FEATURE: 1979

FEATURE:

 

 

1979

_______________________

COMPELLED by a recent celebration/day of 1979-based music…

across B.B.C. radio – it got me thinking about all the terrific music that emanated from that three-hundred-and-sixty-five days. I feel we all have that one year that stands in the mind as being exemplary and fine. As someone born in the 1980s; I was growing up in the ‘90s (I was born in 1983) and the terrific music that emerged then. I feel 1994 is the finest year for music – if you look at all the albums that came out then – but 1991 is also incredibly full and wonderful. I had forgotten about the range and variation of albums that was brought to the music world in 1979. In honour of that: I choose a track from the twenty-five best albums of the year.

_________________________

Talking Heads - I Zimbra (Fear of Music, 3^rd August)

[youtube https://www.youtube.com/watch?v=b-RDJ4Z4XrQ&w=560&h=315]

Joy Division – Shadowplay (Unknown Pleasures, 15^th June)

[youtube https://www.youtube.com/watch?v=juD4ayBbHdY&w=560&h=315]

Public Image Ltd. – Swan Lake (Metal Box, 23^rd November)

[youtube https://www.youtube.com/watch?v=6GwrRGxYmY8&w=560&h=315]

Elvis Costello and the Attractions – Oliver’s Army (Armed Forces, 5^th January)

[youtube https://www.youtube.com/watch?v=LrjHz5hrupA&w=560&h=315]

XTC – Making Plans for Nigel (Drums and Wires, 17^th August)

[youtube https://www.youtube.com/watch?v=s29RKnB7l7o&w=560&h=315]

The Jam – The Eton Riffles (Setting Sons, 16^th November)

[youtube https://www.youtube.com/watch?v=wJRmrlkYdsQ&w=560&h=315]

Tom Petty and the Heartbreakers – Here Comes My Girl (Damn the Torpedoes, 19^th October)

[youtube https://www.youtube.com/watch?v=n4nPa35CZPI&w=560&h=315]

Fleetwood Mac – Tusk (Tusk, 12^th October)

[youtube https://www.youtube.com/watch?v=InjF8xj93LU&w=560&h=315]

Gang of Four – Damaged Goods (Entertainment!, 25^th September)

[youtube https://www.youtube.com/watch?v=byCqOvRMOvo&w=560&h=315]

The Clash – Spanish Bombs (London Calling, 14^th December)

[youtube https://www.youtube.com/watch?v=ertt3o1x65c&w=560&h=315]

The Specials –  A Message to You Rudy (The Specials, 19^th October)

[youtube https://www.youtube.com/watch?v=cntvEDbagAw&w=560&h=315]

Chic – Good Times (Risqué, 30^th July)

[youtube https://www.youtube.com/watch?v=eKl6EZShaaw&w=560&h=315]

Pink Floyd – Another Brick in the Wall (Part II) (The Wall, 30^th November)

[youtube https://www.youtube.com/watch?v=HrxX9TBj2zY&w=560&h=315]

Led Zeppelin – In the Evening (In Through the Out Door, 15^th August)

[youtube https://www.youtube.com/watch?v=afEipftwkn4&w=560&h=315]

Donna Summer – Hot Stuff (Bad Girls, 25^th April)

[youtube https://www.youtube.com/watch?v=1IdEhvuNxV8&w=560&h=315]

The Undertones – Here Comes the Summer (The Undertones, 13^th May)

[youtube https://www.youtube.com/watch?v=31Dza1L8daA&w=560&h=315]

The Slits – Shoplifting (Cut, 7^th September)

[youtube https://www.youtube.com/watch?v=Xz6EZlGMxXY&w=560&h=315]

The B-52’s – Rock Lobster  (The B-52’s, 6^th July)

[youtube https://www.youtube.com/watch?v=aepSPpU4S2o&w=560&h=315]

Buzzcocks – Ever Fallen in Love (With Someone You Shouldn’t’ve) (Singles Going Steady, 25^th September)

[youtube https://www.youtube.com/watch?v=WPG6Ak5FASk&w=560&h=315]

Michael Jackson – Don’t Stop ‘Til You Get Enough (Off the Wall, 10^th August)

[youtube https://www.youtube.com/watch?v=yURRmWtbTbo&w=560&h=315]

ABBA – As Good as New (Voulez-Vous, 23^rd April)

[youtube https://www.youtube.com/watch?v=xxv2vF9S0bY&w=560&h=315]

AC/DC – Highway to Hell (Highway to Hell, 27^th July)

[youtube https://www.youtube.com/watch?v=k_jCu_u28Ig&w=560&h=315]

David Bowie – Boys Keep Swinging (Lodger, 18^th May)

[youtube https://www.youtube.com/watch?v=UMhFyWEMlD4&w=560&h=315]

Neil Young & Crazy Horse – Hey Hey, My My (Into the Black) (Rust Never Sleeps, 27^th August)

[youtube https://www.youtube.com/watch?v=GQhEvfeJocM&w=560&h=315]

Earth, Wind & Fire – Boogie Wonderland (I Am, 9^th June)

[youtube https://www.youtube.com/watch?v=god7hAPv8f0&w=560&h=315]

Standout Album:

Talking Heads - Fear of Music

TRACK REVIEW: We Are the Catalyst - Open Door

TRACK REVIEW:

 

We Are the Catalyst

 

 

Open Door

9.2/10

Open Door is available at:

https://www.youtube.com/watch?v=hYGef7am2Ig

RELEASED: 14^th April, 2016

GENRES: Alternative-Metal

ORIGIN:

Varberg/Gothenburg, Sweden

The album, Elevation, is available here:

https://watcofficial.bandcamp.com/album/elevation

____________________________

BREAKING out of London for a day: it is nice going back to...

Sweden and a band that are picking up a lot of acclaim and celebration. Thinking about them compels me to look at Swedish music; the themes and ideals behind Alternative-Metal and themes and compositions in music. Before introducing the band themselves; it is worth looking at Sweden as a centre for musical excellence. It was only yesterday – the band might cringe at this – I was extolling the virtues of ABBA’s knack for harmonies and insatiable chorus lines. The legendary band were derided by some – too cheesy and slight to appeal or gain credibility – but you cannot deny some of their songs are quite masterful. That thought has prompted me to dig deeper into Sweden and the musicians that have emerged from there. When we think of nations like Sweden (and Scandinavian countries) we all have ideas of what the local bands will sound like. Iceland and Norway are seen as quite gentle and atmospheric with regards their landscape – if you consider the Black-Metal bands from the latter and the Experimental-Pop/Björk-type musicians of Iceland, then you have a clear juxtaposition. It has been a while since I last reviewed a Swedish band – cannot remember the last I came across – so it is wonderful being back in the country. Last year, local sources in Sweden were tipping the bands they thought were going to be a big proposition this year. Among the acts tipped were Stockholm’s very own Pinemen. Pop and Surf-Rock define their sound and have captured the imagination of the nation’s press. Throw in Tussilago – widescreen, atmospheric Indie-Pop sounds define who they are – and you have a band that are capable of gaining recognition in the U.K. and U.S. Maja Francis is a glitter-filled, colourful star who pens spacey, sugar-sweet Pop songs with enough directness and relatability to hook people in – songs that address serious subjects and personal insights. Toxe is as promising as her female counterpart but her music puts hard beats and juddering snatches together with ice-cool Electronic sway.

Maybe a contradiction to Maja Francis: someone who is making headway and another star of the future, one feels. Female duo Pale Honey were tipped – this list came from Ja Ja Ja – and, although not reinventing the wheel with their music, have a strong set of songs and a chemistry that has seen them getting into the thoughts of critics and tastemakers in Sweden. I wanted to bring this point in because it dispels clichés and stereotypes we have of Sweden. You have seen, with that list of five acts, that there is as much variation and variegation as there is in Britain. We all get hooked in our own expectations and what a nation’s musicians will sound like. Sweden is a country that has so many fantastic artists around and we should not assume they are limited to certain centres and themes. Maybe we associate Sweden with the heavier side of the spectrum – Black-Metal, Alternative and various forms of Metal and Hardcore – but the same could be said of Norway. That is another country that has rafts of wonderful Pop acts and Indie players; wonderful solo artists and a full, busy scene. Sweden is a nation that has given fantastic acts like The Cardigans – one of the most innovative acts to emerge in the ‘90s – and current artists Lykke Li and Say Lou Lou (half-Australian, half-Swedish) are just two examples. If you dig deeper, there is so much potential and richness waiting to be discovered. It is worth taking time away from nations like the U.S. and U.K. – when it comes to music – and giving countries like Sweden more consideration.

I was keen to review We Are the Catalyst – and the standout song from their latest album – as they, in a way, fall into stereotypes we have of ‘Swedish sounds’ but are much deeper and impressive than many would give them credit. Before I come to that point, let me introduce the band to you:

Cat Fey (vocals)

Kenny Boufadene (guitar / vocals)

Håkan Strind (drums)

Joni Kaartinen (bass)

Swedish Alternative Metal band 'We Are The Catalyst' and their new album 'Elevation' are most definitely set to stun the industry on the 2nd of September. The most striking elements of the album are, first and foremost, Cat Fey's immense voice that is supported by one of the thickest and heaviest guitar sounds you will ever hear. The combination of these and the overall mixing across the album creates a hugely empowering aura with a gravitas paralleled by none. It is clearly a fitting follow up to the bands first album Monuments; released in 2014.

