INTERVIEW: Nominjin

INTERVIEW:

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Nominjin

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I have been speaking with Nominjin...

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about her career and how she came into music. She has been telling me about her latest track, Kiss Me at Midnight, and how it came together; what sort of sounds/influences have affected her and whether we might see some more material coming along.

She reveals a few albums that are important to her and talks about her heritage; whether there are plans in place for next year and when she knew music was the career path for her – Nominjin picks a classic track to end things with.

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

I’m doing wonderful. Thank you for asking. I’ve had a fantastic week recording at the studio and we also wrapped up production of my upcoming music video for my single, Kiss Me at Midnight. The single drops on Nov 30th worldwide and the music video will be released in the middle of December this year.

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

Hi, everyone. My name is Nominjin. I’m a Soul, Pop and R&B singer-songwriter based in Los Angeles. I started my career at age twelve and since then I’ve performed in more than fifteen countries. I was born in Mongolia and raised by an American father and Mongolian mother. Growing up, I was exposed to many different cultures and learned at an early age to recognize myself as a global citizen. I lived in countries such as Russia, Caribbean; India and the United States. I am in awe of the inherent beauty in all the people and cultures that I had the privilege of spending the formative years of my childhood.

Some of the highlights of my music career are being in a John Lennon tribute album by EMI at age sixteen and also being in an EMI love song compilation album alongside multi-platinum selling artists such as Norah Jones, Christina Aguilera and Toni Braxton. Also, thanks to my ability to sing in many languages and genres; I had solo performances in five-ten languages at Carnegie Hall’s Stern Auditorium and Lincoln Center’s David Geffen Hall.

It was also a great honor to be invited to perform at the Gala Concert at Llangollen with the Welsh National Opera Orchestra where legendary vocalists such as Pavarotti previously performed at. I was also appointed by South Korea’s Foreign Minister Yun Byung-se as a Public Diplomacy Envoy and worked with the Korean government for two years.

 

Kiss Me at Midnight is your latest single. How did the song start life?

It all started with a melody. I said to myself: “Hmmm...this has a little bit of a Latin influence”. Not sure where it came from but I like letting the songs flow out of me instead of setting out to write a specific song. So, I roped in my father who speaks fluent Spanish to help me come up with the line “La vida nos inspira”. Then, I wrote the English lyrics and turned it into a song about dancing all night with the love of your life.

As the producer; I had to challenge myself and figure out a vocal and musical arrangement that would build upon the melody to create a sound that is Soul/R&B with a dash of Latin. So, I sat down with my arranger/co-producer and told him that I wanted a production that is musically rich and super-old-school.

Are you thinking ahead to an E.P. or album? Is Kiss Me at Midnight the start of a new project?

Kiss Me at Midnight is a start of a new project. My upcoming E.P., Free Soul, is a tribute to the classic American Soul/R&B and traditional Pop music that I grew up listening to because of my American father. I’m the creative director of the entire project overseeing every aspect of the music production and vocal production. I’m so blessed to have complete creative freedom in this project and to have collaborated with a great team of co-writers and arrangers.

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Can you give me an idea of the artists, older and new, who inspire you and compel your own sound?

Growing up, I loved listening to and learning from artists such as Sam Cooke, Stevie Wonder; Etta James, Aretha Franklin; Mariah Carey and Whitney Houston. I love contemporary household names such as Alicia Keys and Bruno Mars. My writing is mostly influenced by the classic Soul and Pop sounds of America. When you listen to Free Soul you might hear that my songwriting style is inspired by the love songs of The Great American Songbook and I add a twist of Soul/R&B to that.

You found music early and have been performing since you were a child. Was there a moment you knew music was for you?

I started singing when I was a year and a half. I remember, when I was eleven-years-old, I declared to my parents that I’m going become a professional singer. I saw that being an entertainer is a wonderful way to make the world a brighter place. So, I’ve been working hard ever since and haven’t had a summer break since I was eleven.

I became really popular in Mongolia during my teen years and learned to use my celebrity as a tool to give back to the community. I wasn’t driven by the urge to become famous but was motivated by the desire to be in a position that allows me to give everything I have, including my talents.

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Do you already have plans for 2019?

Well. I’m very excited to be releasing my new songs to the world. Free Soul is coming early-2019. I’m also working on writing and producing more songs to be shared with everyone. Besides promoting my original content, I’ll also be more active on YouTube and will be covering songs for my fans.

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

Wow. There are too many to choose from. I’d say the most memorable moments are the times when you perform live in front of an audience. Seeing smiles on people’s faces or tears in their eyes when they are touched is what make me want to keep up my training and put on a better performance than the last.

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

That’s a tricky question because there are countless masterpieces that I’ve enjoyed over the years. I’d say the following three albums had a deep influence on my upcoming E.P. At the Close of a Century by Stevie Wonder has all the collection of mind-blowing songs by him you can’t miss. I’m in so much awe of Stevie Wonder’s songwriting and singing. Bodyguard (soundtrack) by Whitney Houston was a huge influence for me as a singer as well. Frank Sinatra’s Greatest Hits. Because it awakened the romantic songwriter in me.

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

I would like to keep developing my ability to be content in any situation. I really believe that peace of mind is the key to true and lasting happiness. I would also like to include everyone else in this Christmas wish of mine. May all beings live in everlasting joy and love.

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

Oh. It would be a dream to open for Bruno Mars who is bringing back and re-introducing old-school music to the younger generation.

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What advice would you give to new artists coming through?

Be fearless and authentic in your art. Be unapologetically yourself. Then, go find the audience that resonates with the sound that comes from your soul. I have written Rumi-style lyrics and music when I was nineteen-years-old because that is what came out of me at that time. Don’t be afraid to evolve and change and grow - and never allow yourself to be defined by one thing. Art is about freedom and being completely creative. There is no right or wrong.

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

There aren’t any tour dates set at the moment. I’m currently putting together a live show and I hope to get on the road soon.

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 IN THIS PHOTO: Ella Mai

Are there any new artists you recommend we check out?

I’ve been so busy writing and recording so I haven’t had the chance to discover many new artists. But, I am enjoying Ella Mai’s voice these days.

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

When I was a little girl, a fellow musician and singer told me that, if I think of music as work I will never enjoy being an artist. So, I try to create music from a space of upliftment and joy; which means I don’t necessarily feel like I need to chill away from music. I also don’t listen or follow musical trends but focus mostly on going inward and bringing forth the melodies that comes out of my heart.

Most of my musical ideas are born when I’m unwinding and alone in my creative space. I love hanging out in nature, meditating and doing yoga. Last year, I had a two-month creative retreat in the mountains of Taiwan.

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 Spanish Harlem by the incomparable Aretha Franklin. Forever the Queen of Soul

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Follow Nominjin

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TRACK REVIEW: Naomi Banks - Enough

TRACK REVIEW:

 

Naomi Banks

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Enough

 

9.4/10

 

 

The track, Enough, is available via:

https://www.youtube.com/watch?v=edt0oRrw3T8

GENRES:

Neo-Soul; Future-Soul; Jazz

ORIGIN:

London, U.K.

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The E.P., Deja Vu, is available via:

https://open.spotify.com/album/5zmf883zGFlcWKrb5XGd3e?si=eHOGMLE9Ty2b7I9pJ5Fd0g

RELEASE DATE:

30th November, 2018

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THIS time around...

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I am looking at an artist who is making music that is true to her and soothing for the soul. I will talk about a track from Naomi Banks that has struck my ear but, with the release of the Deja Vu E.P., it has provided an opportunity to look at someone who is making waves and creating stunning sounds. I will look at the song in a minute but I want to look at Neo-Soul and Jazz and why they are genres we need to see more of; female artists who are standing out for the familiar and why we need to change our views; writing with different musicians and recording processes that bring something new to music; originality and finding those stars of tomorrow – I will end by seeing where Banks will head next year. To start with, I am minded to investigate Neo-Soul and Jazz. These are genres we do not hear a lot of and I guess the last great star from these areas was Amy Winehouse. She brought in other sounds but her fusion of Soul and Jazz exhilarated and excited the world. The reason why I am excited to see Naomi Banks bringing some of Winehouse’s magic back is because of the elements and emotions you get. I get to hear so much Pop and Alternative and it does not provide me the chance to get away and look at something different. Another reason why I am excited is to hear something different from the music. So much of today’s music is stuffed with electronics and there is something unnatural coming from the speakers. It is okay to add the odd electronic element here and there but so many artists overload their music with this and it can be a bit annoying. There is some electronics in Naomi Banks’ music but you get much more grace and natural sounds. I think a lot of artists assume Soul and Jazz are redundant and they are not worth exploring.

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The assumption physicality and soulfulness will not come through is wrong. I will not keep mentioning Amy Winehouse but look at the way she managed to provide such deep and memorable music and I am surprised the mainstream is not encouraging more of what she was about. Perhaps it is hard to find artists like her but, in Naomi Banks, you have someone who has a little of her but brings her own colours to the party. Think of the classic Neo-Soul artists like Erykah Badu and Lauryn Hill; what D’Angelo was doing and you have legendary, enduring music. Unlike mainstream Pop and so many other genres, you have this seduction and enticing beauty that gets under the skin. One gets a real flavour of old-school Jazz and Soul with some modern production and genuine fizz. If you put all of that together and I think music needs to adopt and embrace those artists who play in these genres – rather than the usual Pop fare. It is hard to decide which artists are worth sticking with and who will make breaks but I hear Naomi Banks and there is something special and exciting. Her music has a nice modern and accessible flavour but you get a sense of history and classic with what she is doing. I am not sure what she has planned going forward but, right now, we have this artist who is taking from her life and providing these rounded, stunning and alluring stories. I think 2019 will be a big year for her and I am excited to see where she heads next. Let’s have a look at female artists and why, yet again, I am focusing on this subject in a review. It might seem a bit predictable and samey that I go to this well but it needs to be brought up and I have to highlight something.

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I have talked about the festival announcements and how female artists are being shunted. Look at the headliners already announced and they are all men. I am not holding my breath regarding the remaining headliners and whether there will be gender parity. We have not come a long way regarding equality and I do struggle to fathom why festival organisers keep on ignoring female talent. Look at the depth and variety of artists, legendary and new, and you have plenty to choose from. I would like to see a couple of female artists headline Glastonbury next year but, with the likes of IDLES and The 1975 trending; how likely are we to see that happen? It is alarming seeing the same issues occur time and time again and I am worried it will continue for years. What bothers me most is the sheer ignorance of those charged with making decisions. I am seeing so many great female artists emerge who could easily headline the biggest festivals. This year has been disappointing and I think next year might go down the same road. I am not saying Naomi Banks is ready to headline yet but, in years to come, I know there will be many clambering to get someone like her on the headline stage. If we are to see progress in music then we need to stop overlooking female artists and assuming they cannot carry the weight of a headline set. Naomi Banks’ music is stunning and there is so much to love about it. I know she will grow and her music will spread around the world and I wonder, when she does make it big, how likely she is to get that headline call? Her sounds have such a sense of physicality and passion and they would be perfect for a headline occasion. At the moment, we are spoiled for choice when it comes to female artists who can create sensational headline shows at the biggest festivals.

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I will move onto a new subject soon but it angers me we have to raise these arguments and talk about things like this. I would love to think things will improve in the next couple of years and we will see balance but I am not so sure. Naomi Banks is part of the new breed and making music her own way. You get an artist that can get into the heart and soul and the music remains in the memory. I have heard her E.P., Deja Vu, and the tracks and incredible. It is one of those works that you can listen to over and over and discover new things. Going forward and there will be more material and she will continue to make strides. I feel she will be ready to headline in a few years and, if the mainstream allows her exposure and opportunity, then there is no stopping her. If she does get to that stage then will the festivals open their eyes and realise there is a great artist read to strike?! Maybe I am looking at a lost cause – female headliners very soon – but I hold hope there will be a change at some point. For now, we have to encourage the newcomers and promising female artists and ensure people are aware of them. That sounds patronising but there are so many great artists around and they are not getting the acclaim they deserve. Maybe I should move on and cover something else but it angers me we have this wonderful industry with so much choice and strength and, in one area, it is so one-sided. If we keep on booking male headliners and denying female artists then we are sending out a very bad message. With incredible artists like Naomi Banks taking strides and showing she has something different; I feel she will turn more heads next year and move her way towards the mainstream. I am compelled to see what happens when she gets there – one can see an artist with promise who can inspire many others.

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A lot of people assume modern music is about technology and there is no real soul about it. Many assume artists write very lazily or they put everything on their phone. The old image of musicians penning at a desk or swapping lines has died for the most part but that is not to say the modern creative process lacks process and romance. I have been reading about Naomi Banks and how she put together her E.P. She wrote the bulk of the E.P. on her house boat in Essex and that alone brings to mind something very romantic and touching. Rather than writing songs in a studio or exchanging ideas via email; there is this solemn yet imaginative vision of an artist alone with her thoughts and able to create these great songs backed by incredible views. I can imagine her on the boat and the quiet and stillness of the world passing her by. The fact the songs are so electric and memorable, in part, is because of that very different and scenic setting. I wonder whether there is a correlation between creative setting and the overall sound. Maybe it is not practical to have every artist write somewhere like a house boat or somewhere like that but I think getting away from laptops and rooms is advisable. Too many of us hunker somewhere a little closed-off and we are not embracing the creative promise of the world around us. A lot of what Naomi Banks has written about concerns events from the past few years and there is definite emotion in there. I feel, if she was writing in a house or somewhere a little lonely, then the music would be more tense and gloomy. The fact she has this sense of openness and freedom means the songs pop and have a definite sense of drive. I feel all musicians need to get out of routine and predictable spaces and open the creative mind. The house boat is a natural environment for Banks and it seems like her surroundings compel beautiful and evocative music.

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Not only has Naomi Banks recorded and written in some great spaces but she has worked with some fantastic musicians. Producer Dieter Gickel produced Deja Vu and Banks wrote and worked on the songs between her house boat and Essex. In her past, she has worked with Laura Mvula, ELO and Gareth Malone. I listen to the songs on her E.P. and can hear those eclectic artists in her own work. I know she has other influences but the fact she has had the chance to work with a variety of artists has made a positive impact on her sounds. I think, going forward, all of that past experience will drive her forward and get her looking at other artists. Her E.P. has a singular quality but I know Banks has a curiosity and determination and I would not be shocked to see her move on and collaborate with some big names. I will not labour the point too much but I love how she has worked alongside some big names and I wonder why she is not more popular. The fact she isn’t bigger is not her fault and it brings me back to the way music seems to favour male artists. Deja Vu will make an impact in regards her future success but the experience she already has should be acknowledged. I have talked about where she writes and creating something homely and unique. Pair this together with a rich experience of varied artists and some impressive experiences and you have this star-in-the-making. I know these are early day for Naomi Banks but I think many can take guidance from her. I still think too many artists have a very limited outlook or they write in a very stilted way. Every aspect of Naomi Banks’ music shines and bursts with adventure. Maybe it is because of how she writes and where she lives but I think her background and influences play a part. I have already covered a few Neo-Soul artists but, as Naomi Banks says herself, the music she creates is its own genre: ‘Neon Soul’.

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I have been listening to some good music this year but there are so many similar and tired sounds; they never really get into the head and it can be very dull. I have encountered a few other artists who will resonate and remain for years to come and they seem to be in a minority. I am not suggesting most of what is out there today lacks imagination and potential but too many musicians are doing what everyone else is doing. It seems like the songs on her current E.P. are inspired by someone close to her. I am not sure whether romance and passion are at the heart of what the songs say but maybe there is a more familial connection and something rooted closer to home. In any case, you have this artist who is making original and impressive music. I have tipped my hat in the direction of a potential headline spot and I know Banks could fulfil that potential. What strikes me is the way she can mix a powerful yet intimate voice with sounds that say so much. You have this rich and sumptuous bouquet that gets into the senses and lingers in the brain. Maybe it will be a lot longer before she can get headline slots but there is something about her music that differs from what is around and I know people will love to hear it on the bigger stages. I wonder whether the Deja Vu E.P. is about circumstances of love or whether there is something about family embedded in the roots. I have listened to all the tracks on the E.P. and get a real sense of the exhilarating and personal. It is a candid and extraordinary mix that a lot of artists cannot pull off. I think Naomi Banks can go a long way in the industry and she is already avoiding pitfalls others are not. She has forged her own sound and identity and one gets blasts of Neo-Soul and Jazz wrapped around something fresh and modern. Banks has taken a long time to make sure her material is as strong and potent as can be and, because of that, you have an E.P. that stands out from most of what has been produced this year.

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The opening moments of Enough get right into the heart and provoke all manner of images. There are casual and delayed beats together with an electronic fizz. It is a smooth and sumptuous blend that has a definite acidity and tang. One feels the soul of Neo-Soul and the layers of Jazz sensuality but you have a fresh and modern production style that updates those sounds and crosses barriers. Before a word is spoken, I was thinking about what the song is about and, before you get to the vocal, there is so much to digest. The sounds are never too busy or full-on and you can sink it all into the mind. It is a perfect fusion of the old and new. The heroine steps to the microphone and you get little elements of classic Neo-Soul artists like Erykah Badu. Not quite as intense as Badu; Banks has a smoothness and whisper that blends with caramel tones to investigate a strange affair. It seems like there has been cheating or something duplicitous taking place. I was wondering whether a man has cheated with another and the consequences of that. There is a girl at home, upstairs, and she has given enough. Perhaps there is this aspect of a relationship where a girl has been let down but I get an impression of a broken family and the younger child being let down and overlooked. Maybe I am looking at this from the wrong angle but there is tension in the air; a man who needs to watch his step and has been given a second chance. Banks is laying down the lay and telling it like it is – she does not want the same things to happen again. The composition has a nice sensuality and flow to it and, apart from a trope that gets into a lot of music – chipmunk-like vocals have been used for years and they always sound jarring and too grating – it is a satisfying and flavoursome blend.

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Banks is commanding and strong and is telling a story that makes you think and gets into the imagination. The more Enough goes on, the more I get behind it and start to imagine how it started life. The more things unwind, the more the truth comes to mind. The processed and high-pitched backing vocals do get in the way a bit and could have been substituted by something that conveys the same impact – it is not a big drawback and problem given the strength of the music. There is a heroine who has been overlooked and ignored; the man is not paying attention and, when she comes through, he is not doing his part. The song gets into a groove and you are carried away by the beats. Banks is a singer who can mix it up and change pace without losing her integrity and focus. Instead of anger and accusation, there is a sense of calm and patience and she just wants the right thing to be done. I wonder whether the song is taken from her own life and experiences or whether she has seen a friend being let down. I have heard the song a few times and, with every visit, there is something new that comes to mind. The man needs to watch what he says and she has given enough. It seems like a tense situation but Banks does not deal with clichés and ordinary terms. Her story is different and there is a lot more detail and life than you get from most songwriters. The chorus is the most satisfying part of the song as it has a more pleasing musical tones with few sharp edges but carries plenty of panache.

