INTERVIEW: The Herron Brothers

INTERVIEW:

The Herron Brothers

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I have been chatting with The Herron Brothers….

about their forthcoming album, The Last Ones Left, and what themes inspired the record. The guys talk about making music together and which artists they hold dear; whether they each have a favourite album – I ask if there are tour dates coming up.

Paul and Steven share their favourite memories from their careers so far; how they spend time away from music; which artist they’d support if they had the chance – they end the interview by each selecting a great tune.

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

Paul: Busy busy busy: there aren't enough hours in the day to be promoting an album AND trying to dispute parking fines!

Steven: I had the worst hangover I’ve had in many years on Saturday - which meant I was able to watch all three Back to the Future films.

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

Paul: We're the Herron Brothers; originally from North Northumberland but currently in Derby. We make mature(ish) Pop music!

The Last Ones Left is your forthcoming album. What sort of themes compelled the songwriting?

Paul: I had to look at the running order to answer this (smiles). A lot of it is about struggle; whether that's from a health point of view, or career or social justice etc.…just about fighting to get where you need to be. If I had to pin-point one central underlying theme it would be that. Unless you ask me tomorrow and it might be different.

Do you have favourite cuts from the record?

Paul:  Michael Palin springs to mind.

Steven: Michael Palin and California are my faves. They bookend the album very nicely.

When did The Herron Brothers start life and begin playing together?

Paul: Our old band The Sons split about three years ago, so we just carried on after that but on and off, as we're brothers, we've been playing together since our gig at Alnwick Town Football Club back in the '90s!

Do you think there will be more material coming down the line?

Paul: We have plans for a Christmas single which we'll be working on/finishing off after the tour. It was one of the possible tracks for the album, which is going to make a lot more sense as a Chrimbo song! After that, we'd absolutely love to do another album that build upon this one. It really depends how successful this campaign has been as to the position that were in.

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

Paul: Paul Simon, The Beatles; Wet Wet Wet, Crowded House; De La Soul, Blur and Oasis.

Steven: The Bluetones, MC Hammer; Dire Straits and The Sultans of Ping FC.

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

Paul: For, 100%, of our living to be from making our own music. Too much of our lives are being wasted on boring pay-the-bill-scrap and we're 'effin sick of it.

Steven: What he said - and to be able to play The Claw by Jerry Reed all the way through.

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

Paul: The Sons’ farewell gig is one. There was a lot of love in the room it was really emotional.

Steven: Supporting The Bluetones last year was very cool. The best bit wasn’t the gig itself though; it was watching them do Ain’t No Pleasing You by Chas & Dave in the soundcheck. Flippin’ brilliant!

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

Paul: Graceland - Paul Simon

It's why I started doing this.

Steven: One album?! You kidding?! I can think of about nine that are hugely important: Automatic for the People by R.E.M.; Definitely Maybe by Oasis; Love Over Gold and Brothers in Arms by Dire Straits; Spartacus by The Farm; Out of Time by R.E.M….But, for today, I’m gonna go for All the Best by Paul McCartney. It’s a compilation album that’s never been beaten in my opinion. I used to listen to it on-repeat whilst building cars out of Meccano.

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

Paul: Paul McCartney. Because the crowd would be huge. Rider-wise, I'm not bothered really. Just loads of access to nice warm water; maybe some nice fillets of fish - and a bottle of champagne and a decent medium rare steak burger for when we come off! (And some mouthwash...).

Steven: Wilco. Cos they’re awesome. The rider would consist of higher welfare meat, some nice bottles of IPA; Newcastle Brown Ale, champagne; oysters, Monster Munch; chilli pickled eggs (chickled eggs) and any local delicacies. In fact, pretty much anything that can be chucked at us. My favourite type of food is definitely free food.

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

Paul: Check it out…

Steven: Liverpool, Chesham; Tynemouth, Derby; London, Belper; Birmingham, Nottingham; Burton…everybody talk about, mmmmm, Pop music!

What advice would you give to new artists coming through?

Paul: Don't drink.

Steven: Drink lots of water, do vocal warm-ups; do them before every gig. If you want a long career, look after your voice.

Are there any new artists you recommend we check out?

Paul: Can't think of any…

Steven: The latest Gorillaz album is amazing, as is Gruff Rhys' latest. Oh, and the latest Django Django one is good as well. Yes, I know they’re not ‘new’ artists but that’s the best you’re gonna get from us! (Smiles).

 IN THIS IMAGE: Gorillaz

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

Paul: I love swimming, walking and films; IPA and physics. I PROMISE I'm not as dull as I sound...

Steven: Gaming. It’s the best value for money of any entertainment medium. Currently playing Far Cry 5 and getting excited for Fallout 76 and Red Dead Redemption 2.

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

Paul: Freiheit - Keeping the Dream Alive

Steven: The Phoenix Foundation – The Captain

TA!

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Follow The Herron Brothers

Official:

https://theherronbrothers.com/home

Facebook:

https://www.facebook.com/HerronBrothers/

Twitter:

https://twitter.com/Herronbrothers

Instagram:

https://www.instagram.com/theherronbrothers/

YouTube:

https://www.youtube.com/channel/UCSfCe-wXN1ecHn3l5HZWDgw

Bandcamp:

https://theherronbrothers.bandcamp.com/

INTERVIEW: Calista from Voice of Aiko

INTERVIEW:

Calista from Voice of Aiko

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IT is not often I get to speak….

with artists who are speaking on behalf of a collective. In this case, Calista Kazuko has been chatting with me about Voice of Aiko and the new track, Prescription Dream. I ask her what Voice of Aiko entails and symbolises - what we can expect from the upcoming film promotion of Prescription Dream.

She discusses why the new single supports several different charities and what comes next; what her personal favourite album is; whether she gets time to unwind away from music; which rising artists we should get involved with; what we can expect from the upcoming album, Empress – Kazuko ends the interview with a great song choice.

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

Hi! Things are FABULOUS, of course. How are you?

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

Sure! My name’s Calista Kazuko I’m a singer/songwriter from London and I’m representing Voice of Aiko today. Voice of Aiko is a new creative collective of musicians, filmmakers; dancers and artists joining forces to campaign for change. An artistic army on a mission!

Can you talk to me about the idea behind ‘Voice of Aiko’ and what it symbolises? How did it come together?

Voice of Aiko was born out of the artists’ shared passion and belief in the power art has to help and heal. Aiko is a family name on my mother’s Japanese side. It can be directly translated as ‘Child of Love’. My dear great Auntie Aiko is in her late-nineties and now in a nursing home in California. This project is dedicated to her and to give her a voice. Our mission is to ‘give the silenced a voice’.

Prescription Dream is released on 28th September. What was it like recording the song?

This song was a total dream to make! I made it in Berlin with the incredible producer musicians Samim, Miguel Toro and Jack Brown as part of a set of five songs (more to come!) We had a totally wild, magical time making it and the music making was totally free and organic: not trying to ‘fit’ in to any mould. It was very special indeed!

I believe it support the charity, MIND. Is its themes of prescription drugs, and the reliance some people have on them, something you felt was under-represented in music?

We are working with charities REST, MIND and APRIL to raise awareness on prescription drugs which can have potential devastating side-effects and cause dependency. In England alone, there are an estimated 1.5 million people suffering from doctor-induced Benzo drug dependency. In 2017, the All Party Parliamentary Group on Drug Dependence (APPG) warned that in England more than 1 million patients are taking dependence-forming drugs unnecessarily. Antidepressants are also a major problem and statistics show that roughly fifty Americans die from prescription painkiller overdoses every day. Stopping medication (even low doses) cold turkey can be dangerous, even fatal.

The figures are scary and often people won’t realise it’s a medication they are taking, or have stopped taking, that is causing physical or mental changes or that they have become dependent on a medication. There are great resources online to find out more at:

www.benzoinfo.com

www.w-bad.org

https://www.april.org.uk/

www.mindincamden.org.uk/resources/articles/minor-tranx

We wanted to address this issue because we feel it’s under-represented not just in music, but in society as a whole. We live in a prescription world and are often quick to medicate perhaps unaware of the potential side-effects and often without exploring other alternatives first. I personally had no idea about the potential dangers of prescription drugs before starting this project so now am able to make more informed, careful choices before popping a pill. If we can get more people talking and thinking like this too, our mission will be complete!

