FEATURE: The Roots Beneath the Stream: Is Spotify’s D.N.A.-Related Playlist a Step Too Far?

FEATURE:

 

 

The Roots Beneath the Stream

IMAGE CREDIT: Nick Veasey/Getty Images

Is Spotify’s D.N.A.-Related Playlist a Step Too Far?

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A few things have been happening…

 PHOTO CREDIT: Unsplash/@dotgrid

that relate to Spotify and its quest to be the biggest player in the market. With SoundCloud and other music-sharing sites available; it is always a challenge keeping ahead and ensuring others do not nip at your heels! Audius is the latest name on the market that hopes to redress what they see as Spotify’s (and SoundCloud) unfair compensation/payment to musicians. Many see these sites as a bit lax when it comes to paying artists and ensuring they get adequate remunireations. This article looks at the new venture and how it differs from Spotify:

“It’s the latter that’s primarily in its eyeline at first, with the project’s website arguing that “Audius is building an audio distribution, attribution, and monetization platform that puts power back into the hands of audio content creators”. It initially secured venture capital backing to the tune of just under $6m, and now it’s confirmed to CoinDesk that it’s pressing on with the next part of its plan.

It’s introduced a white paper, that in turn has revealed the two cryptocurrency tokens that Audius is looking to launch. The one that most people are likely to engage in is the Loud token, that’s going to be used for transactions on the Audius service. Loud tokens are core to the idea, in that through them, the service aims to properly reward those who create material on the platform”.

PHOTO CREDIT: Unsplash/@jbrinkhorst  

“The Audius token itself is the second, and that’s described thus far as a token of governance.

Its white paper explains the difference, saying that “[Audius will be] used by service providers to participate in staking protocols and earn proceeds from the minting of loud tokens … This separates the mechanism for price-stable value transfer (loud) from the mechanism for value capture and accrual (audius), better serving the needs of users of each token”.

Details of the two tokens are also provided at the Audius website, here. The white paper is here .

The first beta release of the Audius streaming platform is scheduled for early next year, with the aim being for a full public launch before 2019 is out”.

I love Spotify and the fact we can get any album (pretty much) and, if you pay a subscription fee, you can have what you want and unfiltered access to a world of music. I have always been a bit conflicted when it comes to the site. It seems reserved, in the most part, for bigger artists – they are most likely to profit – but I wonder how much they actually make when their big hits receive millions of streams. The issue is more pronounced for minor musicians who put their new songs online. Do they ever make much money and are they being paid what they should!? It is hard to say for sure but there is that feeling sites like Spotify and SoundCloud are not spending enough money when it comes to the songs/artists on their sites.

 PHOTO CREDIT: Unsplash/@rachitank

It is tough to keep the site popular and showing a unique edge and, in a bid to move it ahead of its rivals; Spotify is giving the options for artists to upload their material onto the site without having to go through record labels and the usual mechanics. Independent musicians can upload directly without paying a fee and suffering by not being signed by a label. The Verge covered the story:

“Spotify has announced a new beta feature that will allow independent artists to upload their music directly to the platform instead of through a label or digital aggregator. Normally, artists who aren’t signed to a major label (which can directly upload music to Spotify) have to pay a fee to a third-party service like Tunecore to upload their music to Spotify. The upload feature will be contained within the service’s existing Spotify for Artists platform, which, among other things, allows artists to view data about their listeners and directly submit their songs for editorial playlist consideration.

The new upload feature won’t work like SoundCloud, where songs can be instantly available. Instead, Spotify views it as a way for artists to have control over their own music in advance of its release date. Those who are part of the program will be shown an interface where they can upload their music and accompanying artwork, pick a release day, input additional information (like if it’s a single or an album), and then preview how it will look once published. Direct upload is being offered as a free service”.

 IMAGE CREDIT: Spotify/Getty Images

This is the least alarming recent initiative from Spotify but there are good and bad aspects to this scheme. It is good artists do not have to pay to put their music onto the site and it means those who, before, could not afford to pay to have their music on Spotify now have an open route. It means independent artists can have the same freedom and access as those big-label acts and it seems parity is coming in. There is a problem regarding quality control and the fact, now, the floodgates are open. Already, we have all the big releases and usual collection of songs and the choice seems bewildering. Now, with this extra and free option; I worry there is going to be a flood and it will be hard to decipher the genuinely worthy – too much choice and music coming to us and an attempt for Spotify to keep its reputation and name strong in the wake of rivals/other ventures emerging. I still worry, even though independents have a free option and way of getting their music out there; will they be paid anything and is this a misguided measure from Spotify? I understand why they decided to allow this option but I think it will exacerbate the issue of artists/payment; not adequately profiting musicians who do get their music streamed and get a lot of traffic for Spotify. Any measure that allows unsigned artists greater exposure is good but that lack of quality control and ongoing issue regarding royalties/payment is going to be a big problem. The Verge’s article helped to explain that conundrum:

“Regarding payments for the artists who upload directly to Spotify, Kene Anoliefo, senior product lead for Spotify’s creator marketplace, tells The Verge that the company will offer artists 50 percent of Spotify’s net revenue and 100 percent of royalties for the songs they upload. “We created a pretty simple and fair deal for uploading music where artists receive 50 percent of Spotify’s net revenue, and Spotify also accounts to publishers and collection societies for additional royalties related to the musical composition,” Anoliefo said. “Artists will receive automatic monthly royalty checks. They will be able to view all of that information and check all their data within Spotify for Artists”.

 PHOTO CREDIT: Unsplash/@kalvisuals

Whilst Spotify have been finding ways of benefiting independent artists/keeping a lot of press; they seem to be keen to mess with our heads and D.N.A. The self-upload news will be welcome to some and it is debatable whether it is a genuine attempt to benefit independent artists or something more cynical. A couple of recent news stories tied to Spotify have worried me. It is not news to say Spotify has been increasing its data analytical capabilities and keen to see what mood we are in. They target us with adverts depending what songs we choose/how we feel; bespoke playlists make us feel loved and like Spotify knows what makes us tick; collating all this data (personal and third-party) to target us with music and advertising. The Guardian recently ran a piece that covered this and how we are being targeted depending on the songs we listen to. I would rather be left alone when it comes to my moods and what adverts I am sent and, if anything, I do not want a service like Spotify giving me adverts at all. I pay a subscription so I do not get bombarded with stuff but I feel the mood-based marketing is a way of lining their pockets and a bit intrusive!

 PHOTO CREDIT: Unsplash/@vheath

One of the biggest flaws of Spotify – I maintain how much I love and use them but there are flaws – is the lack of music-based advertising. By that, they are not using the data we put out and what we listen to in order to open our minds and introduce us to great music. I would be happy for them to monitor what I listen to if they can get their boffins to look through music’s catalogues and uncover gems I am not aware of. I feel music is a very personal thing and, if I listen to a sad song to lift my mood or help me get through; is it rather unsettling this Spotify machine is gauging that and preparing to send tailored adverts me way?! They are, as The Guardian observed, not the only service that does this:

“You see, Spotify is far from the only platform helping brands target people according to their emotions; real-time mood-based marketing is a growing trend and one we all ought to be cognisant of. In 2016, eBay launched a mood marketing tool, for example. And last year, Facebook told advertisers that it could identify when teenagers felt “insecure” and “worthless” or needed “a confidence boost”. This was just a few years after Facebook faced a backlash for running experiments to see if it could manipulate the mood of its users”.

 PHOTO CREDIT: Unsplash/@trovatten

Whilst the giants are keen to tie our moods to perceived consumer desire and take the soul away from music; they are now using D.N.A. in order to recommend music to us. Spotify members can input results from the AncestryDNA website; the streaming site will then generate selections based on the results and, as they see it, it’s a chance for people to connect, musically, with their family tree and history. I have my own thoughts regarding this venture but I read an article written by Sarah Zhang that highlighted some flaws:

“Genetic-ancestry tests are having a moment. Look no further than Spotify: On Thursday, the music-streaming service—as in, the service used to fill tedious workdays and DJ parties—launched a collaboration with AncestryDNA. The partnership creates custom playlists for users based on DNA results they input: Oumou Sangaré for Mali, for example, and Ed Sheeran for England.

If this were simply about wearing kilts or liking Ed Sheeran, these ads could be dismissed as, well, ads. They’re just trying to sell stuff, shrug. But marketing campaigns for genetic-ancestry tests also tap into the idea that DNA is deterministic, that genetic differences are meaningful. They trade in the prestige of genomic science, making DNA out to be far more important in our cultural identities than it is, in order to sell more stuff”.

 PHOTO CREDIT: Unsplash/@mariusmasalar

The problem with the new scheme is it fails to recognise people’s musical tastes are personal and subjective. So far as I know, my family is English and we do not go much further than Ireland. I do not think there is anything exotic in my family tree and, as such, the music that will be recommended to me will be, what they see as, quintessentially British. There will be a lot of Ed Sheeran and The Kinks; songs that celebrate Britishness and do not, as music always should, encourage me to look at the wider world and uncover musical D.N.A. that is foreign to me. I appreciate genealogy and your heritage is important and it should be a personal and un-musical pursuit. Finding out where you come from and who your ancestors are is a precious and emotional thing. It is a process of discovery and shock; learning where your very roots and marrow descends from – having a streaming service use this semi-sacred inquisition as a means of targeting you with music seems, to me, rather shallow and pointless. Unless the music they are suggesting is from a member of your family – not many of us can say that – then it seems like a rather pointless thing. The same article raised a very good point regarding genetics and how this initiative can emphasise differences:

“The most charged criticism against genetic-ancestry tests is that they emphasize people’s genetic differences, ultimately reifying race as a meaningful category when it is in fact a social construct. A 2014 study found that when people read a newspaper article about genetic-ancestry tests, their beliefs in racial differences increased. And white nationalists have taken to DNA ancestry tests to prove their European heritage”.

 PHOTO CREDIT: Unsplash/@leio

I have put ‘my’ playlist below. All I typed in was my nationality and it came up with the results. I did not put in my name and details and it seems, if this is the way it is done, it is quite a vague and generic selection. There is nothing I have not already heard and it does not define me as a person. I feel the playlists are like astrology. Nearly every prediction for star signs can apply to pretty much anyone. There is no science and facts in any of it and people get sucked in something stupid and facile. Among the selections, there was music I have heard and will never listen to again – including Ed Sheeran and The 1975 – and I am not sure they are more British than The Beatles or Nick Drake (music that is more personal to me). It seems the selections are based on popularity and a vague sense of national excellence rather than any actual science and soul-searching. This article, written by Ashley Reese, saw her crunch the data/D.N.A. and discover something unsettling: just how naff the British music selections were!

