FEATURE: Starting the Decade in Style: Part I/V: The Finest Albums of 1990

FEATURE:

 

 

Starting the Decade in Style

 PHOTO CREDIT: @annietheby/Unsplash 

Part I/V: The Finest Albums of 1990

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THE reason I am putting together this feature…

 PHOTO CREDIT: @dmitrybayer/Unsplash

is to shine a light on the albums that started a decade with a huge deceleration. I feel it is hard to define what a decade is about and how it evolves but the first and last years are crucial – I have already looked at decade-ending albums. I am bringing to life this feature that celebrates albums that opened a decade with a mighty amount of quality and gave inspiration to those who followed - I will cover 1970, 1980; 1990, 2000 and 2010. In this first part, I am focusing on 1990 and the best ten records from the year. The 1990s was a truly biblical decade and some of the very best records from the decade were released right at the start! Have a look at these ten 1990-released albums and I am sure you will agree that the 1990s was a hugely....

 PHOTO CREDIT: @priscilladupreez/Unsplash

EXCITING time.

ALL ALBUM COVERS: Getty Images

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Sinéad O'Connor – I Do Not Want What I Haven’t Got

Release Date: 20th March, 1990

Labels: Ensign/Chrysalis

Review:

“But the album plays like a tour de force in its demonstration of everything O'Connor can do: dramatic orchestral ballads, intimate confessionals, catchy pop/rock, driving guitar rock, and protest folk, not to mention the nearly six-minute a cappella title track. What's consistent throughout is the frighteningly strong emotion O'Connor brings to bear on the material, while remaining sensitive to each piece's individual demands. Aside from being a brilliant album in its own right, I Do Not Want What I Haven't Got foreshadowed the rise of deeply introspective female singer/songwriters like Tori Amos and Sarah McLachlan, who were more traditionally feminine and connected with a wider audience. Which takes nothing away from anyone; if anything, it's evidence that, when on top of her game, O'Connor was a singular talent” – AllMusic

Standout Track: Nothing Compares 2 U

Pixies – Bossanova

Release Date: 13th August, 1990

Labels: 4AD/Elektra

Review:

“By now most of us have heard 'Velouria'. Not as immediate as 'Gigantic' or 'Monkey Gone To Heaven' as far as singles go, but still a delightfully wiggy window to the world of Black Francis and the maddest thing to have been seen on Top Of the Pops since The Wombles wee Top Ten regulars.

'Ana' and 'All Over The World' would not be out of place on 'Aladdin Sane', with Black Francis doing his best Bowie impersonaton. 'Ana' is a brief repetitive piece, just six lines long. The lyric book shows us the firs letter o each line spells out S-U-R-F-E-R, while on 'All Over The World' Black Francis claims "I am a derangement." And we believe him.

'Stormy weather' flirts with the kind of omnious doom The Jesus and Mary Chain use” – NME

Standout Track: Velouria

Cocteau Twins – Heaven or Las Vegas

Release Date: 17th September, 1990

Label: 4AD

Review:

“Yet, a few words do stand out, primarily that title phrase: “Heaven or Las Vegas.” The Cocteau Twins’ music has always sounded otherworldly, and their many fans would certainly describe it—and rightly so—as heavenly.

But Las Vegas? It stands out as an odd, jarring reference. Their fantastical music would seem to brook nothing quite so earthly, so garish, so thisworldly as Sin City, which hauls unlikely baggage into “Heaven or Las Vegas”: gambling, corruption, tacky tourism, and cheesy crooning. But if we forget everything we know about the city and reduce Las Vegas to its atomic elements—millions upon billions of lights—perhaps we might see heaven in the radiance. This is essentially how the Cocteau Twins’ music works: Fraser’s voice doesn’t behave the way a pop singer’s voice typically behaves, nor does Guthrie’s guitar deliver the usual melody or rhythm. Along with bass player/keyboardist Simon Raymonde, whose contributions shouldn’t be discounted, they found new ways to use old instruments in the 1980s, in the process devising a unique and wholly beguiling sound” – Pitchfork

Standout Track: Pitch the Baby                    

Paul Simon – The Rhythm of the Saints

Release Date: 16th October, 1990

Label: Warner Bros.

Review:

“Each new cut comes as a surprise. The first song, ”The Obvious Child,” begins with confident drums that resound with special exuberant zing because they were recorded outdoors in a resonant city square in Salvador, Brazil. Then, at the start of the second song, ”Can’t Run But,” there’s a change of emotional weather; the drumming yields to a nervous patter of marimba and percussion. Later tracks are suffused with the liquid melody of African guitar or explode with bursts of soul-music horns, vividly etched against a prancing African beat. One buoyant song, ”Proof,” also has an introspective side, and dissolves into an interlude so high and timid it seems barely able to stand on its own. Yet somehow it does.

Simon’s voice, meanwhile, floats over everything, sounding both calm and earnest, eager and detached. It’s the voice of a man who endures the workaday world of achievement and suffering but longs in his heart for perfect peace” – Entertainment Weekly

Standout Track: The Obvious Child

Sonic Youth – Goo

Release Date: 26th June, 1990 

Label: DGC 

Review:

“The answer, of course, is to make the record an elaborate joke on the idea of making a commercial record, a hermetic, album-length parody that's the equivalent of putting those waggling-finger quotation marks around the whole thing.

The songs revolve around catchy, nonsensical choruses--things like "My friend Goo / Just says, 'P.U.' " or "I don't wanna / I don't think so"--that stick with you as insistently as anything ABBA ever came up with. Great swaths of dissonant guitar noise move the way radio hooks are supposed to, and they become radio hooks themselves. There's always a beat to grab on to, sometimes tribal, sometimes poppy, but always danceable, and "Goo" rocks as hard as Mudhoney, while working on about half a dozen more levels. Call "Goo" the "Exile on Main Street" of the snide generation” – Los Angeles Times

Standout Track: Kool Thing

Deee-Lite – World Clique

Release Date: 7th August, 1990

Label: Elektra

Review:

“Groove Is in the Heart" defined the summer of 1990 on radio and MTV with its delicious combination of funk, modern dance sheen, and Lady Miss Kier's smart, sharp diva ways. Add in guest vocals and bass from Bootsy Collins (a pity his hilarious video cameo wasn't represented here), brass from the original Horny Horns duo of Fred Wesley and Maceo Parker, and a smooth mid-song rap from A Tribe Called Quest's Q-Tip, and the results sounded good then and now. The rest of World Clique offers variations on the song's theme, with Kier's sweet, light vocals and DJs Dimitri and Towa Tei making it work in various ways. It's still a bit surprising that Kier didn't go on to greater fame on her own, because she definitely has not merely the pipes but the personality to carry something on her own -- compared to the dog-whistle vocal calisthenics of someone like Mariah Carey, there's no contest. Check out her work on songs like "Good Beat" and the amusing sass of such numbers as "Try Me on, I'm Very You." The two musicians come up with a seamless, adept flow throughout, merrily raiding whatever they so choose in the past for their own purposes. Disco is the heart of it all, with everything from hip-hop breaks to bubble-salsa piano -- even early Depeche Mode! -- taking a bow; hints of the future genre-mashing Towa Tei would make his own trademark are already plentiful. Bootsy and the Horny Horns crop up at other points as well, adding just enough classic funk to blend with the crisper electronic pulses and arrangements” – AllMusic

Standout Track: Groove Is in the Heart

Public Enemy – Fear of a Black Planet

Release Date: 10th April, 1990

Labels: Def Jam/Columbia

Review:

“Fear of a Black Planet from 1990 made kindling of the previous summer’s anti-Public Enemy sentiment, quoting the group’s biggest critics in interludes and ribbing them in the songs. “Contract on the World Love Jam” weaves negative news reports into a scene-setting intro; later “Incident at 66.6 FM” sets outraged calls from a Chuck D squareoff with New York political radio host Alan Colmes over sedate keys and drums, playing the grumps for squares without even responding to their charges. A late album Terminator X showcase snarkily titled “Leave This Off Your Fuckin Charts” is a tenacious dare. Elsewhere, Fear pulls the camera off P.E. to speak to community issues. “Anti-Nigger Machine” and “Who Stole the Soul?” levied heavy accusations of censorship while “911 Is a Joke” explored black community police mistrust and “Fear of a Black Planet” tackled apprehension about interracial dating. Sourcing Public Enemy’s media struggles back to age-old racial strife was a brash, heavy-handed play, but Fear’s genius trick was coating its righteous rage in music that aimed to groove where earlier songs seemed to want to maim” – Pitchfork

Standout Track: 911 Is a Joke

Eric B. & Rakim – Let the Rhythm Hit ’Em

Release Date: 19th June, 1990

Label: MCA Records

Review:

“Eric B. mixes beats and snatches of melody with a be-bop drummer’s sure, steadily swinging hand; he’s the Max Roach of the twin turntables. Listen to how he echoes and comments on Rakim’s lines throughout “Keep ‘Em Eager to Listen” without ever stopping the groove. And on “Untouchables” these two take hip-hop straight to the astral plane. Whether scratching up the late-Sixties sound of freedom jazz or matching a walking acoustic bass and a wailing trumpet to the call of the funky drummer, this bold attempt at cross-generational fusion says more about the Afro-American cultural continuum than a truckload of medallions and dashikis. A lot of rappers talk about “dropping science” these days; Eric B. and Rakim just do it” – Rolling Stone  

Standout Track: Run for Cover

The Breeders – Pod

Release Date: 29th May, 1990

Labels: 4AD, Elektra Records

Review:

“Though the album doesn't feature as many of Donelly's contributions as was originally planned -- which was part of the reason she formed Belly a few years later -- songs like "Iris" and "Lime House" blend the best of the Pixies' elliptical punk and the Muses' angular pop. Pod reaffirms what a distinctive songwriter Deal is, and how much the Pixies missed out on by not including more of her material on their albums. With their unusual subjects -- "Hellbound" is about a living abortion -- and quirky-but-direct sound, songs like "Opened" and "When I Was a Painter" could have easily fit on Doolittle or Bossanova. But the spare, sensual "Doe," "Fortunately Gone," and "Only in Threes" are more lighthearted and good-natured than the work of Deal's other band, pointing the way to the sexy, clever alternative pop she'd craft on Last Splash. A vibrantly creative debut, Pod remains the Breeders' most genuine moment” – AllMusic   

Standout Track: Glorious

Depeche Mode – Violator

Release Date: 19th March, 1990

Label: Mute

Review:

“Then "Enjoy the Silence," a nothing-else-remains-but-us ballad pumped up into a huge, dramatic romance/dance number, commanding in its mock orchestral/choir scope. Follow-up single "Policy of Truth" did just fine as well, a low-key Motown funk number for the modern day with a sharp love/hate lyric to boot. To top it all off, the album itself scored on song after song, from the shuffling beat of "Sweetest Perfection" (well sung by Gore) and the ethereal "Waiting for the Night" to the guilt-ridden-and-loving-it "Halo" building into a string-swept pounder. "Clean" wraps up Violator on an eerie note, all ominous bass notes and odd atmospherics carrying the song. Goth without ever being stupidly hammy, synth without sounding like the clinical stereotype of synth music, rock without ever sounding like a "rock" band, Depeche here reach astounding heights indeed” – AllMusic

Standout Track: Enjoy the Silence

FEATURE: Quiet Is the New Loud: The ‘Fan’ Who Wasn’t There: Why the Strange Case of Threatin Is Not So Unusual

FEATURE:

 

 

Quiet Is the New Loud

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

The ‘Fan’ Who Wasn’t There: Why the Strange Case of Threatin Is Not So Unusual

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IT is not often you get something lighthearted to report in music…

where you can all get together with the same reaction: This is just plain weird, right?! Maybe it is not such a joke for those who have been scammed and mislead but many might be familiar with the rather odd case of Threatin and the fact they – or ‘he’ – has been touring and promising all these fans, sales and big shows. It was, in fact, an illusion and something that makes one wonder why he went to such lengths. Here are the details regarding the story:

“With hundreds of ticket sales, legions of social media followers and adoring messages posted online from teenage fans, Californian metal band Threatin appeared more than ready to conquer the UK music scene.

Venue managers liaised with an apparent booking agent and record label, gladly signing them up in the hope of sell-out crowds.

The reality was a rather different story. This band was unknown, they had no fans and no management.

They toured the country playing to completely empty gig venues and as they did so last week,  their story began to unravel.

The band, and in particular the sole permanent member Jered Threatin, has been accused of creating a fake legion of fans in order to land the UK tour.

Rob Moore, singer and guitarist in hardcore punk band Dogsflesh, which supported Threatin in Newcastle to an audience of four people, said: “The effort that he's gone to to portray himself as a big star is quite phenomenal...

"In all the years I've been involved in music I've never known anything like this.”

The band Kamino, which supported Threatin in Bristol, said they began to do their own digging and allege that the entire tour was based on fabrications stemming from paid social media “likes” for each show.

“Having delved deeper we realised the same practices were in place on his YouTube channel, his Facebook page, even on previous US tour dates listed on his website,” they wrote online.

“And when looking more closely at his website - all the industry contacts listed don't exist. Essentially, the entire history of Threatin is a lie”.

It seems Threatin’s figurehead enjoyed playing to near-empty venues and seemed to get some strange kick off of promulgating this ruse and having barely anyone turn up. Looking at the cover designs for his music and the aesthetics and there is something a bit Spinal Tap about it! If it were a fake Popstar or Folk artist, someone who looked the real deal, then it would be more baffling but, looking at the whole Threatin project, and it does seem like this rather comical and weird conceit.  There are tweets and videos going around of this band playing to empty venues and seemingly enjoying themselves. Whilst the saga is over and they cancelled their last couple of dates, one wonders what the impact is on venues.

This is one of those weird-as-crap situations that, like a nuclear disaster, one hopes they do not have to see again! The fact that Threatin successfully managed to dupe venues and purport this rather elaborate hoodwink makes me wonder whether it will start a trend. Maybe the goal was for this grand hoax to generate more publicity and curiosity than the music ever would – which is rather sh*t to be honest – and get some sort of odd ‘curiosity fame’. Like hostages being drawn into this odd and rather interesting situation; one does not hope the band is given any record deals and undue publicity after this. The venues that have been misled have shown anger and relief and, aside from a bit of humour here and there, it has been a bit embarrassing. In cases where the band played in the U.K. and Europe, it seemed like the venues were paid but the fact they reserved an entire evening to this band and had no bar sales and any other revenue means a lot of money has been lost. It seems amusing and bizarre from the outside but it makes me curious as to whether, going forward, venues will need some way of corroborating bands/artists’ stories of fanbases/ticket sales. The vast majority of artists out there are legitimate and do not go to such ridiculous lengths to get gigs but, if there are benefits and profits to be made by Threatin – maybe people will buy their music out of sheer curiosity – then struggling and anonymous bands might try the same thing.

I hope we do not see anything like this again because it looks bad for the venues and they have to lose a night that could have gone to a genuine act. It is embarrassing for the support artists who were hoping for exposure and new fans and the whole charade is a bit mystifying and strange. There was no situation where the band would have got money and positive media attention. They faked ticket sales and fan numbers on social media and there is no way they can come back from it. Threatin are not going to suddenly see those fake numbers replaced by real fans and get gigs off the back of this. Although there has been nothing quite as stupefying and film-worthy as this – maybe that was the plan?! – it is not unusual for artists to exaggerate their worth and popularity. It has been happening for a few years but I wonder why any artist would buy online followers and go to these kinds of lengths. It seems, in the modern market, Facebook and Twitter numbers are more important than the quality of the music. Whereas genuine artists can create great music and get fans that way; there is this whole other world where people are buying followers to boost their numbers; it makes them seem more attractive and huge and, for sites like Spotify that have a bare-minimum membership in terms of followers – this has recently changed – it is a duplicitous and scurvy way of going about things.

It is not just buying followers and that side that bands employ. Some artists publicise hoaxes and use them to gain traction:

“Most people only learned of L.A. band Yacht when its members claimed to be revenge porn victims in May 2016. In a fake effort to get ahead of a leaked sex tape (which later turned out to be a dull music video posted on PornHub), Yacht announced it would be selling copies of it for $5. But Jezebel then revealed the hoax for what it was and the band issued an apology”.

Some say buying followers and taking a rather nasty route in is okay. This article argues some positive aspects:

“When explaining why I believe purchasing social media followers is a good thing, I always use the analogy of a party.

Nobody wants to go to a party until there are plenty of people there and it’s in full force, right? But if that’s the case, how is one supposed to get a party started? The same can be said for your Twitter or Instagram page. Why would anybody want to click the follow button on an account with 25 followers, even if the content seems to be great upon first glance?

Feel free to invite all of your friends and pre-existing fans to join you in these places, and then do a quick Google search to see about upping those numbers. You don’t need many, and in fact, why purchasing, you should do so intelligently. If you are an artist with only a few songs out and yet you have 50,000 followers on Twitter—we’ve all seen these people—nobody is going to believe you, and your efforts will end up backfiring, making you look like a fool in the process...

PHOTO CREDIT: @sharonmccutcheon/Unsplash 

Think before you buy.

Will 500 followers make you look appear to be on your way? 1,000? Maybe start with one and eventually spend your way to that second figure? There are many different ways to go about this, but you need to be aware that people are going to quickly glance at your follower counts and judge you instinctively based on them.

Now, you may be thinking that this is all an exercise in vanity, and I’d say you’re right, but only partially. Having a respectable follower count on popular platforms shows that some people have invested in you, if even in some small way (and even if they aren’t real, but that’s just between you and I). It tells those that might be potentially interested in booking you to play a venue, a festival, or even to sign to a label that there are people out there that are interested, and that there might actually be something to the artist in front of them”.

 There is this argument – for those who buy followers – that promoters, venues and streaming sites have a minimum number when it comes to followers and fans. It can lead artists to buy these followers and create fake profiles. This article from 2016 brought together Music Consultant and Internet marketing veteran Tony Harris regarding whether musicians should buy followers:

“As Twitter’s dominance as a platform reaches its apex, the phenomenon of fake profiles have emerged, and the tens of millions of bot accounts created by marketers are flooding Twitter with spam and noise. Thousands of fake accounts are created weekly, diluting and distorting the effect of this large community. As auditing tools allow more transparency into the authenticity of accounts, it becomes more and more crucial not just to build numbers, but quality followers – the ones that have true value as influencers, brand ambassadors and people who engage and spread awareness of the brand. The illusion of a massive following is often just that, with the reality being that only a fraction of the perceived audience ever sees content tweeted from the account. There’s usually an even larger number of inactive or low-quality followers, that are real users but not likely to see or share or engage in the content. I was quoted in this Associated Press article about the Fake Follower Industry. (You can find that article here)...

PHOTO CREDIT: @freestocks/Unsplash 

It seems like everywhere you turn these days, you need to have a lot of followers on social media in order to get noticed. It’s not just talent scouts who are looking. If you want to get press coverage, there’s no story unless you have a big following. It’s democratized eyeballs. A periodical will not necessarily even write about an artist unless they know the artist retweeting or sharing that interview will bring them a certain number of eyeballs. Press people and journalists, booking agents, A&R people, talent scouts – all these people now need to see a huge following on social media in order to take interest in an artist”.

There are plenty of articles that argue against paying for followers because, in a tough and competitive market, it is unfair for talented artists who cannot afford to buy fans be overtaken by people who take a quicker route:

“To the untrained eye, social media numbers are important. However, if you delve, you'll notice inconsistencies. For example, a band may have a ton of "followers," but few likes on their photos. Alternately, a band may have lots of Soundcloud plays on a particular song, but few comments.

