FEATURE: Killing in the Name: Rage Against the Machine’s Masterful Debut at Twenty-Six

FEATURE:

 

 

Killing in the Name

IMAGE CREDIT: Getty Images 

Rage Against the Machine’s Masterful Debut at Twenty-Six

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THERE are a lot of albums that warrant attention…

 IN THIS PHOTO: Rage Against the Machine in 1992/PHOTO CREDIT: Getty Images

and are those that we all keep coming back to. They are those we shine a light on should be dissected and respected. One such album is the incendiary and splenetic Rage Against the Machine. The eponymous debut album from the American band launched into the world when George H. W. Bush was defeated by Bill Clinton in the presidential elections. In fact; the same day Rage Against the Machine - with that debut album on 3rd November, 1992 - announced their presence in the world was when Clinton came to power (he would not be inaugurated until January 1993). It was a narrow margin but it was a popular one. Consider what was happening in the world – from racial discrimination and violence to corruption and social inequality – and you can understand why this cocktail of an album came along. Although it would take a while for the new President to take his place in the White House and regain control of the ship; it is iconic to think this masterful album arrived the same day the United States welcomed a new leader. Every year seems to bring corruption and anger to the fore and there is always some form of unrest brewing. Stories of police brutality and despicable injustice was angering and igniting the American people but there were no bands around articulating that fury through music. Change was needed and many (in the U.S.) felt displaced and scared.

The reason why the anniversary of Rage Against the Machine should be talked about is because it is more relevant now than ever! It is somewhat sad and upsetting a record that rallies and rebels against evil should be more needed and reveals more light the further time goes on. One would think the messages from Rage Against the Machine would resonate and warn those to come. Presidents have varied in their competency and humanity and, although a Democrat in power was a good thing; there has been that building rage and sense of despondency. Now, twenty-six years from the release of that incredible debut and it seems like lessons have not been learned. There were plenty of hard-hitting and anthemic albums that arrived in the U.S. leading up to the introduction of Rage Against the Machine. In 1991, we saw Nirvana’s Nevermind come and Metallica’s eponymous release; there was Use Your Illusion I from Guns N’ Roses and Public Enemy’s Apocolypse 91… The Enemy Strikes Back. 1992 gave us Pavement’s Slanted and Enchanted and Dr. Dre’s The Chronic; Manic Street Preachers’ Generation Terrorists and Alice in Chains’ Dirt. There were some great Rock and Rap efforts but none that managed to fuse the genres in the same way; few that had that political edge and anger. Maybe Public Enemy brought some of that sense of injustice and fire but Rage Against the Machine came out of nowhere, it seemed.

In a scene where Grunge and Rock bands were talking about their own pains, depressions and angers; here were a tight and focused group of renegades who were armed and very dangerous indeed! There was no posturing from Zack de la Rocha (vocals), Tom Morello (guitars); Brad Wilk (drum and percussion) and Tim Commerford (bass) and their debut album smacked of complete conviction and reality! Unlike some of their preening and commercial peers; this was a band that meant business and were laying down an album that contained none of the clichés and tropes that were coming out at the time. Against the rather introverted and gloomy nature of Grunge; Rage Against the Machine possessed the same anger and attack but it was directed and projected at those corrupting the country and getting away, in many cases, with murder. Rage Against the Machine would produce three more albums before they split – although, technically, they are together there has not been any new material since 2000 – but none burned as bright as their debut. 1992 was a year with a lot of music gold emerging but, in political terms, political corruption and injustices were not being ably met by artists. Even though Rage Against the Machine has ten tracks; most of them are over five minutes long and a lot of ground is covered.

In spite of the longer running times; every song is tight and focused but there is a sense we are hearing mandates being laid. The band were not sloganeering or spouting worn buzzwords: every song on Rage Against the Machine was led by Zack de la Rocha’s poetic and fierce lyrics and the world’s best musical support. Take the opener Bombtrack and you get a sense of what is to come. The introduction trips and teases like Earth, Wind & Fire’s Fantasy before bursting into life. The lead summons the band into action and they galvanise in a storm of killer riffs and potent beats. Tim Commerford (bass) composed the riffs and the rest of the band impressed. The title unites the Hip-Hop term for greatest ‘bomb’ so, in essence, they felt Bombtrack was the greatest track. The potent and intense opener talks about “landlords and power whores” as Take the Power Back and Settle for Nothing showcase what an exciting and unique band Rage Against the Machine are. A lot of bands put too much emphasis on the front or push the bass to the background: tracks on Rage Against the Machine unite all the members and there is no one lead. The bass is consistently inventive and leading whilst the percussion provides the fist of power and protest. Morello’s spectacular guitar fireworks add so much to the music and heighten everything around it.

Even when de la Rocha’s lyrics occasionally slip into the ordinary; Morello and co. are there to bring the magic and support. Bullet in Your Head and Know Your Enemy are in the middle of the pack and are among the most explosive and enthralling songs on the album. Never has a band sounded as primed and angered as they do when talking about those who deceive and screw you over. Whilst not perfect and on the same level as the world’s best lyricists; Zack de la Rocha was able to write in an intelligent and inspiring way that was a lot more accomplished and inspiring than a lot of his peers. Wake Up talks about racism in the American Government and the counter-intelligence programs of the FBI. Part of the song incorporate an FBI memo in which its director J. Edgar Hoover suggested suppressing the black nationalist movement. Rage Against the Machine, on the song, suggest black leaders like Dr. Martin Luther King Jr. were assassinated because of the Government – they arranged the killings and needed them silenced. Know Your Enemy rallies against the supposed American Dream and its irony in the modern time. The song’s composition is dizzying and busy and makes use of Tom Morello’s toggle switch; the track switches between a pickup that is turned off and one that is on – which creates a tremolo effect. Commerford, again, was responsible for the riffs and he wrote the primary and secondary ones on acoustic bass.

Freedom, the longest track on the album, ends things with a real bang and one of the most fired vocals from de la Rocha. Songs like Fistful of Steel show how the band could layer the sound and take the song from a whisper to a scream. Listen to the slightly muted and far-off riff that starts; backed by bass and then, when Wilk’s drum tees up de la Rocha and heralds the song in; the lead gives out a pointed “Hup!” and the song swaggers forward. Maybe the riffs and composition should have been a little faster but, in any case, you get this head-nodding, resilient diatribe that gets into the head and makes you think. Most of the attention, quite rightly, goes to the lead-off single from Rage Against the Machine, Killing in the Name. The song is a tirade against American ills and makes reference to racist police brutality; the irony of those charged with protecting citizens yet embroiled in hatred and racial violence. The song’s chorus has the famous line “Fuck you, I won’t do what you tell me” and that word, ‘fuck’, is used seventeen times. The track nods to occasions when U.S. police officers have colluded with white supremacist groups and implicitly supported violence against the black population.

The song arrived only six months after the Los Angeles Riots – it saw four white officers acquitted of the beating of black motorist Rodney King. No surprise the song resonated with people and remains Rage Against the Machine’s most-popular song. Killing in the Name is a live favourite – or ‘was’ – and was a huge radio hit when it was released in 1992. Aside from a slip when BBC Radio 1 D.J. Bruno Brookes accidentally played the uncensored version and provoked a wave of complaints; people have always been drawn to it. A famous campaign in 2009 aimed to get Killing in the Name to number-one and defeat the inevitable campaign from the latest X Factor warbler. Although Killing in the Name only survived at the top spot for a week – it slumped out of the top-40 pretty quick – it did hold off the challenge of Joe McElderry and show that, even at Christmas, a song rallying against police racism and brutality was a more popular choice than something more traditional. Although the song has taken on a life of its own and exploded; it does not eclipse the other nine tracks on Rage Against the Machine. With no filler and a phenomenal amount of confidence; the 1992 debut from Rage Against the Machine scored huge critical acclaim – it got a lot of retrospective love as well.

 PHOTO CREDIT: Getty Images

This review/retrospective, written by Pitchfork last year, paid passion tribute to the album and looked at the beginnings of the band and how Rage Against the Machine added their stamp to music:

“It was 1990, and Tom Morello was a struggling rock guitarist in Los Angeles, with a Harvard degree in social studies. He had a vision to funnel the unrest of the day—the Gulf War, the prospective end of apartheid, the collapse of the Soviet Union—and his galvanizing experiences as a Kenyan-American kid in suburban Illinois into a group that synthesized rock and rap into something inherently rebellious. Or, as he put it in a want ad, he required “a socialist frontman who likes Black Sabbath and Public Enemy.”

Within weeks of forming, Rage Against the Machine—a name lifted from an abandoned tune in de la Rocha’s last band—had recorded a 12-song demo of originals, pieced together largely from fragments in de la Rocha’s journals and song structures Morello had contemplated for years. By the end of 1991, they were navigating major-label offers. By the middle of 1992, they were recording their self-titled debut in a string of fancy Los Angeles studios. Seven of those first demos reappear on Rage Against the Machine in almost identical form, de la Rocha’s vocals simply sharpened by veteran engineer Garth Richardson…

IMAGE CREDIT: Getty Images

Rage Against the Machine became a better band on each subsequent album. Their landmark follow-up, 1996’s Evil Empire, is much more coiled and concise. Wilk and Commerford were perfectly heavy. Morello had found the fertile nexus between gargantuan riffs and idiosyncratic techniques that intrigued adolescent fans and Guitar Player obsessives alike. And on 1999’s The Battle of Los Angeles, their hard-nosed finale, de la Rocha is at the height of his polemical powers, rhyming in great hypertextual arcs of political pleas. Morello’s singular guitar style had developed to the point that Rolling Stone famously mistook his screeching “Guerrilla Radio” solo for a harmonica break.

Never again, though, would the quartet sound so casually confident, as if they actually had the gusto and naiveté to take on the world”.

You can claim Rage Against the Machine made a better album – although I would argue against it – but they never created anything as instant, unexpected and timely. The band have not ruled out a reunion but with three-quarters of the band (everyone except Zack de la Rocha) involved with the band Prophets of Rage – alongside members of Public Enemy and Cypress Hill – the band have gone their separate ways but there is no bad blood. It would be exciting to think that, in a time when Donald Trump scares the world and there is police brutality and racism; the band who brought this remarkable debut album could dust it off and take to the stage. You can apply inspirations from the 1990s and events happening then to 2018.

If anything; there is more fear and division in the world and America has a President who seems to causally overlook problems like racism and brutality. He stands for everything Rage Against the Machine oppose and, as such, we need to study Rage Against the Machine and learn from it. Whilst its creators might be reproduce it and follow it; I wonder whether any bands of the moment will take heed and create their own version. In many ways, Rage Against the Machine could only come from this one band who seemed to bright incredibly bright from the off. Although they did release Evil Empire (1996), The Battle of Los Angeles (1999) and Renegades (2000) – the latter was a covers album – I feel none touched the sheer brutality and brilliance of Rage Against the Machine. Few bands since have managed to create anything as jaw-dropping and potent. We need more political bands who can provide big statements and fire against the corrupt but it seems like other genres are taking care of that – solo artists from Grime and Hip-Hop are doing it instead. In this feature from last year; the band recall their beginnings and how the magic started:

“Twenty five years on from its original release, Rage Against the Machine remains chillingly relevant – current turbulent, geo-political times have ensured to that. The band’s firebrand rhetoric has also been given extra muscle by the arrival of Prophets of Rage, a rock-rap supergroup comprising the original band’s engine room of Wilk, Commerford and Morello….

IN THIS PHOTO: (L-R): Zack de la Rocha, Tim Commerford; Brad Wilk and Tom Morello/PHOTO CREDIT: Press Association

The seeds of Rage Against the Machine’s emergence can be traced to Libertyville, Illinois when Morello, a Joe Strummer-obsessed singer-songwriter and the “only black kid” in the all-white town, moved to LA in 1988 to join Hollywood rock band and Geffen Records incumbents, Lock Up. Having worked somewhat incongruously as both political secretary for Democrat politician Alan Cranston and an “exotic dancer” to pay the bills, Morello had his ambitions of fame dented when the band split up in 1990 after releasing just one album, 1989’s Something Bitchin’ This Way Comes.

When the band divided their final pay cheque of $1,000, Morello was only 26 years old, but the sudden career lane change proved inspiring. He was now free to make the heavier, angrier music he had held back from Lock Up’s recording sessions. Morello called in Wilk, who had previously auditioned for the band and, later, de la Rocha and Commerford.

“I was relieved that my music career was done," says Morello. "I thought, ‘Well, if I’ve missed my grab at the brass ring, then at least I’m going to play music that I believe in and love.’ Rage Against the Machine was formed with zero ambitions.” The band’s early writing sessions – a basic, punk rock set-up comprising guitars, drums and de la Rocha’s righteous rage – were soon imbued with a headier vibe.

Rage Against the Machine’s rock-rap musical gumbo soon delivered an album of demos that would make up their debut album. Early cassettes were delivered to record label influencers with a match taped to the box. Chuck D, impressed by the band’s lyrical MO would later take them on a powderkeg US tour where shows were patrolled with police helicopters and metal detectors were commonplace, the authorities fearing an outbreak of gang violence…

“Tom’s (guitar) was what-the-f---, out of this world,” says Chuck. “The bass was like [Motown bassist] James Jamerson. [Rage Against the Machine] had power.” On its release, Rage Against the Machine went triple-platinum in America and made the UK top 20, though its breakthrough moment undoubtedly arrived when firebrand single Killing In the Name was aired on Radio 1 in February 1993. In a headline-making blunder, DJ Bruno Brookes accidentally played the track’s uncensored mix, peppering the airwaves with the anthemic, but expletive-heavy chorus, “F--- you, I won’t do what you tell me.” Brookes was suspended and the LA four-piece’s notoriety was immediately assured’.

Last year saw Rage Against the Machine turn twenty-five and it seemed very apt that many would reconnect with it. A year on and we have seen even more outrage and corruption from Donald Trump; shootings happen and racism come back into the news; division in the U.K. and atrocities that gives Rage Against the Machine even more relevance and meaning. It is almost disturbing listening to a record that seems to predict what would happen in the future whilst brilliantly assessing the mess it was in (in) 1992. Few debuts have burned as hard and made such an impact and it is testament to a band that was tight, brotherly and, in their own way, uniquely talented. There was no minor member: each performer added incredible angles and D.N.A. to the album and ensured it was hugely well-received. Whilst the people of America pray for a new President and want to forget the disturbing reign of Donald Trump; it seems the chorus of Killing in the Name seems…

  PHOTO CREDIT: Getty Images

MORE relevant than ever.

INTERVIEW: CAEZAR

INTERVIEW:

 PHOTO CREDIT: Daniel Alexander Harris

CAEZAR

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THE guys of CAEZAR…

have been telling me about their new track, Somewhere New, and what we can expect from their E.P., HAIL! I ask how the band met and what sort of music inspires them; if there is an approaching artist we need to get behind and whether they are heading on the road at all.

I discover which albums are important to them and what they have planned for next year; if there are any favourite musical memories and which artist they’d support given the chance – the band members each choose a song to end the interview with.