“When I first received my results in early 2017, my top ethnic region was Senegal. But thanks to Ancestry updating and enhancing their reference samples, I started off my playlist adventure with the realization that Senegal actually represents a mere blip of my ethnic roots. I was admittedly bummed out—Senegal seems cool—but I moved on. As of right now, my top ethnic region is “Cameroon, Congo, and Southern Bantu Peoples” at 26 percent, followed by Mali at 20 percent, Benin/Togo at 18 percent, England/Wales/Northern Europe at 13 percent, and Ireland/Scotland at 11 percent”.

PHOTO CREDIT: Unsplash/@skmuse_  

“…My problem with this entire affair rests in the British Isles portion of the playlist.

Admittedly, I’m an Anglophile who could spend an inordinate amount of time talking about British alt rock of the ’80s, Brit pop of the ’90s, and the British indie/garage rock revival of the ’00s. I am also an expert on the Spice Girls. It’s obnoxious, but I know my shit! I can say, with confidence, that despite bringing a grim, nonconsensual scourge upon my DNA, the English, Welsh, Scottish, and Irish do a pretty good job with that whole music thing”.

I would be behind Spotify if they offered something that broadened our musical minds and helped get us away from the overly-commercial and much-hyped. If they genuinely wanted us to connect with the world in a more profound and illustrative way – in a divided and broken time – then it would be a beneficial and impressive move. I feel our D.N.A. and where we are born is not the sum of our personalities and it does not take into consideration measures for musical love: personality and emotional demands; what our parents listened to and other concerns. It is a very limited and overly-simplistic search that, in my view, is more commercial and advertising-based than it is a chance to make the subscribers feel heard and enriched.

 PHOTO CREDIT: Getty Images

I think it is important services like Spotify keep moving and find new ways to get people invested and stimulated. It can be soulless and boring scrolling through endless playlists or having to listen to the mainstream artists Spotify promote. What they should be doing is fixing issues surrounding artist payment and help subscribers get involved with rich and unexpected musical sources. Spotify is obsessed with the new and trending; the big artists that are all about now – there is so much in their archive that many people are not aware of because they are not being led that way. I feel Spotify are spending too much time manipulating our moods and trends to suit advertisers and make us feel too watched and more like a number. I am interested to see where I come from but I feel Spotify cannot adequately provide a playlist that shows the complexity of a nation and its D.N.A. There is that problem with racial division and the fact most of us do not discover music based on our nationality – it is rather limiting and problematic. I know how hard it is to wrestle and tussle with newcomers in a competitive market but Spotify could do so much more if they just concentrated on music itself and less on advertising/monitoring us. Maybe it is a sad inevitability of the times we live in but I feel, in an attempt to get ahead of the competition, Spotify has taken a step that is unnecessary…

 PHOTO CREDIT: Unsplash/@devindtx

AND far too flawed.  

 

INTERVIEW: Iyamah

INTERVIEW:

Iyamah

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THE terrific Iyamah…

has been telling me about Silver Over Gold and shooting its video. I ask how important her hometown of Brighton is and what sort of music she was exposed to as a child – she recommends some great rising artists worth some time.

I ask what comes next for her in terms of gigs and material and whether there are a few albums that are especially important to her; how she spends any time away from music – Iyamah provides some handy advice for musicians coming through.

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

Hey! I’m great, thank you. Just busy. I’ve been at home finishing off some songs and getting ready to go on tour next week! 

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

Sure. I’m a Soul singer; lover of Hip-Hop and Jazz. I try to combine all my musical influences into my own genre, which also includes Reggae and live sounds. Really, I’m a hippy kid from the sunny seaside town of Brighton. 

Silver Over Gold is your new track. Is there a story behind the track?

Definitely. The song means a few things to me really. It’s mainly about what influenced me growing up and my surroundings; being by the sea and diverse cultures and representing sounds from around the world.

But, it’s also about the value of things and how we carry memories with us in different ways like jewellery - but it doesn’t always have to be the most expensive or valuable that mean the most. It can be a place, or a person; those things come for free.

What was it like filming the video in Brighton?

It was honestly the best day I’ve had in a long time. Everything was perfect. The sun was shining and my whole crew and team were happy to be there! I was proud to call it my hometown and we managed to get exactly what we hoped for the video. It’s something about the energy and the vibe in Brighton during the summer.

How important is your hometown of Brighton? Did you grow up around a lot of music and local sounds?

100%! I think it’s the reason I love music so much. My mum was always playing music at home, but it was also all the parades and festivals; the festival attitude of life that you end up taking on and the travelling mind-set people have there too. I was encouraged to travel the world and explore sounds from around the world.

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

Next year! Sooner; sooner than you think.

In terms of music; who do you count as idols and influences? 

Oh, I have many. I’ve always naturally been inspired by empowering women. Maybe it’s because I was raised by my mum but there’s something about female singers that gave me strength. I have my queens that definitely had an influence on my sound; maybe because they’re ‘woke’. They speak the truth.

I’d say they’re Erykah Badu, Jill Scott; Alicia Keys, Lauryn Hill; Sade and, of course, Amy Winehouse. I’m sure a lot of singers of my generation would say those people! But, I also love the ones who influenced us all: Etta James, Whitney and Aretha. 

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

If I’m able to keep up the momentum, I’ll be happy. People have responded so positively to my music and that’s all I hoped for. I’m grateful for all the support I’ve had so far.

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

I loved shooting the video for Silver Over Gold. That’s probably the most proud I’ve felt of any of my work so far because I had a vision and Dalia captured it so well. It was the best feeling when we were able to share it!

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

Oooohh; probably the albums that take me back!

Kanye West - Late Registration; Sona Jobarteh – Fasiya and Bob Marley – Exodus.

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

Erykah Badu! And my rider would have halloumi and sweet potato fries…some hummus and pitta bread AND some Mount Gay Rum. 

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

Yes! So excited to be supporting Masego next week for his Europe tour. You can catch me at the London, Manchester; Paris and Amsterdam shows. 

What advice would you give to new artists coming through?

Just be honest and real with yourself - that’s all you can do. But, make sure you always follow your gut! It’s always right. You got to take every lesson as it comes and only allow it to make you stronger and more powerful. 

IN THIS PHOTO: Isaac Waddington

Are there any new artists you recommend we check out?

Yes. There’s a couple people coming through at the moment you might not have heard of who definitely deserve more recognition. Isaac Waddington. If you can see him live he’s probably got the best male vocals I’ve heard in a long time. Sam Wills is incredibly talented. Also…Raveena. Her music’s super-sweet and very chilled.

IN THIS PHOTO: Raveena/PHOTO CREDIT: @raveena_aurora

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

I try to, even when there’s so much I have to do. I make sure I give my mind a break for at least ten-fifteen minutes a day to meditate! It helps me to focus and set the day right. I also make sure I eat good food - that helps break up the day. Some days I don’t do music at all because if I feel uninspired and I can’t force myself to be creative. I’ll go off and do something else, then come back to it. That way I know I’ll do a better job. Whether it’s going for a walk or seeing a friend.

But, those days don’t come often: I’m always doing something to do with music even if it’s writing notes, making plans for the week or recording ideas on my VoiceNotes. I like to be organised; it’s kind of addictive.

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).

Oooh…Sampa The Great - Rhymes To The East (edit). She’s amazing.

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Follow Iyamah

Twitter:

https://twitter.com/iyamah_artist

Instagram:

https://www.instagram.com/iyamah_artist/

Facebook:

https://www.facebook.com/iyamahartist/

YouTube:

https://www.youtube.com/channel/UCMSvMfxngE6nPdqw5McHVfg

SoundCloud:

https://soundcloud.com/iyamah_artist

Spotify:

https://open.spotify.com/artist/3kf01riKEcjHq6eiATvWT1

INTERVIEW: Morley

INTERVIEW:

PHOTO CREDIT: Ebet Roberts  

Morley

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I have been spending time with Morley…

PHOTO: Sandrine Lee

as she tells me about her forthcoming album, Thousand Miles (out on 5th October). She discusses the influence of New York’s Queens on her writing; how she came to music and what sort of sounds inspire her – Morley recommends some rising artists to follow.

I ask whether a U.K. tour is possible and which albums have impacted her most; if she gets time to unwind outside of music; whether music can bring people together and resolve disputes – she chooses a brilliant track to end the interview with.

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

Greetings! I am well, thank you. My week has been wonderful; packed with music and gatherings (a real need in these times).

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

I’m a singer, composer and poet. I write on the guitar, piano and percussion. I’ve made six studio albums of original material independently as well with major labels. My music is conscious; political, love and justice-driven…it addresses lust, love; loneliness, loss and the willingness to begin again. I am deeply influenced by global rhythms; Folk, Soul and Jazz. You can hear this in my music. I am very VERY lucky to be surrounded by genius and innovative musicians to collaborate with - this you hear in my music as well (smiles).

Thousand Miles, your album, is out on 5th October. Are there particular themes and ideas that inspire the music?

Courage, surrender; dignity, self-transformation; friendship and love. It is a culmination of songs after two years of global travel to post-conflict regions.

Do you find music can resolve conflict and bring people together? Does modern political turmoil affect the way you write?!

Music reveals our borderless hearts. Two people cannot speak at the same time to each other, but they can sing together. Two people may not be able to stand next to each other in the same room but they can certainly dance in the same room. I’ve seen it happen time and time again so, yes, music brings people together... 

Yes. My writing is always affected by what is happening politically, socially and communally. It is natural to be connected to the world around us and if I don’t write about it: I feel unnatural and can get very overwhelmed. Music brings me together with my own wellness in this way.

PHOTO CREDIT: Ebet Roberts

How did growing up in Queens affect the way you write music and approach people? Is it a part of New York that seems to encompass every walk of life?

Queens is home to immigrants from all over the globe and a key component of New York City's melting pot. As a youth, I shared food, songs and dances with my friends…finding my reflection in others that are ethnically and culturally different than myself greatly informed the way I grew up, my writing and my thinking. It gave me insight of how similar we all are.