There is a film to accompany its release. What is the story behind it?

The accompanying film is made by amazing filmmaker Enya Belak Gupta. Enya and I met and quickly became friends - she’s a total babe! When I told her about this project she immediately got it and wanted to get involved. Her powerful film beautifully illustrates the feelings of confusion the protagonist is feeling, trapped in her ‘prescription dream’.

We used love hearts to represent this idea of a pill being a ‘quick fix’: this pill will make you feel ‘perfect’; this pill will make you ‘smile’. Having shared several peoples’ stories about their experiences of prescription drug dependency and withdrawal; repeated themes were those of feeling confused, trapped; half-asleep and alone. Enya has done a remarkable job at capturing these stories and it has been an absolute honour to work with her.

The release party for the track/video is on 29th September in Aldgate. If we were to come along; what might we expect in terms of the evening and who will appear?

Expect a night to remember! Voice of Aiko are taking over the amazing Leman Locke hotel in Aldgate for a magical evening of live music, art; dance and discussion. We will open the event with a conversation room with amazing representatives from the partner charities who will be explaining more about prescription drug problems; what we can do to help and answering any questions. This will be followed by a live performance from stunning musical artists Bumi Thomas and Sera EKE.

The CA Contemporary Dance Company led by director Adrian Del Arroyo will be performing a truly unique commissioned piece inspired by the event‘s Prescription Dream theme and the night closes with a very special guest D.J. set, drinks; dancing and delight! 50% of all ticket proceeds will go to REST and APRIL, supporting people with prescription drug dependencies. Tickets available here:

https://www.facebook.com/events/259119054720897/

https://prescriptiondream.eventbrite.co.uk/

Will there be more material coming down the line?

YES! Voice of Aiko are excited to start working on our next project straight away with the aim of releasing in late-January 2019. This project will be focused on refugee and asylum seeker children; drawing a spotlight on the children who were left in Calais after the Jungle was destroyed. We have some truly incredible artists and collaborations lined up, more to be revealed soon!

(Taking off the Voice of Aiko pink wig, this is Calista Kazuko talking now…)

If I was to travel back to your childhood; what sort of music would I find in your collection?

I was literally obsessed with Freddy Mercury - to the point that I would draw on a moustache and wear spanx as a child, sure. Other obsessions included Kate Bush, Supertramp and Nas!

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

By the end of 2018, I will have finished my album, Empress, which is due for release in spring 2019. I am having SUCH a blast making this album with my fave collaborator film composer Guy Dagul. A history of empresses throughout time, this record will be a rollercoaster ride of epic sonic soundscapes! Drawing on my Classical and Jazz training at the Royal Academy of Music, and many musical influences and loves, the album is shaping up to be a total musical melting pot of yumminess!

The album also explores the adversities women have had to endure throughout time and the relationship between powerful women and sexuality. It’s been really fun entering the different worlds of the various fabulous empresses and I can’t wait to finish it and unleash it unto the world! Empress the album is available for pre-order exclusively at PledgeMusic.

I’m also beyond excited to be writing my first musical(!) with phenomenal playwright, fellow Royal Academy of Music graduate and all-round boss lady Stephanie Martin. It’s called Mary Quake and tells the story of a young woman’s inner-turmoil and ultimate self-discovery as she enters the world of British feminism in the 1960s and '70s.

Steph is the most remarkable writer and woman; it’s totally inspirational to work with her. She teaches me so much on creativity, work ethic and just generally being fabulous! We hope to have a first draft complete by end of 2018 and cannot wait to see our baby come to life.

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

Playing Wembley Arena as a teeny-bopper, chart topper (no jokes!)

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

Kate Bush - The Kick Inside

Kate Bush is a goddess - and this album was the soundtrack of my childhood. My dad led the Medici String Quartet and they are playing on this album and on Wuthering Heights. Pretty cool, no?! Kate Bush and this album probably inspired me and shaped me as a young musician the most.

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

Fiona Apple. Everything she wants in the world cause she deserves it!

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

YES! I will be doing a show in late-November at the Century Club in Soho (date T.B.C. v. soon). I also hope to tour the EMPRESS album with my amazing band Fred Claridge and Sam Weston when it is released next spring. Watch this space!

What advice would you give to new artists coming through?

Be yourself and know that it’s ok that ‘yourself’ changes all the time. Don’t make music to try and please people: not everyone will love what you do and that’s totes ok. Don’t expect to make millions from your music - you probs won’t.

Prepare for a bohemian life of baked beans and romance. Have a thick skin and an open mind. Figure out what drives you and what you value as success…then reach for the stars, baby!

 IN THIS PHOTO: Sera EKE

Are there any new artists you recommend we check out?

Sera EKE - profound, daring; innovative and brave. Sera mixes music, film and dance to create groundbreaking new art.

Bumi Thomas - honest, ethereal; powerful and beautiful. Bumi’s music transcends the physical and touches the soul. She’s a true artist in every sense of the word.

Both these amazing female artists are representing Voice of Aiko and performing at the Prescription Dream Launch Event at Leman Locke on 29th September!

 IN THIS PHOTO: Bumi Thomas/PHOTO CREDIT: @kajagwincinska

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

Netflix and chill, ya dun kno. Escaping to the country with the hubby and leaving all technology in London. FOOD!

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).

Supertramp – The Logical Song

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Follow Calista Kazuko

Official:

https://www.calistakazuko.com/

Facebook:

https://www.facebook.com/CalistaKazuko/

Twitter:

https://twitter.com/calistakazuko

Instagram:

https://www.instagram.com/Calistakazuko/

YouTube:

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

Spotify:

https://open.spotify.com/artist/2FolG4F7PJKFEbG2cJ0Ncq

Follow Voice of Aiko:

Facebook:

https://www.facebook.com/VoiceofAiko/

Twitter:

https://twitter.com/voiceofaiko

Instagram:

https://www.instagram.com/voiceofaiko/

FEATURE: A Maligned Musical Decade: Time to Stop Hating on the '80s

FEATURE:

 

 

A Maligned Musical Decade

ALL IMAGES/PHOTOS: Getty Images 

Time to Stop Hating on the '80s

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EVERYONE has their favourite decade of music…

 IN THIS PHOTO: Bauhaus

but you always get that argument against the 1980s – that it is completely naff and never produced anything good! I think the 1990s is the best time for music but, again, there are those who refuse to accept the brilliance of the time. I guess everyone is entitled to their tastes and preferences but there is this huge weight against the '80s that makes me a bit angry. I always hear people slag off the music based, I guess, on images like the one above. It is true there was a lot of tragic clothing and dodgy music but look at the classic albums from the decade and you have to wonder what the hell people are talking about. Inspired by a recent piece Pitchfork published regarding the best two-hundred albums of the 1980s; my eyes were watering at the sheer volume of genius that came through. Just look at their top-twenty and you cannot argue against the inclusions. From Kate Bush’s Hounds of Love (1985) to Beastie Boys’ Paul’s Boutique (1989); Madonna’s eponymous debut (1983) through to Prince and the Revolution’s Purple Rain (1984) – there is so much wonder and brilliance there. 1986 is a year that has been criticised for having too much computerised beats and a bit of an awful sound that did not produce much greatness.

 IN THIS IMAGE: The cover for Beastie Boys’ album, Paul’s Boutique

Aside from records like Graceland (Paul Simon) and The Queen Is Dead (The Smiths); there was not a huge force to write home about. That is okay because so much of the decade is represented in the 1980s’ list. I think about Madonna arriving on the scene and that unique, brilliant sound coming through. Some argue her peak was 1989’s Like a Prayer but you can make a stronger case for her debut. Prince has a productive decade that also saw Sign o’ the Times in 1987. He was in incredible form and showing he had no peers. Great Hip-Hop and Rap was emerging in the form of Beastie Boys and Public Enemy. On different pages in terms of their style and lyrics; Paul’s Boutique and It Takes a Nation of Millions to Hold Us Back (respectively) are among the finest creations of the '80s. You marvel at the innovation emerging and listen to Erik B. & Rakim’s 1987 masterpiece, Paid in Full. Pitchfork, when assessing the album in their rundown, had this to say:

“But formal innovations lose their shock over years; once you’ve been astonished by their novelty, you don’t stay astonished. What truly solidifies Paid In Full’s lofty place in history, and what makes it sound mysterious and untouchable three decades later, is the spartan form of cool it pioneered. Rakim cut a forbidding figure against his peers: He was a stone-faced virtuoso in a sea of party rappers, equal parts exacting and self-assured”.