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

Hey! It’s been another busy week. It always surprises us just how busy it is when you’re deep in the middle of a campaign. With all the P.R. work, the travelling and the interviews – it’s relentless! We love it though.

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

Of course. We’re an Electro-Pop three-piece, originally from Cheltenham in the South West but now we spend most of our time in London. We’ve been a band for about four years, but previously performed under a different name (‘Quigley’). We then had a line-up change with two members leaving the band; this left just Chris, Zoe and Rich (C,Z,R) in the band. It seemed like the right time to close the chapter on Quigley and start something new. We’d started working with a new producer at the same time and the chemistry of it all just seemed to click. Eighteen months later and CAEZAR was born.

Somewhere New is your single. Can you explain the story behind the song?

This is actually one of the oldest tracks in our repertoire – although it’s changed a lot since when we first started performing it. We wanted to capture that feeling of restless excitement that you get when you discover a new place or a new adventure – and we think this song epitomises that. It’s a real anthemic track with a strong hook at its heart. It always gets a great reception when we perform it live.

The E.P., HAIL!, has been announced. What sort of themes motivated and inspired the songs?

It was really important for us to try and capture the many shades and sides to ourselves in this E.P. It would have been easy to have put four lighthearted, easy-listening tracks together. However, we wanted to showcase that – yes, we’re an Electro-Pop band – but there are so many emotions that inspire us and we love to explore in our music – whether it’s bittersweet, lighthearted; frisky… that’s what keeps us interested. We’re really proud of each single on the E.P. and feel that the tracks work either independently on their own but also as a collection.

 PHOTO CREDIT: Daniel Alexander Harris

In terms of sounds/artists; who are CAEZAR inspired by?

We have quite a diverse range of influences – Chris loves OneRepublic, Maroon 5 and Muse while Rich is more introverted and will spend hours digesting acts like Pink Floyd and Ben Howard. Zoe has Indie tastes, so loves acts like Nothing But Thieves and Amber Run.

How did you get together? Did you all meet in Cheltenham?

Chris and Rich first met on the rugby pitch. They played for the same rugby team and both got injured at the same time. As they couldn’t play rugby, they had to find another way to spend our time so they started the band! One thing led to another and now the music has completely taken over from the rugby (although they will try to get a game in when we can). Zoe came into the mix in 2015; first as a backing singer for the band but her voice and character were so strong she quickly established herself as a key member of the band.

 PHOTO CREDIT: Daniel Alexander Harris

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

The goals for this year is to complete the release of the E.P. (due 30th Nov) and to continue to nurture the CAEZAR following. We’ve been very fortunate to have an amazing reaction to the tracks so far with BBC Introducing featuring the E.P. as a main event; CLASH magazine premiering our singles and even getting some U.K. National T.V. broadcasting with Philip Schofield on ITV’s This Morning!

Do you already have plans for 2019?

We want to build on what we’ve started this year. It’s been amazing to release the songs to such a positive response; now we want to take the tracks on the road and showcase them to audiences across the U.K. – and beyond. We’re talking to festivals currently and hope to make some big announcements soon. After that, we will be looking to get back into the studio to start on our next project.

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

Our favourite memory so far has to be when we performed at Alt Fest in Belgium. It was our first international show and really opened our eyes to how far music could take us. We were treated like royalty; we got to meet loads of amazing acts, and also were able to hang out for a night in Bruges – which we’d highly recommend. It was an incredible adventure.

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

Chris: Muse - Origin of Symmetry

The first album I began to understand the power of melody regardless of genre.

Rich: Pink Floyd – The Wall

I grew up hating this album. My parents would play it on-repeat and it confused the hell out of me. Then, as I grew up, I reengaged with the narrative, the journey; the multifaceted moods and tones – and, of course, the guitar solos. I love it. Dave Gilmour is the man. Fact.

Zoe: Amber Run - 5am

I'd been in a dark place where I didn't even want to listen to music. This was the album that changed that. It marks a very poignant turning point in my life

 PHOTO CREDIT: Daniel Alexander Harris

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

If we could support anyone performing right now, then I think someone like Raleigh Ritchie would be amazing. In terms of riders; we’re happy with a few beers! As long as it’s not fruit – we were once given a bowl of oranges as a rider and Chris is still angry about it today.

What advice would you give to new artists coming through?

Creating and growing music that you love is not easy. It takes a lot of dedication and persistence to get your head above the water and even then expect a lot of rejection and disappointment. It’s the bands that believe in themselves and who can ride the waves of ups and downs that will make it. So many amazing acts never make it because they give up too early.

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

We will be announcing 2019 tour dates very soon. Head over to our Facebook page to ensure you get the updates when they are published.

 IN THIS PHOTO: Rex Orange County

Are there any new artists you recommend we check out?

Not really an ‘unknown’ but Rex Orange County is tearing it up right now – we love him!

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

Probably unsurprisingly we turn to rugby when we’re not in CAEZAR-land. We’re big supporters of Gloucester rugby, so will go to watch the Cherry and Whites when we can and, if not, we will strap on our boots for a game with our home club, Old Cryptians. Except for Zoe – she’s mega-creative so she will be painting or designing something stunning (like the band’s artwork).

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).

Rich: Rex Orange County – Loving Is Easy

Chris: Navajo – Masego

Zoe: Theophillus London – Bebey

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Follow CAEZAR

Official:

https://www.hailcaezar.com/

Twitter:

https://twitter.com/HAILCAEZAR1

Facebook:

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Spotify:

https://open.spotify.com/artist/6f2j70gzysK5Z83ZhbpaFo?si=Y6Nkx0WfTjWmKvfvKOSEhg

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SoundCloud:

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YouTube:

https://www.youtube.com/channel/UCDTTt6IlbDEOFtbbkiiWhTQ?view_as=subscriber 

INTERVIEW: Alichè

INTERVIEW:

Alichè

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THANKS to Alichè…

 PHOTO CREDIT: @bychrisreid

for talking with me about her latest song, B.B.I, and what it is all about. She reveals how her music has developed and which artists influenced her; a few albums that are very important and some rising names that we need to be aware of.

I ask whether there are gigs approaching and how important London is to her; which musical memory stands in the mind and how she unwinds away from music – Alichè chooses a great song to end the interview with.

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

Hey, hey! So good. It’s release week, so I've literally been counting down to the day!

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

I’m Alichè - pronounced ‘Ali-Chay’. I was born into music, literally born under a piano at home. Haha! I’d say I sit somewhere in a contemporary style of R&B/Hip Hop. I like to take influences from all different genres of music to form my own style and take. I embrace being from London and proudly sing with my accent. To be honest, couldn't drop it if I tried. 

B.B.I is your latest single. What is the story behind it?

B.B.I = Bad Boy Issues. It’s not about any specific being, but more a reflection of frustration. Anyone that knows me knows I have a big, big heart but I'm not a lovey-dovey relationship person. I do my own thing, work hard and put myself first a lot. But ‘bad boys’ are my kryptonite: I get pulled in by a certain type of presence and swagger; they always seem to end up being an issue.

How do you think it moves on from No Luv? Do you feel yourself bringing out more material next year?

They are both tracks that represent me and I'm proud of. There’s a lot more to B.B.I; there’s a certain vibe to it that I was, like, ‘Cool; this has to be my first official release’. I’ve got a couple things lined up for next releases but, for now, I’m just eager to test the waters in the reception of B.B.I.

In terms of music; who do you count as idols? What sort of stuff did you grow up listening to?

My family play a big part in my musical influences. I grew up with a lot of Jazz, Funk and Soul music around me. There’s always good tunes playing in our house. We spent some time in Cuba when I was little - and my family did before I was born too -, so a lot of Cuban and Spanish music and culture was always about - whilst I also had an older brother drilling Hip-Hop and Grime into me from an early age. 

Erykah Badu, to me, is one the greatest human of all time. Q-Tip is also possibly one of my favourite Hip-Hop artists alongside the more modern-day sounds of King Kendrick. And, finally, I would not be the woman I am today without the existence of Amy Winehouse. 

Being based in London; how important is the area and the people regarding your music and creative mind?

So important. I bounce off London. It’s an exciting time for U.K. music as a whole. Defining sounds and pushing new limits. There’s a lot of love in this city but a lot of pain too. It inspires me every day. Even just watching the people I see on the Tube every day; they give me ideas or inspiration. 

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

The most important thing for me right now is developing my presence and sound as an individual, so I’m keeping my head down and trying to stay consistent. 

Do you already have plans for 2019?

Of course. I’ve got so much I would like to do but, my team and I, we plan loosely. Things and plans can change so quickly. In 2019; I would love to support a British female artist on their tour or their home show.

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

It would have to be the headline show I did in September at The Spice of Life. I’ve been going to that Jazz club for London Jazz festival for years. It was also my first headline with a live band who, shout out to them, are the best musicians. Excited to see where we’ll be playing in the future.

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

The Miseducation of Lauryn Hill by Lauryn Hill and Baduizm by Erykah Badu shaped me as a human; they both got me through some tough times and boosted the good days. Then, Songs in A Minor by Alicia Keys is a timeless album to me; reminds me of just being young, blasting it out singing at the top of my lungs. My biggest worry was the flat upstairs banging to tell me to pack it in. 

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

If we’re talking worldwide, then Anderson .Paak. I think he is incredible. Ah…a rider. Well. If I was on tour I’d probably set up and run a fitness boot camp every day for the whole team and band. Blast some tunes and whip everyone into shape….

What advice would you give to new artists coming through?

I’m still very new myself so I’m still learning but I think just trust your own process. You live and learn. Don't be afraid to try new things but also don't be afraid to stay true to what feels right to you.

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

I’ve got my biggest headline show yet lined up on Sunday, 11th November at the Camden Assembly. I live to be on stage so I literally cannot wait.

Are there any new artists you recommend we check out?

I’m going to give you three AMAZING U.K./London-based artists…

Fred Fredas - who features on B.B.I. I was on one of his songs last year under a different name and fell in love with the richness of his voice. He's a QUALITY rapper and also a really good guy. Dotty. He is one of my favourite U.K. artists. His album, London X Living, is one of the most underrated projects. CHECK HIM OUT FOR SURE. Cleo Sol! Her song, Why Don’t You; it’s one of my most played songs. She has so much to her voice and lyrics; literally makes me melt.

 IN THIS PHOTO: Cleo Sol

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

To be honest; I’m one of those people that hardly sits still. Haha! Not a lot of ‘chill’ time on a regular day/week. I do weightlifting/powerlifting, which I find is my time to myself. But, putting on my favourite album or project and just zoning out when on public transport or travelling is probably the time I take to chill.

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).

Kaiit - OG Luv Kush pt.2. Another perfect example of pure U.K. talent. Someone introduced me to her earlier in the year and I have been rinsing this track since

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Follow Alichè

Twitter:

https://twitter.com/itsaliche

Facebook:

https://www.facebook.com/itsaliche

Spotify:

https://open.spotify.com/artist/3GelDNbgiUcLa8au6ii9d6?si=S694Kac1TDa5E40dzfzb5Q

Instagram:

https://www.instagram.com/itsaliche/

FEATURE: The November Playlist: Vol. 1: What Lies Beneath the Masks

FEATURE:

 

The November Playlist

Vol. 1: What Lies Beneath the Masks

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THIS has got to be one of the…

 IN THIS PHOTO: Keith Flint of The Prodigy/PHOTO CREDIT: @Bart_heemskerk

most eclectic and eccentric Playlist collections for quite a while! Not only are there barking and intense offerings from Slipknot and The Prodigy but there are softer and more soulful tracks from Sheridan Smith and Marianne Faithful! It is a rather broad collection of new tracks that sprinkles in some Bill Ryder-Jones and Halsey; a bit of Chromatics and Sharon Van Etten. There should be more than enough to get your weekend kicking and every part of the brain moved! Once you have calmed from the violence and pummel; have a listen to the more accessible and chilled tracks that should bring you back down and provide some caress. It is a wild, weird and wonderful week of music that is as varied and wide-ranging as I have seen in quite a while!

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

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Slipknot – All Out Life

The Prodigy – Champions of London

Halsey – Without Me

Bill Ryder-Jones – Don’t Be Scared, I Love You

Carly Rae Jepsen – Party for One

Saint Raymond – Echo

Beirut – Corfu

PHOTO CREDIT: Ryan Pfluger

Sharon Van Etten – Comeback Kid

BODEGA – Name Escape

RAT BOY – CHIP ON MY SHOULDER

Chromatics – House of Dolls

Morrissey – Back on the Chain Gang

PHOTO CREDIT: Stella Asia Consonni

Anna of the North – Nothing Compares 2 U 

Anne-Marie – Perfect to Me

Carly Pearce – Closer to You

King Princess – Pussy Is God

Little Mix – Joan of Arc 

Skepta (ft. LD) – Neighbourhood Watch

Troye Sivan – Someone to Love

Zuzu – Dark Blue

Barbra Streisand – Lady Liberty

Jacob Banks – Slow Up

Liv Austen – A Moment of Your Time

PHOTO CREDIT: Yann Orhan

Marianne Faithfull – Don’t Go

Sheridan Smith – The One

Lil Peep - Runaway

Pistol Annies – Got My Name Changed Back

Mariah Carey – A No No

PHOTO CREDIT: Shervin Lainez

Jade Bird – Love Has All Been Done Before

 

Charlotte Cardin – Double Shifts

PHOTO CREDIT: Scotify Studios

Slow Pulp – Steel Birds

PHOTO CREDIT: Ed Fielding and Sloane Morrison

Rival Sons – Back in the Woods

TRACK REVIEW: Louis Centioni - Here I Go Again

TRACK REVIEW:

 

Louis Centioni

Here I Go Again

9.3/10

The track, Here I Go Again, is available via:

https://soundcloud.com/louiscentioni/here-i-go-again

GENRE:

Electronic

ORIGIN:

London, U.K.

RELEASE DATE:

18th October, 2018

_________

MANY might say that there is…

a lot of variety and choice in modern music but, to me, I do not feel there is as much as there should be. I can accept there are a lot of genres and different artists working away but if you take a genre like Pop and Rock and, really, how much spread and difference does one encounter? Music is less about personalities and people than it is sound; because of that; it is about what is being put out. I feel like there are some standout artists but so much of what is coming out today is playing along the same lines. I think about Louis Centioni and there is something there to recommend. I will talk about variation and personality in musical terms and then move on to songs that have common themes but a distinct mind; Jazz and a genre that is being reinvented and inspiring new artists; nostalgia in terms of sounds and people and, to end, I will look at Centioni and where he might head. Maybe I am being hard on the new crop but I miss the days when you could encounter someone like the Beastie Boys or Nirvana and you’d have a completely different and fascinating proposition. In terms of what is about now; there are some mainstream artists that provoke that sort of intensity and intrigue as them but it is harder for the unsigned and underground. What with the sheer volume of artists and how difficult it is to stand out; I tend to find, on paper, many come across as very familiar and limited – you have heard it all before and it can be quite deflating. This will happen a lot and it is one of the worst things about what I do. I often wonder whether it is worth carry along this road and what fascination will come. Luckily, with Centioni; there is something in the locker that stands out in the mind.