 PHOTO CREDIT: Sandrine Lee

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

Prince, David Bowie; Jeff Buckley, Nusrat Fateh Ali Khan; Mercedes Sosa , Sweet Honey in the Rock; Toshi Reagon, Joan As Policewoman; Somi, Meshell Ndegeocello; Meklit Hadaro, Daniel Lanois; Nina Simone, Paul Simon and Leonard Cohen

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

To do everything I can to help get people out to vote in our election.

 PHOTO CREDIT: Sandrine Lee

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

When I played the Nice Jazz Festival in Monaco with my good friend John Andrews on guitar, it was drizzling (it was outdoor concert) and the people were very far from the stage; seeking shelter from the rain. But, we just plugged in to get ready to play since it was still safe to do so. As soon as we started, people began to move towards the stage. By the end of our set, there were over a thousand people with us.

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

Nina Simone - Live at Ronnie Scott’s

Because of her songs God and King of Love - and how she sang it on that particular night. 

Mercedes Sosa - 30 Años

Because of how the crowd is with her.

Stevie Wonder - Innervisions

Because it is everything that ever was.

  PHOTO CREDIT: Sandrine Lee

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

Working on it.

Will you come to the U.K. and play here?

Working on it. Can’t wait to return to the Barbican. I was there a few years back opening for Raul Midon at the London Jazz Festival.

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

Stevie Wonder. 1 d.i. box 1 mic on boom stand.

What advice would you give to new artists coming through?

Write what you feel, tell the truth about it; do not compromise your vision.

IN THIS PHOTO: Be Steadwell

Are there any new artists you recommend we check out?

Be Steadwell; Benjamin Clementine and Las Cafeteras.

 IN THIS PHOTO: Benjamin Clementine/PHOTO CREDIT: Protsko Nikita 

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

Not really, thankfully. I dance.

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).

Lhasa De Sela’s - De Cara a la Pared

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Follow Morley

 PHOTO CREDIT: Sandrine Lee  

Official:

http://www.morleymusic.org/

Twitter:

https://twitter.com/morleymusic

Instagram:

https://www.instagram.com/morley_music/

Facebook:

https://www.facebook.com/MorleySongs/

YouTube:

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

SoundCloud:

https://soundcloud.com/morley-official

INTERVIEW: laye

INTERVIEW:

laye

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THE awesome laye…

has been telling me about her latest track, milk n honey, and what its background is. I ask the Canadian artist whether there is more material coming up and whether she is always learning new things – I wanted to know how early music came into her life.

Laye reveals her favourite albums and touring plans; what advice she would give to artists emerging; a rising act worth checking out – laye shares her favourite musical memory.

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

Hi. I’m good, thank you. Sleepy. My week’s been nice. Had a few shows in Toronto and B.C. and I’m now back in Montreal.

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

My name’s laye and I’m an artist from Montreal. The last two-three years I’ve been working on music and I’ve recently started releasing it (go put it in your ears). I think my music always has a sort of longing feel underneath it all and a darker Alternative-Pop production to it.

milk n honey is your new single. Can you reveal how it came together and what its story is?

I was out in L.A. and I had a session with FnZ (Finatik N Zac) along with Lauren Christy - who co-wrote the song with me which was amazing. She wrote a lot of Avril Lavigne’s music that I loved growing up. We wrote the song pretty smoothly together and it was a really good feel.

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

More material coming this year. I’m back in the studio finishing up my album and I’ll be releasing a song on October 5th that I wrote two years ago. Getting nervous about that one: it’s coming up fast but I’m very happy about it finally coming out.

When did music come into your life? Which artists did you fall for at a young age?

My dad would have Alternative music radio stations playing that definitely impacted me somewhat as well as my mom played a lot of Dido and Norah Jones. I think, in terms of my own exploration of music; that only came later. I didn’t have a phone or laptop for a lot of my growing up and, when I did, I started listening to a lot of acoustic sessions on YouTube and singer-songwriter-type music.

As an artist; are you always learning new crafts and sides to the industry? Is music a learning experience? 

Definitely. This year has been a huge year for growth. I’m currently self-managed so I’m learning a lot about the whole industry as well as on the creative side of things - I’ve gotten to experience so much more than I expected and meet so many new people. I’m constantly learning.

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

I want to get to a spot where I feel that I have the team I need around me to go full force in 2019. I want to release a lot of new music, new visuals and start doing shows. I don’t want to slow down. This year, I’ve started to finally put music out and, by the end of 2018, I want it to feel like it’s just the beginning and be happy where I’m at but without getting comfortable. 

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

I just recently flew out to Vancouver to play Westward Festival - opening for Cigarettes After Sex - at The Vogue. I never would have imagined that happening. That’s going to stand out for me for a bit.

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

That’s something that’s always going to change for me but, right now, I’ll say these guys:

Kodaline - In a Perfect World

Really helped me through a tough patch.

Leon Bridges - Coming Home 

It is a good way to start the day.

Dido - Life for Rent

My mom played it a lot when I was younger and two of the songs off of that album were the first songs I sang in front of people.

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

There would be so many different artists I’d love to tour with. Some of them don’t really make sense because of our musical differences, sonically. However; I’d hope our paths cross at some point. I think Lorde would be amazing; Locals Only Sound, Daniel Caesar; Leon Bridges and SZA.

Rider: wine and a warm blanket. Cozy. 

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

No tour dates just yet - hoping to start playing some small shows in Montreal, Toronto and wherever else it takes me right now.

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

It’s funny because you would think that it should be. For me, I’m getting used to it. I love it, but I love it once I get pass the fear - and there’s still a lot of fear there for me. I want to get to the point where I have nerves but I’m confident enough to enjoy it.

What advice would you give to new artists coming through?

Don’t get down on yourselves - it’s so easy to. And, if you do, try to recognize it and get out of it and keep pushing forward. Only you can be you so, as long as you’re doing that, nobody else is. 

 IN THIS PHOTO: Locals Only Sound

Are there any new artists you recommend we check out?

Locals Only Sound. A duo/collective from Toronto. They have some stuff out right now and a lot more on the way that’s really exciting.

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

Right now, things are pretty go, go, go but, when I do have downtime, I want to read more…and Netflix and wine. I just recently started and finished Game of Thrones so, if you have any recommendations, let me know (or books too, I guess) I also started getting into production myself, so downtime is sometimes still music for me - but, getting to work on my own things and explore other aspects of it.

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

I’m gunna go with If This Is Love - Xavier Omär

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Follow laye

Official:

http://www.layemusic.com/

Twitter:

https://twitter.com/layemusic

Instagram:

https://www.instagram.com/layemusic/

Facebook:

https://www.facebook.com/layemusic/

YouTube:

https://www.youtube.com/channel/UCe7g1EQA6dmP3_sXVit3nRg

INTERVIEW: AyOwA

INTERVIEW:

AyOwA

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AHEAD of their E.P. release tomorrow…

I have been speaking with AyOwA about Farvel and what we can expect. They talk about their new single of the same name and what the story behind it is; how AyOwA got together and what sort of music inspire them.

I ask whether they are going on tour and what the music scene is like in Denmark right now; if they get time to chill away from music; who they’d support on tour if they had the chance – they end the interview by selecting a great track.

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

Hi, there! Thanks. It’s been good but busy since we’re releasing an E.P. and getting ready to go on tour!

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

AyOwA consists of synth/piano player and producer Nicolai Kornerup and singer and composer Hannah Schneider, both from Copenhagen in Denmark. Nicolai does most of the production and Hannah mostly takes care of the lyrics and melodies.

We create our music in a basement studio in Copenhagen - that seldom see the light of day - but has a lot of good vibes and a grand piano. If you mix Noise-Pop with Electronica and melodies with improvisation, in an evocative and playful mix, that’s where you’ll find our music. 

 

Farvel is your new track. What is the inspiration behind the song? 

Farvel is a song that has had many different arrangements: from a big electronic track over complicated beats, until it eventually ended up in this simple version; recorded at the Wurlitzer in one take. We felt a song that sticks with you for that long has something it wants to say! 

It is from the E.P. of the same name (out tomorrow). Are there particular themes and ideas that influenced the songwriting? 

Hannah: Throughout AyOwA’s existence, there has been an underlying theme of saying goodbye to a loved one. I lost my father in the process of recording this E.P. and, naturally, it has been with me in the process of writing the texts and the melodies. Farvel means farewell and, in that word, there is both sadness and a wish for lighter and more hopeful times. I think this duality shines through the E.P.

How did AyOwA get together? When did you start making music? 

We’ve been friends since we were teens and we’ve played music together ever since. We decided to join forces in AyOwA almost three years ago.

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

We both come from ‘a home with a piano’. Nicolai’s grandmother taught piano and both Hannah’s parents and grandparents were Classical musicians. Music is a vital part of both our lives and we get weird when we don’t have it around! We are both inspired by a lot of Classical music like Debussy, Satie and Bach - but some of the bands that have brought us together are bands like Boards of Canada, The Internet; Cocteau Twins and Beach House.

You are based in Denmark. Is there a varied and strong industry there right now? Are there a lot of great local artists emerging?  

It seems like Denmark and Norway has always been standing in the shadows of the Swedish music industry when it comes to the Scandinavian scene but now it’s changing - lots of really interesting acts are emerging! The Danish music scene is small but really diverse and strong. There are a lot of interesting female artist coming thru like Soleima, Kwamie Liv and, of course Mø.

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

Not many months to go but, as we’re going on a big European tour supporting Faroese artist Eivør in October, we’ll be playing our music many new and exciting places and that has definitely been a goal for us since the beginning!

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

We both had a really spectacular time playing Roskilde Festival last year- probably one of the peaks so far! 

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

Hannah: There are so many! But, if I can only pick one I think maybe the Bjørk album Homogenic is the most important to me

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

If you could fix us a tour supporting Massive Attack, Portishead; Björk and Cocteau Twins we wouldn’t say no!

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

We’re playing a release concert at Absalon in Copenhagen on Friday, Sep. 28th and then we’re going on tour with Eivør:

10.10. Teatr Szekspirowski - Gdansk Poland

11.10. Hybrydy - Warsaw, Poland

13.10. Chorzowskie Centrum Kultury - Chorzow, Poland

14.10. Hirsch - Nürnberg, Germany

15.10. Treibhaus - Innstbruck, Austria

17.10. Bleu Lezard - Lausanne, Switzerland

18.10. La Salle Du Cercle - Bischheim, France

20.10. The Control Club – Bucharest, Romania

22.10. The Studio - Norwich, U.K.

23.10. Patterns - Brighton, U.K.

24.10. The Globe - Cardiff, U.K.

What advice would you give to new artists coming through? 

