INTERVIEW: TIEKS

INTERVIEW:

TIEKS

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I have been speaking with TIEKS…

about his latest single, Break the Rules, and what the story is. He discusses what it is like getting backing from big names such as MistaJam; the albums that are most important to him; what he has planned in terms of gigs – he recommends a rising artist to follow.

I ask whether he gets time to unwind away from music and whether more material will come; the advice he would give to artists emerging; which musical memory is most precious to him – he ends the interview by selecting a great track.

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

My week’s been good, thanks. Spent a lot of time in my studio creating new tracks - that's always great.

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

My name is Mark Tieku more commonly known as Tieks. I produce and write Pop records. Pleased to meet you.

Break the Rules is your new song. What is the story behind the song?

I work closely with another writer, Jay Weathers. He produced and co-wrote My Lover for Notes. Every few months, we meet up and play each other the music we’ve been working on to see where we can cross-pollinate Ideas. Break the Rules was a demo that he had started with Bobbie but had sort of hit a roadblock in their minds.

Jay played it to me. I loved it; got bass and guitar played on it; arranged it, finished the production - and a demo turns into a ‘record’ I wanted to make in New York in the summer of 1981.

It features Bobii Lewis. How did you two come to meet?

I didn’t meet Bobii until after I had finished the track to be honest. He came to my studio after myself and Jay had done our bits and he loved it.

You have received support from big names like MistaJam. How does that make you feel?

It’s always great to get love for my records no matter where it comes from. I register it and appreciate it but, yeah, guys Like Jam and Clara at Radio 1 have been massive supporters of all my records. I think it’s safe to say in regards the hits I have had, the guys at Radio 1 have definitely played a part in getting those songs the traction I needed.

What comes next in terms of material? Might we see more songs next year?

What comes next? Another song. There will be more songs in the next year that’s for sure.

Do you recall when you got into music? Which artists did you grow up around?

I don’t think I ever got into music at any point cause I think it’s been something with me from birth. Artists like Daft Punk, Bowie; Prince, Apex twin; Radiohead and Wu-Tang. I could go on. Like many musicians, I am a sum of many parts.

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

Serenity.

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

My favourite memory is being in a cocktail bar and my manager messaging me to tell me my track had broken into the top-one-hundred on iTunes. Twenty minutes later, he texted to say it had hit eighty; twenty minutes later fifty etc, etc. I think it ended up at twelve that night and was in the top-five by the morning. Surreal.

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

Discovery - Daft Punk

For me, I have taken so much from all of Daft Punk’s records barring their last one which, ironically, was probably their most successful. However, Discovery, in my opinion, is the greatest Dance album ever made. It’s one part Prog-Synth; one part Pop; one part Disco and three parts House. A genius record.

My Beautiful Dark Twisted Fantasy - Kanye West

The absolute zenith of Kanye’s music career in my opinion. Everything before led up to that record and everything after didn’t live up to it. It’s an encyclopedia of Hip-Hop history with a foot in the present. Kanye is a straight-up fool a lot of the time but no one can deny he is a giant of a music curator.

Micheal Jackson – Dangerous

The greatest Popstar the world has ever know at the peak of his powers. People talk about off The Wall being Michael’s best album but that’s just because it makes them sound cool. The reality of Thriller is that it’s an ok record with some incredible singles but any record with Baby Be Mine on it just doesn’t cut the mustard for me. Bad is an amazing album but, for me, Dangerous shows an artist in absolute control of what they are trying to do. Also; Teddy Riley kills the production alongside M.J.

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

It would be a toss-up between Travis Scott or Lorde.

My rider would be what it is right now: some high-quality gin (which I never usually drink); a few bottles of water and two black towels.

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

Yeah. I’m occasionally playing dates around the country. Next is Chester for freshers’ week.

What advice would you give to new artists coming through?

If it doesn’t work out and you have to work in Tesco; get over yourself cause that’s what every other person has to do life. It’s normal: a successful job in the entertainment industry is not. But, if it does go well and everyone is stoked on you,  enjoy it; get over yourself and be ready for when they’re not stoked on you.

Are there any new artists you recommend we check out?

Akheim Allen is an incredible young rapper from London who people need to check out.

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

I’m in the studio most of the time but my downtime is mostly spent watching movies and reading a lot of books. Movies are my first love. I probably watch around four a week. Don’t be surprised if you see I’m making movies/loving image in the future.

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).

Robyn - Missing U

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Follow TIEKS

Official:

http://www.tieks-music.com/

Twitter:

https://twitter.com/TIEKSmusic

Facebook:

https://www.facebook.com/tieksmusic/

Instagram:

https://www.instagram.com/tieksmusic/

SoundCloud:

https://soundcloud.com/tieks

YouTube:

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

FEATURE: U Got the Look: The Importance and Influence of Art and Visuals

FEATURE:

 

 

U Got the Look

PHOTO CREDIT: Unsplash/@timon_k 

The Importance and Influence of Art and Visuals

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I have been inspired by a feature/celebration on BBC Radio 6 Music…

 PHOTO CREDIT: Unsplash/@celmono2

where certain shows this week will present from various art schools/colleges around the U.K. (They are looking at the role art institutions have played regarding musicians and great expression). Everyone from Freddie Mercury and Madonna went to art school - this list gives more names - and it seems there is an inherent link between art and music. It is not only art and static imagery that affects music and brings it to mind. Look at music videos and the connection with film and we can see how important visuals are regarding music. Goldsmiths student Jack Barraclough talked to The Guardian about the a divide between music and art:

"I see a gap between music and art," counters Jack Barraclough. "If you look at bands made of art students and bands made of music students there will be a massive difference."

What's that?

"The music students practise."

One of the most famous sons of the London art school world is Jarvis Cocker, who enrolled at Central St Martins in 1988 to take a hiatus from Pulp and study fine art and film. Paradoxically, it was the move that cemented Pulp's success.

"The experience of just being at art school gave me a lot to draw on - Pulp's most famous song [Common People] is about something that happened there - but on a deeper level I was taught to think about things in a non-lateral way. We might be losing that as everything becomes results-based. It's terrible to imagine, but I fear that the years of the alcoholic lecturer who spouts out a few ideas before falling asleep are gone".

 IN THIS PHOTO: M.I.A./PHOTO CREDIT: Getty Images/Press

In terms of musicians; many go to art school to meet like-minded people who they can form bands with. There is that new way of thinking and freedom of thought that you can hear in artists like Florence Welch and Jarvis Cocker; M.I.A. and Lady Gaga. You might say art and music are different disciplines and require separate skills…but there is a clear connection between art and music. The most innovative and free-thinking musicians around think visually and understand the importance of thinking outside the box – putting importance on images and bringing their music to life through visuals and designs. Many say it is less likely we will find a new breed of art school-educated musicians because of tough times and a drop in enrolment. The same piece looks at the figures and the current state of play (the article was written in 2009):

“Being an art school graduate has never been easy but, according to Graham Crowley, it's even worse being an art school lecturer. In October 2008 Crowley, a landscape painter and former lecturer, wrote in a letter to the journal Art Monthly that admin culture is turning art schools into "the educational equivalent of British Leyland", with a lack of resources, staff shortages, and an adoption of the corporate model, in which accountability and success are clearly measured. At the same time, there has been a 23.6% increase in the number of art students at undergraduate level between 1999 and 2007. The art school is still seen as an attractive place to spend your young adulthood”.

 PHOTO CREDIT: Unsplash/@picsbylikesoda

Due to the lack of schools who have music on the syllabus as a compulsory course; it is becoming harder and harder to see where the musicians of the future will come from. The problem with studying music is that it can be expensive – going to colleges and universities – and the syllabuses is very particular. It can be hugely beneficial but how often do aspiring musicians get the chance to think about music in visual and artistic terms?! Maybe it is less black-and-white than I imagine but it is interesting looking at artists who have been to art school and how they create. David Bowie went to Bromley Technical High School and it was a very liberal space. He had his love of art and imagery furthered and one could draw a line between his time there and how he projected himself in music. Artists, when at these schools, can compose and paint whilst listening to different music and, naturally, a reverse trend emerges: the art they are creating inspires them musically and that ingrained bond between art and music come out. Not only do art schools and colleges allow aspiring musicians the chance to think in a different way and be set free but there is that lack of convention and rigidity. I feel a lot of people do not place importance on art and visuals when it comes to music.  

  PHOTO CREDIT: Unsplash/@alex_andrews

I was speaking with a musician yesterday and she was saying how much she loves music videos and design. Not only does she love to write music and perform but getting involved with the videos and designing her own logo is paramount! Art schools are one of the few spaces that are not entirely digital and still place importance on the physical and human. It is important, as an artist, there is that tactile and tangible connection with your source and canvas. Whilst we can see how art school and these institutions have impacted some of the best classic and modern musical minds; I wonder whether a module needs to come into music teaching and those who attending music schools. I think art schools/colleges are great creative spaces that can open minds and bring the best out of possible musicians. I am not suggesting the art side is a waste and you only go there to think about music but I feel the way those at art school are taught and the environment they are in is a lot different to a conventional music school. I shall come back to this in the conclusion. One big reason why I raise the issue of imagery in music is the continuing wave of musicians who feel the visual aspect is unimportant. As this article explores, there is an essential need to get your visuals and artwork down:

“Visual content is just that: a visual representation of the music. If you were to present your music without any visuals, it would be harder to get people to listen to your stuff. Imagine uploading a new beat on BeatStars or YouTube and it’s just a black or white square. How do you think this would be perceived in contrast to a thought-out, eye-catching logo or artwork cover? Notice how unassuming the image above is; does it make you want to hear what’s on the CD?”

IN THIS IMAGE: The cover for FKA Twigs’ album, LP1/IMAGE CREDIT: Getty Images

“Good graphics and branding can not only impact your streams and sales, but it can also have a ripple effect. Eventually, the graphics may become a part of your marketing material – on t-shirts, posters and the like. Fans will then buy and wear this merch or hang it up in their room or slap a sticker on a telephone pole, thus giving your name (see: brand) more recognition and additional advertising.

So when you are considering your marketing plan and imagining your brand, think about how visual imagery and graphics add to you and your music’s accessibility. Visual designs sell culture and identity”.

So many artists rely upon merchandise for revenue and that can involve everything from T-shirts and posters to keyrings and clothing. Having a brand/logo can really connect you to fans but for those with a more artistic mind; creating different scenes/images for your merchandise catches the eye and will lure more people in. I have not even talked about the visual side of music itself. I have discussed art schools and how literal art can lead to musical art. If you think about the best albums of the year – and of all-time, for that fact! – they are defined by incredible images, lyricism and storytelling. Great and memorable songs are ones where you are dragged inside and taken somewhere special; made to connect and feel something.

 IN THIS IMAGE: The cover for J.Cole’s album, KOD/IMAGE CREDIT: Getty Images

There is a lot to think about for artists but visuals should be need the top. I will end by looking at imagery online and music videos but I wanted to allude to album covers and design. Even getting the right font can be crucial when it comes to catching the eye and attracting people in. Maybe not as important now things are more digital…or are they?! Pigeons and Planes wrote a great piece last year that stated how imagery and album art is crucial right now:

“In 2017, artwork appears as small thumbnails on digital screens far more often than on actual physical album covers. 80 years after a graphic designer at Columbia Records invented album art as a way to help sell vinyl in record stores, its original function is becoming a thing of the past. So, it’s worth asking: Does cover art still matter? Is Lil Yachty the only one who still cares?

“We're in a time right now where our attention spans are really low,” Mihailo Andic (designer of covers for Lil Yachty,Gallant, Fetty Wap, and 6lack) explains. “We process information a lot faster and we process music a lot faster. Making something that's going to catch people's eyes within seconds is important. People only have that amount of time to be instantly attached to what you create. And you have to either grab their attention or you lose them right away”.

IN THIS IMAGE: The cover for Charli XCX’s album, Number 1 Angel (noted for its striking and strong image)/IMAGE CREDIT: Getty Images

There is not only the positives of creating great artwork – bad images can have a damaging effect on any artist, as this article explores:

“Some artists have consistently great artwork. Some artists have consistently bad artwork that becomes great via its terrible nature. Some artists opt for the more artistic, and some artists strip their artwork back for a minimalist approach, preferring their music do the convincing. Each of these brands has an appeal, and the more successful are those which manage to make use of the music in some way as well. Artwork should be exciting, should be encouraging, should serve a purpose above just packaging. I think of some of my favorite records and part of what stands out is their artwork. Consider Nirvana's Nevermind and that infamous sleeve, now a piece of pop culture, doing so many things at once - stirring controversy, offering a capitalist commentary, while also just being visually compelling, unusual enough to stand out on a shelf. The Beatles' Abbey Road, Joy Division's Unknown Pleasures, Pink Floyd's Dark Side Of The Moon- album covers which have gone down in history, partly because of the music, partly because of the artwork”.

PHOTO CREDIT: Unsplash/@ronaldcuyan

It is not only about exploring a collage of colours and making complex pieces. A single colour can, as explained here, make such an impression:

“Furthermore, the use of a single colour, can be enough to trigger a certain feeling or emotion. Nowadays, with such leaps in technology record manufacturers are able to produce a kaleidoscope of vinyls of all colours and patterns. Thus, the physical vinyl itself, becomes part of the artwork and in turn, part of the collective musical experience”. 

The last points I wanted to raise are regarding visuals and music videos. There are so many artists who do not like making videos – feeling it is a needless step and their music is available on streaming sites. Whilst Spotify is the biggest market and most profitable site for many artists; you cannot discount the need to produce music videos:

“With more music being produced and released than ever before, posting a few good songs or even an album isn’t enough to stand out and catch people’s attention in 2018. Cover art and all the other imagery you associated with your band is a huge opportunity to link your music to a larger and more compelling story than your music alone is going to be able to tell. The word “branding” comes to mind here, which may turn the stomach of a few readers. But rather than branding for the sake of turning a profit, you’ll need to think long and hard about the visual elements of your music in order to catch the attention of listeners and carve out an identity for yourself”.

IN THIS PHOTO: Lotus Quadrant/PHOTO CREDIT: Leah Roth Photography 

“To compete in a world chock full of distractions, the visual elements of a band’s music are needed to send a message to listeners that’s both succinct and compelling. Whether you try going it alone or working with a visual artist, you’ll need to have conversations about what your music means and how to present it visually in a compelling way.

If you’ve managed to earn a following, the most devoted section of your fans will want more from you than just your music. Things like music videos, band photos, cover art, and posters are important ways to earn new fans and form a deeper connection with people who already love your music”.

The Internet seems to be about a lack of face and making sure we have everything we need as quickly as we wish! If we start to overlook the visual side of music then that could have a devastating effect. Some great videos from this year show how potent a great video can be. Look at how we can forget about tracks after listening to them – do visuals and a strong brand help keep them in the mind? The article goes into more depth:

“Music on the Internet is consumed and forgotten about daily, if not hourly. So from a record label point of view, an artist needs something bigger than an MP3 to get noticed. They need strong creative visuals to give them a substantial competitive advantage over their peers. Look at FKA Twigs and Tyler The Creator, perfect examples of two musicians who have made their visual impact just as powerful as their music. Music videos form a large part of an artist’s general creative vision and output. When you can stream music anywhere and everywhere a music video is a focal point — it draws your attention, or at least helps to.

Music videos are still an important jumping off point for directors to hone and explore their creativity. They give young talent an opportunity to break into different areas of the film industry — they are still very much a way in. The media still look at music videos for discovering new talent, and those ideas are then applied to so many other things. Take the example of Bonnie Prince Billy’s video Bonnie directed by Harmony Korine, the technique in the video was then applied to a Thornton’s chocolate ad”.

“Many directors cut their teeth in music videos before going on to make films — Spike Jonze, Michel Gondry and more recently Daniel Wolfe are poster boys for this. These are visionary filmmakers who, without the existence of music videos, wouldn’t be making the exciting and experimental work they are now. It’s an outlet of inspiration no matter where you’re at in your career — they will always excite people”.

Not only does ‘art’ in music come from the cover of vinyl and streaming sites; there is that consideration when looking at lyrics and the way artists express themselves. As stations like BBC Radio 6 Music look at the association between art and music; I wanted to investigate the way visuals have helped raise and cement careers; how we would not remember some of the very biggest artists were it not for their strong attachment to art and imagery. Music is intangible and electronic these days. More and more, it is becoming about flicking a screen, choosing a song and then immersing yourself in whatever nonsense is happening on your phone. Fewer people are studying album covers and talking about artistic visions in music. As I have shown here; artists cannot ignore the role imagery plays in music – even when streaming is taking over from physical formats. There is something beautiful about great deigns and those musicians who think in a very different and inspirational way. Artists like Beyoncé have created visual albums and ensure live shows are as theatrics, spectacular and visually-arresting as possible. Getting the right set, stage look and visual aspect there is important. Not only can a fantastic and tight set impress people but a well-designed and eye-catching backdrop (lighting and props too) can go a very long way.

 IN THIS IMAGE: David Bowie as ‘Aladdin Sane’/SOURCE CREDIT: Brian Duffy (1933-2010), David Bowie as ‘Aladdin Sane’, 1973. Sold in the British Modern and Contemporary Photography sale in May 2015/PHOTO CREDIT: Brian Duffy © Duffy Archive & The David Bowie Archive ™

From art school alumni such as David Bowie to newer acts who are keen to invest in good photography. As this article attests; about 4% of bands/artists feel strong imagery and photos are important tools. I am a journalist who relies on high-resolution photos and cannot stand it when I get sent crappy photos or artists explain they only have a few – not understanding why it is important to have a few great shots in your locker:

“The reality is, almost every promoter that we talk to mentions how important photographs and album covers are in their selections. A great photograph is what immediately separates you from anyone else at first glance. You’ve worked hard to make sure that your music is as good as it can be, so why not invest some time in making sure that first visual hook is just as good?”.

IN THIS PHOTO: Molly Rankin (L) and Kerri MacLellan (R) of Alvvays perform onstage during day two of the 2016 Coachella Valley Music & Arts Festival Weekend 2 at the Empire Polo Club on April 23, 2016 in Indio, California/PHOTO CREDIT: Frazer Harrison/Getty Images North America

Great photography and images helps preserve artists after their careers have ended or when they try to appeal to generations way down the line. How many acts of today are going to be remembered for audio alone? Jessica Brassington, writing in 2015, pitched for the beauty of music photography:

“Music photography is an art form that we rarely hear much discussion about yet we visually see it on a daily basis. The image is extremely powerful within the music industry and we take for granted the photographs we see of singers and bands because it is something we automatically expect to see; whether it’s an album cover, festival highlights or a gig review, photography is always there.

However, it is not very often that we stop consider the artist behind the lens, fighting for that perfect shot, that perfect depiction of the band’s vision. It’s a beautiful art form with a significant and important purpose…”

I feel art and music should be studied more and how important it is to realise music now, as much as it ever was, is a visual medium that need to appeal to the eyes as well as the ears. If artists come into music and overlook things like photography, videos; merchandise designs and a more artistic approach to songwriting then that can have a huge effect on their memorability and legacy. Start putting art back into the forefront and stop thinking it is unimportant. Think about all the music you grew up around and can you honestly say you were not blown away by the album covers and images?! We all were, and so, we need to tell generations to come – and artists out there – art and images are as substantial as…

THE music itself.

INTERVIEW: Hollow Hand

INTERVIEW:

PHOTO CREDIT: Wanda Martin 

Hollow Hand

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IT has been cool speaking with Hollow Hand’s…

central figure, Max Kinghorn-Mills. I ask him how he started Hollow Hand and how he met the musicians he plays alongside; what we can expect from the debut album, Star Chamber, and whether there are any rising artists worth checking out.

Kinghorn-Mills discusses his musical influences and what Brighton is like as a base; what is coming up in terms of tour dates; a few albums that are especially important; how songs usually come to him – he tells me what the rest of this year holds.

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

Hello. I’m doing well, thanks. I’ve been busy playing some shows in California and exploring sun-kissed San Pedro.

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

My name is Max. I record music under the name Hollow Hand. The project began in the solitude of my bedroom; recording to cassette and experimenting but, for this album, I expanded through collaboration. Star Chamber is out on 19th October and is produced by Pan Andrs and Atlas Shrugs. We made the record in our home studio at the bottom of a garden. 

How did Hollow Hand come to be? When did you all meet?

We come from a tight-knit community of musicians and friends in Surrey/Hampshire. I’d always loved watching the other guys play in their bands and played with them in other projects. We really just pitch in to play for our friends whenever they have music to put out.

 

Is Brighton important in terms of your music and direction? Do you take inspiration from the people around you?

We moved down to the coast from London in some attempt to find inspiration; to ‘get it together in the country’, for sure. Brighton has some great bands and decent-sounding venues, a lot of energy. I enjoy being close to the sea. Just spending some time by the shore can help me with my existential dread. Staring into that crystal blue abyss, it’s good to surrender…

The Hollow Hand debut album, Star Chamber, is out on 19th October. Are there particular themes and stories that inspired the music/songs?