Whilst I have not found a Beastie Boys or Nirvana in new music – and need to broaden my scope so I take in the likes of Rap, Hip-Hop; Jazz and other genres – I think the songwriter has a lot of potential and seems to embody promise. What appeals to me, in his case, is the blend of components and lines that go onto the page and how they translate into the music. I will talk about his latest track in a because, when it opens up; you really get a sense of an artist who wants to stand out and who does not follow the pack. I think South London and T.V., strangely, seem to come together in Here I Go Again. Maybe different inspirations infuse his other songs but, on his new cut, you can get a sense of what is happening in the capital and splice that with something dramatic. Again, like new artists; I am always wondering whether there is something samey about London and its sound. I live here but I feel the media pays far too much attention on it and one gets the sense that nobody can look past it – as though the centre of the universe is in the capital. Whilst, historically, London has pulled its weight; I think we all need to look to the North and realise the U.K. as a whole is as important as London. That being said; I think there are some artists that make me look at London from a different angle and dig deeper. The Mercury Prize, for two years, has been given to London artists and it seems, to me, South London is the most promising and appealing area. From Florence + the Machine and Loyle Carner through to Kate Tempest (although she was born in Westminster); there is that intensity, innovation and curious mindset emerging from artists here. Another thing that strikes me about South London and its artists is that curiosity regarding sound; some nostalgia but a lot of what comes from the streets.

Louis Centioni seems to be in the same sort of headspace as the likes of Loyle Carner – even if his own music has a different taste. I am interested, in the very least, at the different sides to London and how you get different music from each part. I have discussed artists who seem very samey and how the modern seen can be rather bland but, with Centioni, you have this songwriter who has half a mind in the present but is always looking back. You know he lives a very honest life and integrates sounds and memories from the streets on which he lives and walks into his blend. You get a real sense of authenticity and purity in the music and the story of his latest song, whilst common and not completely out of left-field seems to stem from something relatively unexplored and under-exposed. If you want to break away from the rather predictable and common sludge of underground music – how you can get the same thing from the same artists – then you need to investigate artists like Louis Centioni. I can get a real sense of where he walks and his daily life but you also get that combination of his favourite childhood music and sounds emerging from the modern-day scene. This is an interesting splicing and combination that makes the music weighty, impassioned and colourful. There is a lot to unpick and get involved with and you do not feel like Centioni is making music to fit into holes and follow anyone else. I mentioned how I would mention songs and there themes. I love what Centioni is putting out and would be quite hard on him if his music sounded like anyone else. One of the reason I have mentioned bands like Beastie Boys – and older artists – is because you got original stories, wit and a sense of fun in their music. Modern music has lost that adventure, smile and sense of diversity and it is one of the most depressing things.

Artists have become more insular and personal and, for the most part, songs seem to be about heartbreak and break-up. Not all artists focus on this but it seems the majority do – and we have very few innovators and acts that remind one of the classics and have any sort of fun. For a lot of artists, this is a bad thing and they can be rather lumpen and clichéd. I mention this topic because I understand why Centioni writes like this. I know his talent and innate drive can lead him to areas that project fun, incredible stories and something off the grid but he is reflecting what he is about and what he is experiencing. You can understand the need to write about what is meaningful and happening in life but I sense a mind that wants to break free and wander into other lyrical areas. In any case; you might look at Here I Go Again and what it is about – the break-up of a solid relationship and that sense that there is a pattern forming – and feel like nothing new or special will emerge. I would say the vast majority of modern artists are talking about love for the majority of the time and many of them repeat what is already out there. It sounds like I am preparing to boot Centioni’s bottom but, in fact, I am impressed he has written something accessible and relatable but brought it to life in a new and challenging way. Not only is the music a lot bolder and more eclectic than the modern palette – artists tending to match a rather dour mood with a similar compositional state – but the lyrics have a sense of personality and identity that does not make one feel like we have heard it all before! I feel other artists can learn from this and should take guidance as to how to break from routine. There are two distinct musical styles clashing in Louis Centioni’s current track.

Here I Go Again has a distinct Electronic vibe that seems to borrow from the London streets and has a distinct ambition. The sounds are intense and they shift course; there is a flavour of modern Electronica but you can hear Jazz elements coming through. Whilst many artists with a fondness for Jazz are a little hesitant about penning a classic Jazz standard – think of Miles Davis and John Coltrane – they are bringing the colours and ethics of the genre into their sounds. The backbone and blood of Louis Centioni’s current jam is Electronic and is primed for the mainstream but there is experimentation and shifts that can only come from a love of Jazz. The reason I want to mention the genre is because, through time, it has been maligned and overlooked. We always get this view Jazz is rather stuffy and serious and can be quite boring – endless trumpet solos or pondering songs that really do not say much. I think it is the lack of vocals that scare people and means you have to use a different part of your brain; you need to focus more and it can be hard transitioning. Modern Jazz-inspired artists like Thundercat and Kamasi Washington are hugely important and, in fact, there is a band of British Jazz artists who are taking the foundation of the genre and adding fire, intensity and something exciting to the party. Centioni took to the piano young but it was his grandfather’s collection if Jazz and Italian records, that he was exposed to at the age of four, that made the difference. That innate and tender connection with a passionate and strange world filtered into his blood and directed where his music would head. The songwriter has taken singing lessons and is inspired by Classical music. It is the Jazz love that gets to me. Listen to his latest track and you can tell there are different Jazz artists working away. You get the accomplishment and stature of early icons like Miles Davis but, with the electronic notes and intensity, there is an experimental aspect that reminds me of the modern-day Jazz players.

One gets world colliding and colours uniting through music that has a common and accessible heartbeat. Centioni attending the BRIT School and that created a sense of discipline and gravity. This combination of the Jazz romance and special world, blending with London and a musical school has led to this wonderful concoction. I feel a lot of modern artists look too closely to what is around them and you feel they are aiming to replicate and simulate a familiar sound. Rather than take from their personal lives and take risks; so much of what is out there today is dictated by commercial needs. Maybe that is a bit all-sweeping but I am discovering few songwriters who take gambles. Louis Centioni has an eye on the mainstream and knows what is needed to gain an ear but he is much more indebted to his grandfather and the music he grew up around. Mixing more modern influences together with that early exposure to Jazz; one gets a real hit and sensation. I am often wary of people who go to music schools and institutions that stamp out a particular artists. Whilst the likes of Amy Winehouse managed to stand alone and not do what is ‘expected’ – being overly commercial and following what is in the charts –; alumni like Adele – whilst her voice is powerful – lack any sort of flair, intrigue and real promise. So much of what is coming from these schools is dictated to by commercial gain and fitting into the charts; being too accessible and, let’s face it, a bit boring. Those who can take the good aspects from their teaching and not abandon their roots are to be commended. Centioni is someone who has learned a lot but does not want to compromise his passion and tastes in order to follow blindly. Away from the rather predictable storylines of heartbreak and disappointment; it is the ethics and background from Centioni that appeals the most. There is one danger that could have been exploited but, luckily, has been avoided.

I am one of those people who looks back on music and recalls the stuff I grew up around. The dreaded curse of nostalgia can make us all a bit restrictive and means we do not wholly accept modern music. Maybe we romanticise the past and feel like there is much quality now. Whilst I will always contest decades like the 1990s will destroy anything that is around now and ever will be; there are so many artists coming along that have the promise to remain and create for years to come. Louis Centioni could easily have replicated what he grew up around and not added anything new to the pot. I know he buzzes from the records he discovered at a young age and some influences are on his sleeves. One gets a distinct whiff or the classic and past in his music but, at all times, the man is looking forward and inspired by what is at his feet. Rather than dip back and try to repeat what has come before; he is looking forward and not falling into that trap. This is impressive to see and I know we will get a lot more from Centioni. It sounds like I have been a bit strict with my investigation and assessment but there are so many artists around that seem cloned, common and faceless. Maybe it is unavoidable but I do get weary and wonder, cruelly, whether limitations and standards should be set – only those most promising and profitable can cross borders and reside in modern music. In order for future generations to follow the music of now; there needs to be that sense of promise and longevity. As it is now; there is a lot out there and I wonder how much of it we can retain. I forget so much of what I listen to because there is something missing and it is not as sharp and dynamic as the music I was raised on. Artists like Centioni understand this and, as such, have taken care to make their music as bold and busy as possible.

Listen to a song like Here I Go Again and you have so much working away in there! I think, oddly, T.V. and drama has made that happen. It seems like a strange point to raise but many artists are not recognising the potential when it comes to film and T.V. By that; I mean bringing dramatic and comedic elements into the music. There has always been that bond between T.V. and music – songs being played as soundtrack – but few modern artists take a more dramatic and T.V.-minded approach to their songwriting. They might pen songs that can end up on dramas but do not take guidance from those shows and incorporate that into the fold. I know Louis Centioni is a fan of the Netflix series Stranger Things and you can hear that extraterrestrial theme coming through in his music. I have talked about his grandfather’s influence and one would think that rather charming and romantic vision would not fit alongside a darker and different world like that of Stranger Things. Rather than wrote a song that could appear on the show and be discovered by chance; the songwriter has been directly inspired by the strangeness, spacey elements and drama that the show puts out. As such; you get this song that starts from different foundations and takes a different course. Consider how most songs are written. Artists might get a melody or lyric in their mind but this is often compelled by music itself or what is happening around them. Few will sit down and think about a T.V. drama and write from that perspective. Maybe that is way of adding interest, fun and something much more memorable into music? As Centioni shows with his current single; there is a world of inspiration out there that is not being mined! I hope he continues to write like this and add something cinematic and dramatic into his music. I have talked long enough about the man behind the music so it is best I reverse that and discuss the music inside the man.

The hero begins Here I Go Again by talking about something he cannot reclaim and gather. Maybe he has been through the motions too often and knows full well this current situation is inhospitable. The words are not delivered in a rather average and straight way. Soulful and deep; there is a brief flow and then a pause; the true emotion is brought through and Centioni approaches delivery much like an actor would – speaking like a human going through pain as opposed a songwriter presenting their emotions. Because of this, the song makes an instant impact and you wonder whether the composition will rise and explode. The start is fairly calm and there is little intrusion from the background. You listen to the delivery of the words and it is the way they come through that get to you. Centioni stop-starts and you get this very physical and evocative sensation. I jumped into the song and followed the hero as he walked us along. Centioni has this way of singing almost like a Jazz musician would play. The background has this Electronic and modern force but the man at the centre is interpreting and telling his story like an icon. That might seem a strange conclusion but this is a resonance and element that comes from the voice that gets under the skin and hits you. It seems like the hero has been told of the dangers of giving his heart and it seems like those words have fallen on deaf ears. I guess everyone experiences bad love and heartache but they assume the same will not happen again. I suppose a new person promises different fortune but maybe people like Louis Centioni are attracted to a certain type and enter a bond with faith and promise. The chorus layers Centioni’s voice and there are percussive clicks; the composition broods and injects whilst there is a warmth that floods through the speakers.

You support the hero because he has given so much and, again, seems to have come out as the loser. Maybe there is a sense of mistrust or his sweetheart has let him down – that is not revealed at this point. I have mentioned Jazz and the influence on Centioni for a number of reasons. Not only does one sense a certain discipline and sound that reminds me of Jazz greats but the composition seems to have a certain vibe. It is hard to put into words but Centioni has managed to bring a lot of Jazz’s colours and elements into a largely Electronic background. When the chorus hits and you hear the vocals layer; there is that freedom, lust and atmosphere that you get from great Jazz songs. Our man has been bruised and seems accepting of his fate but keen to cure this miasma. Centioni drops his words in and allows them to hit like rain before moving on. You get, because of this, a more emphatic and impactful hit because you are allowed time to absorb the words and let them hit. Maybe there is blame on both sides and that mystique regarding the reason behind the breakdown makes me wonder. How have things gone wrong and why have the lovers been split?! The hero is not blaming anyone but it seems like people have predicted the end and given these warning messages. Rather than blame and create a depressive mood; Centioni is picking up from the rubble and looking inwards as to why this keeps happening time and again.

One gets rushes of legendary R&B and 1990s songs but there is that modern production and Jazz undertones that makes Here I Go Again spike and sparkle. Centioni is in this mire and seems to be unable to release himself. The sweetheart does not care about him and, backed by bold and exciting electronics, he is having his say. Maybe there is that emotional detachment but both have climbed high and there have been some good times. Above all of this; the heroine has only looked out for herself and seemed cruel to the touch of the hero. Centioni does not incorporate too many of the worst traits of modern Electronic music – processed and high-pitched vocals; although there is a bit of it – and allows his own voice to have the biggest say. His previous track, Unsure, is a very different beast to Here I Go Again and you can hear the changes and new confidence come out. I wonder whether more material is coming next year and whether Centioni will put together an E.P. that tells a story – it seems like his latest track, in a way, is a continuation of his previous offering. I love Here I Go Again and it could easily have fallen victim to the traits of some artists: being too depressive and introspective and not adding anything exciting or physical to the music. Instead; you get this rousing and passionate song that manages to talk about a breakup and let-down but does not let the angriness and sadness dictate – a rarity that should be followed by more artists!

Louis Centioni is an impressive performer that has honed his craft through the years. He has played at venues like Ronnie Scott’s and the 100 Club. Some of his current favourite artists include Billie Eilish and Alicia Keys; Khalid and Jon Hopkins but you sense a passion for artists like Nina Simone and Jazz icons. Working with accomplished producers such as O Mer (on his latest track) and playing at some stunning locations; he has learned a lot and brought that all into the music. He is currently playing as part of the Coffee House Sessions and will be doing that until 9th November. Centioni has a headline show at Ronnie Scott’s on 4th December and it seems like things are heading in the right direction! If you have not encountered the spirited and intrepid Centioni then I suggest you correct that and get behind it. I started the review by being slightly critical and giving a smackdown to the current scene. Whilst some of my words might have been hasty; I stand by the assertion that there is not enough wit, fun and surprise in music. You lose that smile, originality and durability in favour of something much more inward, common and personal – I wonder whether that reflects modern society and if artists feel they cannot break from that. Maybe this will have problems in years to come – people skipping a generation and still playing music from past years – but I feel there are artists trying to redress this curse and do something special. Centioni writes about breakup and heartache – I can forgive him that because it is truthful and means a lot to him – but here is someone you can imagine shifting from that common mountain and traversing somewhere much more colourful and bright. I envisage songs that tell stories and have an element of fantasy; those that take risks and remind one of the best music from the past. Given his love of dramas like Stranger Things; maybe a fantastical or darker edge might creep into his future material? Whatever he has planned; ensure you follow his social media and keep updated because here is someone who inhabits his own space and seems primed for big things. I love the tones and layers of Here I Go Again and it is a song that stands out in a climate that needs that kick and vibrancy. Maybe there are artists like Centioni who can provide something engaging and thrilling but, more and more, these kind of musicians…

ARE getting harder to find.  