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One senses some soulful slink and funkiness but that does not get in the way of the song’s message. Banks is keen for the villain to hear her words and make sure he does not keep screwing up. Everyone will have a different take on Enough and what it is all about. It is a song that hits you first time around and makes its mark but new elements come to mind when you play it again. I have not heard too many songs like it this year and it definitely stands out. What is most astonishing is how natural and easy it sounds. Banks is an artist who can produce these deep and complex tales that have an easy-going vibe and do not weigh you down. So much of modern music is about stress and anxiety and you do not get this with her. Enough is a fantastic song that is part of a wonderful E.P. Ensure you listen to everything on there but, to me, nothing shouts quite as long as Enough. It is proof Naomi Banks is a great and unexpected talent who has a lot of ammunition and has a lot more to say. I expect her to explode and grow over the next year or so and there are many others who are excited about what she is producing. Ensure you follow her and keep an eye out regarding what she is doing. I cannot find much fault with Enough – aside from the vocal processing and effect that drains some of the naturalness – and it is a fantastic offering.

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I have talked a lot about Naomi Banks and what makes her special. There are plans afoot and she will be keeping busy but make sure you keep abreast of her social media pages and follow what she is doing right now. People are talking about her E.P. and paying tribute to her fantastic sounds. I have read reviews and people are wondering why she is not bigger. Banks has done everything she can and worked hard but I feel the industry needs to pay more attention and give her more credit. It might take a few years before she hits the bigger leagues but the progression is impressive. She has shown she is a talented and incredible songwriter and the songs throughout Deja Vu will stay in the head for a long time. I shall wrap things up pretty soon but I wanted to explore every aspect of Naomi Banks’ music and what she is all about. Here is an artist that has such a fantastic style and background and she brings all of this into the music. I am compelled to see what her E.P. documents and whether relationships are a big part of it. You can sense some personal loss and pains in some of the tracks but maybe I am being too literal. Most songwriters pen songs about life and love in a very ordinary way but Banks has a different take and provides something fresh. I started by mentioning genres like Neo-Soul and Jazz and how rare they are.

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Maybe artists like Jorja Smith are bringing it back but there are very few like her. Listen to what she is putting out into the world and it makes me wonder why people are not following suit. Rather than the rather empty and predictable Pop; one gets something a lot deeper and more mature. Perhaps that will put people off but, with Neo-Soul, you get something familiar that has a definite spark and nuance. I can argue all I want but the music is proof of everything I say. You only need to listen to the notes unfold and the words to connect and know here is an artist who can go a very long way. Let’s hope the industry provides her with the accommodation and platform to do her best work and allow her magic to spread. I am thrilled seeing what comes next and know she is a very special artist. I shall leave things here but (I would) advise people to check out Deja Vu. It is a fantastic work that gets right into the brain and will leave impressions long after you have listened. I wanted to focus on Enough because it made the biggest impact on me but Daydream, Anything; Smile and Hourglass are all terrific tracks. Check out Naomi Banks and, if you can, go and see her live. She is one of the strongest voices coming through right now and a great British talent. If you do not believe me then spin her music and let it...

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TAKE you away.   

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Follow Naomi Banks

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FEATURE: All We Want for Christmas: The Ten Best Christmas Tracks

FEATURE:

 

 

All We Want for Christmas

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PHOTO CREDIT: @anniespratt/Unsplash  

The Ten Best Christmas Tracks

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AS it is the first of December...

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PHOTO CREDIT: @brunus/Unsplash 

it seems only right to break the seal from the Christmas song ban and let a few of them through! I realise we will be subjected to several weeks of those old and familiar tracks; there are a selection of fresh and modern Christmas songs that are offering variety. It might take a few more years before they get into the heart the same way as the tested and cherished Christmas song and, whilst it can irritating walking into shops and hearing Christmas music endlessly, there is something warming and pleasant hearing these familiar tracks. A great Christmas track can evoke all the sides and familiar elements of the time and create something that sticks in the head and stands alongside any traditional track. There are plenty of bad and grating Christmas tracks but it is the classics we all love. Here, in my view, are the ten finest Christmas songs that I’m guessing you’ll be hearing...

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  PHOTO CREDIT: @jakobowens1/Unsplash

QUITE a lot in the next few weeks!

ALL SINGLE COVERS: Getty Images

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Mariah Carey – All I Want for Christmas Is You

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Release Date: 1st November, 1994

Label: Columbia

Songwriters: Mariah Carey/Walter Afansieff

Producers: Mariah Carey/Walter Afansieff

Original Highest Chart Position: 9 (U.S.)

Slade – Merry Christmas Everybody

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Release Date: 7th December, 1973

Label: Columbia

Songwriters: Noddy Holder/Jim Lea

Producer: Chris Chandler

Original Chart Position: 1 (U.K.)

Wham! – Last Christmas

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Release Date: 3rd December, 1984

Labels: Columbia/Epic

Songwriter: George Michael

Producer: George Michael

Original Chart Position: 2 (U.K.)

Bing Crosby - White Christmas

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Release Date: 30th July, 1942

Label: Decca

Songwriter: Irving Berlin

Original Chart Position: 1 (U.S.)

Wizzard – I Wish It Could Be Christmas Everyday

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Release Date: December 1973

Labels: Harvest/Warner Bros. Records

Songwriter: Roy Wood

Producer: Roy Wood

Original Chart Position: 4 (U.K.)

Brenda Lee – Rockin’ Around the Christmas Tree

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Release Date: 1958 (U.S.)/December 1962 (U.K.)

Label: Decca

Songwriter: Johnny Marks

Producer: Owen Bradley

Original Chart Position: 14 (U.S.)

Chris Rea – Driving Home for Christmas

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Release Date: 10th December, 1988

Label: Magnet

Songwriter: Chris Rea

Producers: Chris Rea/Stuart Eales

Original Chart Position: 53 (U.K.)

Paul McCartney – Wonderful Christmastime

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Release Date: 16th November, 1979

Labels: Parlophone/Columbia

Songwriter: Paul McCartney

Producer: Paul McCartney

Original Chart Position: 6 (U.K.)

The Pogues (ft. Kirsty MacColl) – Fairytale of New York

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Release Date: 23rd November, 1987

Label: Pogue Mahone

Songwriters: Jem Finer/Shane MacGowan

Producer: Steve Lillywhite

Original Chart Position: 2 (U.K.)

John & Yoko/The Plastic Ono Band (with The Harlem Community Choir) – Happy Xmas (War Is Over)

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Release Date: 1st December, 1971 (U.S.)/24th November, 1972 (U.K.)

Label: Apple

Songwriters: John Lennon/Yoko Ono

Producers: Phil Spector/John Lennon/Yoko Ono

Original Chart Position: 4 (U.K.)

FEATURE: The Best Glastonbury Headliner Ever?! Golden Years: Is David Bowie’s Legendary 2000 Set the Absolute Finest?  

FEATURE:

 

 

The Best Glastonbury Headliner Ever?!

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IN THIS IMAGE: David Bowie’s iconic Glastonbury 2000 headline performance is available for the very first time on C.D., DVD; streaming and on vinyl/IMAGE CREDIT: Getty Images/Parlophone 

Golden Years: Is David Bowie’s Legendary 2000 Set the Absolute Finest?  

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THAT question might provoke some...

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IMAGE CREDIT: Andrew Spear for WaxPoetics

backlash and fevered arguments – or nothing at all – but we all have our views regarding the best Glastonbury headliners! In terms of those festival headline sets, there are only two that I would love to have been at – turn the clock back and make sure I was there. When Nirvana played Reading in 1992…that would have been something epic and awesome. I would have killed to be there but, as I was nine at the time, maybe it wouldn’t have been the best idea! I was seventeen when David Bowie headlined Glastonbury in 2000 and, thinking about it; it seems like an opportunity missed. In 1999, Bowie brought us his Hours album and, to be fair, it was not one of his best. The 1990s was not a great period for Bowie in terms of standout albums and memorable tracks so it is forgivable to overlook his 2000 set. One might have thought he’d sprinkle some new material in with a few classics but what actually happened was something else! Up until now, we have only been able to see a portion of his famous headline set. Bowie only wanted a bit to go out on T.V. and, as other artists have demanded since; it was those in the audience that actually got to see everything. The paying punters at Glastonbury were seeing this mindblowing set and, as it was 2000, it was not streamed over the Internet!

This was whilst the Internet was around but it was pre-YouTube. All people, largely, had to go by was what was portrayed on T.V. and, because of that; there has been a huge clambering for the full set on some format or other. We have been quite lucky when it comes to pre-Christmas releases. Kate Bush has remastered and released her back catalogue and will bring us a lyrics book. There have been great music books elsewhere and there is plenty more to come. If you have already ordered socks and chocolates as last-minute – or rather inexpensive – Christmas ideas then you can hold the phone! Finally, for the first time, the full headline set is available across a couple of formats. Here are the details of the songs and magic that one can get their hands on:

 “Not only the greatest Glastonbury headline performance but the best headline slot at any festival ever” NME

All formats feature Life On Mars?, Changes, Let's Dance, Under Pressure, “Heroes”, Fame, China Girl, Ashes To Ashes, Ziggy Stardust, Rebel Rebel, Station To Station, Golden Years, Absolute Beginners and many more.

2nd October 2018 London: Parlophone Records in association with BBC Studios and Glastonbury Festivals Ltd. are proud to announce DAVID BOWIE ‘GLASTONBURY 2000’ on 2CD/DVD, 3LP, 2CD and standard and high resolution digital formats documenting Bowie’s legendary Sunday night headline performance on 25th June at the most famous festival on earth...

 

The package includes the full 21 song greatest hits set and for the first time, a DVD of the entire show (only 37 minutes of which has ever been broadcast on TV) including the Glastonbury performance of ‘Heroes’, a highlight of the record breaking ‘David Bowie Is…’ exhibition and the only track that has been previously released.

All formats feature David’s diary, originally written for Time Out, which documents him preparing for the show in his own inimitable manner:

“As of 1990 I got through the rest of the 20th century without having to do a big hits show. Yes, yes, I know I did four or five hits on the later shows but I held out pretty well I thought…big, well known songs will litter the field at Glastonbury this year. Well, with a couple of quirks of course”.

In addition to newly mastered audio and upgraded video DAVID BOWIE ‘GLASTONBURY 2000’ features new artwork from Jonathan Barnbrook (who worked with Bowie on the sleeves for Heathen, The Next Day & ★) and notes from the renowned author and Bowie fan Caitlin Moran who reviewed the show for The Times.

The package features photos of Bowie resplendently dressed in a 3/4 length one-of-a-kind Alexander McQueen frock coat, the pattern of which was made to echo the hat (the famous ‘bipperty-bopperty hat’ mentioned in the song Queen Bitch) and worn by David at his Glastonbury Fayre debut in 1971...

 

Glastonbury co-organiser Emily Eavis commented “I often get asked what the best set I've seen here at Glastonbury is, and Bowie's 2000 performance is always one which I think of first. It was spellbinding; he had an absolutely enormous crowd transfixed. I think Bowie had a very deep relationship with Worthy Farm and he told some wonderful stories about his first time at the Festival in 1971, when he stayed at the farmhouse and performed at 6am as the sun was rising. And he just played the perfect headline set. It really was a very special and emotional show”.

Emily’s father Michael, the founder of the festival who first met David at Glastonbury in 1971 said “He’s one of the three greatest of all-time: Frank Sinatra, Elvis Presley and David Bowie”.

We get to behold this great package where we get fan notes from Caitlin Moran and some beautiful artwork. When you have the time – and I suggest getting the vinyl version of Bowie’s 2000 masterpiece – you get to hear all his classics belted to an adoring audience. China Girl and Changes rubs shoulders with Ashes to Ashes and Little Wonder; Fame and Starman are in there too! In fact, it is a bonanza of Bowie classics and great interaction with the crowd. Bowie tells how it (2000) is the first time he has played Glastonbury since the 1970s and a true moment, at a rather interesting stage of his career, where he gets to play all the hits.

I have mentioned how 2000 was not his richest period and one would imagine, if he were still alive, he would be a sure-fire bet for next year’s Glastonbury. It is a tragedy we will not get to hear Bowie play songs from Blackstar (2016) alongside all those monster gems. The great man died in January of 2016 and, in a matter of weeks, we mark three years since his passing. It is with mixed emotions and a slight tear that one listens to Bowie having a ball; on the biggest musical stage and vibing from the incredible energy that evening. I would any forking over forty-four quid – as priced by Amazon.co.uk – is the bargain of the decade when it comes to a priceless bit of history. Years from now, you will be listening to the album and hearing this incredible, spine-tingling set! We all know how majestic David Bowie was as a performer and I am not surprised his 2000 headline set has made the history books. There is debate and conversation when one thinks about the ‘best’ Glastonbury headline set. To me, it comes down to Bowie’s 2000 set and Radiohead’s legendary 1997 appearance. Radiohead had released OK Computer and it was a pivotal time in their career. The sheer energy, mood and magic that was created is hard to top. I think Michael Eavis says it is his favourite-ever Glastonbury headliners and many fans agree.

This article collates the very best and puts David Bowie’s headline set at number-three:

“Here’s a great yarn, reported by Music Week: according to promoter John Giddins, who worked on David Bowie’s Glass Spider tour, Michael Eavis originally didn’t want the star to perform at Glastonbury, having described his recent drum 'n' bass tour as “the most boring thing he had ever seen”. In a cunning ruse, Gidding ‘leaked’ information to the press that Glastonbury was desperate to book Bowie and Eavis’s phone exploded with excitable phone calls. He swiftly did an about-turn and the resulting show – Bowie’s first at the festival since a low-key appearance in 1971 – was a greatest hits stomper that packed in the likes of Rebel Rebel, Starman, Changes and, of course, Heroes”.

This piece/publication included Bowie in their top-twenty and another, here,  gives another angle behind Bowie’s 2000 appearance:

“He did everything. From ‘Wild Is The Wind’ to ‘Changes’ to ‘Ashes To Ashes’ to ‘Rebel Rebel’ to ‘The Man Who Sold The World’, one by one they came – leisurely dispatched by a grinning 53-year-old man with a gorgeous blond mane and an only slightly ridiculous long coat, a nod to the outfit he wore on his previous performance at the bash in 1971. “I got struck down by laryngitis earlier this week,” he noted casually over a tinkling piano intro, “so if I give out, and if any of you know the words, then for gawd’s sake join in. I’m counting on you!”

Showmanship, songs, the element of surprise, the good-natured vibes… it’s hard to see what more one could ask from a headline set. Even as he closed with the comparative low of ‘I’m Afraid Of Americans’, the crowd went with him. They belonged to him. Glastonbury was his”.

Pulp owned the Pyramid Stage in 1995 and 1994 saw Oasis, Blur and Pulp take to the NME Stage. Look back at 1981 and New Order’s set and it is hard to match the spirited and epic tones that were produced. Ever since the 1970s, we have seen some biblical Glastonbury headliners and I guess Beyoncé’s headline slot in 2011 is the last really epic occasion – let’s hope she is invited back for next year! I doubt we will see the sort of histrionics and drama of previous years next year but you never can say. I feel the main battle of the headliners is between Radiohead in 1997 and David Bowie in 2000. It was a golden time and, if you were at either/both years, you will argue and have your own view. I attended neither (go figure) but I have heard and watched both Glastonbury sets. When it comes to Radiohead’s set; you have the charged and emotive performance that sees a band at the peak of their powers. It was a perfect moment for them to shine and, whilst big albums like Kid A (2000) would follow; the band had a huge following and the pressure was on them. At a moody and damp Glastonbury in 1997, they performed a truly sensational headline set.

If you think Radiohead were nerve-free for a relaxing and inspires set then, as the band has said, things were a little different. NME reported on their 1997 headline set – as they embarked on their second last year – and the band told the tale:

“Speaking to Jo Whiley on BBC Radio 2, O’Brien recalled: “It was like a form of hell. We were doing something that was like a dream, to play the Pyramid Stage on a Saturday night, it doesn’t get better than that. [But] to find yourself in a situation whereby it felt like we were in crisis mode – the equipment failure was happening, [we were] trying to keep all members onstage, people not walking off – it was like ‘this should be a heaven but was like a kind of hell’.”

O’Brien added that their experience may have helped “galvanise” the group. Listen to the clip here.

Frontman Thom Yorke recently discussed how he came close to walking off stage during the set. Yorke spoke about how he nearly abandoned the performance during the encore because “all the speakers have been blowing up and stuff.”

“At one point I just went over to Ed [O’Brien, guitarist]. I tapped him on the shoulder and said, ‘I’m off mate, see you later,'” said Yorke. “He turned around and went, ‘If you do, you’ll probably live the rest of your life regretting it’. I went, ‘Good point'”.

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IN THIS PHOTO: Radiohead in 1997/PHOTO CREDIT: Getty Images

However they were feeling whilst on stage; the results speak for themselves. Many (fairly) argue none come better than that 1997 set. I adore Radiohead but I think Bowie sneaks them. Think about the gap he left between Glastonbury appearances (nearly thirty years) and he was seamless and seemed to have no fear. The difference between the sweaty and charged Radiohead set and the old master seducing and enthralling the fans three years later is quite radical. I love how relaxed Bowie seems and how he chats with the huge crowd. Not only is the interplay and tone just so but you get decades of iconic hits. He has an embarrassment of riches to supply people with and nobody could have been disappointed. It was the perfect mix of the greatest hits and some newer material. The delivery and showmanship from Bowie is extraordinary and you only need to listen to the set – on the new release – to feel shivers and feel like you are there! It is a truly wondrous display of control, emotion and providing the absolute pinnacle headline experience. Maybe we will see a set that rivals Bowie’s 2000 one but I am not going to hold my breath! Eighteen years after he delivered this near-sermon of a performance; have we seen anything as epochal and truly unbeatable?!

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 IMAGE CREDIT: Getty Images

I admire anyone’s viewpoint and why they love a certain Glastonbury headliners - but can you get better than Bowie gracing a lucky selection with some of the finest tracks ever written?! Radiohead might have been riding a wave and coming through at a crucial moment but the sheer breadth and quality of the material Bowie spooned to the masses in 2000, to me, makes it the defining headline slot. It is heartbreaking listening and realising we will never again see a David Bowie performance. I have been following him for years and look back at his gigs in the 1970s and compare them to the changed and different-looking man in 2000! Whether he was Ziggy Stardust or Aladdin Sane; underneath everything, he was simple David Bowie (or David Robert Jones, to be precise!). I would have loved to have been there but having the chance to witness the full set in all its glory is a great thing. He has been gone almost three years but we are still being treated to rare material and ‘new’ offerings from David Bowie. His staggering Glastonbury set is out in the world and it makes for a perfect Christmas present. Not only that but we get to experience one of the/the best Glastonbury headline set of all-time, delivered by one of music’s true heroes. Make sure you grab a copy, block everything else away and, with a slight tear in the eye, witness a genius of music...

