INTERVIEW: Brooke Law

INTERVIEW:

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Brooke Law

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THANKS to Brooke Law…

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for telling me about her latest single, See Ya Later, and the story behind it. She tells me what is coming up and which musical memory stands in her mind; the albums that mean the most to her and which approaching artists we need to get involved with.

Law explains where her inspiration for music came from and what advice she’d give to artists coming through; if there are plans for gig dates and what she hopes to achieve next year – she ends the interview by selecting a great track.

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

I’m good, thanks. How are you? My week’s been busy but goood!

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

I’m in the process of releasing my first E.P. Each song is a single and the concept is that each song represents a different female archetype.

 

See Ya Later is your latest track. What is the story behind the song?

The queen is represented by a woman taking control of who she wants to meet and what she wants to be. She is independent and does not need the security of a relationship. If she wants she can play the field. 

I like the use of the Buffy the Vampire Slayer theme! What was the reason for utilising that?!

I think Buffy’s a great role model for young women and I generally like the imagery of a dark night and the vampire world…it allowed me to get really descriptive with the lyrics.

Might we see an E.P. or more material next year?

I’ve got another two singles on the E.P. so all will be released by March! 

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Was your early life filled with music? Which artists did you follow when growing up?

My mum’s a nursery teacher and dad’s a hairdresser so I’m not from a musical family but they’d play music all the time; from Janis Joplin to Siouxsie and the Banshees to Otis Reading. We’re going to see Lykee Li this Sunday. Whoopee.

How important were your family in regards your musical curiosity and the way you express yourself?

Both my parents worked really hard whilst I was growing and have really taught me to not give up and that anything is possible. I think, ultimately, that’s where my inspiration for lyrics and passion when performing comes from.

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

2018 has been a really amazing year. I’ve released music for the first time and I sung at Trafalgar Square at the Million Women Rise rally. I’ve just started gigging with my band so if we can get an agent by the end of the year I’d be woooooooing!

Do you already have plans for 2019?

I’ve got two more ‘archetype’ singles dropping early-2019…

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

Singing at the Million Women Rise rally in Trafalgar Square after being part of the march. It was so surreal; so much solidarity and strength.

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

Christina Aguilera – Stripped

The first album I bought.

Jeff Buckley – Grace

The whole album has so much feeling.

Taylor Swift – Taylor Swift

It came out when I first started writing. I was in America and it made me wanna be a Country artist. 

What advice would you give to new artists coming through?

To make your own decisions and surround yourself with people who encourage you and boost your confidence. 

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

9th November at the Century Club (tickets online).

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 IN THIS PHOTO: MØ

Are there any new artists you recommend we check out?

My favourite artist is MØ.

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

I have a part-time job working in events. I wouldn’t say it’s unwinding but I meet great people.

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 recently saw the film A Star Is Born. I loved it so much so I’m gonna say Shallows

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INTERVIEW: The Shantics

INTERVIEW:

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The Shantics

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WITH the video for Heaven fresh and in the world…

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I have been speaking with The Shantics about it and the inspiration behind the song; how they all came together and whether there is more material coming soon. They talk about their influences and reveal a couple of rising artists that are worth checking out.

The guys share their favourite music memories and tell me which albums mean the most to them; how they unwind away from their career and reveal what they hope to achieve before the end of the year.

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

All groovy here, thank ya. How has yours been?

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

We are The Shantics; there is four of us:

Jimmy Morris (guitar/vocals)

Harry Morris (guitar)

Jacob Nation (bass/vocals)

Mike Cosburn (drums).

The single, Heaven, is out. What is the story behind the song?

Jimmy: I had recently watched a documentary called Adrift about a man called Steve Callahan who went on a sailing trip around the world alone as a way of clearing his head after a divorce. His boat was hit by a huge wave and started sinking and he had to spend seventy-six days floating through the ocean on a tiny raft, with very few rations or water.

He had said in that documentary that being so thirsty whilst being surrounded by so much undrinkable water was like ‘a view of heaven from a seat in hell.’ So; I ran with that as the story for the song, but made out that he went to sail around the world because it was too painful seeing his ex-wife with someone else.

Can you reveal how the idea for the video came together? Did the band have a lot of say?

Jimmy: My girlfriend has always found my dancing entertaining and when we were struggling with how to make a music video on pretty much no budget, it seemed to make sense to utilise this. Us two just filmed it together and had a laugh doing it.

Mike: It was also inspired by similar videos like Black Keys’ Lonely Boy. I found it interesting how the same thing can be entertaining for the duration of the song. The rest of the band saw it and instantly thought it was funny.

When did The Shantics form? How do you think you have evolved since the start of your career?

Harry: Us two brothers have been playing music together since we were sixteen, but the band started a year and a half ago after we met Jacob at a gig at KOKO. We had asked Mike to play with us three years before - and he couldn’t at the time - but it all came together in the end. Our evolution will become apparent when we release some more tracks I think, but just know that we are working on it.

What sort of music/styles is the band inspired by? Are you all bonded by similar tastes?

Harry: We definitely all have differing tastes, but we also get most of each other’s references which is really helpful when trying to get cool parts down. Collectively, we love all the greats like The Cure, The Police; Talking Heads, David Bowie and The Beatles etc. 

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

Harry: Hope to have more tracks out and recorded and be set up ready to smash 2019.

Do you already have plans for 2019?

Harry: Release a couple/fourteen E.P.s; hopefully get a couple of support tours and keep writing.

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

Mike: Most probably wreckin’ Toploader at their own gig cos they hated us and we were way better than them.

Jacob: Hearing In Bloom for the first time at thirteen and the only way my body could compute it was by bodyslamming all around my room; kept it on-repeat and slammed without stopping for at least half an hour straight. Pure joy.

Harry: Being able to get our parents into a Paul McCartney show in Prague and making their holiday, just because of a couple of songs we wrote in our bedroom that led to us knowing someone who could make it happen.

Jimmy: Anytime a song starts coming together and everyone is vibing to it in the room is always an amazing feeling.

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

Mike: Thriller by Michael Jackson is important to me because it made me realise how great Pop music can be instead of being a flat-out Rock and Metal fan.

Jacob: Blood Sugar Sex Magik by Red Hot Chili Peppers as it balanced all forms of music for me at fifteen; got me into every genre under the sun and got me playing different instruments and guitar styles, too. Nothing is more important to me than those 73 minutes and 55 seconds (and its bedazzling B-sides).

Harry: Now That's What I Call Music! 50 from 2001, because it was the first C.D. I ever got and I’ve been hooked on music ever since.

Jimmy: Green Day’s International Superhits! because it was since then, age five, that I knew I wanted to be in a band, too.

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

Jacob: Take That. Because I can do the whole dance routine to Pray when I'm drunk and I wanna be the new Jason Orange.

Jimmy: Arctic Monkeys - and I’d probably ask for some pittas and hummus for afterwards.  

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What advice would you give to new artists coming through?

Jacob: Stay out our fu*king way. Haha…

Jimmy: …But also keep your eyes on your own path; try and ignore how far along other similar artists are compared to you.

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

Jimmy: Afraid not at the moment, but we will next year for sure.

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 IN THIS PHOTO: The Americas

Are there any new artists you recommend we check out?

Jacob: My guys The Americas. Their parts are rifftastic and their beats are bombastic

Jimmy: WOOZE and Hot Dreams are amazing.

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 IN THIS PHOTO: WOOZE/PHOTO CREDIT: Debora Goldmoon

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

Mike: Playing golf, reading; seeing friends and family. Partying, drinking; smoking weed, listening to music; watching music-related documentaries/live performances, going for walks; going out for meals.

Jacob: Music is my chill time, yo. Even when I’m at a bar, I’m more interested in what’s playing through the speakers than the conversation I’m having. If I’m not playing guitar or learning an album, then I’m either asleep or making love - but even then there’s music blaring, oi oi.

Jimmy: Almost every action I take is geared towards music in some way.  I just love writing songs in my chill time.

Harry: Pretty much everything I do is centred around music. I’ll have all the time in the world to chill after we’ve made it. Living together as brothers we find it hard to switch off.

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

Mike: What’s the Use - Mac Miller

It’s got Snoop Dogg on it; it’s a fu*kin’ banger and R.I.P.

Jacob: Eric B. & Rakim - Don't Sweat The Technique. Or, if you need a new one; Travis Scott - Sicko Mode

Jimmy: Clem Snide’s version of I’ll Be Your Mirror

Harry: Paul Simon - You Can Call Me Al

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FEATURE: Bad Blood: The Toxic World of the Twitter Feud

FEATURE:

 

 

Bad Blood

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IN THIS IMAGE: Nicki Minaj and Cardi B/IMAGE CREDIT: Getty Images  

The Toxic World of the Twitter Feud

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I might have time to concoct something…

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 PHOTO CREDITS: Getty Images

a bit more ‘Hallowe’en-y’ later today but, as I have already done a Hallowe’en playlist; I feel like I should address something a little more serious and worrying. There is nothing new about artists taking to social media to rip shreds out of one another. The latest news-courting feud is between U.S. stars Nicki Minaj and Cardi B. A fairly new development has been reported:

“Cardi B has accused Nicki Minaj of leaking her phone number to the public, which led to death threats against her daughter.

In one of a series of Instagram videos, Cardi B accuses Minaj of the leak following an altercation at a New York fashion week party that left Cardi B with a bruised forehead after she reportedly threw one of her shoes at Minaj. “How come my phone number got leaked one hour after that altercation at the Harper’s Bazaar party?” Cardi B says. “How come everybody that y’all have issues with, y’all have the numbers in your camp and they numbers got leaked?”

She goes on to show text messages she received after the number became public, including one that reads: “We coming to find you and your daughter. We ain’t resting till we kill Kulture”, her daughter with rapper Offset. She describes Minaj as “sick in the head”.

Minaj has denied leaking the phone number, saying: “I’ve never leaked a number in my life and y’all continue to lie on me to make me look like a bad person.”

Minaj has since tried to move on from the dispute, tweeting: “Let’s focus on positive things only from here on out”, with Cardi B agreeing, saying on Instagram: “Alright then! Let’s keep it positive and keep it pushing!”

Not only is the feud between these two artists quite petty and unexplained but it seems like there are going to be severe repercussions from their spat. I am not sure who will come off worse in this feud but you wonder what is truly motivating it. This escalating war between the artists has, already, seen scuffles, mean exchanges and quasi-threats and many have claimed it is nothing but a bid for supremacy. Whether you consider Nicki Minaj or Cardi B as the Queen of Pop/R&B; you do not particularity want them going at it all the time and taking attention away from the music. Maybe that is part of the idea: gaining publicity and traction and creating this hype. You can sense the intentions and dislike is real but things have escalated to such an extreme length that death threats are being reported. It is okay if artists have a beef with one another but, when you open it to the unedited and capricious shark tank of social media, you are inviting a world of trouble! Twitter is especially notorious when it comes to superfans getting carried away; random trolls kicking off and assorted freaks seeing how far they can take it. Cardi B released her album, Invasion of Privacy, and it scored big with critics. Nicki Minaj released her record, Queen, in August and, whilst an accomplished record, it did not fare as well with reviewers.

Throw into the mix there were delays and problems with sample clearance and, at least for now, Cardi B has that commercial and critical edge. In terms of the ignited and escalating Twitter feud; you wonder where it will end and, indeed, what toll it will take on the artists. Some might write all of this off as tantrums and cynical publicity but, when things get as serious as death threats and endless insult; it goes too far and exposes those artists to something toxic and horrible. If you want the chronology and story of the Nicki Minaj v. Cardi B feud; here is an article from an exasperated reporter – who gives the timeline to us:

“So, if you’re like me, and want to find out what happened so you can quickly go back to “not caring about it,” here’s your cheat sheet, presented in chronological order:

Nicki hops on “Queen Radio” on Monday afternoon to address rumors that her security team beat up Cardi B at the Harper’s Bazaar Icons event during New York Fashion Week. Nicki claims pal Rah Ali punched Cardi B “9 or 10" times. The Queens rapper paid $100,000 for surveillance footage of the fight that night, as well as claiming she had video of her own.

Nicki claims Cardi prevented her husband, Offset, and rapper 21 Savage from collaborating with Nicki on the “No Flag” video, and kept 21 Savage from doing a remix to “Krippy Kush.”

Nicki denies that she leaked Cardi’s number to her Barbz, which Cardi’s sister, Carolina Hennessy, alleged.

Cardi responds to alladat in an epic 10-video Instagram rant Monday night, countering that she:

Did not stop Nicki’s bag or practice payola (and threatened to sue Nicki for defamation of character for alleging so),

Did not get beat up by Rah Ali (and would never lie about such a thing when there were so many “footages”—a real word!—of the incident),

Called Nicki to discuss issues around “Motorsport,” the song on which they both featured (and displayed Nicki’s alleged phone number in the process—yikes! Cardi!),

Was initially offered Nicki’s Diesel jeans partnership before Cardi passed on the offer (people still wear Diesel jeans?), as well as declining a chance to feature on a Little Mix song Nicki eventually featured on….

 

Cardi invites Nicki to talk it out or just fight already.

Nicki counters back, on Twitter and in Instagram comments, tapping her inner Maury Povich and inviting Cardi to take a lie detector test on her podcast, and accuses the Bronx hit-maker of not writing her verses.

For some reason unbeknownst to anyone with common sense, Wilhelmina CEO Bill Wackermann waded into the tumultuous Instagram waters and claimed the Diesel campaign was always built around Nicki.

Cardi, apparently perched on Instagram like a merciless macaw, quickly posts receipts—i.e. emails of the Diesel contract offered to her. She also forgets to blur out the email accounts (Cardi! Think of the notifications! The overflowing inboxes! The rabid Barbz! The humanity!).

Wackermann deletes his Instagram account post, because bruh. No one wants that Nicki/Cardi crossfire smoke.

Nicki continues to ask Cardi where her pen’s at.

Cardi asks Nicki where her #1 songs are at.

We reach peak “everything is funny right now” and everyone’s face melts off.

Nicki decides she’s done with all this mess and, depending on how you feel about her, decides to a) tap out or b) be the bigger person and says she “won’t be discussing this nonsense anymore.”

Cardi concurs, saying “let’s keep it positive and keep it pushing.”

The person (or people) running The Shade Room’s Instagram account finally exhales and rests their weary fingers, which had been flying for the last 4 hours (seriously, we owe y’all a drink...or 10).

People who think “females” only started rapping in 2010 find something else to do with their time (or not)”.

Something less catty and just as serious is the ongoing war between Eminem and Machine Gun Kelly. The two have exchanged diss songs and it seems there is this intense beef and heat that threatens to ignite once more! On the song, No Reason; Machine Gun Kelly provides a low-key shade of Eminem – some of the lyrics not as cryptic as he’d hope! One line, “To remind y’all you just rap, you’re not God” is a direct reference to Eminem and it seems like, in this case, there is professional jealousy. Rap Devil also came out and poured more fuel on the fire! Back in 2015, Machine Gun Kelly was banned from radio stations following inappropriate comments aimed at Eminem’s daughter, Hailie, and her looks. Hallie was about twenty at the time and it was seen (the comments and lust) as a step too far. Turn this back as far as 2012 and, at aged sixteen. Hailie was subject to more attention from Machine Gun Kelly. He claimed she was “Hot as f*ck” and, considering the age of consent in the U.S. is eighteen; there is something seedy and pervy. There is no surprise Eminem has taken umbrage at Machine Gun Kelly and their feud, for the most part, has been in the press and through songs. Eminem seems to be the bigger man in this case but is clearly unhappy about Machine Gun Kelly and his attitude.

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 IN THIS PHOTO: Machine Gun Kelly/PHOTO CREDIT: Getty Images

Considering what could happen between the Hip-Hop/Rap artists if it did spill out into the public; you have to wonder whether steps need to be taken to resolve the problem or keep them apart. I am not suggesting they have crews that will attack one another in the street but, again, the feud has been highlighted on Twitter and like the ‘CarNaj’ debacle; one feels things are going too far. You see these artists taking strips off of one another and it is so unseemly and sets a bad example. There are young fans who are seeing and hearing words from Eminem and Machine Gun Kelly and it does rather leave a bad taste. Maybe, again, there is that need to gain press focus and escalate so that the music sells well. Machine Gun Kelly can shade Eminem in song and that will get him millions of YouTube streams. Eminem can retort and that will push his profile and, like days past, you have this feud that is being played out in music. The feud in music is not a new sensation at all. Classic bands like The Beatles and The Beach Boys have seen their leaders separated and spitting cruel words at one another. Although Paul McCartney and John Lennon resolved their differences; Lennon took to the press after The Beatles dissolved in 1970 to attack McCartney’s overbearing nature in the studio.

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 IN THIS PHOTO: Paul McCartney and John Lennon/PHOTO CREDIT: Getty Images

McCartney provides a subtle stab-back in 1970 but it many saw this attack coming – tensions in the camp of The Beatles has been growing since 1968. Pink Floyd’s David Gilmour and Roger Waters have been balkanised and divided for years and Ray and Dave Davies have been at each other’s throats since the 1960s. The Kinks’ surviving members recently shared the stage for the first time in years and many are speculating a reunion. Other music feuds, including that between Paul Simon and Art Garfunkel, is seen as pretty serious but the lack of social media intervention/input means, in a way, the fire has been contained somewhat. Maybe social media is not to blame for feuds exacerbating and becoming vile but it does not help. There is a more humorous side to some of the feuds. The brothers Gallagher (Liam and Noel) might have been a bit spicy and intense during their Oasis heyday but now, as slightly ageing Rock gods; they are taking to Twitter to jab at one another. Although Liam is keen for an Oasis reunion; he cannot help poking Noel and taking the piss when the moment calls. It is quite funny the brothers have this unbreakable sense of conflict but you know, underneath it all, they love one another. There have been some recent feuds that have, one hopes, come to an end.

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 IN THIS PHOTO: Remy Ma/PHOTO CREDIT: Shareif Ziyadat/Getty Images

Rolling Stone ran a piece about, again, Nicki Minaj and her feud with Remy Ma. The battle had been rumbling for a while but things started to intensify around 2017:

“Remy responded by launching an all-out assault with the seven-minute diss epic, “ShETHER,” which took aim at Minaj. “I’m jealous? Bitch, you was happy when they took me/Best thing that ever happened to you was when they booked me,” she seethed on the track.

Remy gave Minaj a 48-hour deadline to respond to the song, which she did – sorta. Instead of a response track, Minaj shaded her on Instagram by posting a (since deleted) screenshot of Plata O Plomo‘s “disappointing” album sales with a caption reading “yikes.” She also shared a video in which Beyoncé, pop royalty in her own right, acknowledged Minaj as a “rap queen” on her rework of Prince’s “Darling Nikki.”

Remy dropped an equally brutal diss track four days later, “Another One,” and continued the taunting with a (since-deleted) throwback Instagram photo of Minaj captioned “#B4TheButtJob.” Addressing the feud on The Wendy Williams Show the following day, Remy, resplendent in funeral attire, quipped, “My grandmother told me to never speak ill of the dead.” Minaj eventually came for her with some help from her Cash Money friends Drake and Lil Wayne to serve up the “#3PackFromPARIS,” a trio of diss tracks led by “No Frauds.”

Remy scored her biggest triumph at the 2017 BET Awards in June, when she ended Minaj’s seven-year run as the Best Female Hip Hop Artist. She paused during her acceptance speech to rap a few victorious verses from “Spaghetti,” an anti-Minaj Plata O Plomo album cut. The following day, Minaj chose to perform two of her Remy disses, “Realize” and “No Frauds,” at the NBA Awards”.