'Elevation' covers themes ranging from depression, personal strife, world conflict and helping to see the glimmer of light in the dark, perfectly in support of their name: "'We Are The Catalyst' is meant as encouragement to overcome and challenge the darker parts of ourselves and others, to invite the listeners to keep fighting in a rough and dark world, and try to encourage them to be their best self, even when it might seem hopeless."

The first single “Open Door” is a worthy and powerful successor to the bands previous chart success which they scored with a cover of Swedish House Mafia’s “Don’t You Worry Child” which the band released in aid of The Fostering Network.

 

Everything about We Are The Catalyst screams uniqueness. How many bands are so driven that their second ever show ends up being performed on the other side of the planet in Beijing China. Everything from their album production to video direction is done by the bands members themselves. The pinnacle of their combined love for music has to be that lead singer Cat and guitarist Kenny have a daughter together called Decibelle, who they raise in their hometown of Varberg, Sweden. 

The bands amazing rise and critical acclaim in the last 12 months alone have seen the stunning 4 piece We Are The Catalyst complete a 10 day tour of china playing various shows and festivals, playing Bloodstock alongside bands such as Trivium, Sabaton and Within Temptation. The band also had their first UK headline tour following a support slot for Delain. Adding to their early and extremely impressive accolades they performed at Planet Rockstock as well as The Darkness and FM and Rival Sons where WATC headlined the second stage on the Saturday evening.

I mention Sweden is synonymous for bands that play tougher, accelerated music. I am not a huge fan of Thrash-Metal and find (it is a genre) that is reserved for dedicated fans and the patient. We Are the Catalyst are a group that has plenty of accessibility, melody and maturity to their music. Alternative-Metal and Rock seem to go hand-in-hand and explore many of the same themes. I have been impressed by the rise and proffering of We Are the Catalyst as they continue to climb and impress. You might see them on paper and think they are quite a scary and snarling band – one that might be all noise and no sense of depth and likeability. That would be short-sighted and something many might be doing. The fact their second-ever show was performed in China – and they have supported some true heavyweights – lets yu know they are no average band. The guys have released Elevation and the album is gaining a lot of headway and applause from music critics. It is no surprise when you consider the components and chemistry that runs right through it. Astonishing, passionate vocals and tight songs that get straight into the head; consistently memorable compositions and songs that motivate you to get up and move – small wonder they are gaining respect from countries around the world. Before I move on, it is worth noting, with regards bands like We Are the Catalyst, those wall-of-sound guitars and scintillating vocals are two elements that, in lesser hands, could be put together clumsily and with little harmony. This is just one side of the Swedish band and there is so much to recommend about them. The instrumentation alone gets so much attention from reviewers who note the band’s exceptional, tight performances and inventive riffs give their songs plenty of meat, emotion and drama. Throw in consistently gripping vocals and lyrics that prompt the listener to think and reflect – a solid band that addresses every facet and side with aplomb and attack. There are not many bands that cover the spread like that and really dig deep. I have been looking at a range of bands the last few weeks and there are few that have the solidity and nuance of the Swedish Alternative-Metal band. We do not often – when looking at Swedish music – go beyond Stockholm and the musicians coming from there. Let’s hope the likes of We Are the Catalyst we redress that imbalance and find curious fans areas like Varberg. The music world is huge and frightening but, if we become more adventurous and brave, the rewards are out there.

Elevation is the band’s latest album and one that has been widely celebrated. It has been two years since their L.P., Monuments, which led many to fear the band was on hiatus or perhaps struggling to muster new material. Monuments was a fourteen-track album that showed We Are the Catalyst were one of the most exciting propositions in new music and they proved this in every track. The ensuring touring demands and need for breath means Elevation came to the public attention a couple of years down the line. It is understandable the Swedish band took a bit of time with their new album and was not just going to rush-release a new record. Having toured extensively and honed their skills: one sees development and change in Elevation. The album is a bit tighter (fewer tracks) and the guys seem tighter and more focused on this effort. Whereas I feel Monuments has its moments and is consistently strong: there are some loose edges and some of the songs pass by without sticking in the memory. Everything si sharper and more defined on Elevation. The songs are more consistent and nuanced whereas the compositions more dramatic, tough and varied. Rather than repeat themselves – which many bands would do after a successful album – they have regrouped and bring new elements into their current work. Throughout Elevation, you get a sense of a band that is never willing to stand still and just replicate what they have already done. The album shows the band in top form and at their most inspired and together. This rings true of the lyrics that are more repeatable, quotable and deep – more intelligent and accomplished – than ever. Open Door is a song that perfectly emphasises this new talent and growth: from the opening bars to the dying seconds; one feels the sense of a band that are really creating their finest material and discovering new areas to explore.

The opening seconds of Open Door see the band come together and whip of a furious, if tempered, sense of impending force and explosion. There is plenty of flurry and rain-storm in the guitars which mix lighter strings with toothy undertones. The percussion rolls and rumbles: not only forming an animalistic sense of attack but creating melody and story into the bargain – the bass keeps everything sturdy but has enough bounce and cut to add its own elements into the fore. All of this together gets the listener primed early and eager to hear what is to come. We Are the Catalyst are experts at creating these instant, tight introductions that get you ready and hungry. Never too forceful or intense in these early moments: it is the perfect canvas the band works from; where the vocals come in. Fey’s voice comes in and adds some emotion and heartache to proceedings. I use the word ‘emotion’ quite a bit with regards the band but never in a florid or wussy sense. They are always authoritative and steely but are wise enough to open themselves up and reveal some truth. The heroine has heard it say that a way will be found – forgive my clumsy syntax. It seems like there a passion and bond being assessed and distance between lovers. Maybe the story – as the song title suggests – finds the two distant but hopeful; there is always a chance things can be rekindled and get back to what they were. Fey elongates her vocals and creates something quite dramatic and semi-operatic in the opening stages. She does not go for an easy option and go in hard and spiteful – ensuring there is plenty of humanity, heart and soulfulness in her voice. Before you get settled and start to predict the story arc: the band sharpens and the strings and percussion come into focus. Edgier, lunging and pressing: it beckons a new phase and the chorus comes to reign. The fast-paced, exhilarating chorus finds the boys turn the volume up and perfectly conjure a storm – something they are masterful at. Fey lets it be known she is falling down; there is something afoot and a desperation that cannot be overlooked.

One is never completely sure whether it is just a single romance that is suffering or a message to the world. The song has such a widescreen sound and cinematic range that you could be looking at a universal sentiment – maybe addressing the state of the world and a political message put in there. Whilst keeping the lyrics oblique but focused: one feels that is a deliberate move by the band; ensuring the listener arrives at their own conclusion. What Open Door does is stretches the vocals and gives them room to breathe. In terms of lyrics, there is that balance of romantic possibilities and wider concerns. I get the impression the sweethearts are divided by more than geography. It seems, emotionally, they are in different places and perhaps too distinct and different to ever come back. The door is open but one feels it might be slammed shut. The emotion and hurt in Fey’s voice suggest someone that has overcome challenges and is fatigued by the pressures and struggles of love. In that same sense, you can also nod to political and social events unfolding – the lyrics can apply to the Government and their inadequacy; violence and hatred that have dominated the front pages. What Open Door does is perfectly balance a sharp and racing composition against a constantly romantic and impassioned vocal delivery. That is the We Are the Catalyst quiet-loud dynamic coming back in and at its finest. Comparisons have been made to Paramore and you can hear a little of that here – not as commercial and samey as them. I always find Paramore lack the variety and creative nimbleness their music deserves – always too primed for the charts and a little tame at times. We Are the Catalyst are an insatiable band that put memorability and singalong chorus together with beefy riffs and some incredible moments. Some of the riffs snake and howl from the speaker: arpeggios and fret-heavy work that gives the song oomph and blood-rush. The bass is always fluid, hard-working and leading – keeping the song together and pushing all the other elements on. Percussion-wise, you have enough smack, tremendous fills and energy to satisfy anyone.

Perhaps the chorus is the shining star and one that will get fans singing along and chorusing when performed live. One of the only detractions is the lyrics are a little sparse and repeated – it would have been nice hearing more verse and revelation. The song leaves mystery and questions (which can be good) but perhaps not quite as many original lines and plot progression as one would hope. In spite of this, it is the band’s cores and trademarks that see the song through and get it inside the head. A typically bold and impressive composition that is duplicated across Elevation – the Swedish Alternative-Metal band growing and pushing their sound to the limit. Things are never too ambushing and pouncing; always imbued with a sense of composure and sweetness. Fey’s voice is typically beautiful and strong and ensures the lyrics get into the heart and get you thinking. I have come to my own conclusions but one feels there is no overall truth or definition to the lyrics – perhaps a general song for lovers or a message to the world. Open Door finishes with softness and composure and brings things down. In every stage of the song, there is a lot to recommend and you are always hooked and involved. The band is masterful when it comes to crafting songs that draw you in and take you into their world. The highlight and most memorable song from Elevation: it is the fourth track of the album and ensures the first-half of the record impresses and resonates. Few will be able to listen to Open Door and not be affected by it. In sheer terms of power and prowess, it is one of the standout tracks of the year and perfectly defines the album as a whole. Let’s hope the band come to the U.K. and bring the song to the masses as it is sure to gain a lot of love and new support. One of the most promising and unique bands in Metal/Rock have shown just what a consistent and reliable force they are. Open Door not only brings all Elevation’s themes and sounds into one but is shows how they have evolved and developed since their earliest work – a group that is ready and able to take the mainstream by storm and put their marker down.