 IN THIS PHOTO: Eric B. & Rakim

The staggering array of Hip-Hop and Rap emerging from the 1980s was staggering to see. Pioneering and bold artists like Neneh Cherry, Kraftwerk and Pixies were ruling and it was a sensational time for Pop kings/queens. I have mentioned Kate Bush’s Hound of Love but she released the wonderful The Sensual World in 1989. Madonna was undergoing change and transformation through the 1980s. From her debut in 1983 to Like a Prayer in 1989; she established herself as the Queen of Pop and became a fashion icon in the process. They do not make stars like her anymore and, rather than conform to all the uncool stereotypes of the 1980s, she constructed her own looks and inspired legions of fans. Michael Jackson gave us Thriller in 1982 and Bad in 1987. I amused by this article that reacted to ‘scientific’ study that suggests the 1980s was the most homogenised and boring era for music:

“The second landmark movement in 1983 came with the adoption of aggressive, synthesized percussion — think Phil Collins and his pulsating drum machine — and loud, guitar-heavy Arena rock with lots of chord changes, such as with Mötley Crüe, Van Halen, REO Speedwagon, Queen, Kiss and Alice Cooper. These rock bands were joined by new wave acts — like the Police and Cyndi Lauper — plus a surge of metronomic dance-pop heroes like Madonna and the Pet Shop Boys. (Michael Jackson’s Thriller dropped in late-1982) Meantime, classic country and folk lost popularity and wouldn’t return until the early aughts.

“…But these sounds and styles of the Reagan era flooded the music scene, pushing out genres like country and folk to the point that mid-to-late 1980s became most homogenous period in music over the last 50 years, based on the team’s computer analysis”.

Tommy Lee of Motley Crue performs live onstage in February 1986. The 1980s marked a period of low diversity in music, according to a new computer science study. Photo by Peter Still/Redferns

This theme doesn’t mean music from this era was bad, but rather it suggests “a small number of styles were very catchy and therefore dominated,” Pagel said. This catchiness may linger to this day and explain why themes from the 1980s have bounced back over the last decade”.

Maybe 1990s’ Pop and Rap scene were more vivid and populist but you cannot claim the decade lacked inventiveness, spark and imagination. I will end the piece by selecting tracks from the albums Pitchfork selected as the best of the 1980s – that shows what an array of brilliance there was! Rap, especially, was noted for its scene and culture during the 1980s:

“As complicated as it was creative, as contradictory as it was all-conquering, the story of hip-hop's eventual aesthetic takeover starts in the '80s. From artists like Slick Rick to the Fresh Prince, Public Enemy to the 2Live Crew, N.W.A to BDP, Salt-N-Pepa to Queen Latifah, The Fat Boys to De La Soul—this is where rap's various ideologies and innovations begin spinning outwards, spreading geographically and, culturally. Early on, it wasn't an album genre; hip-hop was all about parties and park jams, preserved and propagated via bootleg cassette. Soon after it was about stars and singles, disco loops and breakbeats, drum machines, and ultimately, albums. The art of the hip-hop album was perfected by the close of this remarkable decade”.

 IN THIS PHOTO: Bananarama

Whether you prefer an '80s record like Talking Heads’ Remain in Light (1980) or Sonic Youth’s Daydream Nation (1988); plump for Joy Division’s Closer (1980) over Janet Jackson’s Control (1986); there was so much range and terrific stuff coming out. The 1980, of course did bring us Bros, Spandau Ballet; Bucks Fizz and Duran Duran. Some love the music of those artists - I am partial to classic Duran Duran – but there was that ‘look’ that gets in the way of the music. Look at the publicity photos and it tends to be the large hair, matching outfits and eye-catching looks. I agree the fashions and styles of some artists distorted the music but the likes of Tears for Fears, Eurythmics and Bananarama were making some incredible music – even if the fashion has dated somewhat. If you cast aside the worst of Pop music and a lot of the rough edges; I argue the 1980s was as strong and interesting as the 1960s and 1970s. Rock was less of a potent force during the decade and artists were more pansexual in terms of their compositions and themes. Everyone from Orange Juice to The Clash were bringing in Calypso, Funk and Synth-Pop and lacing it together wonderfully. There was so much more richness at the forefront compared to the 1970s. With a decline in genres like Rock and Punk, more female artists were coming to prominence.

I have mentioned Madonna and Kate Bush but we also had Suzanne Vega, k.d. lang and Sade releasing incredible music. It was a great time of hubris for female artists who were, for the first time in a long time, given a lot more attention and focus. I am not saying there was no sexism in the 1980s but female artists were flourishing and showing just how exceptional they were. Music journalism was booming and great independent labels were formed. Whilst Smash Hits and The Wire were looking at the new releases; Creation and 4AD were among the labels leading the charge against the big boys. Black artists like Prince, Salt-N-Pepa; Michael Jackson, Whitney Houston and De La Soul were making waves and, alongside the rise of music television, it meant there was less homogenisation on the screen. The Tube and Top of the Pops gave artists of the day a stage on which to perform and MTV were playing the biggest and most spectacular videos of the time. Groundbreaking videos such as Sledgehammer (Peter Gabriel), Thriller (Michael Jackson) and Talking Heads’ Once in a Lifetime pushed technology and techniques to the limit and it was a golden era for music T.V., journalism and progression. Maybe a bigger explosion came in the 1990s and, to me, it is a stronger decade but the 1980s was a wonderful time for music and culture. In many ways, I wish we could return to a time when there were those huge Pop artists challenging one another; music T.V. and journalism were fierce and huge shifts were occurring. I really love the '80s and think it gets a hard press. I think we should all take time out and appreciate all the amazing albums, artists and moments that reigned…

DURING a fantastic decade!  

FEATURE: Between the Grooves: Why the Album Can Never Be Considered ‘Dead’

FEATURE:

 

 

Between the Grooves

ALL PHOTOS (unless credited otherwise): Unsplash 

Why the Album Can Never Be Considered ‘Dead’

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SOME might say…

 IMAGE CREDIT: Getty Images

they listen to great albums like Oasis’ (What’s the Story) Morning Glory? all the way through and they are beholden to the album as a concept. Many, slightly older listeners, have always bonded with vinyl and do hold much stock in the digital takeover. The reason I bring this subject up is because there is that never-ending talk about the album and whether it holds much weight. The Hyundai Mercury Prize happens on Thursday and it is a rare occasion where we get to celebrate an album in its whole. Award ceremonies commemorate and nod to great records but I wonder how much the public actually takes notice of the L.P. I myself have been dipping into a lot of recent albums but I go back to older records and listening to them in full. I am not sure whether it is the way artists make albums – a few singles and then some weaker tracks – or if it is a sign of the times. I love putting on a vinyl and listening to the complete thing. Great albums are a story and narrative that grip you from start to end and it is harder to draw yourself away than you’d imagine. You sit there and let the music wash over you and it is a wonderful thing. I wonder whether we have the time and patience to sit through albums and whether we have that same passion.

Focusing on an album requires patience and time to concentrate. Many of us are busy and going about our business and, when we get a moment free, we go onto streaming sites and pick tracks we want to listen to. The album turns seventy this year and it is a good occasion to look at the format and whether it is really in full decline. This article from The Conversation (published in July) looks at the figures and how albums are faring at the moment:

“The album – or at least, the 33rpm vinyl record that spawned the format – turns 70 years old this year. But it isn’t ageing gracefully. Even five years ago, Bob Lefsetz declared that “the album is dying in front of our very eyes” – and given how comprehensively streaming services are decimating record sales, that still seems a reasonable observation.

In 2017, UK revenues from subscription streaming platforms rose 41.9% to £577m, while physical formats dropped 3.4% and online downloading dropped 23.1%. Album sales – as hard copies and digital files – have halved since 2010”.

You can argue award ceremonies and special days – National Album Day on 13th October is a special day to mark the wonders of the album – help boost the importance of albums but I fear many people are picking singles and there needs to be that sort of revival.