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 IN THIS PHOTO: Katy Perry/PHOTO CREDIT: Covergirl

Maybe not as spiked and potent as the current feud between Nicki Minaj and Cardi B; two other mainstream females, Katy Perry and Taylor Swift, were at each other’s throats for ages. Here is this history of the war between Swift and Perry:

“The bad blood apparently started flowing back in 2013, when a dancer named Lockhart Brownlie (who had toured with Perry for her California Dreams world tour in 2011) was interviewed for Australia’s The Examiner. During the interview, Brownlie admitted that he and two other dancers stopped working for Swift on her Red tour after Perry called and invited them to come join her on her Prism tour instead.

"I was with Taylor for the first six months [of the Red tour]," he explained. "It was a great experience and she’s a great person to work with, but then Katy contacted us. We weren’t really dancing in Taylor’s tour anyway, so I had got a little bored and I really wanted to do a promo tour."

So yeah, that happened. Then, in a 2014 interview with Billboard, fans thought Swift basically confirmed that her hit song "Bad Blood" was about Perry and the whole debacle. Of course, she didn't actually say Perry's name, but fans drew their own conclusions. Here's what she said:

She did something so horrible. I was like, 'Oh, we're just straight-up enemies.' And it wasn't even about a guy! It had to do with business. She basically tried to sabotage an entire arena tour. She tried to hire a bunch of people out from under me. And I'm surprisingly non-confrontational – you would not believe how much I hate conflict. So now I have to avoid her. It's awkward, and I don't like it.

Whoa. Things only got worse from there. After Swift got herself into a Twitter war with Nicki Minaj over the VMA nominations in 2015, Perry used the opportunity to weigh in and throw some serious shade Swift's way…

A year later, Perry got dragged into a different Twitter fight — this one between Swift and her ex Calvin Harris. In July 2016, shortly after the two broke up, the news got out that Swift had secretly co-written Harris' hit Rihanna collab "This Is What You Came For." Harris went on Twitter rant about how Swift leaked the credit in order to tear him down. "I know you're off tour and you need someone new to try and bury like Katy ETC but I'm not that guy, sorry," he wrote in a since-deleted tweet. "I won't allow it."

Perry responded with a subtweet that featured a gif of Hillary Clinton, because of course she did”.

It seems like any bad blood between the has ended – or cooled at the very least! Another Taylor Swift-featuring feud was her standoff with Kanye West. To be fair; Kanye West initiated things and made it worse but it is another case of this toxicity spilling into song – there were potent and laced tweets from West (and Swift) that brought in fans and seemed to take it to another level. Rolling Stone show where it all went wrong:

“Then he dropped The Life of Pablo in February 2016 and everything went sideways. The track “Famous” made waves for the line: “I feel like me and Taylor might still have sex/Why? I made that bitch famous.” The collective national gasp had barely faded away when he released the accompanying video in June, which featured nude wax figures of several West-related celebrities – Swift among them – in bed next to a replica of himself and wife Kim Kardashian. Protestations from Swift’s camp were blunted when Kardashian leaked a videothat appeared to show West clearing the offending lyric with the singer…

 

Swift posted a lengthy note to her social media accounts objecting to the use of the word “bitch,” which had not been discussed previously. But that was just the preamble for her earthshaking “Look What You Made Me Do,” a lethal revenge track released in late August 2017.

Though West isn’t mentioned by name, the lyrics are littered with hints about its target. “I don’t like your tilted stage,” she sings, seemingly alluding to the slanted set West used during his Saint Pablo tour, and the faux phone call proclaiming, “the old Taylor is dead” recalls the taped call controversy. The final scene of the music video features Swift mockingly reenacting the VMAs moment while pleading, “I would very much like to be excluded from this narrative” – her famous rebuke to West’s “Famous” controversy, thus confirming that West is at the top of her enemies list. In red. Underlined”.

Although a lot of these feuds are played out more through music; it is coming into social media and Twitter is playing a big role. Sending a sarcastic, insulting or baiting tweet is an easy way of getting things heated and, as I mention, fans of each party are having their say. It catches on in the press and this attention seems to fuel the fire and leads to escalation. Wherever you look, there seems to be sort of beef playing out through Twitter. Azealia Banks and Lana Del Rey have not been immune to Twitter wars:

“Allegedly, it all started when Azealia Banks took to Instagram at the end of September 2018 to lambaste Lana Del Rey for speaking out against Kanye West and for doing, what Banks claimed, was "bootleg witchcraft." It was nearly two weeks before Del Rey finally responded via Twitter, saying: "Banks. u coulda been the greatest female rapper alive but u blew it. dont take it out on the only person who had ur back…

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IN THIS PHOTO: Lana Del Rey and Azealia Banks/PHOTO CREDIT: Getty Images  

Banks fired back immediately, and on an otherwise calm afternoon on October 9, the internet sat back and watched as the two music artists lashed out at each other with a barrage of petty shots and insults. Del Rey threatened to "f*ck you the f*ck up," then Banks responded that she felt "powerful," cryptically plugged her line of soap, the followed it up with some detailed body shaming, accusing Del Rey of having plastic surgery - but not enough of it - and advising her to invest in appetite suppressants. Del Rey, in turn, clapped back, announcing she would give Banks the number for her psychiatrist and creating a new trending hashtag, #uneedanewcocktail, in the process”.

There are many other occasions when there have been spats and misjudged comments on Twitter and it seems like the social media channel is a perfect place for misinterpretation, escalation and general spitefulness. We have seen some brief battles and Twitter feuds and long-runners like that between Taylor Swift and Katy Perry that, we hope, has burned out. The long-standing and intensifying war between Nicki Minaj and Cardi B got into my head and it seems like things will get even uglier in the weeks to come. Maybe there is something petty and childish about the retorts and comments but it does not take too long before one takes it too far and something serious happens. There have been recent development, whether they are true or a red herring, that suggest the feud between Cardi B and Nicki Minaj might be over. ELLE reported the news:

“The great Nicki Minaj and Cardi B feud has come to an end after less than two months. The two rappers, whose Harper's Bazaar ICONS party fight (where Cardi B allegedly threw her heel at Minaj after she believed Minaj liked a tweet insulting her parenting) really started their public war with each other, came to peace last night on Twitter and Instagram—but not without some drama first.

Yesterday Cardi B called Minaj a liar on her Instagram stories after Minaj said on her Queen Radio show that she was innocent regarding multiple aspects of their fight, per The Cut. Minaj then suggested Cardi B take a lie detector test with her on Twitter (and also promoted her new music video because of course):

Let us hope this reports are well-founded and they are going to bury the hatchet. I wonder whether things will spark back up and whether one sly comment can get that fire burning. Twitter seems to be this platform where artists can air their grievances and it can escalate so quickly. Whether there is that commercial aim or the publicity is the only way of staying in the public eye; it leaves a bitter taste and I do wonder what the point of it all is. I am not sure how many other Twitter feuds are going on but every one of them seems to be pointless and they all get out of hand before you know it. As we have seen already; if things get carried away then it can turn really ugly. I know the Twitter feud is a way of airing beefs without getting physical but, when it is all said and done, you have to ask yourself…

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 IN THIS PHOTO: Nicki Minaj and Cardi B/PHOTO CREDIT: Getty Images/Kevin Tachman

IS it all worth it?!

INTERVIEW: Chasing Deer

INTERVIEW:

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Chasing Deer

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THE boys of Chasing Deer…

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have found some time in their hectic schedule to talk to me about their upcoming album, Hands On, and what themes will be addressed (their single, Miracle, is out now). I ask about their album launch at London’s Bush Hall (22nd November) and they explain their passion for and connection to British Sign Language.

The guys each pick an album that means a lot to them and reveal where we can see them play; which rising artists we need to get behind and whether they chill outside of music – they each pick a song to end the interview with.

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

Hey. We’re really good thanks. We’re fully into promotion and preparations for our Album Launch Show in a few weeks, so it’s been a busy one! We’ve been practicing and finalising some new merchandise this week as well as a music video shoot up in Birmingham and a photoshoot over in East London.

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

We are Rob, Adam and Peter; a three-piece called ‘Chasing Deer’, currently living in London!

Hands On, your debut album, is out on 30th November. What sort of themes inspired the record?

The overarching theme of the entire album is support of British Sign Language, which we have done through the artwork for the monthly singles we have been releasing. This year we have played so many events and met people who have inspired us greatly which has all gone into the songwriting process. With the album recorded across the UK and in Amsterdam, we are very lucky to be able to travel for our inspiration too.

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You have a launch show coming at London’s Bush Hall on 22nd November. What is that going to entail? Is it true the show will champion sign language?!

The show will be fully accessible to a deaf audience, with an interpreter signing all of our songs on stage with us as we perform them live. We’re really excited to be part of the ever-growing movement for inclusiveness in live music.

How did Chasing Deer get together? When did you all form?

We have been playing together for around three years, with Peter being the newest member of about a year. We made Chasing Deer a full-time career around a year ago and have never looked back!

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Even before you have released your debut album, you have played to huge crowds! Why do you think your name/shows have gained such steam and popularity?!

We love to play our music to everyone and hopefully that energy and enthusiasm comes across on stage, meaning we have been invited to some fantastic places to play including Trafalgar Square for Pride in London and performing in Kenya!

Which artists did you all grow up around? Do you have any personal musical idols?

We’ve been treated to a really wide variety of music all of our lives; all starting playing instruments at young ages. The Beatles, David Bowie; The Police and Queen are all up there! We’re all big supporters of the vinyl revival, too, which helps with the era of music we idolise.

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

This has been our biggest year yet, so we are already in plans to make 2019 even better; with touring plans, new material and abroad trips in the works.

We would love to end the year with as many people as possible listening to our debut album, which we are immensely proud to have created and designed - and gained more fans through our shows and weekly videos.

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

Peter: Looking out to thousands of happy faces at Pride in London 2018 dancing to our original music was a real buzz.

Rob: Touching down in Kenya after being invited across to play at the President’s music festival was very surreal and hopefully a taste of things to come.

Adam: Facebook live streaming from our sofa last year playing our songs; to be surprised by the fact that the stream had gone viral and reached over 2.2 million people that evening.

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

Rob: A fairly rare Red Brazilian vinyl copy of Revolver – The Beatles. Not my favourite of their albums (Rubber Soul) but it’s probably worth the most!

Adam: Blood Sugar Sex Magik - Red Hot Chili Peppers was the first album I learnt in full on the drums so it will always be a favourite of mine.

Peter: A Funk Odyssey – Jamiroquai because it reminds me of loads of great family holidays where we played it to death. 

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

Paul McCartney would be pretty cool - and an instant sell out gig! Three teas would be good; milk no sugar. Oh…and do you remember Starburst Joosters?

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Can we see you on the road this year at all after your album launch?

We’ll be switching on the Christmas lights at a number of towns this year which we will be announcing very soon, alongside our regular gigs and residencies. Find us over on social media for behind the scenes and our website for full show listings.

What advice would you give to new artists coming through?

Play the music that you enjoy and would listen to. There will be others that also enjoy the same out there. Then work really hard every day to make it the best you can do. Build a good team around you as there will be times where you really need the support and motivation.

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 IN THIS PHOTO: Parcels

Are there any new artists you recommend we check out?

We’ve been enjoying the music of Parcels for the past few months; recently attending an intimate show at the Gibson showroom which was mysteriously cancelled. One day they’ll let us know what happened!

Also enjoying the new material from Alice Merton. There’s too many to name as we tend to add it all to our Chasing Deer Picks Spotify playlist to listen to on the road.

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 IN THIS PHOTO: Alice Merton

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

Time away from music is tricky with the fact we play every day we have. When we get back from performing at a show, we are back having a jam and writing new material! In our down time, we enjoy watching football, going to the cinema and exploring as much as we can of the museums and activities in London. 

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

Emily Chepchumba - Moto Moto Band (this is one of the songs we covered during our time in Kenya)

Rick Astley – Pray with Me

David Bowie – China Girl

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Follow Chasing Deer

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INTERVIEW: The Teskey Brothers

INTERVIEW:

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PHOTO CREDIT: Lisa Businovski

The Teskey Brothers

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THANKS to Liam from The Teskey Brothers…

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for chatting about the band’s new album, Half Mile Harvest, and the sort of themes that inspired it. I ask how the Melbourne band got together and what sort of music inspires them; if there is any new talent we need to get behind and whether we can catch the guys tour at all.

Liam highlights a favourite memory from his career and reveals band ambitions for 2019; if they are coming over to the U.K. at all and if they all get time to chill away from music – each of the band members choose a song to end the interview with.

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

Liam: Good! I’ve just been in the studio working on new songs and about to go into Triple R community radio station in Melbourne for a performance and interview. Always enjoy visiting radio stations.

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

Sure thing. We are The Teskey Brothers. We are four friends that grew up just outside of Melbourne, Australia and have been playing music together for over ten years. Brendon Love is on bass; me (Liam Gough) on drums; Sam Teskey on lead guitar and Josh Teskey on vocals and rhythm guitar.

Half Mile Harvest is your new album. Are there particular themes that define the record? Do you have favourite songs from it?

We didn’t realise it at the time of writing it, but it’s mostly about breakups and trying to hold relationships together. Songs like Pain and Misery and Crying Shame are pretty much what it says on the back of the box. Those themes resonate throughout the album. Bit of a downer but that’s what we were all kinda going through at the time.

I’m really excited to have I Get Up out in the world. It’s a fun song to play live and always gets the crowd moving!

When did The Teskey Brothers start making music? Do you remember those early days and the song you were playing?

A long time ago. We busked at the local market as teenagers and then eventually started playing gigs in the local pub across the road from the market. We mostly played Blues jams and stared at our feet. Slow beginnings!

Which artists did you all grow up around? Do you have any personal musical idols?

We idolised a lot of the local Melbourne Blues musicians. Melbourne has always had such a thriving music scene. We would go out and see lots of bands of all styles really. I think this gave us an appreciation for an eclectic array of styles and sounds.

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PHOTO CREDIT: Lisa Businovski

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

We really wanted to make our album Half Mile Harvest available for people to buy in Europe and U.K. which, as of today, has actually happened - so that’s a big tick on the list. Otherwise; we’re hoping to record some new music and play a few Australian music festivals. 

In that same vein; do you have plans for 2019 in terms of what you want to accomplish? 

2019 is going to be another big year of touring, which will be fun. The past year has taken us all over, so we’re aiming to revisit Europe, U.S.A. and Japan. We’d also like to get to Canada and Scandinavia. Fingers crossed. We’ll also put out the next album so that will be a big moment too.

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PHOTO CREDIT: Lisa Businovski

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

There’s a festival near Melbourne called Meredith Music Festival. It was a life goal to play at that one. It’s such a unique site and the lineup is always so eclectic and incredible. Last year, we were given a late afternoon slot and it was such a special moment for us. I was a bit overwhelmed.

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

Electric Ladyland by The Jimi Hendrix Experience

Raw, live feel and mix of Blues, R&B and Rock. Incredible.

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

I would love to support Neil Young. We would love to share a pizza with him and talk about the ’60s.

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 PHOTO CREDIT: Lisa Businovski

Can we see you on the road this year at all?

We are playing a handful of summer festivals in Australia this year

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

Yes! We’ll be there in February. Our London show is at the Union Chapel which looks incredible.

What advice would you give to new artists coming through?

Just keep at it and don’t give up. Don’t change what you’re doing or how you’re sounding just because of trends. If you love the sort of sounds and music you are making then stick to your guns and just keep working hard. It took us ten years to hone our sound down to something we liked and I think we needed that time! There’s no rush!

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 IN THIS PHOTO: TEEKS

Are there any new artists you recommend we check out?

I’d recommend checking out TEEKS from New Zealand. He’s making some really cool soulful music.

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

We all love to have our own time and the more touring we do the more we realise that we need to make time for ourselves. We all have a strong connection to nature and love to go camping or hiking to clear our minds and connect with friends.

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

Sam Teskey: Peter Green – A Fool No More

Brendan Love: Queen - Somebody to Love

Josh Teskey: Percy Sledge - When a Man Loves a Woman

Liam Gough: The Animals - Cheating

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Follow The Teskey Brothers

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INTERVIEW: Lili Caseley

INTERVIEW:

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Lili Caseley

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THIS interview finds me talking with Lili Caseley…

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about her debut single, Have I Ever, and what inspired it. I ask whether more material will be coming along and, as a songwriter, whether she sets time aside to write; which three albums mean the most to her; the artists she grew up around and which rising musicians we need to get behind.

Caseley tells me how she spends time outside of music and what she has planned for next year; who she would support on tour if she could pick anyone; the advice she would offer emerging musicians – she ends the interview by selecting a rather cool song.

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

Hey. Good, thanks. Been rehearsing and doing some writing sessions. Have seen family too, so it’s been quite nice.

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

I’m from Kentish Town. I’m a singer songwriter and I make Soul/R&B/Pop; sometimes with a Hip-Hop feel, often the beats. I’ve got Portuguese and French heritage and grew up listening to a lot of different music.

Have I Ever is your debut single. Is there a story behind the track?

I wrote it after a night out; a party. I was tired and had drunk; I felt alone. I didn’t have anyone and started to question whether I’d really ever had anyone at all. I found a harp sample online, then got my friend Oliver Wass to play it live at David (the producer’s) studio. And David made the music around it.

Do you think there will be more material next year?

Yeah. For sure (smiles). I’m looking forward to putting more songs out.

Are there particular moments and times that inspire your songwriting? Do you set time aside to write?

Sadness, rejection; loss, being in love; heartbreak. I try to be more methodical with it, but often it is just spontaneously.

Which artists got you interested in music? Did you grow up around a lot of music?

Coming from Portugal and France, I listened to a lot of Fado music - Amália Rodrigues, Mariza - French music - Jacques Brel, Charles Aznavour - and English too - Queen and The Beatles. Other World music, too: Amadou and Miriam, Seu Jorge…they all got me keen and also Billie Holiday, Ella Fitzgerald; Johnny Cash, Bob Marley…

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

More and more live shows, performing to more people; connecting and working with more and more people.

Do you already have plans for 2019?

Yeah. A few. More releases, more shows; work with more people…

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

Explosive writing sessions where the song just happens; gigs where everyone dances and jamming with the musicians.

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

Lauryn Hill - The Miseducation of Lauryn Hill

The songwriting and music blew me away. There’s a lot of heart.

Justin Timberlake - Justified

Songs like Señorita are sexy, good to dance to and have original lyrics.

Destiny’s Child - Survivor

Amazing tunes.

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

Probably Billie Eilish or Post Malone. I’d just want some drinks for the musicians and some for me and some coconut yoghurt. I love it man. Would’ve loved to meet or play for Mac Miller in some way too man; it’s a damn shame.

What advice would you give to new artists coming through?

Well. I’m not sure I could really advise anyone, but I’d say just keep going and don’t be afraid to make mistakes. You gotta risk looking foolish to move up anywhere. And try to work with kind people.

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

Got lots of gigs coming up. All on my Songkick and my website.

How important is it bringing your music to the stage and getting that instant reaction?

Vital. It’s the only real way to connect with people I reckon.

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IN THIS PHOTO: Natty Wylah/PHOTO CREDIT: Ivan Bliminse

Are there any new artists you recommend we check out?

Natty Wylah and Stone Jets.

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

I hang out with my friends, go to films - sometimes saucy ones -; I have dinner with family.  I party too - gotta 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).

Thank you. Bruce Springsteen – I’m on Fire

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Follow Lili Caseley

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INTERVIEW: Micky James

INTERVIEW:

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Micky James

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ALTHOUGH it is a bit of a brief interview…

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I have been finding out more about Micky James and his new work. He has two new tracks out, New Heart and Tie Me Up, and I ask about the former and what inspired its creation; whether there is more material coming next year and when music came into his life.

James reveals a few albums that are important to him and whether there is a rising act we need to get behind; whether the New York artist is hitting the road and if he ever dedicates time to unwinding and getting away from music.