When it comes to reviewing Elevation – the album Open Door is taken from – reviewers have had the hardest job doing so. With regards to defining the band - labeling them (genre-wise) - there is a blend of Hardcore and Alternative-Metal; a bit of Rock and Metalcore. Delusion is the perfect opener and one that blows away cobwebs of expectation and doubt. Following a Morse Code red herring – perhaps a coded message to the enemy – the percussive thunder that sweeps in gets the feet moving and the body involuntarily involved. The band is all together and ensure there are layered guitars, cutting bass and precise, emotive vocals to cut through the mist. Hearing all the tough and granite instrumentation together and the effect is quite profound. It is the perfect representation of the album and a perfect opening salvo. The group nail the loud-quiet dynamic in song and ensure one moment is calm and restrained – before bursting out the gates and bucking like a rabid bull the next. Songs address dark themes and mortality – the state of the world and corruption – but never come off too suffocating and repressive. You are always involved with the music and embrace everything it has to offer. Since the band’s earliest work and previous cuts: they have come on a long way and become sharper, more ambitious and more exceptional as a band. Whilst never average of naïve on any of their early work: what we have now is the sound of a group that are ready for the arena stages and have that professional, inspirational sound. Many have claimed We Are the Catalyst are pioneering new Metal sounds and will inspire legions of bands in their wake. That is true as one does not hear too many Metal bands being highlighted in the media. Maybe that is because (many bands) possess little melodic hook and range – that all changes with We Are the Catalyst. The guys have plenty of terrific hooks and these run rampant throughout Elevation. For purists and those that like their Metal hard and sweaty – they are catered for and get ounces of fighting bass, volcanic guitars and ballistic percussive smash.

I will end things but assessing the album (briefly) and where the band might be headed – just recapping my earlier point. Elevation might have a simple and obvious title – used by a lot of bands including U2 – but that is where the simplicity ends. When you dig into the L.P., one finds Fey’s voice scratchy and intense right from the blocks in A Million Claws; Without Fear blends the sounds of Paramore with something a lot more intense and dirty. That is what you get with the album (and band). The twelve album tracks whizz by in a blur of force, intensity and passion but you are hooked enough to listen back and repeat the experience. When you do return, the nuance of the songs comes through and you discover new things. If it is not the powerhouse vocals that strike then the inventive compositions and tight riffs that will get you. If not that then the melodic sensibilities and vivid lyrics are sure to resonate. There is so much for everyone: the album is not for those who only listen to Metal; there are Pop, Rock and Indie strands one hears throughout Elevation. You cannot really distil the album into a single genre and sound. I would like to see We Are the Catalyst coming to the U.K. in 2017. I know there are venues and clubs throughout Britain that would house and welcome them. Whether Brighton’s Green Door Store or some of the more intimate spots in London – enough ammunition and appeal lies here. There are fans and new followers that would love to see them live and that is something to think about. They are a group that has a hefty reputation in Sweden and plenty of international fans. I know they have representation and P.R. bodies working and promoting them – one imagines a flurry of tour dates will unfold. I know there will be follow-up albums and E.P.s and it will be interesting seeing whether the band can translate into the mainstream.

I opened my mentioning how we are keen to label nations and assume we have their national music all nailed and figured out. If we come to Sweden then there is that assumption it is all going to be Death-Metal and harrowing noise. That is a discrimination that should be overturned as it is costing the nation a lot of appreciation and focus. The music press is still too keen to concentrate on U.S. and U.K. artists which mean a lot of other nations are not getting a look in. I have seen Swedish acts flee to London because they are not getting enough respect and column inches at home. I feel we should all be more open and investigative with regards other nations. If you are a fan of Metal (or not) then you cannot go wrong with We Are the Catalyst. The band is an exciting proposition and put Rock and Pop melody into their sounds without dampening the purity and intensity of their compositions. A lot of kudos has been paid to Fey’s vocals and that is quite right. She is one of the most exciting and electric performers around and has that wide-ranging voice that means the band can write whatever they damn well please – knowing she will own it and make it sound transcendent. Boufadene, Strind and Kaartinen are not half-bad either. An incredible backing and tremendous musical force – do not overlook their contributions. The entire band gel superbly and have been playing together long enough to really hit their stride – which they do throughout Elevation. It has been great coming back to Sweden and discovering a band that has a big and busy future ahead of them. ‘Catalyst’ is a word that means change; the band themselves want to change expectations and shake the scene up. As Open Door and Elevation has shown they can do this…

WITH ease and intensity.

[youtube https://www.youtube.com/watch?v=hYGef7am2Ig&w=560&h=315]

________________________________

Follow We Are the Catalyst

 

Official:

http://www.wearethecatalystofficial.com/

Facebook:

https://www.facebook.com/WATCofficial

Twitter:

https://twitter.com/officialWATC

SoundCloud:

https://soundcloud.com/watcofficial

YouTube:

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

FEATURE: The October Playlist: Vol. 3

FEATURE:

 

The October Playlist: Vol. 3

______________________

I was overjoyed hearing the news of Bob Dylan’s (long-overdue)…

Nobel Prize win for his work and contribution to music. It has been an award he’s deserved for decades and shows just how vital his lyrics and poems are to the world. In honour of that, I have included a live performance of his. In addition, 1979 was being celebrated across the B.B.C. so I have put in a cut from The Clash’s London Calling and an ABBA classic; a collection of new videos and the best new music from the world of Pop; a track to mark the remastered version of Oasis' 1997 album, Be Here Now, into the bargain. On top of that, a collation of songs from albums out this week or the weeks coming; fresh and newborn songs and some of the finest sounds around. Take a pew and enjoy another edition of The October Playlist…

__________________

Nimmo – Dancing Makes Us Brave

[youtube https://www.youtube.com/watch?v=m1QABVsEjYw&w=560&h=315]

Oasis – Stand By Me

[youtube https://www.youtube.com/watch?v=maTP315XZCQ&w=560&h=315]

Sleaford Mods – I Can Tell

[youtube https://www.youtube.com/watch?v=suK5iqVxmTE&w=560&h=315]

Toy – Clouds that Cover the Sun

[soundcloud url="https://api.soundcloud.com/tracks/286171616" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Death Cab for Cutie - Million Dollar Loan

[youtube https://www.youtube.com/watch?v=XE0nOfTA3pY&w=560&h=315]

Louise Lemón – Thirst

[soundcloud url="https://api.soundcloud.com/tracks/287359748" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Franz Ferdinand – Demagogue

[youtube https://www.youtube.com/watch?v=niJtpcgtUQs&w=560&h=315]

Radiohead – Down Is the New Up

[youtube https://www.youtube.com/watch?v=2tnz9sSGprc&w=560&h=315]

The Clash – Guns of Brixton

[youtube https://www.youtube.com/watch?v=wqcizZebcaU&w=560&h=315]

ABBA - Voulez-Vous

[youtube https://www.youtube.com/watch?v=za05HBtGsgU&w=560&h=315]

Tove Lo – True Disaster

[youtube https://www.youtube.com/watch?v=EFwIsrzDqMI&w=560&h=315]

Bob Dylan – Mr.Tambourine Man (Live at the Newport Folk Festival)

[youtube https://www.youtube.com/watch?v=OeP4FFr88SQ&w=560&h=315]

Bryson Tiller – Let Me Explain

[youtube https://www.youtube.com/watch?v=0vCdTFusX24&w=560&h=315]

Weezer – I Love the U.S.A.