 IMAGE CREDIT: Getty Images

Back in the 1960s and 1970s, when the album was at its peak, you had those wonderful statements that have stood the test of time. Whether it is The Beatles creating cultural milestones on Sgt. Pepper’s Lonely Hearts Club Band or huge commercial success like Thriller (Michael Jackson) and The Dark Side of the Moon (Pink Floyd) selling millions – it is clear the album is important and has changed music. That article from The Conversation noted how some acts toured entire albums – Paul Simon for Graceland and Lauryn Hill for The Miseducation of Lauryn Hill – and fans can revel in their favourite record coming to life, in full, on the stage. The piece looks at the current state and how streaming has affected the market:

“Notwithstanding a resurgence of vinyl sales, albums are still suffering when compared with streaming, which has steadily ratcheted up the value of individual smash hits. But while some songs end with a sudden cut-off, others slowly and gradually fade away. It’s been a long time since the album was defined solely in economic or physical terms. Culturally and socially, the album’s carefully choreographed tracklist could run for a good while yet”.

This Forbes article looks at the expense of making an album and asks whether it is worth buying them considering the fact many of us pick a track or two:

“Albums are expensive and time consuming to make and, for the most part, amount to a lot of wasted effort as consumers only listen to one or two songs (the singles) anyway even if they buy the album. Most people that get their music from a streaming service will end up cherry-picking the most visible songs (again, the singles), and will never experience the rest of the album cuts anyway. Even if they do, chances are they’ll only listen to each a few times at most, and in most cases, not at all. That’s a lot of wasted effort for so little in return”.

This phenomenon of the dwindling album is not a new thing. Ever since artists started filling C.D.s with as much material as possible, many have eschewed the notion of the album being noble and omnipresent. There was that trend, especially in the 1990s, to make sure the consumer got value and, as such, artists crammed every ounce they could into a C.D. It meant a few filler tracks and, as such, people were only listening to the big hits. It seems rather pointless and sad for artists to make albums at all if we are less concerned with the whole work. I know the facts out there are shocking but I do not want to see the day where artists are more interested in getting their music featured on playlist and can’t be bothered to record whole albums. The reason we have these classic artists and music has come this far is because of the album itself! We will not see evolution and legendary artists of the future based on singles – there needs to be the album and, if it is expensive, then artists need to up their games. Attention spans are short but we cannot let the album die because people cannot be bothered to listen to them. Album artwork and images are still playing an important role for some artists. Now, we have thumbnails and artists are required to submit a cover art as a formality. Many artists are using images as branding and can create an identity based on an album cover.

Streaming is good for those who want to grab a few tracks but the tactility of an album and that complete package is important. Most of my greatest musical memories revolve around hardware and me having that tangible and personal bond to an album. I love picking up a vinyl and having this finished product in the hand. The sleeve has that great detail and art and it feels like you have a much greater attachment to that artist. I maintain a lot of albums, classic or not, have a couple of weaker tracks but you still listen to the whole thing because it is that album experience. If you skip over tracks – harder to do on vinyl! – then you miss out on something pure and cohesive. I think this mentality has formed that says the album is pointless and plays no role in the modern day. This great article states how you can hear a complete statement and story through an album:

“Albums still matter because they tell the unique story of who a band is at a specific moment of time that one or two singles just don’t have the ability to do. Imagine if the songs from Nick Drake’s Pink Moon or The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band were released one at a time over the course of a year. Yes, the songs would still be incredible, but the meaning of these hugely important albums would be far less impactful. Whether it’s a concept album or not, good albums feature some sort of story or larger narrative whether it’s in the lyrics or instrumentation. Singles can’t tell the stories albums can”.

It goes on to say how albums do not need to be masterful works of genius and comprehensive – there is great logic releasing an album:

“Albums don’t need to be deep, meaningful or political in order for the world to take notice. Rather than being some grand artistic statement, it’s sometimes as simple as a music listener thinking, “Hey, a band I like just put out ten songs.” You’ll get far more mileage out of releasing your music through albums than you will from spreading out your releases song-by-song no matter what kind of music you make”.

I know there will be a decline and formats like the C.D. will be phased out. It is important we keep hold of the album because, without it, music cannot survive. That is not hyperbole: if we celebrate singles then artists releasing now will be overlooked and it is a case of washing away one generation and forgetting what came before. If we do have short attention spans then we are only listening to what’s out now and, in years to come, aren’t going to recall the singles we are streaming now. Albums are the natural source of new music and have to be preserved. Whether it means looking at the cost of making them or enforcing the pleasures of artwork, the physical format and classic albums we all love – accepting the album is dead is something a lot of people are not willing to let happen.

We can never get rid of the album because, whether you like it or not, there is still a passion among musicians to release them into the world:

“No matter how it arrives, the hoops people jump through beforehand, or how it’s labeled, it’s clear that everything relates back to one simple truth: Bands still make albums for people to consume. Somehow, some way…

The fact of the matter is that no fiscal, artistic, or cultural change could ever make a lasting difference. You can release an album on human bone and distribute it via tornado, and people will either treat it like an artifact of pure value or ignore it outright — just like most folk do already. Nothing of this most venerated institution has so much changing”.

We need to stop bleating about the album being dead and look at ways to balance its importance against that of convenient streaming! If we get too complacent then music is going to suffer hugely. As we look forward to the Mercury Prize and mark the album more passionately next month; I hope people will realise how special albums are and the role they play in modern music – none of the artists you all love and listen to would be in the business were it not for the albums they grew up around! Against cost, attention spans and the rise in streaming; if we get rid of albums and accept singles are all that matters then the future of music as we know it is…

 IMAGE CREDIT: Getty Images

IN dire straits.  

INTERVIEW: Ghost Caravan

INTERVIEW:

Ghost Caravan

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THE fantastic Ghost Caravan….

has been talking with me about her latest track, Shine On, and what its story is. I ask the songwriter which artists she grew up around and how her work has developed since the start – she recommends a few rising artists we should get behind.

Ghost Caravan selects a few albums that are important to her; what she wants to achieve before the end of the year; whether there is time for her to chill outside of music – she reveals if there will be tour dates coming up.

__________

Hi, Ghost Caravan. How are you? How has your week been?

Hi! It’s been great. The Toronto International Film Festival just closed in Toronto so that’s been keeping me pretty busy. Between events, playing a gig and seeing films while keeping the rest of my life going, it’s been a whirlwind.

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

I’m Shaina Silver-Baird and I am the lead artist on Ghost Caravan. However, there are a whole group of amazing musicians, producers and songwriters that have all contributed to the project. The Ghost Caravan sound is Orchestral Soultronica. G.C. strikes a fine balance between electronic tracks and live, organic instruments creating a sound that is cinematic and invigorating. Think Electronic-Pop with a soulful vibe.

Shine On is your new single. Can you reveal the story behind the song?

Shine On is an explosion of self-celebration. What started as a break up song became an upbeat, feelgood discovery of what it means to truly let your light shine against all odds. Shine On is the re-birth after loss; the dance party in your underwear; the uncontrollable laughter with friends. It’s a call to action. As it says in the lyrics: “Keep yourself moving into the sound, shine on!”

How do you think your work has developed since you started out? As a songwriter; are you always searching for fresh inspiration and adding new elements into your work?

When I started the project, I was so focused on being dark, showing my heartbreak and pain in order to be a ‘real artist’. But, I started to realize we don’t actually need more of that in the world. We need to be uplifted. We need to be able to access our murky depths, but we don’t need to stew in them. I want to empower people. I want to make them dance and make them smile.

So, my music is still about those dark places, but I focus on finding the light in them and celebrating the magic in the world. I’m focused not on the moment of despair, but the moment right after; the realization of your own strength and beauty and ability to move forward. Loving when it is hard… that’s heroic. That’s what I want to represent in my music.

What sort of sounds did you grow up around? When did music come into your life?

My parents loved music, so music was always playing when I was growing up. We listened to a lot of Jazz, Blues; Soul, Pop and Traditional Folk music from the Balkans (my parents taught traditional Balkan Folk Dance…talk about niche!), which I think is where my love for unusual rhythms comes from. Generally, if music makes me feel something or if it makes me want to dance, I love it.

Might we see more material next year at some point?