___________

Follow Louis Centioni

Official:

http://www.louiscentioni.com/

Twitter:

https://twitter.com/louiscentioni

Facebook:

https://www.facebook.com/louiscentioni

Spotify:

https://open.spotify.com/track/3IywoiISenAWCbL1OTRUSE?si=Ond1JUNWS9qE8OxcUKzXMQ

SoundCloud:

https://soundcloud.com/louiscentioni

Instagram:

https://www.instagram.com/louiscentioni/

YouTube:

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

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Jae Stephens 

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

__________

BEFORE the weekend comes…

IN THIS PHOTO: Charlotte Cardin 

I have collated another female-led assortment of songs that are culled from different periods. A lot are fresh off the blocks but some are from earlier in the year (one or two from 2017). In any case; I feel these tracks will provide all the colours and contrasts of autumn and will definitely put you in a better mood. There is so much great music coming through from female artists – as there have always been – but I wonder how much of it radio stations and label heads are aware of. In any vase; this is another rundown of songs that I am keen for people to dig into and investigate. Have a look through this assortment and I am sure there’s enough in there to keep you occupied. It is another interesting and varied group of songs that shows what talent we have in music. Get your ears around this female-led collection and start the weekend off…

IN THIS PHOTO: Sarah Close 

ON the right note.  

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

____________

Lainey Wilson - Microphone

Hannah Wants – You Keep Comin’

Charlotte Cardin – Double Shifts

PHOTO CREDIT: Timothy Saccenti

Kelly Moran – Halogen

Willa – Cause You Did

PHOTO CREDIT: VIBE

Kodie Shane – High Speeds

Ella Frank – Blue Jay

Y.A.S – 100 YEARS

Morgan Saint – Falling

Georgia – Started Out

Lilianna Wilde – Love Me Right

Bryony Williams – Narrative Form

Jade Bird – Love Has All Been Done Before

Thyla - Candy

Sarah Close – Crazy Kind

Greta Jaime – Temporary Panic 

REYNA – Heartbeat

Déyyess – Escher Heart

Lana Lubany – Come Midnight

Elle Hollis - Luxury

Anna of the North – Nothing Compare 2 U

Jae Stephens – Long Way to Go

Orla Gartland – Between My Teeth

Chromatics – Camera

ROYAL – Black Beauty

boygenius – Me & My Dog

Faye Webster – Alone Again

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Kayla Painter 

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

__________

THE cold is properly kicking in…

IN THIS PHOTO: Rachel K Collier 

so it is just as well there is some warming and wonderful music out there that can soothe the bones and bring some sort of heat back! Autumn is that time when the weather is a bit unpredictable and we can have extremes. Whilst I have been enjoying the sun; I know things will turn darker and colder - so I have been looking around music and picking some great tracks. Here is another assortment of female-led songs that showcase some tremendous talent and prove what incredible music is being put out into the world. Have a listen to the busy and diverse playlist and I am sure you will find some tracks that get into the heart and stay in the head. With the cold truly here and things turning a bit naff; console yourself and warm the body with these…

IN THIS PHOTO: Robinson 

BRILLIANT tracks.  

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

____________

Maggie Lindemann – Human

Grace Savage – The Hunger

Bianca Bazin – Poor Thing

Sheridan Smith – Listen to the Rain

Robinson – Medicine (Acoustic)

Sky Keller – Bad

PHOTO CREDIT: @julia_brokaw

Cornelia Murr - Cicada

Nao – Orbit

Rachel K Collier – Poison

Kayla Painter – Sacrificial Magic

Ani Glass – Peirianwaith Perffaith

Cecil – Toybox

Sophie and the Giants – Space Girl

KP Wolfe – Exodus

Cassadee Pope – One More Red Light

Wild Moccasins – Desired Effect

Tessa Dixson – Beautiful Pain

Chloe Lilac – Summer

Jessica Pratt – This Time Around

Kero Kero Bonito – If I’d Known

Ivy Mae – Snakes and Ladders

CHAI – Fried

Amber-Simone – Strawberry Kisses

Sara Diamond – Fool

The Wild Things – Better Off Alone

Kiki Rowe – Use You

JFDR – White Sun (String Version/Live) 

Yes You Are – Blacklight

 

INTERVIEW: Soul Island

INTERVIEW:

Soul Island

___________

I have been speaking with Soul Island…

about his new single, Ocean, and how it came together. He talks about the upcoming album, Shards, and what sort of themes inspired it; when he got into music and what sort of sounds inspired him – he reveals a few albums that mean a lot to him.

Soul Island discusses his future plans and spending time in London; being raised in South Italy and whether there are any ambitions to fulfil before the end of the year – the songwriter ends the interview by selecting a cool track.

__________

Hi, Soul Island. How are you? How has your week been?

Hey! Quite deep…prepping the live set, some flying London to Lecce; with in between working on visuals for the upcoming record and singles.

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

I’m Daniele and Soul Island is my first solo project. It’s an exciting phase as the first record is coming out, with experimentations on songwriting mixed to analog, Electronic soundscapes. In the past, I was part of quite a few other projects, from Power-Pop to Folk. However; this new work I always had in mind and turned out to be the most personal music I ever released.

Ocean is your new single. Can you explain the story and background of the song?

I was fascinated by the idea of composing a track with a lead synth arpeggio from start to finish. I worked a lot on the narrative in the chords sequence and then fed it through a Juno-106 with continuous live tweaking of all envelopes and filters. Lyrics are about the environment and my – everybody’s – sense of responsibility for it; the hopes we hold on to as events bigger than us unfold.

I was also definitely externalising the impact of London’s weather(!). After some time working on the track, I realised that water movement is effectively what I had in mind musically and that this was a recurring topic appearing (also) in the lyrics…so I picked ‘Ocean’ as the title.

It is from the upcoming album, Shards. What sort of stories and experiences compelled the music on there?

As I said; Shards is all very personal. Lyrics and soundscapes expose intimate imagery and feelings as fragments of my story and my inner-speech. However, I am always very empathic and context-aware so much of this focuses on friends, other people; or else subcultures, global issues. The songs in Shards are a selection over a long period; effectively a chunk of me and my ideas over time, most of which I was living in London, having moved there from Italy and travelled a lot to the rest of Europe and New York. There’s also a good amount of focus on change in independent music and the arts, fast content versus depth; substance vs. networking - the way with which I deal with these thoughts emotionally.

In terms of influences; which musicians did you grow up around?

Lecce in Puglia, South of Italy, is where I’ve grown up. There was a small local street and skate scene of which I was part. Music started playing a huge part into this scene and eventually quite a few bands were born and places for gigs, small D.I.Y. distros and labels. This was the environment; bands I would listen to were mostly Hardcore, Punk and Indie from the States…Hüsker Dü, Minor Threat; Fugazi, Sensefiled; Promise Ring, Texas Is the Reason…I could mention dozens.

Then, some Italian, Kina; Negazione, Nuvolablu; Shock Treatment, Eversor - we had brilliant Punk/Emo bands down in Lecce as well like Suburban Noise. And, of course, U.K. like The Clash, Exploited…eventually attention slowly shifted on the sound more than the politics and I became genre agnostic; I get passionate so long as the writing is good.

How did you get into music? Was there a particular moment when you knew it was what you needed to do?!

It came as a natural consequence of being in the skate culture in the '90s which eventually led to Punk/Hardcore. My parents’ home was also a place imbued with art ranging from paintings to good records played loud on Sundays. Making loud music felt as a protest against the culturally dry and small-minded region I lived in. Started on the guitar and immediately began writing songs, fronting a few bands with guitar and vocals (Room 104 among all). Since then; making music just felt a basic need.

You were raised in South Italy but are now in London. Was it a hard decision leaving Italy or has it opened up your musical world would you say?

Leaving Italy took some planning. Once in London and past the first few tough adaptation months, I started loving the city incredibly; it’s a constant adventure and discovery and, yes, it’s been a dive into countless shows in the many venues and pubs, both on stage and as public. I started buying vinyl again. I’ve also seen another completely different side of the city working as a software designer.

For me; the most challenging job to date. Full disclosure: I am now back in Italy, mostly, although I frequently fly back to U.K. having lived what has been a very intense life there - sorry London; the weather is so much better!

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

Record out, live set ready to go!

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

I have a terrible memory for events. However, recently, as the first single came out - announcing the record - and I was so touched by many (among friends, music people and totally unknown others) getting very emotional, almost as in-sync with the tracks’ footing. That’s been quite a thing to experience: a sense of intimate warmth and protection from the exposure of putting the track out in the first place.

Given your name; if you had to populate your own ‘Soul Island’; which singers would you have on there?!

Jon Bunch - always pictured as my older brother, fatherly figure. Bent Sæther, Jello Biafra. I love Thomas Mars’ attitude and writing. Elliott Smith, Nick Drake. Many more; depends if it’s a shipwreck or we’re at a holiday resort (smiles).

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

So difficult - there’s way more than three…

I’ll give you Blissard – Motorpsycho

It’s still there on any device I carry around. I have slept countless times with it in my headphones.

Then, more recently, Our Love - Caribou

It matches my sensibility; 100% would love to meet Dan Snaith and have a chat.

Finally…James Blake’s first (James Blake)

It’s a blue I always end up needing at some point or another.

What advice would you give to new artists coming through?

Ultimately, you want to hope making music is urgent to you or it will likely hurt you.

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

There are a few things lined up - but will put out details in due time!

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

I do probably too many things. Besides music and designing software interfaces, I do often end up exploring computational art in many ways. I have an Instagram account where I post things at @morekid.

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 have this I just recently discovered; I’m loving it; amazing ambience

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Follow Soul Island

Official:

http://www.seesoulisland.com/ 

Twitter:

https://twitter.com/seesoulisland

Facebook:

https://www.facebook.com/soulislandmusic/

Spotify:

https://open.spotify.com/artist/4PrcXP9tMwATIq6BukRP3p?si=IKwmFrVWQKygR7BdpDQ4yA

Instagram:

https://www.instagram.com/morekid/

SoundCloud:

https://soundcloud.com/soulisland

INTERVIEW: ROYAL

INTERVIEW:

PHOTO CREDIT: Liz Rosa Photography  

ROYAL

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THE fantastic ROYAL…

has been talking with me about her new album/E.P., Heart of Shadows, and what inspired it; whether she has a favourite cut from the collection and what she has coming up next – she reveals a new artist we need to get behind.

I ask whether there are plans for next year and when music came into ROYAL’s life; if there is a favourite musical memory that stands out; which artist she’d support given the chance – ROYAL ends the interview by selecting a great recent track.

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

Hey. I’m great! Thanks for asking! My week has been a lot of fun - it’s a very exciting time with the album release of my newest project, Heart of Shadows. 

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

My name is ROYAL. I am an independent, Dream-Pop artist with a flare for cinematic, romantic and dark tones. I write my music based off emotion and my own personal life experiences. I draw inspiration from artists including Lana Del Rey, Amy Winehouse and Billie Holiday, to name a few.

I have had some success with film, television and commercial placement over the years as well as a collaboration with Electronica artist Conro on a track titled City Lights, which has gained over five million streams on Spotify. You can check out my latest single, Vessel, on the Spotify-curated playlist Indie Pop Chillout! 

 

Heart of Shadows is your new E.P./album. What sort of themes did you tackle when writing and putting the songs together?

Heart of Shadows is a musical odyssey of the trials and tribulations of love and loss of identity. Thematically; it follows my story and experiences with the beautiful and darker sides of love - and the lessons we learn - and the power we gain from those experiences.  

Do you have a standout track from the record that sticks in your mind?

Reminisce is one of my favourite tracks on the album. It begins with a hauntingly beautiful string orchestration and leads you down the path of reminiscent swells of emotion. The mood and style of this song best represents me as an artist as a whole. It’s one of the more sweet songs – rather than bitter – on the album and carries me back to some very precious moments of my life. 

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

I am so fortunate to have been raised in a home filled with music. I swear if I were to press my ear against the walls I would still feel the vibrations, built in to the framework of the house. Not only was there always music playing but music from every genre under the sun. My dad followed the Rock classics including Bob Dylan, Neil Young; The Beatles and Tom Petty, while my mom blasted anything from Queen to Billie Holiday, Janis Joplin to The Zombies and Blue Rodeo.

It was a very well-rounded, constant thrill of inspiration. As I got older, I fell into the Pop scene; then Country then Punk; then to Rock - which finally led me to a musical world without borders.  

 PHOTO CREDIT: Liz Rosa Photography  

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

The end of 2018 is quickly approaching! I am working hard to reach my goals of successfully promoting my single, Vessel, and album, Heart of Shadows. With these releases, I hope to expand my following and create more music placement opportunities through film, television and beyond.

Do you already have plans for 2019?

I have many plans for 2019. This includes a music video release, tour and continued promotion for the current album. As well, I plan to step into the studio with more music. There are a few songs that I wrote within the last year that I would love to see come to life. The recording experience I had working with my producer Luca Fogale on Heart of Shadows really inspired this and I look forward to stepping in to that creative hub again. 

PHOTO CREDIT: Liz Rosa Photography  

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

The one memory that comes to mind is the moment I was notified I was a successful FACTOR Juried Sound Recording grant recipient. FACTOR is a major source of funding for Canadian artists.

I was sitting in the hospital chair waiting for my boyfriend - who had injured his arm from a concert the night before (don’t worry; it wasn’t anything serious) - and the email popped up on my phone screen. It was as if the world stopped turning; I think I forgot to breathe. I opened the email and there it was. Someone believed in the music I was creating so much that they wanted to make sure it had the means to be developed. At a time in my life where I was feeling quite down about my career, there it came and it couldn’t have been a better time. I immediately burst into tears, unable to move. It was one of the most precious moments I’ve ever had. 

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

This is one of the most difficult questions to answer - because how could I pick just three? My life has been monumentally inspired and carried by music for as long as I can remember. And, so, I’ll give you three from different periods of my life. 

Bob Dylan - The Essential Bob Dylan

This album is an automatic number-one for me. I can remember my dad playing it whenever he cooked dinner. We would sing along as we chopped vegetables and it put a bit more pep in his step. I’ve always felt a strong connection to Bob Dylan’s music. To me, he is one of the most incredible songwriters of all time. His storytelling abilities have the power to draw you in and connect on a deeper level. 

Billie Holiday - Billie Holiday’s Greatest Hits

Okay; so it’s a greatest hits compilation but, before anyone jumps to judgement, know that I also love Deep Cuts. This album makes me want to dance and cry all at the same time. Long before the time of The Notebook’s presentation of I’ll be Seeing You, I have loved Billie Holiday. This album reminds me of my mom. This was one she often played while I was growing up. Billie Holiday’s music embodies all of the timeless qualities that I so admire. There is a deep and genuine sadness to it that I find intoxicating. It’s as if her voice casts a romantic, yet tragic spell that I am helpless against and can’t help but surrender to. So much more than just music. It moves you. 

Lana Del Rey – Honeymoon

Can you imagine a more enchanting album introduction than that of Honeymoon? To me, this album is absolute perfection. I love turning off the lights, lighting a few candles and laying on the floor to listen to this album. It’s such a trip. I can feel reality melt away when I put this album on. It captivates and rejuvenates me, while filling my soul with inspiration. 

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

Hands-down, Adele. I attended her last show in Vancouver and was blown away. As soon as she began singing, I lost it. I didn’t just cry, I sobbed. It was as if all of my life’s emotions began uncontrollably pouring out of me, triggered by her voice. It’s quite funny to think about it now, but wow, what an experience. 