[youtube https://www.youtube.com/watch?v=amy-4jDlYgo&w=560&h=315]

Anna Pancaldi - Keep On Keeping On

[youtube https://www.youtube.com/watch?v=NWCuT-or7d8&w=560&h=315]

Glass Animals – Season 2 Episode 3

[youtube https://www.youtube.com/watch?v=x2Kwos_oWSc&w=560&h=315]

Danny Brown – Pneumonia

[youtube https://www.youtube.com/watch?v=Xs-Dc3_eiV8&w=560&h=315]

Sian Cross – Tell Anybody

[youtube https://www.youtube.com/watch?v=2uy3LDl0Bmw&w=560&h=315]

Daughter – The End

[youtube https://www.youtube.com/watch?v=1tnUx4d9QAI&w=560&h=315]

Alice Olivia – Shot You Down

[soundcloud url="https://api.soundcloud.com/tracks/286549388" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Devyn Rose – Mood Killah

[youtube https://www.youtube.com/watch?v=kY7eR872-yc&w=560&h=315]

Maroon 5 (feat. Kendrick Lamar) - Don't Wanna Know

[youtube https://www.youtube.com/watch?v=OxPv8mSTv9U&w=560&h=315]

Lisa Mitchell – Warhol

[youtube https://www.youtube.com/watch?v=cUq0hb7NkiE&w=560&h=315]

Riff Raff (feat. Skepta) – Back from the Dead

[youtube https://www.youtube.com/watch?v=a_zme8Pj7KA&w=560&h=315]

Sweet California – Good Life

[youtube https://www.youtube.com/watch?v=3-dIZA-y8q0&w=560&h=315]

The Veronicas – On Your Side

[youtube https://www.youtube.com/watch?v=g_zeHNOy5Vk&w=560&h=315]

Conor Oberst – Counting Sheep

[youtube https://www.youtube.com/watch?v=UXjFOmoyQq4&w=560&h=315]

 

The Lemon Twigs – As Long As We’re Together

[youtube https://www.youtube.com/watch?v=xQ4nqnVOfMo&w=560&h=315]

Derek Minor – Look at me Now

[youtube https://www.youtube.com/watch?v=ibgRbSZaIJc&w=560&h=315]

Jamie Lidell – Building a Beginning

[youtube https://www.youtube.com/watch?v=RkNdHL3eXGc&w=560&h=315]

The Dillinger Escape Plan - Limerent Death

[youtube https://www.youtube.com/watch?v=6p4tQUBtsBw&w=560&h=315]

Dr. John Cooper Clarke and Hugh Cornwell - Johnny Remember Me

[youtube https://www.youtube.com/watch?v=VKYQypWSfUE&w=560&h=315]

JoJo (ft. Alessia Cara) - I Can Only

[youtube https://www.youtube.com/watch?v=snvnnNB--BA&w=560&h=315]

Josefin Öhrn + The Liberation - Rushing Through My Mind

[youtube https://www.youtube.com/watch?v=spf9TcoavUo&w=560&h=315]

Katie Melua – Dreams on Fire

[youtube https://www.youtube.com/watch?v=ZuLVfWjREBM&w=560&h=315]

Two Door Cinema Club - Are We Ready? (Wreck)

[youtube https://www.youtube.com/watch?v=RrJZJtY6u7o&w=560&h=315]

Nessi Gomes – These Walls

[youtube https://www.youtube.com/watch?v=4lWnxxADdLY&w=560&h=315]

Rebecca Ferguson – Bones

[youtube https://www.youtube.com/watch?v=WkMOfRYYwJI&w=560&h=315]

Sabrina Carpenter - All We Have Is Love

[youtube https://www.youtube.com/watch?v=lUotEgzKmG8&w=560&h=315]

Tessa Violet – Not Over You

[youtube https://www.youtube.com/watch?v=Dg4setI1nMk&w=560&h=315]

Jenny Hval – Period Piece

[youtube https://www.youtube.com/watch?v=1EcVd-iorbY&w=560&h=315]

There are plans for some great albums and some stunning music is due to arrive before the month is complete. I will try and keep on top of it and bring you the best out there. In the meantime, there is a wealth of October songs (above) to keep the appetite fed and satisfy the pickiest music listener. It has been a great one for legends like Bob Dylan but we cannot overlook all the great new talent emerging right now. 2016 is a year that has already given so much to music and continues to do so without taking breath.

TRACK REVIEW: Michelle O Faith - Birthday Blues

TRACK REVIEW:

 

Michelle O Faith

  

Birthday Blues

9.6/10

 

Birthday Blues is available at:

https://soundcloud.com/michelleofaith/birthday-blues

RELEASED: 12^th September, 2016

GENRES: Cinematic Pop; Soul; R&B

ORIGIN:

London, U.K.

____________________________

I am pretty pleased Michelle O Faith has come to my attention...

as it gives me the chance to explore a number of different themes: the finest female singer-songwriters emerging; bold and beautiful personalities emerging right now; artists that have the ammunition and attitude to succeed and remain in music – a little bit about cinematic, hard-hitting compositions too. I have focused on the boys a lot over the last couple of weeks – in the form of interviews and reviews – and, whilst it has been great discovering new talent, I have neglected the female artists emerging and their music. I always find something different with female artists (as opposed to the guys): it might be the general quality of originality – I just get left with a stronger aftertaste and a bigger smile. That might be an over-generalisation, but when it comes to the young singer-songwriters, the girls are edging ahead of their male peers. Neither sexist (reverse-sexist, technically) nor discriminatory: it is a point that warrants greater discussion. There is still an imbalance in the music industry which is seeing many female artists have to work harder (than men) to gain attention and respect – there is a need for progressiveness and equal opportunities. As is being proved by the raft of fine talent breaking through the underground: the girls are a lot more agile, talented and colourful than the guys. You can argue against that assumption, but the evidence is there to back me up. Don’t get me wrong: I love the guys and the various genres, wonderful acts and future-legends that are playing with aplomb. One thing I find is there are too many musicians – the boys in this case – that stick to the same themes and sounds (love and relationships through Pop and Soul) that are not distinguishing themselves and playing too closely to their contemporaries. If you look at the girls – there are quite a few equally culpable – a lot more bombast, richness and variegation can be found.

This is true of Michelle O Faith who not only subsumes expectations of a young musician – someone who will solely focus on love in narrow terms – but has the adventurousness, confidence and songwriting finesse of the idols who have inspired her. Before I carry on this topic, and invariably raise a few more, I shall let Michelle introduce herself (from her Facebook bio.):

“I am Michelle O Faith, a singer, songwriter, composer and producer from South London. In September of 2013, I signed a publishing deal with Peer UK in a joint venture. I graduated 2013 with BA Music (Hons) from The University of Southampton and I am currently studying for Masters Music, Composition at The University of Leeds Welcome to my Facebook music page. Have a little gander, and if you like what you see/hear then do feel free to Like, Comment, Share and..most importantly..HIT UP YOUR FRIENDS. (I.e. get them to hit that Like button, also). Thank you for joining me on my journey... No bio section would be complete without at least one slightly pretentious comment.

There is not just one artist but a long time favourite / greatest inspiration and perhaps the single greatest entertainer to have ever lived, Mr Michael Jackson. Janet. Mariah. Whitney. Gaga. Britney. Destiny's Child. BEYONCE. Christina. Yadi (Google her - she's gonna be BIG). Rodney "Darkchild" Jerkins. Stargate. Dr Luke. Max Martin. Ester Dean. Teddy Riley. Jermaine Dupri. Ellie Goulding. Florence & the Machine. Florrie. Sky Ferreira. Jessie J. The Script, Coldplay. Classical composers - (a LOT of them inc., Mozart, Beethoven, Handel, Tschaicokvsky, Bach, Debussy, Rachmaninov. Life. Beautiful Boys. Space. Loneliness. Dark souls. The dark part of my soul. God. Blue eyes. Brown eyes. People. What makes people tick. Relationships. Tears. Laughter, (though not so much). Fallouts. My mum, (whom I LIVE for). X”

You can tell from the biography alone that O Faith is someone that vibes from the legends of old but has a contemporary edge. Admiring of Classic composers and Pop queens; the chart-friendly acts of the moment and the most impressive musicians of days gone by – you get a little bit of everything with her music. What impresses me most is how unique she sounds. Never beholden to her favourite musician or lazily copycatting them – like so many new artists do – her lyrical template and musical palette is very much her own creation. Michelle O Faith is a singer that captures you with her sensual, passionate voice and braces you with her powerful delivery and soulful tones. Chocolate-smooth at once; transforming into something honeyed and alluring – mutating into sassy, brassed tones when the music calls for it. A South London girl born and bred: you can hear that accent come out; she never distils it or Americanises her vowels/lyrics. You know she is going to go far and establish herself as a great of the future. One (other) thing that seduces me with regards O Faith is the personality and accessibility that radiates from her. Whether promoting her music or reaching out to her fans: that warmth and love come through; the desire to touch everyone and bring them into her world. Just looking through her social media pages and you get a constant stream of uplift and special D.N.A. She is not someone that deals in soundbites and clichéd statements: sweeping, un-distilled purity and affection emerge. This is not cynical or designed to hook people in – this is who Michelle O Faith is. I mention this point – regarding vivacious personalities – because we are seeing few genuine idols come into music. Maybe the pressure and fatigue of music blunt the senses, which raises its own concerns. I am not suggesting every new musician needs to jump off the page and attack the senses with smiles and effusive videos. Too many bands tend to (see their members) blend into one another and lack the same edge and personality you used to get in the past – too cagey and cautious, perhaps. The same can be said of solo musicians: many of whom are far too guarded and stilted to get inside the heart. That can never be said of O Faith whose beauty and humanity defines who she is. Not only incredibly striking and beautiful: she is someone who has a deep love of her fans and the music she is making. It is easier bonding with a musician, and the songs themselves, if you feel a genuine connection to them. Michelle O Faith has accrued a legion of fans (in part) because of her attitude to fans and the need to resonate with people. Of course, the music itself has done some shouting and should not be overlooked.