The music market is a brutal one. Any advantage, even an inflated or false one, could result in an opportunity not otherwise had. However, at some point, if you cheat, it will all fall apart for you. Potentially, in a very embarrassing way, like at a gig. Not only is cheating unfair to other bands, but funding endeavours that enable you to cheat causes a complex problem in the music market...

 

I am an advocate of any media that attempts to create a new stream of income for musicians, especially after the destruction of the CD market. Radio-like streaming services such as Spotify, Rdio and so on, hold a lot of promise; they compensate artists per song play. Some argue that they don't compensate artists enough. However, these services represent the promise of a new way for musicians to make money.

My fear is: will schemes that allow people to buy popularity proliferated into other areas of the market? Could they destroy promise of new income streams for musicians?”.

Whilst this is not quite the same as Threatin and what they did; there is all manner of fakery and exaggerated numbers online. You are never too sure whether the Facebook and Twitter numbers are real and whether we are too dependent on numbers. When all is said and done; campaigns, gigs and promotion should be based around genuinely great music that does not need misleading social media numbers and any sort of paid marketing. I often feel like streaming figures and follower numbers is the exact opposite of truth and appeal. The artists with fairly moderate and realistic follower numbers tend to be the best. These mainstream artists with millions of followers seem, on the surface, to be the best and top of music but their actual sounds are average and overly-commercial. It might be naïve of me but I wonder whether music has become too numbers-driven and business-minded. Given the number of people coming into music; is it possible to have a purely talent-based system where quality gets you where you need to be? The case of Threatin seems weird and a one-off but there are plenty of artists buying their fanbase and paying to make themselves more popular than they really are. I think it all needs to stop and there needs to be some system where bands/artists buying followers needs to be stamped out. Let’s hope the pantomime of Threatin does not lead to impersonators and repeat performances but, if you look close enough, there are plenty of other artists out there who are...

 PHOTO CREDIT: @rawpixel/Unsplash

NOT all they seem.

INTERVIEW: Jana & The Lanterns

INTERVIEW:

Jana & The Lanterns

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THANKS to Jana of Jana & The Lanterns...

for telling me the story behind the debut single, Birdhouse, and what its story is. I was keen to know if there is more material coming and which artists Jana got involved with at a young age – she tells me what she wants to achieve going forward.

The songwriter selects some albums important to her and reveals whether there are gigs coming; which rising artists we need to get behind and whether she gets time to unwind away from music – Jana selects a great track to end the interview with.

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

Hi, Sam. I’m ok, thanks. This week has been busy, but good.

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

Sure. My name is Jana. I live in London and I’m a musician and singer-songwriter. I started playing with my band about two years ago and named the project ‘Jana & The Lanterns’. It’s essentially Folk-Rock with hints of Pop, Country; maybe a hint of Jazz. I’m having a hard time putting it in the box, actually (smiles).

What is the story behind your new single, Birdhouse?

It started as a poem. I was just lying on a sunbed, writing a poem about birds. There was a birdhouse in the tree nearby and I realised that they only stay there for a while before flying away. It was like a temporary home. Hence, the lyric “Even a wanderer needs a piece of home every now and then…”.

Do you think there will be more material coming next year?

Definitely. We recorded five songs for an E.P. which will be released in 2019.

Which artists did you discover young and become involved with?

Sting was probably my first big influence when it comes to ‘popular’ music.  

Do you listen to a lot of modern music or do you find you gravitate towards classic artists?

I love listening to time-proven classics but from the newer people I prefer Father John Misty, Chris Stapleton; Lianne La Havas, Florence & the Machine...there is good music around.

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

I’d love to spread our band’s name around; introduce our music to as many people as possible. Releasing of the second single is planned too.

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

Well…there are a few. Playing at a Progressive Rock festival in Miami and meeting Mike Portnoy and Jon Anderson was pretty spectacular.

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

Mercury Falling by Sting

I found it in my dad’s C.D. collection and was amazed by the impeccable musicianship of the band, imaginative songwriting and arrangements. Never heard anything like it before. You know there’s a direct link between hearing that album and me coming to England (smiles).

Nat King Cole (compilation)

My interest in Jazz started with this.

Blue by Joni Mitchell

It showed me how much of an impact you can make with just a voice and a guitar/piano and that it’s possible to get abstract in expression while remaining very direct to the listener. I suspect it’s only possible with Joni.

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

Oh; I don’t know. There are so many great people around. It would be cool to support Father John Misty cause he’s one of a few singer songwriters that is REALLY honest and doesn’t make compromises. Good music is obviously the first priority for him.

What advice would you give to new artists coming through?                   

Well. I am a new artist myself. That doesn’t mean I haven’t been making music before - I was fortunate to have a lot of amazing Classical music teachers that taught me discipline, dedication and refining musical taste. So, passing on their advice; listen to a wide spectrum of genres and practice, practice, practice.

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

At the moment, I am playing some solo/duo gigs with my guitarist. A proper tour will follow after the E.P. release. There’s an amazing Folk club in London called The Lantern Society that I play at quite often. Wonderful people and the performers are always great.

 IN THIS PHOTO: Aksel Undset/PHOTO CREDIT: Annika Derksen

Are there any new artists you recommend we check out?

I’ve seen this Norwegian guy recently, Aksel Undset. Beautiful landscape-like harmonies and melodies; incredible guitar playing too.

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

Haha. I never really chill away from music: it’s just in me. I’m always writing or just humming or thinking about swapping the melody of the new chorus for the old one as it was better in the end…otherwise I just watch a movie or go out for a walk (smiles).

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

Joni Mitchell – Help Me

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Follow Jana & the Lanterns

Official:

https://lanterns.band/

Facebook:

https://www.facebook.com/lanternz/

Instagram:

https://www.instagram.com/lanternsmusic/

Spotify:

https://open.spotify.com/artist/1ctoLjeMAYy8ICTwnnBC23?si=sV1go8XCSbi8FWD7Hzx5NQ

SoundCloud:

https://soundcloud.com/janaandthelanterns

YouTube:

https://www.youtube.com/channel/UCIuydgE2KkAIPgHj3UqkA3g

INTERVIEW: Evil Needle

INTERVIEW:

Evil Needle

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I have been speaking with Evil Needle...

about his single, Collapse, and what comes next in terms of new material. The French producer tells me about his path into music and albums that mean a lot; whether he has any advice for artists emerging and which rising musicians we need to get behind.

I ask whether he has any plans before the end of the year and how his music has changed through the years; if he has a favourite memory from his time in music – Evil Needle selects a relatively unheard song to end the interview with.

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Hi, Evil Needle. How are you? How has your week been?

I’m doing great, thanks. I hope you’re well?

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

My name is Evil Needle. I’m a producer from France.

Collapse is your latest single. What is the story behind it?

Collapse is one of the stages of the E.P. The overall theme is to overcome or beat something, hence the name ‘igida wich’ which means 'to win', 'to defeat' or 'to beat'.

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

I mostly listened to Hip-Hop music growing up and started to learn about beat-making randomly when my friend introduced me to one of the few software programs that were available at that time. I found it entertaining, so I just kept doing it as a hobby and, here I am, still working on my craft.

Do you feel your music has evolved and changed since the start of your career?

Definitely. Over the years, I have been influenced by a number of genres such as Hip-Hop, Rap; Neo-Soul, R&B; Trap and Future-Beats.

Do you already have plans for 2019?

I’m currently working on an L.P. called Souvenirs 2, which is the final chapter. It consists of tracks from the SoundCloud era that I’ve reworked and added new productions to. I wanted people to enjoy them on all streaming platforms. This should be available at the start of 2019.

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

The best times were always the times where I got to meet all the ‘internet bros’. It’s really great to see how people really are and sharing a stage or a studio with them was never a let-down – it was a lot of fun.

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

Wu-Tang Clan - Wu-Tang Clan Forever

Because it’s the soundtrack of my childhood.

J-88 - Best Kept Secret

Because that’s the day I discovered J Dilla’s productions.

Flying Lotus - Los Angeles

Because he opened the path for a lot of us and he’s a big inspiration.

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

I don't expect much, but I’d like a good reception from the upcoming E.P.

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

I'd love to support artists such as Bryson Tiller, Jeremih or Anderson .Paak. As far as the rider goes; I'm content with water and some beer; maybe some Pringles for extra fanciness.

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

None at the moment.

What advice would you give to new artists coming through?

To add their own flavor to the sauce and not only follow footsteps.

 IN THIS PHOTO: Blanda

Are there any new artists you recommend we check out?

There’s always some great new stuff I’m discovering. Right now, I’d say that I really feel Blanda, Stanzah! and Nasty C.

 IN THIS PHOTO: Stanzah!

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

I can if I want to, but I’m fine with the way it is right now. When I’m not doing music, I like to learn new things such as cameras - which is something I’ve been getting into recently.

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).

allah – jordans (whereisalex remix)

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Follow Evil Needle

Official:

http://www.evil-needle.com/

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 Twitter:

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FEATURE: The November Playlist: Vol. 3: I’ll Follow the Girl Anywhere…

FEATURE:

 

The November Playlist

IN THIS PHOTO: The Japanese House/PHOTO CREDIT: Getty Images

Vol. 3: I’ll Follow the Girl Anywhere…

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THIS week is a reliably busy and eventful one…

IN THIS PHOTO: Regina Spektor/PHOTO CREDIT: Shervin Lainez

that sees fresh releases from The Japanese House and Regina Spektor. I have been looking at what is out there and have combined Rita Ora, Chris Cornell and The Smashing Pumpkins together with some of the more under-the-radar, underground cuts. It is a great blend of sounds that will get into the head and kick the weekend off in style. Take a look through the best of the new releases and the wonderful variety on offer. Every week brings wonderful treats through and this week is particular special and important. This is, perhaps, the last week we will be able to enjoy regular and traditional music before the dreaded Christmas tracks…

IN THIS PHOTO: Rita Ora

COME out of the woodwork!

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

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The Japanese House – Follow My Girl

Regina Spektor – Birdsong

The Vaccines – All My Friends Are Falling in Love

Noel Gallagher’s High Flying Birds – Alone on the Rope 

PHOTO CREDIT: Amber Pollack

Sundara Karma – One Last Night on Earth

Rosie Carney – Zoey 

Maggie Lindemann - Would I

Rita Ora – Velvet Rope

Lewis Bootle – Take Me Home

PHOTO CREDIT: Wolf James Photography

Holly Walker – Straight Line

PHOTO CREDIT: Julie Rowland

Talos – See Me

Dawn Wall – Rain God 

Alessia Cara – Not Today

Papa Roach – Not the Only One

Hozier - Movement 

Marshmello - Together

The Chainsmokers – Beach House

The Good, the Bad & the Queen - Merrie Land

Chris Cornell, Soundgarden – Flower

PHOTO CREDIT: Linda Strawberry

The Smashing Pumpkins – Travels

Jennifer Lopez – Limitless

Ellie Goulding, Diplo and Swae Lee - Close to Me 

Tallia Storm – It’s the GC

Liv Dawson – I Like You

Lo Moon – For Me, It’s You

Leo Kalyan – the edge

Hannah Jane Lewis – Do It Without You

YONAKA – Death by Love

L Devine - Daughter

Betty Who – Between You & Me

Mumford & Sons - Beloved

Anderson .Paak – 6 Summers

TRACK REVIEW: RUEN - What I Need

TRACK REVIEW:

 

RUEN

What I Need

9.6/10

The track, What I Need, is available via:

https://soundcloud.com/iamruen/what-i-need

GENRE:

Alternative-Rock

ORIGIN:

Margate, U.K.

RELEASE DATE:

31st August, 2018

_________

ON this outing…

I get to look at a track that has been out there for a little and get to focus on that rarest of musical opportunities: resonance, nuance and time. To be fair, the reason I have only just arrived at the feet of RUEN is a busy diary – this has been in there since August! RUEN is the moniker of Margate-based producer Rhiannon Mair and it brings me to the topic of female producers; artists whose music strikes chords and reveals itself over time; L.G.B.T.Q.I.A. artists and equality in the industry; those who have managed to create a solid foundation and gain respect in the industry; a little about female artists coming through who have the potential for longevity – I will end by looking at RUEN’s future and where she might head next. I am familiar with Rhiannon Mair’s work in the capacity of production and have reviewed a fellow producer, DIDI. DIDI is the professional name of Lauren Deakin Davies and the two of them have worked together in the studio. I covered a few of the same topics when reviewing DIDI but I feel it is worth revisiting on this occasion. RUEN, despite the four-letter, upper-case name, is a different artist to DIDI so there are other areas to explore. Another reason why I have held this review back for a while is to allow What I Need the chance to settle in and do its work. With reviews, you are charged with that immediate reaction and distilling a song in very few words. Artists spend time crafting music and labouring overs its sound. They will go through hours, days and weeks – sometimes longer – of fettling and retuning before they arrive upon something that, to them, sounds just so. It is a hard process getting a song from your head and making it sound perfect on the page. It seems odd that people, whether critics or the public, spend such little time with that end result.

Maybe they will keep the song in their mind but so many of us give it a quick glance and then, once we have heard it once or twice; the song is then archived in some playlist or it is forgotten about completely. In a way, music is being treated like wet wipes or tissues. There is that sense of the disposable, I mean. You see fewer and fewer people really returning to music and exploring it down the line and that is a shame. In the case of RUEN; I have been following her for a bit but it is only recently that I have given her music a good listen and explored it from different angles. I think we all need to allow music the chance to unfold and seduce without giving it a brief window for impression. If we try to capture its essence in a brief window and are reluctant to let it swim around the head then how are we going to do that artist proud? Is it fair they should spend the time on the song whilst we, for free, pass it by without much of a glance?! I don’t think so. For that reason, it has been good to give What I Need a proper shout and let it work away. I will explore the song in detail later but, before I get there, I wanted to finish on this point of nuance and time. Music is huge and growing; we are seeing more and more artists come through and I do wonder, in the future, how many of the current crop we will remember. It is a shame we are so keen to flick through tracks and get onto the next one – there are so many great sounds that are worthy of fonder investigation. I have been listening to RUEN and, after a little time, you can hear that production experience and intuition come in. A lot of artists self-produce but there is a greater awareness and skillset in the bones of Rhiannon Mair.

I need to talk about equality a bit because, whilst the music is the most important thing; look at the imbalance in the industry and it does raise questions. I have been campaigning for ages for festivals to think carefully about their booking policies and why so few women are selected as headline acts. I feel festivals like Glastonbury will go down the same path next year as they have through time. We can all rattle off a list of female artists who have made a huge impact on music and are doing so right now. They are visible and out there but, for some reason, overlooked when it comes to those headline spots. It is frustrating but I hope there are positive changes sooner rather than later! In terms of production and women in studios this, too, is an area that is of concern. I know so many female artists who self-produce and then there are producers like Mair who has worked with some exceptional talent. She has worked with Bryde, Laura Marling and Emma McGrath and is one of the hottest producers on the circuit right now. When people talk of producers, invariably, a man’s name is mentioned and we often overlook the fantastic female producers. Maybe the imbalance is due to this feeling the studio is for the boys and there is no space for women. Some studios are like that but I feel there is a lack of exposure and education. If you use people like Rhiannon Mair as examples of fantastic producers who are doing sterling work; how long before we see young women/girls getting into music production? If one simply ignores the problem then there will be no resolution. I know there is a slight shift in terms of men-women as producers but it is quite gradual. Mair is one of those producers who will be around for years and get to work with some wonderful artists. People know about her work but there should be this drive to promote gender equality and emphasise the fantastic female producers around.

I feel RUEN’s music has this advantage because of the two personas. You have this artist who has a particular sound and vibe and the producer who has worked with fantastic artists. Being able to have that knowledge of the studio and sound is a big advantage. I feel all artists should get some basic background regarding production and learn the skills needed to succeed there. It is okay working with other producers but why wouldn’t you want to give yourself the chance to producer your own material? I think having this option is invaluable and can give your music so much potential. Producers are the unsung champions and pioneers and we need to show greater respect to them. I know there is a lot of love for Mair in the music world and her skills as a producer means the music has that effortless and professional sound. Mair has gained a lot of respect as a producer but, as an artist, it seems like RUEN is turning plenty of heads. BBC Radio 6 Music has got behind her and there is a lot of positivity flying about. This is no surprise but I hope she capitalises on this. Maybe there will be another single soon but, as it stands, it seems like new songs will come next year. One thing I do bring up with artists is the matter of social media and awareness. This is another review where I have to, briefly, concentrate on two common themes: photos and updates. In terms of the former; there are some shots out there – most are used in this review – but there is so much brilliance in the music of RUEN that can be exploited and explored through photography. It is nice for artists, in general, to have some updated snaps and explore with different settings. Most of RUEN’s shots are black-and-white and, whilst this might be part of an artist vision, it does create this somewhat grey wallpaper and visuals alone can put some people off. I am not saying there needs to be a lot of colourful photography but there do need to be some fresher shots out there.

The same goes for updates. RUEN is a fantastic artist and is making strides but there have been few updates on social media in the past few months. Even if you are between singles or not touring at the moment, touching in with followers is crucial. It does not need to be a ramble or vague comment: letting them know about your plans or sharing your material (so that fresh ears are alerted) is an essential consideration. There have been few updates like this from RUEN and, as we head into 2019, there will be people looking around for artists to follow. Given the fact she is this producer and rising star; it is paramount she puts something out before the end of the year or ensures people are aware of her music/name. I do have this fear, in spite of great music, it will be hard to recruit new fans and radio stations if there is not a more regular promotional drive. Perhaps she has a team behind her doing this but, before we get to 2019, a few more updates and bits of news would be good to see. Those are my only criticisms because, regarding the music, there is not a lot to fault. I have talked about the production side of things and how impressive it is to see artists produce their own work. Whilst there is a distinct sound you get with RUEN; Mair’s work as a producer and the artists she has worked with sort of feeds into her own material. I can hear little bits of others, Laura Marling for sure, in What I Need and that is pleasing to hear. Next year is going to be a busy and exciting one and I know RUEN will have plans regarding new material and movement. Although sexuality is not often explored in music; I wanted to briefly look at the subject and why, again, it is an area we need to focus on.

Rhiannon Mair is an L.G.B.T.Q.I.A. artist/producer and someone who has not felt stigmatised or excluded because of her sexuality. Although it has not been a big issue for Mair in the industry, I feel few people concentrate on L.G.B.T.Q.I.A. artists and give them as much footing. One might say by highlighting them you are implying they are special or deserve extra footing. What I mean is that there are fewer L.G.B.T.Q.I.A. artists and producers being given a platform. I speak to artists who feel that they are unable to express their sexuality freely through fear of judgement and ignorance. It is a shame that, in 2018, there are some quarters unwilling to embrace sexuality as this natural thing that has no barriers and is the same. Why there is this unacceptance and ignorance regarding sexuality is beyond me but, in music, I am often concerned the mainstream is not set up to accept messages around homosexuality and bisexuality. Throw in asexuality and other preferences and could that really nestle alongside the predominantly heterosexual makeup of the industry?! Whilst RUEN does not hide her sexuality and feel it is a barrier; I wonder whether the music is a muted in terms of what she wants to express. One hears so many artists talk about sex and relationships without much coyness and hesitation. It is not often I listen to the radio and hear love songs and sexual expression through the lens of an L.G.B.T.Q.I.A. artist. A lot of songs have disguised tones and ‘she’ is often replaced by other words. Maybe some are not concerned with response but there are many who feel, if they were true and open in their music, that would cause some repercussion. RUEN has felt, as a producer, there is that need to prove herself but has not felt hindered and ignored because she is a woman. I do wonder whether sexuality is one of those ‘taboos’ that the music industry is not willing to discuss.