Like myself; Adele isn’t too concerned with dancers and moving stages etc. She provides visual stimuli that compliments her music and doesn’t take away from her voice - which is why we’re all there in the first place. I prefer my music to do the theatrics. Beyond that, I find it too distracting. Wonderful and relevant for some artists; I mean, can you imagine a world in which Michael Jackson had performed with only a live band? No. That was part of his creative vision. 

If I were to tour with Adele, I would have to get over being so star struck by her. For the rider, my dream is to be accompanied by a band comprised of the usual piano, drummer; bass player etc., but I would also love to bring in a small string ensemble and backing vocalists to create a beautiful and full sound. There would be some stage props to emphasize the cinematic tone and I would want to do something to make the audience feel a part of the show. Something along the lines of when Coldplay handed wristbands to everyone in the audience before the show and left the purpose of them a mystery until all of a sudden they all began lighting up in a choreographed light show. That was a brilliant idea. 

PHOTO CREDIT: Liz Rosa Photography  

Given your name…have you got a favourite member of Britain’s Royal Family?

I love learning about the history of the Royal Family, although I can't say who I would pick as my favourite. They are all very interesting. My stage name came to me while riding a bus one day in the city. There was a large sign with ‘Royal’ in the title and as it blurred past me, I was really taken with it. I decided to choose the name based on its timeless essence and powerful mark. Thematically; I feel it is very fitting with my sound and artist brand. 

What advice would you give to new artists coming through?

To the young and dear souls entering the all-consuming and beautifully chaotic world of music: stay true to yourselves and your art. Art is meant to be a reflection of the soul and creative divine, not a trend. Work hard and surround yourself with people who love and support you, and who will be honest with you. Go to the workshops and the lectures, collaborate with other artists and do not let your fears hold you back. Just take a deep breath and go for it. 

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

Yes! I have special album release show coming up in Vancouver as well I am planning a cross-Canada tour for the spring. More details will be announced shortly, so stay tuned!

 IN THIS PHOTO: Chersea/PHOTO CREDIT: Tor Hammar Erickson and Dayna Weststeyn

Are there any new artists you recommend we check out?

My talented friend Chersea has been releasing some incredible music in the past few months. Not only is her music beautiful but she is also one of the most hard-working, talented and big-hearted people I know. Definitely check her out! And, if you’re looking for an opportunity to check her out live, she and I are teaming up as co-headliners for the upcoming album release show in Vancouver. 

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

Music is pretty much an all-consuming thing for me these days. As an independent artist, I wear many, many hats and am constantly learning how to execute new titles and projects. However, when I need to take a break from it all, I love going for nature walks and spending time with the people I love. I really enjoy playing with my nephews. Kids have a way of making the world feel a little lighter - they aren’t concerned with the world and responsibilities of life. They just want to play and have fun and they provide the ultimate escape.  

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 for all of the great questions! I will leave you with this musical gem by Chersea: I Can’t Be You

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Follow ROYAL

Official:

https://www.royalofficial.com/

Twitter:

https://twitter.com/iamroyalmusic

Facebook:

https://www.facebook.com/IamRoyalMusic/

Spotify:

https://open.spotify.com/artist/1vmznUPb08GfN4EdnVCs3c?si=EE-hpeaYT9Ww5bli6wMXKQ

Instagram:

https://www.instagram.com/iamroyalmusic/

SoundCloud:

https://soundcloud.com/royalofficialmusic

INTERVIEW: HANNIE

INTERVIEW:

PHOTO CREDIT: Arielle Shear

HANNIE

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TODAY’S first interview is with HANNIE…

as they talk to me about their new single, Stay Another Night, and what inspired it. I ask what comes next for them and how they came to work with Hight on Stay Another Night; which rising artists we need to watch and the albums that mean the most to them.

HANNIE reveal what sort of music they grew up around and whether there are plans for next year; the advice they would offer artists coming through; if they get time to chill away from their busy careers – Hannah and Annie each select 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’ve been in the studio writing some songs and rehearsing for live. 

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

We are HANNIE, an artist duo. We make upbeat, fun music that (we hope) makes you want to dance. We write, produce and play and have different feature singers on each track. 

Stay Another Night is your latest single. How did the song come about? What inspired it?

We were just jamming with Tim (Hight) one day (who is the guys who is singing on it). Annie started playing the riff that you hear in the post chorus and Tim started singing the line “Don’t let me stay another night”. From there it just flowed; we wrote the song in about three hours and then produced it up afterwards. It was such a relatable topic to all of us and there was such a good vibe in the room at the time that the songs felt so natural as if it needed to be written. 

How did you come to work with Hight? Do you think you’ll work together again?

We were working with a friend and she mentioned Hight to us. She said we’d really get along and we should work together so we hit him up - and he came around our place to do some writing.  

Yes, 100%. We’ve actually already written another song with him that we love; we’re going to release it for sure!

 PHOTO CREDIT: Arielle Shear

Might we see more material from HANNIE next year?

Definitely! We have way more coming for you next year. This year was a warm up; get ready (smiles).

Did you grow up around a lot of music as children? Which artists struck your ears?

Annie: I didn’t grow up in a very musical family: I was the only one who played; it wasn’t like I was engrossed by music but I was encouraged to practice and play and I loved it so much so I just surrounded myself with it. I listened to a lot of Earth, Wind & Fire and CHIC. 

Hannah: For me, it was the same. Me and my sister both had piano lessons but I stuck with it and, when I was thirteen, I started up my own band with a couple of friends. From then, I just knew this is what I wanted to do. I listened to a lot of Coldplay and Train at the time! 

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

We want to get a couple more songs out there for you by the end of this year. We’re also hoping to have full live shows to top it off. 

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

We plan to be touring! We are going to be focusing a lot more on the live aspect; playing as many shows as possible, hopefully doing some festivals. And, of course, we plan to have a lot more music out there for you!

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

There have been a lot of awesome moments. I think the ones that stick in mind most are those moments in the studio when you’re writing a song and you just know it is gonna be great; when everyone is just totally vibing and on the same wavelength. 

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

Hannah: No Mythologies to Follow by MØ

I think I’ve listened to this about a million times. Every song is different and I could stick it on whenever and straight away love it again! 

Annie: Songs About Jane - Maroon 5

I listened to this so much as a kid and learnt literally every guitar part and all the drums. It’s ingrained in me.  

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

Maroon 5. That would be ridiculously amazing!  Salmon…loads of smoked salmon! Thai sweet chilli crisps and a couple of perfectly ripened mangos. We’re not too hard to please.

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

Yeah! We’ve got a few gigs coming up really soon. We’re playing at BBC Introducing on 9th November and we have a couple of Sofar Sounds coming up too.

What advice would you give to new artists coming through?

Do your own thing. Do as much as you can by yourself: there are so many opportunities now that you don’t need a massive team around you all giving you their opinions and making things more complicated than they need to be. 

 IN THIS PHOTO: Amanda Delara

Are there any new artists you recommend we check out?

Amanda Delara; she’s dope! FARR. Check their song called Blades. 

 IN THIS PHOTO: FARR

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

Not really at all; we live and breathe music. When we aren’t in the studio or making videos we are practicing. A lot of our friends are also in music so when we hang out we’re normally jamming or writing together. We do love going out for some good food though!

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).

Annie: SWEET!  I choose Masterpiece - Tori Kelly. It has SUCH VIBES. If you can listen to this and not dance you’re not human! (Smiles).

Hannah: Medicine by Robinson. The chorus is such a jam! 

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Follow HANNIE

Official:

https://hannieofficial.com/news/

Twitter:

https://twitter.com/hanniemusic

Facebook:

https://www.facebook.com/hannieplays/

Spotify:

https://open.spotify.com/artist/7vp58vF08Hg9TbDrYH2nAh

Instagram:

https://www.instagram.com/hannieplays/

YouTube:

https://www.youtube.com/c/hannieplays

FEATURE: Colour, Light and Darkness: The Wonder and Contradictions of K-Pop

FEATURE:

 

 

 Colour, Light and Darkness

IN THIS PHOTO: K-Pop stars Black Pink (often stylised as ‘BLACKPINK’)/PHOTO CREDIT: Getty Images

The Wonder and Contradictions of K-Pop

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I am always conflicted as to whether…

 IN THIS PHOTO: K-Pop group BTS/PHOTO CREDIT: Getty Images

mainstream Pop in the U.K. and the U.S. is as strong as it could be. I am not down on the mainstream and the artists coming but find myself, naturally, looking back at the 1980s and 1990s with regards those instant tunes and sounds that can stick in the mind. There are some great gems to be found but I tend to find a lot of Western Pop is led by something introspective or deeply personal – this can be quite hard on the senses and few songs stay in the brain. We have plenty of more giddy and exciting artists that can provide a much-needed thrill and sunshine burst but is this practice becoming rare? Maybe I am misremembering the 1990s and 1980s but there were artists who could produce inspiring and optimistic songs that made you think and, as such, have endured. Maybe politics and the culture is forcing artists into a more negative headspace. Whatever the reason behind a slightly less joyous and rigid Pop form – fewer bands and a little less scope than decades past – there is this new wave of Pop coming from overseas. We think of Asian music and, when thinking of nations like Japan, maybe something eccentric, odd and very cheery. That is a bit stereotypical and does an injustice to the accessibility and variation you can find in the country. When it comes to Korea; there is a definite split. We know about the rivalry and tension between North and South Korea and one would not instantly look to Korea in general for Pop magic and progression.

I am going to bring in some articles that explain the rise of K-Pop and why, in some ways, English is not necessarily the primary language of modern Pop – especially in countries like America. There are some who contend the popularity of K-Pop is overblown and limited to only a few different artists. A reason why I am drawn to the ‘genre’ is because of what is bring to Pop. Not only are a lot of the artists singing in Korean – making its success and translation even more impression – but it is filling a gap in the market. There are K-Pop solo artists but there are a lot of groups and, at a time when Pop is becoming quite singular and solo-based; I wonder whether artists here and in the U.S. could learn from the Korean market. You may have heard only a few whispers regarding K-Pop or completely foreign to it. How, then, did this phenomenon start and get to where it is now? This illuminating article charts the history of K-Pop; how it has risen to where it is and, despite the success and popularity; there is a darker side and one that might not seem that surprising when you think of ‘democracy’ in Korea:

“There are three things that make K-pop such a visible and unique contributor to the realm of pop music: exceptionally high-quality performance (especially dancing), an extremely polished aesthetic, and an “in-house” method of studio production that churns out musical hits the way assembly lines churn out cars…

 

Because of the control they exert over their artists, South Korean music studios are directly responsible for shaping the global image of K-pop as a genre. But the industry is notoriously exploitative, and studio life is grueling to the point that it can easily cross over to abusive; performers are regularly signed to long-term contracts, known as “slave contracts,” when they are still children, which closely dictate their private behavior, dating life, and public conduct”.

There are a lot of positives and brilliant aspects to K-Pop but there is a rigidity and strictness when it comes to the sort of themes being expressed. Maybe reflective of a wider culture in Korea; there seems to be a distinct split between men and women. Although there is a massive boom and spread of K-Pop; are the themes being performed encouraging and suggestable?! I love the sound of K-Pop and how it makes you feel but, if you dig down to the lyrics, there are some rather worrying limitations and facts:

“If songs for women in K-pop break down along the “virgin/mature woman” divide, songs for men tend to break down along a “bad boy/sophisticated man” line. Occasionally they even break down in the same song — like Block B’s “Jackpot,” the video for which sees the band posing as wildly varied members of a renegade circus, uniting to kidnap actress Kim Sae-ron into a life of cheerful hedonism.

Male performance groups are generally permitted a broader range of topics than K-pop’s women: BTS notably sings about serious issues like teen social pressures, while many other boy bands feature a wide range of narrative concepts. But male entertainers get held toarguably even more exacting physical and technical standards than their female counterparts”.

There are, as I will examine, many positives and reasons why K-Pop should be embraced but are many of the performers dictated to by the Government and censorship? One wonders how expressive and free artists would be were they allowed the same sort of openness as artists in the U.S. and U.K. It seems, whilst the K-Pop phenomenon is global and taking over some parts of the world; there is that problem with limitations and strict censorship:

“Though government censorship of South Korean music has relaxed over time, it still exists, as does industry self-censorship in response to a range of controversial topics. South Korean social mores stigmatize everything from sexual references and innuendo to references to drugs and alcohol — as well as actual illicit behavior by idols — and addressing any of these subjects can cause a song to be arbitrarily banned from radio play and broadcast. Songs dealing with serious themes or thorny issues are largely off limits, queer identity is generally only addressed as subtext, and lyrics are usually scrubbed down to fluffy platitudes. Thematically, it’s often charming and innocent, bordering on adolescent.

Despite these limitations, K-pop has grown over time in its nuance and sophistication thanks to artists and studios who have often either risked censorship or relied on visual cues and subtext to fill in the gaps”.

It is amazing there has been this explosion of Korean Pop and there is this sensation that seems to be coming to the fore. Consider where Korean music would have been in the 1990s and how far it has come in the last few years; the rate of progression and exposure is impressive indeed. Where, then, did it sort of begin and when was that pivotal creation moment?

“But TV was still the country’s dominant, centralized form of media: As of 1992, national TV networks had penetrated above 99 percent of South Korean homes, and viewership was highest on the weekends, when the talent shows took place. These televised talent shows were crucial in introducing music groups to South Korean audiences; they still have an enormous cultural impact and remain the single biggest factor in a South Korean band’s success.

As Moonrok editor Hannah Waitt points out in her excellent series on the history of K-pop, K-pop is unusual as a genre because it has a definitive start date, thanks to a band called Seo Taiji and Boys. Seo Taiji had previously been a member of the South Korean heavy metal band Sinawe, which was itself a brief but hugely influential part of the development of Korean rock music in the late ‘80s. After the band broke up, he turned to hip-hop and recruited two stellar South Korean dancers, Yang Hyun-suk and Lee Juno, to join him as backups in a group dubbed Seo Taiji and Boys”.

I will move on to a new side of K-Pop but, so far, I have uncovered some of the dark elements of the industry and how, even in an industry where most artists are free to express themselves how they feel; Korean Pop performers seem to be restricted in terms of gender roles and themes – never allowed to break too far from what is expected. The Winter Olympics earlier in this year provided a platform for K-Pop – it was held in South Korea – and showcased the diversity of the sound:

“K-pop has become a truly global phenomenon thanks to its distinctive blend of addictive melodies, slick choreography and production values, and an endless parade of attractive South Korean performers who spend years in grueling studio systems learning to sing and dance in synchronized perfection…

IN THIS PHOTO: A shot of South Korea/PHOTO CREDIT: @shawnanggg/Unsplash  

Now, with South Korea hosting the 2018 Winter Olympics in Pyeongchang at a moment of extremely heightened geopolitical tensions, K-pop has taken on a whole new kind of sociopolitical significance, as South Korea proudly displays its best-known export before the world.