Yes! The next single and music video, Damn You, will be out by the end of September and the full eight-song E.P. will be available soon after. It’ll also be available on limited edition vinyl at the album release party in Toronto on Oct. 6 (or if you live abroad we can ship it to you!)

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

I want thousands of people across the globe to be listening to the songs on the T.O. Confidential E.P. I am so proud of this album and all the work my whole team has put into it and I want as many people to hear it as possible. The response to Shine On has been so positive and so many people have told me the song just makes them feel good. I hope the rest of the songs have the same effect.

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

What comes to mind is not a specific memory, but a specific moment that occurs whenever I’m co-writing a song. It’s that moment when you first hear the full thing all the way through - once you’ve finished writing the lyrics and the skeleton of the instrumentation is there and you can HEAR that it’s going to be great. I’m in love with hearing that potential and imagining where a song can go.

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

The answer to this question changes depending on the year and what I’m going through. But, right now:

Fleetwood Mac - Rumours

It’s classic. It’s amazing. The end.

Bishop Briggs - Church of Scars

This was the soundtrack to my life this year. So much soul. If this album were a colour it would be deep, deep purple and I want to dive into it.

Janelle Monáe - Dirty Computer

Because it is unabashedly female, feminist and it celebrates female sexuality from a female, not a male, perspective. Beyond being catchy as hell, I think it’s a really important album.

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

There will be some more coming up but, right now, we’re prepping for the Vinyl Release Show in Toronto on Saturday Oct. 6 at The Supermarket.

Do you think you’ll come to the U.K. and play at some point?

Yes! It’s definitely a goal.

What advice would you give to new artists coming through?

Create your own opportunities. If you’re writing and singing and playing all the time, even if it’s open mics and small time gigs, eventually you’ll grow and someone will hear you. Get out and play in front of people as much as possible.

 IN THIS PHOTO: MIRIAN

Are there any new artists you recommend we check out?

MIRIAN – she’s an amazing R&B singer who I sang with in my Folk band for five years and she’s doing some very cool stuff.

Laura Tremblay – also a Toronto staple I’ve played with a bunch. Super-fun, soulful Folk/Rock.

Grand Analog – amazing live Hip-Hop. Odario Williams guests on my next single, Damn You, and he is one of the most engaging live performers I’ve ever seen.

Hill Kourkoutis – she’s a producer working with some of the best in Toronto. She produced Shine On and she’s fire. Look out for anything she’s had a hand in.

 IN THIS PHOTO: Laura Tremblay

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

This summer, getting out of the city to a cottage or the wilderness has been key for me…that and reading. I’ve rediscovered the library this year and I pretty much always have a book on the go. I love losing myself in stories. I was an only child so books are my happy place.

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).

Body by MIRIAN

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Follow Ghost Caravan

Official:

https://www.ghostcaravan.com/

Facebook:

https://www.facebook.com/ghostcaravan/

Twitter:

https://twitter.com/ghostcaravan

Instagram:

https://www.instagram.com/ghostcaravan/

SoundCloud:

https://soundcloud.com/ghostcaravan

YouTube:

https://www.youtube.com/channel/UCLSMFYO583O9gOwFYwmKOcQ

FEATURE: You Can’t Please Everyone! Does the Hyundai Mercury Prize Need an Oil Change?

FEATURE:

 

 

You Can’t Please Everyone!

IMAGE CREDIT: Hyundai Mercury Prize/Getty Images

Does the Hyundai Mercury Prize Need an Oil Change?

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ON Thursday evening…

 IN THIS PHOTO: Sons of Kemet (one of this year’s shortlisted artists who are seen, by some, as a ‘token’ inclusion)/PHOTO CREDIT: Pierrick Guidou

we will see who will walk away with this year’s Hyundai Mercury Prize. This year’s list has drawn as much discussion and backlash as any I can remember. IDLES missed the cut last year (for Brutalism) and, although they look dead-certs to make the list next year for Joy as an Act of Resistance, it seems like there is a leaning towards bigger artists and Pop this time around. I guess Noel Gallagher’s High Flying Birds goes all over the place but many have asked whether big artists like Arctic Monkeys, Noel Gallagher and Lily Allen need the award – same goes for Florence + the Machine! The shortlist was compiled from over two-hundred albums and it was narrowed to twelve after months of study. There is no doubting the seriousness with which the judges announced the shortlist but many are noticing certain trends and omissions. If last year’s nominations was geared towards London and albums with a bit more grit and depth – Sampha won for Process but Kate Tempest and Loyle Carner were nominated; both edgy and arresting records. This year is more synonymous with already-nominated artists and those who have been around for a while! Although great albums from Jorja Smith (Lost & Found) are nominated and King Krule makes the list with The Ooz; I wonder whether artists like Everything Everything and Wolf Alice (who have been nominated before) need another nod. I agree the Mercury Prize should be decided upon quality and the best album of the year - but it is always a chance to recognise new artists who can benefit from the prize money and award. Rather than give it to someone who has already won or a mainstream artist; why not recognise King Krule or Sons of Kemet?!

There is always this division and argument when the shortlist is announced and it seems opportunities are being missed. Nadine Shah, nominated for Holiday Destination, seems like a shoe-in to me and she is someone who could really benefit from the prize. Her political and vital album is more powerful and popular than any politician’s message and it gained a score of great reviews. She has not been nominated before and it would really raise her profile – especially as a Muslim woman in music. It would be good if Nadine Shah or Jorja Smith won but I have the feeling either Arctic Monkeys or Florence + the Machine could win. Whilst both albums gained applause and are great works; how are they going to benefit from the Mercury?! I feel the money is irrelevant and the award will not change their direction or make a huge impact. There is this split between those who say the Mercury Prize should be about quality and the best album around and those who feel it needs to go to an upcoming artist who is being recognised because of their potential and to help build their platform. I am not sure how Sampha has been spending his time since he won the award last year but I am sure he is making new material and it has made a big impact. Those who say the award is ‘cursed’ – some artists won it and their careers disappeared – could make an argument against giving it to a popular artist who might be impacted negatively.

 IN THIS PHOTO: Florence Welch (Florence + the Machine) is nominated for High as Hope/PHOTO CREDIT: Getty Images

I remember when the shortlist was announced and a lot of the feedback was critical. Journalists came out and called the list quite soft and populist; not taking any risks and not representing the best of British. Judges like Clara Amfo and Jamie Cullum have made their choices but I feel there will be big questions asked if a mainstream artist wins on Thursday. I feel two things could happen regarding future years. I feel like having one prize and only shortlisting twelves names is going to be limiting and controversial. I wonder whether the shortlist should be even longer – maybe sixteen names – and dividing the categories into a Best Album of the Year and Best Newcomer category. I feel, if you have one award/list then you are always going to court controversy. By introducing another category then you are going to be split between rewarding the best artist/album and those who could benefit from the award. Another problem is those who turn their noses up at ‘token’ artists in the genres of Jazz. Critics always list them as also-rans and put them at low odds – there to make the numbers up and merely show something interesting. Maybe the records artists such as Sons of Kemet produce are not as commercial as Noel Gallagher and will not get the airplay of Arctic Monkeys but should we be asking WHY their inclusion is necessary and how they could benefit from the prize?!

The Guardian raised a point regarding ‘token’ acts and whether judges need to be braver:

“Talk to the acts themselves, however, and a different story emerges. “I don’t care if we’re called a token jazz act if we sell 3,000 more records,” says Shabaka Hutchings, whose jazz group, Sons of Kemet, are among the favourites to win. “And it might be a coincidence, but I’ve noticed things happening since we were nominated this year.” Their gigs are selling out more consistently and the band are getting better stages at events. They’re getting support they don’t get from the Mobos, Hutchings argues, as he has before, and don’t start him on the Brits. “That side of the industry doesn’t care. But this is like a little stamp: you are given a level of validation that reverberates. And if it sells more albums or tickets, it helps subsidise our music and push our scene as far as it can go”.

Past years have given the Mercury to Drum ‘n’ Bass artists (Roni Size in 1997) and Ms Dynamite (Hip-Hop/Rap) won in 2002 for her debut – there have been some good and rare inclusions but it seems the nominations are getting more commercial and less risky. You could argue the nominations of Jorja Smith and King Krule carry on from last year’s nominations of Loyle Carner and Kate Tempest – those artists who are producing something more substantial and original. Neither of the nominated won last year and there is that fear 2018’s prize will go to a chart act. Are we ignoring artists who could get a kick from the award and really do something with it?!