TRULY in his element.

FEATURE: Music Sounds Better with You: Ones to Watch 2019: Part III

FEATURE:

 

 

Music Sounds Better with You

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IN THIS PHOTO: Kara Marni

Ones to Watch 2019: Part III

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HERE is the third part of my...

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IN THIS PHOTO: Yizzy

rundown of artists to watch next year. I doubt I will be able to include all of the names that are worth keeping your eyes out for and there will be omissions but, as there are a few more editions to come; let’s hope I have not forgotten anyone big! I have loved seeing the artists coming through this year and how they will shape up next year. Have a listen and look at the names and there is variation to be found. I am excited to see what 2019 holds for all of these artists and whether they have any new material bubbling up. Have a listen to this fine selection because I am sure you will be hearing more from them...

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IN THIS PHOTO: The Regrettes

NEXT year.

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

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Maria Kelly

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Basement Revolver

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Yizzy

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ARK

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Æ MAK

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Matilda Eyre

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Annabel Allum

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Robinson

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Hands Off Gretel

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Starling

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Kara Marni

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Chlöe Howl

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Michael Jablonka

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Loski

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Elena Ramona

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James Holt

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Yxng Bane

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Tallies

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The Tuts

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Hatchie

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Wyvern Lingo

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VC Pines

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The Regrettes

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Just Like Fruit

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FiFi Rong

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Taylor Janzen

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INTERVIEW: Moderate Rebels

INTERVIEW:

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Moderate Rebels

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MY one and only interview of the day...

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is with Moderate Rebels who have been talking about their new track, The Value of Shares, and the album, Shared Values; the artists and sounds that inspire them and how the band found one another – they recommend some rising artists.

I ask what they have planned going forward and whether there are any gigs coming up; the advice they’d give to emerging acts and whether they get chance to chill away from music – the group select some great music to end the interview with.

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

Hello. We're well. We're doing a couple of gigs and the album is coming out - it's a good week. 

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

We’re a bunch of friends who get together (whoever is available at that moment - so the line-up can up to nine or ten people in different combinations) to make noise we like. We intend to think, or try, as little as possible about it so it feels very natural.

The Value of Shares is your new track. Can you explain the story behind it?

Like a lot of things so far, we just did it…then we tried to find out what it meant. That’s a fun exercise. We have theories but it’s much more fun to hear what anyone else thinks it’s about.

Shared Values is the album. Are there particular themes that inspired it?

We think we’re living in an era when lots of people feel they have lots of questions (perhaps  that’s every era?) and we seem to touch upon that. Doubt, uncertainty; vague language, conflicting information and opinions are all inspirations. 

Do you recall when Moderate Rebels got together? What is the secret of the band’s solidity and longevity?

We did one song and did one gig and then things took on a life of their own. By not being solid (flexible line up) and having no long-term plan, apart from making some music we like, perhaps that helps us work quickly and have fun with it. I’m sure it’s different for everyone.

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In terms of music; which artists are you drawn to?

You can imagine, across ten people who like music, that there is no easy answer to this question. We could give some names but they would be true for some people and not for others. It’s a big mix up and we don’t really worry about it.

As Christmas is coming; what one present would you each like if you could have anything? 

Surprises are always good, generally. We like people using their imagination.

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Do you already have plans for 2019?

Next Moderate Rebels album is well under way and it could well be a double-album. Ideas don’t seem to be a problem just now.

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

It’s always a good feeling when you hear a song you did on the radio next to people whose records you buy. Live shows have all been fun, too. The first gig, especially, when we played the only song we had at the time (God Sent Us) for twenty-eight minutes continuously could have gone really badly, but the crowd really went with it.  

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

Blood Orange has been pretty popular with some of us this year. Great, modern Soul record. Again, though, this is a big question for ten people and, honestly, we’ve never really talked about it. We just do stuff; we don’t really discuss the reasons why or the influences we have.

We’d spend most of our time talking if we did.

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

St. Vincent would be fun. We’d ask for a quick guitar lesson from her. She makes it look very easy.

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What advice would you give to new artists coming through?

Don’t take anyone’s advice about anything: make your own way and see how you feel about it.

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

5th Dec: Aces and Eights Saloon Bar, London 

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Are there any new artists you recommend we check out?

Gelatine (in Glasgow) we liked recently. Uncle Tesco are great as well.

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

If we are playing music, in the right way for us, then it should be relaxing to play (doesn’t have to be necessarily relaxing in sound). If we feel we need to unwind from playing music then something is going wrong somewhere.

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).

Gorgeous Bully - I’ll be True

Planningtorock - Beulah Loves Dancing

Death in Vegas – Dirge

Little Simz - Boss

Uncle Tesco - Meal Deal

Spacemen 3 - Dreamweapon

Sophie Hunger - I Opened a Bar

Crass - Merry Crassmas

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Follow Moderate Rebels

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FEATURE: The December Playlist: Vol. 1: With Power Comes Great Responsibility

FEATURE:

 

The December Playlist

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IN THIS PHOTO: Grimes/PHOTO CREDIT: Eli Russell Linnetz  

Vol. 1: With Power Comes Great Responsibility

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IT is great to kick off a new month…

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IN THIS PHOTO: Kelly Rowland/PHOTO CREDIT: Jeffrey Mayer/Getty Images

with a track from Grimes. I was not sure whether she’d be releasing material this year and she has left it right until the death. Alongside her are offerings from The 1975, Ex:Re (Elena Torna); Arctic Monkeys, Jade Bird and Kelly Rowland. It is a great week for music and, alongside some Christmas tracks (including one from Phoebe Bridgers); there are plenty of conventional sounds to keep people happy. Have a listen through this crop of songs and I know there will be something in there that turns the head and gets inside the heart. If you thought artists were cooling it before 2019 and not willing to put out new material then you’d be wrong! This eclectic selection of tracks shows that there is plenty of brilliance…

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IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Zackery Michael

TO go around.

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

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 PHOTO CREDIT: Ben Grieme for FADER

Grimes (ft. HANA) – We Appreciate Power

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IMAGE CREDIT: Marika Kochiashvili

Ex:Re – Romance

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IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Zackery Michael

Arctic Monkeys – Anyways

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Iceage – Broken Hours

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PHOTO CREDIT: Gabriel Green

Julia Holter – Whether

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Kelly Rowland – Kelly

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PHOTO CREDIT: Ines Ziouane

Black Honey – Crowded City

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PHOTO CREDIT: Ryan Pfluger

Sharon Van Etten – Jupiter 4

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Jade Bird – Love Has All Been Done Before

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Chris Sails – Love Language

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PHOTO CREDIT: Brick Howze

Alessia Cara – Not Today

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Circa Waves – Movies

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Emily Burns – Damn Good Liar

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Four of Diamonds – Blind

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graves (ft. EZI) – I’m Fine

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Alec Benjamin – Boy in the Bubble

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ISLAND - Just That Time of Night

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Nicki Minaj (ft. Lil Wayne) – Good Form

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Nina Nesbitt – Colder

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Saweetie - Pissed

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Tom Speight – Strangers Now

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Wavves – So Glad It’s Christmas

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The 1975 – Inside Your Mind

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Clean Bandit (ft. ALMA) – In Us I Believe

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Jeff Tweedy – Some Birds

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Alice Merton – Funny Business

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Mark Ronson (ft. Miley Cyrus) – Nothing Breaks Like a Heart

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Shame – Dust on Trial

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PHOTO CREDIT: HipHopDX/Mike Lavin (@thehomelesspimp)

Chance the Rapper (ft. Joey Purp) – My Own Thing

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Sasha Sloan – Again

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Phoebe Bridgers – Christmas Song

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PHOTO CREDIT: Zain Ayub

Kwame – CLOUDS.

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Tessa Violet – Bad Ideas

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Lucy Grimble – Keeper

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Men I Trust – Say, Can You Hear

TRACK REVIEW: Cocoa Futures - Recovery

TRACK REVIEW:

 

Cocoa Futures

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Recovery

 

9.4/10

 

The track, Recovery, is available via:

https://soundcloud.com/cocoafutures/recovery

GENRE:

Pop

ORIGIN:

London, U.K.

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The E.P., Recovery, is available via:

https://open.spotify.com/album/4XOmhqv3uOD65cLc7jrN2b?si=BMZ98YsuTX2cTFP4zgaxDw

RELEASE DATE:

23rd November, 2018

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WHEN thinking about Cocoa Futures...

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I get to turn my mind to a few different things. I will look at his track, Recovery, and the E.P. of the same name but I want to investigate this year’s offerings and whether mainstream acts/albums have taken too much attention away from the newcomers; songs that have a sense of humour and a big of swagger to them; how artists develop and ways to keep fresh in the industry; looking ahead to 2019 and the sounds that could take acclaim; a bit about influences and artists who we need to hear more of – I will end by speaking about Cocoa Futures’ future and what we might see going forward. I will start out by talking about albums this year and whether rising artists have been given enough acclaim. It might sound like an odd place to start but I have just read the reviews for the album, A Brief Inquiry into Online Relationships, and what people are saying. Many are comparing it to Radiohead’s 1997 work, OK Computer, and I wonder whether that is an unrealistic comparison. I guess there are similarities in regards the sort of themes that are explored and the fact that, on one song, there is an equivalent to Fitter Happier – instead of a computerised voice; The 1975 use a more modern computerised voice that will be familiar to us all. I have listening to the record and there are some great songs; a terrific spread of sounds and barely a wasted note. It is a terrific achievement, no doubt, but many are calling it a generation-defining album and one that will stand the test of time. I know it would be ignorant to say no album from today could ever match the classics but I am not affected by The 1975’s latest the same way as I am by Radiohead’s masterpiece. Maybe time will change that but I think some critics get carried away and we need to calm a bit.

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I think a lot of albums this year have got the right amount of praise and one cannot fault the likes of IDLES and Christine and the Queens when it comes to those big marks. I think there have been so many interesting offerings from the underground, in terms of E.P.s and albums, that are not been given the same leverage. It is great bands like The 1975 are being given props but I think many critics ignore the strength of artists emerging and the fact, in many cases, they are producing material that is more daring and engaging. That might sound like a bold claim but I am hearing so many great works and artists that will take years to get big acclaim. Do we often put too much focus on the hyped bands/albums and ignore what is being made by the newcomers – through a sense of ignorance or assumption they cannot scale the same heights?! I do not know but I think there is a case of some artists being overrated and too much spotlight coming their way. This means, a lot of the time, we are not really looking at artists who warrant more praise. There are a tonne of artists who are worthy of a bigger hand but Cocoa Futures is someone I have been following for a while. It would be rash to say that the band are worthy of as much speculation and scrutiny as The 1975 but I feel there is this division between the mainstream and the underground. Do we instantly feel, unless an artist is visible at the forefront, they cannot produce something that sticks in the mind? Even though I am changing things around next year and focusing on bigger artists for my site – not mainstream as such but those a lot closer than artists I am featuring now – I still think more time needs to be dedicated to reviewing and spotlighting those who are a bit further down the rung. I do wonder whether albums as lauded and pressured as A Brief Inquiry into Online Relationships will stand the test of time – I feel we will not be talking about the record in twenty-one years’ time the same way we do as Radiohead’s OK Computer. That might sound like an excuse to put the boot into The 1975 a bit but I do wonder whether we are too obsessed and beholden to the so-called big guns and ignore the next generation of artists who are making genuinely big steps.

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I do not have the time of the finger strength to review every song on Cocoa Futures’ E.P., Recovery, but I did want to feature the eponymous cut. One of the reasons I have selected it is because of the sense of humour and fun. One of my biggest gripes about modern music is the fact the fun has evaporated. I have written about this area recently but I do look around and, when it comes to the best and best-reviewed albums, one thing is common: they seriously lack fun and a sense of uplift! Look at the hottest records this year and, whilst there is a a bit of flair here and there, most are very serious and do not have the same bounce and infectiousness as music past. As I type this, I am listening to Madonna from back in 1985. It is amazing how far music has come in an ironic sense. The mainstream Pop market could never challenge those heady days when we had icons and anthems that stick in the mind. Fun and memorability has been replaced by something quite plastic and samey. Look at most popular music and anxiety has replaced any sort of positive spirit. There are many new artists who are capable of bringing back a sense of smile but their numbers are starting to shrink. It is worrying that the likes of Cocoa Futures is in a minority. I say his music is humorous but there is a serious message that underlines songs like Recovery. It is about drink and the perils of excess but there is a lighter side to it. He can put together an E.P. that deals with both sides of alcoholic excess. That might sound like a pretty weighty subject to explore through music and many might say there is no difference to what we are hearing now – too many artists forgetting how to bring light into music and being far too serious. In the case of Cocoa Futures, you get a nice blend of the concerned and ribald.

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 PHOTO CREDIT: Sara Amroussi-Gilisse

I listen to a track like Recovery and, although the title has been done a million times – including Eminem – there is something distinct about it. You get something a little muscular and seductive; there is a blend of emotions but, as much as anything, you are involved in the song and come away feeling better. It is always hard when you write about something like alcohol. Greg Sanderson (the lead of Cocoa Futures) knows that alcohol is a messy and complicated thing that can produce some wonderful times but it can also lead you down a dark road. He has felt the sting of a hangover and all the regrets that carries but has witnessed genuine freedom, a lack of inhibitions and something pure. I look out at music now and, for the most part, artists are not really being that inventive and letting something funny into the mix. Maybe I am a bit rash when it comes to the fun-killing vibes and accusations but compare the mainstream/underground of today with the music of the 1980s and 1990s and you have to wonder what happened to us. Have we all become paralysed by stress and fear that music has to be this monument to gloom and our own personal concerns?! In order for sounds of today to resonate and remain through the years, there needs to be something that catches you and, yes, makes you feel better. The reason we remember and gravitate towards older music, by and large, is the way it makes us feel and the fact it can make us feel better. I sound like an old man ranting against modern music and how, in my day, it was much better (it’s true but enough of that!). I am glad an act like Cocoa Futures can take a seemingly complex subject like alcohol ‘enjoyment’ and cut away most of the expected gloom. It is a song that will get into the mind and, as I shall investigate later, one that is a lot brighter than most of the stuff out there right now.

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PHOTO CREDIT: Rou Gilissen

I have heard previous Cocoa Futures singles like Sink in the Water and Circus and those tracks are great. It would be easy for a repeat or something that walks along the same lines but that is not what you get with Cocoa Futures. In every movement, there is this development and sense of the fresh. I have heard too many acts stay on the same path and they never feel the need to break into new ground. It is nice hearing artists that can keep moving and do not have that stale quality. In terms of songwriting, it can be hard distancing from the personal and relationship-based. I think that is one reason why modern music has that appearance of gloom and doom. You have too many that are speaking about their torment or looking out at the modern world and saying it like it is – which is needed and honest but is awfully depressing! In many ways, an E.P./song like Recovery is the antidote to that malaise. Booze is what we head to when we want to forget the stress; it is what we bond over and it is that social lubricant. It can elevate the darkest days to something manageable and, if we are too full-on and lack wisdom; it can be that regret we wake up to! It is part of modern fabric and something we can all identify with. I have not heard anything like this from Cocoa Futures and it proves there is that need to keep the topic areas fresh and not get bogged down like so many. It makes me wonder what might come next year and the sort of things that will be covered. I urge people to investigate the E.P., Recovery, because there is a lot of wonder to behold. Previous singles like Sink in the Water and Circus are in there and they nestle with lesser-heard offerings. I will move onto a new area but, before I do, I wonder why more artists do not follow the lead of Cocoa Futures.

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 PHOTO CREDIT: Sara Amroussi-Gilisse

There are a few areas for improvement in the camp. One of my biggest groans and sources of annoyance comes with photos. There are some fine snaps in this review but I have had to mix older shots with the new ones. So many artists limit themselves to specific photos and do a few for each new campaign. That is okay if you want to write a few lines about a song/E.P. but, if you want to go deeper, your options are limited. There is a lot of potential, photographically, for Cocoa Futures and it would be good to see some more shots for 2019 – a couple of new shoots that are done not for a campaign or release but are a nice visual accompaniment to the music. That might be my problem but, as there is such a great force from the audio side of things, matching that with more photos would attract new listeners and journalists. I have wandered from my point regarding development and evolution and I think it is great there is freshness about Cocoa Futures. I am pumped to see what arrives next year and I think more musicians should think about broadening their scope and not writing about the same things. The listener might be able to relate to what is being said but, once you have heard it a few times, do you want to keep hearing it?! I feel there is that stubbornness to try something new and widen the horizon. It is important to have a look into next year and think about the sort of sounds the mainstream might demand. I will come back to sounds and developments when I review Recovery but I am interested looking into next year and what we might all witness. This is the time of year that many journalists, myself included, predict who will make a big break in 2019 and what sort of sounds will define the year.

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I think it is going to be a little while longer before Cocoa Futures courts the same sort of press as the biggest acts of today but I think they have taken big steps. Look at what is being put out and the sounds hit you instantly. I think this year has been defined by more openness in the mainstream and variation. Grime and other genres have played a bigger role and the Pop ‘elite’ are broader and more mature than years past. I still think there has been too much personal revelations and not enough fun. Maybe that is a sign of our times and we have come too far – will we ever see a return to those glory days?! What I have noticed is the relevance of lyrics and a general move away from cliché themes. Maybe this does not apply to most Pop but look at this year’s biggest records and they have talked about areas like online relationships, sexual inequality and gender; toxic masculinity and the state of the nation. That might sound a bit heavy and serious but most have managed to sprinkle something accessible and light among those tough subjects. I think we will continue to look for artists that can assess what is happening and the things we are concerned with but bring different genres into the pot. I think we will see Grime make a bigger stride towards the centre but I feel Dance and sounds inspired by the 1990s will come back in a bolder way. This is not to say we will see a return to that decade – the modern crop is not nearly strong enough – but there will be a slight break from the gloom and a bit more colour coming through. This is my prediction and I hope I am not proven wrong! I have spoken about Cocoa Futures and how the song I am going to review imbues some fun. At its heart, mind, Recovery weighs up the consequences of drinking and asks how we can look forward and rebuild if we are always recovering. Maybe that is a metaphor for politics and the state of the country but there is a personal aspect – a need for more calm and control. There is lightness in the song but, again, it follows alongside the biggest artists who are taking a serious approach. I do respect that stance but I hope, sincerely, people are able to lighten up and bring genuine joy back into music!