It is okay to write songs of love and sexuality without being too overt and explicit but it is rare one hears sexual variation in the mainstream. We get a lot of heterosexual perspective but, childishly, there is sniggering when we hear songs of two women in a relationship. You either get a juvenile and male reaction – they are aroused or immature – or some feel it is a salacious and attention-grabbing ploy. If a male artist was frank and passionate about a love and put that out into the world; would that get the same airplay and appreciation as a song that talked of a heterosexual relationship? Maybe I am pushing this a bit far but, with the likes of RUEN breaking barriers and showing incredible skill, there needs to be discussion. She herself has said her sexuality and gender is not much of a barrier and she works as she pleases. That is good to see but I have this inkling there is a part of her brain that is being blocked by conventional demands in music – that L.G.B.T.Q.I.A. artists are open but not TOO much. The respect Rhiannon Mair/RUEN has gained in the industry cannot be ignored. CLASH magazine have praised her and there is a lot of love for her music. Having worked alongside the likes of Laura Marling is no minor achievement. RUEN, in her latest song, does put a female energy into the world and talks about sexuality so I feel, to an extent; there is this lack of hesitation. Maybe we will see much more openness and a lack of judgement in music in years to come but there is a distinct determination, sense of expression and confidence one hears on What I Need. I feel she can lead other artists who, before, have felt the need to be reserved regarding songs of lust and pure passion. I know there is a huge amount of respect for RUEN’s music and what she is doing and I know 2019 will be a big and exciting year indeed.

I have not really mentioned the sound of her songs and voice. There have been comparisons made to PJ Harvey and singers like Karen O. That would be a good place to start and I feel, as I have discussed festival headliners and quality, these women have been trailblazers and icons for change. PJ Harvey, especially, is that endlessly inventive and bold artist who creates music like nobody else. I feel, actually, if you need a Glastonbury headliner then she would be someone to keep in mind. I am not sure what my exact point is but I just needed to throw that in. Actually...I feel that PJ Harvey-like sound is one unexplored in music and has a very pleasing and exciting quality. RUEN has her own voice and dynamic but you can detect that smokiness and sharpness; a raw ability to get into the heart and open up the mind. I have talked about the L.G.B.T.Q.I.A. and a lack of willingness (from others) to allow expression to come through but, on her latest single, RUEN is rather unafraid to talk about hooking up with an ex and that sense of regret – or just getting something off of her chest. Mixing these themes with a voice that has so many different colours and emotions is wonderful. I hope there is a lot more material next year and I feel there are very few out there like RUEN. Make sure you get involved with her latest track and explore her social media. I guess I better get down to reviewing What I Need and its wonder. Before I do, I wanted to implore the industry in general to look at the mainstream and those at the top and the sort of sound being put out. Maybe this is a futile effort but still, in this day and age, we are bowed and obedient to a rather one-dimensional heteronormativity. Most songs are about heterosexual relationships and I feel there are so many L.G.B.T.Q.I.A. artists waiting out there who feel reluctant to be truly honest in music. Look at the imbalance and under-appreciation of female producers and these are things that can be explored and discussed. I shall leave things there but I felt it was needed and vital to talk about some of the problems in music. Let’s turn to the positives and get to grips with RUEN’s new (newish) song, What I Need.

What pleases me most about What I Need and its opening is the sharpness and sense of clarity that emerges. A lot of songs are either too polished and its gives the vocals a rather unnatural and false quality or the vocals are mixed so far down they are unable to connect. From the very first notes, it is like RUEN is right close to the microphone and we are hearing her sing into our ears. That might sound off-putting but there is a tangible closeness and sense of physicality that comes right through. Eliciting sighs, hums and a smoky wordlessness; the heroine talks about her ex and the fact there is this powerplay. Maybe her lover is not missing her and says that everything is fine since they split. One senses that is a bit of a lie and there is that need to play games and call the shots. RUEN is wise to this call and feels like there is a coyness and sense of seduction. It seems RUEN has power in the relationship and there was equality; there was a definite lust and love when they were together but now, for some reason, denial is coming through. I am not sure what has caused this breakup and sense of push-and-pull but there is that spark still. There is little instrumentation and encroachment in the opening. It is RUEN letting her voice twist and seduce as the words come out. Just as you think you have the song figured out and know where it is heading, it explodes into life and kicks in the groin. There has always been electric guitar strumming but, as we head to the chorus, there is a slam from the drums and the guitar steps up. You get a real burst of electricity and drive and you are stood to attention. It seems there will be some begging and sense of control and you sense too distant lovers who are playing games and not willing to surrender.

RUEN talks about how things used to be when her girl used to be under her feet and there was that satisfaction. Now, for some reason, things have changed and there is a more combative tone. Maybe this is all part of the tease and gameplay. The composition is bold and rampant and the combination of strings and percussion provides that stamp and swagger. It is a big and meaty sound that is perfectly thrust forward by RUEN’s voice. There is spark, captivation and boldness on her tongue and you can feel the sweat and tease mix in this rather potent and frantic cocktail. I love how crisp and clear the production is and how there seems to be this perfect mix. The instruments do not bury the voice and the vocal is not resigned to the back. Instead, you have this equal footing and equalisation that means the song sounds more fulsome and balanced. RUEN has her regrets and doubts but she has won the right to own this. I love how there is an oblique and teasing nature where you are not told what causes this divide and why there seems to be this new game folding out. There are shades of PJ Harvey, Sheryl Crow and Karen O when we hear the heroine talk of the relationship and how things have changed. Maybe the sex and that lust took precedence over more emotional clarity but I cannot be certain. I am making guesses but it seems like there has been a quarrel and bad time and the two are drifting. Rather than moving on and denying the bond that was there before; there is a sexual flame that is still burning and different stories emerging.

It seems like the sweetheart has forgotten the heroine and is denying how good things used to be. It is impossible to ignore the strength and physical nature of the song. Whatever has happened before; RUEN is willing to surrender to the tension and, if needed, she can compromise. It might not go as far as begging but there is that definite tease coming from the girl. It is exciting picturing that playfulness and the swagger from RUEN. The big and chunky composition gives the song its sexual flair and kick and you are helpless when it comes to its charm and pull. By the end notes, you have that hunger and thirst that needs to be satisfied – coming back to the song and learning new things. It is an exceptional and confident offering from RUEN. Rhiannon Mair has been producing for years but, as an artist, RUEN is fairly new. There are no nerves and loose edges and you have this song that sound unmatched in the modern scene. I know PJ Harvey is still recording but there are not a lot of other female artists who have that same sound.  I am eager to see where RUEN heads next and what direction she takes. Make sure you are aware of what RUEN is putting out and get involved with What I Need. It is a late contender for my song of the year – from new artists – and I am glad I got around to reviewing it!

Rhiannon Mair will be winding this year down by chilling a bit and producing but, in musical terms, I wonder what will come next. It is exciting to see whether she is working with any big names in the studio in 2019 and what she has in mind. I would like to see more RUEN music and, maybe, an E.P. I know it is early days for her and she has put out a couple of singles so far (Bad Behaviour is her other one). If she can get a few modern snaps on social media and keep the followers abreast of developments on a more regular basis then that will help keep that intrigue there and mean new people come through. There is so much competition out there and I feel RUEN has natural advantages and edges. Not only is there that production quality but you have a songwriter talking about something genuinely fresh and under-explored. I hope we get to see the exciting, bold and pioneering voice of RUEN explored more in 2019. Being a solo artist is hard and, with so many others out there, putting your stamp into the world can be challenge ring. RUEN has already captured some big ears – I meant prominent radio stations rather than Gary Lineker or Martin Clunes! – and that will carry on next year. What I Need is another confident and compelling work that warrants a lot of love. I am glad I got to review the song a couple of months after its release because it allows all the layers and tones to fully come out and do their work. Make sure you get involved with RUEN and follow what comes next. It is a great time for her and I am pretty excited to see how she follows What I Need. If you are need to of musical direction and a new path then I suggest a brilliant...

ROAD to RUEN.  

___________

Follow RUEN

Twitter:

https://twitter.com/iamruen

Facebook:

https://www.facebook.com/ruenmusic/

Spotify:

https://open.spotify.com/artist/1Sez1182T22bszS20q9E5D?si=dZayWhOxTXebphfIDG0PfA

Instagram:

https://www.instagram.com/iamruen/

SoundCloud:

https://soundcloud.com/iamruen

FEATURE: If the Boots Fit... Is it Fair for People to Criticise Glastonbury for Booking Stormzy as the First Headliner for 2019?

FEATURE:

 

 

If the Boots Fit...

IN THIS PHOTO: Stormzy/PHOTO CREDIT: © Alex De Mora for CRACK

Is it Fair for People to Criticise Glastonbury for Booking Stormzy as the First Headliner for 2019?

__________

IT seems you can never please everyone…

We’re delighted to announce that Stormzy is confirmed as the first headliner for Glastonbury 2019. The multi award-winning British MC will headline the Pyramid Stage on Friday, June 28th. pic.twitter.com/xXhKPuKC3z

— Glastonbury Festival (@GlastoFest) November 15, 2018

and the announcement Stormzy is headlining Glastonbury next year has been met with a mixed reception! If you have not heard the news and not familiar with Stormzy’s work; The Guardian reacted to the booking:

“Grime MC Stormzy has been announced as the first headliner of the 2019 Glastonbury festival.

Posters announcing the news appeared in Oxfam stores in Streatham, near Stormzy’s hometown Croydon, and in the town of Glastonbury itself, reading “Stormzy Friday! First Glastonbury headliner revealed” in the festival’s distinctive house font. Stormzy himself then posted the message on Instagram, with the caption: “THE HEADLINE ACT - GLASTONBURY 2019, well lets be fucking having ya then.”

It will be the London rapper’s most prestigious live show yet, and a new high point on a remarkable career trajectory. He broke through in 2015 with the freestyle Shut Up, originally recorded in a London park, and released his debut album Gang Signs & Prayer in 2017, which went to No 1 and earned him two Brit awards. Closing out that Brits ceremony, he delivered an attack on Theresa May for her handling of the Grenfell disaster, and criticised the Daily Mail.

He has since published his first book as part of an ongoing partnership with Penguin Random House to nurture and publish aspiring young writers, and also partnered with Atlantic Records to create his own record label.

It’s still relatively rare that a rapper headlines the festival. Noel Gallagher famously protested the booking of Jay-Z in 2008, who retorted by starting his set with a performance of the Gallagher-penned Wonderwall. Kanye West meanwhile headlined in 2015 to a mixed reception.

Glastonbury’s 2019 festival takes place 26-30 June, following a fallow year in 2018. Around 200,000 tickets for the festival sold out in just 30 minutes when they went on sale in October”.

 IMAGE CREDIT: Getty Images

Those who are opposed to his booking claim that his only album, Gang Signs & Prayer, is not enough to get him to a headline stage. That record, released last year, was met with huge acclaim and celebration. AllMusic provided their take:

“The album continues to shift, gradually at first, with harder tracks alternating with R&B or gospel numbers; by the halfway point, "Cigarettes & Kush," mellow vibes dominate the record. The refusal to pack the track list with bangers is the differentiating factor between Stormzy the grime MC and Stormzythe artist, elegantly showcasing that grime doesn't have to play by the rules, and that artists can express themselves outside of boasting and smack talk, acting as ammo for the argument that diversity and creativity are still prevalent in the scene”.

The Grime scene in the U.K. is growing and inspiring new artists to the spotlight. Long gone are the days when Dizzee Rascal rose to prominence but that absence has been filled by a variety of solid and exciting artists who look set to have a long future. Stormzy is, unofficially, seen as one of the leaders of the scene and is delivering some powerful words. I know he has only released one album but, as many people are pointing out; Oasis headlined Glastonbury in 1995 after only one record – the world-class introduction, Definitely Maybe.

I know there is a huge difference between the situations. Oasis dropped a Britpop-ready masterpiece that was awash with anthems and solid tracks. It was an album ready for stadiums and huge festivals; the chance to see a band elevated to the country’s biggest stage just as their careers were starting. There was a feeling Oasis were voicing something exciting and about to make history. Stormzy’s debut album has a different sound/appeal but, at a time when the nation is falling apart and there is so much grumble and spin from politicians; there is a lot of attention and love for those with a political voice and social conscience. I feel, rather than get a well-known band to take the first headline stage; this seems more like a political statement. I do not feel it matters Stormzy has only released one album: the popularity and potential is already there and he has a strong fanbase. Rather than wait a few albums and capture him at a point where he is taking his music in a new direction; we will see something different and edgy. Stormzy’s live performances are commanding and hugely memorable and I feel he can take to the Glastonbury stage and triumph. The Pyramid Stage saw Radiohead conquer last year so, next year, will we see the same reaction for Stormzy?!

The timing is very interesting. The ongoing Brexit shambles keeps getting more pantomime by the day. The Cabinet is coming undone and divided; it seems a leadership challenge to Theresa May cannot be far away – which slimy and malodorous challenger will succeed?! It is a right mess and nobody knows this like Stormzy. He has taken shots at the P.M. and knows the Conservatives do not speak for the nation. There is a whole sector of people who feel cheated, overlooked and distant. Until there is a Labour leader in power, the voices of millions will be ignored. It seems natural, in that context Stormzy would make the grade. I feel, by the time Glastonbury rolls around in June, we will know whether Brexit is a success and it seems perfect Stormzy will take to the stage and tell it like it is. I wrote yesterday, on social media, the fact there have been so few black artists on the headline stage through the years. Aside from Kanye West, Beyoncé; Jay-Z and Stevie Wonder; not too many names spring to mind! How many black artists did one see headline before the 2000s?! I will come to the subject of gender soon but it is a big step having a black artist top the Glastonbury bill. Many people, myself included, have critisised the lack of variety and diversity at Glastonbury’s peak stage. Maybe there has been a slight evolution in terms of bands/sounds - but there has not been a big shift if you think hard.

There have been many getting annoyed the traditional Rock/Pop/Alternative sound of Glastonbury is being taken in a more Grime and Hip-Hop direction. R&B and Soul artists have taken to Glastonbury’s main stage and it is not unusual to have Stormzy headline. Whether you think one album makes him inexperienced and unable to cope with the pressure begs questions. It will be interesting to see what his set consists of. I guess he has time – between now and next year – to release another album so might have a natural set all ready and waiting. If not, then there might be longer renditions of his songs, covers or rare tracks that did not make it to Gang Signs & Prayer. I am not against a Grime artists headlining Glastonbury and feel, for a festival to evolve and reach new generations, it needs to react to what people are listening to and an artist who can articulate the voices and needs of the people. Rather than book the same old bands and familiar faces; this is a new and interesting move that will be interesting to see. It will be intriguing seeing whether Stormzy can provide a full and unique set – but I know he will handle it and deliver the goods! We are not sure who the other two headliners will be but it could be Madonna or The 1975; maybe it will be Sir Paul McCartney.

 IN THIS PHOTO: IDLES (the natural next choice as Glastonbury headliners?)/PHOTO CREDIT: Press/Getty Images

I feel, given the booking of Stormzy; maybe another intense and vital act like IDLES might get their shot. They have released two albums and their recent record, Joy as an Act of Resistance, is viewed as one of the best records of this year. I do not think a Glastonbury headliner should be defined by age, class and experience. If they feel right and can bring something special to the festival then that is fair. Many, me again, were annoyed by the headline slots of Foo Fighters and Ed Sheeran last year. The former have played there before and brought little new and original to their set whilst Sheeran’s spotlight seemed a reaction to commercial success – his acoustic and softer approach to music seemed at-odds with the grandeur and immense platform Glastonbury provides. In a big to reverse that and, at the same time, offer diversity – racial and sonically – it is a good move from the organisers (one feels Emily Eavis was most instrumental in the decision). Maybe IDLEs or another band will get one of the other two slots but I feel, as good as Stormzy will be, there needs to be more consideration given to female artists. Not only have there been so few black artists headlining Glastonbury but that is the case with women too. Look back at the past fifteen Glastonbury festivals and only three women have headlined (out of forty-five!). Only four black artists have headlined the past ten festivals (not including next year), so it is clear something needs to be done!

 IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Tyler Mitchell for Vogue (September 2018)

Beyoncé, I think, is only black woman to headline in the last twenty years and there are so many fantastic female artists who would do a fantastic show. Not only could Beyoncé reign again – she has done a lot since her last headline slot in 2011 – but there is the likes of St. Vincent, Christine and the Queens and  Janelle Monáe who could seriously own it. Throw in Björk and Lana Del Rey; Taylor Swift and legends like Kylie Minogue and there is plenty of choice. I would love to see Beyoncé on the Pyramid Stage and it would be a good accompaniment to Stormzy’s set. My big fear is there will be no female headliner or only the one – even one is not redressing the balance and not an adequate response to the problem. I am pleased Stormzy gets a chance to make some history and take Glastonbury in a new direction...but there will be some groans and discontent still. For those who feel a Rock band or Pop artist should be a headliner – or every slot should be in that mould – then who would you suggest?! We need a headliner who has the power and potency to unite people and bring a great show to Worthy Farm and not too many names come to mind. You need someone new who has not headlined before and something original.

I feel the time is right for Glastonbury to make a change and be bolder when it comes to their headline names. GQ wrote an interesting piece that reacted to the announcement and asked whether Stormzy has enough crossover appeal – can he connect with those who prefer something guitar-based and a bit more ‘traditional’?

“Fail to have a crossover success, though, and the rapper may need to go on a freestyle rant against Theresa May just to stop the vast audience from drifting. Because that’s the risk here. Stormzy is electric live. In 2017, his set on the Other Stage was a weekend highlight. He commands the stage with an energy and poise that makes other acts look flat. However when, say, Arctic Monkeys headlined after two albums in 2007, they had "I Bet You Look Good On The Dancefloor", "Brianstorm", "Fluorescent Adolescent" and many more. Yes, Stormzy won the two main prizes at the Brits this year, but if his fans can have a concern with him topping the Pyramid Stage in 2019, it’s that it’s a little too early, a little too bold. It took even Ed Sheeran three albums to headline, and he’s a bigger draw than God.

The next eight months are key then, as to what his new songs are like, and who he brings on stage as a guest. The will, frankly, is for him to succeed. Gang Signs & Prayers is excellent. He is a phenomenal person and a perfect live act. He has already annoyed the pillocks. This is way more exciting than Mumford & Sons. But the nagging feeling, until the lights go up after the encore and we see how many people have stayed to see him to the end, will be: was it too soon?”

I know he can keep the crowds hooked and involved and produce a truly excellent set. The first headline name seems next year’s Glastonbury will be more promising than last year – if they book a woman, that is! – and many ask whether Stormzy can feel the big shoes required to dominate the Pyramid Stage. As Stormzy says in his hit, Big for Your Boots: “I’ve got my size twelves on my feet...”. The Grime leader is not too big for his boots or too young to step into the shoes of the headliners of old. As the country crumbles and we do not really have a cohesive and popular leader; it seems like music has a potential leader...

 IN THIS PHOTO: Stormzy/PHOTO CREDIT: © Alex De Mora for CRACK

IN Glastonbury’s first headliner!

INTERVIEW: Fly By Midnight

INTERVIEW:

Fly By Midnight

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IT has been cool…

 PHOTO CREDIT: Jonathan Robles/Variance Magazine

speaking with Slavo and Justin of Fly By Midnight about their new album, Rerunning. I ask what themes inspired its birth and whether they have standout cuts; how the group started and the importance of New York regarding creative energy and vibe.

They tell me about their upcoming plans and favourite music; albums that are important and whether they get time to chill away from music – the guys each select a song to end the interview with.

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

Slavo: It's been crazier than ever. In the best way possible though (laughs).