I didn’t really notice lyrical themes until I was asked these questions…

Of course; the books I was reading influenced the writing. I remember the sentiment of End of Everything; questioning what I really need from this world to be happy. This was on my mind whilst reading some books on different religious views. I spent time with a great book called Conversations About the End of Time. It’s good to remember how small we are in this universe - after that, everything’s just kinda funny. There are plenty of other lyrics on the album dealing with love, isolation and the pursuit of happiness.

PHOTO CREDIT: Lauren Joy Kennett

Who do you rank as music idols and inspirations? Did you grow up around a lot of music?

My parents surrounded me with art, culture and music all my life. I’m so grateful to them for this. Some of my earliest memories are dancing around the house to music with Mum and Dad’s cassette mixtapes and records lining the house.

I think, in terms of Hollow Hand, I’m feeling the influence of artists like Syd Barrett, Kevin Ayers; Robert Wyatt, Gong and Grateful Dead. Some British Folk stuff like Fairport Convention, Steeleye Span. I love instrumental music: Bill Evans, Emahoy Tsegué-Maryam Guèbrou; some Steve Hillage stuff.   

Are there particular moments when you sit down and write? How do songs usually come to you?

I mostly start with music. if I discover a cool part on any instrument, I’ll record it. My phone is full of excerpts. I’ll live with them and sing along before picking up journals then consider themes/stories I want to explore. I rarely start with words. I have friends who are the total opposite so this is interesting and worth investigating. 

PHOTO CREDIT: Wanda Martin

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

Of course, I want to tour the entire world. I’ve just moved into a new place where I’ll set up a new studio. I’ve got a whole new record written/planned but I don’t know if it’s right yet. When I get back to Brighton next month, we’re excited to hit the road promoting Star Chamber (supporting Sam Evian). I have some collaborations in mind but, if I hit Christmas with everything set up for the next chapter, I’ll be happy. 

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

I live for those rare moments when I turn around on stage and the band is truly connected; I mean really together. This could happen on a festival stage or the smallest venue. Nothing beats it. Supporting Robyn Hitchcock was fun; getting to travel to festivals. I was hugely inspired working with Tim Smith on his new project (Harp).

PHOTO CREDIT: Hannah Kovacs Photography

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

Hard question. It changes often but usually these are the constants:

Pink Floyd – The Piper at the Gates of Dawn

Is there really only one Pink Floyd album? Nah, but when I found this album I truly fell in love. Eternal hazy summer nostalgia.

Sonic Youth - Evol

When I was in school, my room was a graveyard of burnt C.D.R.s; bootleg live shows. I was doing a lot of research and getting the knowledge. Daydream Nation, Sister and Murray Street were all on heavy rotation but this record is just a shining jewel to me.

Richard & Linda Thompson - I Want to See the Bright Lights Tonight

I’ve recently started choosing this album over Liege and Lief - still working out how that sits with me. Richard’s up there in my top guitarists and songwriters of all time (that’s two separate lists). I love how joyfully miserable the songs are. Totally immersive and timeless.

PHOTO CREDIT: Lauren Joy Kennett

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

It’s Derek Smalls from Spinal Tap. My rider is a double bass and we’re improvising… 

What advice would you give to new artists coming through?

Hey, that’s me! I have no idea what’s going on out here - I don’t think anyone does. Just stay true to yourself, I suppose? Don’t believe in shortcuts. There are so many different types of musicians; some find it easier to make a living. I chose to make the music I want to make but, as a result, things can be very difficult. If you’re making stuff for other people then perhaps it’s easier but that’s not something I’m interested in. If you take my advice then I guarantee you’ll be as huge and successful as I am. 

PHOTO CREDIT: Wanda Martin

Do you have tour dates coming up? Where can we catch you play?

We tour the U.K. through October!  

*Supporting Sam Evian

16.10 - Edinburgh, Sneaky Pete’s*

17.10 - Glasgow, The Old Hairdresser’s*

18.10 - Newcastle, The Cluny 2*

19.10 - Manchester, YES (Basement)*

20.10 - Leeds, Headrow House

21.10 - Leicester, The Cookie*

22.10 - Milton Keynes, The Craufurd Arms

23.10 - London, Rough Trade East (in-store 1 P.M.) (Then Hoxton Hall)*

24.10 - Brighton, The Hope & Ruin*

 IN THIS PHOTO: Hannah Lou Clark/PHOTO CREDIT: Rob Blackham

Are there any new artists you recommend we check out?

Maybe it’s best if I just point to some great musicians you may or may not be aware of: The Lunchtime Sardine Club, Eugene Quell; Hannah Lou Clark, Holly Macve and Clarence Clarity. They’re all releasing brilliant music right now.

 IN THIS PHOTO: Holly Macve/PHOTO CREDIT: Lauren Joy Kennett

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

I find it hard to turn off.  I never really manage it. It’s the same for most of my friends. I read, try to navigate the vast ocean of nonsense for one good film; go walk along the beach. I’m interested art, and drawing. When I’m watching/reading something great then I’m always making notes, so I suppose it’s a struggle to find some real rest. That isn’t fun.

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).

Why don’t you sit back and spend some time with this killer Dark Star from '72? 

___________

Follow Hollow Hand

PHOTO CREDIT: Lauren Joy Kennett

Official:

https://www.hollowhand.com/

Twitter:

https://twitter.com/hollowhand

Facebook:

https://www.facebook.com/hollowhand/

Instagram:

https://www.instagram.com/hollowhand/

YouTube:

https://www.youtube.com/channel/UCUGoqWgCohF4Bzl7ieltE7Q

Spotify:

https://open.spotify.com/artist/2sF6pXUAPODESAtYHliKTp

FEATURE: Redemption Songs: The Artists Defining a New Wave of Music

FEATURE:

 

 

Redemption Songs

IN THIS IMAGE: Christine and the Queens (Héloïse Letissier)/ALL IMAGES/PHOTOS (unless credited otherwise): Getty Images 

The Artists Defining a New Wave of Music

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IT is not often I sit back and look at music from…

a lyrical perspective and see what changes have come in. It has been a rather sticky and horrible year in terms of politics and the way the world has been going. Music is a great way to alleviate and disguise some of the pain and, if anything, provide great direction and heart. The reason I wanted to take a brief glimpse at this year’s music is because of the extraordinary albums that have come through. Every year produces some great records and revelations but I have been crying out for artists who are digging deeper and providing music that touches on political and social issues. Some of the best albums of the year have focused on love and traditional themes but there have been some fantastic albums that have opened eyes and, as such, scored huge with the critics. If we think about those big political and seismic records (of recent years) then our mind goes to the U.S. and genres like R&B, Rap and Hip-Hop. Christine and the Queens’ new album, Chris, has been gaining glowing reviews and could well be this year’s best. Many critics are giving it five-star reports and going out of their way to say how good the album is. I have listened to it and can agree with everything being said. On 2014’s Chaleur Humaine, we saw Héloïse Letissier with long hair and, whilst it scored big with critics, this year’s follow-up finds the heroine cutting her hair and adopting a more muscular and stern look.

Chris is an album that means business and talks about subjects such as womanhood, gender issues and sexuality. The Guardian talked about the evolution between albums and why we cannot see Chris’ creator as Héloïse Letissier:

“Fast-forward to 2018 and the really rude words are now in Spanish (follarse). And “we are all losing to somebody… we are all losers to somebody” – or so Letissier observes on Feel So Good, a track that apes Michael Jackson in the most successful way. This is an MJ reborn in the body of a 30-year-old Frenchwoman hell-bent on kicking the notion of womanhood around until it’s puree. Letissier has written an album all about these clotted fluid dynamics, set to the squelch of 80s funk; the only thing missing from Chris, her second album, is the grease of street food eaten at unlikely hours of the day after some funky bodily exertion.

To still refer to the French pop creative as “Héloïse Letissier” seems a little futile when there are such pressing updates. Apparently only her parents still call her that now. To recap: Letissier became Christine of Christine and the Queens when, a heartbroken theatre school dropout, she moved to London in search of a reason to keep going and was given succour by drag queens: the backstory of Chaleur Humaine”.

 IN THIS PHOTO: Jack White/PHOTO CREDIT: Joshua Mellin

Here is an album that tackles big themes and is very open about issues such as sex. A lot of the other best albums of this year – from the likes of Paul McCartney, Jack White; Arctic Monkeys and Natalie Prass – have looked at more conventional ideas and scored big. I am a big fan of balance in music but I feel there has been a surfeit of artists talking about something much more meaningful and pressing than matters of the heart. I will move on to other albums that have defined this year’s shift but, to end, a little word from Christine and the Queens’ lead about her transformation, openness and what Chris represents – as she explained in this interview with The Guardian:

“In France, since I cut my hair they hear the ambivalence [in my lyrics] way more,” she explains. “I’m playing around with the male gaze and confusing heterosexual dudes who say stuff [about how I look] like: ‘I’m excited ... but I’m angry!’ I love the scam of a macho man. I wrote this record because I wanted to address the taboo of a woman being blunt and forward.”

She admits that the promotional tour for this album has been hard, not least in France. “Sometimes I feel like I’m educating people,” she says, anger bubbling up for the first time. “I realise that by addressing female desires I’m getting really strong reactions. But it’s not my job to diffuse that.” Her sexuality has also caused controversy, with some French articles changing her pansexuality to bisexuality. “At one point, they told me I’d invented [pansexuality]! I was like: ‘It’s actually on Wikipedia.’” She looks exasperated. “For some people, it’s impossible to escape binaries. Pansexuality [is] impossible to simplify and I think people hate me in France for that.”

She is cautious about the dialogue around queer identity, too. “If the dominant society uses it to sell shit then we have lost the meaning of it – ‘Ten queer artists to watch out for!’ How can you simplify it like that? Queer is about intense questioning that can’t be made nice and glossy”.

There is one American artist that has made a big statement this year but it seems British/European artists are penning some of this year’s most-charged and stunning albums. Maybe that is a reaction to Brexit and how the politics in this part of the world have been highlighted and singled-out. I am not sure of the reason but it is good to see a bit of a shift from U.S. Hip-Hop/R&B strike to other genres/parts of the world. I will look at IDLES, Janelle Monáe and artists like Sophie – who have managed to mingle thought-provoking themes among more accessible subjects –; but Anna Calvi is another artist who has just released a huge record. Like Christine and the Queens; Calvi has been looking at gender, sexuality and control. The guitar virtuoso has changed her creative tact somewhat and, on her latest record, brought her guitar-playing prowess more to the fore. Calvi, again, is an artist that is looking at sexuality, gender rights and getting her voice heard. The Independent, when reviewing Hunter, made some salient points:

“This was a conscious move for the shy daughter of two psychotherapists. Rebuilding her identity after breaking up with her girlfriend of eight years, she became sick – in her words – of “seeing women depicted as being hunted by men in our culture” and began writing lyrics as an “Alpha” determined to go out into the world and “explore pleasure in all possible ways, free from any shame”.

With a voice she’s finally trusting herself to use with the same confidence that she’s always had in her guitar, Calvi lays yowling, prowling animal claim to both the male and female aspects of herself. She opens the album with a predatory strut of a strum, asking: “If I were a man in all but my body/ Oh would I now understand you completely?”

 IN THIS PHOTO: Anna Calvi/PHOTO CREDIT: Eva Pentel for DIY

In a recent interview; Calvi talked about Hunter and how she felt compelled to talk about gender and the power of being a woman:

“In the years since she emerged as an esteemed art-rock guitarist and singer, alongside winning best breakthrough act at the 2012 BRIT Awards and being twice nominated for the Mercury, she has found herself answering such questions as: “What’s it like playing a phallic instrument?”, and that other favourite: “What’s it like being a woman in music?” “It’s this idea that women are a genre and that you would be compared to really random female artists because you have breasts, but not compared to a male artist”, she says”.

This year – the last couple of months especially – is bringing these angry, emphatic and deeply profound records at a rate I have not seen for a long time. Female artists like Calvi are standing up against stereotyping and, as the interview explores, talking about more than what happens between the sheets and the pages of their diaries – like so many mainstream artists often do:

“As a rebellion against women’s invisibility, gender stereotyping and its limitations on humanity, she made her boldest record yet: Hunter – an album she wanted “to feel visceral and primal and wild and messy and have a rawness to it”. And she put out a statement of intent on her website, laying out her views on its themes. “If I hadn’t gone through that difficult time, maybe I wouldn’t have been able to have been so risk-taking in the music”, she says. “It does feel quite exposing.” On it are songs such as “Alpha” – a term usually used to refer to men, but here she was “interested in the alpha human. This is a human portrait, it’s not a gendered thing” – and “Hunter”. “I’m tired of seeing women hunted by men. This is a female hunter.” She is also tired of the “policing [of] women’s bodies and their sexuality”. “It’s a given that men should experience pleasure. It’s not a given that women should deserve and expect pleasure. And that’s just bullshit. The culture that we see is so male-centric”.

Another British act who have been eschewing easy options and using music as a way of getting us to re-evaluate and think is IDLES. DIY, when delivering a five-star review of the band’s latest album, Joy as an Act of Resistance, seemed to sum up the feeling we all got when listening through the first time:

“Across its 40-odd minutes, ‘Joy As An Act of Resistance’ makes you want to laugh and cry and roar into the wind and cradle your nearest and dearest. It is a beautiful slice of humanity delivered by a group of men whose vulnerability and heart has become a guiding light in the fog for an increasing community of fans who don’t just want, but need this. No hyperbole needed; IDLES are the most important band we have right now”.

IDLES’ debut, Brutalism, in 2017 dealt with the death of Joe Talbot’s (their lead) mother and how he reacted to that. Of course, there was more at play but you can hear the personal exposure and pain that came through on the album. The frontman has suffered new tragedy since then – him and his girlfriend lost a daughter during childbirth – and, as such, vulnerability has come into Joy as an Act of Resistance. DIY talked to Talbot earlier in the year and reflected on vulnerability:

“Vulnerability is a word that comes up constantly during conversation with Joe, tied into every thread of chatter around game-changing second album ‘Joy As An Act Of Resistance’. It’s a practice that Joe says has helped him become more caring, accepting and understanding. It also often makes him quite misunderstood...

IN THIS PHOTO: IDLES/PHOTO CREDIT: Pooneh Ghana for DIY 

“A lot of people think it’s sarcasm,” he lays out, talking about the album’s iron-clad centrepiece ‘Love Song’. “I wrote a love song / ‘cause you’re so loveable,” he barks in its first line, before channelling Dirty Dancing’s Baby (and uttering that same word again): “I carried a watermelon / I wanna be vulnerable”.

Bravery, openness (especially in men) and depression make their way into the album. Songs like Samaritans discuss suicide and how men are encouraged and expected to be introverted and suck it all in. If Anna Calvi and Christine and the Queens have examined female roles and empowerment through bellicose and defiant expression; IDLES, in many ways, are defining masculinity and eroding the toxicity that can show itself. In the same interview, Talbot spoke about that issue:

“It’s amazing isn’t it, the trope of masculinity,” Joe ponders, exhaling into a half sigh, half chuckle. “It engulfs our psyche without us knowing. A bunch of unspoken rules that we live by, that are really dangerous a lot of the time.” It’s a point touched upon on ‘Brutalism’ but hammered home throughout album two”.

These three albums (I have mentioned) have been released in the last couple of months and it seems the culmination of all the political horrors out there and the messages advertising/the media are putting out there has led to this musical revolution. Last year saw some potent albums come through but records from Janelle Monáe (Dirty Computer) and Sophie are not to be overlooked. Monáe talked about songs (to The Guardian) such as Django Jane and what she was trying to say:

“She puts down mansplaining with a forceful, deadpan lyric: “Hit the mute button, let the vagina have a monologue.” It’s one of Monáe’s most political songs to date, and also one of her most personal, a revelation for a singer whose critics have called her presence “cerebral”, her music “controlled”, her “constructed” look”.

“Remember when they used to say I looked too mannish,” she sings, in a pointed taunt. This is Monáe 2018: “One of the things I’m trying to learn to do is let go.” She says that letting go has come about in part thanks to therapy, and in part to translating political anger, as she ever more explicitly addresses wrongs against black Americans. Django Jane is “a response to me feeling the sting of the threats being made to my rights as a woman, as a black woman, as a sexually liberated woman, even just as a daughter with parents who have been oppressed for many decades. Black women and those who have been the ‘other’, and the marginalised in society – that’s who I wanted to support, and that was more important than my discomfort about speaking out”.

IN THIS PHOTO: Janelle Monáe

Dirty Computer is Monáe talking about empowerment and women’s rights; about respect and getting people dancing. The record is accessible and you can understand it but, rather than look at basic ideas and copy the mainstream, there are actual messages and inspirational songs throughout. In that Guardian interview, Monáe explained what she is all about:

“Because I’m about women’s empowerment. I’m about agency. I’m about being in control of your narrative and your body. That was personal for me to even talk about: to let people know you don’t own or control me and you will not use my image to defame or denounce other women.”

It’s an ugly phenomenon she has glimpsed on social media. “I see how people try to pit women against each other,” she says. “There are people who have used my image to slut-shame other women: ‘Janelle, we really appreciate that you don’t show your body.’ That’s something I’m not cool with. I have worn a tuxedo, but I have never covered up for respectability politics or to shame other women”.

Drowned in Sound, when reviewing Dirty Computer, raised some interesting points:

“While she had already mentioned her 'non-linear' sexuality in the past, partly from answering questions about her androgynous fashion-sense, her third record comes at the time of her most concise 'coming out' and she has laid the process out for all to see during a time where a more open dialogue about different variations on sexuality and gender is starting to take place. While some fans of her earlier, more challenging, material may be mildly disappointed sonically by such a straight-up pop record, even they must acknowledge what an important album this is both personally to Monae and socially to the current world, and for that, it is a successful and pleasurable work”.

The last album I wanted to bring in is from Sophie (or ‘SOPHIE’). Her album, The Oil of Every Pearl’s Un-Insides, tackles everything from materialism, consumerism and social media; transgenderism and sexuality through to imagery. In this interview, she talked about her identity and the interviewer, Rich Juzwiak, looked at what Sophie’s is all about:

“In a plainspoken, efficient manner, SOPHIE’s music explores transhumanism, the notion that technology can enhance our humanity. SOPHIE considers transhumanism and transgender identity to be connected—that she talked about being trans at all shocked me, given her previously expressed allergy to the label in multiple interviews”.

An interesting question came up:

“A lot of discussions about presentation focus on visual aesthetics. I wonder if this album is an opportunity to express your identity in sonic form, essentially tapping into a virtually untouched aesthetic realm. In other words, is the music itself an extension of the way you present your identity to the outside world?

Yeah, I think you touched on something really important there...I don’t know, I mean, I’ve always found expression through music. That’s my chosen method of communication. I can speak through my appearance a bit as well, but the medium I’m more experienced with is music”.

 IN THIS PHOTO: Sophie/PHOTO CREDIT: Charlotte Wales

In a separate interview with Billboard; Sophie talked about transness and how important it was to talk about it:

“She continued by saying that control is key when it comes to discussing the nature of transness. “Transness is taking control to bring your body more in line with your soul and spirit so the two aren't fighting against each other and struggling to survive,” she said. “On this earth, it's that you can get closer to how you feel your true essence is without the societal pressures of having to fulfill certain traditional roles based on gender”.

The songwriter talked to i-D discussed how she writes and what feels natural to her:

“I think the only way you can judge things is by what feels good to you, and not forced, and right now it feels natural to me to do this stuff -- to be in the spotlight,”

“I’ve never really been particularly into karaoke-style performance or a drag race style thing. That’s not an influence on me. I’ve always dreamt of creating some sort of community atmosphere, which is queer, fluid, diverse, genderless, dynamic… I guess I felt like a lot of the culture around club nights in London was very macho when I started doing music. I did want to bring something different, to try and open up a different space for people.” Looking around the room last Tuesday, it seems like she’s achieved just that”.

Sophie has produced one of the best albums of the year and, like her contemporaries I have featured, The Oil of Every Pearl’s Un-Insides takes sexuality and other such subjects and puts them to the forefront. It is a bold and brave album that has struck the critical heart. NME gave their opinions on the album:

“More than just proving SOPHIE’s aptitude as a producer (and let’s be real, she’s one of this decade’s leading pioneers), ‘Oil of Every Pearl’s Un-Insides’ digs deeper. Crossing boundaries of pop music and chasing transcendence, SOPHIE achieves the rare feat of making abstract, difficult electronic music that hits you straight in the heart”.

There are ample albums where you can find something familiar and safe but it seems, in 2018, we are seeing certain artists producing incredibly provocative, fascinating and illuminating works. It is wonderful hearing such fantastic and resonant albums. I am not sure what the rest of the year holds but we are seeing this wave of social and political work emerge that is not only enriching and educating listeners but scoring huge with the press. I wonder whether this will continue into 2019 and signals a movement: the best and most affecting albums arrive from those who dispense with predictable relationship songs and write about something that…

IMAGE CREDIT: JMU Breeze  

 CUTS much deeper.