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

I’ve been well! Getting ready to start rehearsals for November-December tour. 

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

My name is Micky James. I’m from N.Y.C. and I play guitar music. 

How did New Heart come together? What is the story behind the song?

New Heart, lyrically, came from a more personal place. To keep it general and on the surface, it’s about understanding and the acceptance of change in one’s life for the better. A rebirth if you will.

Might we see an E.P. or more mater next year?

Yes! You might even see one before the New Year. Lots more music about to come out. 

Was your early life filled with music? Which artists did you follow when growing up?

Yes. I come from a very artistic family. I got into music at a very young age. Around eight-years-old, I believe. That’s when I was introduced to The Beatles, Led Zeppelin; The Beach Boys etc. 

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

To keep expanding the world of Micky James. More music is coming and hopefully more people tuning in.  

Do you already have plans for 2019?

I’m in the process of making plans for the New Year.  

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

The times that always stick out to me are the times actually making the music. The creative process. The sweat and the tears that go into the songs. 

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

Hmmm. I’d say The Strokes’ Is This It; Led Zeppelin – Led Zeppelin and David Bowie - The Rise and Fall of Ziggy Stardust and the Spiders from Mars

Without these albums, I wouldn’t be the musician I am today. They shaped everything about me as a singer, a writer and a performer. 

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

I guess the pinnacle band to open for would be The Rolling Stones. Biggest band in the world.

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What advice would you give to new artists coming through?

To be themselves completely - this business is filled with tricks and traps. To truly know and accept yourself for who you are will most likely benefit you in the long run.

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

Yes. I’ll be on the Alt Nation Advanced Placement Tour supporting The Regrettes and Welles. All dates and tix on my website.

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Are there any new artists you recommend we check out?

I’m into this band The Lemon Twigs at the moment. Very cool band from Long Island, N.Y. 

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

No, not really. I don’t really watch T.V. or anything. That’s boring to me. If I’m gonna ‘unwind’; I might as we’ll be working on a song idea or something creative. 

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

The Strokes – Someday

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Follow Micky James

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INTERVIEW: Kane Miller

INTERVIEW:

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Kane Miller

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I am ending my day …

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by speaking with Kane Miller about his new single, Could It Be, and how it came together. I ask whether there might be more material next year and what sort of music inspire him; if there are some rising artists to look out for and which albums mean the most to him.

Miller discusses his tastes and what his plans are regarding 2019; if he gets chance to chill away from music and if he has any plans as to what he wants to achieve by the end of this year – he ends the interview by selecting a great track.

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

Hi! My week has been great. My new single, Could It Be, came out this past Friday so this weekend has been hugely exciting. I got to see it added to some playlists on Spotify and Apple Music - which have some of my favourite artists on them - so that has been crazy so far.

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

My name is Kane Miller. I’m a singer-songwriter from Lakefield, ON. I grew up as a Classical violinist and have kind of turned that into Acoustic-Folk/Pop thing. I’ve been collaborating with Grammy-winnning producer Femke Weidema over the past year and I released my first single, All We Need, through her label last August - and we’ve just released my second single, Could It Be.

Could It Be is your new track. What is the story behind it?

Could It Be was a song I wrote about a year ago and only had parts together without the feeling of a full song. This past spring, I took a trip to Nashville to work out some writing on this song and others and it really, kind of, came together at that point. A chorus formed and Femke and I were able to finish up writing it.

It’s a song about that blurry, confusing time at the end of a relationship where you are remembering all of the good (and bad) things and you find yourself stuck in this cycle of hope and despondency all at once.

Might we see more material next year do you think? Are you working on other songs?

Yes! Definitely! I have plans to release another single early in the New Year, followed up by a couple more.

Was your early life filled with music? Which artists did you follow when growing up?

When I was seven; I started taking Classical violin lessons which I stuck with through to the end of high-school, playing in orchestras and competing, the whole deal. I also took piano lessons, even before that, and played a couple other instruments before picking up the guitar in high-school. My dad played piano as well and has been releasing stuff since long before I was born, so our house was always really full of music.

The music I listened to growing up was really varied. Tons of classical along with the Prog-Rock my dad would listen to. When I got to high-school; I really started listening to my own stuff which, I guess, Damien Rice would be the biggest part of that.

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Is Ontario a great place for a musician? Is there a good scene there?

Ontario is an amazing place for musicians! I come from a small town called Lakefield, outside of Peterborough, which has a great music scene in itself. There are many great groups that have come from Lakefield - and then having a hugely artistic city like Peterborough right next door means the music is so amazing around here.

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

I honestly don’t know. Every turn so far since recording in Nashville and releasing music has been so great. There have been a ton of things that pop up constantly and I love every moment of it.

Do you already have plans for 2019?

Yes! I’m going to be releasing another few singles followed by an E.P. I’ve already got the next music video planned in my head and I can’t wait to get started on it. I’ve been writing songs non-stop and I’m super-excited to share them!

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

Wow! So many great memories. I think my first trip down to Nashville to record my own songs was definitely one, recently, that sticks out. I remember playing guitar and having this moment where I was over the moon because I was actually getting to work on my own songs with people and not just sitting in my bedroom at home anymore.

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

Damien Rice – O

This album was introduced to me when I was sixteen, a little after it came out. It’s been arguably the biggest influence on the music I write. This is a highly emotional and acoustically-charged album that I spent hours with, even learning pretty much every song on it.

Sufjan Stevens – Illinois

This album is so great and creative. The way everything blends together and the fact so many crazy choices regarding instrumentation and arrangements maybe don’t work on paper but really make Sufjan a musical genius.

Josh Ritter – So Runs the World Away

My first introduction to Josh Ritter. I love so much of his stuff but this was the first album of his I heard. This is storytelling at its absolute best. He really knows how to write amazing songs.

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

Damien Rice. Hands down. I love his stuff and would do anything to be on that show.

Rider-wise; I’ve worked a ton as a tour manager and a sound guy for bands in the past. Everybody has different rider requirements and I’ve sent way too many emails about them (to really be picky). I’d be happy with a couple bottles of water and maybe a hot meal.

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What advice would you give to new artists coming through?

Work at it and play, play, play. You’ve got to be super-comfortable being you in order to make your music. It’s really hard to get going in the music industry but you’ve got to be able to give it your all which, at times, will feel like everything is spiralling out of control. You’ve got to work hard and stick with it.

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

I don’t actually. I’m working hard on that for the New Year. So, check in again soon!

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 IN THIS PHOTO: Dean Lewis

Are there any new artists you recommend we check out?

Dean Lewis is someone who I haven’t been able to stop listening to, though he’s been doing stuff for the last couple of years. Belle Mt is another one who has some really great songs out right now.

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

I live pretty immersed in music all of the time but I wouldn’t change that for the world. Really, I love playing and, to unwind, I usually love a nice cold beer and then I play more music or do play some Celtic fiddle tunes with 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).

Dean Lewis – Be Alright. On-repeat pretty much constantly on my iTunes. I love the emotion and the production is awesome

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Follow Kane Miller

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FEATURE: After the Gold Rush: Article 13 and Providing Musicians a Fairer Financial Deal – and Why New Copyright Laws May Prove Problematic

FEATURE:

 

 

After the Gold Rush

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PHOTO CREDIT: @giamboscaro/Unsplash  

Article 13 and Providing Musicians a Fairer Financial Deal – and Why New Copyright Laws May Prove Problematic

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THERE are a few points I want people to consider…

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 PHOTO CREDIT: @luke92/Unsplash

when it comes to money in music and how it is generated. Think about new and established artists alike and how they go about their promotions. They will release a song and, typically, it gets pitched to radio and websites to big them up. If they are lucky they might get airplay once or twice on a station but, for some, they might enjoy longer focus. In terms of physical sales; very few underground artists are relying on C.D. and vinyl sales. The bigger names might enjoy healthy sales in that respect but how much money can they expect to see after shifting a lot of units – and how much of that profit goes to the record label?! Merchandise is an option but when you add all this up; is a lot of money being made from each track/album? The costs will be covered but, considering how much work the artist puts in to promote and spread their work, it really doesn’t seem like adequate compensation. It used to be the case that physical sales could generate a lot of money and music was more physical. Now that we do a lot of our listening/buying online; one would think the money has shifted and drifted in a natural fashion. Whereas an artist might have made quite a lot from physical album sales back in the day; now, many are struggling to get fair finance and profit when they put a track online.

 PHOTO CREDIT: @whereslugo/Unsplash

If you are a small artist who puts their tracks onto YouTube; they might get a few hundred views and that will be it. Perhaps that is the only way you can get people to listen but, even when that many people hear you, the money going to the creator is a tiny. We should all be aware about the discussion that has been happening for the last month or two regarding Article 13. This article lays out what Article 13 is intended to do and how a fairer deal for artists can be struck:

“The UK music industry has joined forces to take on the tech giants that are trying to block EU plans to give everyone in the music industry a fairer deal.

Members of the European Parliament backed the Copyright Directive in an important vote on 12 September.  This change would boost the tiny amounts that some tech firms like YouTube pay for music played online.

Our campaign - called #LoveMusic - supported this important change.

TRUTH VERSUS FAKE NEWS

·         Article 13 does not impose obligations on the general public. The rules only relate to online platforms and to creators and those who invest in creators.

·         Article 13 makes it easier for the public to create, post and share online content.

·         Article 13 will only be applied to online platforms whose main purpose is to make a profit from storing and making available creative content.

·         Online encyclopedias, open source software and non-commercial platforms are explicitly excluded from the requirements of Article 13.

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PHOTO CREDIT: @cytonn_photography/Unsplash

COPYRIGHT MYTHBUSTING

·         Article 13 will NOT make memes illegal. Exceptions to copyright for parody are already in place and the Directive does not change this.

·         Article 13 will NOT kill remixes. Services are already licensed for remixes and mash-ups are covered by existing exceptions to copyright.

·         Article 13 will NOT harm small businesses and start-ups. The measures will be proportionate, reflecting the specific size and scope of the service.

·         Article 13 will NOT breach privacy or personal data and will be in full compliance with the General Data Protection Regulation.

HOW YOUTUBE COINS IT IN AT MUSIC’S EXPENSE

·         1 million streams on YouTube generates as little as £540 for the artist

·         YouTube pays creators a tiny £0.00054p per stream of music

·         Streaming sites like Apply Music and Spotify pay £4.3 billion for music use – way more than YouTube, even though YouTube is the most popular music service in the world.

·         A song needs to be streamed 51.1 million times on YouTube before the creator can make the average UK annual salary of £27,600.

·         A total of 85% of YouTube’s visitors come to the site for music and YouTube accounts for 84% of video streaming services.  At least £2.33bn of YouTube’s revenue in 2017 was generated by music in 2017, according to MIDiA Research.

WHY CHANGE IS NEEDED TO PROTECT MUSIC

Many tech companies are fully licensed and have systems for managing content on the internet.

But there are legal loopholes that undermine the rights of creators and those that invest in them. We need to close the loopholes and make the internet work for everyone.

According to figures from the International Federation of the Phonographic industry (IFPI), audio streaming platforms attracted 272 million users in total in 2017, while 1.3 billion music-using users turned to online video services like YouTube...

Despite having one-fifth of users, audio streaming platforms pay substantially more for the use of music. These services paid around $5.6bn (£4.3bn or £15 per user per year) which contrasts significantly with the $856m (£650m or just 50p per user per year) returned to the industry by the likes of YouTube.

The legislation proposed in the European Parliament would create a level playing field in the online market.  If you#LoveMusic, please continue to support this change.

To watch our video to learn more about this campaign and to sign the petition please visit http://love-music.co/ 

   THE FIGHT TO SAVE MUSIC ONLINE

              SUBMISSIONS

                     ALL-PARTY PARLIAMENTARY GROUP ON MUSIC

                   FINANCE

                 COPYRIGHT AND INTELLECTUAL PROPERTY

                     SUSTAINABILITY

There have been some developments and debates regarding this proposal but the reason I wanted to bring it up now is to make people aware of how much money artists are ‘losing’ when they accrue millions of streams on YouTube. I am not sure whether the problem is the same regarding Spotify and how artists are paid but it renews my calls for YouTube to provide subscription. I get the luxury of perusing Spotify and having limitless access to music in exchange for a subscription fee. I am happy to pay this and feel they could go further – charging users a bit more and sharing that revenue with artists. YouTube doesn’t have that same option and anyone can go on the site for free and watch any video they wish. YouTube relies on advertising a lot when it comes to paying artists but, as the figures show, the amount of money artists make is very low.

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 PHOTO CREDIT: @rawpixel/Unsplash

It is not only about the profit and loss and making sure artists get their fair share. There is that guarantee of data protection and, essentially, ensuring sites that profit from users and musicians are giving money back. YouTube makes a pretty hefty whack from musician and advertising and the site has not really changed much since its inception. You might get the odd tweak here and there but it could be a lot better, more organised and user-friendly. I feel, unless you are a huge artist who can bag millions of stream with each single; your life is going to be a bit hard and it seems unfair so little money is generated. Even if you are someone like Rihanna, Taylor Swift or Drake; does the amount of money earned correspond to the amount YouTube will make and is it treating the artist with respect?

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 IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: Getty Images

Although it is good there is that awareness and accountability regarding fair pay and making more for artists; another component of Article 13 relates to user content and copyright laws – something, some say, could threaten YouTube’s future. This article explains the proposals in more detail:

“The platform’s Chief Business Officer Robert Kyncl has said the ability for creators and artists to find fans and build a business online is now “at risk” thanks to the heavily debated Article 13.

Kyncl cites the role of user-generated content in the success of videos by Drake, Dua Lipa and Alan Walker, explaining: “Creators and artists have built businesses on the back of openness and supported by our sophisticated copyright management tools, including Content ID and the recently launched Copyright Match Tool that manages re-uploads of creators’ content.

“Copyright holders have control over their content: they can use our tools to block or remove their works, or they can keep them on YouTube and earn advertising revenue. In over 90% of cases, they choose to leave the content up.

“Enabling this new form of creativity and engagement with fans can lead to mass global promotion and even more revenue for the artist.

“That’s what makes platforms like YouTube special: fan videos have the power to help propel established songs to new heights and even break new artists. This is the new creative economy in action.”

The idea that Article 13 will threaten the ability of people to create user-generated content has been dismissed as “bogus” by music industry representatives”.

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PHOTO CREDIT: @joshrh19/Unsplash 

Since all the debate and build-up regarding Article 13; it was approved and passed and, over the last few days, there has been speculation as to how profitable and sustainable will be in future years. I applaud the need to make sites like YouTube aware of how little money is being paid to artists but are the copyright restrictions/tightening going to create a problem regarding freedom of speech, choice and surveillance (users being monitored tightly to ensure they are not breaking any rules)? This article, published today, poses some interesting points:

“While not yet law, the proposed reform has split the modern music industry as YouTube supporters claim the legislation limits the possibilities of content creation on the internet. Others are happy at the idea of creators earning more revenue directly from their content on YouTube.

“This is a good sign for the creative industries in Europe,” said Axel Voss of the EU Parliament in a statement concerning the vote.

His view is not shared by YouTube, which has been unequivocal about where it stands since the passing of the vote. “Today’s outcome in the EU copyright debate is disappointing and we’re concerned about the impact on the creative economy across the internet,” tweeted YouTube ‘s chief product officer Neal Mohan after news of the legislation got out.

Although the vote by the parliament was in favour of the Copyright Directive with a 438-226 landslide, individual countries will carry out their own votes in 2019 before the reform becomes law. If Article 13 does become law, watchers can expect more displeased notes from YouTube”.

I think there needs to be a definite revision of copyright laws and change how YouTube is operating right now. Whilst I am all behind the need to put more money back in the pockets of artists and ensure they are being fairly paid for the work they put online; do the stricter controls around copyrighted material and new measures mean jobs will be sacrificed? A lot of money is being brought in right now that means YouTube can operate as they do and they can employ the amount of staff they have. With fewer videos coming onto the site and stringent controls being levied; will staff numbers be cut and revenue shrunk?! It seems, if Article 13 does fully pass into law; YouTube’s CEO, Susan Wojcicki, will not be happy – as this piece explains

“YouTube CEO Susan Wojcicki warns video makers about the threat of a controversial copyright law in the European Union and urges them to "take action immediately" and protest the ruling with videos and social media posts.

"This legislation poses a threat to both your livelihood and your ability to share your voice with the world," she writes in a blog post published Monday.

Wojcicki focuses on Article 13 of the EU's new Directive on Copyright, which passed in early September and makes tech platforms liable for copyright-protected content. Essentially, this means that giant platforms that rely on user-generated content, including Google's YouTube, Facebook, and Twitter, would be responsible for making sure that users don't share copyrighted material. As it stands now, the platforms aren't fiscally accountable for violations, although they do need to remove copyrighted content when rights holders ask them too.

Critics say that Article 13 could could threaten people's ability to share material like memes or parodies”.

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 PHOTO CREDIT: @rawpixel/Unsplash

What does all these changes mean and how will they affect YouTube? Polygon provided a compelling argument that put together the pros and cons of Article 13 in relation to its proposals and checks:

“The new proposal would likely find YouTube implementing a more rigorous, pre-publish copyright check, which many critics assume means using a filtering system whose algorithm can’t tell the difference between transformative work and direct re-upload. User content isn’t directly at risk of disappearing, but in this scenario, a Doctor Who meme or video essay would be hit before it’s even published because it includes work that belongs to the BBC. Transformative or not, the filtering system would kill the video.

Rights holders who defend the EU Copyright Directive cite fair compensation as the main reason for their decision to back the directive. Paul McCartney, for example, published an open letter in July announcing his support for the directive.

“We need an internet that is fair and sustainable for all,” McCartney wrote. “But today some user upload content platforms refuse to compensate artists and all music creators fairly for their work, while they exploit for their own profit”.

It seems to be this case of Article 13 overhauling YouTube across the board and getting real serious. I am sort of divided as to the outcomes and how beneficial the rules will be. Many are saying copyright laws being proposed are akin to a dictatorship or being controlled. Whilst I do not think there is a need for outrage and protest; it does seem like a lot more checks will be applied when anyone uploads to YouTube. Whether this will weed out those who are ripping off someone else’s work and need abiding by copyright laws or it will go deeper and impact many others remains to be seen. It has been said remixes will not be affected and it is for the good of the YouTube community but you have to wonder whether there is an easier way to do things. Article 13 has whipped up a lot of opposition – regarding copyright and how users will be affected negatively – and there are positives regarding payment to artists and that is a good thing. This proposal will also affect sites like Twitter and Facebook but I am concerned with YouTube because of the music on there and how people like me use it. Whilst I am on-board for the most part (of changes); there is some confusion as to what will be affected and how far the legislation goes. In this WIRED article from a week ago; they provided their thoughts and what will be impacted:

“The latest amended version of the Directive removes this phrase and inserted an exception saying “special account shall be taken of fundamental rights, the use of exceptions and limitations as well as ensuring that the burden on SMEs remains appropriate and that automated blocking of content is avoided.”

The reason why this article has been dubbed the “meme ban” is that no one is sure whether memes, which are often based on copyrighted images, will fall foul of these laws. Proponents of the legislation argue that memes are protected as parodies and so aren’t required to be removed under this directive, but others argue that filters won’t be able to distinguish between memes and other copyrighted material so they’d end up being caught in the crossfire anyway”.

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 PHOTO CREDIT: @rawpixel/Unsplash

Another proposal going through, Article 11, or the ‘link tax’ is something that might impact me and makes me wonder how much of an article I can use in my own work:

“The article intends to get news aggregator sites, such as Google News, to pay publishers for using snippets of their articles on their platforms. Press publications “may obtain fair and proportionate remuneration for the digital use of their press publications by information society service providers,” the Directive states.