Justin: We're just stoked to be releasing more music, so it's been an exciting and nerve-racking past few days. 

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

Justin: My name's Justin and I'm half of Fly By Midnight… 

Slavo: My name's Slavo and I'm the other half. 

Rerunning is your new album. What sort of themes inspired the music?

Justin: The overall theme of the album is romance and the waves that follow it. The highs, the lows; the adrenaline rushes; the exhaustion. It's not about one person, but several people. That's my favorite part.

Slavo: Agreed. When Justin and I decided to call the album Rerunning, we really wanted to establish a recognition of how different, yet similar, some relationships are - almost like a rerun of an episode. Meet, become intrigued; fall in love, watch the love change shapes; sometimes lose the spark and start all over again.

Do you each have a standout/favourite track from the record?

Slavo: Loving Yous a Little Bit Hard Sometimes, for sure.

Justin: Mine's Ain't Got Much to Go.

How did Fly By Midnight get together? When did you find one another?

Slavo: Probably about four/five years ago now. I moved from Florida to N.Y. to pursue production and found myself in the same studio Justin was working out of.

Justin: A few writing sessions in and we decided that a duo project would give a fresh perspective to where we were at creatively. Haven't looked back since.

Do you share similar tastes? Who are you inspired by?

Slavo: Being around each other every day I think we've started to blend our tastes. We're both pretty eclectic with the type of music we enjoy and relate to. A lot of retro inspirations like Billy Joel and Hall & Oates. 

How important is New York and the people regarding your music and creativity?

Justin: As the Pop side of the music industry has begun its move to the West Coast, we still find N.Y.C. inspiring our sound every day. Our best friends still live here. We still find ourselves out till five A.M. in the Lower East Side. It's a huge part of our process and we don't plan on completely abandoning that anytime soon.

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

Slavo: In an age of singles being listened to more than albums, we want to be a part of the movement that allows listeners to really get lost in a body of work. We're playing a big show in Soho/N.Y.C. for the album. Really building up the aesthetic to give fans something they've never gotten from us before. We want to just keep evolving.

Do you already have plans for 2019?

Justin: We do, but I'm sure many more will unfold. We'd like to bring the album back on the road across the States and hopefully international as well. More writing sessions. Stoked to work with a handful of people we already have in the calendar.

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

Justin: So many...working on the album has been such a rewarding creative experience. Making music with no rules or boundaries is a feeling unlike any other.

Slavo: Completely agree...especially when fans of our project have gravitated towards the most recent releases. Gives us confidence to create freely.

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

Justin: I'd say Boys Like Girl – Boys Like Girl. It was one of the first complete bodies of work that I listened to front and back on-repeat. It doesn't even have a cohesive story, but that Pop-Punk phase was super-inspiring. In many ways, it led me to becoming a songwriter. 

Slavo: A Day to Remember’s Homesick was filled with a ton of dope songs. Also, being born and raised in Florida and the band being from Ocala; there's a sentimental hometown connection I have to their music. 

Justin: (Laughs). Funny enough, despite both albums being completely different genres from F.B.M.; the songwriting and energetic drive of A.D.T.R. & B.L.G. kind of resonates with the music we make.

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

Justin: The 1975 or Walk the Moon. Both bands' audiences really find themselves lost in their stage performance. Really quite an experience. 

Slavo: Would be killer to bring our records to life with a large ensemble e.g. Justin Timberlake’s Tennessee Kids vibe.

What advice would you give to new artists coming through?

Slavo: Stay humble and focused. Lot of amazingly talented people who become too distracted.

Justin: My favorite quote: "When you think you're working at something all day, remember a day is made up of twenty-four hours".

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

Justin: Rerunning The Album Show @ City Winery - Soho/N.Y.C. (Ticket link).

Slavo: Going to be dope.

 IN THIS PHOTO: Jon Bellion/PHOTO CREDIT: Dexter Findley

Are there any new artists you recommend we check out?

Slavo: We're always finding new artists. Lately, we've been diggin' Jon Bellion’s new album. 

Justin: Also super stoked for The 1975's new album. 

 IN THIS PHOTO: The 1975

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

Slavo: Like most dudes our age, we like hanging with our friends. Grabbing a beer. 

Justin: Netflix and video games on the lazy days. 

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).

Slavo: Bad – Lennon Stella 

Justin: Know Me – The Band CAMINO

 

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Follow Fly By Midnight

Official:

http://www.flybymidnight.com/

Facebook:

https://www.facebook.com/FlyByMidnightMusic/

Instagram:

https://www.instagram.com/flybymidnight/

 Twitter:

https://twitter.com/flybymidnight_

Spotify:

https://open.spotify.com/artist/4rQTEdG6hDVOlDUFKs9EjZ?si=I2H3TXXfRzadh3BQ3uV8sw

YouTube:

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

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Chlöe Howl  

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

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IN this new edition…

 IN THIS PHOTO: DaniLeigh

I have been searching for songs (there is a LONGER mix in there too) that summon the colours and contrasting emotions of autumn. There are the fizzy and sunny moments where there is rush and excitement; there is also the darker moments and contemplation that provides some calm and reflection. Here is a selection of female-led offerings that will get into the heart and is guaranteed to lift the mood. I hope you find something that strikes a chord and gets under the skin. The weather is a bit changeable so there is no telling what we are in for over the next few days. I am sure things will be fine and we will all be in for some good weather. Make sure, whatever you do, you take these...

WONDERFUL artists with you.  

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

____________

Anna Clendening – Invisible

PHOTO CREDIT: Zak Tassler

Rachel Ohnsman – The Sea

Emily Magpie – Last Train

Saachi – Redcoat

PHOTO CREDIT: Jennifer-Lynn Christie

Claire Ridgely - California

PHOTO CREDIT: Claire Marie Vogel

Madison Cunningham – Location

Heather Cole – Good at Friends

Liv Dawson – Good Intentions

Kayla Mickelsen - Try

Chlöe Howl - 23

Freya Ridings – Lost Without You (Instrumental)

Kwamie Liv – Last Night

Nina Schofield – My Life

Evalyn – Big Bad City

Rosie Carney – Zoey

Maya Jane Coles – Other Side

Yazmyn Hendrix – Stay with Me

Dido – Hurricanes

Hannah Jane Lewis – Do it Without You

 PHOTO CREDIT: @shootmejaz

Bee Arnold – Dry Your Eyes

Lydmor – Vild

 PHOTO CREDIT: Natacha Horn Multi Media Artist

Tanita Tikaram – Wonderful Shadow (Acoustic)

Emily James – Foreign Land

Loren Gray – Kick You Out

DaniLeigh – Blue Chips

 PHOTO CREDIT: Aronimus Guy

Hazel Marimba – Marimba Haze

Broods – Peach

Regina Spektor – Birdsong

INTERVIEW: Wyland

INTERVIEW:

Wyland

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THE guys of Wyland…

 PHOTO CREDIT: Kelsey Ayres

have been speaking about their new track, Nowhere Now, and what inspired it. I was keen to know how they all got together and whether they share musical tastes; whether there are tour dates and which albums are important to them.

Ariella, Ryan and Zach speak about their favourite music memories and how they chill away from music; which rising artists we need to watch and if they have plans afoot for 2019 – they each select a cool song to end things on.

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

Fast! The days just fly by. 

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

Ariella: I'm Ariella. I play synth and sing backup. We are an Alternative-Rock band based out of the Meadowlands in NJ. Our sound is a little worn and a little new - like finding an old adventure book tucked away in an attic. Ryan has always pulled inspiration from U2 and Coldplay and you can hear that influence along with some Arcade Fire, Mumford; Kodaline etc. We're a little obsessed with the U.K. and Ireland. 

Ryan: I’m Ryan. I play guitar and piano and sing for Wyland. Everything stated above is true. 

Zach: My name is Zach. I am the tallest member and bassist of the group and I’m currently obsessed with David Byrne and Star Trek.

Chris and Patrick aren’t here but Chris is our drummer and he’s really handsome. Patrick is our guitarist and he is also equally attractive. 

Nowhere Now is your latest single. Is there a tale behind it?

Ariella: Of course. Nowhere Now started as a ‘Frankenstein’ which is what we call it when Ryan takes two separate music ideas and stitches them together. The song has been through many, many lives. We sent a few demos to Philip Magee and he took it where it needed to go. We gave him the body of Nowhere Now; he gave it blood.

Do you think there will be more material next year?

Zach: We have hours of voice memos from all of us that might us busy for the next three years. I would say there is a strong possibility that more songs are coming.

Ryan: Yeah. We’re always working on new music. We’re just extremely picky about what comes out. I feel as though a bar has been raised and we can’t release anything that doesn’t meet that bar.

Ariella: Our goal is to write and release as often as we can though. We recorded a few really beautiful acoustic tracks with our friend Ben of Old Sea Brigade, which we'll release after the singles are out. 

Wyland formed in New Jersey. What brought you together?

Ariella: Time. We've been through a number of lineup changes that could have ended the band but Ryan was patient and just had faith in time. Our drummer Chris was a mutual friend of Ryan’s. They met while Chris was in another band. Our bassist Zach moved to New Jersey from Boston after meeting Ryan at a show in Syracuse and our guitarist Patrick responded to an extremely old ad on Bandmix that Ryan posted maybe four years prior. At some point, magic happened and everything clicked. 

 PHOTO CREDIT: Kelsey Ayres

Do you share similar tastes? Who are you inspired by?

Ariella: Not at all. We all come from very different backgrounds. Ryan and I share the most similarities when it comes to musical taste. A few of my favorite bands who inspire me are Lord Huron, The Staves; Mumford & Sons, Florence (and the Machine) and The Lone Bellow.

Ryan: I was raised on Boy and The Joshua Tree by U2. I really adore Coldplay’s older catalogue as well as anything Radiohead, Mumford & Sons; Of Monsters and Men, Keane; Elbow, Noel Gallagher…and the list goes on and on.

Zach: I’m very inspired by Classic-Rock. The energy and ability of The Who, the showmanship and creative mastermind that is Peter Gabriel; the epicness and power of U2. That’s where I come from. I appreciate bands like Coldplay and Mumford & Sons because they bring some of that feelgood power that I personally think has been lost with artists and the industry after the mid-'90s.

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

Ariella: Really just hoping to have a successful release and a lot of love on Spotify. 

Ryan: World domination could be exciting but, yeah, I’d settle with a successful release of Nowhere Now.

Do you already have plans for 2019?

Ariella: Of course! We're releasing new tunes and writing. Always writing.

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

Ariella: Making music in Ireland. The whole month we spent there was like a dream.

Ryan: Ireland was definitely a highlight but we had the luxury of playing the Alabama Shakes afterparty at 2015’s Gentlemen of the Road tour in Seaside Heights, New Jersey. I think that was probably one of my favorite memories.

Zach: I think fondly back to when we set out on tour in 2016 in an RV we borrowed from a friend. The transmission went within four hours of the tour and we were stranded in Baltimore. We had to be in Washington, DC that night but we all knew it wasn’t happening. We ended renting a Penske truck, packed it with everything we had and we finished the tour. It was rough but those experiences made us a stronger unit.

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

Ariella: One of our albums? This new one. The energy and the texture in the sound hits just right. Lonesome Dreams by Lord Huron always takes me on a journey. I just love that album. I used to be a big ‘Hardcore’ fan and I would be doing my young self a disservice if I didn't mention Underoath. I know every one of their albums by heart. 

Ryan: Certainly in love with our latest record. I think an album that means a lot of me is really anything Aaron Dessner works on. Frightened Rabbit, Lone Bellow…the man has a magical touch.

Zach: My all-time favorite record is The Who’s Quadrophenia. I love Pete Townshend’s style of writing. He digs up anger, sorrow; love and hope in such a beautiful way. The record helped me fall in love with playing bass and listening to music. It also was a record that made me feel like I was understood. It is about a guy who desperately wants to find his place in the world. I think we feel that way throughout our lives. Not a lot of well-known songs are on it but they pack a punch for me.

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

Ariella: Florence and the Machine, hands down. We do not deserve her. My rider would be simple: lots of water and chocolate. -

Ryan: I may get some shade for this, but I’d probably tear up if we could open for U2. My rider would be water, wine; chocolate, tortilla chips and guacamole.

Zach: I would love to tour with Coldplay, actually. I know we fit in their world and traveling around with them would be a dream. In my rider, I would only ask for a few things. A culinary dish specific to the area we’re in and a local beer.

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

Yes! We're going on tour with this rad Canadian band, Valley. We're doing a leg in Canada and then headed down the east coast, from 11/24-12/15. (Full details on our website). 

What advice would you give to new artists coming through?

Make the music you want to make. Believe in what you’re doing and keep going, keep releasing. Don't sit and wait for an invitation. 

 IN THIS PHOTO: Jade Bird/PHOTO CREDIT: Hollie Fernando for RollingStone.com

Are there any new artists you recommend we check out?

Jade Bird, Joni; Old Sea Brigade, MOSSS; TIOGA, Friends at the Falls and Pronoun.

 IN THIS PHOTO: Old Sea Brigade

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

Ariella: Ryan and I are filmmakers as well, so we unwind from music by writing scripts or filming (or binge-watching on Netflix). 

Zach: I unwind by listening and playing more music. There’s no escape from music for me. I’ll learn a song that I connect with and try to find room for personal improvement. I like to keep expanding my mind with music.

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).

Ariella: The Staves - Sleeping in a Car

Ryan: Frightened Rabbit - I Wish I Was Sober

Zach: Sad Song Backward - Jake Shears

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Follow Wyland

PHOTO CREDIT: @kelseyayres

Facebook:

https://www.facebook.com/wearewyland

Instagram:

https://www.instagram.com/wearewyland/

 Twitter:

https://twitter.com/wearewyland

Spotify:

https://open.spotify.com/artist/6oXo5Q1FtU2F4KmRzz5aBm?si=O2UVrohPSiedLxzr4aBPjA

INTERVIEW: LIV’n’G

INTERVIEW:

LIV’n’G

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THE sisters of LIV’n’G have been discussing…

their new E.P., Shades, and some of the stories that inspire them. Olivia and Georgia tell me how they got started in music and some of their favourite memories; some rising artists we need to watch and where they hope to head.

I ask them about their musical tastes and whether we can see them gig; whether there is a tale behind their latest single, Señorita, and winch artists they’d support on tour given the chance – they end the interview by selecting a couple of great tracks.

__________

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

Hey! Were fine thank you. Just been so busy this week!  

We’ve just booked a few firework displays for Metro Radio and TFM at Darlington and Saltwell (Gateshead), where there are crowds of up to 30,000. We ‘popped’ down to London to talk about music with a few people. We’ve been doing song writing sessions in schools for a couple of days and also wrote some original tracks for a choir and other artist.

Oh, yeah, and sorting the video out for Señorita. We love being busy!

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

Our names are Olivia and Georgia and together were LIV’n’G. Olivia gets called ‘Liv’ for short and Georgia gets called ‘G’. So, we just put them together to create our band name! Were a sister singer/songwriter/producing duo from Hartlepool, North East England - yes, where they allegedly hung a monkey as a spy!

Liv: We’ve been writing originals for about eighteen months now; I write the lyrics and sing.

G: I started to learn guitar using YouTube about two years ago then the piano, trumpet and sample pad and that progressed to producing songs. So, I compose and produce out tracks and play the keys, sample pads; backing and control the reverb on the mic, when we perform live.

We have written for other artists, played over two-hundred shows in the last twelve months; recorded in London and had our tracks mastered in London and L.A. We like to think of our music as Tropical Pop/World Pop/R&B and it has been described as “inclusive to all cultures and generations”. We like to use unusual or different instruments from around the world to create hooks; things like an accordion for a Latin track we have.

How did LiV’n’G form? When did you start playing music together?

We have known each other since birth as we’re sisters; we’re totally different individuals but, when we work together, we’re family. There are a few years age difference between us, but people are shocked when we tell them.

Liv: I’ve been singing from morning till night starting at a very young age.

G: I always found music, melodies and computers interesting and learned trumpet in primary school.

Our grandad bought us an electric piano around three years ago and Georgia taught herself to play. We then started to practice together and everyone seemed to like it. We started to do little local performances and were soon asked to support some local acts at gigs. It just went from there and now we’re performing every weekend!

You have won competitions and gained a lot of success. How does it feel looking back and how important are those honours?!

Were very proud of how far we’ve come in such a short space of time. We’ve entered many competitions and they often result in greater opportunities as well as giving us much-needed unbiased feedback. It’s good to enter local talent competitions with your friends and family watching as it teaches you about stage presence; it teaches you to take feedback and criticism, as well as ‘hardening’ you to the industry.  You may not win every competition, you may not even place sometimes but these are the times when you learn more about yourselves and how resilient you are.

We won a number of competitions from local ones - Beyond the Lights, Upbeat Awards - to regional ones - The Big Audition for TFM Radio (Bauer) - to national ones like Live & Unsigned for performances we have produced and for our original songs. The prizes have given us bigger stages to perform; allowed us to support some great acts and some have been connected to raising money for various charities. Over the past two years, I think we have raised over £25,000 for charity from our music.

G: Being part of these competitions has taught us so much and, for me personally, it has built my confidence up so much, from not wanting to be on stage initially to playing and controlling the full set.

Liv: Competitions make you grow much quicker as an artist. It’s great to get feedback and gives you more focus.

Your E.P., Shades, is out. Are there personal stories or particular experiences that inspire the song?

Yes definitely. Three of the songs on the E.P. are personal stories. Walls and Green Light are about starting a new relationship and the fears that we both have felt and come across, the uncertainty of feelings; the scary feeling of ‘giving up your heart’ and the adrenaline rush that love gives you!

The other personal song is Equal. We originally wrote this song in support of International Women’s Day as were all about equality in all aspects of life including music. We hope our music can be considered empowering as well as bringing a fresh vibe to Pop! The track was played internationally at different I.W.D. events! Which, again, makes us so proud, plus it has a speech by Meghan Markle in it which is amazing. The E.P. comes from a female point of view, but we think it crosses the sexes and generations as its about feelings we may all have had sometimes.

What is the story behind the single, Señorita?

We love upbeat and Spanish or tropical rhythms as, with a lot of our music, it’s about a powerful individual; its fun and wants to make you move and, again, it’s about relationships and jealousy; feelings that everyone will have felt at one time or another. It came from the same place as our other tracks - life and personal situations - and we just try and put it in a way that connects with people. An upbeat Latin fable of a song; strong Spanish rhythms compliment the great vocals and modern, clean urban Rap. You can almost hear the flamenco heels clicking as the ‘femme fatale’ lures her prey in.

I get the sense your music is primed towards making us feel better and projecting sunshine. Do you consciously set to write music that gets the body moving?

Liv: We never intentionally write a song to make people want to get up and dance. We jam, talk about our experiences and basically bring our thoughts to life using music. However, as a family, we love to get on the dancefloor.

G: I have always loved the tracks of Rihanna, and the tropical rhythm that runs through her music, so obviously that has influenced the style of music we compose. I really don’t think it was a conscious choice or decision, it just happened.

However, it really does depend on the story and mood behind the song. Sometimes, it can be just a poem to music (like Walls) where is it about the feeling a song conjures up, about listening to the lyrics. We want to connect with people, to engage with their memories too. We have quite a few ‘bouncy tunes’ ready to go for next year that we hope can transport everyone to warmer climates and get them dancing.

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

Liv: I love Beyoncé. Her honest, energetic and powerful performances are amazing and her vocals are so on point, be it a fast dance tune or a ballad.

G: For me, it would be bands like Clean Bandit who have brought the musicianship to the forefront of the music industry.

Our inspirations range from Ella Fitzgerald to Anne-Marie, The Animals to Ed Sheeran - any songwriter that connects with us.