INTERVIEW: Francine Belle

INTERVIEW:

Francine Belle

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THE amazing Francine Belle…

has been telling me about her debut single, Beautiful Heights, and how it came to her. I learn about her musical influences and what we can expect next; what it was like performing alongside Sir Elton John – she discusses moving from Paris to South London and whether she gets time to chill away from music.

The songwriter talks about Solange and a few albums that are important to her; whether there are any rising artists we need to get behind; what she would say to emerging songwriters; if there are any tour dates coming along – Francine Belle ends the interview by selecting a cool song.

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

I’ve had a great week. Seeing the response to the Beautiful Heights has been so wonderful. For a long time, it’s been just me tinkering away in my studio like a mad scientist so releasing the music finally is like dusting off the cobwebs…stepping out into the world…getting some sun…getting some air...Communicating with fans of my music - it’s been transformative!

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

I’m a London-based singer, songwriter and producer. I’ve been singing, writing and performing for years but the producing happened more recently. Through recording vocals and compositions at my home studio, I taught myself how to make the music I want to hear and have wound up with a debut album, which I’m in the process of finishing now.

Beautiful Heights is your debut single. What is the story behind the song?

It came to me in a dream. It was more of a feeling rather than anything intellectual and that’s what I wanted to invoke with the production. I think that’s why I kept it as voice. A lot of my songs start that way, with vocal layering, and the vocal compositions get replaced with whichever instrument I was trying to emulate but, with Beautiful Heights, I wanted it to remain ethereal. It started as vocals and handclaps and ended as vocals and drums. Even the bassline is vocals.

The male vocals are by acapella arranger Ben Bram, who thankfully agreed to work on the song after I sent it to him. That was such an honour – I’m a huge fan of his.  The dream version was majestic and soaring and I spent months and months trying to capture what I heard and make it real.

Is there going to be more material coming next year?

Yes - and maybe even before! My album, Myths & Legends, is almost complete and due in 2019, but I hope to release more singles ahead of that.

I understand you have performed backing vocals for Sir Elton John! What was that like?!

It was great! I was doing B.V.s with him and Bright Light Bright Light. Elton is down-to-earth and took the time to shake everyone’s hand and say hello. He has some astonishing diamond rings. Astonishing.

You were born in Paris but raised in London. Was there a reason for relocating to London?

My parents are academics and so were in Paris for their studies. I was a baby, so I don’t know the reason, but wagering a guess I’d say my parents decided Paris wasn’t glamourous enough for their baby girl and picked South London instead.

I hear shades of artists like Solange in your music. Who do you count as musical influences?

What a compliment! A lot of my songs were written and produced before A Seat at The Table came out but I do love that record. I’d say it makes sense you hear shades of Solange in my music because I think we both cite Minnie Riperton as a great influence (those whistle vocals and harmonies do it for me). I really like Lana Del Rey’s Born to Die album because I love cinematic and epic sounds and live orchestration which you’ll hear more of in my other songs. Quincy Jones is an ultimate influence, because he wasn’t afraid to play with orchestral and majestic sounds in Pop.

He did all of that and kept the soul in the music too. It’s wasn’t just production; it was alchemy. It was magic. The M.J. albums he did are the greatest works of all-time in my opinion. I love Patrice Rushen for the same reason; that epic orchestration - and because she wrote and produced as well. Disco is sometimes discounted as a musical genre but some of the production can really give you goosebumps. Haven’t You Heard by Patrice is one of the best songs ever. I’ve got a Disco song on my record and if I’ve captured even a tenth of that joy and energy I’ll be happy.

How important were your family and your Nigerian heritage regarding your approach to music and how you write?

Very important. My brother Leo is a singer and I cut my teeth performing backing vocals for him. I grew up around music, so the concept of being ‘talented’ didn’t really occur to me as a kid. One of my teachers took me to one side after I sang in front of the class one time and told me I was very talented. Before that, I thought singing was something everybody could do. Everybody did it at home. It wasn’t until I got a bit older that I realised what I had and also the depths of my need to create, as well as sing.

I think Nigerian music is very much about melody, harmony and beats. Although it’s not a conscious effort on my part, I find that everything I write always comes back to that. I want to feel driven by the drums and moved by the melodies. Afrobeat and Highlife music do that and my music tends to do that too, in a different way.

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

One more single and a much wider audience to share my art with.

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

I’ve had some great times touring with different bands, whether as a front person or a backing vocalist. Touring is such a once-in-a-lifetime experience. Never the same each time. Even when I’ve been sick, homesick or heartbroken; I always think of touring as some of the best times of my life. I can’t wait to tour with my music soon.

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

Such a difficult question! I’ll probably pick something different on a different day but, at the moment, it’s Sade’s greatest hits; George Michael’s greatest hits and any album by Michael Jackson (except the posthumous ones he didn’t sign off on) because they’re all just masterclasses of songwriting, emotion; narrative and voice.

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

Honey and lemon on my rider is a must. Beyond that, I’m pretty easy-going. I’m there to perform, not to move in.

What advice would you give to new artists coming through?

I think the advice would change depending on the artist and what they want to achieve. There are some universal truths, though and, even though it sounds trite…staying true to yourself is the best advice I can give. I’ve had a lot of ups and downs in music but that’s always seen me through and kept me grounded.

Do you have tour dates coming up? Where can we catch you play?

I’m preparing for a live showcase in October that I’m doing in collaboration with this exciting new artist platform that I can’t wait to talk more about! Hopefully, a few more before the New Year.

 IN THIS PHOTO: Stanaj

Are there any new artists you recommend we check out?

I really love The Way I Love Her by Stanaj. I heard it online randomly and his voice is incredible. There’s an acoustic version which is sublime too. The Chloe x Halle record is fire. And Azealia Banks is an artistic tour de force. I’m a proud Kunt t.b.h.

 IN THIS PHOTO: Azealia Banks

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

Music doesn’t feel like work to me, so chilling is usually when I find time to sign off on mixes and masters my producer sends me. Otherwise, I walk the dogs and will watch some Game of Thrones when it’s on. Winter is here!

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).

Don’t Play It Safe by Cassie. It’s a bop and it’s relatable

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Follow Francine Belle

Official:

https://francinebelle.com/

Twitter:

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Facebook:

https://www.facebook.com/thefrancinebelle/

Instagram:

https://www.instagram.com/francine_belle/

SoundCloud:

https://soundcloud.com/francinebelle

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https://www.youtube.com/channel/UCCAnxvBdOzjnIPXDaTy5UdQ

FEATURE: “A Finely Wrought Dead End…” The Finest Paul Simon Albums

FEATURE:

 

 

“A Finely Wrought Dead End…”

IN THIS PHOTO: Paul Simon/PHOTO CREDIT: Getty Images/Press

The Finest Paul Simon Albums

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THIS is an emotional time in music…

 IN THIS PHOTO: Paul Simon performs in Flushing Meadows Corona Park on 22nd September, 2018/PHOTO CREDIT: Evan Agostini/Invision/AP

as Paul Simon bade farewell to live performance at the wekend. If you were not lucky enough to see the legend perform one of his final gigs then it is rather sad to realise that he will not perform again. Playing his last gig in Queens; Simon performed one of his most emotionally-charged sets ever. It seems like you really had to be there:

“Paul Simon ended his final concert tour under a moonlit sky on home turf on Saturday, telling an audience in a Queens park their cheers “mean more than you can know”.

Simon performed at Flushing Meadows Corona Park, which he said was a 20-minute bicycle ride from where he grew up, ending the landmark night with his first big hit, The Sound of Silence.

The 76-year-old isn’t retiring and hasn’t ruled out occasional future performances. But he has said this is his last time out on the road. Among his peers, Elton John and Kiss are also doing goodbye tours.

“…Mayor Bill de Blasio introduced Simon, calling him “one of the greatest New York City artists of all time”. The return to New York raised memories of two famous shows in Central Park, in 1981 with former partner Art Garfunkel and in 1991 on his own”.

He will continue, let’s hope, to produce albums but, given the fact we will not see him live again, I wanted to look at his very best records – for those starting out who want to discover Simon and his genius. If you want a collection of his eight best albums (a random number but it seems right to me…) then I suggest you have a look at the list and you will find much to love. (That quote at the top of this piece is what Robert Christgau said of Paul Simon’s brilliant album, Hearts and Bones). Have a look and listen to the essential Paul Simon collection and get lost…

 IN THIS PHOTO: Paul Simon during his final performance/PHOTO CREDIT: Jake Edwards Photography

IN his magic!

ALL ALBUM IMAGES: Getty Images

_____________

Number-One: Graceland

Release Date: 25th August, 1986

Label: Warner Bros.

Review Snippet:

“It's easy to overstate what Graceland was. It wasn't the first world-music album, as some critics claim. But it was unique in its total, and totally natural, synthesis of musical strains that turned out to be not nearly as different from each other as its listeners might have expected, and the result resonated strongly around the world and across generations” - Pitchfork (2012)

Standout Track: Graceland

Number-Two: Paul Simon

Release Date: 24th January, 1972

Labels: Columbia; Warner Bros.

Review Snippet:

“It was miles removed from the big, stately ballad style of Bridge Over Troubled Water and signaled that Simon was a versatile songwriter as well as an expressive singer with a much broader range of musical interests than he had previously demonstrated. You didn't miss Art Garfunkel on Paul Simon, not only because Simon didn't write Garfunkel-like showcases for himself, but because the songs he did write showed off his own, more varied musical strengths” - AllMusic (2010)

Standout Track: Mother and Child Reunion

Number-Three: Bridge Over Troubled Water (Simon and Garfunkel)

Release Date: 26th January, 1970

Label: Columbia

Review Snippet:

“It wasn't clear at the time, but Bridge Over Troubled Water was an album about the end -- a casually ambitious look back at an expiring musical partnership (Simon and Garfunkel) and decade (the Sixties). Recorded in late 1969, it's largely remembered for a pair of big-themed production masterworks: "The Boxer" and "Bridge Over Troubled Water," led by Paul Simon and Art Garfunkel, respectively. "Bridge" quickly attained the beloved stature of a hymn, while "The Boxer" -- a metaphor for the immigrant experience in America -- ranks with Simon's finest songs” - Rolling Stone (2003)

Standout Track: The Boxer

Number-Four: Hearts and Bones

Release Date: 4th November, 1983

Label: Warner Bros.

Review Snippet:

“Hearts and Bones remains Simon’s most personal and also least known solo work because his next studio album, Graceland, would not only revitalize Simon’s career, but his personal life as well. Hearts and Bones would follow its predecessor to the bargain bins, but has more recently experienced a critical resurgence. In the time since its release, Simon has not since been nearly as personal in his lyrics, with his career focusing on the emerging world music genre during the 80s and 90s, and now, commonly reverts to more obscure issues in the world instead of looking inside himself for inspiration. But, the failed collaboration with Garfunkel and Simon’s troubled relationship with Carrie Fisher remain woven indelibly into Hearts and Bones, and despite its personal and sometimes uncomfortable moments, it remains is absolutely essential listen for those who are fans of his efforts as a singer-songwriter” - Sputnikmusic (2016)

Standout Track: Rene and Georgette Magritte with Their Dog after the War

 

Number-Five: Still Crazy After All These Years

Release Date: 25th October, 1975

Label: Columbia

Review Snippet:

“Where Rhymin' Simon was the work of a confident family man, Still Crazy came off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. At their best, such sentiments were undercut by humor and made palatable by musical hooks, as on "50 Ways to Leave Your Lover," which became the biggest solo hit of Simon's career. But elsewhere, as on "Have a Good Time," the singer's cynicism seemed unearned. Still, as out of sorts as Simon may have been, he was never more in tune with his audience: Still Crazy topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance” - AllMusic (2012)

Standout Track: 50 Ways to Leave Your Lover

 

Number-Six: Bookends (Simon & Garfunkel)

Release Date: 3rd April, 1968

Label: Columbia

Review Snippet:

“While certainly not containing the emotional weight or grand arrangements of Bridge Over Troubled Water, Bookends is possibly Simon & Garfunkel's best album of pure, fun pop music. The seeds of Bridge's depth are there, but they don't get in the way of the fun, convoluted lyrics or the consistently amazing harmonies that are S&G's calling card. Bookends is fun, escapist folk/pop at it's best” - Sputnikmusic (2005)

Standout Track: A Hazy Shade of Winter

Number-Seven: Stranger to Stranger

Release Date: 3rd June, 2016

Label: Concord

Review Snippet:

“Stranger to Stranger is, finally, Simon’s most interconnected work, a self-contained world unto itself full of backing tracks that wind up in multiple songs and recurring characters (“the Street Angel”) who pop up in unexpected places. That type of self-referencing is also a first of sorts for Simon, yet another indicator that he has never stopped finding new ways to get excited and curious about his own, still-challenging, ever-expanding art” – Entertainment Weekly

Standout Track: Wristband

Number-Eight: The Rhythm of the Saints 

Release Date: 16th October, 1990

Label: Warner Bros.

Review Snippet:

“St It is hard to surmise whether The Rhythm of the Saints has an over-exuberance of percussion which distracts from the core song craft or if the opposite is true, meaning these track may not have been quite as interesting without the arrangements. In any case, this album was a critical and commercial success all over the world and yet another high water mark in the long and brilliant career of Paul Simon” – Classic Rock Review (2015)

Standout Track: The Obvious Child

INTERVIEW: Kimono Loco

INTERVIEW:

Kimono Loco

___________

I have been speaking with…

James from Kimono Loco about the band’s new E.P., Hello, How Are You? He talks about the inspirations behind the E.P. and whether he has a standout from the collection; how Kimono Loco started life and whether there are any gigs coming up.

The lead vocalist/guitarist tells me what sort of music he grew up around and which one album means the most to him; if he gets time to unwind away from music; which rising act we should get behind – he ends the interview by selecting a great track.

__________

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

James: Really good, thanks. Our week’s been pretty crazy with the E.P. release but it’s been a lot of fun!

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

We’re Kimono Loco, a London-based Indie-Pop band. We’ve been described as ‘An eclectic mix of styles from indie rock to dance, disco and electronic music; all engaged in constant conversation with their deeply-rooted pop sensibilities’ if that makes it easier.

Hello, How Are You? is your new E.P. What kind of things inspired the songs we hear?

We wanted to be a lot more fun on this E.P. Our older stuff maybe took itself a bit more seriously and we kind of threw that out the window on this one. We wanted a bunch of songs that people could really dance to at gigs and it’s worked; our shows are better than ever.

Do you have a favourite song from the E.P. at all?

I think we all love Big Boy cause of how ridiculous it is - although, Fright Night is a lot of fun to play live so it changes really.

How did the band start life? When did you change your name from ‘Regions’ to ‘Kimono Loco’?

The band sort of all formed at this one pub in Fulham called the Durell Arms. My best mate (Alex Sonnenberg - drums) and I were quite drunk one night and decided to ask the band who were playing if we could do a few songs. They reluctantly accepted and we did a terrible rendition of Thrift Shop by Macklemore weirdly enough. I had been writing loads of songs at the time and we basically agreed that we should start playing again (we had been in an atrocious Metal band in our early teens). We put an ad out that week and got a response from our now-bass player, Luke Hamlin.

We met at that same pub and he later introduced us to his best mate Chris Godfrey (guitar). It was basically two best mates coming together, as romantic as that sounds. We started under the name ‘Regions’ back when we didn’t really have an identity. We weren’t too sure how we should sound and I think that was quite clear as we constantly changed, stylistically, with each release. With a shared hatred for the name, we took the leap and went for the change to ‘Kimono Loco’ a few months back and we’re very glad we did.

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

 You’d find a lot of Emo music in my collection - that stuff is my guilty pleasure. To be honest, it’s kind of what made me want to be in a band in the first place, especially in regards wanting to play the guitar. I think the first album I ever really got into was The Black Parade by My Chemical Romance. Haha.

How important is London and its variety in regards the way you write and create music?

I’m not really sure how much London as a city inspires us, musically. It’s, of course, where we all live but nowadays the world’s so globalised that you have access to anything you want to listen to at the touch of a button. I’d say it’s more down to what we’re all listening to at the time of writing then where we geographically are. There is a big Indie scene in London although I don’t think we’ve ever felt truly part of it.

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

2018 is coming to an end rather quickly so I think you’ll see a lot of exciting things happening in 2019 for us. However, I’d expect there to be a lot more gigs; some of which we’ll be playing some new material at.

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

Our most-recent gig (our E.P. launch) kind of blew our minds. We had a packed-out room dancing and singing along to all the words; it was incredible – by far the best gig we’ve ever played.

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

Sticky Fingers - Land of Pleasure

It is definitely one of my favourite albums. I randomly bought it on vinyl when I was in Australia and I’ve been listening to it ever since I love it.

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

We’ve been compared to The 1975 quite a lot so I think they’d be amazing to support.

As for our dream rider, I mean you’d have to go waayy over the top wouldn’t you? I’d say we’d want the entire cast of the 2003 masterpiece The Room and a bunch of fresh fruit because fresh fruit is delicious.

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

Our only current date is at Roadtrip & The Workshop on 5th of October but you can check out Facebook page for any future gigs.

What advice would you give to new artists coming through?

Try and figure out what you’re about as soon as you can. It took us a while to find a proper identity and we’re arguably still in the process but, as soon as a direction becomes clear, everything starts to flow quite nicely.

 IN THIS PHOTO: KOPPS/PHOTO CREDIT: Harry Eelman

Are there any new artists you recommend we check out?

I’ve been getting into this band called KOPPS. They’ve got a really cool ’90s sound which has been coming back recently. I’d definitely recommend checking them out.

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

We all do different stuff to be honest. Going for drinks is a big one - we’re all suckers for a night out. But, to be honest, playing as a band is loads of fun anyway so you need to unwind far less then you’d think.

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).

KOPPS - Thermometer

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Follow Kimono Loco

Twitter:

https://twitter.com/Kimono_Loco

Facebook:

https://www.facebook.com/kimonoloco/

Instagram:

https://www.instagram.com/kimonoloco/

SoundCloud:

https://soundcloud.com/kimonoloco

YouTube:

https://www.youtube.com/channel/UCpyTEFYPDWRMwDKicf59fgQ

Spotify:

https://open.spotify.com/artist/2FECCpHkCuxbXxWCbC5Xmu?si=6icOQ5EHQ26ZDjS-19zVmA

TRACK REVIEW: Tiger Mimic - Elephant Skeleton

TRACK REVIEW:

 

Tiger Mimic

PHOTO CREDIT: Jo Martin-Kelly/JMK Productions  

Elephant Skeleton

9.5/10

The track, Elephant Skeleton, is available via:

https://www.youtube.com/watch?v=7w9O0G-sspQ

GENRE:

Indie

ORIGIN:

London, U.K.

RELEASE DATE:

14th September, 2018

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THE reason I am doing two reviews in one day…

 PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

is because it is pissing it down with rain! Actually, that’s not the real reason but it is quite handy having that excuse to stay in! I am hearing some great new acts coming through and I am keen to get on top of everything. This time around, I want to look at a few things pertinent to Tiger Mimic and the music they make. Their name, essentially, comes from a butterfly that disguises itself to be poisonous but actually is not – just so predators leave it alone. It is a cool name and something that actually feeds into their music. I think of them and the way their music has bite and real toughness but, underneath, there is that sweetness and sense of beauty. I want to look at artists who have a real interesting sound and cool blend of styles; music videos and why I am drawn to them; bands you want to know more about and those who boast a cool story; the persistence and effort artists show and why they should be paid attention to more – ending with why Tiger Mimic will go a long way and should hang tight. I actually met the founders of Tiger Mimic, Bram and Jess, a few days back after interviewing them. I will talk about them but, in essence, I almost lost my voice speaking to them! Not that this was entirely down to them – I was interviewing people all day and was a bit sore before I got there. We do not hear about artists’ personalities and what makes them tick. Bram had many great stories and has had a vivid/interesting career path to music. He is a great raconteur and loves his music. Jess is a complete dream – she and Bram are married – and, by her own admission, a crazy cat-lady! She is charming and funny (we both can speak German – forgot to mention that to her) and, between them, make for a formidable team! The two are fairly new to London and, with Ben and George, they have a band together.

  PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

What attracts me to Tiger Mimic is the blend of styles they fuse together. When interviewing them, I asked what sort of sounds/genres they put together. I can usually predict what a band will sound like and the fact they will, in some form, follow the mainstream. I know Bram loves The Beatles and told me about his first taste of Magical Mystery Tour. You get the sense the inventiveness and out-there nature of The Beatles inspires how he writes and performs. Listen to his vocals or guitar work; how he orchestrates music and approaches things. Hailing from New York – a quieter area of the city/state – I get a combination of the ‘quirks’ of the area and the new-found eye-opening from London. Jess, meanwhile, embodies that enigmatic and stunning heroine. I know how she loves Joni Mitchell’s Blue and I feel like she identifies with that record. Mitchell, regarding Blue, said how she was putting everything out there and being completely open. That raw and vulnerable expression comes through in Jess’ voice. Both of the leads had different musical upbringings but they are lured to those artists who do things differently. You listen to a song like Elephant Skeleton and so much is working away. The storytelling is illustrative and colourful; the delivery is original and you get a much bigger hit than you’d think – the band combine their multiple facets and produce a blistering song. Maybe I have laboured on this point but I like to hear artists who do things in a different manner. By that, I mean they are not your predictable fare that you can match with anyone else. Tiger Mimic are as deep and multi-coloured as the butterfly on whom they are named. I can listen to Tiger Mimic and get a real understanding of the artists that inspire the performers; a rare cocktail that gets into the blood and transports you to a strange and magical world.