Birthday Blues, in addition to her debut E.P., is a self-written, self-produced track that not only emphasises a keen talent and sensational voice – someone who can put her soul and innermost feelings onto the page. She may rank artists like Beyoncé as role models but I feel O Faith is a superior songwriter and talent – not someone who requires a brigade of producers, tastemakers and scribes to create her music. Birthday Blues collates the sounds and divergence of London and elements of U.S. artists such as Lana Del Rey. The exhaust-fire beats and quasi-symphonic rushes seem to, whilst perhaps not intended, as emotional markers and the sounds of the streets. You get a touch of cosmopolitan rush and the diversity of the capital: a perfect blend of colour and black-and-white – all you could possibly ask for. I have been longing to find a homegrown musician that incorporates many of Lana Del Rey’s qualities. Of course, the U.S. singer is not the vanguard and sole example of cinematic strings and huge sounds in Pop. There are a number of like-minded acts that go beyond the familiar and put proper grit and excitement into the compositions. One imagines – when hearing Birthday Blues – an excursion down a desert road or a romantic waltz through the Hollywood Hills. Not only do you get bold and heart-pounding cocktail measures but spine-tingling, blood-rushing romanticism and something quite alluring. Not only are O Faith’s influences key – with regards this heady blend of sounds – but the extension of her personality. She does not do anything by halves and puts her heart and mind into everything. That fortitude and dedication will pay dividends and all highlighted in Birthday Blues – a teasing and tasty cut from her forthcoming E.P.

Birthday Blues is the latest cut from Michelle O Faith but she is a musician that has an illustrious and spectacular last year – creating some fantastic music along the way. Sleep Through Fire was released a year ago but is a song I return to. O Faith’s sultry and revealing vocal and a composition that blends together classic Pop, Trip-Hop and Soul. The accentuation and delivery in unique: words are stuttered and stretched; rushed and slowed to ensure every line is given maximum emotional consideration. vulnerable lyrics sees the heroine walk through fire and encounter struggles. It seems like two lovers and being separated by life or different ideals. Wondering whether (they both) will reclaim their bond in time to come: questions are posed and the future seems uncertain. Beats are kept fresh and sparse but add distinct heartbeat and urgency to the track. In a lot of ways (the song) has elements of Pop artists like Lady Gaga and Rhianna – something that could easily fit into the mainstream and gain huge international appeal. If anything, I find Sleep Through Fire deeper and more compelling than a lot of U.S. chart fare. O Faith is a commanding vocal whose pure tones and distinct passion makes the song a cut above her peers. Looking back, No Romance in China (the E.P. where Sleep Through Fire sits) is a collection that emphasises a huge talent. White Lies Red Wine differs from Sleep Through Fire and offers another side through. Smokier and tenderer than its stablemate: the song boasts hummed backing vocals and a beautiful lead performance – without instrumentation; left there to seduce and amaze.

Michelle O Faith is a singer that can hold attention and focus without processing and huge compositions. The song sees agile beats come to play, but by and large, it is a song that exists on a solid and entrancing vocal turn. Again, the way the lyrics are twisted and turned makes the song what it is. Never plainly sung or obvious: the delivery is constantly surprising, mobile and nuanced. The song looks at the heroine a relationship that had its problems and seems to be on the rocks (“Never meant to be your victim”). Drowning in the lover’s lies (and red wine that is dulling the pain); it is a song whose choral, ethereal backing adds poignancy and heartache. Subtle strings emerge in the background and give it more chill and beauty. Despite the hurt, there is a sense of catchiness and memorability about the song – a number that could be sung by live crowds and get big reception. If I was to offer any review between No Romance in China and Birthday Blues, that would be the confidence and composition changes. The performance (on Birthday Blues) is the finest yet and O Faith is at her very peak. Not only does she bring more shades, sides and attack to the voice but she sounds more complete, solid and rounded as a performer. Existing at its side is the composition which heightens that blend of cinematic and atmospheric and augments the beats and compositional elements. The vocal is still queen but Birthday Blues is a busy and intoxicating song that gets into the head and elicits instant response. This leap and evolution will go into the sophomore E.P. and is the defiant sound of a young woman more comfortable than ever and showing huge ambition. She – on Birthday Blues – edges away from stars like Rhianna and the mainstream charts to show more of her own voice and, if anything, inject elements of Pop and Soul greats. She has mentioned singers like Michael Jackson – an idol that has moulded her sound and direction – and more of his inflections, tics and components can be found in the song.

A recent B.B.C. article wondered whether songs could ever be poetry – in response to Bob Dylan winning the Nobel Prize. In terms of modern music, that would be a debate with no easy answer. There are songs that have poetic elements but there is nobody like Dylan – nobody since him has shown that intelligence, genius and huge influence. Maybe the changing nature of music and passing of time has meant there are fewer writers like him. Despite nobody eclipsing Dylan: that is not to say modern writers cannot amaze and create something poetic. Michelle O Faith, in her previous songs, has addressed love and life, but here, she looks at herself and mortality – achieving dreams and something unique. In terms of the lyrics and themes one hears: there is definite poetry and stunning prose; an artist that addresses something quite affecting and sad but does so in a beautiful way – helped by the wonderful composition. Birthday Blues is a song that gets underway instantly. “Half a girl” is lying on the kitchen floor: she is only half the woman she wants to be. Right from the very start, there is that blend of raw and profound. The imagine of the heroine sprawled on the kitchen floor – perhaps inebriated or just contemplating life whilst staring at the ceiling – you can hear the emotion and heavy heart come out. Backed by tripping, sprite strings – sounding like classical strings with some bass – there is a rumble of percussion but things are kept relatively light in the early moments. Letting her voice dance and sway in the breeze – the way she pronounces and delivers the lines is still unlike anyone else – and O Faith addresses twenty-one and that milestone age – a year for death and ill fate to some; a young woman feeling very old. Many would think someone that young has nothing to worry about but the heroine is feeling strain and perhaps looking back at life. Whether feeling incomplete, empty and not as far along as she hoped – someone who wants love, success and direction but is not getting it.

I feel Birthday Blues is Michelle O Faith’s acknowledgment time is passing but growing older is not something to be celebrated. The birthday songs and jubilant chorusing is almost dagger-like in her heart. Maybe precious relationships and a hard year have meant the birthday is an unwelcome trespasser. Unlike her peers and colleagues: Michelle O Faith is a singer and writer that does not copy the crowd and fit into any preconceived moulds. Her words are more thought-provoking, image-heavy and emotive than most; the singing more human, cutting and emotive than anyone out there. I use words like ‘emotive’ and ‘emotional’ yet Birthday Blues is not a completely sombre and exhausted song. The point behind it is to talk about ageing and personal growth and make others think deeply. One gets drawn into a rather hypnotic combination of vocals and composition – the song motivates you to get involved and assess it whilst giving it repeated plays. As things continue, O Faith is sleeping with the enemy and finding it hard to dream. Whether the nemesis is a human being or just a general way of life, one is not instantly sure. I get the impression the heroine is trying to find real connection and a lover but is more concerned with her place in life and where she is. Maybe the past year has been a hard one and she has overcome obstacles. As a musician, maybe she is not as far ahead as she wants or is making big dreams – all of this comes to fruition in the notes and revealing vocal. “Tell them to keep the candles and cake this time” as O Faith lies with regret and is awash with doubts. It is a vivid song and you see yourself sat alongside her; by the bed and watching a woman wrestling with turmoil and contradictions. Whilst successful and inspiring others: one feels she wants a lot more and there are hidden pains. Perhaps friends and ex-loves have let her down and, from a creative perspective, she has been hindered or maybe not hit the big leagues – that is all sure to change in coming years. The chorus comes back around and one finds themselves half-singing and nodding to it. Birthday Blues has that backing beat and mixes edginess and lush without blunting either element. The music is beautiful and aching but definitely has spike and bite to it. Michelle O Faith lets her voice swim and dive; ensure the words get into the heart and the listener is hooked.

By the final seconds, the voice is echoed and repeated – wordless, energised but with a hint of weariness. Repeating that idea of feeling haunted, affected and weighed down by the passing birthdays – your heart goes out to the heroine and what she has to endure. Birthday Blues is a deep and personal song but one we can all connect with. Every time a birthday arrives; one feels the need to look back and see if we have achieved anything (that year) but look forward – hoping for better things and whether we are past our best days. It may sound heavy and defeatist but it is a fascinating topic I have not seen brought up in music before. As a young woman; O Faith might not have to worry about such concerns, but in a way, she does. No matter how old we are, there is always going to be a sense of regret and falling short of our ideals. Birthday Blues is another terrific and stunning song from a musician and singer that continues to grow and expand her sound. More memorable and compelling than anything she has created before: the lead from an E.P. that is sure to gain a lot of attention and huge affection from fans. There are still touches of her Pop idols but there is nobody like Michelle O Faith. She is a very special singer and artist that distinguishes herself from her contemporaries and has created a hugely impressive song.