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

By the end of 2018, we hope that people enjoy, stream and download our first E.P. release and were hoping to plan to release more songs early next year. Were also looking to release a professional music video to our lead song from the E.P., Señorita, which we are so excited to shoot! We want to play bigger venues and shows; we want to have a tour or tour support organized for 2019 and we want to have been booked for some festivals next year too. We’d love to get on the music industry radar, managers; booking agents or labels. There is a ’wind of change’ blowing to rebalance the music industry and female involvement; we would love to be part of that positive change.

Cheesy, we know, but we want to inspire younger children who we often work with to show them that if they follow their heart, their dreams can come true!

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

We hope to both ‘be’ Beyoncé; living her lifestyle, producing hits and influencing people…can you sort that for us? (Laughs). We are going to release more original music. We are hopefully going to play more festivals and events next year. Write ‘The Hit’…chart success would be amazing. Collaborate with other artists. Look at arranging a tour or tour support with artists we love.

We may be part of a documentary to be shown on Channel 4 early next year…we will see. We’d love to have management; a label who believes in us and loves our music and to be performing all over the world…just living the dream!

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

Liv: I’m so sorry but I must mention this one. When we supported Alexander O’Neal, we were waiting for him to come on stage and we could see him behind the curtain. Then, all of a sudden, he fell back tried to grab the curtain but missed and ended up flat on his bum. It was like it happened in slow motion. I know I shouldn’t laugh but I did (smiles).

G: Mine must be performing at Everton Football Club in aid of the Bradley Lowery Foundation and seeing all of those people there to support him.

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

G: Mine would have to be PCD by The Pussycat Dolls as it was the first album I ever bought and I could recite the whole album, even today…maybe.

Liv: Mine would have to be Beyoncé’s Lemonade album as I like what she stands for. She is so inspiring and that album made me want to start writing my own music…so I did.

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

G: I would love to support Little Mix. I think they have amazing energy and I love the fact that they are an all-girl ban…hashtag ‘pussypower’. (Laughs)!

Liv: Mine would have to be Beyoncé! (Notice a theme). I’m just a huge fan. I have always been so taken back by her performances and only wish someday to be as successful as she is!

Our rider would have to include parmos, crisps; M&M’s, apple juice; Jaffa Cakes…and Little Mix and Beyoncé! (Scratch that – Mam says we have to have chicken salad and water as Pam at Slimming World wouldn’t be happy).

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

Yes! We are always gigging on a weekend and in our spare time. You can always look on our Facebook page where all our events are listed. If there are no events near you, get in touch with us to request a gig somewhere! We love to travel! We have other gigs around the North East and we’re heading up to Scotland in a few weeks too.

What advice would you give to new artists coming through?

We would say be true to who you are, personally and musically. Don’t let anyone else try to shape you into something they want you to be! As well as that; practice makes perfect! Any opportunity you get to perform, take it! You don’t know who could be watching, and every performance helps you grow as an artist.  

IN THIS PHOTO: Courtney Hadwin

Are there any new artists you recommend we check out?

We have a friend who has the most amazing voice. He is called Geoff Mull!  We are also friends with Courtney Hadwin (America’s Got Talent) our brother’s girlfriend is Molly Scott who is on the live shows of the X Factor. We also have a friend who is the biggest diva for her age and the biggest voice we have ever hear for her age! (She is nine) Brooke Burke. She appeared on The Voice Kids last year and we’re sure she’s going to go far.

 IN THIS PHOTO: Molly Scott

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

Were so busy with everything pertaining to music: it’s very rare we get to chill!

G: I like to play FIFA football games on my PlayStation if I get the chance and I’m hoping to go to Winter Wonderland in Hyde Park.

Liv: I love to go horse riding, take the dogs for a walk and chill out!

We both like to ‘veg out’ on the couch in our onesies and watch a box-set; anything with vampires, really. Plus, we do love to eat. So, wherever there is food, we’re probably there. (Don’t tell Pam at Slimming World, 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).

Liv: Could you please play Freedom by Beyoncé!

G: Could you please play Hips Don’t Lie by Shakira!

__________

Follow LiV’n’G

Official:

https://livngmusic.com/

Facebook:

https://www.facebook.com/LIVnGmusic/

Instagram:

https://www.instagram.com/LIVnGmusic/

 Twitter:

https://twitter.com/livngmusic

Spotify:

https://open.spotify.com/artist/649CoIklRNu0QPOFMIidD6

YouTube:

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

SoundCloud:

https://soundcloud.com/livngmusic 

INTERVIEW: Deanna Petcoff

INTERVIEW:

Deanna Petcoff

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I am starting the day by speaking with Deanna Petcoff...

who has been telling me about her new single, Stress, and what its background is. I ask whether there is going to be more material coming along and what she hopes to achieve next year; what music she grew up around and whether there are tour dates.

I ask Petcoff if there are particular albums that mean a lot to her and what advice she’d give artists coming along; if there are any rising musicians we need to keep an eye out for – Petcoff ends the interview by selecting a great track.

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

My week has been great, thank you! I hope you’ve been well too since the last time we spoke.

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

I’m an artist from Toronto and have been working in music for over seven years now! I’m currently working on a record for my solo project under my own name.

Stress is your new track. Is there a story behind it?

Stress is about frustration, loss of hope and acceptance of a situation that will never be fixed. The unbearable weight of not feeling good enough for the person you want and thinking they might want you too but can’t follow through with their flirtatious actions is a common feeling, and I wanted to encapsulate the frustration that comes with. I find way too often that feeling is described leaning heavily on the sadness that it comes with, but there is much anger in that feeling as well.

I also wanted to show the range of emotions women feel with the loss of love that isn’t just the sadness of heartbreak. Ultimately, in the end of the song, she’s done with playing with this person and wants the situation to be over, so they can both get on with their lives. Making the decision to be done with that kind of situation is difficult, but necessary sometimes. I decided it was worthy of a song.

Will there be more material next year?

Yes, there will be! We’re looking to release a record in the early months of next year!

Did you grow up in a musical household? When did music come into your life?

I did grow up in a musical household. My dad favoured the Classic-Rock superstars of the '70s like Queen, Led Zeppelin and Heart while my mom played us music like Carole King, Elton John and The Carpenters. Both introduced me to different facets of my musical personality from a young age.

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

I have achieved everything I hoped to achieve by the end of this year; mainly releasing this song for the world to hear!

Do you already have plans for 2019?

I do have plans for 2019. I plan to release a record and tour in other provinces in Canada! I’d really love to make it out to British Columbia!

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

I have loved many moments in my musical career so far, particularly getting to finally record all of the best songs I’ve written professionally and feel like they are being produced exactly the way they deserve to be - there really is no better feeling.

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

This changes constantly but, right now, the top records for me are Low by David Bowie, Be the Cowboy by Mitski and Les and Mary by Les Paul and Mary Ford.

As Christmas is coming up; if you had to ask for one present what would it be?

I would ask for an amethyst ring. I am really obsessed with amethyst right now.

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

I would love to tour with Angel Olsen. She is one of my favourite artists and I feel like I would get along with her really well and hopefully we’d get to do an awesome cover together like Fleetwood Mac or Carly Simon and become best friends! 

My rider would have Diet Coke, M&Ms; popcorn and Greek food. Gotta eat before the show!

What advice would you give to new artists coming through?

I would tell you female artists in particular to work as hard as possible and be confident when introducing yourself to anyone. Don’t be ashamed of your project, your name or your work. You deserve to take up as much space as anyone else.

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

I am playing November 29th at The Monarch Tavern with Helena Deland and Luna Li! All other shows are T.B.D.

 IN THIS PHOTO: Mitski

Are there any new artists you recommend we check out?

I’m really into Mitski right now. She’s not a new artist but she did just put out a new record. I am also really into Sunflower Bean. Their newest record is also great!

 IN THIS PHOTO: Sunflower Bean/PHOTO CREDIT: Erina Uemura

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

I don’t really take breaks from music. I enjoy always working, writing or producing. I unwind by playing music, actually, or watching movies with my boyfriend and roommate.

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

Please play Why Didn’t You Stop Me? by Mitski! Thank you!

__________

Follow Deanna Petcoff

Facebook:

https://www.facebook.com/deannapetcoffmusic/

Instagram:

https://www.instagram.com/deannapetcoff/

Twitter:

https://twitter.com/deanna_petcoff

Spotify:

https://open.spotify.com/artist/40wJiyTgK3egckAlDOp1ea?si=Bceg95kRSgOxVqdQhgrAQg

YouTube:

https://www.youtube.com/channel/UC7S_SOnIzEtk3IJjnunvhPw

INTERVIEW: Calvin Arsenia

INTERVIEW:

Calvin Arsenia

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THE terrific Calvin Arsenia...

has been letting me into his world and his creative process. I learn about his new album, Cantaloupe, and the sort of themes that inspired it; how he came into music and a few albums that mean an awful lot to him.

I ask whether there are any goals to achieve before the end of the year and which rising artists we should look out for; how it feels being on the stage and delivering to the people and whether he gets time to unwind away from music – the talented songwriter chooses an interesting song to end things on.

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

Hello! My week has been stellar! I just spent the weekend in sunny Miami playing The Dark Lord in a sexy cabaret, Samsara, at the Faena Theater. Then, I returned to a beautiful snowy Kansas City. No complaints here.

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

Sure! My name is Calvin Arsenia. I am a classically trained singer and electric Celtic harpist steeped in a soup of Soul, Jazz; Folk, and Electronic roots, strung together by heart-on-my-sleeve narrations, served with a delicate garnish of cheeky humor on the tippy top.

Cantaloupe is your latest album. What sort of themes and stories inspired the album?

Cantaloupe has many themes. Sensual, Sonic; cynic and cinematic. I produced this record with two of my best friends who just so happen to be my heroes as well, J. Ashley Miller and Simon Huntley. Together, we share a deep passion for existing in beautiful spaces.

In the sensual sense, I wanted the music to feel the emotions on the most visceral level possible. The album also contains found sounds designed to get an ASMR response including a lot of non-musical elements. The desire for body response also spoke to how I would deliver the vocal on the recording. I’m constantly thinking about the narrative of the words I am saying. The allegiance to state of being that caused me to write a piece far outweighs the importance of diction or pitch, much to the chagrin of a former version of me. Grunts, growls; hoops and howls are all fair game. How do we marry elegance with our inner-animal?  In the compositions, it was our goal to have the whole album be a continuous non-repeating movement, which was a challenge within the verses-chorus-verse-chorus Pop music model.

The shows that we produce here in Kansas City, MO are very involved. In the face of an MP3 generation, I feel it is very important to increase the value of being in the room with me. I want people to feel like they could literally lift off their seats when they hear the music, see the lights; taste the drinks and feel the beat and the lace, satins and velvet. I want them to believe that they are free to feel and be and do whatever they want and be fully loved and not only accepted but embraced. In some way, we tried to pull these elements from the live setting and smash them into these tracks - musically and otherwise. Yes. That was a challenge.

The cynic. I kind of enjoy the irony of being a harp player who is a little down or irreverent. In some of the lyrical content, you can tell I am a bit jaded. That just happens around your Saturn Return, right? It’s normal, right? Ha! Ultimately, it’s about finding a deeper place to set the anchor of myself rather than the views and opinions of others. I think we have all suffered from cases of limerence that turn in to self-loathing because the desired result didn’t come to fruition. This behavior is ENCOURAGED by our society. It’s time to write a new story - to be a new society.

Cinematically. Each moment was designed to exist in a space, in a place and a location. It was a lot of fun for us to come up with the ‘set’ locations of the each of the pieces. Scouting in our imaginations. All of it was crafted digitally.

How did you come into music? Were you raised on a lot of different genres?

I’ve been singing constantly, obnoxiously and improvising songs about the things I was feeling or seeing since I was a wee tot (which I guess didn’t last long as I am now quite tall). I remember singing to my baby brother a lot. He was born when I was six. Around the house, my mother would play Gospel music - singers with huge voices! Larnelle Harris and Yolanda Adams. My father really loved slow jams like the Isley Brothers and Luther Vandross.  My older brother introduced me to Neo-Soul. He was a huge fan of Boyz II Men and D’Angelo.

The radio in my father's 1978 Pontiac Grand Prix played Mariah Carey’s Always Be My Baby over and over and I could not get enough! MTV and VH1 showed me great artists like Nelly Furtado…I think she actually was the musician who lured me into more alternative vocalists. I wound my way around to classically inspired singers like Josh Groban and Andrea Bocelli and into the long lineage of Folk musicians ranging from Joni Mitchell to Damien Rice. Fortunately, I was also surrounded by musicians that I admired personally, through church or otherwise.

Ultimately, I’m drawn to people and stories. The categorization is really only important if you are in a music shop….and even then. I don’t know. I find the conversation of genre to be a little bit of a sore subject. My work has been described as genre-elusive and it feels to me like I get punished for it a lot - for not playing by the rules or something. I have only every tried to put the elements and sounds and vocal techniques that I have found and loved and collected in my short life. I have to remain true to my story and not try to tell anyone else’s. I want to be inclusive and included. I am doing my best.

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

Wow. Well that’s coming up really fast! Hmmm...I really need a workout routine! Maybe I can sort that out in the next couple months

Do you already have plans for 2019?

More of the beautiful-same. Creating beautiful sensory spaces of love and understanding with beautiful diverse musicians in beautiful diverse spaces where we hope to reveal more of the beauty in the spaces and all the people involved by the time we leave than what we were aware of we entered. This year, I’d like to bring some of this to places around the U.S. I think we really need it here. I will be spending some time in Europe as my heart is there, but I’m specifically looking for places in U.S. to create magic in 2019.

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

A friend of mine is a massage therapist. She makes soaps and bath bubbles for gifts. She and her daughter bonded making soaps using the rose petals her daughter had collected from one of my performances. There was a sparkle in her eye as she told me this.

I was stopped on the street a few weeks back by a woman wearing Coke bottle glasses and long silver hair. She pulled out her phone to show me that she, too, had given another life to roses I used at a show she had attended. (I prefer roses that are red or pink. I prefer them damaged. I prefer them everywhere.) She had collected some from the set and proceeded to make a romantic display for her and her husband on their bed that evening. They’ve been together for decades.  

The audiences, my friends take the flame of the intention of my music and integrate the spirit and rituals of love and appreciation into their daily live.

I have played in front of thousands and thousands of people. I have received hundreds of standing ovations. Those don’t mean near as much to me as what happens after the festival has cleared out and the music, the message; the love, the wonder; the fascination and the energy has gone on to live in other expressions. Where did it end up? Who is tending to it now?

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

Vespertine - Björk

Illinois - Sufjan Stevens

Channel Orange - Frank Ocean

Vespertine really ignited my ears to all the layers of sound that could happen in a single recording. It also was my first introduction to harps in the context of Electronic music where they were displayed in a real delicate and interesting way. I like that the natural sounds and electronics are seamless bound throughout the listening experience. Also; full of layers and layers of unconventional beauty.

As the years go by, Illinois still reveals itself to me in new ways. I love the moving lines of Sufjan’s compositions and the all the stories that he leads the listener through - like a guide through a museum of childhood.

Channel Orange came to me at a time in my life when I needed it most. This album is incredibly human to me. It’s very cinematic. It’s very forward-thinking. Unapologetic. So human. So raw. It the glistening iridescence of spilled oil. The product of tragedies and still irresistible to look at. It’s clever without being kitschy.

As Christmas is coming up; if you had to ask for one present what would it be?

WORLD PEACE. But, if I can’t have that….I’d love if Delta by Salvi would make a carbon fiber harp to tour with.

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

I used to have this answer close by but I think my desires are changing. I’m pretty focused on the feelings and the depth of understanding and love and connection to not only other humans but also earth and the stars and the moon. If I toured with a yoga instructor or a poet or a potter who was just as focused on this mission, it would be an honor.

The rider…? Local flowers. Local food. Vegetarian preference; vegan when we can. Fish if it’s fresh.

What advice would you give to new artists coming through?

Focus on what your unique perspective is. Collect the memories and the faces of people who have supported you and what were the feelings you gave them? What did you make them feel like that compelled them to give you appreciation? I believe music is about connecting with other people. Think about the artists you listen to over and over and imagine someone doing that with your music. If you have this platform, what are you going to say with it?

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

Where would you like to see me play? When? Send me an email. I’ll be there.

How does it feel being on stage and connecting with an audience? Do you love performing live?

I love performing live. It feels dangerous. It feels safe. It feels cathartic. It feels naughty. It’s all the feels and I have given up so much to find myself safe in the arms of an audience again and again.

IN THIS PHOTO: Lilith Merlot/PHOTO CREDIT: Rona Lane Photography

Are there any new artists you recommend we check out?

Yes! We they aren’t new: they’ve been doing art for years but you just may not have heard of them yet!

Jametatone; Lilith Merlot; Cera Impala.

IN THIS PHOTO: Cera Impala

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

I used to watch cooking T.V. and knit. Now...I don’t know. Probably just looking for and eating delicious food.

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

Pilentze Pee from Le Mystère des Voix Bulgares by the Bulgarian State Television Female Choir. You’re going to LOVE this…

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Follow Calvin Arsenia

Official:

https://www.calvinarsenia.com/

Facebook:

https://www.facebook.com/CalvinArsenia/

Instagram:

https://www.instagram.com/calvinarsenia/

Twitter:

https://twitter.com/calvinarsenia

Spotify:

https://open.spotify.com/artist/3g1eeQYw5B7LJibFbWlrfn?si=W5Jl_v63Qgq1reSL9V1yfQ

FEATURE: Season’s Bleatings: Will Advertisers Ever Strike the Right Musical Tone for Christmas?

FEATURE:

 

 

Season’s Bleatings

IN THIS PHOTO: Sir Elton John stars in the latest Christmas advert from John Lewis/PHOTO CREDIT: Getty Images/John Lewis 

Will Advertisers Ever Strike the Right Musical Tone for Christmas?

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OVER the next couple of weeks…

 PHOTO CREDIT: @jasmint/Unsplash

we will see more supermarkets and retailers unveil this year’s Christmas adverts. Invariably, these adverts will be accompanied by pieces of music and it got me to wondering about tone and popularity. In visual terms, we have seen some rather memorable examples through the years. Whether they are going for something sappy or emotionally vulnerable; playing or cheesy or going for cute – the more exclamations of “Awww!” and “Ooohhh!” we can draw then the better! Usually, we will get a family scene and, animated or live, a child bewildered by the joy of Christmas or some cute animal leading the way. I am not usually emotional when seeing the adverts – as they are not real and are designed to hock the products of a huge and rich company – but I can understand why some people might feel a bit teary with some of them. I have no objection to the nature of the adverts and the fact they are designed to make money and play on our emotions but, when it comes to the music side of things, has anyone ever got it right?! I am one of these people who wonders why the ‘classic’ Christmas tunes/carols cannot be used for adverts? I realise these companies want to blend the modern with classic so they tend to have something quite classical and comfortable regarding the themes/scenes of the advert and then bring in a modern reworking of an older song. There might be a commercial or emotional reason why we see, every year, the same sort of singers featured and the type of songs used.