I will come back to styles and fabrics in a bit but, right now, Tiger Mimic’s video for Elephant Skeleton is out there. I do not often look at a musician/artist and feel like their visual side speaks to me. A music video is part of the promotional cycle and some artists love doing them – others are less concerned and you can tell their heart is not in it! I love music videos and feel they can say so much about a song. A great producer can turn a rubbish song into something good: a fantastic video can bring new life and energy from a song. Tiger Mimic’s latest track is stunning but they manage to heighten it with a great video. Look at the animation and old-skool looks of the video and you are transported to another time. I love how nostalgia seems to fuse with modernity inside everything Tiger Mimic does. I love directors like Michel Gondry and how he brings his own universe/scent to the party. One can look at one of his videos and know it is his work. From directing The White Stripes through New York (The Hardest Button to Button) or bending minds directing Lucas or Björk…you get this insane and brilliant result. My favourite videos are those that take chances and put a smile on your face. I particular love those videos Peter Gabriel put together for his album, So. That album arrived after four eponymous records – who names four albums after themselves?! – and videos for Sledgehammer and Big Time, with their Claymation-style shoots were groundbreaking. Those videos were out in the mid/late-1980s and were well ahead of their time. I also love how someone like Kate Bush and how she approached videos. Not only did Gabriel and Bush collaborate (for Don’t Give Up and Games Without Frontiers) but she threw everything into every video. They are renowned for their brilliance, physicality and storylines.

This might sound like a rambling side-street – the sort Bob Dylan might write about as a metaphor – but it is relevant. Artists, now, have to think about every asset and facet of their work. If they pen a great tune but do not do something good with a video then they have left a flapping hole. You need to be rigid and disciplined when it comes to every angle. People are looking for artists who are the complete package and appeal to every sense. I think the music video is a great opportunity to do something fantastic – I understand finances are limited and it can be hard doing something ambitious. I am a wannabe director and have a few ideas for videos. I always imagine it would be costly to do something majestic but you can create memorable work with very little money. I am not sure how costly the video for Elephant Skeleton was but it is amazing in its own right. I used to be a big gamer and love the retro look of video games from the 1980s and 1990s; playing the Sega Mega Drive and being thrilled – going down that street again; need to flip it in reverse! – by the effect it had on me. I know there is more material in Tiger Mimic and, with London at their feet, I am excited to see what they have in mind. Given the fact the band is fronted by a husband-and-wife team – like The White Stripes but without the uniforms and we’re-really-siblings-lie – they could bring something romantic, explosive or domestic to the plate. From speaking with them, their minds spark with ideas and they have brilliant visual eyes. Many might say videos are not as vital as the music but we really need to start evaluating the importance of them and how they can ingrain a song in the mind. It is not usual you get to have a personal attachment to someone you are reviewing.

 PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

Not that I am living with them or hanging out all the time but it was good to speak with Jess and Bram about their music, background and chill with them. Jess has lived in different countries and seen a lot of the world. She is out there looking for a great job with a label (hire her if you want someone great) and Bram has a background in the wine industry. An oenophile from New York and a Joni Mitchell-like heroine together is a recipe for success! We do not often think about artists and where they came from. How often do we read reviews or chat with artists after gigs?! Do we have the platform where they can talk and get their true story out to the people? The music itself only provides one take and it can be obfuscating, fictional or inscrutable. Jess and Bram have come a long way and, with their band members, are a fresh team. It is great to see where they have come from and where they want to head. I can hear the bustle and accents of New York in their music – not literally; a certain ambition and dynamic you do not get elsewhere – and there is a clear passion. I know they want to get a lot of gigs and, with an E.P. coming next year; it will be a chance for new eyes to be seduced by them. I listen to their music and am instantly grabbed by the way they sound and how everything comes together. You cannot compare the band with anyone else and that all bodes well. I have talked about audio and visual sides to them and will come to look at the personal drive that is evident. There are so many reasons why you need to get behind Tiger Mimic and show them some love. One gets a cannonball of delight, intelligence and passion from their songs. I have no doubt they are going to go very far and will be a big success in very little time.

The guys have teamed with producer Matt Lawrence and, having recorded at London’s Livingston Studios; some great music and results came through. Elephant Skeleton is about a mysterious garden fading and its owners sit and count drops of rain – searching for an answer that will never come. You never get that sort of story with artists, and so, you owe it to dip your toes into the waters of Tiger Mimic and swim with them. Having spoken with Bram and Jess; the guys are hustling and sending emails to people. The modern game involves a lot of communication and very little return. I get tonnes of emails a day and, whilst I cannot around to featuring everyone and feature each act; I make sure I reply to anything personally directed to me and ensure I do not leave people hanging. Modern music is a game of returns and beating the odds. A lot of time, it is about getting lucky and I wonder whether the media needs to change. There are platforms for artists to get their music heard and reviewed but there are so many people going for the same thing. You need to be resilient and determined if you want to make headway in the industry. One mustn’t take things too personally if there are ignored emails but I feel every artist is owed a response from everyone. How often do artists who pine and graft get what they want? Is music about being in the right place or getting lucky? That may sound harsh but it seems the most talented and worthy have to fight harder than those who are commercial or have a label behind them. I am not sure whether Tiger Mimic have a P.R. company behind them but I know there are some out there who would snap them up. Maybe that would get their music to more blogs/sites and they might be able to benefit from a team putting their music out into the world. I am a big fan of BBC Radio 6 Music and feel their music would be popular there.

 PHOTO CREDIT: Luis Guillén

I feel Tiger Mimic have a long way ahead of them but they can get there. Right now, they are preparing for a gig at the Dublin Castle on 26th September (see their social media feeds) and it will be a great opportunity to get their music to a new crowd. I will come to that in the conclusion but here is a band that can mix it with the very best and deserve a lot of oxygen. It is a hard music world to dominate but fortitude and talent will win the day. The reason I feel Tiger Mimic will continue to grow and succeed is because of the unity in their ranks. You have that American duo who have a close connection and the two British (I assume) newcomers. They are almost like Fleetwood Mac (Bram and Jess as Lindsay Buckingham and Stevie Nicks?!) but without the fighting, drugs and controversy. Who knows; maybe a Mac-like success will come (without the extra-marital affairs) and they will produce their masterpiece. I think relationships and understanding in bands can make a big difference and the fact Tiger Mimic are a solid unit means they are determined to keep plugging and playing. The guys are getting emails and word out there; they are lining gigs up and it seems like they are excited about what is ahead. This year has been important and has seen them get their name out there. Next year is going to be big and I think we need to respect and give more chances to those artists willing to keep pushing. Given the fact Tiger Mimic have a terrific sound and great stories within the band; I think they will get success very soon and see their efforts rewarded. Certainty, if you get time to hang with them and chat; you get a much better understand about what makes them tick and how their personalities feed into the music.

 PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

The first moments of the song are vital if you want to grab the listener and keep them involved. So many artists are shortening their intros because they want to grip people and feel a lack of vocals will turn people away. Elephant Skeleton has a great video and you get a bit of 8-bit electronics at the very start of the song. From the old-skool and nostalgic electronics; you then get some sexy, slinky and grubby guitars that take you from one decade to another and really shift the mind. You are transformed from that vintage world to somewhere more modern and changed. I imagine myself in some colourful and candid street as the rain seems to trip down. You get a real blast of cool and swagger as the song starts to warm and take shape. You never instantly pine for a vocal and feel something is lacking. The guitar is fascinating and has a nice mix of Blues and Rock. You get caught in the sway and tropical breeze of the guitar and let the song take you away. Ironically, the opening lyrics of Elephant Skeleton talk about icy rain dropping down and something a bit cold coming through. Bram delivers his words with a sense of story and emotion. Rather than tumble the words out and race away; you get that careful projection that matches the composition. Everything is quite laid-back (at first) and seems to carefully entice the listener in. The hero talks about math being laid out and figures being presented. I get this combination of numbers and rain and, knowing the song is about a garden; I am transported to that scene and a figure watching things wither away. The band come together to give the song plenty of strut and adventure. Guitar and bass fuse with the percussion and you seem to get instrumental representation of the weather and view.

The lead duo starts to come together and talk about this garden. Nothing is growing and it seems like the fallow fields will never bloom again. Bram’s opening vocal lead transfers to Jess and she brings a new dynamic in. The pace continues the same as the heroine discusses an inevitability and branches everywhere. Maybe the garden is overgrown and things are falling into a state of disrepair. Both vocalists have their own style and it is great to compare the two. They sound great when in unity but you get different scents when they step aside. Jess has elements of Joni Mitchell but there is a husk and raw quality that emerges. I have heard about some mixed-gender bands but most of them are female-fronted (male members not contributing to the vocals much). You get true partnership with Tiger Mimic and both have a way of taking lyrics and really putting them into the brain. Our heroine impressed and stuns with a breathy, smoky and engaging voice (hard to put into words how both singers make you feel) and it is like you are hearing a classic chanteuse perform from the stage. You are helpless and are swept away but this sensual wave of voices. It is interesting seeing how each of the leads sounds and guides the story. They can stand alone and weave but, at every stage, you are buckled and excited. I think the garden is a metaphor for a relationship or bond that is seeing its roots come apart. Maybe lovers who have neglected one another and hearts that are not as strong as they were. It is the rhythm and kick of the song that comes to me. It is a flowing, hypnotic and wonderful song that stays under the skin. Just as you dive into the verse and picture scenes; the guitar comes back in and there is another Blues lick.

 PHOTO CREDIT: Luis Guillén

It is almost like the guitar parable acts as the rain and weather itself. It is a tender, tongue-teasing and animal-skinned slither that gets into the blood and does something fantastic. The big walls and obstacles in the gardens are as noticeable as an elephant skeleton at the door. You get grandeur and vast images but feel like something more intimate is being assessed. Maybe the relationship quandary is not taken from any band member’s past but you feel like they have experienced a bad past and dealt with these pains. I love how Jess and Bram weave inside one another and their voices expose all the nuances of the song. You walk with them and picture the scenes they are painting. They have no idea why the walls and structures are there but it seems like this garden owner is doomed. Help can come but it will not make a difference. Again, I look at matters of the heart and feel like a relationship has faulted and been overlooked. The heroine speaks of being far away from home and, in every line, you take your mind in a different direction and conspire as to the song’s origins. The melody, wonderful flourishes and busy composition is wonderful. I love how much activity there is in the song and how Elephant Skeleton goes through different phases. You envision this story and chronicle that seems positive to start but becomes heavier by the moment. Oddly, I get touches of French and a classic romance in the composition. A swoon, kiss and merry dance gives the composition great sway and tenderness. The contrasts and clashes of styles makes the Tiger Mimic latest such a gem. As the song closes, you get a final rush and it is brilliantly concluded. A nice, cool and awesome little flick of the tail brings the song to its end and perfectly stops things. After that fascinating start (you get electronic samples for the video; the actual version starts with guitar), there is a different vibe to end the song. Elephant Skeleton is a packed, brilliant and original song from a band that are fully-formed and fantastic. You can hear the connection in the ranks and how natural they all sound around one another. If this is what their material sounds like so early; it is scary how good they can be in a few years from now.

I mentioned how they have a gig coming up at the Dublin Castle and, if you are about on Wednesday (26th); get behind them and ensure you show some support. The venue is legendary and it will be an exciting one for them! I will try and get down there and see them but I know there will be some more gigs coming. When their E.P. drops early next year, they will get some more bookings and see the crowds flocking. I am keen to see how that chemistry unfolds on the stage and how they interact with the audience. What amazes me is the freshness of the music and how I cannot lump it with another band. They have a great creative vision and have put out a terrific music video. Throw into the mix their natural abilities and talents and you have a group that are going to be ones to watch. I have spoken with Jess and Bram and got to learn a lot about them. I know they are excited to get their music to as many people as possible and you know nothing matters as much as music. They seem to live for it and do not want to be overlooked. So many artists seem to be in the industry for success and, whilst that is fine, their music does not really remain and show any original flair. I am looking forward to seeing where they head next year and where their music takes them. I know they can get some gigs in the U.S. and a lot more dates around the U.K. Given the positive reception of Elephant Skeleton and how it stands in the mind; I feel they should look forward to some big success. It will not come easily – and they will have to graft still – but they have all the components ready for longevity.

 PHOTO CREDIT: Jo Martin-Kelly/JMK Productions  

You can hear the personalities and brilliant of the players in every note and you cannot listen to a Tiger Mimic song and not be affected. There is something about the sound and the unusual subject matter. I have mentioned Bram’s Beatles love and that sort of experimental mind – you feel like he wants songs to trip into strange territories and not follow the same boring rules as everyone else. Jess, to me, resembles a modern-day Joni Mitchell and has a brilliant high-pitched vocal. She can buckle the knees and make the soul swoon. The two of them combine brilliantly and offer brilliant magic. When you hear the quartet step up; their music leaves you a bit breathless and amazed. I have gabbed enough about them and, I hope, assessed Elephant Skeleton properly. As we head towards the closing weeks of the year; Tiger Mimic will take to a big London stage and they will be readying themselves for their E.P. They have made some movements and steps the last few weeks and I know they have big plans for 2019. There are not many bands who leave the same impression as Tiger Mimic and have such intriguing and wonderful leads. Things can only get better and, if they continue to produce music like Elephant Skeleton, then they will be a big proposition for the future. They might have started in different countries and from different backgrounds but now, firmly cemented and determined, the guys of Tiger Mimic are very much…

 PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

ON the same page.

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Follow Tiger Mimic

Official:

https://www.tigermimic.com/

Twitter:

https://twitter.com/BitcrushedT

Facebook:

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

Instagram:

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

Spotify:

https://open.spotify.com/artist/296hyITffv9hw30ypToBi7

YouTube:

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

SoundCloud:

https://soundcloud.com/tigermimic

INTERVIEW: St. Humain

INTERVIEW:

St. Humain

___________

WITH Fever Vibe out there…

St. Humain has been talking about the song and what its story is. I ask whether there is more material coming next year and what the next steps are; why the Singapore-born artist moved to Australia – he recommends some rising artists to watch.

St. Humain talks about his influences and some albums that have impacted him; what advice he would give to artists coming through; how he spends his time away from music – the songwriter tells me what he hopes to achieve before the end of this year.

__________

Hi, St. Humain. How are you? How has your week been?

Hello! I’m doing good. This week’s been absolutely crazy in a good way – every release week always is and it’s such an exciting time getting the song out!

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

I’m an artist who tries to tell my honest stories; songs of human experiences and connections that hopefully relate to everyone. I mostly make all my own stuff: singing, songwriting; producing…the whole lot.

Fever Vibe is your new single. Can you reveal the story behind the song?

Yes, it is! I’m so pumped for everyone to hear it. It’s inspired by young love. I believe that there’s that common exciting feeling throughout the early stages of all relationships and Fever Vibe is my attempt at capturing that in a three-minute song. Something for all of us to dance to!

Do you think there might be more singles coming next year? How far ahead are you looking?

Next up is my debut E.P. called EMOTIONAL SAUNA coming in January - it’s an eclectic mix of songs that will tell the story thus far. We’re getting things finalised on my end here in Sydney and it’s looking to have seven tracks!

You were born in Singapore but are based in Australia. What was the reason for the move?!

I moved to Australia some years back for my studies and haven’t really left! It’s so lovely here and I guess you can say that I’ve got two homes now. Sydney is a lovely place and the weather is great when it finally makes up its mind. Haha. The coffee is stunning as well; you should totally come visit! 

What sort of music did you grow up around? Were you subjected to a wide range of sounds?

Definitely. I grew up listening to the radio actually! Pretty much every night going to bed I would have the daily countdown on and wouldn’t go to sleep till I found out who was number-one. Back then, it was Britney with I’m Not a Girl, Not Yet a Woman and the Backstreet Boys fighting it out for top spot. I also listened to Ryan Seacrest and Rick Dees’ top-40 on weekends. Yeah, I know: I’m such a sell-out.

But, listening to the charts made me have an appreciation for the Pop world…only for me to learn the guitar at fourteen and going into Blues, Jazz and Soul. I think this combination has led me to my sound, at least for now!

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

If I could, I’d wish for world peace. But, since all I’ve got are songs…I’d hope that as many people hear them but, more importantly, that my music connect with others on a personal level. To make others’ lives better; to remind them that they’re not alone feeling what they feel; to make everybody dance along to life.

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

I still remember the first time the industry took notice of me - I know it’s not the goal here but it gave me some sense of validation that what I was doing actually was worthwhile to some degree. On a personal note, an old friend of mine heard a song of mine and shared that it actually helped them move on from a break-up. That meant so much to me.

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

Oh, gosh; why would you do this to me!

John Mayer’s album, Continuum, is on the list for sure. It marked the time in high-school for me; getting all emotional over this girl I liked.

Another one is perhaps more curious: Westlife’s Coast to Coast. Don’t judge, but it’s the first album I ever bought and it brings back thick memories of falling in love with music.

Lastly…I know she calls it a mini-album but Julia Michaels’ Nervous System is one that means a lot to me right now. It’s raw, honest, and solidly so melodic. I get the feels.

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

Julia…if you ever see this I’d love to come along! I’d also totally support Maroon 5 right now. I think their new album is amazing.

My rider would definitely also have plenty of water, gin and tonics on the Hendrick’s and cucumber please…and Italian pizza.

What advice would you give to new artists coming through?

Don’t give up. Find your vision, keep refining yourself and persevere. If music’s your thing, brave the world; the industry; the people around…and don’t stop creating.

Do you have tour dates coming up? Where can we catch you play?

I’m working on it! None just yet but, hopefully, I can take my E.P. live after it releases in January 2019.

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

Yes. I’d definitely love to come to do some shows in the U.K.! I love the music that’s been coming out too - acts like Anne-Marie, Dua Lipa and Jax Jones immediately come to mind. A close artist friend of mine, Sätilä, actually just moved to London the day my new single got released and it would be lovely just to go there to visit him if anything!

Are there any new artists you recommend we check out?

I’ve been heavily reliant on 6LACK’s new album. But, for something more poppy - Clara Mae, Sigrid; Leland and… is Lauv still considered new?

 IN THIS PHOTO: Clara Mae

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

I think I’m kinda obsessive so I actually need to get better at chilling out. But, I often unwind with food - eating it, cooking it; watching Bon Appétit videos. That’s my thing.

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).

Hey, Alexa. Play Say My Name by Tove Styrke. Cheers; thanks for having me!

___________

Follow St. Humain

Official:

https://sthumain.com/

Twitter:

https://twitter.com/sthumain

Facebook:

https://www.facebook.com/sthumain

Instagram:

https://www.instagram.com/sthumain/

SoundCloud:

https://soundcloud.com/sthumain

YouTube:

https://www.youtube.com/channel/UC4bCuWAMxyaPoxUInUmpyFw

INTERVIEW: Soheill

INTERVIEW:

PHOTO CREDIT: Kristen Balani 

Soheill

___________

I have been speaking with Soheill…

 IMAGE CREDIT: Kevin Donnelly

about his new track, Supernatural, and how it came together. The American songwriter discusses his E.P., Somewhere Between Love & War, and the sort of themes that inspired it; which musicians he is inspired by – he reveals what Nashville is like as a base.

I ask whether there are tour dates coming and which albums are most important to him; which new artists are worth checking out; if he will come to the U.K. and tour – Soheill ends the interview by selecting a great track.

__________

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

I’m good! Busy as always. I’m about to release my E.P., Somewhere Between Love & War, on October 12 and planning for a Texas tour with Jon Pattie. It’s an exciting time but, as some of you know, the to-do list never takes a break.

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

Sure thing. I’m Soheill. I’m a singer-songwriter/producer from Nashville, TN. I’ve been writing music for quite some time and relocated to Nashville from L.A. within the past year. My music could be described as Psychedelic-Indie-Pop/Rock.  

Supernatural is your new song. Can you talk about its story and background?

Supernatural was written about a certain time in my life where my family was trying to move from Iran to America. I was seven-years-old and we had already been denied a Visa once before in Pakistan. My mom played a big part in getting us over here because she wouldn't take ‘no’ for an answer the second time around when we were in Dubai. They initially denied us a Visa but she was somehow able to change their minds.

The crazy part is that they were going to let my mom go to America without me. I was the problem for them because, in Iran, they force you into the military unless you win a lottery. So, to them, I was an asset for war. I am very fortunate to be out here today.

It is from the E.P., Somewhere Between Love & War. Are there particular themes that inspired the songs?

There are a few different things that inspired it. I wrote a couple of the songs while I was in the process of moving away from L.A. I came up with the title Somewhere Between Love & War because I was living comfortably in the grey area. I was having problems with relationships and work, mainly because I felt I was being held back. I moved to Nashville more to get away from distractions and cleanse my spirit. The music scene here is okay but I believe you can be anywhere and do music as long as you're willing to tour.