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You want to talk about joy in music – it is almost extinct these days! – and you look back at those great icons. David Bowie is in my mind because his legendary Glastonbury performance from 2000 will be shown very soon. Until now, we have only seen a fraction of what went down but now, very soon, the full thing will come out. It is amazing to think he has been gone almost three years and there is that definite vacuum. I mention Bowie because I know Cocoa Futures source guidance from the legends like David Bowie and Roxy Music. You get – with Cocoa Futures – a swagger and that 1970s sound; a blend of the strict and fun and something that takes its sonic cues from that golden time. What one experiences – with Sanderson as the lead and guide – is a trance and beguiling mixture. You are captured in this world like a butterfly in a jar. The material – recorded in Manchester’s Low Four Studios – tends to take my mind back to the Low-era David Bowie and what he was throwing out. Cocoa Futures will be the first to say their Speed of Life and Sound and Vision (from Low) are years away but you can detect a flavour of the album! This might seem like a bold claim but Cocoa Futures’ sound brings in bits of David Bowie and Roxy; there is a sprinkle of St. Vincent and modern innovators. The reason why the E.P., Recovery, strikes a chord is because you get whimsy and something light alongside a more serious side. The lyrics are broad and the music has such depth and detail. So many artists get stuck in one gear and they do not often expend too much effort when it comes to the sonics. Pure and rounded musicians can tackle every angle and make sure their music is as thorough, impressive and impactful as it can be.

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Perhaps it would be rash to insinuate and suggest Cocoa Futures have Bowie in the blood but you know what I mean when it comes to endeavour. They are mixing in funky sides and catchy kicks with some electronics and darker tones. It is an appealing and arresting brew that will get under the skin and stays in the mind. I think that issue of memorability is a big problem. It might be to do with the sheer volume of music or the way we digest it but how many artists and moments from today will we recall and mention alongside the classic albums? I think many of us, in decades to come, will still talk about classics albums and very few modern offerings will be mentioned. That might sound cruel but there are aspects from older music that are not being taken to heart. We do not necessarily laud the big albums from decades ago because they hold fond memories: to many, there is that thrill, depth and positivity you do not get from modern music. Even if the music is more emotive and unhappy; something about it hits us and stays in the soul. 2019 will be a big year and I feel artists will start to change things up. Whether we get those generations-lasting records I am not sure but I think there will be some fine moments. Cocoa Futures will be among the best of the rising pack and I think many can learn a lesson from the London-based outfit. I love the way the music and lyrics have such variation and there is that desire to come back and get that satisfying hit. Let me move on and look at Recovery’s title-track as I have been keen to get to grips and learn a bit more about it. It is my favourite offering from the E.P. and a song that, as you’d expect, seems to define what Cocoa Futures are trying to say.

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One might think something rambunctious and stirring would open Recovery – given that it is about excess and the consequences of it. I was buckling myself for something a bit spiky and intense but, instead, you get electronic noodling and something a bit cosmic. I have already mentioned Low-era David Bowie and that is not far off of the mark. It is a spacey and head-spinning introduction that opens the mind and you wonder where the song is heading. Although the composition bubbles and has a colourful flow; the lyrics have an air of the oblique. I know alcohol and addiction are part of the song and the hero is looking at its two sides. We hear about tears in the sea and a distance between his door and hers. Maybe there is a relationship that is being squandered because of drinking or it might be the case life in general is a bit blurred and murky. The delivery from Sanderson has a lightness and flexibility that reminds me of David Byrne (Talking Heads) and David Bowie. There is a bit of Bryan Ferry (Roxy Music) and other artists and I like the way he makes his voice skip and strut without compromising the seriousness of what is being sung. The backdrop burbles and pops as the hero talks about being further away from the good times. One feels the need for recovery and things have taken a rather bleak turn. You know there have been mistakes made but you never feel like the song is too dour and black. Every second seems to skip and dance and you have that great blend of the uplifted and grounded. The chorus has a nice rush to it that reminds me of Pop of the old – not as intoxicating and strong – and you get something instantly memorable. I detected elements of Field Music, too – sorry to keep comparing! – and there is a nice mixture of elements. The next stage of the song looks at Friday drinking and the need to blow off steam.

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We have talked about relationships and darker sides of drinking and now a more common and lighter side emerges. The hero is drinking with those close to him – whether that means friends or people physically closer to him – and there is a cycle of discovery and recovery. That is almost like a mantra. As soon as we drink and find out new things (or let ourselves go) then we are thinking about recovery and rebuilding. I am not sure whether the song is inspired by real-life excess and making mistakes but many will be able to relate that what is being said. Rather than make the song too pained and po-faced; there is that endless sense of energy and momentum from the vocals and composition. I think the chorus is the most memorable aspect of the song and it definitely burrows in the head. It is short and sharp and has a distinct punch. By the time you get to the end of Recovery, one wonders whether there is a lot of personal background in there. I know many will be able to engage with something that affects many and think more deeply about the way they use alcohol and what it is doing to them. I have mentioned artists like David Bowie and possible inspirations but one experiences something modern and original with the song. It has a great mix of the classic and now and that will allow it to stay in the heart for longer than most songs. It is a fresh and bright offering that perfectly defines and explains the Recovery E.P. The production is polished and slick but does not drain the emotion and physicality from the song. Every aspect has been considered and, as such, one gets a heady and nuanced song. I hope there will be more material from Cocoa Futures in 2019 because there is a definite hot streak emerging in the ranks.

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It is almost the end of the year now so we will not see too much more from Cocoa Futures. There is that need for promotion and exposure but that is going to take the form of social media posts and some low-level bits. I think next year will be a big one and it will see some great gigs for Cocoa Futures. I feel 2019 is when we will see Recovery brought to a bigger stage and more material come. I am not sure what is planned but I know there will be fresh inspiration. I have loved featuring Cocoa Futures and it is a nice way to start the weekend. In as much as anything, I have been able to make predictions about next year and highlight a great act. It is wonderful hearing all the diversity and surprise you get from underground music.  I am not sure what we will get in 2019 with great confidence but I know critics needs to start focusing more on the newer artists. Perhaps they are right regarding the stature and longevity of The 1975’s latest album but there is this rather worrying thing where certain albums are given these unrealistic tags and proclamations. Look at what is coming from the underground and there are artists there who have a hell of a lot to say. I do wonder how easy it is for the rising acts to get a shout and whether they will have to campaign for many years so they can get the same sort of attention as the biggest artists around. Anyway. It is an exciting time for   Cocoa Futures and make sure you listen to Recovery and set some time aside! It is a brilliant chapter from someone I have been following for a long time now. Get involved with everything coming out of their camp and, in a short time, I think we will see a lot of love and big acclaim come the way of Cocoa Futures. If you have not heard Recovery then you are missing out on...

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 PHOTO CREDIT: Sara Amroussi-Gilisse

SOMETHING wonderful.   

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Follow Cocoa Futures

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FEATURE: Music Sounds Better with You: Ones to Watch 2019: Part II

FEATURE:

 

 

Music Sounds Better with You

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IN THIS PHOTO: Jason of allusinlove 

Ones to Watch 2019: Part II

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HERE is the second part of my...

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IN THIS PHOTO: IDER/PHOTO CREDIT: Lottie Turner

rundown of artists to watch next year. I doubt I will be able to include all of the names that are worth keeping your eyes out for and there will be omissions but, as there are a few more editions to come; let’s hope I have not forgotten anyone big! I have loved seeing the artists coming through this year and how they will shape up next year. Have a listen and look at the names and there is variation to be found. I am excited to see what 2019 holds for all of these artists and whether they have any new material bubbling up. Have a listen to this fine selection because I am sure you will be hearing more from them...

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IN THIS PHOTO: Becky of MAYPINE

NEXT year.

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

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allusinlove

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Chess Galea

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L.A.D

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MAYPINE

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BLACK HONEY

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Matt Perriment

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Megan O’Neill

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CAEZAR

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Robyn Cage

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Saachi

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Austel

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H A VV K

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Beauty Sleep

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Only Girl

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Dermot Kennedy

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BOUTS

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Ricky Rebel

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Bishop Briggs

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talker

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Sharkmuffin

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GAZELLE

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Cocoa Futures

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Kris Angelis

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Neon Waltz

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Francine Belle

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IDER

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

FEATURE:

 

 

Sisters in Arms

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IN THIS PHOTO: Stealing Sheep 

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

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NOW that November…

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 IN THIS PHOTO: Ex:Re (Elena Tonra)

is nearly over and we are looking ahead to December; I should switch to a winter playlist but, given the warmer weather, am sticking with an autumnal feel! I have been looking at some cracking new tracks from the best rising and established female artists in music. I feel music made by women is often overlooked or assumed to be rather inferior. That is, obviously, not the case and, as shown here, wonderful variation and huge strength can be found. Have a listen to this collection of songs that seem to sum up the contrasts and colours of autumn. We have the brightness and bolder moments married with the more sensual, cool and contemplative ones. It is yet another bumper-load of female-led music that ends November...

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IN THIS PHOTO: Kelly Rowland

WITH a huge smile and bang.  

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

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Vera Hotsauce – bullet

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Ex:Re – Romance

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Stealing Sheep – Joking Me

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Carson McHone – Sad

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Dominique – Payup

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Dara – Don’t Wanna Cry

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PHOTO CREDIT: @shervinfoto

Alice Merton – Funny Business

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Ivy Adara – Callgirl

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Gabrielle Aplin – My Mistake

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Kelly Rowland – Kelly

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Kat Saul - Nick Miller

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Tessa Violet – Bad Ideas

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Kristen Arian - Tipsy

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Sophia Scott – She Ain’t Me

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Lily Mckenzie (ft. Team Salut) - Surrender

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Charlotte OC – Satellite

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Rachel Foxx – Give to Receive

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PHOTO CREDIT: Wendy Lynch/Magnum PR

Ladytron – Far from Home

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Emily Burns – Damn Good Liar

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Erthlings – Cuts & Bruises

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Four of Diamonds – Blind

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Jackie Tech - Temple

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Laura Tesoro - Mutual

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Rose Elinor Dougall – Make it with You

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Malory – Last to Die

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Fiona Bevan – Goddess

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Hinds – British Mind

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303 – Whisper

INTERVIEW: River Meets Sea

INTERVIEW:

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River Meets Sea

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IT has been great...

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talking with River Meets Sea about their debut track, Won’t You Stay, and how it came together. I was curious to know if there is more material coming next year and what they have coming up – they recommend some rising artists that we need to have a listen to.

I ask what their favourite memories are and whether they get time to chill away from music; what one Christmas present they would each like and the albums that are important to them – they select a great song to end things on.

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

It’s been a great week, thanks! We’ve just released our debut single and video, Won’t You Stay, which we are really excited about! We have put a lot of work into it and it feels great to finally show what we have been up to.

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

We are River Meets Sea; a four-piece ambient Indie-Rock band. Joe Osborne is the lead singer and guitarist. Liam Lovegrove also plays the guitar, giving the tracks their atmospheric feel, as well as contributing to backing vocals with Luke Remon, who is the group’s bassist. Jamie Howard is on the drums laying down the beats. All four of us come from different parts of the country with different musical backgrounds, which we like to try and incorporate into the music we do.

Won’t You Stay is your new track. Is there a story behind it?

The song is about living in London and how lonely it can be. It’s about how cold the city can feel but also how freeing too and the tension between those two aspects. It’s about trying to decide whether to leave a situation or to stay put.

Might we see more material next year?

Of course! We already have another couple of tracks lined up ready to be released early next year. We are in the planning stages of a creating music video for our next single, which we hope to release around February/March.

How did River Meets Sea get together? Were you bonded by similar tastes in music?

Joe, Jamie, and Luke all met at university. We met at uni all playing in different-styled bands or solo work. Except Liam…he came out of nowhere. The styles of music we all played differed from each other, but it was the love of music itself that brought us together.  

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If you were to select influences; which artists would be in the list?

It would be such a big list of influences we all have, ranging from Folk, Hip-Hop; Punk Rock, Indie and Soul. Musically, you can hear a lot of Ben Howard, Tycho; Hammock, This Will Destroy You and Bob Dylan influences in our music.

As Christmas is coming; what one present would you each like if you could have anything?

Joe: Good Question. I’d like a house.

Jamie: I’d never say no to some new speakers. I want to feel that heavy bass.

Luke: I need to get some tattoos covered up. Tattoo fixers, where you at?

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Do you already have plans for 2019?

As well as releasing a new single in early-2019, we will be doing shows throughout the year around the U.K. and, hopefully, Europe too. We have also started writing some new material that we are all feeling really strong about. We will be going into the studio to record it.

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

Joe: Seeing Dylan in 2011.

Jamie: Watching A Tribe Called Quest’s final show was pretty special. Also, performing live on national German T.V. was a pretty crazy experience!

Luke: The first time I saw the Pixies, they ended with Into the White and they filled the venue with white smoke!

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

At this moment, the only date we have confirmed is Saturday, 1st December at the Tooting Tram & Social. We are playing a headline show to celebrate the release of our new single Won’t You Stay. We will be announcing more shows in the New Year.

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

Joe: I Forget Where We Were - Ben Howard. It's probably as close to a perfect album as I can think of. Listening to it is therapeutic, uplifting; devastating, never-boring and always thought-provoking, all at the same time. Musically, it's a masterpiece.

Luke: I can think of two; the first one being (A Tribe Called Quest) The Low End Theory. I didn’t really listen to much Hip-Hop before this, but Jamie put it on in his car once and it completely opened my eyes up to the genre.

The other one would by ...And Out Come the Wolves by Rancid. It was the first album I became obsessed with and got me into loads of good Punk-Rock.

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

It’s a different genre, but supporting Anderson .Paak seems like it would be a riot.

Our rider would have loads of cheese, grapes; hummus and Tzatziki. Probably, a few bottles of expensive wine from the South of France. We want our backstage feeling like we’re in Monaco.

What advice would you give to new artists coming through?

Keep it consistent and don't give up. Make sure you have the basics covered and do as much as you can yourself. The music industry is setting itself up with a more D.I.Y. mentality.

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 IN THIS PHOTO: The Beths/PHOTO CREDIT: Mason Fairey

Are there any new artists you recommend we check out?

There are loads of great artists out there! The Beths, Sam Fender; Ivy Sole, Gus Dapperton; Cedric Burnside and Thelma Ball just to name a few.

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 IN THIS PHOTO: Ivy Sole

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

Joe: Going to the gym and escaping to quiet places in the countryside.

Luke: Going on Bumble.

Jamie: Skateboarding when the weather’s warm and going on Luke’s Bumble.

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

I Have Lost My Pearls by Gus Dapperton

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Follow River Meets Sea

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INTERVIEW: Jay Putty

INTERVIEW:

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Jay Putty

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I have started today by speaking...

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with Jay Putty about his new single, Trouble, and what its story is. He talks to me about his musical influences and a few albums that are particularly special; what he has coming up next year and whether there are any rising artists we need to have a look out for.

Putty provides advice to new artists and tells me how he spends time away from music; what the music scene is like in Nashville and what sort of music he grew up around – he ends the interview by selecting a cool track.

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

I’m fantastic! Just starting the day with my coffee and dogs.

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

My name is Jay Putty. A dog-rescuing, coffee-loving; Acoustic-Pop artist from Nashville, Tennessee.

Trouble is your new single. Can you explain the story behind the track?

So. That song came to be writing with some writers here in town that I’ve written quite a few songs with not just for me...and I wanted to write a song that summed up how I feel about my wife, whom I just recently married. I really just wanted write something about how, even if it’s hard work, finding that one you want to be with is worth all of it.

You have already achieved a couple of top-ten releases. How important is that sort of success and recognition?

It’s weird because it’s important in the sense that it helps legitimize yourself as an artist but with or without that validation the song would still be the same. It’s humbling to be able to achieve at all but it’s just the power of the support I’ve received from people which is flooring.

Did you grow up around a lot of music? Which artists did you follow at a young age?

I grew up fairly sheltered with Journey, the Eagles and contemporary worship music, but it wasn’t until I heard John Mayer on the radio that I was like: ‘Whoa, what is this and how can I do it too?!’. Which led to Metal, Pop-Punk and other bands; finding myself as a solo artist four years ago doing Pop and eventually coming back to what inspired me in the first place.

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Being based in Nashville; how important are the city and its musical heritage regarding your ambitions?

That’s another, almost-loaded, question because Nashville is known as the home of Country music, which I can’t deny parts come out in the songwriting but I myself don’t fit into that category of music or the circle. The Pop scene here is great and growing but I’m also too ‘Country’-sounding to fit in there.

So, it’s a great musical city that challenges me and surrounds me with incredible people but also is somewhere I don’t feel like I have a home yet, musically, which that musical discomfort I think really helps sharpen my sound.

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

Trouble is marking the last release of the year for me and, honestly, I’ve almost tripled what I had done a year ago this year. So I think, by the end of this year, I wanted to watch this song grow into itself while taking December off to enjoy the holidays. I can worry about next year, next year.

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Do you already have plans for 2019?

There’s stuff on the table like a European tour hitting the U.K., Ireland; France and more that we are finalizing - as well as two singles with an album. I’m finally glad that we are finalizing tour dates and hitting the road mostly.  

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

Man. I remember the first time I heard my song on the radio on Kiss FM. I was taken completely aback and thought to myself if this reaches one person and hits them the way it is me I could die a happy man.

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

John Mayer - A Room for Squares. The first time hearing Why Georgia absolutely changed my life.

The Greatest Showman Soundtrack. My wife walked down the aisle to Rewrite the Stars. I can’t listen to it without crying now.

Ed Sheeran - +. That album sparked something in me when I was writing all this other kind of music. It called to the soul of the artist I could be instead of who I was trying to be.

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

That is so difficult to choose who I would but, if I had to, it would be John Mayer. My rider would be super-simple. Food for my kickass band that plays with me - because they make me sound good - and a place to decompress after playing

What advice would you give to new artists coming through?

Write every chance you get, even if it sucks. You have to write the bad songs to get to the good ones. You have to write the good ones to get to the great ones.

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

No tour dates right now but, come 2019; I’m hitting the road hard.

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 IN THIS PHOTO: Jonny Zywiecel

Are there any new artists you recommend we check out?

Jonny Zywiecel, Khalil Poore; Khiana Meyer and Pagentri. They are absolutely incredible.

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 IN THIS PHOTO: Pagentri

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

I try to get time away, but my wife calls me a workaholic because I don’t know how to disconnect. But, when I do, I love to cook and go to the movies.

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).