 IN THIS PHOTO: Amelia Warner (Slow Moving Millie)/PHOTO CREDIT: Getty Images

Slow Moving Millie covered The Smiths’ Please, Please, Please Let Me Get What I Want for John Lewis in 2011 and, whilst permission was given to use the song, the results were sadly familiar. It seems there is a particular tone and dynamic for every seasonal campaign. In 2015 – a few years after the aforementioned John Lewis campaign – another female singer, Aurora, covered Half the World Away (Oasis) for their Christmas pitch (see below). Whilst each advert had varied success – the latter was a more controversial and divisive one with an elderly man on the moon; the former more traditional and less ambitious – they were very similar in terms of songs. Both, strangely, used songs by Manchester bands; both tracks (the originals) are quite emotional but were transformed in the hands of the new vocalists. Each song title suggested family, unity and a need for togetherness; a yearning and hopefulness coming through but, sadly, each rendition bleached the original song and delivered something rather lumpen into the stocking. I realise it is lazy to rehash Christmas carols or can be tricky getting rights to play an existing song but the dynamic of employing a breathy/sweet female singer and having various shades of beige presented each year does take the edge off of things.

I do wonder whether the way we react to Christmas adverts is too strongly influenced by the songs. I realise the words and deliveries are meant to add to the advert and convey a clear message but so many of the songs are listless and mediocre. There are articles like this that rank the Christmas ads and collate the best but, as we have become more advanced and given more options; the nature of adverts has become narrow and singular. Older adverts have switched between live action stories and concentrated on different aspects of Christmas – heightening the appeal of the food or focusing on charity and togetherness. The last few years, more and more, are relying on schmaltzy and saccharine concepts, albeit some are done with ingenuity and a fresh angle. Whether there is an animation or something visually arresting; there is a certain amount of sappiness and caramel that has replaced invention and variation. I guess, when advertisers limit their palette and spectrum, the music has to match. The choice of singers is bafflingly limited. Every year, it is another female singer who seems to be cut from the same cloth as every other Christmas advert-scoring performer. The choice of cover versions is odd and, like I said, the cover versions are rather limp and pointless. I do wonder whether advertisers need to think about the music/singer choices and understand the music that accompanies their visuals can be as compelling as anything – often eliciting more emotion and potency than the film itself.

 PHOTO CREDIT: @mtaneva2001/Unsplash

Apart from the ‘banned’ Iceland T.V. advert – one that has an ecological message that rallies against our overuse of palm oil and how it is affecting the environment. The advert was banned on the grounds it is too political and controversial. People are campaigning for the ban to be lifted and it is one of the rare occasions where an advert’s message has outshone anything else (in a negative or divisive manner). Look around at the past six or seven years and it has been the same slew of rather anodyne and un-festive musical offerings. Maybe this year will see a sea change but it seems Sainsbury’s’ latest advertising commercial, not only goes down Sap Lane, but treads very close to a John Lewis campaign. The setting and visuals are reliably nauseating and family/child-orientated – advertisers assume Christmas is reserved for children and completely lost on adults – but the music choice, again, is stilted and odd. You cannot accuse the child who sings the New Radicals’ You Get What You Give of being the same as Slow Moving Millie and the usual parade of rather vanilla-scented singers but there is something completely offputting and pointless about the ‘musical aspect’. Like many other adverts that use popular songs; someone has taken the lyrics/title and thought to themselves it would be perfect for their campaign. Not only does the 1990s classic have nothing to do with Christmas but it means, again, a great song has been tortured and strangled.

Luckily, retailers like Tesco and Marks and Spencer have avoided major music faux pas. The former barely has any music at all whilst the latter, featuring Tom Jones, has at least avoided the usual traps that retailers get themselves into. I think music can heighten an advert, if done right, and help compliment the visuals. That is what the aim is, surely?! Advertisers need to think about striking the right tone without offending or being boring. I wonder why the classic Christmas songs are being avoided and why Carols cannot be reimagined. If people do insist on picking popular tracks and getting someone modern to sing them, there needs to be a rethink and rebranding. I would like to see more soulful voices chosen and songs that have a more ‘Christmas feel’. There seems to be this divison between companies like Sainsbury’s tackling a well-known song or others, like Lidl having a more traditional background. In either case, I feel something is missing and a great imagination needs to go into the musical choice. This brings me to the latest Christmas advert that, whilst bolder regarding its music and focus; it has drawn some sighs and suggestions from people. John Lewis, realising the machine-processed identikit singers wrecking some northern classic is not the right approach.

Whilst they have cranked up the saccharine to the maximum – I do have a heart somewhere! – the musical decision, again, has drawn some provocation. The Guardian explains why they some doubts regarding Sir Elton John’s appearance in the latest advert:

“The 2018 John Lewis ad is heartwarming. Elton John sits alone at his piano, playing Your Song while moments of his life flash before his eyes. He sings in a stadium, he sings in the studio, he sings in a pub, he sings at a school concert. It’s a very sweet advert with a very simple message: somebody better call Elton John an ambulance right away, because this is exactly the sort of thing that happens right before you die.

In fact, the advert is probably too heartwarming. Just a few weeks ago, the Queen biopic Bohemian Rhapsody was heavily criticised for its toothless portrayal of Freddie Mercury’s worst excesses, and the same could be said for the John Lewis advert. Elton John isn’t a great pop star because he sings songs about little dancers, crocodiles that rock and being able to stand up. No, Elton John is a great pop star because he is knotty and complicated and, well, a bit of a dick sometimes”.

Musical memories start to flood by and, just when you think the sugar-sweet visuals cannot get any more tear-jerking; there is a bit of humour and surprise thrown in:

“The music now reaches a crescendo, and then …

It’s Christmas morning again. Elton finishes playing Your Song and, with a nostalgic tear in his eye, gently shuts the lid. But then he notices the cameraman in his peripheral vision and loses his temper, screaming profanities and flinging vases until the cameraman is forced to escape and flee for his life. Finally, the new slogan appears: “John Lewis. If we can deal with him, we can deal with you”.

Oh, wait! That was The Guardian’s finale and, to be fair, one that would have made for a better ending – not very Christmas-like is it?! I like the angle of a popular musicians recalling their memories and, by putting music right in the spotlight, a big risk has been taken. It is good to see a more emotional side to Elton John – rather than him having a diva strop – but it seems to be more about him than Christmas; the budget must have been huge and many have criticised the cost of the advert at a time when John Lewis is tightening its belt. Is it possible to get the music just right and keep the cost pretty low? Hiring a lesser-known artist to perform the song is a way to do that but it does not have the gravitas of a truly big name. If you do get these titans in the frame then you need to make sure what they are singing or what they are representing gets the balance right. Maybe it is impossible to strike that right chord (get it?!) and please everyone. Many people argue Christmas it too materialistic so one cannot really have an argument against the music of a Christmas advert – when we should be focusing on the message and purpose. The thing is, the Christmas adverts are representing organisations who feed (literally) this commercialism so, as such, if we are to buy into their campaigns then they need to consider and perfect every point.

 PHOTO CREDIT: @sholt680/Unsplash

The latest crop of Christmas adverts ranges from ‘political’ and unique (Iceland) to the usual fare (Sainsbury’s) to something a little less music-focused (Tesco). John Lewis, as you’d expect, have drawn a lot of focus and, again, the high-cost retailer has incurred losses in the Christmas advert race. I wonder why it is so difficult for advertisers and these big stores to get the tone right and understand how impactful a great musical backing can be. We sing Christmas carols because they are timeless and pure; we love popular songs because they resonate and have that quality. It seems, in the hands of the advert makers, there is less beautiful chemistry than a messy sort of sludge. I am never going to be swayed to a supermarket/shop based on their Christmas campaign but I am likely to be a bit put off by a particularly sickly/atonal advert. Maybe I will come around to the Elton John-featuring John Lewis campaign or be less inclined to scowl when seeing the Sainsbury’s advert come on.  Maybe the solution is a lot simpler: mute the sound and, whilst watching the advert unfolds, play...

 PHOTO CREDIT: @mariahashby/Unsplash

MY own musical accompaniment!

FEATURE: Still on Our Minds: Why Dido’s First Tour in Fifteen Years Is Creating a Buzz

FEATURE:

 

 

Still on Our Minds

IN THIS IMAGE: The cover for Dido’s upcoming fifth album, Still on My Mind/IMAGE CREDIT: Getty Images 

Why Dido’s First Tour in Fifteen Years Is Creating a Buzz

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THERE are a lot of different reasons why Dido…

IMAGE CREDIT: Getty Images

is making the music news at the moment. I have been a fan of her music since her debut, No Angel, back in 2001 and, back then, I was amazed by its breadth and appeal. (The album was actually released in the U.S. in 1999 but got a worldwide release in 2001). Many might have heard her through a slightly odd channel: her song, Thank You, was sampled by Eminem for Stan (the third single from his album, The Marshall Mathers LP, in 2000). No Angel is a remarkable story. It is the second-biggest-selling album of the 2000s (in the U.K.) behind James Blunt’s Back to Bedlam and is a bit of a phenomenon. The album has conquered countries and provided this complex yet accessible songwriter to the world. I like the name ‘Dido’ but it is the start of a very long and confusing set of names - ‘Dido Florian Cloud de Bounevialle O'Malley Armstrong’ is her full ‘title’. The fact she has a German boy’s name (Florian) in the pack led to bullying at school whereas ‘Dido’ on its own is a lot more focused and less confusing! I am not a massive-mega-superfan of Dido but I do like the fact you can easily listen to her music and get something from it. It is not something, too, one plays in the background. The music demands focus and attention and you can hear how every note means something to the songwriter.

No Angel spawned huge singles such as Here with Me and Thank You whilst Life for Rent (2003) gave us White Flag and Life for Rent. The charm and easy-going nature of her first two albums appealed to many and whilst there were musical snobs out there – saying there was no edge and it (the music) was aimed at the mainstream stations – the fans grew and her name got to new people. As Dido’s career progressed; the music, if anything, grew stronger and more rounded. 2008’s Safe Trip Home is more nuanced and has more mystery; the songs more consistent and, whilst there is that need for a bit more edge from the voice; the comfort and sense of revelation you get from each moment is fantastic. 2013’s Girl Who Got Away saw Dido step into new musical pastures and experiment. Split between London and California, Jeff Bhasker and Greg Kurstin were among the names that were part of the writing/production team. Although there were some detractors; I feel the album is stronger and more nuanced (a word one can easily apply to Dido) than her early work. There was a lot of affection for that album and, as has recently been announced, there will be another studio album coming. Still on My Mind will be released in March - and will be Dido’s first new record in six years.

Hurricanes, released a few days ago, is the lead single from the record but we do not know a lot else. Most of the material was written in England with her brother Rollo (Armstrong). Seeing as, before this album, Dido had been spending time in the U.S. and working with a team, it seems this is a more homely, focused and familial record – one suspects elements of No Angel and its themes might return. Dido says her love of Hip-Hop and Folk will come into the album and it will be interesting to see where she heads. If that seems like a whistle-stop tour of her music and life then you’ll forgive me. It is interesting she has an album coming out but there is one remarkable fact: the tour to promote Still on My Mind will be her first in fifteen years. Life for Rent was the last album she toured and, seeing as two records have come since then; it is interesting to hear of Dido’s return to the stage. Here are some details regarding her tour:

“Multimillion-selling singer Dido has announced her first tour for 15 years.

The 27-date world tour begins in Prague on 5 May, reaches the UK on 26 May and then heads to the US.

Fans will hope to hear her perform some of her biggest hits, such as Thank You, Here With Me and White Flag, alongside music from her new studio album.

Titled Still On My Mind, it is her first album for five years. Written in the UK with her brother Rollo, it will be released on 8 March.

Dido's last studio album was 2013's Girl Who Got Away, which reached number five in the charts”.

IN THIS PHOTO: Dido in 2018/PHOTO CREDIT: BMG/Simon Emmett

Few would think anything of someone like Kate Bush not touring for that long – she has explained the reasons behind this – but it seemed a bit odd that Dido stopped touring – at least in the U.S. – for so long. Maybe family commitments and the need to unwind was part of that but it is refreshing to see she is back on the road. In an interview with Billboard; she explained the reasons behind her live return:

“I spent a lot of time saying no to that question [of touring],” Dido tells Billboard, calling from New York the day after she previewed the album for the first time. “But as an artist and a songwriter, you start really missing being right in front of the people who listen to your music. It makes you a better writer and artist to actually engage with the people who listen to your music -- it’s all fundamental."

She says the songs on the upcoming album felt right to perform live, but that they won’t make up the entire set list. “I was making a list of songs we’d perform and thinking about the old songs and how much fun it’s going to be to play them again,” Dido reveal”.

Today, music is filled with that need for artists to get on the road. They will release a single/album like Dido is now and then, inevitably, there is that plan for touring. Sometimes, artists will be on the road for months and the only reason they stop is to begin work on a new record. I guess they need to get the music out there and respond to the demand but I wonder how they have the energy to keep going!

 IN THIS PHOTO: Dido in 2013/PHOTO CREDIT: Guy Aroch

Look at all these mainstream artists and they are being ferried around the world and touring all over the place. If there is any sort of gap or lack of dates then people start to ask why and there is that speculation. Some explain it is because of illness or family concerns but few feel they can detach from touring for years and only do so when they feel it is right. I guess Dido’s toured extensively until 2003 and she has been focused on albums and her family. Tickets are available for her upcoming tour and I know a lot of people who are keen to snap up these rare dates. I wonder whether it will signal a more regular return to the stage but I have been thinking of those who leave gaps between touring and whether more artists should follow suit. I feel many embark on lengthy tours because they feel they need to rather than wanting to. Many asked, after the peak of her popularity, what happened to Dido and why she was not touring. I feel there is that pressure for artists to keep plugging and play as many dates as possible. It is rare for a big artist to have that intense focus – as Dido did back at the start of her career – and then to be quiet on the gig front. Many are buying tickets so they can reconnect with her and she, in turn, feels being on stage is necessary now.

I feel other artists need to take example from Dido (maybe not fifteen years away!) and ease up on gigs. It may sound foolish to deny that demand and risk losing fans but I feel too many are touring too hard and that can do its own damage. In any case; Dido is coming back to the worldwide stage and, whatever you think of her music, it is an interesting move and big news that will please her existing fans but bring in new support! To see her on stage performing new material and splicing it with the classics is going to be a great show. Still on My Mind, it seems, has been a very easy and pleasurable recording experience – as she explained to Billboard regarding her writing/working with her brother:

“Dido describes their working relationship as “having a brain that does everything.” The music they make together, she says, is a byproduct of them having a great time catching up on life and spending time with one another’s families. “Songs come [naturally] because you have ideas while you’re talking, and good music comes out of that sort of environment. We’re not trying too hard.”

Since her last album, 2013’s Girl Who Got Away, Dido has spent much of her time raising her now 7-year-old son, who she says is always introducing her to new music. She herself is big on Sigrid, Christine and the Queens and Khalid (“He has one of my favorite voices I’ve heard recently”)”.

Many assumed Dido was through with touring and that her professional career would be releasing albums and working out of the studios. The songwriter is keen to get back on the stage and, after such a long time away, it is good news to see Dido...

 PHOTO CREDIT: Getty Images

BRINGING her music directly to the people.

FEATURE: My Forty-Year-Old Squeeze: Looking Back at a Remarkable Band: The Ultimate Squeeze Playlist

FEATURE:

 

 

My Forty-Year-Old Squeeze

IN THIS IMAGE: The single art for Cool for Cats (1979)/IMAGE CREDIT: Getty Images 

Looking Back at a Remarkable Band: The Ultimate Squeeze Playlist

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MY first exposure to Squeeze would have been…

 IMAGE CREDIT: Getty Images

the incredible single, Cool for Cats. That song was taken from their sophomore album of the same name and marked a big leap for Chris Difford and Glenn Tilbrook. Although the band – in various incarnations – have been around for over forty years; the debut album, Squeeze, was unleashed in March 1978 and, a little late to the party, I wanted to look back at the band and the incredible work they have put out. I didn’t experience Cool for Cats until the late-1980s – the album it is from came out in 1979 – and marvelled, even at such a young age, at the wit and imagery being put forward. I was exposed to some great music as a youngster but there was nothing as witty and ‘human’ as Squeeze. Maybe it was the accent of Difford and the way he could bring this extraordinary and wild song to the ground and make it seem somewhat normal. Lyrics about corporals and violence; flashing cash and being, as the title/chorus goes, cool for cats – this was a new type of music and one that made a big impact. I grew up around a lot of Pop and mainstream music, so to have Squeeze muscling in and presenting something a bit different; this was a big deal and led me to look back at their debut.

IN THIS PHOTO: Glenn Tilbrook in 2018/PHOTO CREDIT: Getty Images

The eponymous introduction was not a world-beater as such – there were problems and the album seems quite troubled and inconsistent – but did introduce this incredible band. John Cale produced everything except for Take Me I’m Yours and Bang Bang and, as Tilbrook explained some years later; it was a bit maddening working with a producer who threw out most of their songs and took a very different approach. Difford and Tilbrook wanted to be assertive and have their material resonate but they were in awe of this masterful songwriter and figure that was producing for them. As such, there were some fine moments but it was not until Cool for Cats that you got a more expressive and natural Squeeze sound. Up the Junction is a story of meeting a girl, falling in love and having a baby told through a very ordinary and, as such, unique lens. Our hero talks about the mundane aspects – paying bills and being responsible – and it is such a captivating and exceptional song. With Tilbrook’s exceptional ear for composition and feel and Difford’s incredible lyrics driving the songs; it was no surprise critics went made for Squeeze. This is how AllMusic views Cool for Cats:

“...Chief among those is "Up the Junction," a marvelous short story chronicling a doomed relationship, but there's also the sly kinky jokes married to deft characterizations on "Slap and Tickle," the heartbroken tale of "Goodbye Girl," and the daft surrealism of "Cool for Cats." These are subtle, sophisticated songs that are balanced by a lot of direct, unsophisticated songs, as Difford picks up on the sexually charged vibe of John Cale and gets even kinkier, throwing out songs about masturbation and cross-dressing, occasionally dipping into how he's feeling slightly drunk. Tilbrook pairs these ribald tales to frenzied rock & roll, equal parts big hooks and rollicking rhythms, including a couple of showcases for Holland's boogie-woogie piano. It's all a bit scattered but in a purposeful way, as the impish wit lends the pub rockers a kinky kick while Tilbrook's tunefulness gives it all an identity. Cool for Cats winds up being wild and weird, angular and odd in a way only a new wave album from 1979 could possibly be, but this is a high watermark for its era with the best moments effortless transcending its time”.

I have not yet mentioned Jools Holland: his distinct piano style and personality helped elevate the music and brought something fantastic to the band. Squeeze would continue this momentum and brilliance with 1980’s Argybargy. There are some underrated gems like Misadventure and There at the Top but it is those big hits that stand out. The masterful Another Nail in My Heart is a nervy breakup song that was critically acclaimed and talks of heavy drinking, lost love and, at the death, the piano man at the bar putting another nail into the heart of the hero. Pulling Mussels (from the Shell) is one of my favourite Squeeze songs – not least the incredible riffs and nuanced composition – and  talks of Difford’s observations of the working-class and him spending time, as a youngster, at holiday camps; all the basic accommodation, humble pleasures and rather unspectacular views. Squeeze’s regency and brilliant run would continue the following year with 1981’s East Side Story. It is a double-album with one half produced by Elvis Costello and another by Roger Bechirian. There were rumours Paul McCartney and Dave Edmunds produced sides of the record but that has not been substantiated. The fourteen-track record is a veritable feast of diamonds but, again, there are those two standout cuts. Tempted, released as a single on 10th July, 1981, was written by Chris Difford as he was taking a taxi to Heathrow Airport and was ruminating on a relationship that was falling apart due to his infidelities. Difford considers it one of the band’s best songs and a moment when they were maturing and coming into their own.