During the Olympic opening ceremonies on February 9, 2018, athletes marched in the Parade of Nations to the accompaniment of a select group of K-pop hits, each playing into the image South Korea wants to present right now: one of a country that’s a fully integrated part of the global culture”.

For those uninitiated and unsure of the K-Pop market; you might think it is commercial sounds that talk about fun and love; a rather cheesy and uncomplicated type of music that appeals to a certain audience – usually teen or pre-teens that fall for the bright colours, strangeness of some of the music and the general mood. In my view, there is more diversity and variation in K-Pop than the Pop music we get over this way. Whether it is rapping or something humorous; a serious ballad or something spirited and fun, it seems K-Pop has it all sewn up:

“As a whole, these songs and performers show us that K-pop stars can excel at everything from singing to comedy to rap to dance to social commentary. And their fun, singable melodies make it clear that the South Korean music industry has perfected the pop production machine into an effervescent assembly line of ridiculously catchy tunes sung by ridiculously talented people in ridiculously splashy videos. When Red Velvet sing, “Bet you wanna (bet you wanna) dance like this” in their single “Red Flavor,” they’re sending a message to the world that South Korea is modern but wholesome, colorful, inviting, and fun”.

Some argue K-Pop is made popular by the Internet and it exaggerates its appeal and true popularity. One needs to shift fewer units to ride high in the charts and a lot of the chart positions obtained by K-Pop artists are fairly low. Maybe we cannot call this a full-on explosion and revolution but it is clear Korean-made Pop is taking its place and is a lot more than the music. This article shows that, unlike a lot of Pop music; K-Pop is about culture and, in fact, has led to a rise in those learning Korean:

“At first listen, it may all sound like a bunch of up-tempo pop numbers, but for those in tune with the nuances of modern pop culture, it is clear that K-pop, which is wildly popular in the UAE, is about more than just the music.

Korean pop, to give it its full name, is known for its blend of well-groomed performers, carefree lyrics and militaresque training. For the past two decades, it has grown from a regional curiosity into a global cultural phenomenon in line with India’s Bollywood and Japan’s Manga.

To demonstrate its growing reach, Dubai’s Autism Rocks Arena will host the festival SM Town Live on Friday. More than 20,000 fans are excepted to attend the showcase featuring nearly a dozen K-pop bands, including one of the scene’s leaders, Exo”.

IN THIS PHOTO: K-Pop band Exo-K/PHOTO CREDIT: Getty Images 

Given the popularity and new prominence of K-Pop; this is leading to more and more people learning Korean. This BBC article brings in some facts and good news and shows that one of the great effects of the K-Pop rise:

“Korean is rapidly growing in popularity, in a language-learning boom driven by the popularity of the country's pop stars.

A desire to learn the lyrics of K-Pop hits like Gangnam Style has boosted the Korean language's popularity explode in countries like the US, Canada, Thailand and Malaysia.

A report by the Modern Language Association shows that Korean uptake in US universities rose by almost 14% between 2013 and 2016, while overall language enrolment was in decline.

The latest statistics show 14,000 students are learning Korean in the US, compared to only 163 two decades earlier.

The language learning website Duolingo launched a Korean course last year because of rising demand. It quickly attracted more than 200,000 pupils”.

This is backed up by this article that expands on how Korean is being taken up by more and more people:

“Priscilla Kim is the director of the Korean Cultural Center in New York, which offers language courses. She says that, among younger students, K-pop has become a driving factor to learn the language. “Over the years we have definitely witnessed growing popularity of K-pop among younger students. As a Korean language and cultural institution located in the heart of K-town, we have courses in the summer that are tailored toward K-pop fans who are interested in learning Korean through K-pop lyrics.”

The language app Duolingo launched a Korean course in September 2017 and it currently has 2.78 million total learners. On message boards on the site, users have talked about being inspired by K-pop acts as well as Korean TV to learn Korean, and the app has included some lessons that are based around K-pop”.

Whereas K-Pop is gaining some fans and following here – some of the biggest acts have performed huge concerts here – there are reasons why K-Pop is trending in America. This piece explains why so many American listeners are falling for and sharing K-Pop:

“The sizable Korean-American population in cities such as Los Angeles is certainly helping to fuel the popularity of K-pop in the United States, but the stateside K-pop audience stretches beyond Asian-American demographics.

"When we performed in Los Angeles, New York and Paris, we were shocked and surprised to see that the majority of our fans were non-Asian," says Sunny of Girls' Generation. "That is when we realized how big and influential K-pop was [becoming] around the world."

Joon Ahn, executive vice president for the music business division at Korea's CJ Entertainment & Media, says K-pop first emerged in the '90s with ballad crooners such as Kim Gun Mo and Shin Seung Hun. The first decade of the new millennium has seen the emergence of new stars such as Girls' Generation, Big Bang, Super Junior, and Wonder Girls, with the latter opening for the Jonas Brothers in 2009…

 

“As the international audience for K-pop has broadened, so has its stylistic boundaries, says Ahn. Hip-hop, rock and techno are now freely embraced by some artists in the movement. Snoop Dogg performed on the title track of Girls' Generation's 2011 album, The Boys; Kanye West appeared on JYJ's "Ayyy Girl" in 2010; and the Black Eyed Peas' will.i.am will reportedly produce the U.S. debut album by K-pop group 2NE1, an all-female hip-hop group.

"The channel for movement of music is now very simple with digital," Ahn observes. "Even the file size is convenient for it. Compared to movies, musical theater, or TV series that have a bigger language barrier, music's appeal is communicated through rhythm and visual impact. YouTube and other social networks have contributed the most to spreading music of all kinds and allowing them to be heard [by] a greater audience."

With commercial success comes increased competition. It's been said that even a few months out of the spotlight can spell trouble for a successful K-pop group because there are many artists clamoring for attention”.

Whilst there are limitations regarding what male and female acts in K-Pop can express and how they can perform; you cannot deny how important the music is and the effects that are taking place. A couple of the biggest K-Pop acts, Black Pink and BTS, are seen as the future of K-Pop and representative of where it will head.

IN THIS PHOTO: A shot of Seoul, South Korea/PHOTO CREDIT: @yokeboy/Unsplash

This piece in Vulture explores those groups and why they have managed to resonate and, in many ways, break away from convention. Although a lot of K-Pop groups are being shackled by label and Government restrictions; there are those who are bucking the trends and shaking things up:

“A K-pop idol group, for example, might strategically include one or more members from abroad. Tiffany, who is in Girls’ Generation, is a Korean-American; Victoria from f(x) is Chinese; Tzuyu from Twice is Taiwanese. The non-Korean members served as ambassadors for the international market, in which the K-pop group would put out different albums and concerts in the language of that market. They may even change their aesthetics to be more aligned with the needs of any given local market. During their U.S. tour, Wonder Girls adopted Korean-American-style makeup — which made them appear darker and their eyes narrower — to the consternation of their fans in Korea. This method did find some success in the U.S.: the English version of Wonder Girls’ “Nobody” was the first K-pop single ever to chart on the Billboard Hot 100, clocking in at No. 76.

Yet BTS employed none of these localization tactics. The group has no non-Korean member, nor does it have any song sung entirely in English. It’s not likely that BTS could have successfully emulated the conventional localization strategy (they tried once, earlier in their careers, without much luck. Their Japanese-language album, Wake Up, faced anemic sales when it was released in 2014): Their production company, Big Hit Entertainment, is more like an ambitious start-up in the K-pop world compared to the Amazons and Googles that are SM Entertainment and JYP Entertainment, whose market capitalization approaches a billion dollar…

 

“But BTS had something else going for them: authenticity and a narrative arc. Although BTS’s members did undergo the training typical for a K-pop idol group, they participated in the music-making process from the beginning, creating music that they could call a product of their own minds, rather than something concocted by their label.

It is not yet clear whether BTS’s “narrative authenticity” strategy truly presents a meaningful alternative path for other K-pop groups — but other groups are certainly trying to walk that path. More K-pop groups, such as Seventeen and Monsta X, are producing their own music. Monsta X and Got7 have even put out conceptual trilogies of their own. JYP Entertainment’s new group, Stray Kids, is the “narrative” strategy on steroids: Rather than a series of albums, the group stars in a season-long reality television show in which they work together to make a debut album.

Black Pink is the evolutionary next step of 2NE1, YG Entertainment’s last great female K-pop group, which peaked around 2013–14 and disbanded in 2016. As with 2NE1, Black Pink’s music is centered around producer Teddy’s Korean-ized take on hip-hop, and Black Pink’s visual presentation uses a similar strategy. The end result is something that is familiar to K-pop fans: attractive artists performing precise and disciplined choreography accompanying the latest offering from YG’s in-house production team”.

 

I look around at the Pop acts we have now and, as I said, there are many more solo artists than groups. Once was the time when there were a lot of male and female Pop groups but, more and more, that is dwindling and, with it, a sense of community, unity and togetherness. The role of Pop in the U.S. and U.K., largely, is for a lone artist to have their say. I admit there are Pop groups around but none that have the same mix, components and strengths as the likes of BTS and Black Pink:

“There are also some parallels between BTS and Black Pink. Using hip-hop as their musical calling card is an important commonality. But unlike BTS, Black Pink continues the localization strategy with its members. Lisa is Thai, and Rose is a Korean–New Zealander. The group collectively speaks Korean, English, Japanese, and Thai. The addition of a Thai member is a nod to Southeast Asia, a relatively new but booming market for K-pop. This strategy appears to be working across the board. In the U.S. market, Black Pink’s album, Square Up, debuted at No. 40 on the Billboard 200, the highest ranked album from a female Korean act ever.

With its group NCT, SM Entertainment arguably is a step farther than JYP in terms of localization. In 2016, SM’s founder Lee Soo-man outlined his vision of “Neo Culture Technology,” which forms the basis of the plan behind the group (as well as its name). It is not clear if NCT are a “group” or a “band” in the traditional sense; a term like a “format” or “brand” might be more appropriate. Under the banner of NCT, SM Entertainment formed a number of subunits made up of members recruited locally, using the K-pop trainee system that SM pioneered. NCT currently has three subunits based in different cities around the world (NCT U, NCT 127, and NCT Dream), with an additional subunit based in China to debut soon. The subunits sing different songs and offer different visual aesthetics, tailor-made for their markets.

 

“Despite years of trying, K-pop’s appeal in the U.S. market initially appeared to have a ceiling. But with BTS, K-pop broke through once again. Crucially, the narrative strategy of BTS and the localization strategy of Black Pink and NCT are not in direct competition with each other: Plenty of K-pop fans like all three groups. The point is not to see which strategy wins the race; rather, it is to anticipate the path of global K-pop in the coming years by observing the two models’ call-and-response”.

There are some weirder and darker sides to K-Pop and, being from Korea, there is always going to be governmental rules and something a little strict. You never know what goes on behind closed doors and it is that contrast and sense of mystery that lends K-Pop a lot more intrigue than the more conventional Pop in the West. Despite its flaws – there is plenty of room for evolution and improvement – I can see things getting better and the positive effects – more learning Korean and positive role models coming through – are clear. Whether the K-Pop act sings in English or Korean; there is something interesting about the music that may speak to where they hail or a direct opposition to westernised Pop. Maybe it is not as fascinating and enduring as the Pop of the 1980s and 1990s but, at a time when the Pop group is disappearing the Pop industry, in general, is becoming less interesting, electric and outward-looking; K-Pop is a much-needed medicine and weapon that I hope others take up. Maybe we will not see an instant transformation of Pop but I feel we might see more Pop bands come through and the landscape open up. If you are new to the contrasts and complexities of the K-Pop market; spare some time and listen to music that is, bit by bit, starting to…

 IN THIS PHOTO: Black Pink/PHOTO CREDIT: Getty Images

TAKE over the world.

FEATURE: The Icon Is Born: Why Aladdin Sane Is David Bowie’s Most Important Album

FEATURE:

 

 

The Icon Is Born

IN THIS PHOTO: David Bowie as Aladdin Sane (eyes open, 1973)/PHOTO CREDIT: Brian Duffy/the Duffy Archive  

Why Aladdin Sane Is David Bowie’s Most Important Album

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THIS is one of those pieces that is not provoked by…

IN THIS PHOTO: David Bowie/Aladdin Sane (Contact Sheet, 1973)/PHOTO CREDIT: Brian Duffy/the Duffy Archive  

an anniversary or something timely - but I have been thinking a lot about David Bowie and his extraordinary impact on music. I often muse about modern music and wonder if, at any time, we will witness a rare creature such as Bowie. He seemed to arrive from another planet; one where there were no rules and boundaries; a fearless and always-surprising entity who, over the course of his career, changed music and inspired scores. He remains that rarest of musicians: a unique and untouchable figure. When he died (in 2016); I was sad but thought to myself: there will never be anyone like him in anyone’s lifetime. Maybe that is a rash and all-sweeping statement but think about music now and the ‘characters’ we have now. Who is there that shifts music on and evolves so much? Who do we have that can beguile with their image, music and personality? I think we will have stars and icons but nothing on the same plain as David Bowie. I often, too, wonder how many artists you can look at any break their career into stages. There was that incredible ‘Berlin period’ where we saw Low (1977), “Heroes” (1977) and Lodger (1979). There was the wonderful one-two of Diamond Dogs (1974) and Young Americans (1975) where Bowie shifted his sonic and visual focus: going from post-apocalyptic and Glam-inspired (Diamond Dogs) to an American-influenced, Soul-tinged album in Young Americans.

 IMAGE CREDIT: Getty Images

Maybe the late-1980s/early-1990s was not the most successful and consistent period for Bowie but his ‘recent’ works – 2002-2016 – showed the master had not lost any of his magic and brilliance. I am not sure whether you can call that period ‘A Rose Revival’ or something else but, look at certain bits of his career and there are definite phases and themes. Many quibble as to which David Bowie album is the greatest. Maybe Low, Hunky Dory; Station to Station and “Heroes” will be wrestling for that top spot but I’d like to introduce a fifth guest to the table: Aladdin Sane. Talk about David Bowie ‘The Icon’ and the image that stares at one from Aladdin Sane’s cover is a spacey, mysterious and beautiful figure. In many ways it is the reincarnation and evolution of Ziggy Stardust. I pose the question at the top of this article – as to whether Aladdin Sane is Bowie’s most important work – as it seemed to be that zenith of that early phase. Bowie would go onto record wonderful albums and enjoy a consistent run of hits – 1974-1977 saw five albums released and there was barely a missed step in the pack – and there was a time when nobody could compete with him. It wasn’t until 1970 that David Bowie started to get into the public consciousness.

  IMAGE CREDIT: Getty Images

The Man Who Sold the World (1970) is regarded as the start of Bowie’s ‘classic period’ and when he started to hit his stride. That album contains incredible material and some debate when Glam/Glam-Rock was truly born. Many say it was when Marc Bolan/T. Rex appeared on Top of the Pops performing Ride a White Swan in December of 1970 whilst wearing glitter. There is a school of thought that suggests David Bowie heralded the birth of Glam. Certainty, he was a pivotal force and The Man Who Sold the World helped popularise and expose this new and wonderful style of music. The 1960s brought fashion changes and style changes but nothing quite like Glam. With Marc Bolan daubed in glitter and projecting this almost mystical figure on the stage; David Bowie was growing into this true and original beast who, like Bolan, walked on the more imaginative and sexual side of the road. The Man Who Sold the World hinted at what Bowie would become and truly caught the critical imagination – his first couple of efforts were quite well received but few raved about him. The wheels were truly turning and 1971’s Hunky Dory sort of came out of nowhere! It is a vast array of themes and styles fused together. There are the contrasts of sexuality and class; Bowie sweeping between kitsch and refined and this amazing confidence running throughout.