A lot of ‘self’ goes into Birthday Blues and an author putting her fears and doubts into the music. O Faith has been sitting on the song for month but is excited to get it out there. The delay has not only built momentum and eagerness but coincides with her E.P. release – not long until that is revealed to the world. In terms of the themes and stories that will be revealed in the E.P., one’s guess is as good as mine. I know there will be personalisation and mature revelation. O Faith is a young and hungry artist but one that is willing to confess anxieties and let you into her world. The origination of this is Birthday Blues. The song addresses the everyday fears and common doubts – growing older and feeling mortality creep in. Of course, those of a certain age, have less to fear when it comes to their lifespan but the song’s message is one we can all relate to. Every passing year is going to get us looking forward and back: how much (if anything) we achieved that year and how far short we are of goals and desires. The fans and followers have spoken and showing the song lots of love and respect. It is worth keeping your eyes on Michelle O Faith as, in addition to her E.P., she has some live gigs coming up – including a date at Lost in the Manor’s Blogtober festival (on twenty-second) – playing at The Finsbury in London. Not only will she share the stage with some fine artists – see the official page for more details – but a chance to get her latest single to new ears. Looking at the feedback Birthday Blues has already accrued: it is a song that has resonated with people for a number of different reasons. Not only do the lyrics highlight some vulnerability and fears inside O Faith: there is a common sentiment that causes the listener to address their own life and purposefulness.

Once the dust has settled on Birthday Blues and the excitement being generated; fresh eyes and ears will want more from Michelle O Faith and what she has to offer. Since her debut E.P., she has been busy promoting and performing: connecting with her fan-base and recruiting new supporters. I feel she’s an artist that has a bright future and someone who has many more E.P.s in her. In terms of the coming year: more music and dates; fresh confidence and ambitions for sure. I would not bet against O Faith being a mainstream fixture in a few years; it is exciting watching her take these steps and impress so early on. Before I conclude things, I wanted to look back at the original points – great female singer-songwriters; new, big sounds and personalities – and look forward to 2017. Over the past few weeks, I have discovered some tremendous young artists and great female musicians. In terms of the mainstream acts popping up: the likes of Julia Jacklin have really excited me. I listen to the chart-approved music and feel it is not as deep, compelling and mature as it should be. There is still a raft of teen-aimed Pop stars that might have energy and fervency but possess no emotion, nuance or anything a proper music fan requires. I hope, one day in the future, there is a revolution that sees the mainstream Pop charts defined by absolute quality and innovation. Whether consumers desire or require the sort of machine-fed, committee-penned clichés is an argument for another day. The artists that deserve attention most – and, sadly, are often overlooked – are those we should be proffering. Michelle O Faith is one such example and someone who is making some impressive footprints. I opened with the opinion that the female songwriters emerging are stronger than their male equivalents. Whilst that may be an opinion many argue against: few can deny the fascinating young musicians in our midst. I have extolled the virtues of Billie Marten many times over – someone who is ready-made and fated for the big leagues. She is not an anomaly: instead, the personification of 2016’s female talent.

Not only someone who is consistently stunning and breath-taking but has a mature and wise head on her shoulders. O Faith, polemic in terms of her music, has a lot of Marten-esque strands and personality traits. Both are instantly loveable and intoxicating: O Faith is one of the hardest-working and active musicians you’ll find. As I stated earlier: her social media feed is filled with positive feedback; she often connects with fans and keeps everyone informed as to her going-ons and activity. Having comprehensively studied Birthday Blues – I hope my review does it the service it deserves – I am excited about the forthcoming E.P. I know, from brief exchanges with O Faith, how excited and pumped she is for the release. She lacks pretention and ego and is as pure and real as artists come. This honesty and unfettered personality comes through in the music and, as a result, has seen her fan numbers rise significantly. There are not many artists (British at least) that are combining intelligent, original lyrics with symphonic, atmospheric sounds and topping it all off with a blend of innate beauty and lusciousness. Michelle O Faith has that enticing combination of sensitivity and confidence and a singular songwriter who requires few other bodies ensuring her music is heard. That is deeply impressive – in a time where too many new musicians rely on other writers/producers – so we should provide her full support and backing. Birthday Blues is a stunning cut from a soon-to-be-awesome E.P. Not only one that announces a tremendous young talent but will provide inspiration, guidance and wisdom to (younger, upcoming) musicians that will hear it. Few higher compliments can be paid to a musician, so with that considered, ensure…

YOU bring this wonderful talent into your life.

[soundcloud url="https://api.soundcloud.com/tracks/287284819" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

_______________________________

Follow Michelle O Faith

 

Facebook:

https://www.facebook.com/michelleofaithofficial/?fref=ts

Twitter:

https://twitter.com/michelleofaith1

SoundCloud:

https://soundcloud.com/michelleofaith

Instagram:

https://www.instagram.com/michelleofaith/

INTERVIEW: Dexter Krenal of Meat Loving Vegans

INTERVIEW:

 

 

Dexter Krenal of Meat Loving Vegans

______________________

THIS is the second time I have interviewed Meat Loving Vegans’…

PHOTO CREDIT: Lou Smith

lead Dexter Krenal. The London-based band are one of my favourite ‘finds’ of the last couple of years and their album, Lost in Fiction, is a joy of deep songwriting and honest, punk-influenced vocals. The band are coming towards the end of their time together, so before the (sad and heartbreaking) final days: I was keen to catch up with Krenal and ask him about what the future holds and how it came into music. He – and the boys in the band – have great futures ahead and Meat Loving Vegans will play at my curated night (for Blogtober) at The Finsbury on the thirtieth of this month - they have their sophomore album to unleash in addition! Krenal is always loveable, honest and real when interviewing, so sit down and have a look – parental guidance advised in places!

________________________

[soundcloud url="https://api.soundcloud.com/tracks/287689762" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Hey Dexter. How are you? How has your week been?

Good cheers, mate! Weirdly enough, I’ve got man-flu though - which I bloody had last time you interviewed me. You ain’t sending me lurgies through with these questions somehow are ya? (Maybe – Sam).

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

I’m Dex: a slightly nutty, rough-around-the-edges twenty-five-year-old. The front-man of the London-formed, up-in-the-air jazzy Alternative-Rock band, Meat Loving Vegans. ‘ELLO!

Can you tell us about how Meat Loving Vegans came together? Did you guys bond instantly or was it a bit of a chore getting things gelled

It started by me writing and recording an album mostly on my tod (in a bedsit) in Lewisham, South London. I wanted a band to do it live - so put a feeler out to me mates and, voilà, M.L.V. was born.

Originally, you are from down Portsmouth way. The city gets a bad reputation. Do you think that is deserved and what was it like for an inspiring musician living down there?

Back down here now at the moment (‘coz my London life went down the swanny somewhat). Yeah, it’s a fuck*** shithole but it’s home.

Portsmouth is no stranger to lager louts; lairy sods wanting a ruck for no good reason; football hooligans and what have ya. They’re rough people, but good people.

If it were all flowers and beauty 'round here it’d be full of the likes (of that on) Hampstead Heath - AND WE DON’T WANT THAT! I actually think it’s banging for a musician down here to write/discover who they are – you don’t have the distractions or brutal price tag of London to pull you away from what ya really want to be doing.

What was the moment you realised you wanted to get into music? Was there a gig or band you saw that lit the spark?

I was brought up on council estates and all everyone did when I was a teenager was skive off, get into trouble; get pissed and what have ya which don’t get me wrong, I was no stranger to - but I wanted more than that. A mate of mine joined a band and did a local gig in a parish centre - which was hands-down the most exciting thing that happened to anyone ever. They only did one or two original songs but it didn’t matter. The lead singer could have been farting down the microphone for all I cared: it was loud and it was fun. It was definitely better than a slap on the botty for being a little sh*t and I wanted in!

A few years ago, you moved up Camden way. What was it like in comparison – I can imagine it is a part of London that suits you very well?

Fuck*** loved it mate. I moved up there four years ago and I was like a kid in a sweet shop.

My first place was a room on an estate across the road from Amy Winehouse’s gaff. Mates would see Pete Doherty strolling around or on the market stall he owned selling celebs’ fag butts and sh*t on the Chalk Farm Stables.

I met Noel Gallagher in a pub called Dublin Castle off the high street - live music 'round every corner.

I often ask people (who play and live in London) how important the city is with regards inspiration and subject matter. What does London mean to you, personally?

Its energy is undeniable and the city is an endless source of incredible inspiration and goings-on. London will always be close to my heart: it’s a place like no other. I’m also a bit bitter grapes about it at the moment – its other side is that of careerists, two-faced arseholes and insane living costs which is making it hard for decent art to survive. In my opinion, the best stuff comes from the gutter up and at the moment, unless you’re one of the yuppie, Portobello Road, my-dad-pays-for-my-rent-and-funded-my-E.P. type of thing, it’s a no-go. Let’s hope it’s saved before it’s too late.

 [bandcamp width=350 height=470 album=1798334013 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=1845806847]

Lost in Fiction was the debut album from Meat Loving Vegans – an album I loved. Looking back at the album: what was the reaction like to it and any particular songs that stick in your heart?