No one is really sure how this one would work either. How much of an article has to be shared before a platform has to pay the publisher? The Directive states that platforms won’t have to pay if they’re sharing “mere hyperlinks which are accompanied by individual words,” but since most links are accompanied by more than a couple of words it seems that many platforms and news aggregators would fall foul of this rule.

The Directive does contain an exemption for “legitimate private and non-commercial use of press publications by individual users,” so it doesn’t look like individuals sharing links on social platforms will have to dip into their pockets”.

In January next year; the Directive will go back to the European Parliament and there will be a vote regarding the final wording. If the Directive passes then member states of the E.U. have two years to pass laws that will bring their laws in line with new regulations.

It is clear change needed to happen. You cannot operate sites like YouTube and pay artists so little. It is clear there is also a need to protect artists’ work and ensure there are no copyright violations. Most people can get onside regarding shifting money from tech companies to provide more substance and coin for artists. Nobody should see their work get a lot of views and attention and be paid paucity. If some fear this will leave YouTube with less profit and affect their growth; I would suggest implanting a subscription and asking users to contribute. As it stands; anyone can wander in and see what they want and share it out into the world. It is clear users need to pay and artists, in turn, need to get their fair shake. It is yet to be seen how proposed copyright changes will impact sites like YouTube and their future but there are a lot of opposing voices – if there had been these measures since the start of YouTube; many argue it would not be as open and accessible to artists as it is. There is a long way to go but this is something that has provoked a lot of response and emotion. I am a little nervous about some proposals and articles but I feel the increase artists get when their music is streamed/viewed has been a long time coming! Many will welcome this rule and I think it will benefit music in general and allow new artists the chance to grow and not struggle as much. Whether there will be implications as to YouTube’s future and its freedom down the line has yet to be seen. I hope, when there is a ruling and we get greater clarity, we will not see the future threatened of a site that, whilst lax regarding payment to artists, is a hugely…

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 PHOTO CREDIT: @flaviewxvx/Unsplash

INVALUABLE and brilliant platform.

INTERVIEW: Lean Bravo

INTERVIEW:

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Lean Bravo

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MY final interview of the day…

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is with Lean Bravo, who has been telling me about his new single, The Journey, and how he will follow it. I ask what it was like moving from Chile to Berlin and what the German capital is like for a musician – the songwriter recommends an upcoming artist we need to follow.

I was keen to know if there are tour dates coming and which albums mean the most to him; if Lean Bravo has any plans in place for next year and if he allows himself some time to chill away from music – I discover which artist the songwriter would support if he was given the chance.

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

Hey! That's awfully nice of you to ask. I don't think I've been asked how I am during an interview before. I'm currently fighting a cold, but I'll be fine! I hope you're doing great.

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

Sure thing. Greetings. My name is Lean Bravo and I'm a singer-songwriter/producer from Santiago de Chile, though I've lived in Berlin (Germany) for over six years now. Also; I'm really good at cooking. Oh, yeah…and I just released a song called The Journey. You should check that out…

The Journey is your latest single. Is there a personal story behind the song?

For sure there is. It's probably the most personal song I've released so far as it deals with a topic that is an essential part of who I am: the life-changing decision I made to move from Chile to Germany. I started writing this song shortly after my first trip back to Chile in 2013 and I finished it shortly after my second trip, last year. Writing it was a way for me to tell myself ‘It's okay that you feel lost and it's also okay that you don't know where you belong’.

Might we see more singles or an E.P. next year?

Oh, hell yeah. I've got an E.P. lined up and I wanna go really nuts after I release that. Lately, I've been getting into Alternative-R&B and lo-fi music. That's something I wanna explore next year.

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You were born in Chile but live in Berlin. Was it difficult moving to a new country?!

The funny thing about moving to another place permanently is that your body travels much faster than your mind does. It only took me about a day to arrive in Germany but, mentally, it took me much longer to realize what that actually meant. It's like my mind left an after-image back in Chile that sort of lingered there for a pretty long while. The realization that I had left my life to start a completely new one was one that came very slowly and when it did...boy, I was not prepared.

This whole drama made for a very difficult first year in Germany. Add to that my inflated pride and my inability to ask for help when I needed it and I pretty much put myself through the gutter. With time, things got better. I settled down; got my sh*t together (in a way) and made the conscious decision to start an actual life here. I'm pretty happy now.

How is Berlin suiting you as a musician? Is it a great place to be?!

You will never run out of things to do in Berlin. That can be both good and bad. The truth is that there's a lot going on in this city but sometimes it can feel too unfocused. I wanna see people having less fun and working harder, myself included. Eating out here is a blast, though.

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

I'd love to release another single before the year is over! It's almost finished, though who knows when it will actually be ready to be released? It's an old song of mine called Tired that I never got to produce and release properly. It's time it gets the chance to hit the streaming platforms - so far, people have only been able to listen to it at live shows. Despite that; people like it and connect with it. I'm excited to see how they'll react to the studio version.

Do you already have plans for 2019?

Yes! I'm fulfilling my life-long dream of going to Japan next year. That, and I wanna finish and release my second E.P. as well as another big project I don't wanna talk about until I'm sure I can make it happen.

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

Last year, I got to take my live show back to Chile. My cousin (who's an amazing bass player and lives there) helped me put together an amazing live band and we made the show happen in less than a month. He's always been someone I admire a great deal, so getting to stand on a stage with him in my hometown; playing for my family and friends who hadn't seen me in years was a powerful, inspiring experience.

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

Grace - Jeff Buckley

It is one of the most eclectic and impressive pieces of music ever made in my opinion. So many epic moments! It defined a part of my musical upbringing and quickly became the soundtrack of my teenage years.

Continuum - John Mayer

This was the album that got me into playing guitar as a lead instrument. I still think it's a perfectly-crafted album. The production is so understated; it's insane!

Blonde - Frank Ocean

Every now and then, an artist will release an album that will make me question everything I think I know about making music. This was such an album.

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

I'd support John Mayer in a heartbeat. I'd do it just for the opportunity to say hello to the guy and tell him that what he does matters a great deal. And, if I got to choose my own rider, I'd ask for a clean shower, some fresh towels; plenty of water and nice food. I'd probably be too intimidated to write anything too extravagant into my rider.

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What advice would you give to new artists coming through?

I'd tell them to think really hard about how to use their resources in a way that benefits them the most. I spent so much time and money on things that I thought would make the difference between my career's success or failure; like pressing really nice, expensive C.D.s, making an expensive music video; recording that one vocal part hundreds of times for three days straight until it sounded ‘just right’...most of those things won't matter one bit if there aren't enough fans around to notice them, so work on that first. To be honest; I still have to remind myself of this all the time!

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

(Laughs) Actually, no! I'm focusing on finishing my E.P. for now, so I'm not actively booking any shows at the moment - unless I'm asked to play somewhere. Do follow me on Bandsintown or Songkick to stay in the loop, though.

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IN THIS PHOTO: Joji

Are there any new artists you recommend we check out?

Yes. I'm glad you asked. Joji is the first one that pops into my mind. He used to make comedic content on YouTube but then quit to become a serious musician. I seriously respect how he managed to completely reinvent himself and establish a solid, clear-as-water artist image in the span of...what? A few months? Just when he found his own voice and style on his debut E.P., In Tongues, he went and dared to change things up with his debut album, Ballads 1 - instead of sticking with his tried and true sound. I think it's gonna work out great for him.

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

I bought myself a new bike back in April. I fucki*g love it. I now look forward to going out because it means I get to ride my dope-ass bike. People…invest in a good bicycle. The planet and your body will thank you for it. I love hitting the weights at the gym, though I'm super-bad at it. Hahaha! Cooking makes me happy - especially for other people - and every now and then I'll get together with some friends to play Dungeons & Dragons. Netflix and YouTube take up a big chunk of my free time, I'm afraid.

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).

Since I raved about Joji already; I might as well make you listen to him!

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Follow Lean Bravo

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INTERVIEW: Born Stranger

INTERVIEW:

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Born Stranger

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STARTING life as a duo…

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Born Stranger is now the solo project of Maddox Jones. I have been speaking with him about that change and the reason behind it; what influenced his current single, Last Night on Earth, and whether we might see some more material coming along next year.

Born Stranger discusses some important albums and which rising artists we need to get behind; how music came into his life and what advice he would offer artists coming through – the songwriter ends the interview by selecting a great song.

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Hi, Born Stranger. How are you? How has your week been?

Hey! My week has been good; really busy - I am just finishing up a season in Cyprus and looking forward to coming back to Blighty. 

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

My name is Maddox Jones. I write, record and perform Electronic-Pop music inspired by the likes of Depeche Mode, Chic; The Weeknd and Prince under the moniker Born Stranger. My latest single, Last Night on Earth, is my first as a solo artist. Before that, Born Stranger was myself and Raife Hacking. 

Last Night on Earth is your latest single. Is there a tale behind the song?

This song was originally written around two years ago. The music came from a French producer friend of mine called Antony Chivers; we were instantly inspired to make it into a Born Stranger track; I fell in love with the groove. I wrote this about the song for the press release: 

Last Night on Earth was written around a friend of mine’s house who sadly isn't with us anymore. The world has lost a few amazing people recently that were seemingly happy on the surface but battled with depression on the inside. Last Night on Earth is about living in the moment, being there for each other and celebrating humanity.

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

Yes, for sure. We are releasing a cover of The Beloved’s Sweet Harmony next. I’ve just started working with a new producer and this is our first outing together. I’m really excited about it.

Born Stranger is just yourself (Maddox) but it used to be a duo. What was the reason behind the change?!

Myself and Raife Hacking had been working together for ten years in various guises and, at the turn of 2018, Raife decided he wanted to pursue a more House-producer route with his partner Kelda. We are still really close; it just felt like the right thing to do. The music industry is a tough nut to crack and if your hearts not fully in it there’s no point sticking around. 

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How did you get into music? Was there a particular moment when it all sort of clicked?!

When I was at university, I auditioned to the singer in this Post-Hardcore band. It turns out the guys in the band were really into '80s New Wave stuff like Japan, Depeche Mode; The Cure etc. and I’d never really listened to this kind of music before. I fell in love with songs like Enjoy the Silence and In Between Days - this is where my love of Pop-music-with-a-bit-of-mystery-surrounding-it came from. 

Are there particular musicians you draw inspiration from? Did you grow up around a lot of music?

I was actually brought up in a Christian community with no television or radio - so my only outlet was to learn to play the guitar and write Christian songs to sing in church. I used to go round to my friend's house and tape stuff off the radio when I was like fourteen or fifteen….so, I never had any idols growing up really. I got into reading biographies of bands like Blur and Radiohead when I was at uni. I really brought into the band dynamic - being in a gang, making cool music. 

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

Hmm. I hope to write some really good music ready to release in 2019... 

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Do you already have plans for 2019?

Continue to make and release music; hoping for a wider audience. 

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

In one of my previous bands, I supported Placebo at Wembley Arena. Robert Smith from The Cure sang a couple of songs with Placebo. Robert’s cousin randomly invited me into their dressing room so I was stood there chatting to Robert Smith whilst he was having a beer. That was a cool moment. He’s a down to earth guy actually.

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

Depeche Mode - Violator

I just love this album. This album is a great demonstration of how catchy Pop doesn't always have to be fun and lighthearted. This is an album to get obsessed over. Enjoy the Silence is my favourite song of all time. That riff and the chorus vocals; amazing. 

Radiohead - Pablo Honey

This was Radiohead’s first album and is the perfect university album. I remember listening to this in my halls of residence and learning all the songs on guitar. Thinking About You is a particularly great song. This album often gets overlooked because Radiohead’s later work got more attention but give it some time and you’ll be glad you did. 

The Night Game - The Night Game

This album was released this year. This is an amazing record because it sounds like an epic '80s Indie band but still sounds completely modern at the same time. If you haven’t heard this album, please go check it out now!

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

I’d support Coldplay and, on the rider, I’d have everything from a massage to expensive whiskey, with food imported from around the world. I actually heard that Chris Martin imported fresh fish daily to have for dinner but that’s probably completely untrue. I’d also request to eat my meal with Chris Martin. I would love some songwriting tips from him. 

What advice would you give to new artists coming through?

Keep a steady stream of music coming out and, just because one tune doesn’t get as good a reaction as some of the others, don’t let it dishearten you. Find a good producer you trust and don’t be too precious with anything. 

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

Not at the moment; will keep you posted. 

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 IN THIS PHOTO: The Night Game/PHOTO CREDIT: Niko Neithardt/Daniel Oechsler

Are there any new artists you recommend we check out?

The Night Game and HANNIE.

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 IN THIS PHOTO: HANNIE/PHOTO CREDIT: Arielle Shear

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

Yes. There’s enough time in the day to chill away from the music, of course. I read or watch things on Netflix, to be honest. I just finished watching Making a Murderer: Part 2 - compelling viewing. 

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 Night Game - The Outfield

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Follow Born Stranger

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INTERVIEW: Deanna Devore

INTERVIEW:

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PHOTO CREDIT: @rachelwinslow  

Deanna Devore

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TO start today…

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I have been speaking with Deanna Devore about her new E.P., Half and Half, and what inspired the songs; if she has a favourite cut from the E.P. and what is coming next for her – she selects some rising artists we need to get behind.

The songwriter discusses her favourite albums and tastes and whether we can see her tour; what the scenes are like in Chicago and Toronto (where she bases herself) and if there are plans cemented for next year – I ask what advice she would give to artists emerging.

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

Hi! It’s been pretty good - just busy preparing for the upcoming tour. 

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

I’m Deanna Devore; a songwriter/multi-instrumentalist and producer based in Chicago and Toronto. 

Half and Half is your new E.P. Were there particular stories and experiences that influenced the songs? 

I wrote the music first and then the music influenced the lyrics which were inspired by my own experiences, if that makes sense! 

Do you have a favourite cut from the collection?

I like them for different reasons but Effortlessly currently. 

Which artists got you interested in music? Did you grow up around a lot of music?

I did grow up around a lot of music. I was exposed to a variety of genres at a young age, which is why I think the music I write has a lot of different styles mixed together. There isn’t any particular artist that got me interested in music. I loved playing instruments.  

You are based in Chicago and Toronto. Is there a very different music vibe in the areas? Which city do you prefer?

Yes. The music scenes are very different. Chicago seems to have a larger Folk/Americana scene and Toronto has gotten into the more ‘Drake style’ - minimal, Downtempo/R&B/Hip-Hop. The cities are actually very similar in other ways - the size/feel and the lakefront. I like them both for different reasons but Toronto will always hold a special place in my heart. 

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

A successful tour and having the album reach as many new listeners as possible.

Do you already have plans for 2019?

I’m planning on releasing a new single in early-2019.

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

Opening for Jamie Cullum, solo, in front of nine-hundred people was a pretty great memory. 

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

That’s a tough question. The albums that I’ve loved have changed over the years but I’ll narrow it down to three. 

Esthero - Breath from Another

I just love the production throughout this album. It got me into the whole Trip-Hop genre.

The Go Find - Miami

This artist mixed a lot of synths and guitars; some Electronic music with acoustic and electric guitars, which definitely influenced my production.

Radiohead - In Rainbows

They are just musical geniuses. 

What advice would you give to new artists coming through?

To not be afraid to be unique in the music you write - so many people sound the same these days. And, to not be afraid to follow-up. People get bombarded by emails; so a friendly follow-up is usually needed.  

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

Yes! Next month we will be going on tour.

11/8 - Chicago, IL

11/11 - Toronto, Canada

11/12 - Rochester, NY

11/13 - New York, NY

11/14 - Philadelphia, PA

11/15 - Washington, DC

11/16 - Pittsburgh, PA

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 IN THIS PHOTO: Jadu Heart

Are there any new artists you recommend we check out?

I’ve been really into two British groups - Jadu Heart and The Hics. 

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 IN THIS PHOTO: The Hics

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

I like to unwind by cooking. Nothing like a home-cooked meal with a glass of wine. 

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

I would love to open for Tom Misch. As for the rider; I’m pretty simple. Some snacks like chips and salsa and definitely Earl Grey tea with lemon and honey. 

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).

Galaxy Surfing by Jadu Heart.

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Follow Deanna Devore

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FEATURE: Turn the Page: Is Music Journalism Really in a Healthy and Sustainable State?

FEATURE:

 

 

Turn the Page

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PHOTO CREDIT: @elijahsad/Unsplash 

Is Music Journalism Really in a Healthy and Sustainable State?

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I will bring in a piece Dave Simpson wrote for The Guardian…

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 IMAGE CREDIT: Getty Images/Press

in regards music journalism and its health. He argues, quite rightly, there is a wealth of wonderful magazines on the newsagent racks and plenty of choice for everyone out there. Let’s start with the print media and how it has shifted. Many have argued that music’s printed press and the hard copies we all grew up with are going strong – even if the market has changed and there are smaller publication. Whilst there is not the likes of Smash Hits anymore; there are plenty of options out there. I remember growing up around Pop magazines and popular publications that were shared around the playground and we would pour over the pages and read all the interviews and reviews; the cool news and great images of our favourite stars. I loved the writing but, to me, it was the colour and style of these magazines that got into the mind and stayed with me. Whilst some have bitten the dust, there are many available options for the modern consumer. The biggest change, I feel, is the age shift. Music magazines used to be digested and thumbed through by children and younger fans but I feel there are fewer modern options established for that age range. Maybe there are fewer younger music fans who are interested in music journalism or there are no real options on the shelves. Many are getting their news and fix from the Internet and a lot of the music magazines out there, bar the odd one or two, seem to be designed for the more mature and ‘serious’ purveyor…

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 IMAGE CREDIT: Getty Images/Press

There are few of the glitzy and colourful magazines we used to buy as children. Now you have these more advanced and po-faced magazines that are as alluring and captivating as those we were raised around – even if there is a little less fun and humour to be found. There is a school of thought that suggested we do not buy magazines and the music press is irrelevant. One cannot make that declaration without frequenting a newsagents or shop and seeing the array of available mags. If anything, a lot of smaller, specialised magazines are popular and there is a wide range that covers all genres. You can buy magazines dedicated to Classic music or Metal; those for Pop and Rock and Folk options. If you want your fix of the coolest Indie out there then you have choices and affordable passions. One of the biggest losses in the music industry was the death of NME’s print edition. This is how The Independent presented the news:

“NME has announced that this week’s issue (Friday 9 March) will be its final print edition, as it attempts to expand its digital audience.

NME was launched as the New Musical Express in 1952 and began its 66-year career as one of the UK’s most recognisable music publications, featuring iconic artists on its cover including Oasis, Bowie, Amy Winehouse, The Libertines and The Strokes.

The free NME launched on 18 September 2015 and featured Rihanna on its cover. It has been handed out to commuters and students around the UK on a weekly basis since…

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IMAGE CREDIT: Getty Images/Press 

Paul Cheal, Time Inc UK’s group managing director for Music, added: “NME is one of the most iconic brands in British media and our move to free print has helped to propel the brand to its biggest ever audience on NME.com”

“At the same time, we have also faced increasing production costs and a very tough print advertising market. Unfortunately we have now reached a point where the free weekly magazine is no longer financially viable. It is the digital space where effort and investment will focus to secure a strong future for this famous brand”

The end of NME’s print edition led many to believe this was a sign of a journalism apocalypse: the move from the newsstands to the Internet and a sign people were not buying music magazines any more. Many took to the Internet to share their disappointment and theorise why NME were struggling. Maybe there was an issue with the way the editor was taking NME or a problem regarding advertising getting in the way of the music. Whatever the reason behind declining sales; it was a sad day and the end of an era. Other publications have had to call time but, as explained, there are ample choices and a really healthy raft of magazines/papers for those who love their music journalism in printed form. Dave Simpson backs up this viewpoint:

“...And yet, to walk into any major newsagent in 2018 is to be greeted by a dizzying array of titles – far more than there were when Melody Maker, NME and Sounds shipped hundreds of thousands of copies. Today’s circulations are lower, but there are magazines for every niche or genre, from Classic Rock to Blues & Soul to avant garde title The Wire…

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PHOTO CREDIT: @rawpixel/Unsplash 

“I’ve read thousands of words about the so-called ‘crisis in music journalism’, but your average punter would be hard-pressed to understand that,” says John Mulvey, who edits the 63,000-selling monthly Mojo, which celebrated its 300th issue last month. He argues that the ill-fated free NME was “a last attempt to court a general audience, as titles have realised that they are no longer mainstream but specialist publications”.