Have something to say with your music! And keep saying it!  Some of the most interesting artists are the ones that keep evolving, and hang in there.

 IN THIS PHOTO: Pernille Smith-Sivertsen of Blondage/PHOTO CREDIT: @ventilstudio, @stefanwessel and @alicekaufmannjewellery

Are there any new artists you recommend we check out? 

We love the Danish Electronic-Pop act Blondage; Art Pop-er ML Buch; fantastic Masasolo (who did a great remix of our song, Sommer - just sayin’) and check out newcomer Ida Kudo as well - she’s on fire!  

 IN THIS PHOTO: Masasolo

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

We basically don’t! Funny, because it’s too true.

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

Please play us Falling by Vera (ft. Okay Kaya) and we’ll be dancing through the night!  

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Follow AyOwA

Twitter:

https://twitter.com/AyOwAmusic

Instagram:

https://www.instagram.com/ayowamusic/

Facebook:

https://www.facebook.com/thisisayowa/

SoundCloud:

https://soundcloud.com/ayowa

INTERVIEW: HEAVN

INTERVIEW:

HEAVN

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I get to talk with HEAVN…

about her single, High, and what the story behind it is. She speaks with me about changing her artist name and how her music has developed since the start; the sort of sounds she is inspired by – HEAVN recommends some rising artists to look out for.

I ask her if there are any albums that inspire her and whether we can see any gigs; what she hopes to achieve before the end of this year; how she spends her time away from music – HEAVN selects a cool song to end things with.

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

Hi, Sam. It’s been great! I’m just getting everything ready for my release and I’ve just shot my music video which will be coming out soon!

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

I’m a Dark-Pop/Indie singer-songwriter. Originally from Milan; I moved to London four years ago to follow my passion for music. I’ve graduated from BIMM last year and I’ve just finished my Masters in Songwriting and Production at Tileyard Studios. I used to release music under CarryLyanne, but I’ve just rebranded and changed my artist name to HEAVN.

What promoted the artist name change from CarryLyanne to HEAVN? Does it signal a new creative and personal phase?

Since I’ve started writing, I feel my style has developed in a different direction so I wanted a fresh start to release my new music under a different name. Everyone says my voice is very warm, so I thought something soft like ‘HEAVN’ would suit well.

Can you reveal the inspiration behind your new track, High? Is there a story behind it?

The track is about learning to love yourself first before you give love to someone else: “I can’t teach you how to love if you don’t love yourself”. I originally written the track inspired by My Week with Marilyn. The film follows the relationship between Marilyn Monroe and her personal assistant, Colin Clark.

It also shows Marilyn’s complex personality. She is unable to love herself and, as a result, cannot give love to Colin or anyone around her. Indeed, the intro of the song features samples from Marilyn’s interviews.

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

Definitely. I already have some new tracks which I can’t wait to share with the world!

How do you think you have evolved and changed as an artist since your earliest days? Do you feel you are more confident and assured than before?

To be honest with you, I don’t think I will ever feel assured! The more I get to know the music industry, the more I realise it’s just a big gamble! If anything, I feel I am more confident with what I want from my music and who I want to work with.  

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

It’s funny cause I was raised on Hard-Rock and Metal and everyone laughs when I say that! One of my all-time favourite bands will always be Aerosmith. However, I listen to everything; some of my favourite acts include Lana Del Rey, Halsey; ZAYN and Highly Suspect.

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

I am starting this new musical journey with HEAVN, so I’m hoping for my brand to become established and I want to start planning gigs for the New Year and get involved in as many songwriting camps as possible.

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

Yes. In June, I went to a songwriting camp in Nashville. I had the best week of my life creating music with talented musicians and producers and exploring a new city. I love working with people so, for me, it was an unforgettable experience and it really helped me to grow as an artist.

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

Christina Aguilera – Stripped

Great, raw vocals and emotions

Lana Del Rey - Paradise

It felt like something authentic and unique when I first listened to it and it had a big impact on my writing.

Aerosmith - Nine Lives

Reminds me of my youth - and Tyler is probably one of the best singers of all time!

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

Lana Del Rey!

For the rider, I would probably ask for a personal chef as well as a permission to have my hotel room filled with cats.

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

I’m performing my new music live for the first time at Two Brewery on 9th October at 6 P.M.

What advice would you give to new artists coming through?

Be true to yourself and always respect other people in the industry.

 IN THIS PHOTO: Måneskin

Are there any new artists you recommend we check out?

Måneskin, Folly Rae and Two Feet.

 IN THIS PHOTO: Folly Rae

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

I like to read books; work out (when I’m not being lazy!) and just chill with my friends.

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).

Pink + White - Frank Ocean (smiles)

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Follow HEAVN

Instagram:

https://www.instagram.com/heavnuk/

Facebook:

https://www.facebook.com/heavnuk/

SoundCloud:

https://soundcloud.com/user-48903410

Spotify:

https://open.spotify.com/track/64HRGLSNGNqa9SvDFxySxR?si=q_5YmiCWSa6Uuygk9BR00g

YouTube:

https://www.youtube.com/channel/UCO_zTzRZMMuHLBGGRTEAuDg/featured?view_as=subscriber

FEATURE: 2011: The Limbs of a Shaking Nation: The Best from a Fantastic Musical Year

FEATURE:

 

 

2011: The Limbs of a Shaking Nation

IN THIS PHOTO: PJ Harvey (photoed in 2011)/PHOTO CREDIT: Max Marcocia 

The Best from a Fantastic Musical Year

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THIS series is designed to celebrate years in music…

 IN THIS PHOTO: Radiohead (captured in 2011)/PHOTO CREDIT: Getty Images

post-2000 - and the fact this century can rank alongside the last in terms of the best music. There are some who claim music peaked by the end of the 1990s and we have not seen anything as good. I have already focused on a couple of years from the twenty-first century and there are few as strong as 2011. From superb efforts from the likes of Laura Marling and Kate Bush to stunners from James Blake and Beastie Boys; PJ Harvey and Radiohead – quite an exceptional and varied year. You cannot claim 2011 lacks bite and, to my mind, it can rank alongside most years in terms of its sheer brilliance. Have a look at the records below and recall all the wonder we saw seven years ago. 2011 remains one of those years that…

 IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty Images

HAS yet to be touched.

ALBUM COVERS: Getty Images

                                                                         ______________

PJ Harvey – Let England Shake

Released: 14th February, 2011

Label: Universal Island Records

Genres: Alternative-Rock; Folk-Rock; Folk

Radiohead – The King of Limbs

Released: 18th February, 2011

Label: XL Recordings

Genres: Alternative-Rock; Electronic; Experimental

St. Vincent – Strange Mercy

Released: 12th September, 2011

Label: 4AD

Genres: Indie-Rock; Post-Punk; Art-Pop; Baroque-Pop

Florence + the Machine – Ceremonials

Released: 28th October, 2011

Label: Universal Island Records

Genres: Alternative; Indie; Pop

Bon Iver – Bon Iver

Released: 17th June, 2011

Label: 4AD

Genres: Indie-Rock; Folk

Tom Waits – Bad as Me

Released: 21st October, 2011

Label: Anti-

Genres: Rock; Blues

Kate Bush – 50 Words for Snow

Released: 21st November, 2011

Label: Fish People

Genres: Art-Pop; Jazz; Chamber-Pop

Beyoncé – 4

Released: 24th June, 2011

Labels: Parkwood, Columbia

Genre: R&B

James Blake – James Blake

Released: 4th February, 2011

Label: Interscope Records

Genres: Dubstep; Soul; Experimental; Electronic

The Black Keys – El Camino

Released: 6th December, 2011

Label: Nonesuch

Genres: Blues; Blues-Rock; Garage-Rock

Lady Gaga – Born This Way

Released: 23rd May, 2011

Labels: Streamline, Kon Live, Interscope

Genre: Dance-Pop

Björk – Biophilia

Released: 5th October, 2011

Label: Universal International

Genres: Electronic; Experimental; Trip-Hop; Glitch

Wild Beasts – Smother

Released: 9th May, 2011

Label: Domino Recording Company

Genres: Indie-Rock; Indie-Pop; Dream-Pop

Beastie Boys – Hot Sauce Committee Part Two

Released: 27th April, 2011

Label: Capitol Records

Genres: Hip-Hop; Alternative Hip-Hop; Post-Punk

Laura Marling – A Creature I Don’t Know

Released: 9th September, 2011

Label: Virgin Records

Genres: Folk; Folk-Rock

FEATURE: The Devil Makes Work for Idol Hands: Is Music Following Hollywood into a Dark Pit?

FEATURE:

 

 

The Devil Makes Work for Idol Hands

PHOTO CREDIT: Unsplash/@benwhitephotography  

Is Music Following Hollywood into a Dark Pit?

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A couple of big revelations have come from the world of music…

 PHOTO CREDIT: Unsplash/@melwasser

that have caused shock and called into question how far cases of sexual abuse and inappropriate behaviour extend. It is not a shock seeing big names in Hollywood being revealed and exposed when it comes to taking advantage of women and letting their hands wander. Bill Cosby has just been sentenced to between three and ten years in prison and it has shown powerful men are not immune from justice. It makes for grim reading!

“It is time for justice,” said Judge Steven O’Neill, who handed down the sentence on Tuesday at the Montgomery county courthouse in Norristown, Pennsylvania.

Cosby was found guilty earlier this year of drugging and molesting Andrea Constand at his suburban Philadelphia estate in 2004. The sentence caps a precipitous downfall for an actor once known as “America’s Dad,” who starred in the popular Cosby Show in the 1980s and 90s”.

I suspect Cosby’s sentence will be reduced – if he lives long enough to see that happen – but it is another instance of a once-loved figure being revealed as something nobody expected. When we come to music, there have been fewer high-profile cases. Times have changed and women are coming forward; accusing and revealing men who have let power go to their heads and crossing lines.