Goodbye Granda will always stick with me – no way that’d ever get on radio 'cos it’s too full-on but it weren’t (sic.) made for that.

That is a goodbye note to my beloved grandad: right from the heart that is and I’m insanely proud of it.

In terms of reception, it took a while but getting there! You Ain’t No Dog  – a political song I wrote with my mate Ben Toon - got played on the radio a little while back and they liked it enough to let us do a live show on Express F.M. (on the twenty-ninth of this month off the back of it).

Can we expect a second album from you guys or any new songs this year?

Yup. Another full L.P. in the works right now. God knows when it’ll be done but it’ll get finished, even if it kills me. Too much has happened in the making of it for it to sit on the shelf - it looks like it’ll be the end of the year. It’s intense.

I know you (like me) have a love for real and gritty artists like Oasis and Jamie T. You seen the Oasis documentary yet? What was your opinion of Jamie T’s latest record?

Nah. Missed the Oasis doc. so I’ll have to catch that on D.V.D. (which I was fuck*** livid about!). Didn’t realise it was just for one day! Can’t wait to see it, though: them sods from Burnage in Manchester gave a generation of working-class young’uns hope and that’s fuck*** special; I don’t care what anyone says about them. And, as with Jamie T’s new album, I went to see him play it live on tour at the Portsmouth Guildhall the other week - was a banging gig (what I can remember of it).

[bandcamp width=350 height=470 album=1798334013 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=1304917266]

In terms of your own songwriting and creations: do you write from experience or fiction when penning a new track? What kind of thins motivate you to put pen to paper?

Always experience. ALWAYS. I can’t write about make believe bulls*it and don’t see why I’d ever want to.

“I DON’T BELIEVE ILLUSION 'COS TOO MUCH IS REAL!” in the words of John Lydon - and damn right he is.

Anything that gets me in the gut - good, bad or otherwise - is what makes me put the pen to paper. Music’s all about communicating with people, so you’d better have something worth saying.

Even though Meat Loving Vegans have had to cancel a few gigs lately: you guys have any plans to perform any more dates this year?

Yeah, the day after the Express F.M. radio show on the twenty-ninth we’re doing this festival called Blogtober at The Finsbury in London (the day after).

The way it’s looking, that may or may not be the last thing we do as Meat Loving Vegans (so don’t miss it!).

PHOTO CREDIT: Lou Smith

It has been a big year for you and the band. Any especially fond memories and moments that will live on for you?

Yeah. I’m living on my keyboard player and old drummer’s floor and writing music working on this album like a fuck*** madmen. All got a bit nutty though and the memories of lugging amps on the tube can suck a fart right out of my fuck*** bumhole.

One thing that impresses me about you is how down-to-earth and D.I.Y. you are. The music seems home-made and you have a cheeky personality. Do you think too much of today’s music is fake and personality-free? What are your opinions on today’s crop?

Couldn’t agree with that statement more! Even so-called ‘rough-around-the-edges’ artists like Jake Bugg don’t write their own fuck*** songs nowadays. He’s got a co-writer. It’s all so sanitised; it’s criminal. Saying that: forming in the gutters late at night are labels like Trashmouth (in South London) releasing real raucous shit. Out of darkness comes light.

Any new or particularly great bands or artists you think we should check out right now?

Fat White Family, Phobophobes; Misty Miller, Bad Parents; Meatraffle, Madonnatron; Mac DeMarco, VEDA BLACK; Slaves, Black Honey; Mummy and Sex Cells.

[youtube https://www.youtube.com/watch?v=sPlPsyr_aKE&w=560&h=315]

I know the last few months have been quite turbulent and you’ve overcome some obstacles. What are your hopes and aims for the next few years with regards music and your personal aims?

Soul search; find my voice and get back out there big-time.

I’m gonna keep my head down and focus until the time is right - but when I’m ready, it’s gonna be full-on.

Until then, I’m gonna re-master an album’s worth of songs from my old Alt./Hip-Hop/Rock band Urban Disturbance - that’ll be done real soon. Then, finish off this album with the Meat Loving Vegans by the end of the year.

Finally, and for being a good egg, you can name any song you like; I’ll play it here…

Heard this the other day and it blew me away. Only just got into Radiohead after my mate Ben has hounded me with ‘em for years

[youtube https://www.youtube.com/watch?v=Ti6qhk3tX2s&w=560&h=315]

_______________________

Follow Meat Loving Vegans

Facebook:

https://www.facebook.com/MeatLovingVegans/?fref=ts

Twitter:

https://twitter.com/MeatLovinVegans

SoundCloud:

https://soundcloud.com/meatlovingvegans

BandCamp:

https://meatlovingvegans.bandcamp.com/releases

YouTube:

https://www.youtube.com/c/meatlovingvegansofficial%20

INTERVIEW: Lewis Fieldhouse

INTERVIEW:

 

 

Lewis Fieldhouse

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‘THEY don’t make them like they used to’ is an adage that cannot be applied to London-based Lewis Fieldhouse - he is a human that seems to embody quality, originality and hopes for modern music. I often hear that phrase levied at older musicians – those that have laid down a biblical marker – but not to new acts, as such. Fieldhouse is a musician that seems to be from another time yet very much a part of 2016. His album, Theodore Washington and the Central Valley, is launched on 2^nd December and is the result of a successful Kickstarter campaign. In 2013, Fieldhouse embarked on a tour of the U.S. to help discover himself. I ask about that trip – and the things learned from that time – and what we can expect from his forthcoming album.

HEADER PHOTO CREDIT: Ray Roberts

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[youtube https://www.youtube.com/watch?v=-25dslZUwtc&w=560&h=315]

Hey Lewis. How are you? How has your week been?

Well, my mum just got married so it’s been really wonderful! And at the beginning of the week I was recording a music video for one of the singles off the album in Barcelona; so that was really intense but super-fun. All in all, a big week really.

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

Think Eagles-meets-the Mystery Jets with songs that tell stories. My whole album is about a trip to California in 2013 and goes through a lot of emotions. It’s lyrically quite intense.

Naked Psychopathic Blues one of your newest releases (interesting title!). Can you tell us what inspired that song/title?

The song is about a sociopathic narcissist. The last verse was the one I wrote first: “Darling I think you should leave me where I lay/before your mother comes and we really make her day/If she saw me OD, that bitch would put me on display/and I couldn’t stand to see here smiling”.

I had the vision of this maniac running through his house on drugs; deep in the latter stages of an abusive relationship with his wife; trying desperately to hang onto what semblance of control he has over his life.

It’s all about control, that song.

“She said I loved you in the worst kind of way/with a hunter’s pride she thinks you’re my trophy wife” is a lyric (from the song) that shows a writer influenced by literature and classic novels. Would you say you draw inspiration from literary greats?

I’d be the first to admit I'm not very well read although fantasy literature is something I love. I try to be as descriptive as I can when I write without laying it on too thick. My lyrical mantra is ‘Make every word count, baby’ which is a problematic sentence in itself! But from a literary perspective: I am always aware of the great characters and their struggles. Dr. Jekyll, Holden Caulfield; the Old Man from The Old Man and the Sea. Their stories are useful to frame a narrative in a song. They provide a guide of what might or might not be essential in writing a four-minute song.

PHOTO CREDIT: Juliette Carton

Was the song – and the heroine’s ambivalent, twisted personality – drawn from past romances or taken from a fictitious point-of-view?

The song isn’t about a relationship I was in but involved my family.

Write what you know is also a big mantra.

He Hath Made You Rich is another, more romantic side to your craft. The vocals are especially striking and luscious. What can you tell us about the song’s origins?

Thanks! I literally sat down one day and just wrote it. I wasn’t in a relationship at the time but I had just gotten through some personal barriers that were keeping me out of relationships for a good while (out of choice). I needed to figure myself out. I had decided who I was, who I wanted to be in a relationship and who I wanted to be in a relationship with. So, maybe this song was a bit like a letter to the universe saying “I want this relationship”. There’s defiantly a purity in the song that I'm very happy about. It gets straight to the point without obfuscation or bullshit. I like that.

[soundcloud url="https://api.soundcloud.com/tracks/283173908" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

In terms of vocal comparisons: some have noted a hint of Jeff Buckley to the tones. He is my musical hero. Is he an artist you have been inspired by?

Again, thanks!

To be compared to Jeff isn’t something to take for granted and it’s certainly unexpected. That wasn’t my intention.

But he is defiantly one of those musical talents that permeate popular culture and to all budding songwriters. I think Grace is an album that’s a must-listen. The texture of his voice is astounding. His skill on guitar is something I’ll never be able to touch. He’s incredibly inspiring. Another person with an interesting and emotional story.

In 2013, you embarked on a trip to the U.S. to follow your heroes and discover yourself. What motivated this decision?

I was partly going out there to go to a YouTube conference but that was only three days of a six-week trip. I wanted to explore California and myself. I told myself I wanted to network and make a few connections in the music industry but there was defiantly an element of escape there as well. I wanted to get out of the U.K. and swim in a different pond for a while, you know. Meet different people with different ideas. The U.K. can be quite harshly realistic at times when all you want to do is dream a bit and be ambitious.