 IN THIS PHOTO: Jorja Smith (who is nominated for her debut album, Lost & Found)/PHOTO CREDIT: Jacqueline Harriet

The Guardian article looks at the early days of the Mercury Prize and why it was established:

“A look at the prize’s early years and the token acts included back then is instructive. The prize was established as an alternative to the Brits, says Trevor Dann, who was a judge from 1995 to 1997, “not to reward success, but to serve and promote the rising stars of British music culture. It was a tough time back then. People didn’t want the British music scene to be forgotten and overrun by the US.” The first shortlist in 1992 did include the Sheerans and Gallaghers of their day – Simply Red and U2 – but Jah Wobble, John Tavener, jazz artist Bheki Mseleku and the former Magazine bassist Barry Adamson lined up alongside them”.

People can contrast their playlists through streaming sites and crossover artists are suffering. Genres like Folk rarely get a look-in and what about Classic musicians?! There are some great current composers but many cannot afford to put a C.D. out and will suffer on streaming sites. A lot of great artists missed out this year – including Shame and Let’s Eat Grandma – and I feel there is an identity crisis happening. Do we need to widen the Mercury so that there are categories that ensure great Jazz and ‘token’ artists actually get recognised?!

 PHOTO CREDIT: Unsplash

I do feel it is hard to please everyone but I feel having a shortlist that is quite heavy on mainstream artists and those who have been nominated before risks calling the validity of the prize into question. The Mercury is that alternative to the Brits and mainstream ceremonies – something that is there to uncover a gem that is making great music but not included in those bigger shows. I feel there need to be rules coming in so that there is a limit on the already-nominated and those who are bigger/not in need of the celebration. If you limit it to say, three, artists who are bigger and ensure there are nominations from Jazz, Folk and other genres – is that a better chemistry and compromise?! I feel it is a good start and do feel an overhaul is needed. Who knows who will be nominated next year but nothing will progress if we keep going down the same road. I hope Nadine Shah wins the Mercury this year this year but, if not, it will be a real shame! Who knows which way things will go but a lot of critical voices are lambasting the Mercury Prize and its worthiness. There are a lot of artists out there, from various genres, who would give their right arm for a Mercury win! If we deny them and do not address the albums/artists we are nominating now (and why) then will the Mercury Music Prize come off as a slightly cooler version…

 IN THIS PHOTO: Nadine Shah (who is among the favourites to win the Mercury Prize this year for Holiday Destination)/PHOTO CREDIT: Getty Images

OF the Brits?!

INTERVIEW: Marlon Chaplin

INTERVIEW:

PHOTO CREDIT: Mike Greggain

Marlon Chaplin

___________

IT has been great speaking with Marlon Chaplin…

ARTWORK: Karly McCloskey/PHOTO: Michael Greggain and Marlon Chaplin/CONCEPT: Marlon Chaplin

about his debut album, The Circle. He talks with me about the album’s themes and whether Toronto and its people/sensations feed into The Circle; when music came into his life – Chaplin recommends some rising artists we should be aware of.

I ask the Canadian musician whether there are tour dates coming and if he has favoured memories from his career so far; what he does to unwind away from music; the three albums that mean the most to him; what he hopes to accomplish before the close of the year – Chaplin chooses a rare gem to end the interview with.

__________

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

It’s a bit of a whirlwind right now. I’m still coming down off a wonderful C.D. release party - packed house, one of Toronto’s finest venues (The Piston). It was a real raver. Two nights ago I shot part of a new music video for one of the album’s songs; I’m in the process of working on a concept for another and just got through booking a slew of new dates with my management. 

So, when I catch my breath, I’ll let you know.

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

Hi world. I’m Marlon Chaplin. I’m a musician, songwriter and producer from Toronto currently in the process of rolling out the album I have a sneaking suspicion we’re about to talk about…

The Circle is your debut album. What are the main themes that define the album?

It’s a piece that deals with ideas of a cyclical nature. It’s life, death and everything in between. I don’t feel a lot of things are black-and-white and a lot of looking at life and your surroundings comes down to perspective: one man’s trash etc. That kind of thing. From the album art, to the lyrics and music itself there’s a healthy amount of Easter eggs for those that want to go digging.

What has it been like recording the songs? Is it cool to be releasing through Möbius Recordings?

The recording process was a fruitful one. Eric Duquette, who plays guitar on the record, recommended the studio/engineer. We cut the bed tracks at Lincoln County Social Club with John Dinsmore in four days as a five piece having rehearsed it for months. Later, horns, strings and various other overdubs were added. It eventually made its way into the hands of Chris Shaw, who’s done brilliant work with Weezer and Bob Dylan. The making of this album was, overall, a carnival of delight.

The record simply wouldn’t exist without Möbius Recordings, so I think the gravitas speaks for itself. 

PHOTO CREDIT: JP Kelly

There are personal offerings on the album but I feel the sights and sounds of Toronto, in a way, play a role. How important is the city to you?

Hmm, that’s interesting. I’d be interested to know in what sense you got that impression. You’re right. There are nods here and there, mainly in the artwork but I’ve lived here my whole life so whatever the sound of Toronto is - and that’s impossible to pin down - I’m sure it bleeds through in some way. 

I’ve never been that songwriter that name-checks locations and whatnot. Some of my favourite songwriters are, but it’s just never come naturally to me. So, my roots/heritage probably leak through more conceptually.

When did music come into your life? Which artists did you obsess over?

Music came into my life, basically, from day one. I remember being very small and wondering who exactly Jo Jo was and what a loner is. The full-on obsession started with The Who. That was my scour-the-earth-for-original-magazines-cut-out-the-pictures-of-Townshend-mid-leap-and-plaster-them-on-my-wall fixation. My influences run the gamut though. Since my teens, it’s been a case of if it moves me then it stays. Genre doesn’t matter to me one iota. 

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

I want this record to reach a lot of ears because it deserves it. It’s my personal best and it’s what’s needed at the moment. Alternative, Rock; Pop - whatever you want to call it - needs a jolt of electricity and realness and, above all, songwriting. There are a million bands that look the part, sound the part but don’t have the tunes. The tunes are here. It's the recipe for longevity. By the end of this year, I want to turn on as many people as possible. 

It’s always getting a little bigger each day which is much, much better than the other way around. 

PHOTO CREDIT: Raquel Simoes

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

Impossible to pin one down. In many ways, I feel like I’m still just beginning. But, for today? My first club gig ever. The Rockit (long-since gone). That first hit, you know? It’s always the most powerful. You always remember your first time. 

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

‘The White Album’ (The Beatles) – The Beatles

Because it told me you can do anything.

Another Side of Bob Dylan – Bob Dylan

Because it told me you can say anything.

Songs for the Deaf – Queens of the Stone Age

Because it told me you can be beautiful and brutal at the same time. 

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

Mai Tais. Hyperbolic chamber; Wayne Newton. 

PHOTO CREDIT: JP Kelly

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

All Ontario dates until November at the moment. Oct. 5th, we’re at the Atria in Oshawa; Oct. 6th at the Foxx in Barrie; Oct. 12th at The Brownstone in Orillia and then it’s homecoming at the Horseshoe on Nov. 21st. 

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

It’s hugely important. It’s one of the places I feel most comfortable - that and the studio. My goal in all of this is basic at the end of the day: make people feel how my favourite artists make me feel when I listen to their records and see them live, which is the highest high.

What advice would you give to new artists coming through?

That would depend on what this hypothetical artist wants. Some people just want to make music for their cat. Some want to be Lady Gaga. It’s all good. Just keep your aim true and remember that critics, parents; teachers, whoever are just people with opinions. 

IN THIS PHOTO: THE NAIVE

Are there any new artists you recommend we check out?

You might catch me on a couple technicalities if we’re talkin’ new. But, relatively unknown? THE NAIVE, Jerry Leger and Ada Dahli.

IN THIS PHOTO: Ada Dahli/PHOTO CREDIT: Gárate Photography

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

The short answer is ‘no’, I don’t get much time away from music. I can’t afford any time away from it. I’m not cut from the 9-to-5er cloth: I don’t work for the weekend. I don’t save up for a vacation in Punta Cana or wherever. It’s just not in my blood. I just make music. 