 IMAGE CREDIT: Getty Images

Labelled with Love, peaking at number-four in the charts in 1981, shows that maturity and softer sound. The next few albums would see a slight dent in the critical stride – not as confident as their previous two – but 1982’s Sweets from a Stranger gave us Black Coffee in Bed; Cosi Fan Tutti Frutti (1985) spawned Last Time Forever and Hits of the Year whilst Babylon and On gave us Footprints. One of my early Squeeze memories is having Hourglass, the album’s opener, played in the car as a child. I was addicted to the fast-paced singalong of the chorus and the big brass working funkily throughout. It is a catchy song but not one that resonated with the critics. The song reached number-fifteen in the U.S. and was their biggest hit there. The song’s video, directed by Ade Edmondson, was played a load on MTV and gained them new popularity. If It’s Love and Love Circles made 1989’s Frank a more popular (among critics rather than fans) and complete album and showed, at the end of the 1980s, how much the band had changed. The core was still there – Difford and Tilbrook at the centre; Jools Holland was still part of the fray – but, whilst a solid album, Frank sold poorly and it meant Squeeze were released by A&M Records – they had not long been taken under their wing. The band signed with Reprise Records soon after and released the satisfying Play in 1991.

Maybe 1993’s Some Fantastic Place did not have the same calibre of hits as their work in the late-1970s and 1980s but there was that incredible songcraft and, at this stage, another change for the band. Reprise Records dropped Squeeze when Play did not fare too well and they were resigned by A&M Records for Some Fantastic Place. Drummer Gilson Lavis left the band and Paul Carrack returned to the group. He has worked with them on East Side Story – he played keyboard and sung the lead on Tempted – and the reconnection worked out brilliantly.  Whilst there have been mixed fortunes regarding their ‘recent’ output (1998-) – 1998’s Domino was rushed and negatively reviewed; 2010’s Spot the Difference is a mix of new and old Squeeze songs; 2015’s Cradle to the Grave marked a new lease and was received very well – it is great to see the band are still going and, who knows, maybe there will be new material next year. Here is a sample review for Cradle to the Grave:

“Neither Tilbrook nor his co-songsmith Chris Difford envisaged Squeeze would reform for a third term, yet, after a successful 2007 reunion and 2010’s Spot The Difference (a collection of reworked older songs), they’ve finally fashioned an all-new studio LP, From The Cradle To The Grave.

Most of the tracks are scheduled to feature in the forthcoming Danny Baker/Jeff Pope-penned BBC sitcom of the same name (which has been adapted from Baker’s autobiography, Going To Sea In A Sieve), but From The Cradle… also reveals itself to be an accomplished comeback in its own right – not to mention Squeeze’s most essential set since 1993’s Some Fantastic Place.

With its best songs vividly referencing the 70s South London landscape of Difford and Tilbrook’s youth, FTCTTG is frequently nostalgic, yet it’s largely upbeat and mostly eminently radio-friendly. The balmy, country-flavoured Happy Days and stomping, soul-tinged titular song are surely destined to become live favourites, while affecting teenage rites of passage tales such as Honeytrap and the brilliant, porn-mag-related Haywire eloquently demonstrate why Difford still hits the spots lesser lyricists can’t reach”.

 IN THIS PHOTO: Chris Difford/PHOTO CREDIT: Getty Images

Squeeze followed up Cradle to the Grave pretty quickly with 2017’s The Knowledge. It saw Yolanda Charles replace Lucy Shaw on bass but, essentially, it is another tight and memorable Squeeze album. I am sure there will be other albums very soon but I am amazed the band have survived through the decades – considering they have been dripped by labels and personal problems threatened to split the band at very points – and are looking ahead. To me, Tilbook and Difford are one of the most underrated songwriting partnerships ever and can rank alongside the very best. Like Paul Heaton (lyrics) and Dave Rotheray (music) of The Beautiful South; there is that humour and sparkling wit but, at the core, kitchen sink drama and subjects we can all relate to. This interview from last year featured Glenn Tilbrook as he spoke about influences and songwriting comparisons:

“As a musician, Tilbrook has influenced many new bands, but his influences were many.

“I grew up loving music. I had an older brother who used to buy records by The Beatles, The Who, The Stones and The Kinks and they had a big influence on me, the music of the 60s is just embedded in me.”
With their songwriting, Difford and Tilbrook became known as ‘the Lennon and McCartney of New Wave’, but this had an adverse affect on them. “I think it went to both our heads but we soon drifted back to earth”.

I recall discovering Squeeze and being amazed by this very new and fresh band that sounded like no other. The chemistry between Tilbrook and Difford has sustained them and, although there were break-ups – the first in 1982; they reformed in 1985 and disbanded again in 1999 – there is that love and mutual respect. Maybe the comparisons to Lennon and McCartney at their peak (around the late-1970s and early-1980s) was hyperbole but you cannot argue against the brilliance of their songwriting. It is forty years since their eponymous debut and there have been definite highs and lows. The classic tracks speak for themselves. There are few groups who can boast songs as memorable and uplifting as Cool for Cats, Up the Junction and Black Coffee in Bed. Long may the fortunes of Squeeze continue but I was interested featuring them because of that longevity and survival. Maybe there as a distinct golden period for the band (their second album through to the middle of the 1980s) but, at every stage, there have been these incredible moments and developments. At a time when music has lost its fun, humour and beguile; I listen back to Squeeze and wonder whether they can provide modern guidance. There are artists talking of real life but you still get a lot of misery, anger and, for the most part, lack of spark. I feel those classic and unique bands have disappeared – Squeeze, in many ways, cannot be repeated and were from a very different time. Their incredible back catalogue needs to be heard and discovered by the new generation and taken to heart. The band might have made their mark a long time ago but I feel their influence and brilliance can...

 IN THIS PHOTO: Squeeze as they are today/PHOTO CREDIT: Getty Images/Press

INSPIRE many musicians today…

INTERVIEW: Layla Kardan

INTERVIEW:

Layla Kardan

___________

WITH her album, Saved, out on 30th November...

I have been speaking with Layla Kardan about it and what stories/ideas influenced the songs. Kardan explains the influence of Middle Eastern music and the sounds she grew up around; if she has a favourite memory from her time in music and what comes next.

I ask if there are albums that mean a lot to her and which rising artists we need to look out for; if she gets chance to detach from music and which artists she’d support on tour given the chance.

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

Hi! Thanks for this opportunity. This week, I have been working on my private listening launch – getting all the elements together for the presentation to press and key industry people. I shot a video clip for my first song from the album, Goddess, which was a long but beautiful day of high-fashion and sensual dance. I can’t wait for the unveiling of the video later this month. I went to Muscat, Oman for a private performance. I had a dress fitting at Tom Ford. Tonight, I will perform at the Chopard gala dinner at the Armani Hotel.

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

I am a global citizen, an eternal wanderer; feminine divine seeking adventure and meaning. I am originally from Iran but have been raised in the West so am very open to the world and love connecting with people from different cultures/religions/beliefs. I am hungry for life and thirsty for experience. I tell stories through my music. I am a bohemian at heart but love high-fashion.  My music is raw, honest; sensual and spiritual with fat bass and edgy production. I’m like a dark fairy who wants to only communicate through music.

Saved is your new album (out on 30th November). Are there particular themes that inspired the songs?

Love. Heartbreak. The oppression of Middle Eastern women and the expectation to conform and breaking away from that. An up-yours to all the people who expect that from me. And an up-yours to bigots in my community who think music and singing is reserved for ‘bad women’.

The album is about being ‘saved’; being reborn into a winged thing, shedding myself of my ego so that I can raise my vibration. Shedding my mask and coming into my skin to be true to myself.

Do you have a favourite track from the record?

All the Beauty. The song came from a place of darkness. I did some inward journeying and some growth to be able to then shift my perception of the world; seeing it for ‘all its beauty’ rather than the darkness and the cold.

You were born in Belgium but moved to the United Arab Emirates – and you are an Australian national. With Iranian roots too; how do all these nationalities and nations bleed into your work?!

I am absolutely inspired by the different countries I have lived in and the cultures I have immersed myself in. My lyrics are in English, my melodies Pop and jazzy; my production has subtle Middle Eastern undertones with use of warped Setar and daf sounds (traditional Persian Instruments); the rhythms of certain songs are typical of the sounds of the Gulf region – U.A.E. is in the Gulf.

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

I didn't grow up in a musical family but I'm told that I was drawn to music from the age of one. I feel music in my veins and in my heart. Persian music has a lot of tribal sounding 6/8 beats and interesting high-pitched instruments playing melodies. I feel those sounds influenced my music style. I also started dancing classical ballet at the age of four so I feel dancing thrree times a week helped me develop an ear for music.

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

I want my music to be heard in many different countries in the world. To reach the ears and hearts of people who are interested in a story different to theirs, but can relate to it all the same.

Do you already have plans for 2019?

I have some international gigs booked already. I will spend the summer between London and Los Angeles to work on my next project.

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

My first performance of original music where Sotheby’s presented me as a local artist with a performance in their gallery alongside a Cecil Beaton exhibition. And winning Emirates Woman Woman Artist of the Year in 2017

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

Who Is Jill Scott? Words and Sounds Vol. 1 by Jill Scott

The Miseducation of Lauryn Hill by Lauryn Hill

Love Deluxe by Sade

These three women and artists I hold in such high regard for their individuality, true artistry; incredible voices and their ability to convey so much emotion in their music. I grew up with all three albums on-repeat and they remain my go to albums today. It’s the lyrics, the music; the power and the grace of each of these women and their perfect deliveries on their respective albums that made me want to write songs.

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

I'd definitely want to support Sade and I would want fifty dancers on stage with me - all women in a spectacular production celebrating women.

I am not a diva (yet) I just need a quiet space with candles, a gong and some paolo santo and an Epsom salt bath for after the show. I'll add some oxygen and Liquid Gold drink just to be fancy. I'd want my producer and dear friend Miloux with me too.

What advice would you give to new artists coming through?

I am a new artist coming through! But, my advice is stay true to your art and sound and don’t feel the pressure to create music for the charts. You don’t need a label to cut through. The digital world allows you so much reach. Stay disciplined and determined. Don’t let your flame die - you only live one life.

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

At the moment, I am performing a lot in the Middle East and planning my dates in Europe and the U.S.A. soon.

 IN THIS PHOTO: Seinabo Sey

Are there any new artists you recommend we check out?

Seinabo Sey; SEVDALIZA; Cleo Sol; Masego; KALEO.

 IN THIS PHOTO: Cleo Sol

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

Not at the moment – I am super-busy. But, whenever I get a chance I escape to nature. I love swimming in the ocean or going to the desert or climbing a mountain. I also love to travel to new and different places.

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 Owe You Nothing by Seinabo Sey

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Follow Layla Kardan

Official:

https://www.laylakardan.com/

Facebook:

https://www.facebook.com/Layla-Kardan-566098436845128/

Instagram:

https://www.instagram.com/laylakardan/

Twitter:

https://twitter.com/layla_kardan

Spotify:

https://open.spotify.com/artist/6anm3koLvedUfsUdmb0uAL?si=G84C2Ay7RF240m5Cgig4BA

YouTube:

https://www.youtube.com/channel/UChn_4NYHafj-9e5SBehwSoA

SoundCloud:

https://soundcloud.com/user-217439403

INTERVIEW: Jean-Mikhael

INTERVIEW:

Jean-Mikhael

___________

TODAY starts with Jean-Mikhael telling me about...

his new E.P., The Deal, and what themes inspired it. I ask what he has coming up and which artists influenced him growing up. Jean-Mikhael talks about playing the young Michael Jackson on the stage and the importance of that; which rising artist to watch and the three albums that mean the most to him.

I ask what advice he would give to artists emerging and how he chills outside of music; if he has anything he wants to achieve before the end of the year and if touring might be a future possibility – he ends the interview by selecting a classic Michael Jackson cut.

__________

Hi, Jean-Mikhael. How are you? How has your week been?

Hi. I’m well, thank you. How are you? Aaaaah. This week has been crazy. Just released my debut E.P., The Deal. The response has been immense. I charted in the R&B/Soul iTunes charts at number-eight. Especially for someone that’s just put it out and among my team and label this was cast as my soft release, so it's just amazing to know that my music has reached out to people. It was so unexpected but such a huge blessing.

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

So. My name is Jean-Mikhael; born and raised in West London, I’m twenty-two. I started singing from a very young age. You could say around five. Then, because of everyone around me saying how well I could sing, I just took it on and ran with it and from the reactions I would get I loved doing it. So, music just became my life in the end really and that’s all I knew I wanted to do. Perform and (haha) perform.  

Your E.P., The Deal, is new. What sort of themes and ideas inspired it?

The idea of the E.P. came quite organically. I was with my producer Akara and we recorded, say, around twenty to thirty songs in two months or so with no agenda. I was making the music and having fun. I brought some people in and most times I wrote by myself. When I write, it’s normally to do with maybe a situation I’m going through or someone else’s story I’ve heard and thought would be a good one to express through my music. I like to empower people and I think that’s just something I have always stuck with. 

So, when it comes to writing, I automatically think about making people believe my words and feel they can do whatever they want. To also understand we can relate as well. By the time I had put together the E.P., I decided to call it the single name because it was my first record deal I was signing and also it was showing people this is my story, my truth…so here's ‘The Deal’. 

You appeared as Michael Jackson in the West End musical Thriller. How does that experience and your time at the BRIT School inspire and affect your music?

That really shaped me as a performer. I think playing a young M.J. at such a young age made me learn what it is to be an artist even more. Music-wise and regarding vocal ability at that age, I was compared to him at times so that just stuck with me. Wanting to be a PERFORMER, a showman. Give people what they came for. I don’t believe artists should be so lazy on stage. I want that when you see me; you’re dying for my next show because I make your body part of mine. To every single person in that room; whether it’s 100 or 50,000. I want you to feel like you're feeling my every move because of the charisma I have. So, that definitely defined me to work very hard. With BRIT School; I loved being there but then I felt restricted at times. I also was a little bit rebellious, you could say, in my own way. I knew I wanted to be an artist and that was it.

Teachers would ask me to sing a certain genre in their way and I would say no. Maybe that was my way of saying I wanted to be my own person but in a non-explanatory way (haha). I wanted to soar that’s for sure, but it definitely taught me how to be a businessman as well in the game. My mum didn’t know loads about the business but she said I want you to learn it for yourself. So that’s what I had to do. I had to learn how to understand every single side from the academics of it to my performance; how to read music, learn instruments; produce. I definitely would say it helped me grow to become strong in this game. I thank those two monumental moments in my life - being young M.J. and being a student at BRIT School - for really showing me such a great insight into the business. 

Can you give me a sense of the artists you grew up around? When did music come into your life?

As I said before; it was around the age of five. My mum would listen to people like Al Green, Aretha Franklin; Andrea Bocelli (that’s an amazing Opera singer); then there would be my sister who would listen to Brandy, Destiny’s Child; Alicia Keys and I think it was her music that then moulded me into loving people like Beyoncé, Chris Brown and Usher. All these R&B/Pop artists that are phenomenal and have so much stage presence. 

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

By the end of 2018, I hope to see my numbers rise in terms of whose listening to my music. To just see the music gliding more and more. Have more fans and hopefully some shows come through too. 

Do you already have plans for 2019?

For 2019, that is definitely going to be a big year. There is so much planned but I really want everyone to just see the work happen and appreciate it. I have a little part of me that doesn’t always like revealing things simply because life is very unpredictable and everything I have I prayed for, worked for and gave to the universe…but you have your times where it won’t happen straight away and I want people to feel the moment when it’s here. But, I will drop one word which is ‘America’. 

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

My favourite memory would be performing at People's Day. The reaction was crazy and, if I may add another one, it would be releasing this E.P. and getting number-eight on the iTunes R&B/Soul charts. 

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

All three of my own future albums are the ones that mean the most to me (laughs). No, I joke. I would say Alicia Keys – Songs in A Minor

It means a lot to me because, at that time, I started singing her really famous song Fallin’ everywhere. That album was just amazing. One of her best works.

Beyoncé – The Beyoncé  Experience

Beyoncé came to really find herself in that album. The performance, production and vocals were just on another level. I remember listening to the live version of that album all the time. Her concert, The Beyoncé Experience. It was mesmerising and I wanted that appeal so much. Just for people to listen and see me performing and think, ‘WOW’. It definitely inspired me to be a performer as well.

Prince – Purple Rain

This album is so reckless and slightly controversial to be honest. That’s what I loved. It was unapologetic and a bit of a fu*k you to the world. I can sing what I like. Prince generally was that guy and it's definitely a motto of mine. People love you when you’re true. I am someone completely different on stage and off. I become a light, a fire. My stage is my playground and he show’s that so much. Being this extravaganza on stage. It's fascinating.

As Christmas is coming up; if you had to ask for one present what would it be? 

Well. Growing up, I never celebrated Christmas. So, it's not really something I do much of. But, all I ask is that I have a prosperous life and can keep doing what I am doing and continue to inspire people. 

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

It would be Beyoncé. I would want water, a nice scented room; food for my crew, anything to make sure my vocals are on-point and somewhere I can just rest for the show. I just want whatever's going to make the best. I don’t really eat before shows so water is my best friend, but food after is always a great thing. I am a foodie.  

What advice would you give to new artists coming through?

Keep going, keep going. Believe in yourself. Listen to some people sometimes, but if your heart really says ‘no’ then go with it. Be creative and think out of the box. Make your own lane and be a businessperson alongside your creativeness. 

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

I don’t have any tour dates as such yet but they will be coming. Right now, it's just putting the music out but I am going to have some eventually. I might be performing on 15th November for Ticketmaster but that’s not confirmed yet so keep your eyes peeled for that on my socials if it is going ahead. 

 IN THIS PHOTO: Sharna Bass

Are there any new artists you recommend we check out?

I really like Sharna Bass. She’s cool. Dope tone to her voice. 

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

I try to, but with success come hard work, so not a lot really. When I do though, most times it's in my house with family or friends or we go out to eat, which I’m cool with because I don’t like going out all the time, but to get to the next level I have to keep working nonstop. I am a bit of a workaholic. 

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).

Nice. Well let's play Michael Jackson – Remember the Time. I love that song

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Follow Jean-Mikhael

Facebook:

https://www.facebook.com/TheJeanMikhael/

Instagram:

https://www.instagram.com/thejeanmikhael/

Twitter:

https://twitter.com/Thejeanmikhael

Spotify:

https://open.spotify.com/artist/6Hmjn0d17bTM6e4dLTWxNz?si=HawvzRbGTHK0NpRoePVMQQ

YouTube:

https://www.youtube.com/channel/UCc-EaMvH7NjzD_KA24EW01Q

FEATURE: New Year’s Resolution: YouTube’s 'Ones to Watch'

FEATURE:

 

 

New Year’s Resolution

IMAGE CREDIT: Getty Images/YouTube/ALL OTHERS IMAGES/PHOTOS (unless credited otherwise): Getty Images

YouTube’s ‘Ones to Watch’

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IT is always interesting looking at the top-ten lists…

 PHOTO CREDIT: @christianw/Getty Images

and what people are recommending for each new year. I am keeping my eyes open for the New Year’s ‘honours’ as it were and those who have been promoted and augmented to special heights. We will get the traditional ‘ones to watch’ features coming out from sort of now through to January and it will be good to see what makes the cut. I have just seen the announcement YouTube have made regarding their tips and who we should be watching. This is a special announcement as it is the first time the site has tipped artists. I will bring you an introduction to each of the ten but, at a time when the site is having some issues – laws brewing regarding payment of artists and copyright – and their fortunes are not certain. YouTube will continue to flourish but it remains to be seen whether what will happen next year. I am pumped to see what comes out and how YouTube will develop. In any case; looking at their ‘ones to watch’ news is quite exciting. Here’s what has come out:

“YouTube has revealed the top 10 artists it expects will hit the big time next year - and the majority are British.