Check out Jonny Z - Hard to Breathe

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Follow Jay Putty

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FEATURE: Rhymin & Stealin: New York’s Finest: The Beastie Boys’ Eight Incredible Albums Investigated and Uncovered

FEATURE:

 

 

Rhymin & Stealin

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IN THIS PHOTO: The Beastie Boys in Chicago in 1987/PHOTO CREDIT: Paul Natkin/WireImage  

New York’s Finest: The Beastie Boys’ Eight Incredible Albums Investigated and Uncovered

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EVEN though the Beastie Boys...

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 IN THIS PHOTO: The Beastie Boys in 2009 (from left to right: Ad-Rock, MCA and Mike D)/PHOTO CREDIT: Press/Getty Images

ended their recording career in 2011, they are still as relevant as ever and over in the U.K. right now! Beastie Boys Book was released at the end of last month and is the story of the trio as told by its two surviving members, Ad-Rock and Michael Diamond (Mike D). The New York band formed in 1981 and, since their debut in 1986, they have seduced and thrilled the world with their brotherhood, wit and incredible rhymes. I love them because of the sampling and how they manage to marry disparate worlds. Although Adam Yauch (MCA) died in 2012; his bandmates are promoting the new book and are keeping the spirit and memory of Beastie Boys alive! Their debut, Licensed to Ill, was released on 15th November, 1986 and I cannot believe it is thirty-two!

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IN THIS IMAGE: The cover of the Beastie Boys Book/IMAGE CREDIT: Spiegel & Grau/Getty Images

I remember listening to it as a child and was blown away by this fresh and wonderful sound that was happening at the explosion of American Hip-Hop. In the year, Run-D.M.C. released Raising Hell and it was to lead to a bold and genius Hip-Hop movement that saw the likes of N.W.A. and Public Enemy release generation-defining albums. Make sure you pick up the new book as you get a lot of details of that time and the role the Beastie Boys played in Hip-Hop’s start. I cannot recall the first time I discover the band but it must have been around the time of Hello Nasty in 1998. Maybe it was a bit sooner but, in any case, I had heard nothing like it and still cannot think of anyone who comes near to them and that concoction of sounds. There is more to the Beastie Boys than the songs - there is an entire legacy, past and set of relationships that many of us never got to see!

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IN THIS IMAGE: A shot of the Beastie Boys Book/IMAGE CREDIT: Spiegel & Grau/Getty Images

I followed Beastie Boys right until the final album, Hot Sauce Committee Part Two, and am sad we will never see another record from them! Ad-Rock and Mike D are promoting Beastie Boys Book and it is great to hear them chat about their time and being in one of the biggest bands ever. Rolling Stone looked at the book and gave their impressions. One snippet of their review/assessment struck me:

“Yauch’s loss is deeply felt in Beastie Boys Book, where he’s arguably the most vivid character of all – the snowboarding prankster, spiritual seeker and older-brother figure who pushed the others to new heights again and again. “The band didn’t break up,” Horovitz writes in a heartbreaking chapter on the recording of 2011’s Hot Sauce Committee Part Two. “We didn’t go our own creative ways. No solo project fucked things up to cause animosity. This was our last album because Adam got cancer and died. If that hadn’t happened, we would probably be making a new record as you read this. Sadly, it didn’t turn out that way… Too fucking sad to write about.”

In the hotel room, it’s clear that Horovitz and Diamond are relishing the chance to spend time together, riffing on the old days. “Looking back, it’s like, oh shit, that was crazy – how did we live through that?” Horovitz says. “And look at us now. We’re grown-ups. We have to think about mortgages. I gotta get dog food.” He shrugs. “I’m still alive”.

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IN THIS PHOTO: Michael ‘Mike D’ Diamond (left) and Adam ‘Ad-Rock’ Horovitz photographed at the Bowery Hotel in New York/PHOTO CREDIT: Mike McGregor for The Observer  

Make sure you tune into BBC Radio 6 Music from ten tomorrow morning as Ad-Rock and Mike D are talking about the book and recalling memories from their time in the Beastie Boys. It is rare to see a group (or duo, as they are now…) have that optimism and talk about their career when they lose a member. Whilst it is sad MCA is no longer here and part of this holy trinity; they are happy to talk about the old days and there is that endless and unbreakable love. When speaking with Miranda Sawyer for The Guardian, some interesting details came from the interview. It seems like the actual creation of the book was quite intense:

“The book took them four years to complete and tells the Beasties’ story from pre-1981, when Diamond formed a hardcore band with friends, including Yauch. Packed with photographs, diagrams, maps, cartoons, recipes, lists (some great music ones), as well as some brilliant writing from them both, Beastie Boys Book is a delight. But, God, getting either Diamond or Horovitz to talk about it is nigh-on impossible”.

The interview is definitely worth reading in its entirety...but this is a section that really caught me:

“...Mostly, the interview goes like this: I mention an anecdote, or a particular time in their career, and then they mess around. So, when I ask about Diamond’s late-1980s habit of wearing a Volkswagen badge as a medallion (as he does on the book’s cover), he and Horovitz have a lengthy debate as to whether either of them actually wrote anything specifically about the VW badge/medallion thing. Then…

Diamond: “It was just one of those things that happened… Adam and Adam showed up at my apartment in the West Village with one and they were like: ‘Here, you’re wearing this’”...

 “Horovitz: “That’s not really how it happened. Didn’t you steal it? You kind of stole it.”

Diamond: “From you? I stole it from you? Is that what you’re saying?”

In contrast, Horovitz enjoyed the writing (“It was very easy, I really liked it”), and has concentrated on completing a lot of the other legwork: sourcing photographs, tracking people down. Aside from all that, he has a little boy with his wife, Bikini Kill’s Kathleen Hanna, and he and Hanna write screenplays together (they sold a pilot to Comedy Central). He’s played bass in Bridget Everett and the Tender Moments and he acts, much to Diamond’s amusement. “Did you know Adam was in a semi-pornographic movie in 1984?”

I am rambling and stepping off of the path at the moment but I have loved learning new stuff about the Beastie Boys and make sure you pick up a copy of the book - as it is an illuminating, comprehensive and deeply personal look inside a magical time when New York’s finest reigned! In honour of some Beastie magic hitting our shores; here are all eight of their albums laid out; a review for each and the choice tracks selected – I have highlighted the definitive cut from each record. From 1986’s Licensed to Ill through to 1989’s Paul’s Boutique; from To the 5 Boroughs in 2004 to the finale, Hot Sauce Committee Part Two (2011); it has been a wild and wonderful ride. Reacquaint yourself with their back catalogue and get settled back. They might not be recording anymore but, as their book shows, there is so much more to learn. We have never seen anyone like the Beastie Boys come along and, for as long as any of us live, I don’t think...

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IN THIS PHOTO: The Beastie Boys in Greenwich Street in New York City/PHOTO CREDIT: Terry Richardson

WE ever will!

ALL ALBUM COVERS: Getty Images

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The Wonderful Beginning: Licensed to Ill (1986)

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Release Date: 15th November, 1986

Labels: Def Jam/Columbia

Producers: Rick Rubin/Beastie Boys

Background:

“The group originally wanted to title the album Don't Be a Faggot, but Columbia Records refused to release the album under this title—arguing that it was homophobic—and pressured Russell Simmons, the Beastie Boys' manager and head of Def Jam Recordings at the time, into forcing them to choose another name.[5][6] Adam Horovitz has since apologized for the album's earlier title.[7]

Kerry King of Slayer made an appearance on the album playing lead guitar on "No Sleep Till Brooklyn" and appeared in the music video which is a parody of glam metal.[8] The name of the song itself is a spoof on Motörhead's No Sleep 'til Hammersmith album.[8] King's appearance on the track came about because Rick Rubin was producing both bands simultaneously (Slayer's Reign in Blood was originally released a month earlier on Def Jam).[8]” – Wikipedia

Review:

“There hasn't been a funnier, more infectious record in pop music than this, and it's not because the group is mocking rappers (in all honesty, the truly twisted barbs are hurled at frat boys and lager lads), but because they've already created their own universe and points of reference, where it's as funny to spit out absurdist rhymes and pound out "Fight for Your Right (To Party)" as it is to send up street corner doo wop with "Girls." Then, there is the overpowering loudness of the record -- operating from the axis of where metal, punk, and rap meet, there never has been a record this heavy and nimble, drunk on its own power yet giddy with what they're getting away with. There is a sense of genuine discovery, of creating new music, that remains years later, after countless plays, countless misinterpretations, countless rip-off acts, even countless apologies from the Beasties, who seemed guilty by how intoxicating the sound of it is, how it makes beer-soaked hedonism sound like the apogee of human experience. And maybe it is, maybe it isn't, but in either case, Licensed to Ill reigns tall among the greatest records of its time” – AllMusic

Download/Stream: Fight for Your Right; Paul Revere; Brass Monkey

Spotify Link: https://open.spotify.com/album/11oR0ZuqB3ucZwb5TGbZxb?si=IsxHfbYwSBmJxjqaz2XBLQ

Choice Cut: No Sleep Till Brooklyn

The Misunderstood Follow-Up That Is Regarded as a Seismic Gem: Paul’s Boutique (1989)

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Release Date: 25th July, 1989  

Label: Capitol

Producers: Beastie Boys/Dust Brothers/Mario Caldato Jr.

Background:

“Derided as one-hit wonders and estranged from their original producer, Rick Rubin, and record label, Def Jam, the Beastie Boys were in self-imposed exile in Los Angeles during early 1988 and were written off by most music critics before even beginning to record their second studio album, Paul's Boutique.[8] Following the commercial success of Licensed to Ill, the Beastie Boys were focusing on making an album with more creative depth and less commercial material.[8] The group's previous album had been enormously popular and received critical acclaim among both mainstream and hip hop music critics, although its simple, heavy beats and comically juvenile lyrics led it to be labeled as frat hip hop.[8] The group signed with Capitol Records and EMI Records.[8]

Contrary to popular belief, most of the sampling for Paul's Boutique was cleared, but at dramatically lower costs compared to today's prevailing rates.[10] According to Sound on Sound, most of the samples were cleared "easily and affordably, something that [...] would be 'unthinkable' in today's litigious music industry."[10] Mario "Mario C" Caldato, Jr., engineer on the album, said that "we realized we had spent a lot of money in the studio. We had spent about a $1/4 million in rights and licensing for samples."[11]This type of sampling was only possible before Grand Upright Music, Ltd. v. Warner Bros. Records Inc., the landmark lawsuit against Biz Markie by Gilbert O'Sullivan, which changed the process and future of hip hop sampling” – Wikipedia

Review:                                               

“Twenty years later, nobody’s asking that question. Paul’s Boutique is a landmark in the art of sampling, a reinvention of a group that looked like it was heading for a gimmicky, early dead-end, and a harbinger of the pop-culture obsessions and referential touchstones that would come to define the ensuing decades' postmodern identity as sure as “The Simpsons” and Quentin Tarantino did. It’s an album so packed with lyrical and musical asides, namedrops, and quotations that you could lose an entire day going through its Wikipedia page and looking up all the references; “The Sounds of Science” alone redirects you to the entries for Cheech Wizard, Shea Stadium, condoms, Robotron: 2084, Galileo, and Jesus Christ. That density, sprawl, and information-overload structure was one of the reasons some fans were reluctant to climb on board. But by extending Steinski’s rapid-fire sound-bite hip-hop aesthetic over the course of an entire album, the Beastie Boys and the Dust Brothers more than assured that a generally positive first impression would eventually lead to a listener’s dedicated, zealous headlong dive into the record’s endlessly-quotable deep end” – Pitchfork

Download/Stream: Shake Your Rump; Looking Down the Barrel of a Gun; Shadrach

Spotify Link: https://open.spotify.com/album/4DfmPm17Nz6a60BlEpGGKU?si=mSWCWU3lQCuAVq4X_MgYTw

Choice Cut: Hey Ladies

The Critics Were Firmly Back on Board: Check Your Head (1992)

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Release Date: 21st April, 1992 

Label: Capitol

Producer: Mario Caldato Jr.

Background:

“Check Your Head is the third studio album by American hip hop group Beastie Boys, released on April 21, 1992 by Capitol Records. Three years elapsed between the releases of the band's second studio album Paul's Boutique and Check Your Head, which was recorded at the G-Son Studios in Atwater Village in 1991 under the guidance of producer Mario Caldato Jr., the group's third producer in three albums. Less sample-heavy than their previous records, the album features instrumental contributions from all three members: Adam Horovitz on lead guitar, Adam Yauch on bass guitar, and Mike Diamond on drums.

In contrast to their previous album, Paul's Boutique, the Beastie Boys returned somewhat stylistically to their punk roots on Check Your Head, playing their own instruments for the first time on record since their early EPs (although they did provide live instrumentation on at least two songs on Paul's Boutique).[7] Hence, photographer Glen E. Friedman's idea to shoot photos with their instrument cases (one of which became the cover).[7] Supposedly, a trading card with Norman Schwarzkopf, Jr. from a set of Desert Storm trading cards was the inspiration for the title[7]” – Wikipedia  

Review:                                               

“This all means that music was the message and the rhymes, which had been pushed toward the forefront on both Licensed to Ill and Paul's Boutique, have been considerably de-emphasized (only four songs -- "Jimmy James," "Pass the Mic," "Finger Lickin' Good," and "So What'cha Want" -- could hold their own lyrically among their previous work). This is not a detriment, because the focus is not on the words, it's on the music, mood, and even the newfound neo-hippie political consciousness. And Check Your Head is certainly a record that's greater than the sum of its parts -- individually, nearly all the tracks are good (the instrumentals sound good on their subsequent soul-jazz collection, The in Sound From Way Out), but it's the context and variety of styles that give Check Your Head its identity. It's how the old school raps give way to fuzz-toned rockers, furious punk, and cheerfully gritty, jazzy jams. As much as Paul's Boutique, this is a whirlwind tour through the Beasties' pop-culture obsessions, but instead of spinning into Technicolor fantasies, it's earth-bound D.I.Y. that makes it all seem equally accessible -- which is a big reason why it turned out to be an alt-rock touchstone of the '90s, something that both set trends and predicted them” – AllMusic

Download/Stream: Pass the Mic; So What’cha Want; The Blue Nun

Spotify Link: https://open.spotify.com/album/04FRBQIphnjVWLyAs9j5mo?si=mmyE5G79RpSGloOEsBUXww

Choice Cut: Gratitude

An Evolutionary Leap, Rather Than Sabotage: Ill Communication (1994)

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Release Date: 31st May, 1994   

Labels: Capitol/Grand Royal

Producers: Beastie Boys; Mario Caldato Jr.

Background:

“Ill Communication is the fourth studio album by American hip hop group Beastie Boys. It was released on May 31, 1994 by Grand Royal Records. Co-produced by Beastie Boys and Mario C., the album is among the band's most varied releases, drawing from hip hop, punk rock, jazz and funk. As with their prior release Check Your Head, this album continues the band's trend away from samplingand towards live instruments. It features musical contributions from Money Mark, Eric Bobo and Amery "AWOL" Smith and vocal contributions from Q-Tip and Biz Markie. The Beastie Boys were influenced by Miles Davis' jazz rock albums Agharta and On the Corner while recording Ill Communication[1]” – Wikipedia     

Review:                                               

“By 1994, the Beastie Boys were a lot closer to 30 than they were to 20, and it's not much of a stretch to interpret their fourth album as a growing-up phase of sorts. Where Check Your Head was a jam session turned venting process turned crossover success, Ill Communication is the album that let them infuse their turn towards sincerity with a renewed sense of playfulness, solidifying their transition from the gleefully exaggerated bad-boy anarchists of their first two albums to a trio of (slightly) more mature, trend-setting enthusiasts. It's as if they took stock in their history, realized they were past the point of having to prove anything, said what the hell, and decided to throw their whole repertoire into the album. Considering the record was assembled over a comparatively brief six-month span, it's an ideal, condensed snapshot of the Boys' genuine interests and cultural obsessions, whether they were spiritual (Buddhism), musical (late-60s/early-70s soul-jazz) or recreational (no less than three members of the 1993-94 Knicks get shout-outs). It's the Beasties at their most lifestyle-savvy, though they came across less like opportunistic youth marketers and more like the idiosyncratic hipsters they'd always been. (Remember, this was in 1994, before "hipster" was a pejorative.)” – Pitchfork  

Download/Stream: Sure Shot; Root Down; Heart Attack Man  

Spotify Link: https://open.spotify.com/album/6lfjbwFGzQ6aSNP1N3JlT8?si=Wzj6VRnRQMaqq3L8Z5cAWg

Choice Cut: Sabotage

A Wide-Ranging Masterpiece: Hello Nasty (1998)

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Release Date: 14th July, 1998  

Label: Capitol

Producers: Beastie Boys; Mario Caldato Jr.

Background:

“Hello Nasty was released on July 14, 1998, four years after the band's previous album, Ill Communication—and marked the addition of DMC champion Mix Master Mike to the group's line-up.[1] "I Don't Know" features Miho Hatori on vocals, and "Dr. Lee, PhD" guest stars dub musician Lee Scratch Perry on both vocals and percussion.[2] Hello Nasty also marked Eric Bobo's last appearance as percussionist in the band, as well as the last time the Beastie Boys worked with a co-producer.[2]

The title for the album was allegedly inspired by the receptionist of their NY-based publicity firm Nasty Little Man who would answer the phone with the greeting "Hello, Nasty".[3] The cover art depicts all three members (Horovitz, Yauch and Diamond from left to right) wrapped in an aluminium sardine tin and getting baked in the sun. The band makes a reference to this in the song "Body Movin'", in which the lyrics goes, "MCA, where have you been? Packed like sardines in a tin”” – Wikipedia

Review:                                               

“On the surface, the sonic collages of Hello Nasty don't appear as dense as Paul's Boutique, nor is there a single as grabbing as "Sabotage," but given time, little details emerge, and each song forms its own identity. A few stray from the course, and the ending is a little anticlimactic, but that doesn't erase the riches of Hello Nasty -- the old-school kick of "Super Disco Breakin'" and "The Move"; Adam Yauch's crooning on "I Don't Know"; Lee "Scratch" Perry's cameo; and the recurring video game samples, to name just a few. The sonic adventures alone make the album noteworthy, but what makes it remarkable is how it looks to the future by looking to the past. There's no question that Hello Nasty is saturated in old-school sounds and styles, but by reviving the future-shock rock of the early '80s, the Beasties have shrewdly set themselves up for the new millennium” – AllMusic   

Download/Stream: Song for the Man; Body Movin’; Three MC’s and One DJ

Spotify Link: https://open.spotify.com/album/1HhBu55aklCwIus7KffIji?si=NynHMTOZQueT2UJYEhbGng

Choice Cut: Intergalactic

Entering a New Century – and a New Creative Phase: To the 5 Boroughs (2004)

Release Date: 15th June, 2004  

Label: Capitol

Producer: Beastie Boys

Background:

“To the 5 Boroughs is the sixth studio album by the Beastie Boys. The album was released on June 14, 2004 internationally, and a day later in the United States. The album debuted #1 on the Billboard 200 with 360,000 copies sold in its first week and is certified Platinum by the RIAA for sales of over 1,000,000 in the U.S.” – Wikipedia

Review:                                               

“To the 5 Boroughs” is the Beasties’ first all-new CD since 1998’s ”Hello Nasty” and thus has the feel of a bona fide event. As might be inferred from the title, ”Boroughs” is the group’s gift to their hometown in the post-9/11 era. ”Dear New York, I know a lot has changed/Two towers down but you’re still in the game,” Mike D raps on ”An Open Letter to NYC,” the album’s anthemic centerpiece. The track includes a ton of New York-specific shout-outs (”I remember when the Deuce” — 42nd Street and Times Square to you out-of-towners — ”was all porno flicks,” raps Ad-Rock wistfully) and prominently samples the Dead Boys’ ”Sonic Reducer.” It sounds so rousingly righteous you don’t even mind that the Dead Boys were from Cleveland.