I saw 2001: A Space Odyssey last night at something called the Cinesphere on 70mm. That unwound me. 

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).

Yes. No Man’s Land by Syd Barret. It’s a murky, dirty and twisted little dirge I just adore

___________

Follow Marlon Chaplin

PHOTO CREDIT: JP Kelly

Official:

https://www.marlonchaplin.com/

Facebook:

https://www.facebook.com/MarlonChaplinOfficial/

Twitter:

https://twitter.com/MarlonChaplin

Instagram:

https://www.instagram.com/marlonchaplinofficial

Spotify:

https://open.spotify.com/artist/7I5zKzb0emNyEMEC82i6qU

Bandcamp:

https://marlonchaplin.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCjsiBsUq2j3owFKugImtr5A

INTERVIEW: Tiger Mimic

INTERVIEW:

PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

Tiger Mimic

___________

I have had fun chatting with Bram and Jess of Tiger Mimic….

who have been discussing their upcoming work, Elephant Skeleton EP. With tracks Don’t Cover Up My Eyes and Elephant Skeleton out; the guys chat about their creations and what they want to achieve going forward – I ask how they got together and whether there are any gigs due.

Bram and Jess talk about their favourite memories from their careers to date and how they unwind away from music; how that special chemistry comes together; which rising artists we need to get behind – they each select a great song to end things with.

__________

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

Bram: Hi, Sam! Doing well, thanks. It's been a good week. We just rolled out our first music video on Friday, which is also my first animation project since I was a kid, so it's been nice to have some new stuff to share. 

Jess: Hey, hey! Doing great, thanks. It’s been a busy week, but the good kind of busy! Didn’t sleep much last night because my heater decided to make the craziest sounds at 4 A.M. - but it’s nice and sunny today, so can’t complain!

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

Bram: Sure! I'm Bram, originally from the States and I play guitar and sing for Tiger Mimic.

Jess: Woot woot! I’m Jess. I sing and play the synth. We’re an Indie-Rock band based in London and the other two members are Ben on bass and George on drums…but they couldn’t be here today.

How did Tiger Mimic get together? Is there a story behind that name, too?!

Bram: I had been writing and performing for a solo project I had going in N.Y.C. when I met Jess and she had her own thing too. Except for a couple joke songs in school, I had never really had any luck writing with other people, so I was surprised to find that co-writing came very naturally with her. After I discovered the joy of co-writing, I basically just dropped the solo stuff. Completely.

Jess: Ha, well. it just sort of happened. We met and started hanging out and, one day, Bram picked up his guitar and started noodling and I just started singing. It started that day and never stopped. Finding a name wasn’t easy at all - I’m sure other bands understand the struggle! A tiger mimic is a butterfly that has evolved to look like a poisonous butterfly (although, it isn’t) so that predators leave it alone. Also, I’m slightly obsessed with my cat (like full-on-crazy-cat-lady-obsessed) and he’s a little tiger mimic. 

You have an E.P. coming out next year. What can you reveal about the songs included and themes addressed?

Bram: There are five songs on the E.P., two of which have been released so far: Don't Cover Up My Eyes and Elephant Skeleton. The other three are titled I Took Off My Body, Salt Woman and In the Distance. Thematically, we have pretty different writing styles. The two songs on the E.P. that I wrote the verses for, Elephant Skeleton and Salt Woman, address very simple, personal things in indirect ways. Sort of bittersweet themes of transition and change just attacked from different angles; a garden falling into neglect or someone just carried away on the wind. There are a lot of nature elements in my writing. 

Jess: Like Bram said, there are five songs and In the Distance, which is the last song on the E.P., is the slowest, moodiest and saddest one - and perhaps my favourite one to sing. In the Distance, Don’t Cover Up My Eyes and I Took Off My Body were started as complete improvisations. Bram started Elephant Skeleton and Salt Woman and I liked them so much I wanted in on them, so I wrote the choruses.

I think people will be able to tell who wrote what at some point! I make up a story in my head and then write from the perspective of a character in the story. My songs may sound very personal, but they aren’t. Bram is a much more poetic writer than I am.

You have already released the singles, Don’t Cover Up My Eyes and Elephant Skeleton. How has the reaction been so far? What is it about those songs that marked them out as early singles?

Jess: Don't Cover Up My Eyes has been out for a couple months now and people have been really supportive. It’s been really nice getting people’s feedback and encouraging words, especially when they’re strangers. We like the way the song starts with just bass and voice and then builds up. We have so much fun playing it we just thought it could be a good introduction to our style. 

Bram: Elephant Skeleton is pretty fresh out the door, but the initial reaction has been good so far and we've been hearing positive things about the video, which is really nice. It's hard to predict whether an 8-bit adventure story about an elephant losing his bones will resonate with your audience but some people have already told us that they're expecting a sequel now, so that's nice to hear. That song always felt like a good mix of what defines Tiger Mimic's sound for me: trading vocal parts, harmonies; narrative lyrics and a lot of different layers as the song progresses.

PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

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

Bram: The first records that I would seek out were Beatles records - Magical Mystery Tour was the first non-children's record I really got into. My dad had a lot of really great '60s/'70s vinyls: Hendrix, Doors; Neil Young, Joni Mitchell; Leonard Cohen, Zeppelin - so those were all in heavy rotation when I was growing up. When I branched out on my own, I got into a lot of different things, though. My first concert was Nine Inch Nails, but my second was probably something like Weezer, so I was all over the place. 

Jess: Oh man, I think I liked a little bit of everything. My family and I moved so much when I was a kid that it kind of depended on the countries we were in. In Lebanon, the only music playing on T.V. and on the radio was basically either Arabic music, which I disliked as a kid, or basically just the ‘hit’ Pop songs. There wasn’t much else, really.

My dad had Classical music albums and my mom loved The Beatles so I listened to those quite a bit. I loved discovering new music. I remember, sometimes, we’d buy something from the store and it came with an included C.D. and I just couldn’t wait to listen to it. When we moved to France, my first album was a Bob Marley C.D. and my favourite band for many years was Nirvana.

PHOTO CREDIT: Luis Guillén

There more are and more mixed-gender/unisex bands coming through. I think you get more depth than an all-male band. Do you think having Jess in the band, and providing a female perspective, gives you extra contours and layers?!

Bram: I can say, for me, the music immediately got a lot more interesting when I started writing with Jess. I enjoyed the stuff I did before but there was something homogenous about it, like something was missing. She has a completely different approach to melodies and writing lyrics and it really brings a different energy to the songs.

Elephant Skeleton is a good example of a song where I had a melody and a couple verses and no idea where to go. Jess just immediately had this great melody and that totally made the song for me. Apart from gender differences, though, she also grew up in different places in Europe; lived around different cultures, speaks more than one language and I’m from a little rural town in the U.S. in a state that is known for having a lot of rocks (seriously) - so our perspectives come from almost cartoonishly different sources. 

Jess: Aw. I wouldn’t dream of being in a different band. I love playing with those guys so much and initially I was hoping there could be another female band member so we could be two girls and two guys. But, we all clicked immediately and I love the way it turned out!

PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

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

Bram: We're pretty new in town, so I think getting out on stage as much as possible and putting on some good shows is the best thing we can do in terms of building an audience right now. We'd also love to connect with other like-minded bands around town who might want to join forces for some cool showcases.   

Jess: Yes!

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

Bram: A lot of my music career has been really D.I.Y.; recording in friend’s closets and things like that, so getting into a real studio this year was pretty much fulfilling a lifelong dream for me. Working with an awesome band, an awesome producer and just spending twelve hours a day in a windowless room working on music, it was really incredible.

Jess: I share that same memory. It was really even better than what I had hoped for and imagined. Another favourite memory of mine is several years ago when I was living in N.Y.C. I posted a song on Facebook and sort of forgot about it. Then, a couple of years later, I saw my friend Pauline who lived in Europe and she started singing my song. I realised she knew the lyrics. It made me really happy. I sang the song at our first show in London and she was dancing and mouthing the chorus with me. 

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

Bram: Oof, tough. Maybe a tossup between Songs of Love And Hate by Leonard Cohen or Zuma by Neil Young

Both have really strong childhood memories attached to them; hearing my dad singing around the house - and then later playing them together when I learned how to play guitar too. 