I love how Mojo and Q have survived for years and seem to have that loyal fanbase. There is no sign of end for them and it is clear, at its heart, magazines like that do their job very well. There are great reviews and interviews and it is clear people are not abandoning the printed form for the Internet. I will end by looking at negatives and ways the music media is suffering but it seems, for the most part, the visibility and variation of printed forms is evident. I am a fan of magazines like The Line of Best Fit and DORK. They are handy, cool editions that are colourful, really well-designed and informative. Each has their own style and you get these great reviews, articles and interviews. If you want a more mainstream option then you have the likes of Q and Uncut but there are these smaller rivals that seem to project a more geekish and cool element – they are the types you’d expect to hang around Hackney with really posh beer talking about the latest Wolf Alice album, Whereas one was a little limited back in the day regarding range and surprise; as music has opened and more and more choices are available for the listener; journalists have reacted to this and ensured that is reflected in print form.

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 PHOTO CREDIT: @bank_phrom/Unsplash

I would not say the printed form is completely out of the woods regarding safety. The more and more we turn to the Internet; the more some of the smaller and less popular options will fail. Look at the longevity of magazines like Q and Rolling Stone and it does provide hope and comfort for those who want to bring their own options out. Whilst I acknowledge the variety and vivacity of the magazines out there; one wonders how profitable they are. Back in 2011, there was a bit of a sales dip for publications such as Uncut and Q but it seems like they recovered quite well. Advertising and revenue from that means publications can be more ambitious and attract big artists to the cover; they can employ more people and there are options available. So many of the magazines I buy and read are either free or cost very little. It seems, although printed music media is stable, the profits available are quite slim. Advertising brings in enough money to cover expenses but there is not a huge amount of profit at the end – meaning there is always that risk of loss and decline. As I shall speak about later; one of the main problems with music media/journalism is the lack of employment opportunities and paid positions.

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 IMAGE CREDIT: Getty Images/Press 

What, then, is the reason behind the survival and growth of music magazines?

“Following what Mulvey calls a “recalibration”, today’s music titles are adapting to smaller circulations and more competitive markets by lowering overheads, using smaller teams and refining their core specialisms, emphasising quality, longform journalism in the face of an avalanche of disposable free content. Mulvey – an ex-NME staffer who edited Uncut until last January – wants to develop an ageing readership gently by covering new artists alongside the “evolving stories” of veteran Mojo favourites – so Paul McCartney can be on the cover and Malian star Fatoumata Diawara inside. Uncut’s current editor Bonner wants the 44,000-selling monthly to “celebrate the best of old and new” – so David Bowie retrospectives mix with passionate pieces on Rolling Blackouts Coastal Fever or Moses Sumney”.

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 IN THIS PHOTO: Rolling Blackouts Coastal Fever

Whilst there are some positives to take away; it seems like appeal and stability is more important than sales figures and profit. We are not in a time when there are great movements like Britpop getting us racing to the stands. Fewer school children are sharing music magazines and the culture has changed. Music is more about individuals than it is genres/albums; we have changed immeasurably and, with that, there have been some bumps for a few of the bigger magazines:

“Q editor Ted Kessler has a tough job, turning around the so-called “world’s greatest music magazine” with its slightly younger remit spanning the post-Britpop era and contemporary pop: it sold 200,000 copies in 2000 but 37,000 in 2017. But the recent Christine and the Queens cover felt zeitgeisty and Kessler insists he doesn’t fret over sales figures. “I’m confident enough in what we’re producing appealing across the generations to not fear the readership dying on us. Every month I’m excited when we put the magazine to bed, which hasn’t always been the case at Q”.

Whilst there is that satisfaction, from editors, regarding their cover stars and their working lives; the fact sales figures are dipping and magazines have to retail for less/offer more means there is this struggle for survival and growth. I wonder, given the figures we just saw for Q if people are turning more and more to websites for their news and music?

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PHOTO CREDIT: @rawpixel/Unsplash

A lot of people sneer at music journalists and feel most people, with streaming services, can make their own minds up and do not need people telling them what to buy. There are so many music websites around so why would we need to go out and buy magazines? Whilst there is a range of magazines on the shelves; you wonder how many will disappear in years to come and how healthy their sales figures are. It is hard to tell just how well magazines are faring but, as Simpson explored, the dents and obstacles are affecting Internet sites too:

“Internet titles have been hit hard by a collapse in web advertising, following Facebook and Google’s greater ability to place advertisements right in front of any target audience – refined, by algorithms, to age, location, “likes”, music tastes and so on. “I’m constantly being shown ghost adverts saying, ‘All your readers could see this on Facebook if you pay us,’” says John Doran, co-founder of the Quietus. The esteemed left-field website recently turned 10 and attracts 400,000 monthly readers for coverage of acts from Guttersnipe to the Fall, but requires supporter donations and pays journalists when it can (many work gratis to assist what is seen as a noble cause). Doran admits that he and colleague Luke Turner are themselves “on less than minimum wage, forever five minutes from the dole. Today, I wouldn’t start a website. I’d start a free, bi-weekly, multi-genre paper, distributed in universities”.

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 PHOTO CREDIT: @mikeack/Unsplash

I feel the biggest market is those smaller publications that are newer to the market and providing a bit more variety, style and personality. Perhaps magazines like Q and Uncut need to rebrand or take a new direction but I do fear for their long-term future. Whilst there is a bit more stability with Mojo and Kerrang!; I still think the next few years will provide a challenge when it comes to keeping the sales figures up. Every music magazine/outlet knows they need that print edition and few out there can survive as a website alone. People do not pay to see a website and read their news so it is vital to have that paid option. Many P.R. companies and artists want to see their work in print and it has that quality they want to hold onto. It is like the clash between digital and vinyl music: we love the accessibility and speed of streaming but people love to have that physical product and have something in their hands! It seems a lot of new artists love the choice of online sites and they can get their music/words on there but the bigger, established artists prefer print and that heritage. As more and more newer artists come through; how long before websites take sales/attention from magazines and cause some problems?!

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 PHOTO CREDIT: @juliusdrost/Unsplash

I agree there is no need to write off the printed press – and many still want magazines and something they can read – but there is an inherent issue when it comes to all these websites sprouting up. I am a blogger and know there are hundreds of options out there. Not only do we have the problem with saturation and TOO many options but so many people are working in the industry for free. Advertising brings in so much but a lot of that is used for expenses such as gig tickets, travel and other costs. Maybe some of the bigger websites can pay their staff – people like The Guardian have paid employees for sure – but there are a load of websites that recruit freelance journalists who, for the most part, receive no fee. Journalism should be about passion rather than money but, if a young journalist cannot get paid and there is no easy route to paid employment; is that going to turn many away?! I have tried to apply for work at big magazines and newspapers and the route for people like me is either an internship or pitching to the editor. If you are lucky then you might get a bit of money for an article or interview but it is unstable and an unreliable source of finance in the long-term. Internships are unpaid, for the most part, and hugely competitive. Loads of people are going for them and there is no guarantee a job will await you at the end.

If you have been a journalist for a while and want to earn a wage, you cannot step back and do an unpaid internship. You will not be able to afford rent and travel and the fact you are battling so many others means long-term prospects are shaky and unsure. Not only is the lack of paid work a trouble but there is still problems around class, race and gender. Music websites are great but how often will you be able to earn some money from submitting pieces? You might get the odd bit of cash here and there but is that attractive to a journalist emerging? They will see the reality – you have to work for free a lot – and that is going to affect recruitment. People like me blog for the love of it but, naturally, we want to get paid in the future and make it a career. Even with a slightly upturn in magazines and choices, it does not mean a paid music career is a safe bet or guarantee. So many of these publications have small margins and is it realistic to be a journalist in this day and age?! If you want to work for free and can work a full-time job around that then that is an option but not one many are tempted to do. Another problem exists when you consider that issue with reviewing and public opinion. There are a lot of positive reviews out there and I feel a lot of journalists, myself included, compromise a bit of integrity and truth in order to seem warm and all-inclusive. Have critics, in fact, lost the art of being critical?!

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 PHOTO CREDIT: @belart84/Unsplash

This article from earlier in the year explores issues around reviewing and some under-discussed problems in music journalism:

“This is an odd thing to notice at first, but since the turn of the decade or so, more and more mainstream, major label albums have been getting positive reviews by professional music critics.  Is the overall quality of music getting better? Turn on commercial radio and listen for yourself. Okay, clearly the good-to-mediocre-hits balance is still the same as it has been for generations – so what gives? Are critics across all industries slowly loosening up and realizing that at the end of the day, it’s all just art for the masses and tastes are subjective? Strangely enough, no.

MetaCritic.com features an aggregator to add up all the review scores given to releases in movies, video games, TV and music by professional critics everywhere, creating a fairer average rating by balancing things with more voices and viewpoints. They use colour coding for consumers scrolling their listings to quickly identify if this release is generally considered good or not. Green means good. Yellow means mixed. Red means that the critical consensus is that this entertainment product should be avoided. Each year, about 10% of movies Meta Critic lists have red scores. So for every 7,000 or so motion pictures that get widely reviewed, around 700 are considered “bad” by the vast majority of professional critics. Music releases, in the mean time, fare a lot better. For example, from 2012-2017, out of the 7,287 total albums listed on Meta Critic, eight were given a red score (no red scores in 2017). That can’t be accurate! How can it be that only the music critics are getting soft and cuddly in the last few years, but other industries are as tough as ever to please!” 

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 PHOTO CREDIT: @craftedbygc/Unsplash

“The print publication makes money on advertisements in between articles. It’s a formula: “if xnumber of people are subscribers and we average y number of sales from grocery store checkout lines this time of year, that’s x+y  eyeballs reading cover-to-cover who will see an ad about your company. We think that kind of attention is worth z in cash.” Nowadays, most people read magazine articles online. The ratings are down for cover-to-cover zealous readers, and way up for clicking links to articles that your friend sent you”.

As a working-class writer; I feel there are fewer true and relatable voices in the press. Whilst a lot of the smaller publications seem to resonate; many of the bigger papers/magazines are still staffed by privileged and well-educated journalists. It seems easier to get your foot in the door if you have connections with a publication/record label and, for many, the reality is they will have to work harder is they are working-class. With so few working-class artists in the mainstream; are publications going to recruit working-class journalists?! Look at this article from a few months ago and it seems, in terms of the mainstream sites and papers; there is a long way to go until the class bias is reversed:

“The Sutton Trust, which seeks to improve social mobility, found that 51% of the country’s leading journalists were educated privately, and 80% of its top editors went to either private or grammar schools….

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PHOTO CREDIT: @honeyyanibel/Unsplash  

Privately educated pupils are also more likely to go to Oxbridge, which makes more offers to one school – Eton – than all of those on free school meals, according to research by David Lammy MP.

There is more. Former social-mobility tsar Alan Milburn’s State of the Nation report found that 11% of journalists were from working-class backgrounds, compared to 60% of the population. A report by City University in 2016 found that the British journalism industry is 94% white and 86% university-educated. Just 0.4% of British journalists are Muslim.

The declining economic fortunes of the industry mean that cheap and even free labour, in the form of unpaid internships, are increasingly common, while expensive postgraduate degrees appear the best way in for many. Given this, the barriers to those who need to earn money to launch a career look set to get even worse.

Some will argue that this lack of income diversity doesn’t matter: only the best rise to the top, as though ratlike cunning and a passion for deadlines are taught alongside manners at public schools”.

Maybe Internet sites have more working-class working for them but look at the bigger publications and newspapers like The Guardian and The Independent and most of their contributors are either very well connected in the industry or from a wealthier background. They do have working-class contributors but I wonder, unless you have connections and contacts within the industry; how realistic is it for a working-class music journalist to get a foot-up and be noticed?!

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PHOTO CREDIT: @clar_san/Unsplash

There are so few black and Asian faces in the music media and I get tired of seeing endless white faces starting back at me. Maybe this reflects a racial narrowness in music as a whole – fewer black and Asian artists are featured and celebrated – but I think there is more broadness and diversity in music than in journalism. I only know a few black music journalists and, for the most part, it is white journalists who you see. Maybe there is health in terms of availability of printed magazines and Internet sites but there is a clear issue regarding race and social class – the type of people recruited and the ease of being able to work as a professional is you are black/Asian or working-class. The last point I will raise is gender. It is a harder one to judge but there is a definite split between online sites and the printed press. It seems, when you read music news and reviews in papers; most of what you see is by men. Figures are improving but there is still a big imbalance. As Clash investigated in this piece; online sites have provided a bigger voice for women:

“But now the focus of music writing – and journalism in general – has shifted online. One advantage of this is that it gives everyone a voice, regardless of gender or appearance. Nepotism has always been rife in the media, and that’s by no means gone, but the theory is that online music journalism is meritocratic – everyone has access to the music and contacts they need and that allows the best quality writing to shine through. Where women may have been unwelcome in the past, barriers have been removed, and there are now even blogs and publications, such as Wears The Trousers – which look at music exclusively from a female-focused perspective….

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 PHOTO CREDIT: @all_who_wander/Unsplash

“Journalism is slowly becoming more female-friendly, which is a blessing because it’s one of the few places for women where people don’t judge you predominantly on your looks,” believe Rhiannon and Holly. “Diversity in editorial is so important, and most editors have realised that only providing the white male voice is downright boring.” Herein lies the key point. It’s a question of diversity, of making sure all viewpoints and attitudes are taken into account. The world of music is a fascinating place, a melting pot of countless cultures, races and backgrounds. To continue to limit those who write about it to one group – namely young, white men – would be to miss out on some truly exciting, not to mention under-heard, perspectives”.

For many black women in journalism; it seems like there is a real problem. A couple of years ago; Jordannah Elizabeth shared her experiences and how few black peers there are in Rock journalism:

“What drew me to psych-rock music was that the songwriters of the bands were still writing about love and mind expansion. I liked that the lyrics were potent and the music, whether neo-psychedelic or revivalist, had a euphoric and nostalgic style that seemed to bond the listeners and musicians together. But even after many years, I noticed that I remained one of the few, if not the only, black female writer in my circle. As my career grew, it became important to me to address the question of why diversity was not advancing in rock and alternative music journalism.

I don't feel like I'm a part of the industry yet. That's the beauty of the internet and the crack in journalism that we're experiencing. I'm a freelance journalist, and this month is my first year anniversary of getting paid for my writing. So far my biggest challenge has been getting paid on time and getting commissioned to write about things outside of what people think is the black female experience. Don't get me wrong, I love Beyonce and def had a review of Lemonade in my drafts, but I'd still love to be paid to write about the aesthetic of early-2000s emo music and MySpace”.

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 PHOTO CREDIT: @bastleblanc/Unsplash

Lina Lecaro, writing in 2015, stated that, whilst online sites give women a voice and identity; there are still doubts and a certain ‘image’ they have to project:

“Backstage and beyond, women music journalists must regularly navigate conflicted feelings and complicated gray areas that we face as both critics and fans. Our profession presents us with a distinct set of challenges and unforgiving double standards as we strive to be taken seriously, particularly when starting out.

What is true is that women are conditioned, and even encouraged, to participate in the more superficial aspects of music fandom when we’re young: to be screaming, crying, poster-kissing “fan-girls.” But female obsessives’ interest in music runs as deep in terms of sonic structure, tone, mood, and inspiration as it does for anyone of any gender. We can also be into the fashion, culture, spectacle, and allure surrounding an artist. These things aren’t mutually exclusive.

Female writers, just like female musicians, are clearly still fighting for our place in the music world. Self-doubt still creeps in. Editors sometimes don’t reply. Many still favor male writers, and now that I’ve been doing this for so long, there’s ageism to contend with. But despite lower pay rates than when I started, I finally know my worth. I know I don’t have to look or act a certain way, or keep quiet about anything inappropriate that happens to me in order to stay respected as a journalist”.

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PHOTO CREDIT: @beccatapert/Unsplash 

I think there is change when it comes to sexism but there are still a lot of mainstream papers and magazines that are male dominated and have mainly white faces – this is reflected in radio and many other areas of the industry. It is harder to get a paid position and make your way through the industry if you are working-class and, although blogs and online sites provide valuable experience; the reality is that many aspiring music journalists will never enjoyed a paid career and be able to make a healthy living from it. I agree with Dave Simpson and the fact there are more publications available and the printed form is surviving but there are many other issues that need addressing – sales figures and gender; the long-term potential for music magazines and whether people still value critics and follow their word. This article shows that, even as recently as a few years ago, there is blatant sexism in the music journalism sector but, perhaps, there is slight improvement. I think online sites are growing and there is a definite place for the music critic and aspiring writer but I worry those who want to do it professionally will be disappointed. The rise of the Internet means more people get their music journalism for free and, naturally, there are fewer opportunities for paid positions. It is great to see so many options on the market and that balance between printed publications and online content but I feel long-term prospects for the printed option is limited and fraught. I am glad the Internet means female journalists can have their voice but that is not necessarily translated in mainstream publications and newspapers. Race is still a problem as is class. I feel, until we get all these problems addressed and thoroughly review the true state of music journalism; we cannot confidently and convincingly say the industry is… 

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 PHOTO CREDIT: @heftiba/Unsplash

IN a healthy and promising state.

INTERVIEW: Henge

INTERVIEW:

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Henge

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THANKS to Henge…

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for talking about their new single, Indigo Dust, and what sort of themes inspired their debut album, Attention Earth! I ask whether there are going to be gigs coming up and whether the group have any ambitions for the year ahead.

Henge recommend some rising artists get behind and discuss influences; the advice they would give to artists coming through and how they spend their time away from music - they choose some cool tunes to end the interview with.

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

Phantasmagorical.

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

Greetings, humans. We are Henge. We bring you the gift of Cosmic Dross - a kind of music that is new to your world.

Indigo Dust is the new single. Is there a story behind it?

Indigo Dust is about the thrill of making art – the rush you feel when inspiration has you in its euphoric grip… 

Attention Earth! is your debut album. Are there particular themes that inspired it?

Attention Earth! tells of our space travels; we celebrate the importance of water and admire the beauty of the moon; we use the record to reveal our involvement with your planet and your species and, most importantly, it contains our message for mankind – demilitarise, unite and colonise space or face extinction.

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How did Henge come together? 

Our history spans many billions of years and covers vast amounts of space. There is too much to tell you now... 

Which artists did you all grow up around? Do you have any personal musical idols?

I grew up on the planet Agricular in Cosmos Redshift 7. There was music all around us – the distinction between 'musician'  and 'non-musician' was not as clear as it is here on planet Earth...but I absorbed the sounds of 'Cosmic Dross' (the traditional music of my people the Agriculans) and its influence have pervaded every moment of my existence since. 

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

Our mission on planet Earth has taken us to many gatherings and festivals. And we have scheduled numerous landings in the U.K. (with a tour in November and December)... 

In that same vein; do you have plans for 2019 in terms of what you want to accomplish? 