Sonically, the disc falls somewhere between the Beasties’ two best efforts, ”Licensed” and 1992’s ”Check Your Head,” minus the latter’s weird, megaphone-like vocal effects. The beats — by Mixmaster Mike and the Boys — are simple and effective, with a welcome lack of distracting bells and whistles that made ”Hello Nasty” feel overstuffed. It’s also the globally aware group’s most politically charged album to date. ”Is the U.S. gonna keep breaking necks?/Maybe it’s time we impeach Tex,” raps MCA on ”Time to Build,” one of several instances in which George W. is given a lyrical smackdown” – Entertainment Weekly

Download/Stream: C-Check It Out; Triple Trouble; Oh Word?

Spotify Link: https://open.spotify.com/album/4nnQZQWLibK1VIhCGDFjk3?si=8J47qGRnR1ijUT-q0S34Sg

Choice Cut: An Open Letter to NYC

Great but Not Essential: The Mix-Up (2007)

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Release Date: 26th June, 2007  

Label: Capitol

Producer: Beastie Boys

Background:

“On May 1, 2007, an e-mail sent to those on the Beastie Boys' mailing list revealed the album is all instrumental. On June 21, 2007, a legal stream of the entire album was released on BrooklynVegan.com.[7] Drummer Mike D said that "even though The Mix-Up is a 'post-punk instrumental' album, the Beasties have no plans to ditch vocals for good. In fact, they are currently planning another version of the album that will feature collaborations with 'a pretty wide array' of 'mostly newer' vocalists."[8] Two singers speculated to be featured on the vocal version were Jarvis Cocker and M.I.A.[9]” – Wikipedia

Review:                                               

“This is a fusion of sounds -- cool organs, elastic guitars, loping basslines, rolling rhythms -- where all of the elements are integrated together, turning into a style that's recognizable as uniquely, undeniably the Beastie Boys, even if they don't utter a word on this record. As always, they're more about feel than instrumental acumen, but they've sharpened as players, creating tighter, assured grooves and seamlessly blending their fascinations with funk, dub, soul, and Latin rhythms. Even if the instrumental interplay is tighter, the overall atmosphere is alluringly warm and friendly: it's music that flows easily and it's a perfect soundtrack for a slow summer afternoon. Most of all, the Beasties sound relaxed and comfortable, enjoying the process of making this music, and if you're on the same wavelength, it's hard not to get sucked into it too. The Mix Up is not a major statement, but that's the nice thing about the record: it's as personal and idiosyncratic as any old funky soul-jazz LP that you'd find deep in the crates of a second-hand record store. It's easy to enjoy and it's indelibly stamped with the personality of the group, which is not only no small thing, it's also a good, rewarding path for the Beastie Boys as they approach middle age” – AllMusic

Download/Stream: 14th St. Break; Electric Worm; The Rat Cage

Spotify Link: https://open.spotify.com/album/4ceCKh9j1lgoMWOzCqxqIA?si=CY9jpu8OStyY3R48NsAirg

Choice Cut: Off the Grid

The Superbly Grand (If Sad) Finale: Hot Sauce Committee Part Two (2011)

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Release Date: 27th April, 2011  

Label: Capitol

Producer: Beastie Boys

Background:

“The first part of the album was intended to be called Hot Sauce Committee, Pt. 1 and was prepared for release, with artwork revealed and a planned release date of September 15, 2009.[6] In an interview the Beastie Boys stated that the album was completed and group announced that they would tour the United Kingdom in support of the new record.[5] This was delayed after Adam "MCA" Yauch was diagnosed with cancer.[4] On July 20, 2009, Yauch announced the cancellation of tour dates, and assured fans that he should be fine after surgery.[10] In October 2009, Adam Yauch announced that the band had not yet decided a new release date, but was quoted saying he was hoping to release it in the first half of 2010.[11]

An email sent out on October 17, 2010, from the Beastie Boys announced that Hot Sauce Committee Pt. 1 would be shelved indefinitely, and Hot Sauce Committee Pt. 2 would be released in 2011. An email sent the following week now clarified that Pt. 2 would be released with almost exactly the same track list as was announced for Pt. 1, excluding the track "Bundt Cake."[12] No date was set for Part 1.[13] The project was finally released in May 2011 under the title Hot Sauce Committee Part Two, with a slightly altered track listing including a new version of "Too Many Rappers".[14]

According to Andrew Eastwick from Tiny Mix Tapes, "Long Burn the Fire" paid homage to the 1970s soul-rock band Black Merda with its fuzz-inflected guitar riffs. Its song title, Eastwick continued, "may also be a sly nod" to music critic Robert Christgau, who recommended the band's 1972 record of the same name to the Beastie Boys in his review of their 1994 album Ill Communication[15]” – Wikipedia

Review:

“The tracks urge us to Make Some Noise, threaten to "rock da house" and even suggest a "party on the left." However, their wit and invention transforms such tired cliches into their freshest offering in years. A tapestry-cum-rollercoaster of sound, the confusingly titled album (Part One remains unreleased) mixes obscure samples, live playing, electronic squiggles and hardcore thrash. You're as likely to encounter cries of "Mayhem, mayhem!" and air horns as old nursery rhyme phrase "Knick knack paddy whack" featuring in a rap. The mere two guests have been selected to actually add something rather than to up the celeb appeal. The blistering Too Many Rappers finds Nas paying homage to his Beastie forefathers; Santigold gives Don't Play No Game That I Can't Win some instantly infectious pop reggae sunshine. However, the Boys' trademark nerdy raps are as inimitable as ever” – The Guardian  

Download/Stream: Too Many Rappers; Funky Donkey; Lee Majors Come Again;

Spotify Link: https://open.spotify.com/album/1vQYbqslni0jVfvaVK2lvx?si=gXrvMc0CT5OFVaYIKEV1Lg

Choice Cut: Make Some Noise

FEATURE: Music Sounds Better with You: Ones to Watch 2019: Part I

FEATURE:

 

 

Music Sounds Better with You

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

Ones to Watch 2019: Part I

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IT is the time of year when we look ahead...

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IN THIS PHOTO: EQUALS

and prophesise the artists who will define the following year. It has been a hectic and exciting year for music and I am sure a lot of the artists who made impressions this year will reign in 2019. I have been looking through the rising acts who are making steps and have collated them in this list. There are a few more editions to come and I will cover a lot more musicians but, for now, here is the first collection of promising sounds. Have a look through and I am sure you will find something in the pack...

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IN THIS PHOTO: Grace Carter

THAT spikes your interest!

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

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Liv Dawson

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Rews

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King Nun

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DIDI

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Emmi

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Lazybones

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Grace Carter

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Tiger Mimic

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Jade Bird

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Malaika

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YONAKA

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The Wild Things

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Beth McCarthy

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Mahalia

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EQUALS

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CHILDCARE

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Emily Magpie

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Chasing Deer

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Mark Harrison

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Kate Kelly

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Anna Pancaldi

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XamVolo

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Fiona Harte

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FloodHounds

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RIDER

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Sam Fender

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RuthAnne

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Duke of Wolves

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Delta Sleep

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INTERVIEW: Jon Pattie

INTERVIEW:

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PHOTO CREDIT: Mario Devon 

Jon Pattie

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THANKS to Jon Pattie...

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for speaking about his single, Won’t Be Young, and details about his new E.P., Reflections, Vol. 1. I ask what music he grew up around and which rising artists we need to watch; a few albums that mean the most to him and what is coming next year.

Pattie talks about the music coming out of Texas and what he wants for Christmas; if he gets time to chill away from music and which artist he’d support given the chance – he ends the interview by selecting a great track.

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

Hey, y’all! I am doing great, thank you for asking! My week has been busy from dawn to dusk. Between a day job, my music and managing my own physical and mental health, there’s always a lot to do in a day. But I love it!

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

Sure thing! I am a Texas-bred, Nashville-based Indie-Pop singer-songwriter. I started my career in Austin, TX while attending The University of Texas at Austin but relocated to Nashville in 2018 to begin my newest series of releases, Reflections. My music is all about finding your path in life, developing who you are as a person and achieving your dreams.

Won’t Be Young is your latest single and has garnered a lot of praise. How did it come together and what inspired it?

Won’t Be Young was actually the first song I wrote when I began seriously pursuing a career in music. I wrote it while I was working an internship in Chemical Engineering - the degree I was pursuing in college. I was struggling with the realization that I wasn’t on the path I was meant to be on. I released a demo version of the track in 2015 but decided to bring it back and revamp the song with a new energy with the help of my producer, Josh Hastick. It felt like a fitting song to begin this new chapter of my life as it relates to me now as it did when I first wrote it. The sound of the song was inspired by some of the guitarists and musicians I look up to like Tom Misch and John Mayer.

It is from the E.P., Reflections, Vol. 1. Are there connected and personal stories that inspired the music?

Absolutely! Each song relates to different self-discoveries I made over the course of the last few years. As mentioned earlier, Won’t Be Young is about discovering my true path in life and how long it will take me to get there. Reflections was inspired by some family issues and personal issues I was struggling with and the realization that, if I wanted to keep moving forward, I had to let go of my past and let go of the struggles I was holding onto.

Lastly, State of Mind talks about how we only have one life and one opportunity to pursue our goals and dreams so we should make the most of it. It also talks about my lack of happiness with where I was but I know where my happiness is.

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PHOTO CREDIT: Mario Devon 

What sort of music did you grow up around? Which artists inspired you to get into music?

I grew up listening to a mix of top-40 and Pop-Punk/Metalcore music. My parents listened to the radio a lot so that was very present in my life but the first artist I really connected with was Sum 41. I learned two of their albums, Underclass Hero and Chuck, in their entirety on guitar! I was in a few bands throughout high-school where we played music similar to All Time Low, Fall Out Boy; Sleeping With Sirens, Pierce the Veil and a lot of other bands in that same vein.

I was always very inspired by some of today’s great Metal guitarists like Misha Mansoor, Tosin Abasi and Tim Henson as well. It wasn’t until the last few years that I really got into Singer-Songwriter and Blues-Pop music. I’ve always been songwriting since I first picked up the guitar though!

As a Texas native; how much of the state’s music impacted you? Do you drawn a lot from the music of Texas?

Honestly, not too much. There are a handful of artists from my local town that I listened to - including Forever the Sickest Kids and Polyphia – but, with YouTube, iTunes and Spotify, it was always very easy for me to find artists from all over the world whom I was drawn to.

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PHOTO CREDIT: Mario Devon 

Do you already have plans for 2019?

Yup! I’ve got a lot of stuff in the works including more tours, a YouTube cover series and lots of writing! I’m planning to be in the studio in early-2019 to start recording for Reflections: Vol. II.

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

Honestly, this past tour has been phenomenal. A lot of the shows I played at, I was able to see friends that I hadn’t in a long time and perform my new music for them. It was exhilarating! Specifically, my show at Opening Bell Coffee in Dallas, TX and The Foundation Room - House of Blues in Houston, TX were incredible. I am going to remember the shows for a long time!

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

Good question!

Continuum by John Mayer has been really close to me considering how much influence his songwriting and guitar playing has on my style. Forest Hills Drive by J. Cole is another album I’ve always enjoyed. J. Cole is an amazing lyricist! The last album would have to be Infinity on High by Fall Out Boy. I grew up listening to them and that’s just a classic album I could never get tired of.

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

If I had to ask for one present it would absolutely be a subscription to the Headspace app. I’ve been using it for a while now for meditation but haven’t been able to upgrade due to the cost of Pro. I’d love to explore the other capabilities within it!

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

Right now, I’d love to support Ed Sheeran. His live performance is captivating and I would like to be a part of it! As for my rider, I really don’t need much besides water, peanut butter and a quiet space to meditate!

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PHOTO CREDIT: Mario Devon 

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

I have a writer’s round booked on November 29th at Commodore Bar & Grille but, for the most part, I am prepping for 2019! I will be booking a whole slew of new shows for the next year!

What advice would you give to new artists coming through?

Stick with it. It’s going to take a while to really start finding your fans and getting into the groove of what the music industry takes nowadays but, if you’re passionate, patient, and willing to learn, you will go far.

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 IN THIS PHOTO: Sam Hale

Are there any new artists you recommend we check out?

Absolutely! Sam Hale is an incredible Alt-Rock-pop artist who is also based here in Nashville. I was able to tour with him and his live set is pretty stellar. You can definitely check out Tobe Nwigwe from Houston, TX as well. He’s an upcoming powerhouse!

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IN THIS PHOTO: Tobe Nwigwe

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

Not really. Honestly...music is my lifeblood and it’s all I ever want to do with my time. I will take the occasional break here and there in order to keep my sanity, though! That usually includes meditation or watching an episode of a series on Hulu.

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).

Well, thank you very much! Check out Can’t Take It by Sam Hale! It gets stuck in my head constantly, in a good way

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Follow Jon Pattie

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INTERVIEW: The Thin Cherries

INTERVIEW:

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The Thin Cherries

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IT has been good speaking with The Thin Cherries...

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about their new album, On Moose Island, and how it came together. They talk about the recording process and how the band got together; the albums and sounds that inspire them and where they head next.

I was keen to know which rising artists we should watch and whether the band get time away from music to chill; if the guys have favourite memories from their career and the advice they would give to emerging musicians.

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

Mark Lofgren: Hectic! A quick trip to Detroit to see family; just beat the bad weather on the road.

Steven Delisi: I’m doing well - although it has been a crazy week and I’m tired from raking the Trump national forest all day. 

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

Mark: I’ve played in the Psych/Pop band The Luck of Eden Hall for the better part of the last thirty years. We’ve toured and released some well-regarded albums, but have more of a cult following. I do some video editing and motion graphics work to make ends meet.

Steven: I’m the rhythm guitarist and co-writer with The Thin Cherries. I say co-writer, because we intend to pivot to a sitcom after the New Year begins. I will play the chauffeur.

How did The Thin Cherries form? When did you all meet one another?

Mark: Steven Delisi and I formed the Thin Cherries two years ago, when we realized we collaborated well on each other’s tunes. I’d been friends with Steve for many years prior, when I was actually his instructor at a design college...

Steven: Our band started out as a project for two songwriters; Mark Lofgren and I realized we had a lot in common as far as influences and maybe the approach to recording. After Mark put out his solo album back in 2014, I mentioned the idea to do something together. But it took until just a couple years ago for us to start on the project. We initially started at Mark’s apartment studio – recording demos, in which the process was essentially helping each other complete song ideas. Often it would be something simple, like one of us offering a counter melody or a riff to a pretty well developed song. Or, it would be something structural like a bridge idea or changing things around to make the song more unusual.

We had a great time; meeting for coffee on Saturday mornings then getting to work at his place. After a few months, we reached out to Mark’s friend to collaborate further - a guy who plays many instruments - and had access to a rehearsal space with limited recording gear. That’s Darren Shepherd, our lead guitarist, who we brought demos to and eventually we recorded bass, guitars and drums to start the record. Darren actually plays the drums on quite a few tracks that we started on at Mark’s apartment. Later, he added a lot of amazing guitar stuff once we had basic tracks in place. During one tracking session, Darren’s friend Gabe stopped by, liked what we were up to and ended up playing with us on a few tracks. We had such a good time that we kept meeting and recording a few new tracks each weekend. We bonded pretty quickly and soon our goal was to ‘put out a record’ and just see what happens.   

On Moose Island is your latest album. What sort of themes inspired the record?

Mark: Although it’s certainly not a concept album, we wanted to mix and match some retro keyboard sounds and Electronica touches with straight-ahead Pop and sideways psychedelic vibes. To me, the album has a lot of variety but really holds together and has a dense but not heavy sound. Lyrically, there are some darker themes of isolation and anxiety mixed with some happier vibes of old friendships rekindled and road trips (…perhaps even to Moose Island!).

Steven: Initially, we were just preoccupied with capturing a more live sound that represents how we evolved as a full band and not a production of our songs. So, I think a theme for the record emerged as one about being a band. As Mark puts it, we came up with the album title track to reflect this idea of a mythical island somewhere where we all lived together and played music; a weird David Lynch-like town with quirky locals and unusual wildlife and one diner where all the townsfolk congregated in to discuss their daily lives. 

As this stuck, we started making ‘moose’ jokes and thought about ways to present the ideas visually. Near completion of the album, we employed Mark’s friend Jim Laugelli, a great artist, who did the brilliant cover painting of On Moose Island. I’m also working on a music video that is a collage of old 16mm footage that my parents made before I was born.  

Did you change a lot up since your debut? Was there a different approach when you stepped into the studio?

Mark: Steven and I basically wrote and recorded the first album as a duo to start. We brought our friend Darren Shepherd in to play some drums and additional guitar and he recruited his drummer friend Gabe Palomo to play drums live and finish off the album. Now, we have Birdie Soti on board playing keys and Sophie Senard singing some back-up and playing accordion. With On Moose Island, it was a real collaborative affair; recording a lot of the tracks together live in the studio. Steven and I wrote most of the framework for the songs and Darren added an awesome, beautiful track of his own, Steadfast Arranger.

Steven: So, again we were in the middle of changing from what was a recording project for two songwriters (our debut was the end product) to a full band effort in which everyone contributed ideas, direction and even songs. We recorded a few songs by our lead guitarist, Darren. Steadfast Arranger ended up on the album - a departure of sorts that is more personal, haunting and really beautiful! 

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

Mark: We certainly have common touchstones with some classic and modern British Pop and Psych music mixed with some Folk and Americana. Gabe, our drummer, is also an Electronica fan and a well-known D.J., so I love incorporating some of that on the new album and future releases.