 IN THIS PHOTO: Judge Steven O'Neill sentenced 81-year-old comedian Bill Cosby for sexually assaulting Temple University athletics administrator Andrea Constand in 2004/PHOTO CREDIT: Getty Images/AP

Look back at music and you can see how things have changed regarding consent and sex. There once was a time – maybe it still happens – where the ‘groupie’ would hang around and wait for her favourite band/artist to emerge after a gig. That idea of bedding a famous musician and them in turn revelling at the attention of their fans was glamorised and seen as normal. Who knows which of the idolised and celebrated music legends have been privy to having sex with a string of female fans – who knows how many of them were under the age of consent. It is rather seedy and sworded thinking about how those encounters were initiated and whether any of the women/girls were plied with alcohol/drugs beforehand. As I say; there are dungeons and crevices of music where that still happens but, thankfully, the groupie culture died and has taken on a reduced form. A lot of bands scorn groupies and find it embarrassing; a lot of the dangers regarding sexual exploitation and abuse are online – grooming and inappropriate messages/images falling into the hands of young girls/women. We have passed the time when big bands like Led Zeppelin would engage in debauchery and excess; their contemporaries inviting young fans into their tour buses/hotels and, in essence, using them.

 PHOTO CREDIT: Unsplash/@sauvageisland

This article, written by Rae Alexandra last year, examines the history of assaults at gigs and how things have changed since the 1990s:

“Assault at shows is an issue that has been publicly discussed since riot grrrl first shone a light on it in the early 1990s. This reached its peak in 1999 when the chaos of Woodstock resulted in numerous sexual assault reports and a number of rape allegations from audience members. More recently, in 2015, five teenage girls in the U.K. started #GirlsAgainst to highlight the fact that this problem is ongoing. Just last year, 26 women reported being assaulted at the Schlossgrabenfest music festivalin Germany.

It’s not talked about all that often, but the risks facing women and girls who like live music are not limited to fellow audience members. There is a culture of silence in this male-dominated industry that, in my 18 years of journalistic experience on the road and backstage, has shocked me”.

She went on to examine that idea of the groupies and how it is a rather complicated discussion:

“The issues surrounding bands and groupies are complex and frequently rooted in a culture that tells rock musicians that it's their right, and tells young women that their greatest commodity -- their easiest “in” -- is their bodies and their sexuality. Romanticized depictions of groupies in TV and movies (Showtime’s Roadies was a recent offender) continue to perpetuate the idea that groupies are beloved and essential; that women can get in on the excitement of being on the road, if only they’ll give it up. In reality, groupies are often mocked by the band the second they’ve been ushered off the bus”.

 PHOTO CREDIT: Unsplash/carolinehdz

There are articles that seem to skew the idea that being a groupie is negative. This piece features a different take on sex - as a way of making connections and bolstering confidence:

“There’s no stigma around making connections within a music scene through online or non-sexual networking, but there is lots of stigma around using sex to make those connections, and there shouldn’t be. Why not utilise my erotic capital, whether through flirting, dressing a certain way, or having casual sex? This became an almost necessity when I realised how hard it is to get a foothold in a music scene. When we started our night we had practically no contacts; we couldn’t even get through to most venues, never mind convince them to take us seriously when we finally got hold of someone on the phone. If you’re not a DJ, then the received wisdom is, what business have you got starting a club night anyway? No one starts club nights just for the fun of it. Even the DJs who we eventually booked were skeptical. So I felt it necessary in certain situations to deploy the erotic capital I realised I had after gaining confidence after sleeping with a string of musicians”.

The New Yorker  investigated the often-maligned word and wondered whether being a groupie was about sexual expression, independence and the only way women, in music or not, could feel part of the scene:

“Some feminists might wish to decry this kind of live-and-let-live ethos as witless and naïve. There is, of course, a more troubling presumption embedded in these relationships—that, at least in the earliest days of rock and roll, “groupie” was the only viable position open to a woman who wanted to participate, in some way, in the creation and dissemination of the music she loved. The logic goes like this: women became groupies because what else could they possibly do to mediate or amplify the sublime experience of reacting to these songs?

PHOTO CREDIT: Unsplash/@skylerorking  

“For me, the most interesting question that “Groupies” raises has less to do with cultural pathways and more to do with old-fashioned carnality and the places within us that it comes from. Perhaps it’s not so much that sex was the only option for these women, but that it was their preferred option. Fandom operates differently than a creative or critical impulse—and it wants for different things, too. People find all sorts of ways to manage the magnificent, sometimes paralyzing feelings a true communion with art incites: as long as there have been humans making beautiful things, there have been other humans who wish to subsume or harness that energy via sexual congress. Sex is a method (and an effective one) for achieving a kind of transcendental closeness to another person and, by inevitable extension, to the work that they make”.

There are other articles such as this; here and this that looks at the way musicians and fans used to connect – or the somewhat lascivious and sexual nature of band-fan relationships. The reason I bring all of this to play is because of the way some artists still think that culture is acceptable. I am someone who is unwilling to accept anything positive or good could come from celebrating casual sex in music and that rather unseemly scene of the past.

 PHOTO CREDIT: Matthew G via Flickr Commons

I am glad to see there is not the same sort of exposure and gaudiness happening today but there have been a couple of big stories coming out that make me wonder whether music is as clean and safe as it should be. Most male artists are respectful to their female fans and the big bands of today – Muse, Coldplay; Foo Fighters and the like – are not inviting lines of women into their tour buses and getting their rocks off. It appears, even though social media is there to unveil and condemn any form of sexual inappropriateness, it still is happening. BØRNS is the latest artist who is making the news for all the wrong reasons. Pitchfork has reported what has happened and the revelations coming forward:

“On September 21, a woman with the Twitter handle @kaliforxniaposted a statement in which she called Borns a “manipulator” and “user.” She said that she met him at a concert in 2015, and struck up a friendship that continued over text and social media. Months later, she alleged that he asked her to “meet him for drinks” in L.A. “I was expecting a bar but ended up at his place,” she wrote. She claimed that she then entered Borns’ home, where he offered her alcoholic drinks. “Suddenly I became drunk and was completely taken advantage of,” she said. She continued, “Once everything happened I went to the bathroom and started bleeding. I was completely shocked from the blood and started to get it together and realized what just happened. I blamed myself for that night because I didn’t say no even though I was intoxicated”.

 IN THIS PHOTO: BØRNS/PHOTO CREDIT: Getty Images

The piece continues and looks at the allegations. It paints Garrett Clark Borns in a very bad light. He came forward and tackled the accusations:

“In a note posted to Instagram today, Borns wrote, “I am both hurt and angered over the disturbing and false allegations that have been spread over the past few days on social media. All of the relationships I have had were legal and consensual. They ended abruptly and that obviously caused hurt feelings, but for anyone to suggest anything beyond that is irresponsible”.

It seems a special account was set up on Twitter in order to collate testimonies and reactions from fans who have experienced similar inappropriateness from the musician:

“The Twitter account @exposing_borns has also been collecting various accounts of alleged misconduct. One claim was allegedly made by a 19-year-old named Mathilda. She allegedly said that she and Borns began corresponding over social media, after she reached out as a fan, but “he never wanted to get to [sic] deep or personal. Only asking for nudes. If I didn’t send any, he ghosted me for days.” She then claimed that he flew her out to Hamburg, where they spent two days together. “I did not like the way he wanted to have sex wit [sic] me. Made me scream for daddy’s cock etc etc. Very uncomfortable”.

IN THIS PHOTO: Moose Blood/PHOTO CREDIT: Getty Images 

These accusations will have a damaging effect on his career and you wonder why artists feel they can still behave with this sort of disregard and arrogance and expect to get away with things. There is that danger, in a social media age, anyone can out and accuse any musician without evidence and they, in turn, can immediately be removed from Twitter and the ball can roll a lot quicker – being dropped from their label or gig organisers cancelling them from their bills. You can never tell how true the allegations are but it seems like so many young women are coming through and sharing stories. His Twitter account is still active and it seems like he is standing his ground. It is troubling to see this story come to light and I wonder how far it goes – whether there will be more women telling their stories. You always have to ask how many of these allegations have validity and proof but it seems odd to accuse, originally, a musician for no reason. Back in February; Moose Blood were in the news for sharing nude photos from a fan’s phone and spreading them around. NME told the story:

“Moose Blood have responded to allegations that frontman Eddy Brewerton stole nude photos from a woman’s mobile phone.

Last year, Twitter user Zoe Maria spoke out to claim that Brewerton took the images from her phone before spreading them around on the band’s WhatsApp group.

“Just a friendly reminder for those of you not in the know: Moose Blood vocalist stole nudes off my phone and sent them to band’s Whatsapp group,” she wrote. “No I will not shut up about it because it still hasn’t been addressed. I’ll bring it up at every opportunity”.

PHOTO CREDIT: Unsplash/@charissek

After Good Charlotte removed the band from their tour; it signalled a new low for Moose Blood and, just recently, they have announced they are taking a break from music:

“Moose Blood have announced that they’re going to “step away” from music, following a “traumatic year” off the “back of serious false allegations”.

The band removed drummer Glenn Harvey in March 2017 following sexual harassment allegations against him that surfaced online.

This was followed almost a year later by allegations against frontman Eddy Brewerton, when he was accused of stealing nude photos from a woman’s phone and sharing them with other band members. Brewerton denies the accusation”.

The band have come out and staunchly defended their reputation. They claim they are being falsely accused and are not happy with the situation:

"Rumours have escalated beyond belief and it makes us sick to our stomachs that we have been very wrongly labelled with these horrendous, incorrect terms. If certain people actually did their research and knew one ounce of truth about the situation then we would not be in this position. You can’t wrongly label innocent people. Your words have very real effects and consequences. You are part of the problem and the reason why social media can be such a toxic place".

We will have to wait and see what the future holds for Moose Blood but I find it hard to believe a band who have had two unrelated accusations levied at them are innocent. Even if, in one case, they were misunderstood or joking around does not wash – there is no excuse for any of it!

 PHOTO CREDIT: Unsplash/@kj2018

A survey conducted early this year revealed the extent of sexual harassment and abuse in the music industry as a whole:

“The survey was conducted by the Incorporated Society of Musicians (ISM), a non-profit organisation with nearly 9,000 members, who work to protect the interests of professional musicians. Among the respondents, 60% said they had experienced sexual harassment, both from superiors – such as conductors, teachers or established musicians – as well as peers in musical groups.