PHOTO CREDIT: Jenna Doolittle

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

That's a really tough question.

I've been through so many musical phases - Hip-Hop, Pop; Rock, Songwriters etc. My very first encounter with a memorable musician was Michael Jackson. I remember watching the Thriller video and getting scared out of my mind. M.J. inspired us all. It's beautiful that he touched so many people of all different walks of life.

How important is Nashville as a base? Is it a great city to make and perform in?

Nashville is a great place to be if you want to be a songwriter or simply just want a more simple life with a city feel. There is a music industry here but it's mainly Pop/Country, Country or Americana. There is a bit of an Indie music scene that is flourishing here in East Nashville and Midtown. I think, for me, it's just comfortable living here. It's cheaper than Los Angeles and I've met some great people and even my manager. Is it long-term? Probably not, but who knows...

PHOTO CREDIT: Jenna Doolittle

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

I'd love to have a successful E.P. release, a couple music videos and to start working on my next E.P.

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

I toured London by myself for five months around 2011. It was a magical time. I was all alone in a city and didn't know anybody. I had just quit my office job and embarked on a journey that helped me grow as a musician and person.

 PHOTO CREDIT: Kristen Balani 

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

Coldplay – Parachutes; David Ramirez - We're Not Going Anywhere and Pink Floyd – The Dark Side of the Moon

I love all these albums for different reasons but, for me, it's all about timing. Great music comes into your life at a time when you need it the most. It's like finding someone you love at various points in your life. There is a connection you feel to the lyrics, the mood and the artist. That's what makes a great album for me. 

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

I would support Nine Inch Nails and request:

- All cellphones be locked up inside a safe to prevent anyone from zoning-out on social media.

- Dinner must be served on real plates with options for vegans and meat-eaters.

- If you do not curse at dinner, then you are to be excused.

- If anyone mentions or speaks of any boy-bands or other annoying bands, they are removed from the tour production.

- No peanut butter allowed. Only Nutella.

PHOTO CREDIT: Kristen Balani 

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

Yup. Texas tour, 2018. I will be playing in Dallas, Ft. Worth; San Antonio, Houston and more. Check out samhale.net for details. 

Might you come to the U.K. and play soon?

I have before. I don't see what would stop me (smiles). I miss my friends there.

What advice would you give to new artists coming through?

Focus on the music first. Don't worry about social media and trying to be popular. If your music is truly amazing and original, people will come to you.

 PHOTO CREDIT: Jenna Doolittle

Are there any new artists you recommend we check out?

Definitely. Check out this playlist I made.

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

Sometimes. Ha. I like to cook or be in nature. I try to take a little time each day to relax. 

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).

Nick Hakim - Green Twins

___________

Follow Soheill

PHOTO CREDIT: Jenna Doolittle 

Official:

https://soheill.com

Twitter:

https://twitter.com/samhalemusic

Facebook:

https://facebook.com/soheillmusic

Instagram:

https://instagram.com/soheillmusic

SoundCloud:

https://soundcloud.com/soheillmusic

YouTube:

https://youtube.com/soheill

TRACK REVIEW: Emmi - Moments

TRACK REVIEW:

 

Emmi

PHOTO CREDIT: @DarrenSkene2 

Moments

9.6/10

The track, Moments, is available via:

https://open.spotify.com/track/2yKufY8fpRd1kDWJKO1lgz?si=jU4WgHgRRQiRow-5l8yx4A

GENRE:

Pop

ORIGIN:

London, U.K.

RELEASE DATE:

21st September, 2018

_________

THIS time around…

 PHOTO CREDIT: @natecamponi

I get to look at a few things that I have not discussed before. I will come to look at Emmi’s work very soon but, when looking at what she is doing at the moment, I get to think about concepts around love and how things come together in a new and original way. I will also talk about female artists and the variations that is being put out there; those who take a break from music and sort of reinvent themselves; those who find their way into music and debate other careers – I will end looking at Emmi and where she might head. I have been looking forward to seeing Emmi come back into music and wondering what she is up to right now. I will explore that later but, right now, I wanted to look at what she is conceiving and releasing to the world. Emmi will put out a few singles as part of an E.P. – each new song is a separate chapter and part of the story. Moments is the first chapter of this love story and one that intrigues you for the future. I have heard a lot of E.P.s this year and they all have a very similar format and composition. By that, I mean they are not bound by themes and you sort of know what to expect. Emmi is different. She is readying herself for a six-song E.P. that will chart the progress of love: from the start to the labelling stage; settling down to the fraying of the bond to a natural end. I am not sure what date the second single is due but I am really interested in this concept. A lot of people think about concepts in albums/E.P.s and sort of blanch. They might think it is going to be something weird or it is Prog-Rock; a head-scratching thing that is off-putting and strange. That is not the case with Emmi and her playlist. In fact, I think Emmi plans on releasing a new cut every few weeks.

I am always drawn to artists who do things differently and approach music in an exciting way. The opening chapter from her playlist/E.P. is the start of a relationship. There is something new and unexpected; a sense of optimism that draws you in and compels you. I wonder how much of the story is culled from Emmi’s real life and how things worked out for her. I feel many artists release E.P.s and albums and they do not really hang it together with any real story and hook. We are being told how the album is dying and not many people are listening to them in their fullness. Maybe that is because a few singles come out and that is all people are interested in. I feel, if more people were more willing to pay attention and submerge themselves in an album then it would be better for artists. A lot of the time, we are not really interested in what comes after the big hits and artists, as such, are filling albums with lesser works. The best albums of this year so far – from the likes of Christine and the Queens – need to be heard in-full and demand proper attention. Emmi is one of those artists that has the desire for listeners to follow her music and not skip through songs. She has just released the first offering but, now that we know how things begin, it is impossible to put the ‘book’ down. You want to chart the relationship and see how things work out. The wonderful thing about Emmi’s new project is the fact it is related to something we can all relate to. It is not some whacky concept that you cannot chart: everyone knows what she is talking about and can identify with the stories. I feel more artists need to invest in what Emmi is doing and do something similar. It is always more appealing when an album/E.P. has some great concept you can follow and look forward to seeing unravel.

Female artists are producing, I feel, some of the best music this year. I have mentioned Christine and the Queens but others, such as Anna Calvi, and providing sensational and strong material. I am not suggesting the only great work out there is by female artists but they seem to produce more original and personal work. I feel a lot of new female artists are shaping up to be future mainstream stars and they are digging a lot deeper than their male peers. One of the reasons I love music by female artists is because you get greater revelations and emotional depth coming through. Emmi has put her heart on the line on her latest work and she is willing to be revealing and soulful throughout the course of her concept. The starting chapter is an eye-opening window into what she is planning and the beginning of that love story. I have followed Emmi for a while and love the variation she puts into her music. You never really know what she is going to get and she fascinates me greatly. The last time I reviewed her was last year I think and the music she was putting out there was a lot different to her new single. Emmi wants to create something memorable and gritty; she loves stories and wants to be part of a culture that narrates great pieces and can entrance a listener. She has composed instrumentals and worked with other artists; created a variety of different subjects and songs and, by the year, gets stronger and more ambitious. I feel Emmi will continue to study new areas of music and push her work to new boundaries. Female artists, I think, are more daring when it comes to narratives and ideas. I love the candidness and emotion you get from the best female musicians. Many might say writing about love is not that original and it can be quite dull. I agree some artists write about love in a very staid and predictable way. Emmi has always been skilled at approaching matters of the heart from different angles and putting new light into things. Moments is the start of things and I am compelled to see how things turn out. I will move onto a new topic but, before then, I feel it is interesting to see how Emmi tackles music.

The songwriter knows many people view the world differently because of where they live and how they were raised. It depends where you are born or how you were raised but we are all brought up differently and are told different things. Maybe we view love and life through a different lens or we are educated in a dissimilar way to someone else. Emmi realises it is the things we have in common that bond us. Rather than write songs that divide and concentrate solely on what she is all about; the songwriter looks at universal bonds and things we all are tied by. She is obsessive about exploring things we all live through but she presents her version in a unique way. I love her voice and how she projects; the way she writes and how her music pops off of the page. She is an artist who has a long run ahead of her and can genuinely touch many people. I can feel how hungry she is and what she wants to achieve. I have mentioned how she has had a bit of a gap and not been in music for a little while. Rather than release singles that fill a hole; she has worked hard on new material and coming back strong.

PHOTO CREDIT: @DarrenSkene2 

I will come back to another topic soon but I wanted to look at those who take a bit of a break from music. It has not been that long since she last released material but the way she has reinvented herself is amazing. I think the last time I reviewed her was when she was writing something fantasy-based and vivid. Now, rather than repeat herself, she has delivered something strong and unexpected. It is important not to keep plugging away and constantly putting stuff out in case people forget you. It is much more productive and sensible taking a bit of time and producing music that is strong and means something to you. If you just crank out singles and repeat what has come before then people will get a bit bored and that will take a toll. Emmi has been working hard and thinking about where she is going next. I have seen a lot of artists release material and then take a bit of a pause. Modern music always requires artists to pop something out and there is that pressure to keep in the public eyes. So many have stretched themselves to the limit and worked tirelessly because they feel they will be overlooked and forgotten about. It is a bit insane there is so much stress and pressure placed on the shoulders of new artists. I am interested in what Emmi is doing and what she wants to achieve. The new project/E.P. from her is a charting of a love story that has an optimistic and bright start but goes through changes and challenging times. Maybe there is a personal aspect and she takes from her own life but it is interesting guessing. Every song she puts out has that conviction and physical connection. You feel like you are involved in her life and she wants to bring you into her world. Great songwriters can wait a bit and bring us something that is different from what came before.

Too many worry they need to keep things moving all the time but we all need to recharge and find time to relax. If we take a pause and get out into the world, that can energise the creative mind. Emmi has been busy promoting her material and experiencing life at the same time. Emmi, at one point, wanted to go into medicine and she decided to go into music. Things changed for her and it seems like she is born to do this. There are few as strong a songwriter; someone who can pen these tales that drag you into things and provoke such revelation. The concept playlist, LOVERS, is a glimpse into what she is concerned by and affecting her life. I have talked about love and how it can be hard to approach it from a new angle. So many songwriters go through the motions and you feel like you have heard everything before. I love when artists take a risk and are bold. Emmi wants to make something beautiful and epic. She does not want to sit back and let the music wash in the background. So many songwriters are commercial-minded and they are not really bothered adding anything original into the pot. Emmi looks around her and absorbs stories from others. She has a broad mind and knows, although we are all affected by love and its pains, everybody’s story is different. Emmi wants to join the great songwriters and loves the way they can climb into her head and speak for her. I can relate to where she comes from. Terrific songwriters can climb into our brains and speak for us; seem to dig into the soul and make an enormous impression. Emmi has followed great songwriters and, I feel, that is why she is so eager to put music out. She wants to get people connected and feel the same way she does; bring them out of themselves and find something fantastic in her music.  

There are so many songwriters out there and it can be really difficult differentiating them. Let us look at where she has come from and why Emmi is a songwriter to watch out for. She is constantly innovating and trying to head into new areas. Female artists, as I said, are doing some incredible things right now. I feel they have to fight harder than men and the industry puts them down somewhat. It can be hard for them to get the same oxygen as men and I think this needs to change. The core of the music industry, in terms of themes, is personal emotion and relationships. Although a lot of the best female songwriters of the moment are talking about politics and gender issues; the majority of songs reflect love and relationships. The ability to deliver these words and experiences in a fresh and new way is paramount. I am not sure what it is but the male songwriters out there do not get into my soul as readily as the female artists. Maybe it is that they hold back or cannot present their words in an exciting and impassioned manner. Listening to Emmi’s new track and you are attracted to this songwriter who has clearly witnessed some excitement and hurt and, rather than conceal that and keep it inside; she has pushed it out into the world and wants other people to feel something. Maybe I am rambling a bit but there is a lot to love about Emmi. She is a great songwriter who has come a long way and there is a lot more to come. Make sure you follow what she is up to at the moment because she is back and very strong. Moments is unlike anything she has brought to the world and it is hard to approach love with something fresh and eclectic – she has managed to do that and show why she is one of the most interesting and promising artists around.

The first thing you can tell from Emmi’s new release is the direction change she has taken. I can hear a more modern and different sound come from her. A lot of songwriters are taking an approach where they open songs with mutated and echoed backing vocals. It is eerie and atmospheric and draws you in pretty quickly. Rather than stay with that common sound – it is good to hear but so many songwriters are doing it – we get Emmi’s pure voice come through and there is no clutter. The heroine explains how things have not worked out well and how she is being a bit of an idiot. It is a bold confession to state you have been wrong or foolish. Maybe Emmi’s confession is not as bold and brave as Kate Bush’s in Hounds of Love (song) but it is brave. Rather than admit fault; I feel Emmi is mad at herself for doing something stupid or taking a risk on someone who is not worth the effort. I felt the songwriter would start her story by looking at the rush of love and how exciting the new bloom is. I have noticed a bit of a change in Emmi’s voice, too. It is a lot more complex and textured than her earliest material. You can hear a bit of R&B and Soul; a fleck of Amy Winehouse and smoothness come through. It is a complex brew that brings so much colour and emotion to the party. Listening to her speak, you hear this songwriter who, like Winehouse, reveals her scars and is unafraid to be earnest. Emmi has let her mouth run away – it has a mind of its own – and it is getting her into trouble. Maybe that is the nervousness of new love and saying things that are a bit silly. Perhaps she has a habit of speaking her mind boldly and not holding things back. The way she delivers her lines is amazing.

 PHOTO CREDIT: Joe Connor

Most artists have this rather predictable and mannered way of speaking and eliciting. She will start with a smooth jam and seduction and then races some words and scuttles. It is a rollercoaster of a performance that has natural conversation and personality. Emmi admits that she drinks a bit too much and her natural inclination is to make a bit of controversy. I do not think she intentionally sabotages herself and gets into danger but maybe this is a time for re-evaluation. The latest offering from Emmi reminds me of new artists like Jorja Smith. That is not to say Emmi borrows from anyone or is sitting in a scene. She has her own vibe and sound but it is the quality that shines through. You are diving into the song and picturing the images of Emmi saying things she regrets and beating herself up. The chorus sees vocals doubled and backing vocals come through. It is a seductive and fiery blend that gets under the skin and take you somewhere special. The energy and sense of passion that comes through is incredible and you are buckled by Moments. Rather than think solely about love; I get the impression Emmi is talking more of herself and using this chance as a moment of reflection. She has been comfortable in a space for a long time and I get the impression she wants to take a leap. It is the vocal performance from Emmi that makes the biggest mark. She is not someone who casually delivers lines and follows everyone else. Her voice swoons and dives; it is sexy and defiant at one time and then is more sensitive and revealing the next. The sweetheart she is talking about maybe can relate to what she is going through. Our heroine knows things are a little crazy but she knows the man might understand where is coming through.

 PHOTO CREDIT: @DarrenSkene2 

That bond and strange connection is important. Rather than connect through someone boring and ordinary; both lovers seem to have a bit of baggage or they have faults that they wish they could get rid of. Emmi is awkward around new folk and is never quite sure what to say. She has taken a chance with this man and felt compelled to come on over. Maybe it is a risk – given what we know about her racing mind and how she speaks freely – but there is something magical working from across the room. There is a cuss in there and it is that reality that gets to me. You get that rudeness and humour; there is a real person coming from the speakers and confessing her sins. Emmi knows she is not perfect but understands we all have our flaws. We all have stuff we wish we could erase but this is part of who we are. The rushing electronics and big beats bring the song up in the chorus and, when the verse comes in, the energy subsides a bit and it is a chance for Emmi to coo and confess. This is a revelatory and stunning song from her and one that perfectly kick-starts her new work. I am not sure whether to call LOVERS a concept E.P. or whether it is a playlist. New material will come very soon. The six songs are about the same two people and what they go through. This is that meeting and a rather awkward heroine laying her cards on the table and taking a chance. What the next song, Label on It, has in store for us is hard to say. Maybe there will be that rush of sex and passion or they are already warring. I am not certain but many people are already keen to hear another song. The first new song from Emmi in a bit is a compelling and stunning gem that shows she has grown stronger and lost none of her touch. She is one of the most exciting, promising and amazing songwriters in the country and I am excited to see where she goes next. Maybe there has been a slight gap between work but she has taken time to work on something brilliant. Moments is a wonderful insight into her new phase and I will follow the story with great interest. Make sure you check out Emmi’s latest single and keep an eye on her social media feeds. It is wonderful to have her back and proving she is a rare talent with very few equals.

  PHOTO CREDIT: @natecamponi

I have talked a lot about Emmi and how she has come back into music. It is not a drastic gap but, by her own admission, she has been a bit quiet lately. Maybe that is life getting in the way or maybe it is the songwriter exploring something unexpected and wanting to take her music in a new direction. Emmi has gained a lot of fans and her popularity is growing. She is one of those songwriters that can involve everyone and make you belong but it is very much from her heart. I am looking ahead and seeing where her concept/playlist takes her. Future titles include The Way We Used To and Stay Awake and, after the excitement and rush of the opening; I wonder where things go from here. Maybe I have been rash assuming the rest of the story is going to go downhill. Perhaps she will not experience the pang and pinch or love and get her heart broken. That is what I like about her new work: you can realise it will chart the course of a relationship but you cannot tell how things will end. The titles are ambiguous and I am keen to see what direction the music takes. The stuff Emmi is putting out now is different to her older work and shows she is keen to reinvent and remain essential. I can look ahead and predict where she might tour and I know people will want to see Emmi take to the road. I have never seen her perform and I wonder what her stage show involves. Given the fact she has a playlist idea and E.P. (if we want to call it that) means there are new songs she can bring to the people. Perhaps she will want to wait until all the songs or out before taking to the road. I feel the next year is going to be a great one for Emmi. She is in a creative space and it is really good to see her back. I am not sure whether she wants to spend next year touring and going around the world or will be releasing new material. Moments is a brilliant song that shows she has lost none of her spirit, brilliance and talent. The incredible songwriter has the ability to speak for the listener and has a terrific relationship with them. There are few songwriters like that and, when you find one, make sure you stick with them. Emmi is a star-in-the-making and I know she will get to the forefront of music before too long. Looking where she has come from and what she is putting out there; you can tell how much she wants this and how much music means to her. I am pumped to see the next song in the cycle come through and discover where this relationship concept…

TAKES us next.

___________

Follow Emmi

Official:

http://emmi.world/

Twitter:

https://twitter.com/emmimusic

Facebook:

https://www.facebook.com/emmimusic

Instagram:

https://www.instagram.com/emmi/

Spotify:

https://open.spotify.com/artist/3eSiyfI9xykA5QtgcLS43b?si=GsWZi9ECRRG0W5IEOPW8MA

YouTube:

https://www.youtube.com/channel/UCTZAf3yR0yw-EOLi1xGuwyw

SoundCloud:

https://soundcloud.com/emmimusic

FEATURE: Vinyl Corner: Steely Dan - Aja

FEATURE:

 

 

Vinyl Corner

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

Steely Dan - Aja

__________

THERE are few things I like more…

 IN THIS PHOTO: Walter Becker and Donald Fagen in 1975/PHOTO CREDIT: Ed Caraeff/Getty Images

than sitting down and spinning a record. There are those albums that sound best when they are played on their vinyl format. I feel Steely Dan are the personification of the record and what it encompasses. Given their perfectionism and incredible musicianship; it is always worth picking up a Steely Dan L.P. and letting it do its work. I think any Steely Dan album is worth playing on vinyl - but Aja seems to be the best place to start. The mid/late-1970s was quite a productive time for Donald Fagen and Walter Becker. The songwriting geniuses released Katy Lied in 1975 and the album scored some big reviews. Some critics felt the album lacked dimensions and was a bit simple – from Steely Dan’s viewpoint anyway. I like the album and cuts such as Bad Sneakers are among their finest efforts. 1976’s The Royal Scam had Kid Charlemagne and Haitian Divorce and it was clear, four years after their debut album, Can’t Buy a Thrill, Becker and Fagen were hitting a new creative period. I feel their first couple of albums were quite loose and experimental. There was a mixture of styles and the songwriting, whilst unique and strong, was not at the peak that would arrive. I love the earliest stuff they put out and am a little ho-hum when it comes to the 1975/1976 period. The guys were transitioning their music and trying out new sounds but, to me, everything came together by 1977’s Aja.

The record was one of the last Becker and Fagen made before they took a hiatus – 1980’s Gaucho was the last – and could not be seen as one-dimensional and forgettable. A lot of journalists felt Steely Dan were great but the albums didn’t necessarily resonate long-term. I feel there is a distinction between records like Pretzel Logic and Katy Lied. At every stage of their career, Steely Dan were crafting these immaculate songs and you could feel how much effort was being put in. Maybe albums like Katy Lied and The Royal Scam had a couple of well-known hits but Aja was that moment of genius arrived. If previous records had some loose edges and some of the songs could be seen as simple; Steely Dan ensured Aja would not pass anyone by. This was the moment they truly shifted that rather loose and eclectic debut. Aja is a complex and intricate album where every song is honed, crafted and shows sweat. Becker and Fagen were spending so much time in the studio and worked with a rotation of musicians. Auditions were held and the songwriters were not happy until they had the sound exactly as they wanted. The reason I wanted to focus on Aja is because it is that mix of simple and complex.