  IMAGE CREDIT: Getty Images

Many consider Hunky Dory David Bowie’s most important work because it helped open his music to the world at large. Bowie, on the album’s cover, saw Marlene Dietrich’s influence come through – it was captured by Terry Pastor and designed by George Underwood. It is not his most challenging musical palette but, in lyric terms, it confirmed what would come and who Bowie would be. Changes investigated artistic transformation and evolution – something personal and important to Bowie – and musical heroes (The Velvet Underground and Bob Dylan were given tribute on the record) to legendary Life on Mars. His most solid and eclectic collection (up until that point); songs such as Changes, Life on Mars and Kooks are considered staples and fan favourites. Bowie himself considered Hunky Dory one of his most important. He was afforded an actual audience and people were directly responding to music and communicating that. A lot of Hunky Dory’s acclaim did not arrive until 1972 when The Rise and Fall of Ziggy Stardust and the Spiders from Mars arrived. Bowie had been experimenting with characters and personas up until that point but here was the man creating his own world; a new figure that he could embody and speak through. The concept, loose as it was, was this fictional, androgynous bisexual Rock star who was a messenger for extraterrestrial beings.

  IMAGE CREDIT: Getty Images

Bowie said the album was (about a) story that didn’t really take place; fragments he randomly dropped together and, as such, you could listen to in any mood and would not be led by a strict concept. Ziggy Stardust and the Spiders from Mars, essentially, could be the last band on Earth. The ill-fated hero, Ziggy Stardust, comes to Earth and wins the minds and hearts of teens; scares their parents and becomes this revered figure. He, by the closing of the album, falls victim to his own fame and, whilst not on the planet, is kept in the hearts and souls of his disciples. The reason why I need to make a distinction between ‘best’ and ‘most important’ albums is because many would say The Rise and Fall of Ziggy Stardust and the Spiders from Mars is David Bowie’s best album – I argue Aladdin Sane must be considered as his most important. A lot of critics, when the album came out, were impressed but not really completely on board. They could recognise the quality of the work and the inventiveness throughout but nothing like it has ever come before. Even during a time when Glam was around and you had these wild and extroverted performers like Marc Bolan; music was acclimatising to this new wave and there was something alien about David Bowie and this new persona.

Certainly; in terms of creative and personal leaps, it took a lot of people by shock. Consider the rather ordinary and relatable figure that we saw on the cover of David Bowie (1967) and, in a way, you get a very typical and normal human – looking a bit like Scott Walker, in fact! Maybe there was a feeling this new sound and look was pretentious but Bowie executed it perfectly and with huge confidence. I feel The Rise and Fall of Ziggy Stardust and the Spiders from Mars is considered an enduring masterpiece is because of the acclaim it has accrued after its release. A lot of people responded to the record years down the tracks and, perhaps, The Rise and Fall of Ziggy Stardust and the Spiders from Mars was light years ahead of its time. Bowie was taking a big leap and risk – although he would never think so – and it is testament to his natural abilities and instincts The Rise and Fall of Ziggy Stardust and the Spiders from Mars resonated and is viewed as this classic record. I feel Aladdin Sane is his most important work is because it was the first time in his career Bowie was coming from a position of creative and personal strength.

Hunky Dory proved successful and popular but it was the aftermath of The Rise and Fall of Ziggy Stardust and the Spiders from Mars that provided the most willing springboard. His sixth studio album came with this expectation and waiting eyes. Bowie could not very well do another Ziggy-type album and continue the concept he explored before. He could not return to a more traditional and homely look or explore the styles/ideas he did in the first few years of his career. Lesser artists could have panicked and made a mistake; released an album too quickly or taken too long to produce anything. David Bowie, at the time, was a star and was being accepted as this originator and unique personality. Some critics at the time (1973) felt Aladdin Sane lacked the intimacy of Hunky Dory and was less intense than The Man Who Sold the World. This was an understandable vantage considering how little material Bowie had put out until that point. Look back at his entire career now and you can see that he was always moving and changing courses. Aladdin Sane is essential and influential because of what could have been. Instead of producing a copy of his previous moves or going off the rails; Aladdin Sane is an essential, urgent and instantly memorable album that captures you the moment you hear it.

 IMAGE CREDIT: Robert Bateman

That sense of image and character was still in play. Maybe the character of Aladdin Sane was less ostentatious than Ziggy Stardust but the cover alone has accrued interest and speculation. Shot by Brian Duffy, it is this enduring and iconic image that seemed to take Bowie and his work to another level. Seeds had been planted during the previous album regarding image and the idea of David Bowie as this otherworldly figure and true chameleon but, to me, Aladdin Sane was when it was truly cemented. In this article; Chris Duffy - the son of Brian Duffy – talks about the impact of Aladdin Sane and that cover image:

“Still, he’s well aware of the cultural impact the sessions they conducted together continue to have. “Duffy’s pictures of David are so iconic,” Chris says. “Eventually we have all got to pass on, but I would guess that David’s legacy will be the Aladdin Sanepicture. It has become a cultural icon. Several years ago I started calling it the Mona Lisa of Pop. I think it is quite befitting – there isn’t really an image that is as ubiquitous. It’s been on used fridge magnets, caps, calendars, t-shirts, lighters, beer mats and it is quite extraordinary, you know? You can go somewhere like a market in Goa and you will find people selling rip off Aladdin Sane T-shirts”.

The importance of Aladdin Sane cannot be underestimated. It was the first release from an artist who had transformed from this promising and exciting figure to someone who was a true star.

The flirtation with image and personas continued and showed The Rise and Fall of Ziggy Stardust and the Spiders from Mars was no fluke and, in fact, there was a lot more of this to come from David Bowie. Aladdin Sane was the moment David Bowie killed off Ziggy Stardust. It was the transformation from the somewhat playful and charming figure to something darker and more disturbed. Beforehand, you could hear a lot of British influenced on Bowie but Aladdin Sane was the master embracing America and what it held – from seedy and salacious elements to new sounds his audience had not heard. Bowie could have played it safe or kept on the same course people were familiar with but Aladdin Sane as this first real leap and shift. Bowie would bring in America music and culture on albums like Young Americans and Station to Station – in many ways, Aladdin Sane was this awakening and portal into a new nation; taking his music in another direction and influencing what he would become. In 2016; Rolling Stone ran a piece that investigated the death of Ziggy and the birth of this much more intense and intimidating figure:

“A sinister influence, to be sure. Aladdin Sane is a harder, nastier, gaudier album than Ziggy Stardust, written on the road and immersed in the decadence and sleaze of American culture. Each song on the LP is listed with the place that supposedly inspired it: “Watch That Man” in New York, “Drive-In Saturday” in Seattle and Phoenix, “Cracked Actor” in L.A., “Lady Grinning Soul” back in London. But everywhere he goes, he sees cheap sex and cheaper drugs. Now that he’d hustled his way into the American limelight, he wasn’t sure he liked it...

Bowie wrote the songs amid the frenzy of touring, with the working title Love Aladdin Vein. (In that same crazed year, he produced Lou Reed’s Transformer and mixed the Stooges’ Raw Power.) The music expanded as avant-jazz pianist Mike Garson joined the Spiders From Mars. (A Scientologist, Garson spent the tour trying to convert the boys in the band, adding to the general chaos.) Ronson goes for his filthiest and flashiest guitar heroics in “Panic in Detroit,” “The Jean Genie” and “Watch That Man” – the hardest rock of Bowie’s life – while Garson’s piano carries drama-queen ballads like “Lady Grinning Soul”.

Aladdin Sane was released in April 1973, three months before he famously killed off Ziggy Stardust onstage in London. As far as the rock & roll big time was concerned, Bowie had just arrived. But with Aladdin Sane, he was already restless to move on to parts unknown”.

That last paragraph – relating to a huge leap and this icon arriving – marks Aladdin Sane as a vital and hugely important work. You cannot look at an album like Aladdin Sane purely in the context of the time or a particular phase. You have to acknowledge the sound, the look; the other records of the time and where Bowie would head. 1973 was a fantastic year for music and, in many ways; Aladdin Sane seemed to incorporate a lot of elements from the best of the year. Consider the trip and imagery of The Dark Side of the Moon (Pink Floyd) or the extravagance of Goodbye Yellow Brick Road (Elton John); the potency and explosion of Raw Power (The Stooges) or the variety and richness of Mott (Mott the Hoople).

 IMAGE CREDIT: Getty Images

David Bowie’s Aladdin Sane stood out in a busy and eclectic year for music and propelled his music to new realms. Clash looked back on the album and how it inspired and changed the music landscape:

“The album also sacrificed the linear narrative of ‘Spiders’ in favour of a more experimental sound which saw Bowie, empowered by the production skills of Ken Scott, embrace commercially successful reinvention for the first time. ‘Watch That Man’ aggressively broke with the polish of ‘Spiders’ in favour of a Stones influenced blend of raw blues, which saw the vocal lost in a sleazy wall of sound.
Equally diverse, the title track was one of several to incorporate the piano playing of avant-garde jazz pianist Mick Garson who weaved his jazz playing into a two-minute piano solo that elevated Bowie above his peers. The sense of the otherworld is recaptured on a sleeve depicting Bowie gazing vacantly from an expanse of white nothingness while a lightning bolt slashes his face in two to conjure the schizophrenic symbolism of some faraway planet”.

‘Aladdin Sane’ had entered the UK charts at No.1 to propel Bowie from outsider to legend. However, after 18 months of touring, a cancerous exhaustion was rotting the band from the core, and following a lacklustre performance at Earls Court, Bowie seized the opportunity to amputate the festering wound while burning Ziggy in to the conscience of rock iconography. In the final moments of an arousing performance at the Hammersmith Odeon in July 1973 the falling star made his most provocative statement yet. Set against the backdrop of ‘Rock ‘n’ Roll Suicide’, the dramatic announcement of "that will be the last show we ever do" reverberated around a silent hall to send shockwaves of disbelief through an atmosphere thick with distilled emotion”.

Bowie is synonymous with reinvention and this was the first time we had seen this happen. Many saw a lot of Aladdin Sane points as to what he would achieve with Diamond Dogs – a grittier sound and one that is a bit post-apocalyptic in terms of themes and tones – and, as such, its impact and importance cannot be undermined:

“‘Aladdin Sane’ bridged the gap between ‘Ziggy Stardust’ and ‘Diamond Dogs’. With advanced orders of over 100,000 the album finally clarified Bowie’s position as an established rock ‘n’ roll star. In maintaining his fan base while diverting to more experimental territory Bowie was confident he could hold a crowd and set the trend. Crucially this period saw the beginning of Bowie as pop auteur. Brimming with self-belief after having the audacity to kill off Ziggy, he went on to reinvent himself time and time again, becoming a key innovator and changing the face of the musical and cultural landscape throughout the seventies”.

Ultimate Classic Rock looked at the influence of Aladdin Sane and how it helped predict where Bowie would go and what would define his music:

“But Bowie also dug deeper into the avant-garde and jazz shadings that would fuel some of his later records (see the title track). In addition to the music's legacy, the album's cover art became one of Bowie's most iconic images. The lightning bolt that splits his face in half was partly inspired by the way Bowie felt he was being pulled in different directions during this hectic time in his life, and a perfect visual complement to the album's title pun. More than all of this, Aladdin Sane clinched Bowie's standing in the big leagues”.

I think about Bowie and, in addition to sonic shifts and these distinct ‘periods’ (geographical and genre); you cannot escape the fashion and iconic looks Bowie adopted until his death in 2016. In many ways, Aladdin Sane is one of the most enduring and inspiring albums because of that iconic lightning bolt on the cover. The Telegraph (their fashion director Lisa Armstrong penned it) wrote a piece regarding the impact and popularity of that lightning bolt look:

“Aladdin Sane was everywhere in 1973, so ubiquitous, he had even infiltrated my school  -  Dorchester Grammar, a rural  establishment hitherto impervious to fashion and, so it seemed to me, anything colourful.  Like a West Country kabuki tribe, the girls in the fifth and sixth form marched arm-in-arm (forbidden) down the corridors with their spiky orange hair-cuts (not forbidden, but only because the rules had yet to catch up), alabaster faces and tweezered-to-the-brink-of-extinction eyebrows in tribute to their hero, terrifying my fellow first years and me.

And the list of beneficiaries of Bowie inspiration goes on. The New Romantics, New Order, Madonna, Kate Bush, Kate Moss, Gaga, Florence, Jean Paul Gaultier, Balmain and many more, have openly paid homage to his influence on their style and careers.

Without doubt however, it’s Bowie’s androgyny that has had the most lasting footprint. Unlike other agents of glam rock, Bowie’s gender fluidity managed to shock because it wasn’t mere posturing. While the members of Slade and Sweet went out of their way to demonstrate their machismo, Bowie, with breath-taking insouciance, flouted his bisexuality”.

Maybe there are finer and more complete works than Aladdin Sane – one thinks of “Heroes” and Low – but there are none, in my estimation, that as important (in Bowie’s career) than the 1973-released gem. Such was the importance and popularity of Aladdin Sane; it would be a little while before Bowie created another masterful album. 1973’s Pin Ups is not considered an essential Bowie release whilst Diamond Dogs (1974) is brilliant but flawed (and his first album not to feature any of the Spiders from Mars). Many people focus on the look and iconography of Aladdin Sane and overlook the rich bouquet of music on there. Drive-In Saturday and Cracked Actor are tremendous cuts from the first side whilst The Jean Genie and Lady Grinning Soul end the album spectacularly. Critical reaction from the U.S. was stronger than it was in the U.K. and it meant his popularity there grew enormously – which, in turn, inspired his future direction and popularity. The fact Aladdin Sane is forty-five and still gathering huge acclaim and investigation shows how important and impactful it was – and how it signalled the rise and birth of an artist like no other! You can argue as to which Bowie album is the king but, if you think about importance and the transformation from The Rise and Fall of Ziggy Stardust and the Spiders from Mars; Aladdin Sane has to be in your thoughts and its relevance acknowledged. Not only does the imagery and look of the album endure and influence but the rawer and harder-hitting sounds of Bowie not only inspired the man himself but generations of artists. We always here that thing about icons and the new breed: they do not make them like this anymore! In some cases that is a bit of an over-exaggeration but, in the instance of David Bowie and the wonder of Aladdin Sane; I feel that statement is…

 IN THIS PHOTO: David Bowie, Aladdin Sane (album cover, 1973)/PHOTO CREDIT: Brian Duffy/the Duffy Archive  

VERY apt indeed.