We aim to reach as many humans as possible and share with them the sounds of Cosmic Dross. We wish to see the continued proliferation of joy among peoples. We will continue to encourage human beings to put aside war, to achieve their potential and set up colonies on other planets. Only when the path to mass extinction is past the point of no return will we leave planet Earth and seek new worlds where we may be able to have some positive influence on other lifeforms.

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 PHOTO CREDIT: Savvy Creative

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

We have had a myriad of wonderful experiences on planet Earth so far...we have travelled Europe and Australia, played Cosmic Dross to many receptive human beings and catalysed euphoria at many, many festivals. The other members of Henge might have specific highlights – but, as a group, our most significant action on this planet so far is to release the album Attention Earth!

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

We are unable to load more significance onto a single record – to do so is a dangerous trap. Your life-in-listening should be full of highlights; to get stuck on a favourite will narrow your horizons. Either we give you a list of a few hundred albums...or you must accept the answer: Attention Earth! by Henge...

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Can we see you on the road this year at all?

Yes:

31st Oct - The Lost Arc, Rhayader (Wales)

1st Nov - The Bierkeller, Exeter

2nd Nov - OMA, Bristol (SOLD OUT)

3rd Nov - Nos Da, Cardiff

8th Nov - The Lexington, London

9th Nov - Hope and Ruin, Brighton (SOLD OUT)

15th Nov - The Cluny, Newcastle

16th Nov - The Warehouse, Penrith

17th Nov - Yellow Arch, Sheffield

22nd Nov - HiFi Club, Leeds

23rd Nov - The Continental, Preston

24th Nov - Kilmarnock Festival

24th Nov - The Craigdarroch Hotel, Moniaive

25th Nov - Voodoo Rooms, Edinburgh

29th Nov - The Bodega, Nottingham

30th Nov - The Donkey, Leicester

1st Dec - EBGBS, Liverpool

7th Dec - The Trades Club, Hebden Bridge (SOLD OUT)

8th Dec - Gorilla, Manchester *** two shows - all ages matinee + evening show***

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What advice would you give to new artists coming through?

Do not set out to copy a particular artist, no matter how much you love them. Listen to a wide variety of music and do not shy away from music that you don't understand. Do not get lost in your ego. When choosing musicians to work with seek to find their particular gift and play to their strengths. Try out ideas without putting yourself under too much pressure. Have fun in rehearsals.

Never bully a bandmate. Enjoy your own abilities without arrogance; where you lack ability – be kind to yourself. If you try to cover up your insecurities it will sound ugly. If you try and show off your abilities it will sound ugly. Get comfortable. Don't care. Don't try to second guess what you think the audience is thinking. Make what only YOU can make. Be unique or die trying.

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IN THIS PHOTO: Soccer96

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

Fungus and a foot spa.

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

Paddy Steer - Bifurcation Arrows

The Evil Usses - Wellard J. Fowler

Shunya - Analogue Heart

Dubi Dolczek - Laser Dojo

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Follow Henge

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FEATURE: XX/XY: Despite Some Big Steps Regarding Gender Equality in Music, Is There Still One Big Divide?

FEATURE:

 

 

XX/XY

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PHOTO CREDIT: @rawpixel/Unsplash

Despite Some Big Steps Regarding Gender Equality in Music, Is There Still One Big Divide?

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THERE was a time when we had to wait years…

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 IN THIS PHOTO: Sara Cox/PHOTO CREDIT: Getty Images

for genuine steps to happen in the battle against sexism in music. Whether it was a lack of female headliners at festivals or a lack of female D.J.s; progress happened slowly and I feel like the last couple of years have done more to realise parity. That being said; there is still an awful long way to go. Last week, I wrote an article regarding the inequality in the radio industry and how few female D.J.s are being heard. Maybe things are different regarding smaller stations but the big guns are not doing enough to ensure there is equality in their ranks. I pitched the idea that Sara Cox should vacate the absent Drivetime slot and that would be a big step. Not that I had anything to do with it but she has just been appointed as the new Drivetime host. It is the first time, I think, that BBC Radio 2 have hired a female D.J. for that position and it shows there is that desire to change. Whilst there are still many more men on the station as a whole; having a female breakfast host (Zoë Ball) and Sara Cox in that late-afternoon/evening position; will it lead to evolution at other stations? Other BBC stations can take some steps and I think, although Cox’s appointment is a big step, there is a long way to go and it would be good to see the momentum going.

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 IN THIS PHOTO: Zoë Ball/PHOTO CREDIT: Getty Images

Naturally, some have scoffed at her taking over the Drivetime show but there is recognition among many that more female D.J.s should be in these lucrative shows and things do need to improve. I do wonder how long it will take before we see true equality in radio and, indeed, every other sector of music. I am always looking at statistics regarding producers, engineers and festival headliners; the songwriters being recognised and artists getting airplay – is there actually equality there and are we getting close?! I do not think we are anywhere near to actually equality but, with little/big steps here and there; I am hopeful this movement will carry on and things will, gradually, get better. Cox’s new show will be great and it does mean that two female D.J.s at the station are hosting really big shows. I am not suggesting other radio stations lack any awareness and are dropping the ball but statistics show that there is still a huge disparity between men and women. It does not only exist in terms of numbers and who is hosting the most lucrative and big shows – there is that gender imbalance regarding pay and a need to close the gap. It would take a long time for me to name all the sectors and corners of music where more needs to be done but, as we know this, I will save you the trouble of hearing me prattle on.

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 PHOTO CREDIT: @jerryinocmd/Unsplash

It may be controversial territory but I wonder whether there is a division between men and women regarding the fight for equality. One could argue there are few men in the media who are actively and persistently calling for change; most of the voices are female and, in fact, the absence of high-profile men speaking out is causing delay and a lack of progress. I appreciate the appointment of women to prestigious time slots is, more often than not, the case of male management making that decision but one could argue they are culpable of making poor decisions in the past; holding back equality and spending too much time and money with male talent. We all know most of the boardrooms and executive suites are filled with men; most studios and festivals are run and dominated by men – they hold great power and positions but, in reality, are they doing enough to speak out and call for change?! It is no surprise that most of the voices calling for change in the music industry come from women. I am not sure what percentage of men are out there and speaking loud but it is a tiny minority. I wonder whether there is general apathy (in men) or whether there is a bigger barrier at work. I realise there must be, one would hope, many other male journalists that refuse to be silent and are big advocates of gender equality.

Most men in the industry would call themselves feminists and, if asked, would like to see equality happen as soon as possible. I think there is a practical difference between those who think about these things and want them to happen and those speaking out and protesting for change. Any radio and T.V. interview regarding sexism and gender inequality features women and when one hears podcasts surrounding a need for equality; they are always fronted by women. It is great to see so many women in music leading a charge and getting their voices heard but I wonder whether a division between the genders is occurring. It may sound like a personal gripe but I tend to find, when I pitch a show about sexism in music or contact someone (a high-profile feminist or name) my calls are ignored and it is hard to get any sort of response. I have my posts shared by female musicians and D.J.s when I write features about them but when it comes to putting together my own features and shows; a big project that unites those in the industry, men and women, and discusses the problems at hand…there are many deaf ears out there. One could say it is a case of me lacking cachet but I have seen many female journalists/members of the public have their calls/queries answered and posts shared.

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 PHOTO CREDIT: @alexisrbrown/Unsplash 

It could not be a personal thing – as those I contact don’t know me from Adam – and I recently contacted a radio production with a view of putting together a documentary regarding gender inequality and they already have an idea like that in process – fronted by a female journalist. When was the last time any radio documentary or T.V. show was broadcast, in relation to sexism and the need for change, with a man at the front? Has a man ever done anything like that and, in cases where there are documentaries/broadcasts; what is the proportion of men-women? Perhaps there I an assumption that men will not understand the true issues regarding sexism or they do not have the experience to warrant authority. If you have a man fronting a show about gender inequality; will that come across as ironic and problematic?! If we are looking at creating better rights for women in music, having a bloke talking about it seems rather cheap, foolhardy and unwise. Does that create problems and show that, in fact, everything needs to be controlled by men?! I am not saying people like me dominate the market and put together scores of shows regarding sexism but there needs to be a bit more integration. There are natural barriers that assume men do not want to produce these shows or would lack any knowledge. In cases of sexual abuse and sexism, indeed, women are more qualified and have that direct experience but does that mean men should be excluded?!

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 PHOTO CREDIT: @jmvillejo/Unsplash

Whilst a journalist like me cannot understand what it is like to be overlooked in regards my gender and is unaware of the pain that comes from being excluded on that front; I know the statistics and I have ample understanding of the realities and what needs to be done. I have not been sexually assaulted or passed over because I am a woman. As a man in the industry; life is a little easier for me but that is not to say I lack empathy and that desire to right things. I have endlessly pitched shows and asked to be on shows to talk about the problem – including Woman’s Hour – but everything has been ignored. The same goes when I ask for advice (from women in the industry) and try and get something together. There is not a sexism working away there but I feel there is that feeling that a man does not have the authority and experience needed; that having someone like me speak openly seems more sexist. I agree that women need to be at the forefront when it comes to calling for change but there is that whitewash. Maybe there are fewer men in the industry who passionate about equality but I know there are enough out there. From musicians and D.J.s through to label owners and producers; that need to see things improve and create an open dialogue is important to so many.

The best way, I feel, to make some big movements is to create that dialogue and integrate more. I am not suggesting there is a fifty-fifty split, gender-wise, when it comes to shows and discussions but it needs to be a bit more open. I was talking with someone about my issue and they said, perhaps, women feel men are doing it to boost their own profile and there is arrogance behind that desire (to talk out). Some might be suspicious and feel the issue of sexism is heightened when you add men into the dialogue. I can understand that and, to be fair, it is a hard balance to strike. Maybe the fact men have not experienced sexism and have an easier time in music means they should show more respect and the discussion is more veracious and potent when it stems from those who genuinely suffer and are overlooked. I get that but not all men in music are privileged and not all feel like men should dominate. Another musical contact suggested the most effective way of opening up the debate and startling people is to have men talking with one another regarding what needs to be done and how things can improve. At the moment, from the outside, it looks like most men do not care and women are having to do all of the campaigning themselves.

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 PHOTO CREDIT: @rawpixel/Unsplash

The reality is a little different. A lot of men might feel like they’d be excluded if they asked to be involved or they might not have the necessary passion and knowledge to make a difference. Having different voices in the mix can only be a good thing. As I said; the statistics are clear and men and women alike know the realities and how much work needs to be done. Whether it is a radio show dedicated to female music or a symposium that gets some heated debate underway; creating a more gender-balanced discussion and dynamic is needed. I do as much as I can with my writing but I feel like I am a bit excluded because I genuinely want to assist. Some female artists have struck out against male musicians who have talked about sexism and feel they (women) do not need to be spoken for; they are capable of speaking for themselves. Maybe some men are jumping on a bandwagon and have other motives but I disagree there is that need, in men, to boost their profile and there are nefarious objectives. It is not taking anything away from feminism or a female voice if a man speaks out. If a male actor argued against the wage gaps in the film industry or tirade against men accused of sexual abuse then that would be applauded.

They (the men) will not have experienced that horror first-hand but the fact they are putting their voices out there shows there is a genuine shock and disgust – that most men do not condone what is happening and are supportive. The same needs to happen in music. A lot of men are arrogant and do not want things to change; those who are well-off and not affected have that apathy and do not feel motivated to get up. There are men in the industry – from journalists and artists to D.J.s – who know how crap things are. I am not suggesting replacing shows and discussions that are female-led: I would like to see more where men and women are debating and there is that visible and audible conversation. I do not think it is true that a man lacks understanding and sympathy and, whilst they do not have direct experience regarding sexism; does that mean they are cold to the problem or do not want to see improvement?! From my perspective; it is frustrating having ideas ignored or not being answered because of my gender or I might not have the same gravitas as a woman. These issues I am experiencing are a minority – most female artists and D.J.s share my work and do not see gender divisions or problems when it comes to calling for equality – but we need to see more men and women talking with one another; those in high positions being interviewed and high-profile men in the industry rallying and speaking out. There are many out there who feel outraged and want to fight sexism and inequality but I am aware there is an invisible barrier that divides genders.

I do not agree with the assumption you are making the issue of sexism worse by inviting men into the conversation and it takes away some of the potency. One of the ways to show there are plenty of men who want to see change is by inviting them in and creating a more gender-balanced debate. I love the fact women in music are standing up and will not be silenced but I have seen some worrying posts where women have turned their noses against men who have spoken out – assuming they are being patronising and being condescending. Perhaps there is an impure motive in some cases but there is genuine compassion and support to be found. If we want to create a more stark and bonded discussion then both genders need to get involved and harmonise. Male journalists and musicians need to contribute and those in positions of power need to be brought in and explain themselves. It would not be an integration and attack but an opportunity for them to think about the realities and answer some pressing questions. I would like to produce and front a documentary regarding women and sexism in music but I feel, most of the time, I will be overlooked in favour of a woman. Maybe it is my lacking name and cache but there is a feeling women are more knowledgeable and people would not want to hear a man do a show like this – like it would add to the situation in a negative way. I do not abide by this and feel, although it is alien and strange; we need to get men and women talking otherwise there will only be that one side and one impression. Men, in general, need to do more but there are plenty who want to speak and show their support and should not be overlooked because they do not have direct experience or are not affected. If we can get a more balanced discussion happening and get both sides talking and fighting hard it lead to some changes. I applaud anyone who speaks against sexism and calls for improvement but I feel there is a division. I might not have the same viewpoint and experiences as many women in music but there are many people like me who desperately want to be…

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 PHOTO CREDIT: @kslupski/Unsplash

PART of the debate.

INTERVIEW: Dim Sum

INTERVIEW:

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Dim Sum

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I am starting the week by speaking with the French artist Dim Sum…

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as he discusses the story behind his latest single, Ange. I ask whether there is more material coming and the sort of music he is inspired by; if there are any rising artists we need to watch out for and whether there are a few albums that mean a lot to him.

Dim Sum reveals what he has planned for next year and the importance of Paris; which artist he would support given the chance and if he gets chance to unwind away from music – he ends the interview by selecting a great song.

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Hi, Dim Sum. How are you? How has your week been?

Hi. It’s been a good week…until my laptop crashed.

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

I am a French musician and producer. I live and work in Paris and I have released three E.P.s so far.

Ange is your new single. Is there a tale behind the song?

I started this track by sampling the voice of my girlfriend, who is not a singer at all. To me, this track evokes childhood and nostalgia.

It is from your forthcoming E.P. Can you reveal the stories and themes addressed?

I try to make Electronic music that you can both dance and think to; that you can play at a party or listen at home. This new E.P. is also in this mood.

Are there particular musicians you draw inspiration from? Did you grow up around a lot of music?

I always listened to a lot of music during childhood with my parents. They made me discover a wide range of musical styles, from Classical to Folk and Rock...

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Can you recall when you got into music? How have your sounds changed since the early day?

I really got into music when I discovered Indie-Rock bands of the nineties and early-2000s; from Nirvana to The Strokes. That’s when I started in music: by learning how to play guitar. Then, I came to Electronic music with Daft Punk and Justice I think (smiles).

How important are Paris and its culture regarding your music passion and how you write?

I live in the neighbourhood of Bastille which is a very popular place with a lot of music venues and cultural events. This is a very inspiring place.

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

I’m going to release my fourth E.P. and I hope that people are going to listen to it (smiles).

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Do you already have plans for 2019?

Yes. I’m already working on new collabs that are not on the new E.P. but that may be released next year.

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

I don’t have a particular memory in mind. To me, as a music composer and producer, each case of positive feedback regarding my music is a particular moment.

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

Nirvana – Nevermind; Daft Punk – Homework and Phoenix - Wolfgang Amadeus Phoenix

I think they sum up what I love the most in music (smiles).

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

I’d love to go on tour with LCD Soundsystem!

What advice would you give to new artists coming through?

I think I’m no good at giving advice (smiles).

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Are there any new artists you recommend we check out?

I have recently discovered tracks by PINES - Glisten; Betical - Voices and Vansire - That I Miss You.

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IN THIS PHOTO: Betical

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

I love to chill in the city with no particular goal...and Paris is a big city (smiles).

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

Some fresh French vibes with Solal Roubine and Hublot

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Follow Dim Sum

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FEATURE: Against Their Will: The Divisive Nature of the Posthumous Album

FEATURE:

 

 

Against Their Will

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IN THIS IMAGE: The cover for the posthumous Jeff Buckley album, Sketches for My Sweetheart the Drunk (1998)/IMAGE CREDIT: Getty Images 

The Divisive Nature of the Posthumous Album

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IT may sound a bit ghoulish…

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 PHOTO CREDIT: @alvaroserrano/Unsplash

and weird to raise the topic of death in a music piece, but there is something to be said for the success artists can gain after they depart us! The subject is not reserved to albums released after a musician has died. We all know how some artists gain acclaim after their deaths because, for some reason, people do not seem to get what they are all about when they are alive. It is odd to think how, sadly, some bands/artists are never given the success and love their music demands when they are alive and, years later, people latch onto them. There is, as I will explore, albums released after an artist has died that was not discovered in their lifetime or they were making and never got to finish. Whether a completed and recognised studio album gains fresh traction posthumously or an unreleased record is brought out and gathers a fresh wave of respect for that artist – I am interested learning why an artist can get new fans and see their music elevated after their deaths. When music loses a talent and we have to go through that awful realisation; naturally, sales of that artist’s albums go up and there is that burst of interest. It is understandable people would want to mark that musician and have an interest in them but, for some reason, that demand and rush tends to end fairly quickly and that is it.

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 IN THIS PHOTO: Johnny Hallyday (who died last year) pictured in 2014 in Los Angeles/PHOTO CREDIT: Michael Buckner/Getty Images

Why do we have that sort of sympathetic attachment to an artist in the wake of their death and why do some albums gain huge sales figures that were not achieved during the natural life of the artist?! One reason why I bring up the ‘lure’ and importance of posthumous popularity is a story concerning Johnny Hallyday that talks about increased sales figures and a resurgence following his sad death last year:

“Johnny Hallyday, the leather-trousered “French Elvis” who died last year, didn’t believe in resurrection. But from beyond the grave, the musician has managed to miraculously restore life to a dying record and CD industry.

With 780,177 copies on CD and vinyl sold since the album’s release last Friday, Hallyday, who died in December aged 74, is expected to have bigger first-week converted sales than Drake, whose Scorpion release was the biggest album in the US this year.

The Hallyday album’s vast sales on CD and vinyl are highly unusual at a time when sales of physical records are falling. Music insiders called it “the Johnny phenomenon”, saying the CD sales were a sign of Hallyday’s huge following in France. Fans apparently wanted to own a physical copy even though it was available on premium streaming services.

The album, a combination of rock, rockabilly and blues, was recorded last year in Los Angeles, months before Hallyday died of lung cancer. It went platinum within minutes of going on sale in France on 19 October and sold 630,000 units in the first three days”.

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 PHOTO CREDIT: @art_ed/Unsplash

In the case of Hallyday; it seems like the posthumous release that sold big numbers has been met with positivity and it was a case of releasing material he planned to put out into the world. There is that argument, if an artist had only recorded a few tracks and they were not album-ready, then should they be released against their will? I remember having mixed emotions diving into Jeff Buckley’s 1998 posthumous release, Sketches for My Sweetheart the Drunk. There are some fantastic gems on that collection that hint at where Buckley was heading. A lot of the material was recorded in 1997, not long after he died. One wonders whether the ‘finished’ material on the album was what Buckley wanted to release eventually or whether he would have scrapped them and started again. Buckley was a perfectionist and one feels he might have kept a song or two and then recorded completely new stuff for his sophomore release. I will bring in the case of Prince and why a posthumous release is welcome and unearths something that reveals a new side to him but there is that argument as to whether it is ethical and moral for producers/family to collect these scraps and demos and put them into a posthumous album.