“I always take a sleeping bag on tour, because often we are sharing sleeping space, and a sleeping bag (that doesn’t zip all the way down), is the most effective way of not being molested while asleep,” one respondent wrote. Another said: “‘I have been propositioned and/or expected to engage in ‘casting couch’ or flirtatious behaviour so many times I have lost count.” Other respondents spoke of musicians exposing themselves, being kissed and touched against their will, and, in 6% of cases, being victims of rape and assault”.

Big artists such as R. Kelly have been accused of sexual assault and, as this list shows, it is not only actors/those in the entertainment industry that are being exposed. I looked at sexual abuse and misconduct in music last year off of the back of reports such as this and revelations from big names who have experienced sexual harassment/assault.

 IN THIS PHOTO: R. Kelly/PHOTO CREDIT: Live Nation

BØRNS and Moose Blood are aberrations and rarities: they are the most-recent cases of sexual assault/misconduct but this has been a problem in music for a long time. It seems the punishment for artists who go too far is severe. This article, from this May, looked at the case of R. Kelly and how Spotify dealt with allegations of sexual abuse:

“Streaming service Spotify will no longer promote R. Kelly’s music, Billboard reported on Thursday. The move comes after Time’s Up called on Spotify and other companies and concert venues to cut ties with the singer, who has faced allegations of sexual abuse for decades.

This is a small step forward, I guess. But as many have noted before, the music industry has yet to face the same kind of #MeToo reckoning that Hollywood and media have. R. Kelly and XXXTentacion are just two of the many men whose careers have, until recently, been largely unaffected by the allegations against them. Earlier today, New York Times pop music reporter Joe Coscarelli tweeted an email he got from XXXTentacion’s lawyer, who listed some of the other musicians accused of sexual assault and domestic violence that Spotify has not yet penalized, including the band Red Hot Chili Peppers, multiple members of which have been accused of battery, the Backstreet Boys, whose member Nick Carter has been accused of rape, and rapper Trey Songz, who was arrested in March on charges of felony domestic violence”.

I do worry how many cases are coming to light and how many are being hidden – women fearing they will not be believed or punished somehow. Whilst names as big as Harvey Weinstein are not being accused in music, I know full well there are numerous cases of sexual abuse happening and the penalties for artists who are accused is not stiff enough. I think more stringent and brutal measures need to be taken. I know everyone is innocent until proven guilty but you cannot really allow any artist to remain on social media and touring until they have been cleared. One does not know for certain how many of the recent stories are 100% true but I am in no position to disprove or cast aspersions on the young women who have come forward. As I said; sexual abuse is not new n music but we continue to see it and I wonder how far the problem extends; whether it can ever be stopped and what more can be done. It is not only female fans who are being subjected to unwanted abuse/attention – those in other areas of music (publicity, for example) report issues with boundaries and how they often find themselves being inappropriately touched or talked to.

PHOTO CREDIT: Unsplash/@crea_tives

This Noisey article investigated that in more depth; how endemic and widespread the issue is – and how many women are pressured into having sex by those higher up in the industry:

"There's a lot of confusion over what is the boundary and with whom," said Rebecca Haithcoat, a freelance music journalist, who has contributed to Noisey. "If I go out to [a drink meeting] with a publicist or a manager and he sexually harasses me, who do I tell?"

Others I spoke with said the insecure nature of freelancing makes speaking out too great a risk, particularly among younger workers who may rely on such work as an entry point into the industry.

Kate, a former freelance music writer who now works in A&R and asked to use a pseudonym, says the precarious nature of freelance work made her afraid to speak out when a well-known musician pressured her to have sex with him before an interview. She was 21 at the time. Kate says she excused herself to the restroom and left. Though she eventually told the festival publicist who had invited her to the event about what happened, she never told her editor.

“This was my main source of income, and the reason I was able to meet people and get assignments—I didn’t want people to think I was difficult. You can easily feel isolated. I was scared that [the musician] was gonna take some revenge on me, or publicly discount everything that I said in order to save his career”.

PHOTO CREDIT: Unsplash/@rawpixel

Social media makes it easier to identify perpetrators and lead to greater awareness. Whilst some of the waters are muddied – how many true cases and genuine claims are there?! – women (and men) are not afraid to come online and castigate artists who have come too far. Only time will tell as to whether music can turn a corner and we can do much to protect female fans/those in the industry. It is sad to see artists risk their careers and be so stupid. I am not one who feels those accused are as innocent and spotless as they say. I do not believe random attention-seeking or vendettas are at the heart of these claims. More needs to be done to ensure we see fewer cases like we have seen recently. Until then, it is sad to see cases of sexual abuse/inappropriateness emerge. I genuinely hope, sooner rather than later, we can create change and safeguarding so women in music (and fans) can…

 PHOTO CREDIT: Unsplash/@isaiahrustad

TRULY feel safe.

INTERVIEW: Claire M Singer

INTERVIEW:

Claire M Singer

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IT has been great speaking with Claire M Singer…

about the upcoming two-day festival, organ reframed, at Union Chapel, London. There is a lot happening at the festival itself - Friday 12th and Saturday 13th, 17:00, Spitfire Audio Composer Insights, £5; Friday 12th, 18:30, Visions in Meditation, tickets from £8.50; Saturday 13th, 12 noon, Daylight Music, pay-what-you-can; Saturday 13th, 18:30, Éliane Radigue and Hildur Guðnadóttir, tickets from £8.50; Friday 12th and Saturday 13th, Exhale, free for attendees to all Organ Reframed events – and singer talks about what we can expect; how she got involved and why she took to the organ.

I ask whether the organ itself is becoming more popular and what advice she would give to anyone wanting to take the instrument up. Singer discusses her start in music and how her work has changed through the years – she reveals whether organ reframed will be an annual festival.

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

Hi. I’m great, thank you! I’m just busy busy getting ready for organ reframed at Union Chapel in a few weeks’ time. It’s all go but hugely exciting to be pulling it all together.

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

Sure! My name is Claire M Singer. I’m from Aberdeenshire in Scotland but have been living in London for the past sixteen years (I moved here to study music at Goldsmiths). I compose, perform and produce acoustic and electronic music; I create audio-visual work and installations but, more recently, I have been focusing on composing and performing organ, cello and electronics. I have released two albums, Solas and Fairge, on Touch and my most-recent project has been writing the music for Annabel Jankel’s film, Tell It to the Bees, which has just premiered at the Toronto International Film Festival.

I’m also music director of the organ at Union Chapel in London and I started an experimental organ festival in 2016 called organ reframed which is about to happen for the third time on October 12th-13th.

I am interested by your start in music. What inspired the 2016 release, Solas, and how did you approach recording of it?

I started learning cello at the age of seven and piano at eleven and, from a very early age, I much preferred to sit and write my own melodies on the cello and, later, on the piano rather than play the music my teacher had given me. I then started playing in bands from the age of thirteen (first on keyboards and later adding my cello and accordion) and, when I got my own Roland keyboard E-300 - which introduced me to multi-track recording -, my compositions expanded quite dramatically into multi-instrumental works and that was it, I was hooked.

I never really wrote the notes down on manuscript: it was always recording the piano or cello onto tape or recording on to my Roland floppy disk. This approach is what led me to studio composition at university. I liked that you could instantly hear your composition come to life. As I was playing classically on the cello, but also playing in the band, my writing very much took influence from both styles and is probably why my music today straddles the Classical, Electronic and Contemporary fields.

I started playing organ when I joined Union Chapel as music director of the organ in 2012. I have been composing for organ for about twelve years but the early pieces were written for another organist to play. Since I had keys to one of the most beautiful organs in the world (Father Henry Willis, 1877), I used to sit for hours on end and experiment. I’ve never had an organ lesson but I developed my own way of playing and slowly reduced the amount of electronics I was using. I experiment a lot with the mechanical stop action, which basically lets you precisely control how much wind enters the pipe. Over the years, I have learnt every single incremental sound you can make on the UC organ and that’s how I developed pieces like The Molendinar (on my first release, Solas). I have had many people ask me over the years what electronics I am using in the piece but it’s solo organ and everything is played in one take.

Solas features my organ, cello and electronic work which I wrote at the Chapel and also some earlier works (electronic and solo cello). It’s basically a collection of my work spanning fifteen years! 

As a composer and artist; how do you feel your work has evolved and changed since the start?

I think my work has naturally evolved through time from drawing on various creative experiences - playing in bands and orchestras; studying composition at university - and a major turning point for me was when I started playing the organ. This ultimately developed my voice to where it is now. However, I think if you listened to one of my first-ever compositions you would still be able to tell that it is me. I feel like I’ve always had the same voice: it’s just constantly evolving as I have new creative experiences and still there is so much more to explore!

Was there a particular moment/artist that got you into music? Were you always curious when it came to sound?

Probably the most pivotal moment was when I started playing recorder in primary school which was soon followed by learning to play cello. It felt really natural to me and it was at that point I realised I could play by ear.

Tell me about the festival, organ reframed, and how it came together. What can we expect to see from it?

The idea of the festival has been a long time coming since I wrote my first organ piece and wanted to share the secret of how amazing the organ is - but it didn’t come into fruition until October 2016. The first three years of my time as music director of the organ at Union Chapel was transitioning the organ from its full restoration into developing a program of concerts and educational workshops around it.

This three-year program was called the Organ Project which was funded by the Heritage Lottery Fund along with the full restoration of the organ. The Project gave me a chance to test the waters with different ideas and develop a regular organ concert presence at the chapel of all different genres. After completion in 2016, I felt ready to finally consolidate these ideas into a festival and organ reframed was born.

The organ has one of the largest repertoires and has a strong Classical concert organ scene and that is equally important. In my opinion, we should embrace its historic repertoire and also help it to grow. There aren’t many contemporary composers writing for the organ as access can be tricky; most organs are in churches so you need to know someone with a key! In order to really explore and write innovative music you need time with the instrument. The main aim of organ reframed is to commission artists and composers to write new works; to allow them time on the organ to develop ideas and ultimately help develop the organ repertoire and show that this is an instrument that is very much at the forefront of new music today. To have the opportunity to build on the organ’s rich history and bring it to the attention of a new generation of artists feels hugely important.