Steven: It was important for us to get our drummer Gabe more involved creatively as he is a producer of Dance and Techno music. Our current single, I Don’t Know You All, is the result a drunken idea Mark came up with after rehearsal in which Gabe quickly ‘threw down’ beats and they went from that point shaping a Dance track. The rest of us added instruments later and we sort of fulfilled our desire for a more organic approach to producing music that starts from a melody idea and not someone’s already written song. We’ll be working this way moving forward, drawing from other influences. I know, on this one, we were inspired by bands we grew up with like New Order and other artists that produced dance music.

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As Christmas is coming; what one present would you each like if you could have anything?

Mark: A vinyl release for the album and some worldwide distribution would be a dream! But I’d settle for some for positivity in the world overall and some good old-fashioned peace, love and understanding for a change.

Steven: I would like a nice vintage Gibson or Epiphany hollow body electric guitar!  I’ve been relying on the one wonderful Fender Stratocaster for years.

Do you already have plans for 2019?

Mark: Playing some local and Midwest U.S. shows to support the album. We’ll probably do a couple music videos as well and starting to work on new music this coming summer. We’d love to someday tour Europe. I love it over there and the Luck of Eden Hall has had a blast playing in the UK in the past.

Steven: The plan for 2019 is to get better as a band and write and record more music! Hopefully, we’ll be productive enough to make another album or at least an E.P. That might be the way to go.

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

Mark: Again, the several U.K. tours I did with my other band were awesome and I’d love to repeat the fun with The Thin Cherries someday. Also, having The Luck of Eden Hall open for the Psychedelic Furs at a festival here in the States a few years back was a blast. I really loved their music  when I was younger and meeting band leader Richard Butler was great.

Steven: My favorite memory so far is the first time we recorded basic tracks at Kingsize Sound Labs in Chicago - the amazing studio of our friend and co-producer Mike Hagler. I’ll never forget going up to the mixing loft after tracking bass, guitars, keyboards and drums then hearing Mike’s initial mix just to know what we got. The sound was so big and amazing tonally! I knew we were on to something fun and special.

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

Mark: Oh man, is that a tough one! I’m going to have to go old school though and say Scary Monsters and Super Creeps by David Bowie. That whole album has a mysterious, powerful feel. Eno’s production is amazing; Bowie was a genius and Ashes to Ashes is one of my favorite all time songs (still gives me chills when I listen to it, just like when I heard it when I was a kid).

Steven: On Moose Island is super-important to me. It feels like we put together a record that reflects not just our tastes and influences but more of our creative expression as a group. We’re not there yet, but it’s a big step forward.

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

Mark: To play bass for Robyn Hitchcock and my rider would be to hang out with him and listen to his stories! Or tour with The Kinks and hang out backstage!

Steven: I would really like to support Future Islands on a tour. I just really like their music and they seem to be super-nice guys.

What advice would you give to new artists coming through?

Mark: Do it for the love of the music and the art of it all, not chasing money or success or the pressure of making it. Herman Melville died broke and unappreciated and Moby Dick was considered a failure in his lifetime. You never know who or when your music might reach or touch someone. Just follow your heart and write the best music you can and put it out there, even if it seems like you’re working in a vacuum sometimes!

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

Mark: We’ll be playing some Midwest U.S. shows after the holidays, so stay tuned!

Steven: We’re not touring extensively at this point. I hope in 2019 we can at least do a Michigan brewery tour that we sometimes talk about. We love beer. For now, we play out at various clubs and venues in Chicago.

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 IN THIS PHOTO: Cloud Nothings

Are there any new artists you recommend we check out?

Mark: Cloud Nothings have been around a few years and are raw and amazing Indie/Noise-Rock. I also love Wild Nothing who have a few albums and an '80s vibe. Also, I really like the quirky indie pop of Frankie Cosmos.

Steven: My favorite artist/band for the last two years has been Slaves. They draw cleverly on influential bands from their native England without any obviousness and they really have a cool sound and style that is all their own that supports their absurdly funny and much-needed political message; just two nice guys who care so much about their audience. In an odd way, they remind me of Style Council.

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IN THIS PHOTO: Slaves

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

Mark: I play sports on some different teams…basketball and baseball mostly (I suppose across the pond I’d be playing football and cricket!).

Steven: We don’t chill much away from music…too busy working and what not. I play soccer as much as possible for a middle-aged knuckle-head but we have pretty fun times together when we can, during or after rehearsals. Usually, it involves drinking beer.

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)?

Mark: That’s When I Reach for My Revolver by Mission of Burma; one of my favorite influential '80s Punk/Pop tracks and it seems right for the times… 

Steven: My Ever Changing Moods - The Style Council

Thanks!

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Follow The Thin Cherries

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FEATURE: Pressure Point: The Return of The Zutons and the Question as to Whether Reformations Can Rekindle the Flame

FEATURE:

 

 

Pressure Point

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IN THIS PHOTO: The Zutons (who disbanded in 2009 and have rarely played together since)/PHOTO CREDIT: Getty Images 

The Return of The Zutons and the Question as to Whether Reformations Can Rekindle the Flame

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I am always curious why certain bands go away...

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 PHOTO CREDIT: Getty Images

and what motivates them to come back after a long gap! I latched onto The Zutons’ music when their debut, Who Killed...... The Zutons?, came onto the shelves in 2004. I was still at university but had not yet graduated and was sort of wrapping things up. A lot of the music I was hearing up in Cambridge was contemporary mainstream and I discovered The White Stripes a year or two before – and was compelled and obsessed by their back catalogue. Liverpool’s The Zutons offered something eccentric, fresh and exciting. So much of my musical curiosity back then was something gnarlier and less uplifting but, when I heard that album, I was instantly struck. There is not a lot on the Who Killed...... The Zutons? Wikipedia page – apart from the tracklisting… – but there was a lot of interest and fascination when they arrived on the scene. Songs like Pressure Point and You Will You Won’t are instant and burrow in the head. Others – like Nightmare Part II and Dirty Dancehall – take a few spins before all of their layers start to make sense. It is a confident and different album that many compared to the work of The Coral. That is a band I was heavily into and, having started out earlier than The Zutons, it is understandable if a few hints and sounds were incorporated into The Zutons’ locker. The bands are different and I feel The Zutons are more accessible. The debut album, whether critics were totally on-board or not, is a giddy delight and one that still stands up some fourteen years after its release.

Why Won’t You Give Me Your Love? and Valerie were the two big singles from the follow-up album, Tired of Hanging Around, and the latter was famously covered by Amy Winehouse – who put her unique stamp on the song. There was, perhaps, less instant joy and satisfaction on the album: one needed to dig deeper and it was a more mature record that took in new elements. Reviews were better (compared to the debut) and, as AllMusic show, it was unusual to see a band source such disparate and rare influences:

“There was a little bit of everything here, including the powerful sax playing of Abi Harding -- obvious on every track but not dominant -- and Boyan Chowdhury's guitar work, which was original and innovative (and would soon be missed, as he left the band not long afterwards). They unashamedly lifted the intro of Tears for Fears' "Everybody Wants to Rule the World" for their song "Valerie," but the song was so good that one could forgive them almost anything; indeed, Amy Winehouse took the same song into the Top Ten for the second time within two years with a very different version. What a pity they released Tired of Hanging Around in the same week as Shayne Ward's album; otherwise, there would have been some real music at the top of the charts”.

I was less struck by the 2008 album, You Can Do Anything, but it got a lot of critical love. To me, the purity and essence of The Zutons is on those horn-parping, eccentric gems from the debut. The songs that has that unusual flair and could get you nodding the head and swinging the body. In any case; it was sad to see the band sort of break away and nothing from them. Ten years after their third album; news has been announced of a tour and, let’s hope, another album. NME reveal the details:

 “Noughties indie icons The Zutons have reformed for their first full tour in nine years.

The Liverpool band are touring next March to play their debut album ‘Who Killed The Zutons’ in full on an eight-date tour, to mark the album’s 15th anniversary. Tour dates are below. Tickets for the tour will be available at this link from 9am on Friday (November 30).

It comes two years after The Zutons reformed for a charity benefit to commemorate the death of their friend Kristian Ealey. Zutons singer Dave McCabe sang with Ealey in his first band Tramp Attack. At the time, the band vowed it would be their “final ever” concert.

But the concert saw the band start to revive their friendship. McCabe said: “We’ve all been off doing our own thing for a little while. It’s only with hindsight and a bit of space that you see how special something really is. It’s easy to take things for granted when you’re younger, but now it’s just amazing to think of those songs still having a place in the world, and for people to come and hear us play them again”...

‘Who Killed The Zutons’ included the singles ‘You Will You Won’t’, ‘Pressure Point’, ‘Confusion’ and ‘Remember Me’. The Zutons’ most famous song ‘Valerie’ featured on their second album, ‘Tired Of Hanging Around’, which was covered by Amy Winehouse. The Zutons released their final album to date ‘You Can Do Anything’ in 2008.

The Zutons tour dates are:
March 26: O2 Institute, Birmingham
March 28: Barrowland, Glasgow
March 29: Albert Hall, Manchester
March 30: Roundhouse, London
April 1: O2 Academy, Bristol
April 2: Rock City, Nottingham
April 4: O2 Academy, Leeds
April 5: Olympia, Liverpool”.

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 IMAGE CREDIT: Getty Images/Press

It is great to see the band have got back together – there was a bit of tension at one stage and many felt their days were extinct – but there is a real appetite for their music and what they left behind. I wonder whether, like many bands returning after years at sea, this is about nostalgia and recapturing memories. You see the article above and, yes, The Zutons were darlings and icons of the early-2000s. They represented something bold, colourful and appealing and, whilst their music is still relevant, is a tour a chance for us to see the old hits one more time before they go off again?! The band have said material will follow – they are keen to get paid, they cheekily remarked – and I wonder why they have come together again. Maybe they all got into a room and decided enough is enough...it has been a long time and we are all close mates. Perhaps there is that need to mark ten years since their last album and mark a sort of anniversary. The dates, I am sure, will be well-attended and I do wonder what a new Zutons album will involve. As much as I love Who Killed...... The Zutons?; it has been fourteen years and they couldn’t very well repeat the sound of the debut. I love the infectiousness of that record but understand if they take a different stand.

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 IN THIS PHOTO: The Zutons’ Abi Harding at V Festival in 2005/PHOTO CREDIT: ant217

My worry is that they will do something more ‘mature’ and loss the spark and adventure that opened eyes back in 2004. I always think their secret weapon is saxophonist Abi Harding and her mad skills! Even from the debut album, it was her extraordinary talent and passion that sort of brought the songs to life. I love Dave McCabe and the guys but I hope Harding plays a big role in any new record and the tour. I presume the band’s original/last line-up will be solid and unchanged but it is what they do after the tour that interests me. I know Harding has been busy since The Zutons sort of went on hiatus and I cannot wait to hear her back in the fray. There is that debate regarding nostalgia and a genuine new phase of a band’s life. Many can say The Zutons are simply trying to milk the nostalgia cow but, at a time when so many artists enjoy a brief career, seeing them come back and look to the future is a good thing. The pressure from critics will be huge and many will want to see – if and when another album comes – something akin to their earliest work. The members are all a bit older and wiser and might be looking to take their sound in a new direction. Can The Zutons rekindle that flame and get the same sort of attention they received in the middle of the last decade?!

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 IN THIS PHOTO: The Zutons at a hometown (Liverpool) gig/PHOTO CREDIT: Getty Images

There is a lot of political division and tension in this country so they might want to document that. Maybe family life and new loves will play a role or perhaps they will draw together their early excitement with something a little smoother and less boisterous. So long as – no bias or anything – Harding is allowed to strike and open her wings then I feel critics will latch back onto the band much quicker. The Zutons are not the only act who is back in the spotlight after a long time away. Band reunions are not a new thing: many get back for the cash or a nostalgia reunion; others patch up their difference or decide that they have been away from one another for a long time. The Streets (Mike Skinner) is embarking on new tour dates and, under the guise ‘Mike Skinner and The Streets, there is new material out and it seems like things are back on track. Earlier in the year, NME reported on The Streets’ announcement of a ‘greatest hits’ tour:

“Maybe a twinge of nostalgia stirred in Mike Skinner when ‘Original Pirate Material’ turned 15-years-old last year and there was a flurry of pieces looking back on its brilliance. Whatever his motivation, this week The Streets will play their first shows in the UK since signing off (in Skegness, no less) in 2011. The gigs, which sold out in minutes, begin in Skinner’s old stomping ground Birmingham and round-off with three huge nights at O2 Academy London...

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IN THIS PHOTO: The Streets (Mike Skinner) has announced tor dates for next year but not released an album since 2011’s Computers and Blues/PHOTO CREDIT: Getty Images/Press

It’s billed as a “greatest hits tour”, and when Mike Skinner confirmed the news about the comeback, he joked he’d “missed tour buses very much”, adding “it’s been long enough”. Yes, seven long years since he put on his Classics to have a little dance and perform live as The Streets.

Course, there were a few raised eyebrows when the news landed. Skinner sounded adamant when he told The Guardian “The Streets is finished” at the beginning of the decade just before the release of their fifth and final album, going on to say “I have no interest in repeating myself”. He recently said the decision wasn’t based on the pay-day, telling Mr Porter “I don’t need the cash, otherwise I’d have done all the festivals, and the offers we got were insane”.

As reunions go, this is one of the less complicated ones since Mike Skinner is The Streets. No inter-band wrangling, here. For these shows, he’s surrounded himself with a white-hot live band of five members. It includes long-term collaborator Robert Harvey on guitar, formerly of baggy-rockers The Music, and the other half of Skinner’s collaborative project The DOT. The soulful Kevin Mark Trail joins him on vocal duties for large parts of the set, swapping flanks of the stage, but it’s still a show that’s led by Skinner. Who, by the way, is looking in top shape for a guy now into his late-30s”.

The last album from Mike Skinner’s act, Computers and Blues, was out in 2011 and it was felt, once that album was done, things were complete. There were those questions around cashing in on remembrance and nostalgia but Mike Skinner seems to be in inspired mood and is putting out new stuff. Like The Zutons and how they will be remembered; many people will look at the glory days and recapturing that spirit. The Streets’ first two albums, Original Pirate Material (2002) and A Grand Don’t Come for Free (2004), and want more of the same. The fact Mike Skinner is not the same man as he was then means we cannot return to those days. In that time, he was this young man whose experiences of council estates and dodgy takeaways was drawn from experience a sense of struggle. Now, having moved on from that life to an extent, he cannot write about the same things with the same clarity and authenticity.

The newest stuff he has put out sounds pretty good but many will note it is not quite as lofty and epic as the stuff being produced back then. Back in 2002, there was this emerging U.K. Garage and Hip-Hop scene and this was pre-YouTube and streaming. The scene was different and I think a lot of people look at artists and expect they will pick off where they left from or they will return to their golden period. Every band and act needs to evolve and it would be unrealistic to expect Mike Skinner to write about dodgy birds down the pub and negotiating the weather as he makes his way home from a late one.

Even though the newish material from The Streets is not as fired and genius as the older work; it is exciting to see things kicking back off. No plans, as far as I know, are out regarding a new album and whether there will be more Streets stuff. The dates are out so, in order to transition from nostalgia to a genuinely new phase of things, Skinner will be thinking, let’s hope, about a new album. The Zutons will have some pressure regarding when an album comes out and how it will sound – don’t expect new stuff from The Streets to instantly go back to 2002. The Zutons were vibing from and capturing a spirit that was looming in 2004 and party of a Mersey/Wirral sound. Things have changed and The Coral have moved on from their more weird and wonderful experimentations of The Coral (2002) and Magic and Medicine (2003). The thing that links The Coral, The Zutons and The Streets is a distinct regency – 2002-2004 – and it has been a long time since then. Even though The Zutons and The Streets are playing their earlier material in new tour dates; that does not mean, when new material comes, they will stick with that sound. It is tricky for any popular band/artist to go away from music, come back after a long time, and convince people they are looking ahead and not simply doing a sort of nostalgia tour. It is great to see The Zutons and The Streets return but we all want new tracks and are curious where they head.

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 IMAGE CREDIT: Getty Images

I return to The Zutons and, as much as I adore their debut and revel in that magnificence and freshness; it is 2018 and we might not get new material until this time next year. Each member has been through a lot and their camp is not the same as it was back in 2004. Look at everyone from Blur to The Stone Roses and what sort of pressure was placed on them when they brought out new material. You cannot recapture the past but it is unfair to judge artists’ motives and assume anything after their heady peak will not resonate. I know The Zutons will smash their tour and whatever they bring out next will be fantastic – the same goes with The Streets. It is always humbling seeing artists reform and acts getting a new lease of creative life. Maybe we will not hear another Pressure Point or Valerie from them but the fact they are back in the world. Many asked Who Killed...... The Zutons? and we were Tired of Hanging Around but, in 2018, it seems, in The Zutons’ mind, We Can Do Anything (sorry!). The band is back, rejuvenated and, let’s cross our fingers, critics and the public...

WILL be right behind them!

 

FEATURE: Starting the Decade in Style: Part V/V: The Finest Albums of 1980

FEATURE:

 

 

Starting the Decade in Style

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PHOTO CREDIT: @artificialphotography/Unsplash 

Part V/V: The Finest Albums of 1980

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THE reason I am putting together this feature…

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 PHOTO CREDIT: @_sharon_garcia/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. In this final part, I am focusing on 1980 and the best ten records from the year. We often feel the 1980s is a bit of a weak decade but, regardless of what you think of it as a whole, the first year was a pretty epic one and gave us so many terrific albums. Have a look at the selected ten and see how a maligned (but terrific) decade...

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 PHOTO CREDIT: @priscilladupreez/Unsplash

GOT off of the blocks.