Jess: Blue by Joni Mitchell

I’m most comfortable when I sing high so, whenever I wanted to cover a song, I had to change the key. I grew up thinking ‘Oh great, I’ll just have to sing Opera I guess (which I did for a while) because I can’t sing any Rock or Pop songs; my voice is just too high’. Then, I discovered Blue and, for once, I was so comfortable singing someone else’s songs, it was in my range! That album helped me not give up wanting to be a singer: it made me feel more comfortable with my voice. 

PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

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

Bram: Tom Waits, I think. He's such a distinctive artist and I think a tour with him would be a completely unique experience. He always seems to pick these really atmospheric, classic venues too which I find appealing. Almost all of the most memorable shows I saw in N.Y.C. were at places like The Apollo or The Beacon. it really feels like an experience in those smaller venues. 

As for a rider...I can probably only think of food things. In a perfect world, there would be amazing Thai or Mexican food along the whole trip. If someone really twisted my arm I could drum up a few other demands, but I'll never be the 'no brown M&Ms' kind of guy. 

Jess: I’d love to open for Björk. She’s awesome. When we eventually go on tour, all I’ll really need is a daily shower. Actually, being the only girl on a tour bus, I’ll especially wish for a daily shower for each of the guys. 

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

Bram: We'd love to get a tour lined up but, right now, we're just focusing on London. We're pretty new in town, so we're still getting our name out there; trying to connect with other bands, meeting promoters etc…so that's going to be our focus for the time being. Next show, though, is on September 26th at the Dublin Castle in Camden, we'll be playing at 8:30 that night. 

Jess: Yay. Hope some of you guys can make it that night! We’ll be announcing some other show dates soon too. 

What advice would you give to new artists coming through?

Bram: Just figure out what makes you different and use it. There are a lot of bands doing the same thing really well but I’d rather hear someone who is a little rough around the edges and trying something new. That’s what moves music forward for me. 

Jess: Do not compare yourself to anyone else. You are who you are and you do what you do. And, be patient: it really takes time to build a loyal fanbase. A lot of new singers that pop up and are immediately extremely famous have a whole P.R. team; managers and a label that is investing a lot of money in them and, of course, that’s really great for them! But, if you’re D.I.Y. then it will take time and it’s okay that it takes time.

 IN THIS PHOTO: Saltwater Sun/PHOTO CREDIT: Rosie Mackay

Are there any new artists you recommend we check out?

Bram: I've been enjoying Saltwater Sun from Reading. They're on tour right now and will be in town the night after our gig, so I'm hoping to make it to that. I don't know how long they've been around exactly but there's also this London band, Weird Milk. I've only heard a few songs so far but they're doing some really interesting work.

Jess: Yeah, cool bands. I like what I’ve heard from Shanghai Blues and the London band Oshens have some really nice songs also! 

 IN THIS PHOTO: Shanghai Blues/PHOTO CREDIT: Ant Adams Photo 

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

Bram: There's a lot of Sci-Fi love in the band, so we've done a few movie marathons together at our flat. The Alien series; Predator, things like that. I also read quite a bit, paint a little and just wandering around getting to know London has been great. I was in N.Y.C. for fourteen years so it's fun having a new city to explore. 

Jess: I cuddle my cat; I like to draw; I hang out with family and friends. I love watching movies, so that’s definitely my go-to unwinding thing. The film marathons with the band are great – we watch too many movies, eat too much food and then we lay on the couch like beached whales and complain that we ate too much and, also, when’s the next film marathon? It’s all very, very sexy and Rock’n’Roll. 

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

Bram: Oh. I’ve been loving what Elza Soares has done with her last couple album. Her song, Banho, is so rad. That’s my pick

Jess: Angel Olsen - Shut Up Kiss Me! Love that song

___________

Follow Tiger Mimic

PHOTO CREDIT: Luis Guillén

Official:

https://www.tigermimic.com/

Facebook:

https://www.facebook.com/tigermimicband/

Twitter:

https://twitter.com/BitcrushedT

Instagram:

https://www.instagram.com/tiger.mimic/

SoundCloud:

https://soundcloud.com/tigermimic/tracks

YouTube:

https://www.youtube.com/channel/UC7qT0D9stk05ym53ziRGwzg

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

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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

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YOU do not need to look too hard…

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

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

PHOTO CREDIT: Unsplash 

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

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

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

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

 PHOTO CREDIT: Unsplash

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

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

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

 PHOTO CREDIT: Getty Images

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

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

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

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

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

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

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

 PHOTO CREDIT: Unsplash

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

 PHOTO CREDIT: Unsplash

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

IN so many people’s lives.

INTERVIEW: At Pavillon

INTERVIEW:

At Pavillon

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THE Austrian band At Pavillon…

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mwita: Tokio Hotel – Schrei

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

Paul: By the Way by Red Hot Chili Peppers

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

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

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

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

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

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

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

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

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

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

What advice would you give to new artists coming through?

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

 IN THIS PHOTO: Parcels

Are there any new artists you recommend we check out?

Parcels, LISS; Lo Moon; Her, Leyya…

 IN THIS PHOTO: Lo Moon

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

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

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

Her - 5 minutes

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Follow At Pavillon

Official:

http://www.atpavillon.com/

Facebook:

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

Twitter:

https://twitter.com/At_Pavillon

SoundCloud:

https://soundcloud.com/atpavillon

YouTube:

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

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

FEATURE:

 

The September Playlist

 IN THIS PHOTO: Lana Del Rey 

Vol. 3: Strange Mice in the Mariners Apartment Complex

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THIS week delivers plenty of punches…

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

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

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

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Lana Del Rey – Mariners Apartment Complex

Billie Marten – Mice

Villagers – Again

PHOTO CREDIT: Frazer Harrison

Nicki Minaj – Barbie Dreams

The Smashing Pumpkins – Silvery Sometimes (Ghosts)

Gorillaz – Tranz

PHOTO CREDIT: Phil Smithies

Sea Girls – All I Want to Hear You Say

KT Tunstall – The River

Paul McCartney – Fuh You

Kate Nash – Hate You

PHOTO CREDIT: Craig McDean

Eminem (ft. Joyner Lucas) - Lucky You

The 1975 – Sincerity Is Scary

Black Eyed Peas – Big Love

Ciara – Dose

Dizzee Rascal – Don’t Gas Me

Mariah Carey – GTFO

Olivia O’Brien – I Don’t Exist

Aphex Twin – 1st 44

PHOTO CREDIT: Nate Ryan/MPR

First Aid Kit – I’ve Wanted You

Orbital – Hoo Hoo Ha Ha

Sleaford Mods – Dregs

Carrie Underwood – Love Wins

Pale Waves – One More Time

Rival Sons – Do Your Worst

Dani Sylvia – London on Fire

Good Charlotte – Self Help

IN THIS PHOTO: Jess Glynne

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

TRACK REVIEW: RIDER - You

TRACK REVIEW:

 

RIDER

You

9.5/10

The track, You, is available via:

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

GENRE:

Alternative-Pop

ORIGIN:

London, U.K.

RELEASE DATE:

14th September, 2018

_________

THIS time around…

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

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

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

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

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

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

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

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

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

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

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

DO her thing.

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Follow RIDER

Official:

https://www.riderofficial.com/

Twitter:

https://twitter.com/RiderMusicPage

Facebook:

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

Instagram:

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

YouTube:

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

Spotify:

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

PHOTOS:

Marieke Macklon Photography

INTERVIEW: Ishani

INTERVIEW:

Ishani

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I have been speaking with Ishani…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Garbage - Garbage

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

DJ Shadow - Endtroducing…..

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

Portishead – Dummy

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

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

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

What advice would you give to new artists coming through?

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

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

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

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

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

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Follow Ishani

Official:

http://www.ishanimusic.com/

Facebook:

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

Twitter:

https://twitter.com/ishanichakra

SoundCloud:

https://soundcloud.com/ishanichakra

YouTube:

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

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

FEATURE:

 

 

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

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

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

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MY self-imposed Kate Bush embargo…

 PHOTO CREDIT: John Carder Bush

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

IMAGE CREDIT: Getty Images

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

 PHOTO CREDIT: John Carder Bush

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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