 PHOTO CREDIT: Unsplash

By that, I mean the songs all have that Jazz-Rock sound and it has a distinct template. The songs, however, are so rich and dripping with workmanship. You cannot listen to the songs and feel uninvolved and detached. Every single track tells part of a story and you immerse yourself in every note. Released through ABC Records; Aja became the best-selling album from Steely Dan and there are around forty musicians involved. Becker and Fagen wanted to push their art more and experimented with a combination of different session players. Aja has sold over five-million copies and many critics have put it in their all-time favourite albums category. It is easy to see why the album was popular at the time and sold so well. Jazz-Rock was a staple of the 1970s and Steely Dan perfectly bridged Rock/Pop chisel with the more casual and slumming Jazz. Those who followed Steely Dan from the start would have noticed, by Aja, the change from the multi-genre style to a more calculated blend of Jazz and Rock textures. The sarcastic, cynical and witty lyrics of their previous albums remained by the music was the biggest shift. Those who wanted something easy on the mind and free-flowing would have been frustrated by the sheer intellect, musicianship and passion injected in their sixth studio record.

I remember watching the Classic Albums series that focused on Aja. To see its creators dissect songs and explain their process brings you closer to the production. One gets a song-by-song investigation and people who appeared on the album, including Michael McDonald, talked about their experiences. Rather than put out an album with a dozen songs that are comparatively sharp and there is a broad range of sounds; Aja is a seven-track album that takes its time to unfold and has so many layers. To be fair; not all of the tracks on the album are long – two of the tracks are under five minutes and none of the cuts are as long as eight minutes. Look at each of the sides and you get interesting stories and narratives. I stated how there was a consistency but I prefer the second-side and its tales. Peg is a perfect opener that features those creamy and stunning vocals from Michael McDonald. You get layers of harmonies and expressions from the singer and it adds another aspect to the more caustic and distinct vocals of Donald Fagen. Peg, which looks at a movie heroine and her break, is a fantastic song that gets you moving, kicking your feet and singing along. The music here is perhaps at its loosest and least fireworks-like. I mean it has complexities and contours but it is more akin to the breezier and more hip-swaying numbers we would have heard on Pretzel Logic (1974).

  PHOTO CREDIT: Unsplash

Josie closes the album and seems like a perfect bookmark to Peg. Both look at central heroines but both are very different beasts. The former is that try-hard and hopeful movie queen whereas the latter is a more rebellious and 1970s-set icon that is back in the neighbourhood. The music, too, has a similarity in terms of its playfulness. Although Josie does not have Michael McDonald lend his croon; the story and images are incredible. The “pride of the neighbourhood” is getting scooters rolling and people flocking to the beach. It is a fantastic number that shows, even at their finest and more ambitious; Donald Fagen and Walter Becker could write something catchy and accessible. In fact, the second-side is a more open and ‘punchy’ than the more multi-part and epic tracks on the opening half. We often look at the closing songs of Aja and forget Home at Last and I Got the News. Neither track was released as a single and, by many, they are viewed as lesser numbers. I feel this is wrong. Home at Last is deceptively simple in sound. You listen to it and notice how much is working away. I love the interplay of the guitar and horns. There is a distinct groove and it plays on the cooler style of Jazz. Those who know Jazz better than me can differentiate between the songs on Aja.

  PHOTO CREDIT: Unsplash

Whereas songs such as Aja and Deacon Blues are more experimental and suite-like; you can hear that assimilation of Rock and Jazz in Home at Last as it creates a taut and sexy blend. I Got the News is, perhaps, one of the most addictive and sassy songs Steely Dan have written. Among all the serious study and brilliantly honed songs; I Got the News, again, has a freedom and looseness. Even when they are relaxed and a bit more cool-flowing, you can still hear all that incredible music and colours bursting forth. I feel these songs get overlooked and should be ranked among the best of Aja.  To me, Home at Last and I Got the News are stronger than songs like Black Cow and Aja. Conventional wisdom and reviews would disagree but that is the way I feel! Both are very different tracks but Aja’s title offering is the definition of the experimental and fastidious nature that would define the record. It is largely free of vocals – there are some but it is more about music – and it is almost spiritual. You are caught in this big production and story that seems to focus on the Asian heroine.

I think Steel Dan said the album was named for a Korean woman who married the brother of one of their high-school friends. Even through the cover is of a Japanese model (Sayoko Yamaguchi); you picture this anonymous Korean heroine and her life. It is an odd thing. You feel like you know this woman but the song sort of takes you in a new direction. I like how the song moves through phases but, in my view, I would like to have heard more of Donald Fagen and his voice – it is busy with sounds and moves but needs more verbal input to give it a proper hit. Maybe I am wrong but I still really like the song. Los Angeles played a big role in Aja and it was definitely handy when it came to having musicians close-by. GQ, when looking at the album back in 2014, talked about Fagen and Becker being New Yorkers relocated to Los Angeles:

“At the time of Aja, Fagen and Becker were New Yorkers on location in LA, and although they revelled in the recording facilities and the abundance of great musicians, seemingly on tap - they spent their days getting studio tans as opposed to any other kind - they found the city faintly ridiculous. "LA was certainly a lot of laughs," says Fagen. "Neither of us really liked it, because we just weren't LA-type people. We called it Planet Stupid. Nobody seemed to understand us there." "Becker and Fagen are interesting characters, sort of isolationists by nature," said one of their session musicians at the time. "They live in these houses in Malibu, not near anybody, and I have a feeling LA helps them keep their music going on a certain level - they're almost laughing at the people in their songs”.

  PHOTO CREDIT: Unsplash

I will end the piece by looking at the standout song from Aja – and my favourite song ever – and but it is interesting seeing how the record has endured and the effect it has had on people. Variety investigated Aja last year (to celebrate its fortieth anniversary) and concentrated on its sophistication, polish and work-rate;

“Aja,” Fagen and Becker’s sixth LP, only amplified the carping. It was a work of gleaming surfaces, buffed to a high gloss by the band’s longtime producer Gary Katz and an ultimately Grammy-winning team of engineers. Its reflected light blinded the eye to what lay beneath.

Its seven songs burst with sophisticated changes, exquisitely played by such jazz luminaries as saxophonist Wayne Shorter and keyboardist-vibraphonist Victor Feldman (both graduates of Miles Davis’ ‘60s bands) and session pros like bassist Chuck Rainey, drummers Steve Gadd, Jim Keltner and Bernard Purdie, saxophonists Jim Horn and Plas Johnson, pianist Paul Griffin and guitarists Larry Carlton and Lee Ritenour.

For Fagen and Becker, the beautifully tooled music they made with their studio cohorts served as the ultimate alienation effect. The true import of their work, which addressed forbidden impulses that moved to the edge of crime and frequently beyond, was always garbed in satiny elegance; its sardonic and horrific essence was marketed as the purest ear candy.

To this day, “Aja” is a thing of musical beauty with a hard-edged heart, and a consummate act of creative sleight-of-hand”.

Many have tried to capture the essence of Aja and what defined Steely Dan. So much life and literature goes into their work; the studio perfectionism made the songs impossible to top and fault; the songs, by and large, concentrated on those a little alienated and unusual – not your conventional heroes and attractive leads. This article talked about Steely Dan’s progression and ethos and how, by Aja, they had reached the apex of what made them them:

“The ambition of the music and their (Crowe’s words) “heinous” studio antics were not the sole, or perhaps even the main reason, for Steely Dan’s lasting reputation as curmudgeons. The narrators of their songs were creeps. On early Dan albums, Fagen and Becker spun autobiographical yarns about intellectually overzealous young men who were bitter beyond their years, both sending up and romanticizing their youthful steady diet of Beat literature, low-grade weed, and worn-out Sonny Rollins LPs. On Aja, those bad and sad men were grown up into shadowy, morose personalities, their faces averted like the lonely guy at the counter in Edward Hopper’s Nighthawks. The album solidified Steely Dan’s obsession with what Fagen would call a “culture of losers” in earnest, with Deacon as the self-appointed superhero of the bunch.

It’s easy to scoff at the notion of Steely Dan becoming a hip-or-hipster phenomenon, in addition to the band your dad, one of his brothers, or your high-school jazz band teacher staunchly defended to you throughout your less-diplomatic childhood. But their music was always designed for the self-consciously cool. Walter and Donald practically defined the term “hipster” in its original usage: bored, precocious suburban kids who scoured the dial for good NYC jazz radio, subscribed to Downbeat, then went on to read Kerouac, high as hell, at college upstate. Their music was steeped in the obsessions of their early life, yet their holier-than-thou-ness manifested in their music in a way that somehow connected to people. The public hung on even when it seemed like the two of them were deliberately trying to shake them: with Aja, the stakes were highest, the chords were strangest, and their heads were buried deepest in the sand”.

  PHOTO CREDIT: Unsplash

If Gaucho (1980) was their last album by a bit of a rest; Donald Fagen and Walter Becker left their greatest song until very near the end. Deacon Blues ends the first-side of Aja and is Steely Dan’s defining statement. It is the tale of a helpless and hopeful loser who plays the saxophone as he feels; coming out at night and crawling like a suburban lizard. He has hope that things are going to be great and, perhaps, has too much self-confidence. So many of Steely Dan’s greatest songs assess losers and those who unlike what you will hear in most Pop songs. I identify the song in many different ways. Maybe it is the way the unnamed hero hopes things will turn and he doesn’t care about conventional and what he is supposed to do. This loveable protagonist is not an expert Jazz saxophonist but it doesn’t matter – he is someone you can pine for and let him go about his way. Unlike Aja’s title-track; Deacon Blues has enough story and narrative but also boasts a terrific score. I am fascinated by the song from the very first notes! The teasing percussion and intriguing notes welcome you in before you follow this story. In this article; it explores the song and what it is inspired by:

“Many people have assumed the song is about a guy in the suburbs who ditches his life to become a musician. In truth, I’m not sure the guy actually achieves his dream. He might not even play the horn. It’s the fantasy life of a suburban guy from a certain subculture. Many of our songs are journalistic. But this one was more autobiographical, about our own dreams when we were growing up in different suburban communities—me in New Jersey and Walter in Westchester County…”

  PHOTO CREDIT: Unsplash

“Mr. Becker: The protagonist in “Deacon Blues” is a triple-L loser—an L-L-L Loser. It’s not so much about a guy who achieves his dream but about a broken dream of a broken man living a broken life.

Mr. Fagen: The concept of the “expanding man” that opens the song [“This is the day of the expanding man / That shape is my shade there where I used to stand”] may have been inspired by Alfred Bester’s “The Demolished Man.” Walter and I were major sci-fi fans. The guy in the song imagines himself ascending the levels of evolution, “expanding” his mind, his spiritual possibilities and his options in life.

Mr. Becker: His personal history didn’t look like much so we allowed him to explode and provided him with a map for some kind of future.

Mr. Fagen: Say a guy is living at home at his parents’ house in suburbia. One day, when he’s 31, he wakes up and decides he wants to change the way he struts his stuff”.

It is a wondrous song where all these magnificent musicians come together and deliver something unbeatable! I know Becker and Fagen went to great lengths to get the sounds correct and ensure what they conceived sounded perfect. It is a biblical and profound song from a band/duo who were hitting their peak. Whilst it is the clear standout from Aja, I do not think it overshadows everything and, in fact, there are plenty more treats on the record to get you fascinated. Listen to an incredible album that is over forty years old but sounds fresh and reveals new layers. I am going to return to it now and, if you are new, ensure you involve yourself in an album that is unique and…

 IN THIS PHOTO: Walter Becker and Donald Fagen in 1977/PHOTO CREDIT: Henry Diltz

UTTERLY beguiling.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Beth McCarthy 

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

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THE weather is a bit naff today…

 IN THIS PHOTO: Little Simz

and so it seems the right time to introduce some autumn-ready songs that can get the mood back on. I have been looking around and trying to seek out some great sounds that summon the colours of autumn but retain some of the heat and magic of summer. I hope the collated list of female-led gems is ripe to put you in the mood and get the spirits raised. Have a look at what is in the rundown and I am sure you’ll get some satisfaction, nourishment and comfort. As it is a bit iffy out there; it is only right we settle down with some great songs and let the talented artists…

 IN THIS PHOTO: Hollie Carmen

DO their work.

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

_____________

Beth McCarthy – Shame

PHOTO CREDIT: @offshoremusics 

Praa – Y

PHOTO CREDIT: Todd MacDonald - Filmmaker & Photographer

Kitty Macfarlane – Sea Silk

Unloved – Heartbreak

Ramona Rose – High Water

 

Courtney Paige Nelson - Hurt

Mia Milla – The Way You Roll

Hollie Carmen – Butterflies

Laura Jean Anderson – Thinkin Bout You

Fia Moon – Take

Rukhsana Merrise – Sober

Starley – Signs

Ruth B. – Rare

Metric – Die Happy

Black Honey – Blue Romance

PHOTO CREDIT: Lucy Foster Photography

LAOISE – Again

LOYAL – Patterns That Fall

PHOTO CREDIT: Tor Hammar Erickson and Dayna Weststeyn

Chersea – I Can’t Be You

Nina June – Where the Angels

Alina Baraz – Feels Right

PHOTO CREDIT: Jeanna Ross

Skyler Stonestreet – It Kinda Hurts

Only Girl – Release

Little Simz – Offence

Blithe – Mission

Aisha Badru – Waiting Around

INTERVIEW: Nikki Hayes

INTERVIEW:

Nikki Hayes

___________

THE fabulous Nikki Hayes…

has been talking with me about her new single, Move, and what the story behind the track is. I ask whether there is more material coming and what compelled Hayes to move from Chicago to Arizona – she highlights some rising artists to look out for.

Hayes tells me how she got into music and which artists are important to her; if there are any gigs coming up; a few albums that are important to her – she ends the interview by choosing a great track.

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

Hi. I’m great and my week has been great as well. Any new day to wake up is already a blessing.

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

Well. I’m Nikki Hayes. I’m an R&B singer-songwriter. The music can tell you more about me than I can without giving too much.

Move is your new release. What is the story behind the track?

The story behind Move is really about being so drawn or intrigued by someone but not really knowing how to act on it or how to go about it because of fears or uncertainty - which was something that I had a habit of doing at the time.

Will there be more material coming next year do you think?

Yes. There will definitely be more material next year. I still have more songs to release and I’m always writing.

Who do you rank as music idols and inspirations? Did you grow up around a lot of music?

I did grow up on a lot of music. My parents played a lot of music from the ’70s, ’80s and ’90s. Chaka Khan, Anita Baker; Toni Braxton, Al Jarreau; Sade, Whitney; Aretha and many others as well as music from the ’90s/’00s that my sisters and I grew up on; just very iconic and distinct voices which was definitely an influence.

Do you think there was a moment you got into music? Were others saying you needed to perform or was it the artists you grew up around that helped you make that decision?

I would say a little bit of both.

The artists I grew up listening to were influences but what also played a role was watching my older sisters sing. They have beautiful voices and are naturally gifted in vocals. I would hear them sing and want to join them but I could not sing at all so they wouldn’t let me. I was so determined that I would go in basement and sing all day until it didn’t sound so bad.

What promoted your move from Chicago to Arizona? Is there a big shift in terms of music scenes and flavours?

The fact that Arizona is so close to Los Angeles promoted the move with my family. It has been an adjustment…however; things are moving along. I’ll be performing at the Mesa Music Festival in November and I can’t wait to have more shows here as well as other places.

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

Just to have more people listen, feel and relate to the music in some way and, really, that’s my overall goal. If I know that what I love the most can make people feel something, help someone through something or gives listeners an escape, then I’m happy because making the music did just that for me.

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

You know; I used to look at specific things from my time in music as favorites but now not so much. Each thing I do in music has been a time of growth and I feel the euphoria each time I do something in music - whether it’s going to the studio, writing a song; finding a funky chord, exercising my vocals or studying the music industry.

Each thing I do is for growth and beneficial to me as an artist and it’s a good and memorable feeling every time. One unforgettable moment in music was performing at The Wire in Berwyn, hosted by IllaNoize. The love and energy from the crowd as well as well as the energy from the dancers was magical.

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

Ooooh; that’s hard, I can’t choose that but I can choose albums that I really enjoy and stand timeless to me.

For All We Know by NAO

The reason is for the lyrics, production; the emotion she pours from her voice into the song as well as the harmonies. I can listen to that album all the way through without skipping every time and also learn something new about each song, whether it was an instrument or a vocal inflection that I didn’t know was present before.

Dangerously in Love by Beyoncé

It is an album that is very nostalgic album for me. It is another album that I can listen to the whole way through. Each song from the album made me feel and do a lot of things: dance; cry, ‘think’ I’m in love at eight-years-old. But, the beauty of hearing things that young was that I could relate to them on other levels when I got older. I grew up on the album and I still grow with that album.

19 by Adele

Which, I believe, was Adele’s first album. The first song I heard by Adele was from that album and actually ended up being my first YouTube video. There was a lot of raw and organic sounds vocally and instrumentally. Another one that I can feel the emotion oozing from her in each song.

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

There are so many to choose from. There are many talented R&B artists out right now: NAO, H.E.R.; SZA, Brent Faiyaz; Daniel Caesar…the list goes on but, really, I’d love to support talented artists that I can learn from as far as the art of touring goes: work ethic on tour, vocal care on tour; maintenance internally and externally when on the road.

If I can just have some tea with honey and lemon; room temperature water and some food when I’m done performing then I’m happy.

What advice would you give to new artists coming through?

Get to know who you are as a person and that will bleed on to you as an artist. Understand that you will and have to grow as person as you go through life, thus as an artist. Keep those cores of who you are and have comfort in that so that no one takes advantage or tries to change you…but always grow.

Do you have tour dates coming up? Where can we catch you play?

My nearest show as the Mesa Music Festival in November in Downtown Mesa, Arizona. I will share more details soon!

 IN THIS PHOTO: H.E.R/PHOTO CREDIT: Highsnobiety/Juan Veloz

Are there any new artists you recommend we check out?

Some newer artists that I’m listening to right now are the artists I mentioned above: NAO, H.E.R.; Brent Faiyaz and Daniel Caesar. Also Nikki Hayes; you can download her music on Spotify and all other streaming platforms…

 IN THIS PHOTO: Daniel Caesar/PHOTO CREDIT: Keavan J. Yazdani 

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

Not really. Honestly, when I’m not working on music; listening to music is a time of unwinding and an escape for me. I go out with my family and loved ones but focus should always be about the music and how I can grow in that.

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

Rather Be – H.E.R.

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Follow Nikki Hayes

Twitter:

https://twitter.com/nikkihayes1

Facebook:

https://www.facebook.com/NikkiHayesMusic/

Instagram:

https://www.instagram.com/itsnikkihayes/

SoundCloud:

https://soundcloud.com/itsnikkihayes

Spotify:

https://open.spotify.com/artist/5dKJEPrnjpRDw8mbH74rtS

FEATURE: The September Playlist: Vol. 4: I’d Stay, But I’m on the Way to Brazil…

FEATURE:

 

The September Playlist

IN THIS PHOTO: Jorja Smith  

Vol. 4: I’d Stay, But I’m on the Way to Brazil…

 __________

THIS week finds a lot of big artists…

IN THIS PHOTO: Sir Paul McCartney/PHOTO CREDIT: Collier Schorr for GQ

release music into the ether. Cat Power, Sir Paul McCartney and Jorja Smith are among those who are here with fresh videos/tracks; Cher, Lana Del Rey and Arcade Fire are also armed with new work/videos – it is a busy and exciting week for music.

I have been looking through the best releases of the week and have collated a weekend-ready rundown of the tracks you need to get your ears around. Have a dip in and experience the full spectrum of the fantastic music that is out right now. I am sure you will find a lot to keep you entertained and fulfilled.

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

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Paul McCartney – Back in Brazil

Years & Years – All for You 

PHOTO CREDIT: Patrick O'Dell

Cat Power – Stay

PHOTO CREDIT: Dan Medhurst

Jon Hopkins – Singularity

PHOTO CREDIT: Bella Howard for British GQ

Jorja Smith – On Your Own

John Carpenter – The Shape Returns

Mumford & Sons – Guiding Light

Cher – SOS

Marshmello – Stars

Macy Gray – Over You

Avril Lavigne – Head Above Water

Ruby Mancuso - Lento

Lana Del Rey – Venice Bitch

Ella Mai – Trip

The Chainsmokers – This Feeling

Pale Waves – One More Time

PHOTO CREDIT: Mary Ellen Matthews

Arcade Fire – Peter Pan

Christine and the Queens – The walker

Fia Moon – Take

Steve Mason – Stars Around My Heart

Rukhsana Merrise – Sober

Starley – Signs

Self Esteem – Rollout

Only Girl – Release

Villagers – Real Go-Getter

Hudson Taylor – One in a Million

Little Simz – Offence

Blood Red Shoes – Mexican Dress

Allie X – Little Things

Rita Ora – Let You Love Me

PHOTO CREDIT: Genevieve Medow Jenkins/Press

Rhye – Hymn

PHOTO CREDIT: Nasty Man Creations

The Blinders – Gotta Get Through

Au/Ra – Emoji 

Nao – Drive and Disconnect

Black Honey – Crowded City

 

TRACK REVIEW: Rews - Can You Feel It?