ALL ALBUM COVERS: Getty Images

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Talking Heads – Remain in Light

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Release Date: 8th October, 1980

Label: Sire

Review:

“The album's single, "Once in a Lifetime," flopped upon release, but over the years it became an audience favorite due to a striking video, its inclusion in the band's 1984 concert film Stop Making Sense, and its second single release (in the live version) because of its use in the 1986 movie Down and Out in Beverly Hills, when it became a minor chart entry. Byrne sounded typically uncomfortable in the verses ("And you may find yourself in a beautiful house, with a beautiful wife/And you may ask yourself, well, how did I get here?"), which were undercut by the reassuring chorus ("Letting the days go by"). Even without a single, Remain in Light was a hit, indicating that Talking Heads were connecting with an audience ready to follow their musical evolution, and the album was so inventive and influential, it was no wonder. As it turned out, however, it marked the end of one aspect of the group's development and was their last new music for three years” – AllMusic           

Standout Track: Once in a Lifetime

Dire Straits – Making Movies

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Release Date: 17th October, 1980

Labels: Vertigo/Warner Bros. (U.S.)/Mercury (Canada)  

Review:

“Without second guitarist David Knopfler, Dire Straits began to move away from its roots rock origins into a jazzier variation of country-rock and singer/songwriter folk-rock. Naturally, this means that Mark Knopfler's ambitions as a songwriter are growing, as the storytelling pretensions of Making Movies indicate. Fortunately, his skills are increasing, as the lovely "Romeo and Juliet," "Tunnel of Love," and "Skateaway" indicate. And Making Movies is helped by a new wave-tinged pop production, which actually helps Knopfler's jazzy inclinations take hold. The record runs out of steam toward the end, closing with the borderline offensive "Les Boys," but the remainder of Making Movies ranks among the band's finest work” – AllMusic   

Standout Track: Romeo and Juliet

David Bowie – Scary Monsters (and Super Creeps)

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Release Date: 12th September, 1980

Label: RCA

Review:

“Elsewhere, however, many of the songs on Scary Monsters (and Super Creeps) were as challenging and unconventional as critics and discerning Bowie-philes could have asked for. The opening tune, "It's No Game," married a plodding dirge to Bowie's intentionally strangled vocals and a female narration of the lyrics in Japanese. "Up the Hill Backwards" commented on the singer's recent divorce over a lurching, 7/4 beat, and then the title track arose from a sinister Robert Fripp guitar figure, which was indicative of its subject's descent into madness – all before the aforementioned singles made their entrances.

Bowie's imagination continued to fly unchecked and unafraid on the second side, over the anthemic, "Heroes"-like march of "Teenage Wildlife," the intriguing chord changes that made "Scream Like a Baby" half-new wave, half-hard rock, a lush interpretation of Tom Verlaine's "Kingdom Come" complete with girl-group backing vocals, a densely arranged "Because You're Young" boasting windmill power chords from Pete Townshend and concluding with a "civilized" reprise of "It's No Game" that proved a Dr. Jeckyll to the opener's Mr. Hyde” – Ultimate Classic Rock

Standout Track: Ashes to Ashes                   

         

Peter Gabriel – Peter Gabriel 3: Melt

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Release Date: 23rd May, 1980

Labels: Charisma (U.K.)/Mercury (U.S.)/Geffen (U.S./Canada)

Review:

“Each aspect of the album works, feeding off each other, creating a romantically gloomy, appealingly arty masterpiece. It's the kind of record where you remember the details in the production as much as the hooks or the songs, which isn't to say that it's all surface -- it's just that the surface means as much as the songs, since it articulates the emotions as well as Gabriel's cubist lyrics and impassioned voice. He wound up having albums that sold more, or generated bigger hits, but this third Peter Gabriel album remains his masterpiece” – AllMusic

Standout Track: Games Without Frontiers

U2 – Boy

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Release Date: 20th October, 1980 

Label: 4AD

Review:

“As much as these were songs that Bono sincerely felt, he clearly wished that the world was a good enough place that it wouldn't require them. On gentle album closer "40" he returns to a refrain from "Sunday Bloody Sunday", saying "I will sing, sing a new song/ How long to sing this song," regretting the need to sing about the world's ills. The U2 we've known ever since had arrived on War, and even today it sounds vital. As much as cynical critics and listeners often swipe at U2 for their earnestness, it's still refreshing to hear a band that cares so much, wants to be heard by so many, and isn't afraid to show it. As if to hammer home the point, the reissues each include contact information for half a dozen activist charity organizations” – Pitchfork 

Standout Track: I Will Follow

John Lennon and Yoko Ono – Double Fantasy

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Release Date: 17th November, 1980

Label: Geffen

Review:

“Even as a bared-soul, one-man show on an LP like Plastic Ono Band, Lennon adjusted and perfected himself with clever production techniques. He didn’t view naturalism as attainable through austerity alone; it had to be painstakingly sought through trial, error, and education. And sleek professionalism characterized Double Fantasy to such an extent that the record’s isolated individual pieces never seem anything more than inchoate kernels in need of fleshing out. Double Fantasy Stripped Down tries to husk the album’s craft to expose the rubbed-raw honesty within, but it condemnably forgets that in 1980, beside wife and child, Lennon’s honesty was his craft” – SLANT

Standout Track: (Just Like) Starting Over

Joy Division – Closer

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Release Date: 18th July, 1980

Label: Factory

Review:

“Closer is even more austere, more claustrophobic, more inventive, more beautiful, and more haunting than its predecessor. It's also Joy Division's start-to-finish masterpiece, a flawless encapsulation of everything the group sought to achieve. The hypnotically abrasive "Atrocity Exhibition" leads to the relentless yet somehow still economical "Isolation", the group more capable in its playing and confident in the arrangements. The dirge "Passover" implies that the band is every bit aware of its morbid power, while "Colony" marks a return to the heavy riffage of Unknown Pleasures.

Then, after such an auspicious start, Closer really clicks into gear. "Means to an End" is death disco before the fact, buoyed by a surprisingly rousing (and wordless) chorus. "Heart and Soul" is a remarkable collision of atmosphere and minimalism, the stuttering drum beat, synth and Peter Hook's melodic bass lead linked to one of Curtis' most subdued performances. "Heart and soul," he sings, as the stark instruments intertwine and twist together. "One will burn."

"Twenty Four Hours" briefly tries to pry free from the album's looming inevitability before "The Eternal" and "Decades" draw the music back down and the listener back in to Curtis' world. "The Eternal" is the bleakest thing the band ever recorded, and if "Decades" comes off a relative respite in comparison, the lyrics quickly quash that idea. "We knocked on the doors of Hell's darker chamber," moans Curtis. "Pushed to the limit, we dragged ourselves in” – Pitchfork

Standout Track: Isolation

The Pretenders – Pretenders

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Release Date: 7th January, 1980

Labels: Real (U.K.)/Sire (U.S.)

Review:

“Hynde wasn't the Pretenders' only force of nature. Guitarist James Honeyman-Scott, a master of tone and time, was her ideal partner. He shunned soloing in favor of an effects-laden, textured approach that locked in with Hynde's feral snarls and tremulous stretched notes. Bassist Pete Farndon and drummer Martin Chambers made sure that, even on the slower numbers, Pretenders has an unstoppable, springy momentum. The band cut only one more LP before Honeyman-Scott fatally overdosed, with Farndon following suit less than a year later. But Pretendersstands as a stunning confluence of hooks, sonics and substance -- it's one of those rare albums on which every move turns out to be the right one”– Rolling Stone  

Standout Track: Brass in Pocket

Bruce Springsteen – The River

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Release Date: 17th October, 1980   

Label: Columbia

Review:

“Like many double albums, The River doesn't always balance well, and while the first half is consistently strong, part two is full of songs that work individually but don't cohere into a satisfying whole (and "Wreck on the Highway" is beautiful but fails to resolve the album's essential themes). But if the sequencing is somewhat flawed, Springsteen rises to his own challenges as a songwriter, penning a set of tunes that are heartfelt and literate but unpretentious while rocking hard, and the E Street Band were never used to better advantage, capturing the taut, swaggering force of their live shows in the studio with superb accuracy (and if the very '80s snare crack dates this album, Neil Dorfsman's engineering makes this one of Springsteen's best-sounding works). The River wasn't Springsteen's first attempt to make a truly adult rock & roll album, but it's certainly a major step forward from Darkness on the Edge of Town, and he rarely made an album as compelling as this, or one that rewards repeat listening as well” – AllMusic       

Standout Track: Hungry Heart

The Jam – Sound Affects

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Release Date: 28th November, 1980

Label: Polydor

Review:

“Weller’s lyrics were also more human and approachable. Several times he makes self-deprecating reference to his 'star' status (Boy About Town) and also the acceptance of the healing power of love (But I'm Different Now). Only on Set The House Ablaze (which sounds like an out take from their previous album, Setting Sons) does he sound like he’s treading water.

Ultimately Sound Affects shows a band that was being pushed by its leader slightly beyond their level of ability. Buckler and Foxton's propulsive acumen was already falling behind Weller’s ambitions. After the full-on soul revival of The Gift he was to abandon the three-piece for pastures new. But on this album you get to hear the Jam at their absolute peak” – BBC

Standout Track: Start!

INTERVIEW: Imperial Daze

INTERVIEW:

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Imperial Daze

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I have been speaking with Imperial Daze...

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about their new single, Man Out of Myself, and what its story is. I learn how the band got together and whether they share the same music tastes; which albums are most important to them and what next year holds.

The guys talk about gigs and artists to watch; how they spend time outside of music and which artist they’d support if they had the chance – they each select a great song to end things with.

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

On a bit of a caffeine high writing this, listening to Nilla Pizzi; feeling somewhat romantic, a tad hungry. The week has been great. We played a stripped back show at Soho House on Monday. On Tuesday, we met with director extraordinaire Nathan Sam Long to talk about future film work and with Rupert Jarvis (of Maccabees fame) to talk about the next set of recordings we are making in our Electric Eel Studio. Today (Wednesday) we are rehearsing for our show in Margate at Elsewhere this weekend.

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

We are a four-piece European band made up of Alex, Felix; Facundo and Tom. We like our music to groove; the sounds to be expansive and cinematic and the vocals to croon and be delivered with gusto.

Man Out of Myself is your new track. Is there a story behind the song?

The chorus of the song came out from a (very) late-night jam session with ex-bandmate Blain McGuigan back in 2016. It was a natural singalong for us all. I (Alex) then took the song home to my kitchen and the verses appeared to me whilst messing around on my Technics organ. It’s a picture of a relationship I had at the time and my musings on it.

Might there be more material coming next year?

There will be a lot of singles next year. Maybe an E.P.

I believe Imperial Daze found one another in late-2016 where you set up your own studio. Did you start playing music together before then?

We played in different bands previously and decided to set up a studio together when these bands disbanded. At the time, the idea was to under no condition start a new band! We wanted to release E.P.s of lots of different projects simultaneously but, somehow, things didn’t pan out that way. Having one good idea is hard enough and, unless you’re Damon Albarn, having five seems like black magic.

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

We absolutely share similar tastes. We don’t agree on everything but these differences can bring really interesting things to the table. Overall, our main influences as a band would be Tame Impala, Grizzly Bear; Damon Albarn, Ed Banger records, old Surf records and modern London Jazz.

Is it true you made a bit of money for writing music for a PlayStation 4 advert?! Was that pretty cool?!

That was the paycheck that enabled us to start the first studio space that birthed the project so, yes, it was incredibly cool! Since then, we’ve written regularly for film and advert. It’s what funds this band. We are incredibly D.I.Y. in that aspect of what we do.

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

Get our latest releases into the eyes and ears of a greater audience; slay our upcoming shows and record the next batch of singles in our own Electric Eel studio.

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Do you already have plans for 2019?

Sell out our next London show at Sebright Arms on 13th Feb. Keep releasing singles, making films and selling out bigger and bigger venues in London and Paris.

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

Selling out our first London headline at The Waiting Room at the start of November was really special for us. The response from the crowd really humbled us and made us feel very loved indeed.

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

Facundo: The Dark Side of The Moon by Pink Floyd

It changed everything for me from the first listen. I met Roger Waters two weeks after that first listen as I was in a children’s choir singing on one of his records. At the time, I had no idea it was the same guy!

Felix: Kid A by Radiohead

It was the only album I had during a long summer as a teenager, stranded with my Discman. It was the first time I realized how production can impact the listening experience.

Alex: Blonde by Frank Ocean

I love how this record doesn’t follow any direct rulebook of genre or style but simply tells the story of a character through pure musical honesty. Everything feels so cinematic and adventurous to me. Ultimately, the life of Frank Ocean feels so relatable to me on this record even though our lives are nothing alike. That’s a mad impressive feat to pull off.

Tom: Black Focus by Yussef Kamaal

It showed me what you can do with spontaneity on a record: keeping the errors in and making the whole thing feel very human and vulnerable. It also opened a world of experimental Jazz to me.

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

Tame Impala. Cucumber sandwiches cut into triangles, fresh socks and a bottle of Campari.

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What advice would you give to new artists coming through?

Try and figure out what you want your project to represent from the get-go. As an artist, you can have many sides to your output - but every project should be honed to precision so its identity is easy to convey.

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

06.12.2018: Moles in Bath

13.02.2019: Sebright Arms in London

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 IN THIS PHOTO: Jazzboy

Are there any new artists you recommend we check out?

Ryder The Eagle, Tin Foil Astronaut; Jazzboy, HEZEN; III Maury III, Desert Mountain Tribe; Living Island and The Jesse Doniach Trio.

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 IN THIS PHOTO: HEZEN

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

No need to unwind from music, but we do love our friends and families and sometimes they do want to see us at other times then when we play gigs.

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).

Tom: Street Fighter Mas by Kamasi Washington

Alex: Souk Eye by Gorillaz

Felix: Everything Apart by Foxwarren

Facundo: Tearz (45 Mix) by El Michels Affair and Lee Fields

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Follow Imperial Daze

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INTERVIEW: Kachina

INTERVIEW:

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Kachina

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THE first interview today is with Kachina...

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as they discuss the new single, Eyes of March, and their upcoming E.P. of the same name. They talk about adapting since the loss of their band member Zurcon and what life is like in the group now. The guys talk about their music tastes and what is coming next.

I was keen to know what sort of music inspires them and any rising acts we need to watch; how they unwind away from music and what advice they would offer emerging musicians – they select some great songs to end the interview with.

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

Hi. Yeah, great. Interesting times. The last week has been hectic. Just got a Universal Audio Apollo 16 and reorganised the studio around it; makes live recording/jamming a lot easier. We've been recording vocals with Lyndsey Murray for a few days, got some quality music in the works right now.

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

Hi. We're Kachina, House and Garage pioneers from the Midlands, U.K.

Eyes of March is your new single. Is there a story behind it?

Rob Sparx: Zurcon named the song. It’s a play on words and I can't say exactly what he meant by it but I would say it’s about the divide, the hidden truth; the half of history that’s covered up to hide an inconvenient truth which is just dying to get out. The truths we take for granted which may actually be lies.

It is from the E.P. of the same name. What sort of inspirations and themes influence the music?

This E.P. is about truth, the moon/night; strife, hope and love!

How did Kachina find one another? When did you meet?

Rob Sparx: I first met Zurcon way back in about 2000 at 5HQ record shop (Formation Records now HQ Recordings) in Leicester. He was painting the place for SS, we were in Twisted Individual’s room checking out his latest beats having a smoke and Zurcs was observing the madness cracking us up with his cheeky banter.

I'd see him M.C. and D.J.-ing around town and at Leicester/DMU University student nights for many years. After that, he then got involved in Dub nights working with a mate of mine, Ash, who suggested Zurcs as vocalist for a Dubstep tune I was writing - which became What U Gonna Do, which was a vinyl release on my label, Migration, back in 2009…

We carried on working together at events for years after that and I eventually ended up living on the same street in the West End of Leicester City. Wigz and I met when I was teaching production workshops at The Core in Corby in 2011. He was one of my first students doing regular production and engineering sessions for many years until we formed Kachina.

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Has it been difficult to adapt since the loss of Zurcon? Are you continuing to honour his memory?

Of course, losing any friend is hard as most people know and especially when you've spent many an hour in the studio, on stage and in clubs and have shared many experiences together. Zurcs was such a big character. It’s like the world has gone a bit quieter with him gone. Musically, though, we have continued to grow; we're more determined and focused than ever.

We have made a track in honour of Zurcon titled Zurcon's Prayer which will be out in 2019. Keep an eye on our socials. There will be a celebration for his birthday on 4th Jan in Leicester at both the African Caribbean Centre in Highfields and in the West End at either Music Cafe or Boxed. More info will be available A.S.A.P.

Is there going to be more material next year? How far ahead are you looking?

Yeah. There's plenty in the pipeline; work is nearly finished on many more E.P.s on all our labels - for at least a year into the future - and we have some great remixes from the likes of DJ Q, Osunlade and Miguel Migz out soon. Eyes of March is the last of the music made on our old P.C. to be released: all the new material is made on a faster computer with better sound card hardware, analog synths etc. and you can really tell the difference!

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

Wigz: We do have similar tastes, especially in D&B, UKG; House and everything in between - which is probably why we work well together. Recently, I’ve been listening to a lot of MOAD, Dawn Wall and people like that - I love the instrument selection and grooves those two producers can bring

Rob Sparx: I'd be here all day if I start rolling off the many names that influence my music, so I'll just say classic D&B, Jungle and Dub; Tuff Jam-era Garage and '90s-Leftfield Dance music are still huge influences on my production style.

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As Christmas is coming; what one present would you each like if you could have anything?

Wigz: A Christmas number-one hit would do nicely then we would be sorted money-wise for life. Haha. Nah, realistically, the main thing I'm looking forward to is the roast! You can't beat a roast with all the trimmings on Christmas Day.

Rob Sparx: Schimdt, Moog One and Macbeth Minimac D!

Do you already have plans for 2019?

Nexgen: Releasing a four-part vinyl album. There'll be twenty tracks and some of our best unreleased music on there. We've been working on the release for over a year now. It’s pretty special! Also, we're finally getting round to making some videos/animations.

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

Rob Sparx: Kievbass in Ukraine know how to party, that’s all I'm saying!

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What advice would you give to new artists coming through?

Wigz: Keep pumping out them bangers! Learning your craft is the most important, whether that be by playing an instrument or being a producer. To get any good at something, you need to put in some work and also just have fun! There's no point in making all this music if you can't have some fun with it!

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

Keep an eye on DeepArtment/RYVM parties in Leicester and Bloop in Leamington. We will be doing some label nights in the Midlands and Washington D.C. next year as well, so keep an eye on our socials.

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 IN THIS PHOTO: Unsub

Are there any new artists you recommend we check out?

Neveready; Unsub; Luthor; Mindofadragon and Girls of the Internet.

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 IN THIS PHOTO: Luthor

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

Wigz: Of course you have to; life is all about balance! But, just the standard stuff really...going out doing stuff with friends etc. I also have an off-road motorbike, so I like to take that for a spin on some circuits or green lanes and go tear it up with a few mates!

Rob Sparx: Not much. I'm on this 24/7. Definitely a bit of a lab-rat, especially since getting hardware last year but my kids keep me grounded. I'm often taking them out around town or visiting family and friends. If I do need to get out the lab for a few hours, I usually go down to my mate’s studios at Lock 42 Frog Island or Thyme Bar in Market Bosworth which does some amazing food!

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).

Wigz: Cassius - Feeling for you

Rob Sparx: Curtis Mayfield – Pusherman

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Follow Kachina

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