This year, on Friday 12th, we have special screening of Visions in Meditation by Stan Brakhage with new works composed and performed by Philip Jeck, Sarah Davachi and Darkstar plus James McVinnie and London Contemporary Orchestra. On Saturday, Daylight Music - a fantastic regular lunchtime concert at Union Chapel - will be producing an organ reframed special with Terry Edwards, Seamus Beaghen; Douglas Dare and Deerful and, in the evening, we have new commissions from Éliane Radigue and Hildur Guðnadóttir performed by Frédéric Blondy, Hildur Guðnadóttir; James McVinnie and the London Contemporary Orchestra. Plus, a special documentary on Éliane working on her piece in Paris.

Throughout the weekend, we have a new sound installation by Kathy Hinde and Spitfire Audio Composer Insight with Dario Marianelli and Michael Price before the two evening shows. All work has been commissioned and created on our organ for the festival. 

This is a unique festival that celebrates the relevance of organ. Do you feel it has played a huge role in historical culture and music?

The main aim of organ reframed is to contribute to the development of the wonderful existing organ repertoire by commissioning new works by contemporary composers/artists and encourage them to take the time to explore; take risks and create truly innovative work. I think the organ is having a bit of a moment in the contemporary/experimental music world and there is a definitely a fresh approach forming towards the instrument - and organ reframed is making a contribution towards that growth but it’s great to see projects happening all over the world.

This is definitely sparking the repertoire to grow in many different directions, like with other instruments but just on a lesser scale as access is still tricky.

Is there any advice you would give to someone tackling the instrument who needs guidance?

As I came to the organ in a different way to most (no formal training), I’m perhaps not the best person to ask! As a musician and composer I would say, and this goes for any instrument, the best thing is to spend as much time as possible exploring, practicing and also recording yourself playing so you can listen and learn how to develop your technique.

Do you think the festival will be an annual thing? How far ahead are you looking?

I hope so! We are now in year-three. It’s always tricky as we are reliant on arts funding but I won’t give up without a fight! (Smiles).

You are the recipient of the Oram Awards. What was that like? What was your reaction?

I felt hugely honoured to have my work and practice endorsed by the PRS Foundation and the New BBC Radiophonic Workshop by receiving an Oram Award. It was a huge surprise and it’s such a wonderful award celebrating creative women. The award also profoundly resonated with me having studied in the EMS (Electronic Music Studios), Goldsmiths who played a key part in putting together the Daphne Oram Collection.

Having composed music for the film, Tell It to the Bees; how do you feel film composition varied compared to studio/personal music? Do you approach it with a different mindset?

Tell It to the Bees is the first film I have worked on and probably the steepest learning curve of my entire career to date, but incredibly exciting and fun! The score is a mix of cello, organ; electronics and also orchestral from the brilliant London Contemporary Orchestra. It’s definitely a different beast writing for film as opposed to my own album material as you have to learn to hold back and take on more of a supportive role to the picture.

I had to learn this all pretty quickly but luckily I had an extremely supportive director who is very passionate about music so she really pushed me, which was hard but the best way to learn. Also, writing short cues was at first a challenge! (My own album material spans from seven-twenty-five minutes!) My style/voice didn't change but the thing that may surprise people is the orchestral cues. I haven’t ever previously released any of my orchestral compositions which are faster moving than my organ works. It was really fun to write notes on paper (or Sibelius) and also to bring all of my sound palettes together in one score.

Will there be more material and music from you next year do you think?

I’m ready to get cracking on my third album after the festival. (Smiles). 

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

A more-recent favourite music memory is from last year’s organ reframed when Low wrote an extensive work for our organ. I’ve been a huge fan of the band for a very long time and it was truly magical what they created. It was especially exciting to then travel to Amsterdam and open for them at Westerkerk on their beautiful organ. Definitely a very special one for the memory bank.  

Do you find much time to relax away from music? How do you unwind?

I love going home to Scotland and it’s hugely important to me as it’s the only place I seem to be able to re-set. Walking in the hills, swimming in lochs…it’s good for the soul!

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 so much for having me! I’d like to choose Occam Delta II by Éliane Radigue. I still can’t quite believe that Éliane is writing her first organ piece for organ reframed this year! She is incredible and it is a HUGE honour for the festival. Premiering on 13th October, performed by Frédéric Blondy

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Follow Union Chapel/organ reframed

Twitter:

https://twitter.com/UnionChapelUK; https://twitter.com/OrganReframed

Instagram:

https://www.instagram.com/unionchapeluk/; https://www.instagram.com/organreframed/

Facebook:

https://www.facebook.com/UnionChapelUK/; https://www.facebook.com/organreframed/

INTERVIEW: Pleasure Craft

INTERVIEW:

Pleasure Craft

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MIGHTY thanks to Pleasure Craft…

for discussing his new single, It’s Not Real. The songwriter (Sam Lewis) discusses his tastes and what themes inspired his upcoming EP1 (out on 25th October). I discover how the Canadian artist got started in music and how pivotal it was moving to Toronto.

Pleasure Craft highlights some albums that mean a lot to him and a few rising artists we should back; what he has planned going forward in terms of gigs; whether he will come to the U.K. soon – he ends the interview with a great song shout.

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

Great! Release week is always crazy-busy but I’m excited to finally get this out there.

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

I’m an independent singer/beat-maker/songwriter/multi-instrumentalist. I live in Toronto. I study Jazz but I make Pop music.

It’s Not Real is your new single. What is the story behind it?

It’s Not Real was the first song I wrote for EP1. I wrote it in 2015 when I moved to Toronto from Salt Spring Island, B.C. That huge change in my environment was a bizarre experience. The song is about the surreal, unanchored feeling of starting out in a new city. 

The track is from EP1. Are there particular themes that inspired the music on the E.P.?

The whole E.P. is centred around identity and expression. How people see me versus how I want to be seen. The uncertainty of It’s Not Real develops into a series of questions and ideas on the other songs and eventually finishes in a place of confidence and security that I’m in the right place doing what I’m meant to do.

Tell me about moving to Toronto. Was that a pivotal moment for you?

Looking back, it seems like a big change: from rural B.C. to the biggest city in Canada. But, at the time, I never really questioned my decision. I knew that I wanted to make songwriting a career and moving here was the first logical step in doing that, so I did it.

How did you start in music? Were you raised around a lot of music?

My parents are not professional musicians but there was always music playing in our house. My mum played classical flute growing up and was always very persistent in encouraging me to explore music.

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

I’ve actually already started recording EP2. It should be ready for mixing by the end of December. Also; I’m hoping to play a show a month in Ontario/Quebec in 2019, so booking that is a ton of work.

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

The first live Pleasure Craft show last December. It had been years of writing, recording; mixing and planning leading up to that and it felt like the start of something really exciting.

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

Talking Heads - Stop Making Sense

That album/film is the best-captured live show there is. The energy and stage presence is huge. I reference that all the time when I’m working on our live set.

Gorillaz - Plastic Beach

The album I listened to the most as a teenager. That album feels like another world that you step into when you listen to it. That music doesn’t try to be anything else; it’s not trying to be Pop or Indie or Hip-Hop. It’s not trying to cater to anyone and I respect that.

What advice would you give to new artists coming through?

I am a very new artist myself so I should probably just shut up and listen.

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

The release party is October 26th at The Rivoli in Toronto!

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

Yes! My dad grew up near Birmingham so I have a dual-citizenship. Definitely planning on making good use of that.

 IN THIS PHOTO: Mouth Breather

Are there any new artists you recommend we check out?

My good friend Mouth Breather is releasing an amazing album pretty soon. You’ll be hearing about him soon, I’m sure.

Also; check out Lovers Touch. I played keyboard in that band for a long time before I got busy with Pleasure Craft but I miss playing those shows. It’s great music.

IN THIS PHOTO: Lovers Touch/PHOTO CREDIT: Emma Robinson

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

I need to get out of the city sometimes. I love the high energy and the ambition here but it burns you out after a while. I need to see the west coast whenever I can.

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

The song Velvet 4 Sale by U.S. Girls is what I have on repeat right now, that whole album is amazing.

Thanks so much for the interview! Great questions.

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Follow Pleasure Craft

Twitter:

https://twitter.com/samuelblewis

Instagram:

https://www.instagram.com/pleasurecraftmusic/

Facebook:

https://www.facebook.com/Pleasure-Craft-851405971613119/

Spotify:

https://open.spotify.com/artist/7ckVX9yP9zoeucDtmJjC1U

SoundCloud:

https://soundcloud.com/pleasurecraftmusic

Bandcamp:

https://pleasure-craft.bandcamp.com/

INTERVIEW: Sôra

INTERVIEW:

PHOTO CREDIT: @thomasbraut

Sôra

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THE awesome Sôra…

 PHOTO CREDIT: Berrebictures

has been telling me about her new song, Sakura, and the story behind it. I discover the kind of music she was raised on and what we can expect from her upcoming E.P., Number One - she tells me how her downtime is spent.

Sôra reveals her favourite memory from music and which three albums are important to her; if there are going to be any gigs approaching; which rising artists we need to get involved with – she provides some useful advice for musicians coming through.

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

Hey, I’m great. The week has been busy, just as I like it! 

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

I’m a singer, songwriter and musician. I’m still studying Jazz - there’s always more to learn! Music is my life and has always been part of it. For those new to my music, I think it is a mix of many different styles that I’ve grown up with like Pop, Hip-Hop; Jazz, Soul; R&B and even Rock. 

Sakura is your new track. Is there a story behind the song?

Sakura is a song about the cycle of life and death so I guess there was, is and will be millions of stories behind that song. My dad passed away when I was young and, after that, I started questioning what happens after life ends. This questioning was a real inspiration for the song Sakura.

It is from your upcoming E.P., Number One. What sort of themes and ideas inspired the music?

Everyday life and the emotions I feel; human beings and the positive aspect of being a human. All the capacity that human beings share like strength, perseverance; resilience and, most of all, love…which is the key and the solution to everything. I’m an optimist!

Talk to me about your parents and upbringing. Did you grow up around a lot of music? How important was where you were living to you in regards inspiration?

Music was there all the time. My father used to mix and had a huge music culture. I remember my father sharing his taste in music and making me discover what he liked for hours; going from The Doors to Madonna. My mum used to blast the music out when we were all doing the housework, dusting and hovering with Ella Fitzgerald, Elvis Presley or The Jackson 5 in the background. From time to time, we’d stop and have a really good dance in the living room before continuing the cleaning! 