This article from The Guardian, written the year Amy Winehouse died (2011), talks about an album of her unreleased tracks that divided fans and the media:

“…Next week, a little over four months after the untimely death of the singer, Lioness: Hidden Treasures, will be released.

By necessity, it is a collection of early recordings, out-takes, and just two unfinished tracks from her planned third album. "She appears to have recorded almost nothing in the last two years of her life," noted Alexis Petridis, the Guardian's music critic, this week. Anyone who followed the tabloids over the last few years will be painfully aware of the reasons for that, but Remi hoped the album would be a fitting reminder of Winehouse's talent. "Going through her music was like going through a photo album," he says. "There was a lot of stuff that I had forgotten about, and that nobody else knew existed. When I shared that with her manager and her family, we thought maybe we should share this with the rest of the world".

I am a bit split when it comes to artists unexpectedly dying and what do you do with the material they never got around to releasing. Although one can assume some of the songs would have found their way onto a new album; you can never say what their plans were and if they actually want them into the world!

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IN THIS IMAGE: The cover for the posthumous Amy Winehouse album, Lioness: Hidden Treasures (2011)/IMAGE CREDIT: Getty Images

The article explores the seedier and more unpleasant side of posthumous releases and whether they are betraying an artist’s will:

“There is, of course, a darker side to posthumous releases, where words such as "legacy" are bandied about and sales are guaranteed as long as there are enough voracious fans who can be relied on to will buy anything connected to their late idol. (In fairness to those behind Winehouse's album, a proportion of profits are to go to the foundation set up in her name). Tupac Shakur, the American rapper who was shot in 1996, has released more albums in death than he did in life, the richness of his music appearing more diluted with each one. Jimi Hendrix, who released just four albums before he died in 1970, has had his name on more than 50 posthumously, with most years seeing a new release of live recordings or a compilation, most recently in September.

Michael Jackson's posthumous album, Michael, was released last year, 18 months after his death, amid accusations from the singer's family that he wasn't even singing on some of the tracks. Quincy Jones, his former producer, told Us magazine. "It should have stayed in the vault. It seems everybody is trying to put everything out that they can with him. It's all to make money. He wouldn't have wanted it to come out this way." Another album, Immortal, has been released, and Howard Weitzman, who co-manages Jackson's estate, says more releases are planned. "It's a pretty vibrant estate in the sense that it continues to generate not just catalogue opportunities, but plenty of other ideas," he told Billboard in October”.

I can understand the resistance fans have when they see an artist they have followed and lost having control taken away. There is a lot more content and agreement when a posthumous album is a realised and complete work that, sadly, was completed just before an artist died. In some cases, there are albums they recorded and did not released – they are unearthed and taken from the archives and brought into the world. Many people worry about the morals of record labels that mine departed artists for all they are worth. Amy Winehouse is an artist whose legacy and music is being mined even more with a planned hologram tour and biopic. I like some of the tracks that were released after her death but there is nothing that matches the honesty and rawness of Frank and the brilliant Back to Black. Estates and labels are keen to bring every half-cut demo, scratchy outtake and B-side-primed song to the fans. Many might say that is giving people what they want and ensuring they can experience new music from their favourite artist after they have died. Others argue capital incentives are behind the decision and it is all about raking in money and being exploitative – taking advantage on people’s zeal to get fresh music from an artist that is no longer around. I am a bit hit-and-miss regarding posthumous albums but, even as a die-hard Jeff Buckley fan and a bit supporter of Amy Winehouse; I was glad posthumous albums were released because there are some fascinating and promising songs. You wonder what could have been and you gain an insight into what the artist was thinking/planning before they died.

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 PHOTO CREDIT: @rawpixel/Unsplash

Posthumous releases are not new: ever since the 1950s; the likes of Buddy Holly have been the subjects of posthumous releases. Returning to the article I have quoted; there are some who feel like something gaudy and greedy lies behind those who bring unreleased material out when an artist dies:

"Reissue, repackage," was how Morrissey described the "sickening greed" of record companies on the Smiths track Paint a Vulgar Picture, and there is no doubt that a celebrity's earning power doesn't stop with their death. In Forbes magazine's recent list of the top-earning dead celebrities, Jackson was at the top for the second year running, earning $170m this year (£110m; the previous year, he earned $275, or £175m).

The man in second place – Elvis Presley – earned $55m (£35m) last year. If you want to see how we might treat deceased stars in future, look to the US company Authentic Brands, which bought the rights to Marilyn Monroe this year (they already market products under Bob Marley's name). CEO Jamie Salter told a Canadian newspaper that, thanks to digital technology, he expects Monroe to be starring in a new film "in the next couple of years".

I have stated how some posthumous albums are completed works that were not released in an artist’s lifetime for some reason or other. Maybe the timing was not right or the label wanted something else. Two cases where the public have been behind posthumous releases concern two artists we lost in 2016: David Bowie and Prince.

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 IN THIS PHOTO: David Bowie captured whilst appearing in the film, The Man Who Fell to Earth (1976)/PHOTO CREDIT: Steven Schapiro

David Bowie had a lot of material ready and held back. It is sad we lost Bowie to cancer but one feels he would have been behind re-releases and unreleased material coming through. It seems, every month, there is something ‘new’ from the departed innovator. Back in March; Consequence of Sound excitedly talked about planned released from the late star:

“David Bowie is said to have prepared a number of records to be released posthumously. Among the releases to have surfaced in the two-plus years since his death: an EP of unreleased material called No Plan; an archival box set featuring the unreleased album The Gouster; reissues of the Labyrinth and The Man Who Fell to Earth soundtracks; the live album Cracked Actor (Live in Los Angeles 1974); a repressing of 1971’s Bowpromo; a second archival box set chronicling Bowie’s Berlin trilogy; and an early demo version of “Let’s Dance”.

There’s apparently plenty more still to unearth from Bowie’s vault, as the coming month will bring upwards of eight new records. Two reissues have already been announced for next month: Bowie’s 1981 compilation Changes to Bowie will go back into print on April 13th, followed on April 20th by a vinyl reissue of Aladdin Sane.

Now, comes word of a trio of Bowie records available for Record Store Day 2018 (April 21st). The allotment includes Welcome to the Blackout (Live London ’78) featuring recordings from Bowie’s “Isolar II tour” at London’s Earls Court on June 30th and July 1st, 1978; a 12-inch single that includes the first-full length version of “Let’s Dance”; and Bowie Now, a rare US only promotional-only LP from 1977, which is receiving its first-ever commercial release”.

Earlier this year; Piano & a Microphone 1983 was released and is a rare chance to hear Prince and his piano – a stripped and barenaked revelation that many have welcomed and celebrated. Again, like Bowie; this has been a welcomed and much-needed posthumous chapter from a legend of music. 

“Prince, who to the shock of his many fans worldwide died two years ago, would have celebrated his 60th birthday this June.

Now, for all of 35 minutes, he is back, sitting at the piano and playing music, back in the early 1980s. Listening to the tracks, it is easy to imagine lounging in a comfortable chair, reading a book while Prince sings and tinkers on the piano. It sounds as if he were all by himself, very relaxed, raw and intimate.

Of course he is not playing in his living room, but in in a studio, where occasionally, sound engineer Don Batts gave the artist brief instructions during the recording, for instance to lower his voice.

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IN THIS PHOTO: Prince/PHOTO CREDIT: Ebet Roberts/Getty Images  

Prince is said to have written more than 1,000 songs, many of them under pseudonyms and many of which have yet to be released.

Prince left no will, so legal issues had to be clarified before the release of Piano & A Microphone 1983. Prince's sister and five half brothers and sisters were declared the heirs to his estate and they have been careful with new releases. Two best-of compilations were released posthumously so far.

This newly released album is a true gem — intimate, playful and soulful songs by a musical genius who wasn't aware at that point that he'd one day become one of the world's top icons of pop”.

One of my quandaries regards that lack of control and whether an artist would consent. There was rankle a few months back when it was claimed a lot of Michael Jackson’s posthumous songs were actually not sung by him. There is still debate happening but many have heard some posthumously-released songs and say it is not Jackson singing. There are a few Jackson songs that never got released in his life but some others, one suspects, have been masquerading as Jackson-sung tunes. There is that problem with authenticity but another one revolves around quality. If a musician released faultless and brilliant records whilst alive; do these half-finished and flawed posthumous albums actually dent their legacy?! Some say the way of reaching new generations is to release these albums/tracks and, if there is music in the vaults; what is the sense of leaving them be and people being denied? It depends on whether you feel an artist’s music should be protected when they die and whether it is wrong to release new material without their consent. Some posthumous albums have proved rather interesting and popular. Other Voices is a release from The Doors that does not feature their leader, Jim Morrison. Morrison died in July 1971 and the ‘new’ Doors album was in the world some three months after. Nirvana’s famous unplugged session for MTV was brought out after Kurt Cobain’s death in 1994 and Johnny Cash’s American V: A Hundred Highways was intended to be released during his lifetime. That record is a fascinating thing and it is only the slightly untimely passing of Cash that denied the master the chance to see it released to the world.

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 IN THIS IMAGE: The cover of Johnny Cash’s posthumous album, American V: A Hundred Highways (2006)/IMAGE CREDIT: Getty Images

There is also that subject of an artist dying suddenly and having bits of an album ready with the intention of adding to it. Prince, Michael Jackson; Jeff Buckley and Amy Winehouse all died without much warning and expectation and they wouldn’t have left directives and wills that stated how they wanted unreleased material to be treated. George Harrison died in 2001 and was working on Brainwashed (2002), his final album, before he died. He was determined to get it released before his death and it is a case of the artist knowing the material that they were working on before their death should be out there. The same is true of the Queen album, Made in Heaven (1995). Freddie Mercury died in 1991 and was determined to get as many songs and demos recorded before he went – the band worked with him and there was definite desire and consent from the Queen lead. Joy Division’s Closer (1980) and From a Basement on the Hill (Elliott Smith, 2004) are completed and full work that are cherished and exceptional – sad cases of the leads and creators dying (committing suicide in these two cases) before an official release could happen. I am a big fan of Aaliyah’s eponymous posthumous release of 2001 and, again, it is a case of an artist suddenly dying before the record could be complete – she died in a plane crash on the way back from filming the video for the album track, Rock the Boat.

Despite the lauded and revelatory posthumous releases; does it all come back to the unseemly and label-dictated cash-ins?! Are they the factors that stand out – rather than the music itself?! The late XXXTentacion was the subject of a piece in High Snobiety. They looked at the posthumous release and the ethics behind them. They reacted to XXXTentacion going to number-one with the single, SAD!

“This year, late rapper XXXTentacion became the first artist to chart posthumously at number one since Biggie did back in 1997 with the release of “Mo Money Mo Problems,” joining an elite yet tragic group of hip-hop chart-toppers. Controversy aside, the success of “SAD!” is well deserved on artistic grounds, yet there’s something rather unsettling about the accompanying video, which sees X attend his own funeral.

Although the promo was both written and creative directed by XXXTentacion before his death, seeing the young star resurrected on film so soon after his real-life murder raises some ethical issues. Fans might argue that the “SAD!” video is a beautiful elegy to X’s legacy and while that’s true to a point, it’s hard not to see how the record company also had plenty to gain from capitalizing on the star’s posthumous success for financial gain too.

Either way, it’s important to note that XXXTentacion had full creative control over the “SAD!” promo and always intended to release it more or less in the form that we see today. But what will happen in five years time when unreleased songs hidden in the vaults suddenly come to light? How would X react if he knew that unfinished tracks he didn’t approve could potentially become part of his musical legacy?”

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 IN THIS PHOTO: Aaliyah (whose eponymous posthumous album was released after her death in 2001)/PHOTO CREDIT: Getty Images

Is everything about maximising an artist’s appeal and commercialism following their death? A lot of labels want to keep them in the public eye and ensure they can eek money from their music. In a lot of cases, there is real passion that comes from posthumous release:

“It’s not all about the sales though. Drake’s genuine admiration for the likes of Aaliyah and Michael Jackson is well-documented, transforming songs like “Enough Said” and “Don’t Matter To Me” into elegies that pay homage to the musical prowess of both artists in question. And while some fans might want record companies to leave the reputation of these deceased stars alone, we also shouldn’t assume that there’s nothing left of value in their unreleased back catalog.

After all, “(Sittin’ On) the Dock of the Bay” was released after Otis Redding died, cementing his status as a musical icon, and if songs were never released posthumously, then we wouldn’t have game-changers like Sam Cooke’s “A Change Is Gonna Come” or Joy Division’s “Love Will Tear Us Apart” either”.

The article raises a good point that I had not even considered: the weird ‘duets’ between a dead artist and a living recording star. I often wonder why it is allowed and whether it is a compromise between a new recording and releasing some rare offcut. Whatever the reason behind this rather odd combination; there have been some serious missteps:

“Remember Duets: The Final Chapter? Released in 2005, eight years after The Notorious B.I.G. was murdered, this album was composed entirely of unlikely duets that even new fans questioned the authenticity of. Although it’s impossible to know what path Biggie’s career might have taken, it’s clear that the esteemed rapper would have never traded bars with someone like Nelly, and the inclusion of other deceased artists like Tupac, Big Pun and Bob Marley was an even more offensive affront to everyone involved. There’s a big difference between releasing completed tracks and constructing some bizarre Frankenstein-patchwork of sub-par material”.

I will round things off soon but I, like many, was stunned hearing the news of The Cranberries’ lead, Dolores O’Riordan, earlier this year. The band were recording material before she drowned – the coroner decided her death was an accident and not suicide – so there is that heartbreak regarding what-if and what could have been. Whilst the ‘new’ and posthumous Cranberries release will be met with interest and lust; this piece reflects on that and distils the nature of the posthumous release perfectly:

“After much consideration we have decided to finish what we started,” the remaining members of the Cranberries wrote on their website this month, announcing their first new album since 2012. Dolores O’Riordan, who died earlier this year, had already finished recording her vocals: there’s no sense her parts would have needed to be imagineered. However, the ouija board of what dead musicians “would have wanted” is a faint and often baffling instrument.

Posthumous albums come in two forms: the Cobble and the Legacy. The former is the least lovable. Michael Jackson’s first posthumous release, 2010’s Michael, was so threadbare that his family strongly questioned whether it was him singing on three of its tracks – the so-called Cascio Tapes. “I immediately said it wasn’t his voice,” mused brother Randy on Twitter when he heard them. Artistically, Cobbles are normally justified on grounds of completism: that they “tell us something new” about the artist, and occasionally turf up the odd gem that “deserves to see the light of day”. On that score, something like Jackson’s Do You Know Where Your Children Are, from his second posthumous album, Xscape (2014), ticks all boxes: both a solid jam and a jarring lyrical premise. Cobbles can also offer Stalinesque revisionism: some of Lisa “Left Eye” Lopes’s verses on TLC’s 3D – released seven months after her death in 2002 – were spliced together from old solo album cast-offs. There was even a delayed ouija conjure from obsessively private, label-hating control freak Kurt Cobain; his 2015 soundtrack Montage of Heck – a series of solo sonic doodles and Beatles covers – only saw light of day when the Nirvana well had run dry”.

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IN THIS IMAGE: The cover for the posthumous Michael Jackson album, Xscape (2014)/PHOTO CREDIT: Getty Images 

I can see the appeal of posthumous releases and the itching desire to get these unfinished tracks out to the public. I am curious whether the greed of a label is the real reason why we see posthumous releases from the likes of Amy Winehouse and Michael Jackson. I have mentioned artists, including David Bowie and Prince, where few are objecting but there are many more dead artists whose work has been released against their will. There are cases when musicians die unexpectedly and tragically so there is no definitive answer as to whether they would want their material released. In some cases, the band/artist were working on an album and it is cut short but accidents and unexpected mourning. I commend hard decisions and there are exceptions where a posthumous release is needed and good. I take all this into account but feel, in many cases, when an artist dies then that should be the end of things. Although I am a huge fan of Jeff Buckley and there are posthumous songs that have blown me away and I am glad saw the light of day; releasing a full album was a mistake and he would have objected to. I feel Amy Winehouse, Michael Jackson and other big artists would have refused labels bringing out songs/albums they were not 100% happy about and there is that unpleasant chasing of money and commercial success. Labels and estates want this music to come and people too be touched but how much of it matches the best days and does that artist justice?! I feel music cannot come out into the world until it is completely ready and that artist gives their approval. Posthumous releases can be a surprise and create some great results – in the case of Johnny Hallyday, for example – but, more often than not; there is an unpleasant aftertaste…

THAT is hard to wash away.

FEATURE: Who You Callin’ a Loser?! The Amazing and Evolving Beck: His Ten Finest Albums

FEATURE:

 

 

Who You Callin’ a Loser?!

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IN THIS PHOTO: Beck/PHOTO CREDIT: Getty Images

The Amazing and Evolving Beck: His Ten Finest Albums

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THIS might sound relevant of nothing (and you’d be half-right)…

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 IMAGE CREDIT: Billboard

but I am thinking about those artists who have managed to endure for decades in the industry and done so through consistently brilliant and engaging albums. When I think about the finest artists out there; those who have managed to cement a legacy and continue to amaze, there are few who stand firmer than Beck. The forty-eight-year-old, Los Angeles-born treasure has weirded-out, amazed and led music since his debut album, Golden Feelings, in 1993 (that album is seen as the ‘unofficial’ debut of Beck). His most-recent record, Colors, was released last year and met with critical acclaim – not seen as his finest hour but certainly nothing that can be called average! There have been thirteen studio albums spanning twenty-four years; each with their own skin, personality and dynamic. I have collated his finest ten albums and put them in their rightful order – although many might agree with the rankings! From the genre-fusing masterpieces to the more introspective and personal; here is the essential Beck back catalogue with a standout track and review from each album – showing how critics reacted to the record at the time (or in retrospect). Have a look through the top-ten and it is clear why the intrepid, experimental and wonderful Beck…

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 PHOTO CREDIT: Eliot Lee Hazel 

IS in a league of his own!

ALL ALBUM COVERS: Getty Images

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10. Colors

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Release Date: 13th October, 2017

Label: Capitol

Producers: Beck (also exec.); Greg Kurstin (also exec.) and Cole M.G.N.