INTERVIEW: Velvet Starlings

INTERVIEW:

Velvet Starlings

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I have been speaking with Velvet Starlings…

which is the moniker of fifteen-year-old Christian Gisborne. He has been talking about his musical rise and his band; what the story behind If Life Ain’t Getting You High and whether he will follow it with more material next year.

The teenager reveals whether it is daunting being in the industry at such a young age and which albums are important to him; if there are tour dates and which artist, if he had the chance, he would support.

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Hi, Velvet Starlings. How are you? How has your week been?

Pretty good. We had an incredible week playing our record release party at Madame Siam. It was pretty awesome having legendary DJ Rodney Bingenheimer of SiriusXMradio and Frank Infante from Blondie in attendance. We were invited to hang out with them at Canter’s Deli afterwards.

We also had our best Sofar Sounds LA show yet at the Hotel Erwin in Venice. And, to top it off, we were voted #3 on the KROQ locals only show! We could not be more grateful to our friends and fans we who have been requesting and voting for our music.

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

My name is Christian Gisborne and I am a singer/songwriter and the guitarist of Velvet Starlings - which is a '60s-influenced Indie Brit-Rock and Blues-based band. The name came from a period in time when I was listening to Cream (White Room’s reference to ‘tired starlings’) and Velvet Underground. 

 

If Life Ain’t Getting You High is your new cut. Is there a story behind it?

If Life Ain’t Getting You High is a question…

I try to present some options. There are a lot out there right now addressing the impact of social media addiction and overload on people; including depression for some. So, the idea was to write a song about getting off your devices and living life beyond the tiny screen. Take a look around and you’ll see the big picture or at least another perspective. We spend so much time ‘wired in’ or stressing about a negative comment or not being noticed. Sometimes, a change of scenery could be the ticket.

We included lots of natural backdrops in the video to convey that idea. I seriously believe in the power of music; whether playing, writing; tracking, going to a concert or just listening.  Music, literally, can tune you up spiritually.

You seem to be inspired by vintage guitar sounds and a classic edge. Were you influenced by particular artists/sounds when writing it?

Totally. I love The Beatles and all things '60s. I am a fan of Syd Barrett’s whimsical lyrics  and I may have been inspired by Mick Jagger in my vocal phrasing on the chorus. The production and overall feel on the outro was clearly influenced by I Am the Walrus and Strawberry Fields straight off The Beatles’ Magical Mystery Tour.

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

Yes, definitely. We have another E.P. already in mix stages that we are excited about. We are also releasing another single, Sold Down the River, off this one and we will probably release a holiday number for fun.

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

My father is from Leicester (Kasabian country). In the '90s, before I was born, he headed up an Indie Brit-Rock band (Skylab and Plastiscene) and later ran a label and managed bands - and was out touring or making records so he was not around much. I loved his music and The Beatles and let’s just say I caught on real quick where his influences had come from.

At six; I also had a computer so I was downloading music off of the Internet, going deep into many artists’ catalogues - starting with The Beatles and everything evolved from there. I started experimenting on an old vintage organ and with some of my parents’ gear. The first songs I learned were by The Beatles, The Animals and The Kinks and then I switched to guitar. I was really into The Who, Cream; The Stones, The White Stripes; Cage the Elephant and Arctic Monkeys. 

This record that is out now was recorded right before my fourteenth birthday. After that experience, I saved up my cash from busking at the farmers market and bought a computer and Pro Tools and started writing, producing and tracking the songs myself before I started high-school. As a result, I was admitted a year early into the recording arts program as a freshman.    

As a fifteen-year-old; do you have to juggle studies and music?! Is it quite tough a balancing act?

Yes. It is very challenging. My teachers are upset that I have to miss school and make up homework because I have been traveling and playing so many shows. It is a grueling lifestyle. But, I have to put in the work to keep the grades in check.

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

Playing more shows. The end of 2018 is coming up fast. My second E.P. should be mixed and mastered. I would also like to finish off a few new songs I’ve had on the back burner. And, I hope to see Tenacious D! 

Do you already have plans for 2019?

We have the new E.P. to release; lots more dates in Los Angeles, SXSW, Canadian Music Week and, as soon as school lets out; we are off to the U.K. to hopefully bring music to the masses. 

Lots of amazing music and artists there so it’s a bit daunting. We will also be playing Milwaukee Summerfest as the booker and owner caught one of our showcases in Sweden last month and was impressed enough to offer us a slot.  

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

We opened for Robbie Krieger and got to hear him play some of those classic Doors songs that I have been listening to since I was young. As far as live music experiences; probably seeing The Who, The Stones, Paul McCartney and Dylan live at Desert Trip - along with Jack White in Vegas and Cage the Elephant at the KROQ Weenie Roast.

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

The Beatles – ‘The White Album’

Greatest album ever. The diversity of genres, quality of songwriting; originality and production.

The White Stripes – Elephant

Best Jack White songwriting.

The Doors – The Doors

As it’s The Doors when they were bringing a new and darker tone to the sixties; a bit more mystery and poetic madness to the L.A. scene.

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

I’d like Jack White to come on stage and play a song with me and I’d also like ten Impossible burger sliders topped with Jack White’s special guacamole that he always has backstage. The recipe can be found on the Internet. 

What advice would you give to new artists coming through?

If you love music, don’t ever quit. The main reason I do music is because I straight-up love music. I could not imagine my life without it. A song is magical. It can change your whole vibe and day and its proven to tune up your soul.

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

I think we have some Los Angeles shows coming up: The Mint and The Hotel Cafe and another Sofar Sounds event! We love those as, even though they are mainly acoustic, the audience always gets involved and makes the energy electric.

 IN THIS IMAGE: Jack White

Are there any new artists you recommend we check out?

They might not be considered new but of newer bands: all things Jack White; Ty Segall; Arcade Fire; Gorillaz; Kaiser Chiefs.

 IN THIS PHOTO: Arcade Fire/PHOTO CREDIT: Ellen Matthews

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

When I’m not doing music, I’m watching other bands play live or watching previously recorded concerts and music festivals. Old live footage from early shows is the best as it’s cool to see these legends we know today at their musical inceptions and in their prime.

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).

All of Rattlesnake by King Gizzard and the Lizard Wizard...haha! Just kidding! For real, though, this is a tough question. How about Oh My God by the Kaiser Chiefs or Instant Karma by John Lennon

___________

Follow Velvet Starlings

Twitter:

https://twitter.com/VelvetStarlings

Facebook:

https://www.facebook.com/VelvetStarlings/

YouTube:

https://www.youtube.com/channel/UCsWqc-eMlHqO1zVYVBrMQ5A

INTERVIEW: Blushing

INTERVIEW:

PHOTO CREDIT: Kendall Chapman

Blushing

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THE brilliant Blushing…

have been telling me about their single, The Truth, and how the song came together. I ask whether there is more material coming along and how the band found one another; which album is most important to each member and what they have planned regards touring.

The U.S. band recommend some approaching artists to follow and tell me which artist they’d support given the chance; how they unwind away from music and what they have planned for 2019 – they each select a song to end the interview with.

__________

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

We are great! This week has been amazing. Our single, The Truth, was released on Friday and then on Sunday we went into the studio to start recording our full-length. We are answering these from the studio right now!

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

Christina Carmona on vocals and bass, Michelle Soto on guitar and vocals; Noe Carmona on guitar and Jake Soto on drums.

The Truth is your new single. Is there a story behind it?

Lyrically…it’s about how there can be many versions of the truth and sometimes we will choose to believe a version that may not be factual simply because it’s easier to or will cause less pain/controversy.

Will there be more material coming next year?

Yes. We are currently at The Bubble studios in Austin recording our debut full-length and are shooting for a release early-2019.

How did you all find one another? Were you friends before you started the band?

Jake and Noe were high-school friends from El Paso. They both ended up moving to Austin and Michelle and Christina met through them; then, in 2015, Michelle and Christina got together to write music and Blushing was formed.

PHOTO CREDIT: Kendall Chapman

It is strange to see two married couples in a band. It is sort of like Fleetwood Mac but with less drama! Do you think your music is lending a unique quality because of your bonds?

I think, as married couples, we know each other’s working style and musical preferences so well that it makes communication easier.

In terms of sounds/artists; who are Blushing inspired by?

Cocteau Twins, Wild Nothing; Lush, Smashing Pumpkins and Drab Majesty

Being based out of Austin; what is the music scene like there? Is it a great place to be?

There are a lot of great venues, great promoters and an abundance of music lovers. It’s definitely a great place to be if you want to play live.

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

We hope to be finished recording and ready to press our next album.

Do you already have plans for 2019?

Big plans! We are lucky enough to come back in 2019 as official SXSW showcasing artists, we will be releasing our debut full-length and then going out on the road to tour.

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

SXSW 2018 sticks out in all our minds as a pinnacle moment. We played a whirlwind of shows in one week and had an amazing time. It was exhausting but we were always having fun.

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

Christina: Nine Inch Nails – The Downward Spiral

The soundtrack to my youth.

Michelle: Smashing Pumpkins – Gish

It was the first C.D. I purchased on my own at Blockbuster Music. It changed my perception of what music could be and I still listen to it with the same awe and wonder decades later.

Noe: At the Drive-In – Relationship of Command

It was very inspiring seeing and hearing this kind of creativity; especially coming from my hometown.

Jake: Silverchair – Frogstomp

Seeing kids my age making music was inspiring and the first song I learned on guitar was Tomorrow - which led to me playing music till today.

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

Slowdive. As long as we have Topo Chico, Sour Punch Straws; Takis and some original Coca-Cola.

What advice would you give to new artists coming through?

As cliché as it may sound, always remember to have fun. We see making music as a privilege and a way to enjoy those moments in between all the obligations.

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

November 3rd is our single release show at Cheer Up Charlie’s and also the label launch party for The Nothing Song Records, who helped us release our 7” single on vinyl. Winter (L.A.), Ringo Deathstarr; Rose Ette and Glaze will also be playing so we are super-excited. We are also playing November 14th with Holy Golden (N.Y.) and El Lago (Galveston) at Hotel Vegas in Austin.

 IN THIS PHOTO: Wild Moccasins/PHOTO CREDIT: Arturo Olmos

Are there any new artists you recommend we check out?

El Lago, Flasher; Wild Moccasins and Holy Golden are coming out of our speakers quite often.

 IN THIS PHOTO: Flasher

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

Music is our main mode of chilling. Outside of work and band stuff, we don’t have much free time but luckily we really enjoy doing band stuff so it works out!

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).

Christina: Sally Dige – Holding On

Michelle: The Lightning Seeds – Pure

Jake: tricot - Tokyo Vampire Hotel

Noe: Drab Majesty - 39 by Design

___________

Follow Blushing

 PHOTO CREDIT: Jake Soto

Official:

https://www.blushingmusic.com/

Twitter:

https://twitter.com/blushingband

Facebook:

https://www.facebook.com/weareblushing/

Instagram:

https://www.instagram.com/blushingband/

Spotify:

https://open.spotify.com/artist/27rWdoCAtvpwChpCDz9PK0

YouTube:

https://www.youtube.com/channel/UCCs3Z_TNtTi3udiQXH7MwJg

Bandcamp:

https://weareblushing.bandcamp.com/ 

INTERVIEW: Brooke Law

INTERVIEW:

Brooke Law

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THANKS to Brooke Law…

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.

__________

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! 

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…

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).

 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

___________

Follow Brooke Law

Official:

https://www.brookelaw.co.uk/

Twitter:

https://twitter.com/BR00KELAW

Facebook:

https://www.facebook.com/BR00KELAW/

Instagram:

https://www.instagram.com/br00kelaw/

Spotify:

https://open.spotify.com/artist/0mDLTE0tzaN3lPl91t550q

YouTube:

https://www.youtube.com/channel/UCk2cMZokodMUwD8tdboRdqQ

INTERVIEW: The Shantics

INTERVIEW:

The Shantics

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WITH the video for Heaven fresh and in the world…

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.

__________

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. 

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.

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.  

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.

 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.

 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

___________

Follow The Shantics

Official:

https://theshantics.com/

Twitter:

https://twitter.com/TheShantics

Facebook:

https://www.facebook.com/TheShantics/

Instagram:

https://www.instagram.com/theshantics/

Spotify:

https://open.spotify.com/track/0vcwom7eGNytkytS034Bv9

SoundCloud:

https://soundcloud.com/theshantics

YouTube:

https://www.youtube.com/channel/UCXtThZ4xoojk9DOf4wZJ6QA

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

FEATURE:

 

 

Bad Blood

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

The Toxic World of the Twitter Feud

__________

I might have time to concoct something…

 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!”

"I know what there is footage of. You standing on the wall like 'I'm standing right here.' Ms. Chun-Li, the street fighter"- Cardi B

I howwwwled at this pic.twitter.com/8WCPMIkL3z

— Keith Nelson Jr (@JusAire) October 29, 2018

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.

 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.

 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.

 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”.

 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…

Watch out for the Regina George in sheep's clothing...

— KATY PERRY (@katyperry) September 9, 2014

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”.

pic.twitter.com/m6ebYV8D1r

— KATY PERRY (@katyperry) July 13, 2016

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…

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):

We can...

Get on live & have the convo for the world to see.

Do a lie detector test TOGETHER

Do an interview on #QueenRadio 😅

*** ORRR we can both sit in a room together, hear a beat for the first time, and have ourselves FILMED WRITING TO IT!!!!!! #DipVIDEO OUT NOW 👅

— QUEEN (@NICKIMINAJ) October 30, 2018

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…

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

IS it all worth it?!

INTERVIEW: Chasing Deer

INTERVIEW:

Chasing Deer

___________

THE boys of Chasing Deer…

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.

__________

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.

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!

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.

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.

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.

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?

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.

 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.

 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

___________

Follow Chasing Deer

Official:

https://www.chasingdeer-official.com/

Twitter:

https://twitter.com/chasingdeerband

Facebook:

https://www.facebook.com/chasingdeer

Instagram:

https://www.instagram.com/chasingdeerband/

Spotify:

https://open.spotify.com/artist/6dYpvLzQD7hengPe9uhize?si=xk3A1vssRpGnlU1AuqfYdQ

SoundCloud:

https://soundcloud.com/chasingdeer

YouTube:

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

INTERVIEW: The Teskey Brothers

INTERVIEW:

PHOTO CREDIT: Lisa Businovski

The Teskey Brothers

___________

THANKS to Liam from The Teskey Brothers…

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.

__________

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.

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.

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.

 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!

 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

___________

Follow The Teskey Brothers

Official:

http://www.theteskeybrothers.com/

Twitter:

https://twitter.com/teskeybrothers

Facebook:

https://www.facebook.com/theteskeybrothers

Instagram:

https://www.instagram.com/theteskeybrothers/

Spotify:

https://open.spotify.com/artist/2nTjd2lNo1GVEfXM3bCnsh

YouTube:

https://www.youtube.com/channel/UCpHZ4yRpTYMbSz_j1Gj4ImA

INTERVIEW: Lili Caseley

INTERVIEW:

Lili Caseley

___________

THIS interview finds me talking with Lili Caseley…

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.

__________

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.

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

Are there any new artists you recommend we check out?

Natty Wylah and Stone Jets.

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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