TRACK REVIEW:

 

Rews

 PHOTO CREDIT: @TomPullenphotography  

Can You Feel It?

9.5/10

The track, Can You Feel It?, is available via:

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

GENRE:

Alternative-Pop/Rock

ORIGIN:

London/Belfast, U.K.

RELEASE DATE:

21st September, 2018

_________

THIS is quite a timely review…

because I get to react to the Mercury Prize and the winners, Wolf Alice. Before I come to look at the new cut form Rews; I wanted to look at British music now and why I feel a duo like Rews could win a similar award; artists who were born to play and are heading in the right direction; new British stars who are climbing and making big moves; continued success and launching brilliant marketing campaigns; artists who have a special bond and you can hear that in the music – I will end by looking at Rews’ future and where they might head. For now, it is worth reacting to the Mercury Prize because many, myself included, were not expecting Wolf Alice to win it – I was tipping Nadine Shah to walk away without much challenge. What interests me is the predictions and how they changed the last few hours of the award night. Up until the winner was announced, many assumed Lily Allen might take it away. It was, again, a London winner and a male majority (Wolf Alice are fronted by Ellie Rowsell but there are three blokes in the band). I wonder, in terms of genre and location, the Mercury is a bit stuck at the moment. I agree there needs to be that celebration of a band/act who deserves the prize but there is that bias towards London. Maybe that is a diversion but I realised it was rare we see the prize go to a Rock/Indie act. It has been Grime and other genres that have stolen the honours the past few years. Many claim guitar music is dead – or not as potent as it was – and Wolf Alice embody a more evolved and developed sound that can mix snarl and viciousness with genuine sensitivity and maturity. Thinking of Rews and they seem to strike that same chord. I feel they are possible Mercury winners of the future.

Maybe it will not be next year – I already have IDLES in my mind as the clear winners – but there is not long to go before Collette Williams and Shauna Tohill will be vying for that honour. I know there are duos like Royal Blood who have not been in the running this year and great Rock bands around the country that have been overlooked by mainstream and Pop acts. The reason I feel Rews are primed for a big award is because of their multiple sides. They are based around London but Tohill is from Northern Ireland (perhaps she lives near Bristol now) and Williams is from Corby. Both of them spend time in the capital but you would not label Rews a London duo. That is one reason why I feel they can win awards and a big prize like the Mercury. Not only are they purely London-centric and would repeat a pattern but their sound embodies the same qualities as winners Wolf Alice. Maybe Rews are a bit more direct with their sounds but you only need listen to their latest track to realise they produce music that is essential, memorable and signals a return of guitar music. They switch between Pop and Rock and there is that fantastic Alternative thread that hangs everything together. A lot of people have been contending the Mercury and why it exists. Should it be for the best album of the year or should it award artists who could benefit from the prize money? Many claim this year has been a bad one nominations-wise but there are bands like Wolf Alice who produced a great record in Visions of a Life and have pledged to use the money to fund their own studio – they are keen to make new material and get back into things. Rews, to me, are that great balance of top-quality artists and newcomers. Their record, Pyro, was released last year and was critically acclaimed. Although they are not eligible yet for Mercury nomination – have to inch more to the mainstream – I see no reason why they cannot get there in very little time. They’d be a popular nod and I think they could really benefit from the exposure.

 PHOTO CREDIT: Andy Tatt

That is all speculative – do not want to put that much pressure on them – but it is worth looking at Rews’ music and how solid it feels. I read a social media post Collette Williams posted a few days back that questioned whether she was pursuing the right course – was music for her and is she on the right course? We all have those doubts and it is natural to feel tired and as though we are not as far along as we should be. I hope that sense of defeat has passed her because we can all tell she and Shauna Tohill are where they need to be. Listen to the way Williams plays and there are few drummers like her out there. I am always lured to female drummers and, whilst they are becoming more visible and noticed, there are still comparatively few. The dedication and effort Williams puts into her music is incredible. Not only is it about creating the best songs and making them sound awesome but she has that attachment to the drums that is passionate and unbreakable. Always wanting to improve and find out more; there are not many who have the same focus as she does. The same is true of Tohill and how she operates. This is someone who does not want to do anything else and, as the lead singer of the duo, wants to deliver their messages as far as possible. I can tell there are some artists whose heart is not really in it and you feel like they are on borrowed time. Rews are definitely not in that camp! From the first notes of Can You Feel It?; you are moved and fascinated and can tell how much work has been put into the song. Every musician has that self-doubt and needs assurance but Rews are going from strength to strength. They are getting that critical attention and radio stations are playing their music. If you have been featured by BBC Radio 1 and played Glastonbury then you have to realise you are doing the right thing!

It is hard to get to the very top quickly and it can be depressing, when you put all that grind and graft in, to find yourself in the underground still. I would urge Rews to enjoy where they are now because, when they do get big, they will not have a lot of time to settle. Worldwide tours and big demands will be great but also mean they will be busy all of the time. As it stands; Williams and Tohill are building their foundations and are definitely doing what they should be. I understand them when they ask whether things are moving as fast as they should but that is just a symptom of the modern scene. Things are so packed and competitive that even the very best will have to fight for their rights. If Rews were a chaotic and disorganised duo then I would say they need to sit back and take time to focus. As it is, they have a great record label and team around them that help put the music out and are keen to get them as far as possible. The gigs are coming in and all of that experience feeds into the music. The more exposure the duo gets - that means they are sharp and ready for headlines lots. Look at how far they have come in a short time and I can only imagine where they will be this time next year. It is a busy and bustling time that I am excited to watch. If you are born to be in music, like Rews, then you want the very best and you have these dreams. Maybe it takes a little longer than anticipated to get things as far as you’d like but it will come. Hold steady and show some patience and all of the pieces will connect. I feel next year, if there is another Rews alum mooted for them, will be the biggest one for the duo.

 PHOTO CREDIT: @TomPullenphotography  

Rews are on my mind because they are a great British act who continues to rise. I have talked about their evolution but that should not be ignored. A lot of artists either stagnate or go backwards or make very small steps. Rews have a great team but the music is all theirs. Look at the way stations like BBC Radio 1 have latched onto them and the demands at their feet. People want to see them up-close and I know full well what an incredible live set Rews put on. I am not sure whether their Mercury glory will be in a few years or longer but it is something they can set their sights on. I have spoken about duos before and, whilst they are coming through and more celebrated; the solo artist is still at the forefront. I think Rews will help change that and show what variation, power and brilliance there is in the duo. They have that ability to stretch their music and that extra member. It is amazing to think all of the sounds and potency you hear from the stage comes from the two of them. Let’s think about Rews in the context of current British music and where they might head. Look around and there are great new albums from the likes of IDLES and Anna Calvi. Both of those artists have passion to spare and they are producing exhilarating and potent works. Nadine Shah, denied the Mercury, is in the same camp. People want to bond with artists who have that strength and are delivering something heartfelt, open and passionate. Look at the new album from Christine and the Queens (Chris) and that looks set to be one of this year’s best-reviewed albums!

 PHOTO CREDIT: Andy Tatt Photography

It is getting five-star reviews all over the place and is that perfect mix of accessible and personal. Talking about gender and womanhood; it is an album filled with great tracks and inspiring messages; delivered by Héloïse Letissier with so much pride, commitment and authority. She is one of the most compelling voices around and someone who is in a league of her own. Rews already have that teeth and bite and I feel their music could go in the same direction as someone like IDLES or Christine and the Queens. Maybe Rews concentrate more on love and their personal experiences but they have socio-political minds and have focused on subjects outside of relationships. One of my tips would be to mix what they do with examinations of politics and gender; a nod to the sort of themes IDLES, Wolf Alice and the best out there are penning. That seems to be what we are attached to and being noted by critics. Rews already have a terrific sound and are popular and I think new lyrics features in the coming year or so would expand their work and get them to the mainstream quicker. What they are doing now is so incredible that I feel awards will come their way. We have a few terrific British acts who are delivering world-class albums and Rews have the ammunition to join them! Rews deliver brilliant campaigns and are always keeping their fans abreast. They send videos out on social media and have that direct bond and need to connect. The artwork and videos for their singles are great and you have brilliant photo-shoots out there. Williams and Tohill think about their fans and what will stand them apart. I am fascinated by what they do and how they do it. You do not need to strain your eyes too much to see Rews have a great understanding of campaigns and what will capture the imagination. They have the tools for success - and doubts of their place and potential should be quashed.

  PHOTO CREDIT: @TomPullenphotography  

I am keen to come to their new track but, before then, I wanted to look at the bond between the two. Both have been playing music for a while and it would be understandable if a slight strain came through. A lot of bands show cracks because they spend so much time on the road and in confined spaces together. Naturally, that closeness can lead to tension and it can be hard. Duos are not immune and, whilst they have few members and a bit more space, they are always together and arguments can happen. I get the sense Rews have never shared a cross word! They seem sisterly and like nothing can break them apart. Maybe there have been stressful times and bad gigs but that is more to do with promoters and circumstances out of their control. One can sense the closeness of Williams and Tohill and realise how much they love one another. Listen to their music and go to a gig and you can feel how they connect and vibe off of one another. You can sense that degree of simpatico and they both know where the other one is. That kinetic and telekinetic bond is not something that is natural to everyone. One of the reasons albums seem to work and get noticed is because of the understanding between musicians and real relationships. People can tell when things are faked or strained and, as such, bands and duos need to be on the same page and solid. Rews are one of the tightest and most assured duos in the world. I often worry when you have duos comprised of those in relationships. It is good having that natural affection but working with someone you share your every waking moment with, I feel, can be a gamble. If you are good mates then you get to separate at the end of the day and not be around each other all of the time. I am not suggesting Rews’ members do not want to hang every hour – they are very close – but they get to be with boyfriends/friends/family and they have those two different worlds. I feel everyone should keep an eye on Rews because all of that magic is there – how long until they explode and are scooping up awards?!

Can You Feel It? opens with plenty of mood and atmosphere. Rather than leap in with pummel and vocals; you get this teasing and winding build-up that reminds me of Metallica. Past tracks from Rews have put me in mind of Royal Blood and, in fact, with every track that become more individual and distinct. I can hear embers of Metallica’s eponymous album in the thick and pulsating drums and viper-like guitar. You feel something wonderful is brewing and are happy to swim in the introduction. I feel a lot of artists do not expend much effort when it comes to introductions but Rews are masterful when it comes to capturing you within a few seconds! Another reason why Rews are so majestic is because they can switch from a snarled and dark introduction to a lighter and more Pop/Indie verse. Tohill’s voice has that lightness and accessibility but there is distinct punch and primal edge. The lyrics ask what you do when you do not let your feelings out and what’s in your heart show. With Williams backing on vocals; words are repeated and there is this great skip. The heroine asks what happens when things are contained and you are not revealing what is inside. Rather than race through lyrics and put too many words out there; Rews are really effective and potent when it comes to linguistic economy. Creating melody and a sense of dance with a few words; you are mesmerised by their delivery, concision and style. What I mean is they deliver thought-provoking thoughts with very few words. Repeating certain phrases and twisting lines together is much more impactful than a load of lines that gets a bit messy. For my money, Can You Feel It? is one of the strongest things Rews has put out into the world.

Williams provides that solid and driving beat that gives the song its backbones, grumble and control. Tohill leads superbly and the combination of the two is infectious and natural. What attracts me to the song is its catchiness and energy. Lines are almost chanted and you smile whilst thinking. The words concerning hurt and that desire for revelation hits us all. Our heroine talks about people saying they love you and leaving; it is not what you deserve and you feel hurt – letting that out and showing that pain is needed. As I say; rather than pack the song with lots of lines and not leave an impression in the mind; Rews repeat lines and it means the sentiments get into the mind a lot more quickly. The chorus takes the song in a new direction and tightens things up. From the more relaxed verses; the duo ramp things up and power through the chorus. Tohill asks whether we can feel it in our veins. That anger and sense of hurt needs to come through and defiance shows itself. (Make sure you watch the lyric video that accompanies the song because it is visually stunning and will add to your listening experience). We need to dance like nobody’s watching; sing as though no-one is listening – love will come again and things will work out. The song has a narrative arc and, by the second verse, questions come back in. The first verse asked what you do when you have pain and are not sure what to do. The chorus provides answers and suggestion and now, having followed that advice, what are you to do when you have pulled through? In spite of a spiritual release and having unleashed some anger; the heart has been refuelled and those painful memories are still there. Tohill and Williams know recovery will happen but keep bringing back that mantra: letting things out and not burying that pain deep inside.

 PHOTO CREDIT: @TomPullenphotography

One gets a powerful and more primal second chorus. The delivery is the same but, having more story and revelation means its delivers a bigger punch. I wonder whether Can You Feel It? comes from a personal places and Rews have felt that hurt. Everyone can identify with what is being sung and Rews are not an act who does things like anyone else. Many focus on love and hurt in cliché ways and their music can be rather stilted and samey. Not only do you get a very powerful and intelligent song but there is that sense of the catchy. Listen to the way the words twist and turn. It is wonderful hearing how Rews change between songs and how solid their material sounds. Everything is tight and polished but not so much so it takes away that distinct energy and personality. I know Rews will be looking ahead to more material but they should take time to savour what they have created. The lyrics video for the single is brilliant and stunning to see. I would like to see an official video and feel they could come up with something insane. I know Can You Feel It? has been performed live and been in their pocket for a while but it has never made its way into the studio. Rather than release another tracks from Pyro; Williams and Tohill are keen to push forward and explore fresh ground, Both are excellent songwriters and performers and they are at their most solid and exciting right now. I am impressed by their range and how they can produce such a spectrum of sounds. Where they go from now is up to them but I feel they have a chance to look at what is happening in the world and bring their take to issues like gender/discrimination and social concerns. They are brilliant when documenting matters of the heart and soul but I wonder we will get any assessments of what is bubbling up in the news. In any case, they have delivered an exceptional song in Can You Feel It? and they are definitely on the right course. A brilliant duo who keep getting stronger and more ambitious – keep your eyes in Rews and throw your love behind them.

I have talked a lot about Rews and what they are putting out into the world. Things are busy for them right now and, with Can You Feel It?, into the ether; they will get more gigs and demands Today, they are in Sheffield and, as part of their autumn tour, they head to places like Glasgow and Birmingham. It is not long until they are back in London and it is a great time for them. Getting to great venues and delivering their music to hungry crowds is what they are all about. The social media love is out there and, gradually, they are poking their way into the big leagues. It is the commitment and effort they expend that bowls me over! The sheer energy and focus to keep going and playing all these gigs is not something anyone can do. Rews are determined to get their music to as many people as possible and they will not rest! I hope they do get a break before Christmas because I feel they have a lot more songs bubbling away and ready to unleash. Having that stage-studio balance is important and many will look and wonder when a new Rews record comes out. I feel the duo have a big future in the U.S. and would not be shocked to see them tour the East and West coasts next year. In fact, I know they could go down a storm in Australia and have a very busy 2019. They have already toured around the world but, with new material out there, there is going to be increased demand; new fans coming through and the chance to see new places. Can You Feel It? has their natural and distinct D.N.A. but it explores new ground. Every release finds Rews upping their game and more confident than before. I know they will be a big success and go a very long way.

 PHOTO CREDIT: @TomPullenphotography

To get back to Collette Williams’ sense of existential dread and doubts: there is no way she is in the wrong place and not moving forward. I know she will be inspiring many women (and men) who want to get into music and is one of the finest drummers around. Shauna Tohill is a terrific lead and songwriter and, with Williams, they are great artists who pen incredible moments and deliver them with real emotion. It is no fluke they are where they are. All the hard work and drive has meant they are preparing for new gigs and getting big reaction on the road. It can be hard to think you are where you need to be when you have to work so hard and other, lesser acts are further ahead. I am fully confident Rews will change for awards very soon and will remain on the scene for many years to come. Right now, they have a brilliant track out and should look forward to (I hope!) some relaxation later this year. Get behind Rews and ensure you do not let their music pass you by. I have been a fan of theirs for a while and can see how much they want this. Rews are one of the best acts in this country and I can detect that passion in them that will never die and falter. Without much rest in sight right now; you know how much it means to Williams and Tohill to be out there and performing to hungry fans! Can You Feel It? is a new addition to their cannon and I wonder how that is going down when they are performing live. If you have not checked out this magnificent duo then you owe yourself that at the very least. Maybe they not in the mainstream right now but that will all change. When you see a genuine act who can go all the way and have a brilliant future ahead, that is really exciting and promising. Rews have heart, soul and talent in spades that cannot be faked. It will not be long at all until the interpret Rews will be…

ON top of the world!

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Follow Rews

 PHOTO CREDIT: @TomPullenphotography

Official:

https://www.rewsmusic.com/

Twitter:

https://twitter.com/rewsmusic

Facebook:

https://www.facebook.com/wearerewsmusic

Instagram:

https://www.instagram.com/rewsmusic/

Spotify:

https://open.spotify.com/artist/4B06m6NJ8e5AnzIZNtZtta

YouTube:

https://www.youtube.com/channel/UCqrzf8MKEmBbbyo3wpzkQGQ

PHOTOS:

Andy Tatt and Katie Frost

INTERVIEW: Stephen Martines

INTERVIEW:

Stephen Martines

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THIS week ends with me…

speaking with Stephen Martines about his new track, Sounds Like Whiskey, and what its tale is. The songwriter/actor discusses his path into music and how personal/family events impacted his decisions and dreams – Martines recommends an artist we should all be aware of and get behind.

Martines reveals a few albums that are special to him and the music he grew up around; why he spent time in the Royal Air Force; whether he will come to the U.K. very soon – he ends the interview by selecting a song I have not heard before.

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

Hi, there! First off, thank you for taking an interest in my music; this has been a long-awaited journey and I’m thrilled to be able to reach out to your readers. I’m doing quite well, thanks for asking. My week has been great thus far: we’re amping-up rehearsals – adding another guitar player, Tom Bramer from Radio Iodine, to the touring band – as well as preparing the video for Sounds Like Whiskey and pressing forward on readying our next single for release. A lot going on!

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

Absolutely! I’m Stephen Martines, a native of St. Louis, Missouri. Some may know me from television, some may not. Either way, I’m incredibly grateful for those who have been supportive and continue to do so. For those who are new to my journey, welcome! I’m humbled to share my passion with you. Me in a nutshell: daddy, singer; songwriter, actor and soccer player. 

My music can best be described as ‘Country infused with Soul and Pop undertones’. That said; I’ve just scratched the surface of the sound I hope to incorporate. The beauty of today’s Country music is that it has room for multiple genre infusions, keeping things interesting and alive.

Sounds Like Whiskey is your latest song. Is there a story behind it?

There’s a story behind most every song you hear, wouldn’t you say? Although I didn’t co-write S.L.W., I sure wish I had been part of that process. My dear friend Vinny Hickerson (Trailer Choir) presented it to me a little while back and I’m honored to have the opportunity to cut it and release it as a single. The lyrical content alone grabbed my soul and pulled me in from the moment I heard it. 

It’s Country fused with Pop undertones and speaks to so many peoples experience with a fractured relationship, where one person’s heart just isn’t ready to let go. Country music more often than not hits you right in the gut; Sounds Like Whiskey carries with it the vapors of a painful breakup that still echo within me today. The song was written by Vinny Hickerson, Jay Brunswick and Josh Dunne and produced by Chuck Bonano, Johnny Scott and myself.

You were born in St. Louis but moved around a lot as a child. How did this lack of stability affect you at that age?

Yes. My childhood wasn’t the best, to say the least. My mother had her struggles raising two young kids and bouncing between separated homes was difficult in itself. Thankfully, soccer and music became my outlet. My escape. My passion. There weren’t many times I was without a ball at my feet or music filling the room. The instability, although hard, carried with it the impetus to dream – and dream big - regardless of whether those dreams were attainable. They were sometimes the basis of my existence.

You joined the Air Force after your father died. Was that career choice a way of easing the pain of loss? When did you move into music?

After my father died, at a fairly critical age for me, I became pretty despondent and that led me on a quest for something to fill that void. Along the way, I dropped out of college and ended up joining the Air Force after a knee injury marginalized a professional soccer career. After leaving the Air Force I found myself adrift again and, a couple of days after Christmas in the late-'90s, while watching Jimmy Stewart’s moving performance in the bridge scene in It’s a Wonderful Life I had some sort of revelation and made the decision right then-and-there to pursue a dream I’d always harbored: acting. Nine hours later my car was packed and I headed west, not knowing a soul at that far end of the country.