PHOTO CREDIT: @thomasbraut

It seems like you are influenced by a wide range of sounds and styles. Do you think having that eclectic and curious mind lends your music greater width and potential?

I think being exposed to different cultures has made me more open to a big variety of music and sounds. The English, Spanish and French music scene is very different and I was lucky enough to experience all three. But, also, I’ve always loved very different sounds and enjoyed Classical music as well as Rap.

I think that, today, musicians have become so good in their specific types of music that what’s interesting is to do something very different and combine the sounds in a way that’s new and personal.

Do you tend to find musical guidance from new artists or are you keener on slightly older sounds?

Both! Creation is always enriching whether it’s old or new!

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

I hope to finish my first album and have a tour planned for next year!

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

Yes! My first concert with my partner Clement at Le Point Ephémère in Paris. The atmosphere was incredible; people were wild and it was the first time I shared my music with the public! I got so much back from the audience. 

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

The three album I’m choosing mean the most because they bring up warm and old memories and had an important role to play in my musical construction. But, it doesn’t mean they’re my favorite of all-time. That’s impossible to answer!

The Best of Earth, Wind & Fire, Vol. 1 from Earth Wind & Fire

It is really is part of my childhood memories. It’s a very joyful album and it was the period I started listening properly to the bass. At that time, I realized bass was one of my favorite instruments

B’Day from Beyoncé 

It is amazing! I used to have Hip-Hop lessons at that time and I remember watching those video clips when I came home from school and trying to copy the choreographies. Deja Vu was clearly my favourite in the album and the video was great! I also remember screaming my head off, trying to sing like Beyoncé!

The last one would be Baduizm from Erykah Badu

Because it has brought me closer to Jazz and closer to singing. I was so much in admiration when I discovered this album. All her gimmicks and her small rhythmical leads were so innovating. It’s one of my favorites.

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

Erykah Badu, of course. She’s a mentor for all the modern singers out there and has an incredible aura.

PHOTO CREDIT: Berrebictures 

What advice would you give to new artists coming through?

Never give up; always believe in your dreams and be true to yourself

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

I’ll be playing at Le Hasard Ludique in Paris on 28th September and there will probably be other opportunities between now and the end of the year. You can be sure you’ll be informed via the social network.

 IN THIS PHOTO: Danista

Are there any new artists you recommend we check out?

I’ve just discovered Danitsa. She’s a Swiss artist and does really cool hybrid Hip-Hop music. Really like her voice! And, if you haven’t heard of Charlotte Dos Santos…you should really listen to her album, Cleo. I love it.

 IN THIS PHOTO: Charlotte Dos Santos

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

No, not much time at the moment! If I do, it’s nice to spend time with my family and friends and the household animals! A dog and two cats! This time spent relaxing helps me get inspiration for songwriter and composing. So, I’m never totally cut off from music.

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).

Trying Not to Die - Louis Cole (ft. Dennis Hamm)

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Follow Sôra

PHOTO CREDIT: @thomasbraut

Twitter:

https://twitter.com/iamsoramusic

Instagram:

https://www.instagram.com/iamsoramusic/

Facebook:

https://www.facebook.com/iamsoramusic

YouTube:

https://www.youtube.com/channel/UCV4HQ_9FDMLJ8PODQuk4rvQ

Spotify:

https://open.spotify.com/artist/0Bx4jpot6hc7oUbu2SbtJ1?si=YjCnQNDXT5-4DxP9o9whyQ

SoundCloud:

https://soundcloud.com/iamsoramusic

INTERVIEW: Werner Bekker

INTERVIEW:

PHOTO CREDIT: Xavier Saer  

Werner Bekker

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I have been learning more about Werner Bekker…

and what sort of music the South African artist was raised on. He discusses his current single, I’m with You, and what comes next for him; whether there are any rising artists we need to get involved with – I ask where we can see him on tour.

I discover what sort of music Bekker is inspired by and what the scene is like in South Africa right now; a few albums that are important to him; how he spends his time away from music – he ends the interview by selecting a cool tune.

__________

Hi Werner. How are you? How has your week been?

It's been a lovely week here in South Africa. Spring has started to peak its head out and we just had our national heritage day celebrations, which is always an amazing time. It's great to see the amazing diversity and beauty that our people have.

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

I am a singer/songwriter from Johannesburg, South Africa. I grew up in a very artistic home. My dad used to be a full-time musician and my mum used to do a wide variety of visual arts. I am currently doing music as my full-time job and have been involved in the music industry in South Africa for around five years now.

I’m with You is your current single. Can you reveal the story behind it and how the song came together?

I'm With You is a song about the death of a relationship and how we as people tend to cling to the idealism of such a relationship. We often don't want to let go of the idea of something even though it has been long gone. In the song, I chose to use an old car as the metaphor for the relationship. This 'car' keeps breaking down and you don't want to let it go because of all the preconceived ideas you have built up around your feelings about this 'car'. The specific car that inspired the song was an old Volkswagen Beetle called Penny-Lane.

Will there be more material before the end of the year?

Unfortunately, we will not be releasing the next single before the start of next year. We are currently in-studio working hard to get a full five-track E.P. out by then as well as another music video. So, I can tell you that it will be well worth the wait.

PHOTO CREDIT: Xavier Saer

How did you start in music? Did your family play a hand in your passion?

My family definitely played a massive part in my being a musician. As I mentioned earlier; my father was a musician for many year when I was a child. We used to tour South Africa with him and my mum, visiting all the major cities and festivals and I was really inspired by my parent's lifestyle. I started with piano lessons at the age of seven and have apparently been singing since before I could talk. I often think that, if it weren't for my parents, I would not even have thought about pursuing a career in music.

Which artists inspired you then and inspire you now regarding your sound?

I quite like music in the same way that I like books. I am very particular about it and when I find something I truly like I will listen to/read it over and over for the rest of my life. The first artists I really admired as a child must have been Jack Johnson, Damien Rice and Jason Mraz and, to this day, I am still listening to them and loving them. Current inspirations for me include Ben Howard (whom I discovered as a teenager), Hozier; Jake Bugg, Aliocha; Matt Holubowski and Fink. 

PHOTO CREDIT: BOLD Photography

You are based out of South Africa. Is there a strong music scene there? What sort of sounds are trending right now?

There most definitely is a very strong music scene in South Africa. It can be very diverse, although the three most popular genres according to me would be as follows: Hip-Hop would be at number-one; most of our major radio stations are focusing on the current international boom in this genre. Secondly, the Afrikaans music industry has been a top seller in our country for many years and is still one of the strongest and quickest-growing.

Lastly, and my personal favourite; we have a flourishing underground scene that includes every genre from folky singer/songwriters to Metal to Ska-Jazz and so much more. This last category is the most diverse and also the smallest but it tends to have a very close following of dedicated listeners which appeals to me.

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

I must say I would love to have the new E.P. done and dusted and ready to release. This has also been my first year playing some major festivals and I am really looking forward to playing those as well. In all honesty, this year has been so great thus far that I don't really even know if I can expect anything more from it.

 PHOTO CREDIT: BOLD Photography

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

I think it's hard to pick one moment. They all sort of amalgamate into one big blur of awesome experiences but, if I have to choose, I would probably say my first performance at my high-school was a major moment for me. That's about eight years back now and, at that point, I didn't even know how much I loved doing this but it planted a seed. It was an amazing night. 

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

Firstly; Damien Rice's O

He recorded this with a small 8-track recorder in many cities across Europe and you can hear the true emotion and delicacy in every single word that he sings.

Secondly; Ben Howard's Every Kingdom

This story is similar in that this whole album and the E.P.s running up to it were recorded in a barn by Ben and his two band members. The feelings and emotions are so real that it almost feels like you can touch them.

Lastly; Jack Johnson's Brushfire Fairytales

It was probably the first artistic work that got me to think and dream in a musical fashion and I have been listening to it since my first ever road trip. It is arguably one of Jack's most honest and serious albums which has grown on me so much. It's like watching Friends for fifteen years and laughing and finding new jokes every single time you watch it again.

PHOTO CREDIT: Xavier Saer

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

Definitely Damien Rice…

I would not want much from a rider perspective - maybe just a bottle of good wine and a quiet room with an old-school record player so that we can share inspiration and talk about the processes we follow. I would love to pick his mind and truly understand the inner-workings of his writing and recording processes.

What advice would you give to new artists coming through?

Just be you: only you can sound like you and that's the only thing that puts you aside from every other artist out there. Also; keep pushing a dream that you believe in, not someone else’s.

PHOTO CREDIT: Greylin…Photography

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

My next festival dates in South Africa are 27th September at White Mountain Acoustic Festival and then over New Year’s at Smoking Dragon. Both these festivals take place in the beautiful Drakensberg and are a must-see for music and nature lovers alike. 

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

It is one of my all-time dreams to do a tour in the U.K. and myself and my team are hard at work trying to make it happen.

 IN THIS PHOTO: Matt Holubowski

Are there any new artists you recommend we check out?

My current favourite new artists include Matt Holubowski and Aliocha as well as some South African acts such as Bad Peter and Stone Jets.

 IN THIS PHOTO: Aliocha/PHOTO CREDIT: williamarcand.com

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

Yes, of course. I love woodwork and building this around my house (sometimes, I only manage to destroy them) and I also love traveling and hiking and being in nature. Most of the time, however, I spend my time of playing The Sims 4.

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).

Please could you play Shrike by Hozier

___________

Follow Werner Bekker

PHOTO CREDIT: Nico Welgemoed  

Official:

http://www.wernerbekkermusic.co.za/

Twitter:

https://twitter.com/WernerBekker_

Facebook:

https://www.facebook.com/wernerbekkermusic/

YouTube:

https://www.youtube.com/channel/UCC_WUx3T3zTUfPBhHDodRhw

Spotify:

https://open.spotify.com/artist/1mbI2Vrn5ZIHEH1PzTrA4K

SoundCloud:

https://soundcloud.com/werner-bekker

INTERVIEW: TIEKS

INTERVIEW:

TIEKS

___________

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.

__________

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

___________

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

__________

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

___________

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.

__________

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:

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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

___________

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.

__________

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

___________

Follow Francine Belle

Official:

https://francinebelle.com/

Twitter:

https://twitter.com/Francine_Belle

Facebook:

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

Instagram:

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

SoundCloud:

https://soundcloud.com/francinebelle

YouTube:

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

__________

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

___________

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

_________

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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