing. That is why I have decided to change review tack and take a breather down the line. It is the case where artists are almost identical on paper. Most reviewers only cover the music so they are not worried about the artist’s location or their story. I like to put more depth into things and feel artists need to stand out and not be the same as everyone else. In terms of sounds, I am getting a lot of the same thing and few acts outside the U.K. It is hard starting to write because I don’t know what to say and it is hard to flesh a review out. Maybe this will change and I can discover something fresh but Denton Thrift have provided something genuinely new for me to talk about – even if I have had to re-explore Leeds and look at mental-health in music. I feel talking about something that is making the news and standing to get more focus is really important. Their future material will look at other things – it would be exhausting and a little boring if they repeated themselves – but they have created an E.P. that explores a challenging subject we all have exposure to. In a sea of duos that are all vying for attention and want to be taken seriously; the Leeds outfit are equipping themselves for a long reign. I know they will be hitting the road – keep up with all their social media feeds – and I wonder whether they are looking ahead to next year and where they might head. I think they have the promise of doing international gigs and it will be interesting to see how their music translates overseas. It has been great getting involved with their work and I shall keep an eye out and see where they go next. If you want to discover something that has its own voice and will stay in the mind; have a listen to Denton Thrift and explore the E.P., Sight. First Light is a fascinating offering that I wanted to single-out but each of the E.P.’s tracks is worth exploration. Their start and present is interesting and worthy of attention but I feel their future moves will be…

EVEN more interesting and exciting.

___________

Follow Denton Thrift

Twitter:

https://twitter.com/denton_thrift

Facebook:

https://www.facebook.com/dentonthrift/

Instagram:

https://www.instagram.com/dentonthrift/

SoundCloud:

https://soundcloud.com/dentonthrift

Spotify:

https://open.spotify.com/artist/3KntxbSQEIuXFl4OwsQskL

Bandcamp:

https://dentonthrift.bandcamp.com/

PHOTOS:

Sorrel Higgins Photography 

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

__________

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

_____________

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?

__________

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

__________

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

___________

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.

__________

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

___________

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

 __________

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

___________

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

_________

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.

___________

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

___________

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.

__________

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…

___________

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

__________

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

___________

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.

__________

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!

___________

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)

__________

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

_____________

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

___________

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.

__________

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

___________

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

___________

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.

__________

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

___________

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

___________

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.

__________

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

___________

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

___________

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.

__________

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

___________

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?!

__________

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)

__________

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

_____________

 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