I then ended up sleeping behind a dumpster after my car was taken (a not-unheard-of occurrence for those who pursue acting!). But, providence shined on me a few weeks later when I met an agent and began auditioning. I booked my first two auditions out of the gate and so began my acting career and eventually my pursuit towards many other dreams I’ve had and still have - most especially a career in Country music.

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

I grew up listening to multiple genres of music. In my family, Sinatra, Dean Martin; Ray Charles, anything Motown and Elvis (whom my daughter is named after) were hugely influential. Waylon Jennings, Johnny Cash; Willie Nelson and George Strait - to name a few Country influences. But, growing up in the '80s happened to be a great time for music, in my view. From old school Hip-Hop to Rock to Pop…you name it, we had it. Then came this guy named Garth and it was all over – life took on a whole new perspective.

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

I have set some pretty high goals for this year, reality dictating, that many may not be reached. That said; lofty aspirations keep people driven, focused and determined, right? My main goal is to land solidly on mainstream radio and begin touring by the end of the year. 

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

Although I’m in the early stages of my music career, I have some great memories already - including playing the CMA Fan Festival for the past two years. Country music fans are awesome! But, I would say my best moment thus far would be hitting #16 this past week on The Iceman’s New Country Artist chart, which is a pretty significant step for us. 

Watching Sounds Like Whiskey climb the chart week-after-week has been a thriller. It is indicative of our hard work paying off. More so, Country fans have welcomed my music and for that I am truly grateful.

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

First and foremost; Michael Jackson’s Bad

Need I say more?

Second...Hootie & the Blowfish - Cracked Rear View

Aside from selling over twelve-million copies and becoming a staple for my generation, it quickly became my ‘car-radio-blaring-with-the-top-down-‘go-to’ album. Darius Rucker’s voice and authentic Pop-Rock sound captivated me. I have many memories attached that record. 

Third...Prince & the Revolution – Purple Rain

 This man! The creative genius. The fearlessness. Mind-blowing.

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

Wow - great question! I am not certain I could pick only one. I love all genres of music and have been inspired by artists and musicians both past and present of whom I’m a fan. In thinking about this; one artist enters my head and seems to push aside the next, and so on. Almost impossible for me to answer!

Regarding a rider, aside from the basic requests, I’d love to be able to require a stage layout that provides a greater experience for fans - one that allows for engaging with the audience on a more personal or intimate level. Oh - and Red Vines licorice! That’s a must. So: a massive, U-shaped stage that encircles the entire audience and red licorice. I think that’s reasonable.

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

Yes . We’ve been added to the Country Smooth Festival lineup in New Orleans on October 20th and 21st, which will be a blast! And, Red Rose Records is currently working on tour dates that will be announced in the near-future. I definitely have the itch to get out there regularly and perform.

Do you feel you might come to the U.K. at some point?

I have never been but have always wanted to cross the pond! Say the word and we are there!

What advice would you give to new artists coming through?

Simple: NEVER GIVE UP! Be persistent. Believe in yourself. Trust your talent and work your ass off, regardless of the let-downs and rejections. All that happens for a reason and serves to hone your craft.

 IN THIS PHOTO: Vinny Hickerson

Are there any new artists you recommend we check out?

No - just me! (Okay; I’m kidding.) I would definitely recommend catching my dear buddy Vinny Hickerson’s debut solo E.P. when it comes out. The guy is a great songwriter and a great musician – he was one of the writers of Sounds Like Whiskey.

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

‘Chill’. What does that word mean? Ha! These days, there isn’t much time to chill. Being a dad to a four-year-old takes precedence over all else, certainly over any spare moments I might have – and all other ‘non-daughter-directed time’ is given to pressing forward on the music front.

I do attempt to unwind, however. That consists of snuggling up to my little girl on the couch, enjoying some ice cream or a Popsicle (her favorite) and watching any inane T.V. show or movie that she wants. So, essentially unwinding per her dictates. And, I play soccer whenever the opportunity arises. Other than that, I’m pretty much a homebody.

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).

Given this opportunity, I’d like to wish upon your readers a song that I can listen to anywhere, any situation and it seems to fit: Chris Stapleton’s awesome Broken Halos. Will that work? And thanks again for your interest in me and my music - we hope to see y’all out there in the audience someday soon!

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Follow Stephen Martines

Twitter:

https://twitter.com/stephenmartines

Facebook:

https://www.facebook.com/Stephen-Martines-103148906392912/

Instagram:

https://www.instagram.com/stephenmartines/

SoundCloud:

https://soundcloud.com/stephenmartines

Spotify:

https://open.spotify.com/artist/4sRrnqh9ivipidsb41l1QP

INTERVIEW: Deliah

INTERVIEW:

Deliah

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I have been spending time with Alex of Deliah…

as he discusses the band’s new single, Infinite. The song is part of a trilogy so I find out what comes next and what the concept is; how the band got together and what sort of music they all grew up around – Alex recommends some approaching artists to investigate.

I ask whether we might see Deliah hit the road and whether they each have a favourite album; whether we can catch them perform at some point soon – they each end the interview with great song selections.

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

Alex: We’re good, thanks. It’s a pretty busy period at the moment, as you can imagine, but that’s how we like it.

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

We are a four-piece band from Liverpool but based in London, fronted by Michelle. We fuse our three biggest influences into our music; them being a Neo-Soul-style sound with more cinematic, soundscape elements and heavier, more Rock-influenced guitars and drums.

The whole sound is quite hard to pin down but I think that captures it quite well. We’ve been spending 2018 putting together a visual trilogy called The Mind’s Eye that focuses on telling a story about the struggles of creativity and mental-health; the parts that you might not often see.

 

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

Infinite is the second single from the trilogy and this one focuses on the idea of honing a craft and the paradox of that; the struggle, and at time ugliness, of having to break through various barriers to ultimately create something beautiful. And, for many of us, that strive for a certain level of ability or success may never come. You may never be satisfied or even create your “thing of beauty”. We did this in the lyrics through all the paradoxes mentioned but in the video through having a dancer attempting to fly.

Are you already looking ahead to more material? What sure you working on?

Absolutely. The final instalment of the trilogy will drop before the end of the year, which we’re really excited about, as the video was one of the biggest tasks we’ve ever taken on. But, we’re looking at a new trilogy for 2019, possibly two, as this really gives our creativity a focus. Hopefully, a short movie will be possible too.

How did Deliah get together? When did the band start life?

The band started off as a duo, Michelle and I (guitarist, Alex), with session musicians taking over on drums, bass and keys. But, after playing with George (drums) and Tee (Bass/Synth) we all decided to make it a band, as that was how we were working anyway. It was a natural progression, especially as we started writing in the rehearsal room and integrating technology to take over what a fifth member would have been doing.

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

For me, you get a strange mash-up of Metal, Hip-Hop and E.L.O. Sounds very odd but when you lay out some of the elements, especially the more cinematic side of E.L.O., it does make sense. For Michelle, you would definitely find a lot of Fleetwood Mac and Pink Floyd – which, obviously, makes a lot of sense.

Shell would probably cross-over with Tee when it comes to '90s R&B, but Tee would listen to a lot of Gospel music too. George would definitely cross over with me a lot more, especially when it comes to Metal and Hip-Hop.

It seems like eclectic sounds and multiple genres run through your music. Do you think this wide and adventurous approach to music is what stands your songs out?

I’m not sure about ‘stand out’ but I think it helps define us. I know a lot of bands or artists find it hard to pin themselves down to one genre and that someone on the outside could easily categorise them but, in our experiences, they can’t. We like that - it’s something that we don’t do on purpose, nor is it something that we are going to rigidly abide by but the ambiguity of our sound is what makes it so fun for us to work on.

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

At the start of the year, we said that just getting the trilogy out would be our achievement of the year. And, even though we’ve been lucky enough to play some amazing festivals and shows as well as grow the band in the right direction, just getting the final chapter out will be our biggest achievement of the year.

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

Supporting Maverick Sabre was pretty amazing, as was playing with GoGo Penguin. Live is really important to us. Sounds super-cheesy, but probably working on this trilogy has been my favourite thing we’ve done so far.

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

For me, it’s Rage against the Machine’s debut album (Rage Against the Machine). Shell’s is easily Tango in the Night (Fleetwood Mac). Tee would say Speakerboxxx/The Love Below by OutKast and George, Nirvana’s In Utero, for sure.

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

Alive today…that’s a tricky one. I’d probably say Florence + the Machine. Not just because she’s huge, but because she is a massive influence on Michelle and has fans that would probably appreciate our sound too.

As far as rider goes, we’d have as much Nut Butter and Biscoff Spread as humanly possible…maybe a bath of it.

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

We’re supporting Demons of Ruby Mae at The Black Heart in Camden on 4th October and we’re in plans for a couple of small tours, but we’re not allowed to say anything just yet or jinx them! Head to our socials to keep up to date with that…

What advice would you give to new artists coming through?

Do what you want to do. If you want to create abstract, avant-garde art then do it and own it. If you want to be a Pop princess then own that too. Too many people do what other people want them to do in order to ‘succeed’ and everyone has an opinion on what you should and shouldn’t do. Sometimes you should listen to them but, ultimately, it’s down to you.

 IN THIS PHOTO: Little Grace/PHOTO CREDIT: Robert Mulder

Are there any new artists you recommend we check out?

Little Grace are three mates of ours from Liverpool who are just simply quality. Dark Rooms, an American band that have been a big influence of mine, who share that ambiguity in sound and another friend of ours, XamVolo - he’s doing big things and in a really interesting way.

IN THIS PHOTO: XamVolo/PHOTO CREDIT: Robin Clewley 

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

Films, football and food...or, maybe, for Shell it’s sketching, F1 and…still probably films.

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).

Shell is going for Every Valley by Public Service Broadcasting

Tee is going for Evergreen by YEBBA

George is going for Higher Ground by Little Grace

I’ll go for I Get Overwhelmed by Dark Rooms. Thanks for having us; enjoy the tunes!

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Follow Deliah

Official:

http://www.deliah.io/

Twitter:

https://twitter.com/DeliahMusic

Facebook:

https://www.facebook.com/Deliah.io/

Instagram:

https://www.instagram.com/deliah.io/

YouTube:

https://www.youtube.com/channel/UCnQNP5WQz9XAAxOFCIRvGqQ

SoundCloud:

https://soundcloud.com/deliahmusic

Spotify:

https://open.spotify.com/album/2f2ZhixUHsdFfOrCH5HKFR?si=0iIg9QOmTGOYNj1TY6al2g

INTERVIEW: Alex Lleo

INTERVIEW:

Alex Lleo

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THE terrific Alex Lleo has been chatting with me…

about his single, Long Shot, and filming its incredible video. I ask about the song and its story and whether more material will come down the line. He talks about his musical upbringing, influences and what plans he has in regards gigs.

Lleo reveals a rising artist to watch and an album that means a lot to him; how he spends time away from music; what advice he would give to artists coming through right now – he ends the interview by selecting a great track.

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

Morning! I’m great thanks! It’s been good. Helping my bro record his first E.P. Exciting stuff!

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

Sure. I’m Alex. I write songs from my garden shed and sing them to the world (smiles).

Long Shot is your new track. What can you say about the track’s creation and story?

Well. It’s a groove-laden slow-jam! The song was inspired by the love of chance encounters. Meeting someone for the first time; not really knowing if you’ll meet again but finding joy in the simple moments.

What was it like shooting the video in Càdiz? Why choose that location?

Cadiz is, by far, one of the most beautiful cities on the planet. We had the pleasure of staying in the old town which is drenched in history and culture. Once I’d established the idea of shooting a couple longboarding, I began the hunt to find the guys that would fit the image I had in mind. I had visions of a Californian sunset. I really wanted that lazy, chilled vibe. That's when I found Chano online and I took the gamble to reach out to him. It turned out to be one of the best things I’ve ever done!

Being born and raised in Cadiz, Chano knew every sweet spot in a fifty-mile radius and the moment I pitched the idea he was so on-board with the vision. My aim was to use longboarding as a form of expression; allowing a sense of freedom and chemistry between two people who clearly care for each other and the wild life around them.

Is there going to be more material coming next year? Are you working on more new stuff?

Yes! I’m spending the winter finishing of a load of new material for 2019 and trying to collab with as many new people as possible! But, Long Shot will be the first track from the three-song E.P., Emanate, with the last song due for release in November. 

Who do you rank as music idols and inspirations? Did you grow up around a lot of music?

Man; that’s always a tricky one. My early inspirations came from a lot of my dad’s collection. From Paul Simon, The Band…you know, basically anything in the ’70s that was made with real blood, sweat and tears! My family aren’t really musical but they appreciate a good tune! Right now, though, I’m a huge fan of so many great artists coming out of Canada and North America. I think it’s their relationship with the outdoors that I love - artists like Leif Vollebekk, Bahamas and Half Moon Run.

How did music arrive to you? When did you notice you had a talent for writing/performing?

Well. I’ve always been around music but I guess it really became an apparent during high-school. Playing with your best mates really loud out of a garage or shed; that's when I think most kids realise it's the best thing in the world! It was during that time I starting having a crack at songwriting and it just grew from there really.

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

Well. We’ll have a new E.P. out, we would have headlined another hometown show and I’ll be doing a few more stripped-back performances leading into Christmas.

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

This recent trip to shoot Long Shot, which I guess is a bit of a bi-product of the music but Chano had taken us out to this secluded beach for a wild camp out. I remember just sitting there, looking out towards the glistening lights of Morocco from across the water just thinking: ‘Wow. Music sure does take you to some places’. Then, we sat around singing songs in dodgy Spanish accents all night. It was a real ‘pinch me’ kinda night.

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

Twin Solitude - Leif Vollebekk

I just think he’s the most underrated songwriter of our time. He has such a unique way of marrying music to words.

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

It’d probably still choose Bon Iver. I’d just love to be able to see that show every night and get a sneak peek into all that juicy equipment!

 What advice would you give to new artists coming through?

Urrm…just be honest with yourself, I guess. Don’t rush things and learn to make social media work for you. Don’t allow it to turn you into something you aren’t. Hopefully, then, that’ll attract the kind of fanbase you want to spend time with.

Do you have tour dates coming up? Where can we catch you play?

To celebrate the release of Long Shot, we’re playing a home show at The Cuban Embassy in Moseley, Birmingham on 11th October. After that, it’s back to the studio before we announce another U.K. tour in Feb.

 IN THIS PHOTO: John Craigie

Are there any new artists you recommend we check out?

John Craigie (check out his song, I Am California)

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

Not so much at the moment, but I do love to get away when I can. Surfing has always been a big love of mine, just because it forces you to be in the moment which can be so hard to do these days.

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).

Blake Mills - Women Know

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Follow Alex Lleo

Official:

http://alexlleo.com/

Twitter:

https://twitter.com/alexlleomusic

Facebook:

https://www.facebook.com/alexlleomusic/

Instagram:

https://www.instagram.com/alexlleo/

YouTube:

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

Spotify:

https://open.spotify.com/artist/6TlDdiCdFHSD3BAA7xKoFN 

INTERVIEW: Ramona Rose

INTERVIEW:

Ramona Rose

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I have been finding out more about Ramona Rose…

as her new single, High Water, is out. She talks about how the track came together and whether there is more material coming along. The songwriter discusses how she got into music and which albums are most important to her.

Ramona Rose looks ahead  to gigs and tells me what it feels like being on stage; which rising, Leeds-based artists we should get involved with; if she has time to chill away from music – she selects a recent song to end the interview with.

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Hi, Ramona Rose. How are you? How has your week been?

Hello! I’m very well, thanks. Hope you are too! My week has been pretty busy gearing up for the single release - I’ve been up to my eyeballs in admin most days, but I’m feeling good!

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

I’m Ramona Rose. I’m a singer/songwriter based in Leeds (but originally from Oxfordshire) and I make Folk-Rock music. I’ve been gigging across the North for around five years, touring and writing as much as I possibly can! I‘m a solo artist, gigging with just a loop pedal and my guitar. I’ve just finished my third U.K. tour and I’ve just released my brand new single!

High Water is your new track. What can you reveal regarding its influence and story?

High Water is, essentially, a song about not letting the world get you down. When I wrote this record, I had just graduated from university and suddenly found myself out in the big wide world with absolutely no idea what I was doing with my life; generally feeling pretty lost.

It took me to quite a strange and confusing place but it was from that experience that I felt really compelled to write a song that fought back against the negativity of it all. It’s quite a defiant ‘don’t give up’ kind of message, but positive nonetheless.

It is an energised and catchy track. Was it quite an easy and quick track to put together?!

It literally took one day! It was the easiest record I’ve ever worked on in the sense that everything about it felt right. Myself and my friend Mak, who used to play bass in my band, headed over to Greenmount Studios in Leeds, where we got to work with the wonderful Lee Smith and Jamie Lockhart. I only brought a rough demo into the session but had a really clear idea of how I wanted it to sound - and the guys were so great with letting me explore that.

By the end of the day, we had what is, essentially, the track you have now. I’d never worked on a record that way before, but it was brilliant - it really just forces you to make instinctive decisions and go with your gut on what works and what doesn’t. 

 Might there be an E.P. or album next year? How far ahead are you looking?

Well...there are definitely plans for an E.P. in the works. I’m so happy with where the sound is right now and I can’t wait to keep making more music. Next year is, hopefully, going to be a productive one!

Do you recall when you got into music? Which artists did you grow up around?

I’ve been into music since I was super-little. My family had a huge vinyl collection and I was utterly obsessed with guitars as a kid, so it was there from the start really. I grew up listening to a huge range of artists; everything from Carly Simon to The Who to Shania Twain which has, ultimately, really informed the way I think about music today. I tend to draw on a lot of different influences when I write and so having that initial exposure to so many styles had a huge impact. 

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

My big priority is to keep writing and recording, so definitely to start working on the next release! I’ve also been working hard on the music video for High Water - which will be making an appearance before the year is out.

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

So far, the biggest highlight has been playing at O2 Academy Sheffield, where I had the joy of supporting CoCo and the Butterfields. The crowd were wonderful; a load of my friends were there and it was just a wonderful night. It was one of those gigs where you can’t quite believe you’re there.

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

Ooh; that’s tough! I’d have to say Rumours by Fleetwood Mac first and foremost

I learned an awful lot about good songwriting from this record and some of my all-time favourite songs are on there.

Another would have to be Eye to the Telescope by KT Tunstall

Because it was the first album I ever owned on C.D. As a kid, I would have the disc permanently in my little Walkman playing on a loop. I still revisit it to this day. I just think they’re beautifully-written songs.

And, finally, I Love You, Honeybear by Father John Misty

Pure lyrical genius just dripping with satire and cynicism. Before listening to this album, I’d never heard songs written in that way, and it really had an effect on me.  

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

Back in 2014, I formally added ‘support Jack White’ to the bucket list. His live show is outrageously good and his music has inspired me so much over the years. So, I’m formally putting that one out into the universe! 

As for a rider…I’m a pretty low-maintenance gal. I’d say WiFi, a phone charger and Yorkshire Tea. Rock on.

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

I’ve got plans in the works for an early 2019 tour - so keep an eye out for that - but I also have a few stand-alone shows on the horizon! My next few shows are: 

27/09 - York’s Little Festival of Live Music 

28/10 - Sofar Sounds, London

20/11 - Blues Bar, Harrogate 

Is the stage the most important place for you? How does it feel being up there?

I think the stage is the place that challenges me the most, but in the best possible way. When you play live, you’ve got so much adrenaline racing through your body that it almost feels like a fight-or-flight situation.

So, when I’m up there, I can easily feel like the most confident version of myself or the most vulnerable. It’s two sides of the same coin but that’s what makes the entire experience so exciting. I always write my songs with the number one intention of playing them live; there’s just nothing like it. 

What advice would you give to new artists coming through?

Do what feels right, make your own decisions; protect your self-esteem and never give up. 

 IN THIS PHOTO: Huw Eddy & The Carnival/PHOTO CREDIT: Ryan Lee Turton

Are there any new artists you recommend we check out?

Absolutely! Check out Huw Eddy & The Carnival, Ben Bickley and AGI. All brilliant musicians emerging from the Leeds music scene (where I’m based). They’re just a few of many great artists smashing it right now so I highly recommend checking them out.

 IN THIS PHOTO: AGI

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

I try and take time out whenever I can - I’m a great believer that you can have too much of a good thing and sometimes the only way to fuel your love for something is by stepping away from it. So, I read a lot; I watch Netflix, I attempt to go the gym and I occasionally try my hand at baking (although that can sometimes stress me out in equal measure!)

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).

Thanks for having me! I recommend a song called Psycho by Lauren Aquilina. I’ve had it on-repeat ever since its release a few weeks ago and I’m obsessed with it!

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Follow Ramona Rose

Twitter:

https://twitter.com/ramonaroseuk

Facebook:

https://www.facebook.com/ramonaroseuk

SoundCloud:

https://soundcloud.com/ramonaroseuk

Instagram:

https://www.instagram.com/ramonaroseuk/

YouTube:

https://www.youtube.com/channel/UCvMhqKlyYCAzLrKyUD1Xikw/featured

Spotify:

https://open.spotify.com/artist/7xhbftWwlg8xYXvhOoOqCM