Standout Track: Dear Life

Review:

“Colors closes with a nod to those of us most enamored of sad-mode Beck. “Fix Me” is a gorgeously melancholy mood piece that would’ve fit nicely on Morning Phase. Beck wrote and produced the track himself, adding an acoustic strum to its synth wash and simple backbeat. It’s telling that it’s the polar opposite of the album’s other great song, “Wow”—one’s silly, the other contemplative. They’re proof, in a way, that Beck is at his best when he’s navigating the margins rather than playing to the middle. Colors is solid—Beck doesn’t make bad records, whatever mode he’s in—and it flirts with greatness, but he’s at his best when he decides to either get loose or get serious, less so when he drives straight down the center” – AV Club

9. The Information

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Release Date: 3rd October, 2006

Label: Interscope

Producer: Nigel Godrich

Standout Track: Cellphone’s Dead

Review:

“It’s a sonic tour de force, and Beck seems comfortable in the info-storm, which he presents not as dystopia or utopia, but as a restless middle ground, like Dante’s limbo, or America in 2006. The Information clearly aspires to be a self-aware update of dorm-room bong-hit soundtracks like The Dark Side of the Moon or OK Computer, right down to the cryptic, spaced-out outro (voiced by director Spike Jonze and author Dave Eggers). It earns those comparisons. At a time when freaky ’60s music is being revived with varying levels of aesthetic discernment (Espers, Comets on Fire), Beck manages to drink the psychedelic Kool-Aid without losing his wits in the process” – Entertainment Weekly

8. Mutations

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Release Date: 3rd November, 1998

Label: DGC

Producers: Beck Hansen; Nigel Godrich

Standout Track: Tropicalia

Review:

“…Mutations was never meant to be a commercial endeavor -- there's no floor-shaker like "Where It's At," and it doesn't trade in the junk culture that brought Odelay to life. Recording with his touring band -- marking the first time he has entered the studio with a live band -- does result in a different sound, but it's not so much a departure as it is a side road that is going in the same direction. None of the songs explore new territory, but they're rich, lyrically and musically. There's an off-the-cuff wit to the songwriting, especially on "Canceled Check" and "Bottle of Blues," and the performances are natural, relaxed, and laid-back, without ever sounding complacent. In fact, one of the nifty tricks of Mutations is how it sounds simple upon the first listen, then reveals more psychedelic layers upon each play. Beck is not only a startling songwriter -- his best songs are simultaneously modern and timeless -- he is a sharp record-maker, crafting albums that sound distinct and original, no matter how much they may borrow. In its own quiet, organic way, Mutations confirms this as much as either Mellow Gold or Odelay” – AllMusic  

7. Morning Phase

Release Date: 21st February, 2014

Labels: Capitol/Fonograf

Producer: Beck

Standout Track: Heart Is a Drum

Review:

“Yet there's an older, wiser head here: as the title suggests, rather than wallow, Beck accepts that heartbreak is just a temporary grief he needs to see out. And so he does with lush strings (arranged by his father), gently crescendoing pianos (especially on the Nick Drake-esque Heart Is a Drum) and acoustic guitar in which you can hear the twang of each string. Despite the lyrical themes, the record's sun-dappled shimmer suggests Beck sees a way out of his emotional hole. The bad news for him is that being in it seems to make for some of his best music” – The Guardian   

6. Modern Guilt

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Release Date: 8th July, 2008

Labels: DGC/XL (U.K. and E.U.)

Producers: Danger Mouse; Beck

Standout Track: Soul of a Man

Review:

“But some of the experiments that dare to fail big also feel the freshest: “Modern Guilt” reinvents the Doors‘ “People Are Strange” as a shuffling midtempo beatnik ballad — and, somehow, it works.

That last song sums up Beck’s biggest issue on the album: “Don’t know what I’ve done, but I feel ashamed.” That’s modern guilt for you: knowing the world’s going to hell and feeling partly responsible, but not quite knowing what to do about it. “Some days, we’re worse than you can imagine/And how am I supposed to live with that?” he sings on “Walls.” A few lines later, he finds his own reason to carry on: “We do the best with the souls we’re given.” And not long after he sings these words, the song cuts out abruptly in the middle of the melody. Like Tony Soprano said, you never know when your time is gonna come” – Rolling Stone

5. Midnite Vultures

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Release Date: 23rd November, 1999

Label: DGC

Producers: Beck Hansen; Dust Brothers; Tony Hoffer and Mickey Petralia

Standout Track: Sexx Laws

Review:

“'Midnite Vultures' is bound to entrench opinions on both sides of the Beck divide. The doubters will recoil from its myriad layers of self-knowledge and the fact that the author's tongue is almost permanently lodged in one cheek or another. But just because this isn't a conventional dose of 'reality' doesn't mean Beck can't be sincere, and the force of character laid bare here is quite an awesome thing to behold. Narrower in scope than 'Odelay' but more immediate in impact, it's clearly been conceived as an accompaniment to our hedonistic habit of choice, the last great party album of the millennium. And like a certain song says, parties weren't meant to last” – NME

4. Mellow Gold

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Release Date: 1st March, 1994

Label: DGC

Producers: Beck Hansen; Tom Rothcock; Rob Schnapf and Carl Stephenson

Standout Track: Loser

Review:

“Since Mellow Gold was pieced together from home-recorded tapes, it lacks a coherent production, functioning more as a stylistic sampler: there are the stoner raps of "Loser" and "Beercan," the urban folk of "Pay No Mind (Snoozer)," the mock-industrial onslaught of "Mutherfuker," the garagey "Fuckin' With My Head (Mountain Dew Rock)," the trancy acoustic "Blackhole," and the gently sardonic folk-rock of "Nitemare Hippy Girl." It's a dizzying demonstration of musical skills, yet it's all tied together by a simple yet clever sense of songcraft and a truly original lyrical viewpoint, one that's basic yet as colorful as free verse. By blending boundaries so thoroughly and intoxicatingly, Mellow Gold established a new vein of alternative rock, one that was fueled by ideas instead of attitude” – AllMusic  

3. Sea Change

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Release Date: 24th September, 2002  

Label: Geffen

Producer: Nigel Godrich

Standout Track: Sunday Sun

Review:

“The clarity of his crisis has a lot to do with the naked strength of Beck’s singing. For someone who started out as a teenage folk hobo — just voice and strum — Beck has rarely walked this far out in front of the music on his own records. And considering his eternal-high-school looks, he possesses a surprisingly manly tenor, a clean, deep instrument of lust and worry. It fills the big spaces in Nigel Godrich’s haunted production — the backward-tape buzz in “Lost Cause”; the desert-Bach air of the keyboards in “Nothing I Haven’t Seen” — with the combined pathos of Nick Drake, the solo, freaked-out Syd Barrett and the John Lennon of Plastic Ono Band. When Beck and Godrich pour on the Indo-Beatles chaos in “Sunday Sun” — ghostly pounding piano and not-so-unison guitar; a meltdown coda of drums and distortion — you can still hear Beck’s resignation and unsteady resurrection inside the song” – AllMusic

2. Guero

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Release Date: 29th March, 2005  

Label: Interscope

Producers: Beck Hansen; Dust Brothers and Tony Hoffer

Standout Track: Earthquake Weather

Review:

“From there, Beck darts around the musical map like an animated flea, springing from the low-riding chicano funk of "Que Onda Guero" to the summery pop of "Girl" and the itchy bossa nova of "Missing", whose infectious Tropicalismo tone is streaked with Eastern-flavoured strings orchestrated by Beck's father, the arranger David Campbell. The song's reflections on the essential patchwork incompleteness of life - "Something always takes the place of missing pieces/ You can take and put together/ Even though you know there's something missing" - are no less applicable to his own work, which typically makes unorthodox wholes from diverse fragments.

Examples are legion here: the gulp of harmonica, breakbeat drums, babble and scratch that form the groove of "Hell Yes"; the lolloping, late-period Sly Stone-style groove of "Go It Alone", in which furtive electric piano peeks out tentatively from behind Jack White's limber bassline; the bang-in-fashion Eighties indie stylings of "Send a Message to Her"; and the darker combination of piano and bottleneck guitar in "Broken Drum". Most impressive of all is the engaging mélange of choogling clavinet and squally lead guitar that is "Earthquake Weather".

Death casts its cadaverous shadow over a few tracks, most notably the sombre "Farewell Ride", as Beck contemplates his own departure, with "Two white horses in a line/ Carry[ing] me to my burying ground". For all the superior production standards, it's a sentiment that could have come off 1994's hip-hop-folk-blues oddity One Foot in the Grave, suggesting that Beck's character remains essentially unchanged by a decade of success” – The Independent

1. Odelay

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Release Date: 18th June, 1996  

Label: DGC

Producers: Beck Hansen; Dust Brothers; Mario Caldato Jr.; Brian Paulson; Tom Rothcock and Rob Schnapf

Standout Track: Where It’s At

Review:

“For Odelay, his second major-label outing (since Mellow Gold he has released two discs on indie labels), Beck has enlisted the Dust Brothers, the producers responsible for the smorgasbord of tasty, left-field samples on the Beastie Boys’ seminal Paul’s Boutique. The result: a pastiche of twangy country licks, hip-hop beats, surrealistic folk, jive-turkey rap, and samples (from Tchaikovsky to the Frogs) that further affirms Beck’s rock-chameleon identity.

Beck’s got a lot going for him beyond his wide-ranging musical interests. Primary among his virtues is an ever-present sense of humor: Without straying into Weird Al territory, he imbues his lyrics with a healthy sense of the absurd — something almost entirely lacking in rock today. ”I got a stolen wife and a rhinestone life, and some good old boys/I’m writing my will on a three-dollar bill,” he sings in ”Sissyneck,” the finest of his many country-funk inventions. Ultimately, what holds all Beck’s work together is his arch, whacked-out street poetry. Whether reminiscing about a rough-hewn club (”A place we saw, the lights turned low/With the jigsaw jazz and the get-fresh flow”) or philosophizing about settling down (”I dropped my anchor in the dead of night/Unpacked my suitcase and threw it away”), Beck maintains a perfect balance of hip disaffectedness and depth of feeling. And that’s why he’s no loser, baby” – Entertainment Weekly

INTERVIEW: Samana

INTERVIEW:

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Samana

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IT has been great speaking with Franklin and Rebecca of Samana…

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about their formation and what sort of music drives them. They speak to me about their new track, Beneath the Ice, and what it was like putting the video together. I ask if more material is coming and whether there are any tour dates approaching – they recommend some rising artists to look out for.

Samana talk about their favourite memories and what they have planned for next year; what sort of music they grew up around and how they spend time away from music – they end the interview by each selecting a great track.  

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

Very well, thanks. Our week has been considerably wet, having spent the past week on top of a mountain, in our van, in the Welsh countryside in Storm Calum. We didn't bring a radio or a means of gathering the news, so had no idea what we were in for.

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

We are Rebecca Rose and Franklin Mockett from Samana.

The music video for Beneath the Ice is out. What was it like putting it together? Do you have a lot of say when it comes to concepts?

Beneath The Ice is a psycho-emotional improvisation; a poem that in the act of its creation, navigates the subconscious through the intensity of loss into a deep, eternal exhalation. This song is an ode to the moulting cycle of the poet, to the expansion of solitude; to the twilight that one lives inside, between the silence of stillness and movement. It was a pleasure to put the video together, being an amalgamation of impulses and instinctive ideas.

I believe you have a single coming out soon - in the prelude to the release of your first album?

We do indeed! Keep your eyes and ears peeled. 

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How did Samana get together? Have you known each other for a long time? 

Samana was born in Austria during a year-long trip the two of us took in our van as we travelled through Europe after we fell in love. We went out with the sole intention of exploring freedom in its purest form to us. During the two weeks we spent by an alpine lake, upon our return from a long walk we'd taken - where we'd stumbled upon an old woman's small rickety house in the forest where she fed us apple cake and cider - we decided to venture forward together; fusing our inner-worlds of thought, dreams and creation to form Samana.

Which artists did you all grow up around? Do you have any personal musical idols?

Franklin: I grew up to the sounds of Kraftwerk, The Stone Roses and Boards of Canada reverberating through the tiled floors of my childhood house over the years, if only to name a few. I've a lot to thank my father for. He more or less shaped the inner-musical fabric of my mind while my mum, who'd play The End by The Doors while she was pregnant with me, must have woven Morrison into my heart. 

Rebecca: Whilst my mother was pregnant with me, she played me nothing but African music - it still has an overwhelming effect on me to this day. I grew up with a very eclectic mix of music. I have many musicians that inspire me greatly - most of whom pay huge attention to the power and significance of the poetry within their music and words.

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

Franklin: A means of heating a house this winter...and to share the music live of course.

Rebecca: To continue journeying down the path we're on.

In that same vein; do you have plans for 2019 in terms of what you want to accomplish?

With the release of our debut album, our hearts will be set on taking the music to the people and, in doing so, we hope for a powerful year of connecting, sharing and learning. 

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

Franklin: Playing in a Munich park, we brought a large number of people together from all walks of life who listened to each song in silence. At the very front were two homeless men, both of whom were arm in arm, dancing and swaying silently to the music with their eyes closed for the whole hour we played. Afterwards, we spoke to a number of people in the crowd and every single one of them from the area had said that, over the many years the two men had lived in the park; never had they come within two yards of one another without fighting. It was a small but significant moment that lined the path of our travels with many more instances that changed us and our music forever; something we seek to obtain and imbue in ourselves and those we share our music with.

Rebecca: There have been so many. One example would be when we played in the Montpelier opera house. After our set, a young man approached me with his hand on his heart, barefooted. Franklin and I always play barefooted - as it earths us. After some very poignant and deeply touching words, he left the opera house barefooted as a symbol of his understanding and connection to the music. This image has stayed with me ever since. 

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

Franklin: It's very hard for me to say as every album means so much for such different reasons. However, I guess if I was to strip them all down to their purest forms as I understand them, I'd have to say If I Could Only Remember My Name by David Crosby. It's the most human album I've ever heard in its construction and implementation and roots me to the ground and to myself whenever I hear it. I love how impulsive it is, how free it is and, with such boundless energy, how it draws rich and raw breaths with every word Crosby gifts. 

Rebecca: I think, to the day I die, I would never be able to provide a definitive answer to this question. Albums are like a geographical map of the heart; each to be paired with a significant state of emotion, time or experience. 

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

Franklin: I'd probably want to support Bob Dylan before he goes, just to hear his stories first-hand before it's too late. I'd take a bottle of the finest malt whiskey, a packet of Sobranie and a chesterfield by a fireplace to be sure he'd entertain me. 

Rebecca: Alive today? Patti Smith - as she has shifted so many seas and I respect her greatly. The concert would be held in a building of significance - probably a beautiful old church. I'd go for an autumnal forest walk in her presence beforehand, with a flask of black coffee to listen to what she has to say.

Can we see you on the road this year at all?

We are disappearing next month to live in the south of France for six weeks to compose and transpose the album live; so any shows we'll be looking to play would be early-December, looking to next year. We are arranging some very interesting, boutique shows around London in the New Year so keep your eyes peeled.

What advice would you give to new artists coming through?

Franklin: Know that the only thing that will really serve you along the long, twisted and windy road is passion. You can more or less leave the rest at the door, for it will seldom come in handy and only weigh you down.

Rebecca: Follow your gut instincts and intuition; they will always serve you on your path.

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 IN THIS PHOTO: Mesadorm/PHOTO CREDIT: Sarah Cresswell

Are there any new artists you recommend we check out?

Franklin: The best new artist I've heard is Aaberg. The music speaks entirely for itself so I've very little to say other than it moves me to the core. A song from another new artist which I've fallen for is Mesadorm's Yours and Not Yours...a bit like Roxy Music's Mother of Pearl; It introduces a rather grating and uncomfortable theme before dropping into complete bliss that you really feel after being dragged through the thorny bushes. 

Rebecca: Seabuckthorn - poignant music. 

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IN THIS PHOTO: Seabuckthorn 

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

Franklin: We live and breathe our music and creations but I must say I feel constantly unwound through life; I guess it comes back to that word, passion. I have however spent more time recently working with really wonderful composers and musicians for my analogue mobile recording studio, The Road Records, which has given me objectivity and inspiration since the twenty-hour days we'd spend incessantly putting the album together. The two of us also spend large parts of our days wondering the countrysides and exploring country roads. 

Rebecca: As well as poetry, hot baths and forests.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your

music - I will do that).

Franklin: Pilots by Goldfrapp. For me, it conjures a thought of flying through the sky to a John Barry piece I've dreamt up; if only I could have remembered it first! 

Rebecca: Something on Your Mind by Karen Dalton

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Follow Samana

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INTERVIEW: Julen the Human

INTERVIEW:

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Julen the Human

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I have been speaking with Julen the Human…

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about his start in music and what inspired his latest track, Time. He discusses influences and which artists he grew up around; what he hopes to achieve by the end of the year and whether there are a few albums that are especially important to him.

Julen the Human reveals a favourite memory from his time in music and highlights some artists to watch; whether there are any gigs coming up and how he spends time away from music – he ends the interview by selecting a fine track.

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Hi, Julen the Human. How are you? How has your week been?

Hi! Good, thank you very much. How about yourself?

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

Sure thing! Hi there. My name is Julen (the Human). I’m a multimedia artist who dabbles in both audio and visual mediums with a passion for topics regarding existence; the nature of reality and the human condition. Due to its immediacy and ‘in the moment’ nature; music is an essential part of what I do and one of the strongest emotional conduits I have to my disposal. It’s an indispensable catalyst that balances out the other, more ‘cogent’ content.

Time is your new track. What’s the story behind the song?

Well. Besides its super-original title; the song is pretty much exploring the realization of time being impartial to you or anyone; the haunting notion of wasting one’s youth by living in the hypotheticals. It’s about this sort of vicious cycle of apathy, where the chorus show a glimmer of hope/motivation but we then fall back to the monotony and melancholy of the verses. It talks about not seeing things through to the end so the song itself ‘ends’ without the ‘concluding’ chord to the final progression - smart, eh?

Might we expect some more material down the tracks?

Yup! Working on new stuff as we speak! And, by ‘stuff’, I mean content in both audio/visual mediums.

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You are a YouTube star. How does your work you do there and that experience feed into your music?

I wouldn’t really say ‘star’; more like a budding, baby ball of burning gas still nestled in a fluffy nebula’s embrace. Well. The whole idea of the channel is to use it as a way to merge and showcase an array of artistic ventures and collaborations. So, in a way, it’s a sort of feedback loop - I guess.

Are there particular musicians you draw inspiration from? Did you grow up around a lot of music?

Growing up, I was always surrounded by music and instruments. My older brother is a musician so it became sort of second nature to me. To tell you the truth; I never really considered it a career choice until later in life. Whilst studying film, ironically enough.

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

Well. Seeing as that is right around the corner…I’m just aiming to get a better footing in terms of the content that I’ll be uploading for what’s left of this year and the upcoming one.

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Do you already have plans for 2019?

I’m currently working on it!

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

There’s a funny memory from when I was very, very young…

I remember my brother got a keyboard for one Christmas and, as most keyboards do, it came with a modest constellation of ‘preset’ song buttons. I had this weird game with myself where I would go to my brother’s room, play this particular preset - I believe it was a MIDI rendition of Pachelbel’s Canon in D - and I would see how long I could go before I felt the tears swelling. I know, it’s odd. I guess music just really strikes a chord. Hah! Get it?! Ok; sorry… dad joke (and no, I’m not a dad).

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

Maybe I’ll get some heat for saying this but I don’t really have a particular album that means the most to me…it’s always been more about the individual songs. Don’t get me wrong; there are some amazing albums with insane concepts which I definitively find admirable and inspiring. Anyway; here are some I really enjoy:

Discovery - Daft Punk; Give Up - The Postal Service; Melody A.M. - Röyksopp; Stadium Arcadium - Red Hot Chili Peppers; Continuum - John Mayer; Tourist History - Two Door Cinema Club.

Basically, all of Joe Hisaishi’s work with Ghibli etc.

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What advice would you give to new artists coming through?

Don’t kill your ideas by judging them too fast. Also; it’s fine to have a vision, just remember it’s important to focus on the present and not get too carried away by illusions - or you’ll exhaust yourself in a futile pursuit.

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

Not at the moment, but I’ll keep you posted! If you subscribe to my YouTube channel and/or follow me on Instagram, I’ll make sure to keep you up to date and in the loop!

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 IMAGE CREDIT: Zhé

Are there any new artists you recommend we check out?

Sure! A lot of 'em: Zhé (his album, A Pretty Dark Soul, is on Spotify); Morris (their album, Va a Pasar, is also on Spotify); El HueyCoyote (yup; Spotify as well); David Alexandr (his new single, Take Your Leave, is on Spotify); Silver Twins (yes, yes. Spotify) and Nimbus (coming soon so keep an eye out!) to name a few. 

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 IN THIS PHOTO: El HueyCoyote

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

When I’m not doing music, I’m usually working on some other content idea. I have an overactive brain, so something that has been of incredible help and benefit to my life in general is the practice of meditation. Really recommend it to anyone who identifies as human!

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).

One Summer’s Day - Joe Hisaishi

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