Singer Mahalia tops its first ever Ones To Watch list - which predicts which acts will become huge stars in 2019.

Rapper Kojey Radical, singer-songwriter Samm Henshaw and guitarist and singer Jade Bird also feature.

YouTube looked at the artists' video views, number and subscribers and the time spent watching their videos to come to its decision... 

Organisations like the BBC, the Brits and Spotify are among those who annually publish lists of hot prospects - but this is the first time YouTube has made the move.

Mahalia, 19, described being ranked number one on the list as a "special moment for me".

She said: "This recognition means so much."

The Leicestershire-born singer revealed she wrote her first song aged eight and used the streaming site to help her with her music.

PHOTO CREDIT: @makuph/Unsplash 

The singer said: "I basically learnt how to play so much of what I know on the guitar from watching people on YouTube.

"The platform has helped me grow and build a real, personal fan base in the UK and around the world while never compromising my creativity."

She signed her first major record deal aged 13 and is expected to release her debut album later this year.

The singer has more than 106,000 subscribers and her most popular video for a song called Sober has been viewed more than 20 million times.

Singer-songwriter Sam Fender said he was "super excited" about 2019 after finding out his name was on the list.

He said: "I started recording music in a garden shed not so long ago. So it's incredible to now be recognised and heard at a global scale.

"I'm super excited for next year, there's so much more to come."

The 22-year-old who is from North Shields was widely praised for his song Dead Boys which was about mental health.

He recently signed to Polydor Records and is expected release his first EP at the end of November”.

It is good to see this come out and I will have a look at the artists next year and see how they rise. Before then, and as a brief introduction, here is a little bit about the selected ten, links to their music and sample videos from YouTube:

Mahalia

Official Site: http://mahaliamusic.co.uk/

Follow: https://twitter.com/mahalia

YouTube: https://www.youtube.com/user/mahaliamusic

Latest Video: One Night Only (with Kojey Radical)                    

Sample Cuts:

“Mahalia grew up roughly a hundred miles from London in a quiet section of Leicester. While her town lacked the well-known clubs and trendsetting music scenes of the big city, Mahalia’s dream of being heard by the world was never deterred by her geography.

“I think I might have an advantage being from Leicester because I don’t know all the cool people in London,” she tells VIBE with a laugh. “The thing about the U.K. is that underground music always takes over. It’s not just about the radio.”

The 19-year old started penning songs at an early age, with encouragement from her musical family, and she always carried a passion for the creative arts. Mahalia’s music is wise beyond her years and some. It’s getting harder to find R&B songs from ’90s born artists that don’t include an overabundance of Instagram references and chatter about designer clothes, but this profound voice is hellbent on keeping her songs clutter-free.

“It’s something in the water, I think,” says the Atlantic Records signee about the U.K.’s overwhelming talent pool. “I just want to make Leicester proud of me, there’s so much music from here and I just want to represent where I’m from” – VIBE (October 2017)

Total YouTube Subscribers (at time of this feature): 107k

Biggest Video: Sober – A COLORS SHOW

Octavian

Facebook Page: https://www.facebook.com/Octavianog22/

Follow: https://twitter.com/octavianessie

YouTube: https://www.youtube.com/channel/UCdtWV8FwwYtk4H-REparuag

Latest Video: Lightning (Live)    

Sample Cuts:

“We’ve been here six months,” Octavian explains as we take the lift up to his home after the shoot. “The flat we were in before this, now that was mad. It was massive: it had a pool table and all these LED lights everywhere. That was the place everyone would come to party.” I ask why he left. “We got kicked out for partying,” he says matter-of-factly.

Moving house no longer fazes him. Born in Lille in north-east France, Octavian moved to south London with his mother when he was three, but their relationship became strained. When he was a teenager, she sent him back to France to live with his uncle. They fought a lot, often physically, and after two years he was sent back to his mother. Knowing he wanted to pursue music, Octavian landed a scholarship to the Brit school – previously attended by Adele and Amy Winehouse – but soon grew disillusioned. “There were literally people doing backflips and singing harmonies in the corridors … it was not my type of thing,” he says. “I just don’t believe that you can teach someone how to be creative. As soon as you start teaching someone, they lose their originality” – The Guardian (September 2018)

Total YouTube Subscribers (at time of this feature): 10k

Biggest Video: Party Here (VIEWS)

Grace Carter

Facebook Page: https://www.facebook.com/itsgracecarter/

Follow: https://twitter.com/itsgracecarter

YouTube: https://www.youtube.com/channel/UCMgjBHlBeDPdcAF5A69DOuw

Latest Video: Why Her Not Me

Sample Cuts:

“What do you try to do with your music and how do you achieve this?
Grace: "Every song I write is about the life I've lived and I'm definitely trying to tell a story but something that's very important to me with what I do is that anyone and everyone can relate to the lyrics I write. Although they have such deep and personal meanings to me, I want other people to be able to put their lives on to my words. Not everyone has the ability to put their emotions in to words and I think that's what makes songwriting/music so powerful."

Can you tell us what musical and non-musical influences have shaped your sound?
Grace: "My childhood has been very inspirational to me, I grew up with a single mum and at 13 she met my stepdad who was a songwriter. I discovered songwriting through him which allowed me to find a release for a lot of pent-up anger I had carried through my childhood. I also found a lot of inspiration from strong female artists, growing up I listened to artists like Nina Simone, Alicia Keys, and Lauryn Hill. They're all true artists whose songs are full of emotion and honesty and that's something I always want to achieve in my songwriting” – The Line of Best Fit (January 2018)

Total YouTube Subscribers (at time of this feature): 37k

First Video: Ashes

Kojey Radical

Facebook Page: https://www.facebook.com/kojradical/

Follow: https://twitter.com/KojeyRadical

YouTube: https://www.youtube.com/channel/UC7RkBA9GHCB_3Eo_vTNqwpQ

Latest Video: 97

Sample Cuts:

“We are all born with superpowers, says Kojey Radical. Whether we choose to use them or not is up to us. “Being a creative isn’t about limiting yourself to one medium,” he says, husky of voice and smooth of dress — black military beret, cropped black trousers, a solid gold bumblebee on a chain around his neck — in an east London members’ club.

“If you’re an artist you’re an artist.” He shrugs his rangy shoulders. “Doesn’t matter in what capacity you make art.”

Born and raised in pre-hipster Hoxton, where he still lives, close to his family, 25-year-old Radical is prismatic, determinedly woke, a real Renaissance man from the ends. He’s a spoken word-poet and rapper, a dancer, model, illustrator and video artist. He’s the creative director of London men’s fashion label Chelsea Bravo and founder/director of media collective Pushcrayons.

He’s an inspiration, too, to many young people in his area. Impressed by the chauffeur-driven cars that arrive to take him to airports (he’s toured Australia, Brazil, South Africa), photoshoots (he’s worked on campaigns for Adidas, Apple, Dr Marten) or the Eurostar for Paris Fashion Week (where he hung out with mates including Moses Boyd and Reggie Yates), they listen when he talks about the role of community” – Evening Standard (July 2018)

Total YouTube Subscribers (at time of this feature): 12k

Biggest Video: Footsteps

Sam Fender

Official Page: https://www.samfender.com/

Follow: https://twitter.com/samfendermusic

YouTube: https://www.youtube.com/channel/UCNOPATl0JcguaVn1ovKWU1w

Latest Video: That Sound

Sample Cuts:

“With the cash from his record deal, signed four months ago after a bidding war, and an inevitable sponsorship deal with Fender guitars, he’s been able to set up his own recording studio back home. “If this all goes wrong I can stay in music and use that studio to do endless amounts of work.”

He doesn’t need to worry about things going wrong just yet anyway. His year began with a place on the longlist for the BBC’s Sound of 2018 poll when he had only made four songs public. Heavy gigging, including support slots with George Ezra and Catfish and the Bottlemen, has taken him up to this month, when he’ll release his debut EP, also called Dead Boys. He’s just sold out three nights on the trot at south London’s 320-capacity Omeara venue and announced a new show for 1,700 at Electric Brixton for February.

“It’s getting bigger, which is exciting and terrifying in equal measure,” he says. Asked what he was hoping for when he first started playing in bands at the age of 16, he replies: “Somewhere along the lines of what’s going on now — the ability to live a life doing this as my sole job, which I now do” – Evening Standard (November 2018)

Total YouTube Subscribers (at time of this feature): 8.5k

Biggest Video: Play God

slowthai

Official Page: https://slowthai.com/

Follow: https://twitter.com/slowthai

YouTube: https://www.youtube.com/channel/UCKHvQqJdl2cyPUmcXLFUeaQ

Latest Video: BREXIT BANDIT

Sample Cuts:

“Though slowthai's descriptive raps tell stories and paint pictures straight from his brain, his music videos are also a big sell, breathing new visual life into his tunes. Take the video for "Ladies", a track from his first EP (watch below), in which there is a scene where he lies naked and curled up next to his fully-clothed girlfriend. The image is powerful in its rarity in pop culture alone, but it is also a reference to the iconic Annie Leibowitz photo of John Lennon and Yoko Ono taken in the last 15 hours of his life before he was shot. Then there's “North Nights”, an altogether different experience, made up of references to slowthai’s favourite horror films: The Shining, Blair Witch, A Clockwork Orange and La Haine. “I don't know if it's my attention span”, he laughs, touching on his meticulously thought-out music videos, “but I don't like reading. I'm more of a visual person” – NOISEY (September 2018)

Total YouTube Subscribers (at time of this feature): 33k

Biggest Video: T N Biscuits

L Devine

Facebook Page: https://www.facebook.com/LDevineMusic/

Follow: https://twitter.com/LDevineMusic

YouTube: https://www.youtube.com/channel/UC2_Y6hH4VXgWRJxC9bPGD2w/featured

Latest Video: Nervous

Sample Cuts:

“KEY TRACK: Nervous
LABEL: Warner Bros
MANAGEMENT: Major Influence
TWITTER: @LDevineMusic

WHO: Twenty-one-year-old newcomer Olivia Devine, who goes by L Devine to avoid confusion with a porn star who shares her name.

WHAT: Pop, pure and simple. L Devine is signed to Warner Bros, who will no doubt be seeking to propel the Whitley Bay-born singer to Dua Lipa levels of stratospheric importance.

WHERE: Devine was born in the North East but moved to London to follow her musical dream.

A DEVINE INTERVENTION?
Good one. And yes, L Devine has 2019 in her sights. She released the Growing Pains EP a year ago, and the Peer Pressure mixtape and film is out this week. Recent track Nervous, complete with a sleek, LA-filmed video by Emil Nava, laid down an impressive marker.

WHAT ELSE DO I NEED TO KNOW?
Devine originally wanted to be a songwriter, and has been honing her craft for a few years now. Sessions with a cast including John Hill (MIA, Rihanna) and Ian Kirkpatrick (Dua Lipa) have shaped a powerful, relatable sound.

WATCH OUT, THEN?
Start the Devine-al countdown!” - Music Week (November 2018)

Total YouTube Subscribers (at time of this feature): 6.4k

Biggest Video: Love You Like That

Dermot Kennedy

Facebook Page: https://www.facebook.com/dermotkennedymusic/

Follow: https://twitter.com/dermotkennedy

YouTube: https://www.youtube.com/channel/UCTujaKfo0jMXXhjvRtB6yYQ

Latest Video: Power Over Me

Sample Cuts:

“Now he has the best of both worlds, with a devoted core fanbase and big business backing that opens the kind of doors a boy from the tiny village of Rathcoole, with a population of fewer than 4,500, could only have dreamed of. Kennedy, who is best described as a folksy, alternative artist with a taste for heavy hip hop beats – check out “Moments Passed” – recently worked with Mike Dean, the American super-producer who’s notched up credits with everyone from Jay-Z to Kanye West. “Seeing that Mike and the other younger, serious hip hop guys in the studio were into my songs was really exciting,” he says. “Travis Scott was there on Facetime and he was listening to it as well.”

With A-list endorsement, a current single “Power Over Me” already on 1.5m plays, a headline show at Brixton Academy – the holy grail of venues for young artists – just announced and an album due next year, you could assume Kennedy would be getting just a little bit cocky. And he well might, if it wasn’t for his friends, the same ones he played sports with at school. “They are huge for me in terms of keeping my head screwed on,” he says. “I could win a Grammy and they would take the piss out of what I was wearing. They will slag you off about anything, no matter what happens”- GQ (October 2018)

Total YouTube Subscribers (at time of this feature): 48k

Biggest Video: An Evening I Will Not Forget

Samm Henshaw

Facebook Page: https://www.facebook.com/SammHenshaw/

Follow: https://twitter.com/SammHenshaw

YouTube: https://www.youtube.com/channel/UC9PlhjF8doWtKVRc0YoAgiw

Latest Video: Doubt (ft. Wretch 32)

Sample Cuts:

“How did you get into music? Any tips for budding musicians?

I started playing in church from a child growing up and kept going at it until I was good enough to write my own songs. I would say work hard on your craft and never stop learning.

What do you most value in your wardrobe?

My hats, without them I’m not sure…

What’s your favourite piece from the outfits which you wore for this shoot?

I really liked the grey shirt or the jacket, really simple but a good mix of materials”- The Idle Man (2015)

Total YouTube Subscribers (at time of this feature): 43k

Biggest Video: Broke

Jade Bird

PHOTO CREDIT: Phoebe Fox

Facebook Page: https://www.facebook.com/JadeBirdMusic/

Official Website: http://www.jade-bird.com/

YouTube: https://www.youtube.com/channel/UC6sRi0TuAnixUvUbhuj9YNg

Latest Video: Love Has All Been Done Before

Sample Cuts:

“Jade Bird can do an impeccable American accent, and with good reason: The British singer-songwriter has spent plenty of time in the States recently, including playing her first American festival, Stagecoach 2018. However, although she grew up listening to American music, Bird tells The Boot none of this means she's trying to move away from her British roots.

"It's not like I'm intentionally saying, 'Oh, anyhow, now I'm going to make American music,'" the singer explains. "I just always really loved music that was coincidentally from the States."

Bird had long admired songwriters such as Bob Dylan, but it wasn't until she heard the Civil Wars that the 20-year-old musician started deep-diving into American music.

"That was the first time I'd ever seen somebody who reminded me of me playing the guitar, first off," Bird says. "I love the band for that. The chemistry between them just felt so true and not put on, and to me, that is so important”- The Boot (May 2018)

Total YouTube Subscribers (at time of this feature): 23k

Biggest Video: Lottery

INTERVIEW: Trapdoor Social

INTERVIEW:

Trapdoor Social

___________

I have been speaking with Skylar Funk of Trapdoor Social...

who tells me about the band’s new single, Hold Me Down, and how they came together; how the line-up has changed and what is coming next from the guys – he highlights some rising artists to look out for closely.

I was keen to know more about the band’s environmental ethics/motives and whether there are gigs emerging; if Skylar has any favourite album and whether there is time to relax away from the band – each member selects a song to end things with.

__________

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

Hey! We're great. Real bittersweet week actually...just played our goodbye show with our drummer Ben, who's moving up to the Bay Area for grad school, his girlfriend and generally greener pastures. So, that's tough...but it was a great show! And a great few years together. So much love.  

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

We are Trapdoor Social, an L.A. band since 2011 and we play Indie/Alternative-Rock (or something), often outdoors using solar power. We created and ran Sunstock Solar Festival for the last three years as well.

How did Trapdoor Social get together? When did you all meet?

Merritt Graves and I (Skylar Funk) met at Pomona College in the Environmental Analysis department. We spent a handful of all-nighters in the same computer lab talking about the music we loved and the challenges our planet is facing... and then, a couple years later after school, we decided to start the band. The rest of the guys have come and gone (I guess Louie hasn't gone anywhere) from all kinds of places (like Craigslist).

You are all environmental activists. Does the band have a mandate/mission regarding the environment and conservation?

So, I guess, really, the thing that concerns Merritt and I are existential threats and, at the base of that, the moral assertion that living things shouldn't suffer any more than they have to. So, for example, if we destroy the environment; a huge number of earth's inhabitants will be negatively affected and so we shouldn't do that. But there are a couple other important existential threats to watch out for as well - namely nuclear war and runaway artificial intelligence. Just...things we should be careful with.

Hold Me Down is the new single. Can you explain the story behind it?

Hold Me Down was a collaborative songwriting experience which was actually a bit frustrating for me personally. I'm glad it came together though...this one is super-fun to play. The message of the song is about how we know there are big, serious problems in the world we need to deal with (see above)…but how it's all forgotten when matters of the heart come into play. Like, in verse two: "Oh no/the world is going under/and we sit here twiddling our thumbs/our love is the least of our problems/but you say one word and I jump!” 

Will there be more material coming next year?

Oh, yeah. We've been recording for over a year and we have more songs than we can fit even on a full-length album. So, you might not hear it all but you'll hear a full album!

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

Oh, man; that's soon! I hope to have jammed and/or collaborated with a good handful of other artists and I hope we have the album finished and ready to drop. I hope to have some cool new songs written and I hope to have my little studio set up again. I had to take it apart to make room for my girlfriend's sister when she moved to L.A. and stayed with us for a while. Haha.

Do you already have plans for 2019?

2019 will be The Year of the Artist! Stay tuned to find out what that means (smiles).

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

This might be proximity bias...but last night I supported my friend Kinney at her show at the Satellite in Silver Lake. It was a fun set, and at the end, the people called for an encore...for which we were completely not prepared. The rhythm section started grooving in Bb, which is a great key for me, so I Got Down. 

I had my baritone sax and she had another gentleman playing an upright bass (with a wireless mic) and, at one point, we both hopped down into the crowd and danced wildly while playing. There was AcroYoga happening; the crowd was going nuts, the jam was insane. It was pretty special.

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

Wow; that's tough. Death Cab for Cutie's Transatlanticism? 22, A Million from Bon Iver? Florence and the Machine's Ceremonials, or The Heist by Macklemore? All super-formative and I'm sorry, you asked for just one....

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

I would want to open for Postal Service (on tour for the next album they'll release, of course) and there would be massage and a vegan feast complete with chocolate fountain. At the end, Ben Gibbard would join us for an acoustic cover of Brand New Colony. While both of us crowd-surf. 

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

We do not have any dates planned. Gotta get a new player or two first! We can always play acoustic, though...

What advice would you give to new artists coming through?

I would encourage a new artist to seek balance. You can't make art if you can't pay the bills or keep yourself sane. Losing our drummer really emphasizes that for me - he was young and talented and committed to our band...but his life in L.A. was too hard. You gotta make your life work ok - take care of yourself - so you can spend all the time it takes to become the artist you want to be. 

 IN THIS PHOTO: Karmic

Are there any new artists you recommend we check out?

For sure! Real stoked about a few of the bands we had on our solar stage at Sunstock. Karmic is a super-fun Indie-Pop act and have become dear friends and Top Shelf Brass Band from Riverside is just the most fun I know how to have. Beyond that, I recommend you watch out for The Dip from Seattle, which is super-groovy Retro-Soul.

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

Yeah. I get me time here and there. I play ice hockey every week and ultimate frisbee when I can and I play Magic: The Gathering, because apparently just being in band isn't quite nerdy enough for me. Weeeeee

Oh, yeah...and hot sauce. I'm a huge fan of hot sauce. I've collected it all over the U.S. and beyond and I make my own as well. I've been selling it for a few years now and it's really fun. Check it out.

Finally, and thanks 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).

Fun! I've been rocking out to Superposition by Young the Giant

Merritt says Big Black Delta - Dreary Moon

Louie says Alabama Shakes - Gimme Me All Your Love

Thanks for your time and interest!

__________

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