Californians won’t hold you back. They’ll have a party for you and send you on your way!

I also wanted to escape my home life. Personal tragedy had been quite heavy on the agenda along with those turbulent characters. California called and I went. I really wish I’d seen a bit more of the West Coast because I had the offers but something about san Francisco felt quite immediate; like I needed to be there.

PHOTO CREDIT: Juliette Carton

Instead of self-enlightenment and fulfillment; it seems like the darker side of the soul was exploited; the seedier side of America uncovered. What was the experience like and, in hindsight, do you think it has benefited your music and growth?

It was absolutely vital to the person and the artist I am today. I discovered more about myself in those six weeks than I may ever discover again; certainly in such a short time. I had to face issues of mortality, abuse, gender and loss. It defiantly revealed parts of California that I didn’t like and of myself as well. It’s taken quite a long time to process the whole experience and I’ve written a lot of songs about it. I do certainly feel more fulfilled and enlightened now, but at the time, it was very different. My music has been changed for the better, for sure. It’s more realistic. My writing style is music more experimental. I’m less afraid to make mistakes. I want to write what I want to say. I don't think I’ll ever be that straight Pop songwriter chasing the number ones.

Whilst you were in the U.S.; did you write a lot of material and what form did that take?

I didn’t write an awful lot. I was quite preoccupied. But one song I did write was No More (the ninth track on the album). It’s about my mother and how I wish her life could have been very different. She’s in an amazing place now though, so maybe that wish was set in that time period. That song became a prayer for her: to take back her life and to be strong again. It was quite folky - just written on acoustic guitar. It’s still a very emotional song for me, but maybe now for happy reasons.

Theodor Washington and the Central Valley is your album (out in December). I get the album looks at corruptions and depression are the major themes. Can you reveal a bit about the album’s subject matter and what it will explore?

Yeah, it’s a lot about that soul-searching I did, but it’s not too metaphorical about it. I look at the issues I came up against right in the eye.

That’s my style. I look a lot at gender and how I see women and how women in my life have been mistreated by people they love; how I’ve mistreated women I love, in fact. Part of Naked Psychopathic Blues is recognising the psychopath that could dwell within me. The potential that everyone has to go down the wrong path and to hurt people. That terrifies me because I know how easily it can happen.

What are your views on what is happening in America in terms of the political rise of Trump and the gun-related violence against the black population?

Wow, got another article I can write?! I think Trump is a nutcase. What’s revealing and scary is how many people are backing him seriously. But that’s a very simplified look at the issue, which is, of course, nuanced and delicate.

People have seen their livelihoods destroyed since 2008 and the State become more and more apart from people experience and less efficient at dealing with people problems.

In the U.K., the rise of the right-wing has been pretty shocking with nationalism seemingly rearing its ugly head again in mainstream life. U.K.I.P. (nationalist and anti-establishment) won two-million votes in the last election.

PHOTO CREDIT: Ray Roberts

People who have been disenfranchised by the system are now fighting back through votes. Neoliberalism has become a farce. People aren't equal and we need to be NOW. Black people need to be protected from institutional racism of the establishment police forces across America. Trump won’t solve that issue. I think Dr. Dre said it best: “The people are hungry, and next time it won’t be a few protests or a blockade of city blocks. People will consume the rich” (which also isn’t the answer because we need wealth in society. But we need control over that wealth to do the most good, all the time).

[youtube https://www.youtube.com/watch?v=l__qFGeq-Nc&w=560&h=315]

Some blogs and reviews have dubbed you as one of the most exciting artists around London. What does that feel like to see those words printed on the page/screen?

It’s nice to read those things, of course! Do I agree? Well, I think I have a very (very) long way to go yet. I hold myself to very high standards and I’m not there right now. Ask again next year!

As a musician; how do you think you have changed and grown in the last few years? How has your songwriting changed over that time?

One of my issues has always been to stick to a genre of songwriting for more than a couple of songs. Ask me to write you a Pop E.P.? Done. Dance single? Easy. A couple of Folk tunes for a few singers? No problem. For myself? I really love the variety. So finding and sticking to Americana for a whole record was surprising and pretty pleasing to be honest! My early stuff is quite Indie. Now it’s very different. I still love Americana and feel it a genre I can grow into! I’ve gotten a lot better as a musician by just listening more. I listen to so much music from all different genres. R’n’B makes me so happy right now. Some guys in London are killing it!

I feel literature and writing are passions you indulge away from music. How do you unwind as an artist and what does a Lewis Fieldhouse day off consist?

Funnily enough, I have a fantasy novel on the go, but I wouldn’t call it ‘relaxing’! More like a sprawling, untamable monster that I have to reign in!

I feel most at ease in nature. I love to walk, ride my bike. I love the autumn weather we’re having right now: so crisp and still warm after it rains. The colours really make me happy.

If you had to define and narrow down your favourite three albums; which would they be and why?

Wow! Only three? OK…

Parachutes - Coldplay. I love this record: the way it’s recorded, the intimacy; the performances, the sounds -from the guitars and drums and the feel of Berryman’s bass. That album made me want to write songs.

OK Computer - Radiohead. Just perfect. From first note to last. The brilliance of the songwriting: Yorke’s vocals in Let Down; soaring and diving. Nigel Godrich’s production; the innovation of O’Brien and Greenwood’s guitar. Everything on that record is flawless.

Fear Fun - Father John Misty. This record redefined how I wrote songs. I first heard him in Echo Park (in L.A.) just before I went to San Francisco in 2013. The songs blew me away. Honesty, lyrical direction more like narrative; lush vocals. It was a record that will stay with me forever. I go to his shows and I scream at him like a teenage girl. He laps it up too: I'm not the only one doing it!

PHOTO CREDIT: Ray Roberts

What advice would you give to new musicians that might want to follow in your footsteps?

Keep going. The only way you stop being a musician is by stopping. If you keep riding the bus then you’re always on that adventure.

Listen to everything and then listen to everyone else. Go with your instincts and don't be afraid to toil. Creativity isn’t pretty sometimes.

Finally, and for being a good egg, you can name any song you like (not one of yours as I’ll include them); I’ll play it here…

You HAVE to spin this track from Sampha - a London R’n’B singer - called Timmy’s Prayer. Pure fire my friends. YEESH!

[youtube https://www.youtube.com/watch?v=ZQXDVZf3akg&w=560&h=315]

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Follow Lewis Fieldhouse

 

PHOTO CREDIT: Ray Roberts

Official:

http://www.lewisfieldhouse.com/

Facebook:

https://www.facebook.com/lewisfieldhousemusic/?fref=ts

Twitter:

https://twitter.com/lewisfieldhouse

SoundCloud:

https://soundcloud.com/lewisfieldhouse/

YouTube:

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

INTERVIEW: Ben Rockwood of EastDear Park

INTERVIEW:

 

 

Ben Rockwood of EastDear Park

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MARYLAND Metal warriors EastDear Park are representing the state right now…

and doing a damn good job. There is traditional focus on the sounds coming out the big cities: we forget there is a world of music away from there – EastDear Park represent that with aplomb. As they say on their Facebook page: “We are five down to earth guys from Gaithersburg, Maryland dedicated to a life of playing music. Music is what we each fall back on during good and bad times. We go all out at performances and love getting the crowd involved. No matter where we go, we will always remain humble and will always hold open arms to whoever wants to get to know us”.  Their E.P., M, was released this year and showed what a force and proposition they are. Following an exciting, incident-packed year: I caught up with the band’s bass player Ben Rockwood to discuss the E.P. and the highlights of the year; what albums have inspired him and the ultimate Snog, Marry, Avoid? question…

HEADER/BAND SOLO PICTURES CREDIT: Hannah Scarlet Goeller

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Hey Ben. How has your week been? What have you been getting up to?

It’s been busy! We’re trying to get our new E.D.P. tie-dye shirts and tour bus ready to go! We’re also gearing up for a big show at The Canal Club on October 28th with Ghost Key, Sirens & Sailors and The Plot in You!

For those who are new to your work: can you introduce yourself to us, please?

We are EastDear Park from Gaitherbug, Maryland: trying to put the 3-0-1 on the Metal map! E.D.P. consists Daniel Shields (Vocals), Kevin Petley (Drums); Ryan DeOliveira (Guitar), Colin Fraser (Guitar) and Ben Rockwood (Bass). We love drinking beer and playing shows! BRING THE HEADBANG!

M is your latest E.P. and it seems like it was a labour of love and really important work. How does it feel looking back on the recording process and any songs (from the E.P.) particularly standout for you?

The tough thing about the recording process was that we were all super-broke so we had to ration what little food we had to last us the whole trip.

We literally ate canned beans, ramen and easy mac every day while we were there. It also forced us to grow a lot closer since we all had to stay in the same room together that whole week.

We had been through a lot of ups and downs together since our last release (two years before) and the rollercoaster of emotions was definitely funneled into every note and lyric on this E.P. This E.P. definitely contains some of the most personal lyrics I’ve ever written for sure - especially Malice and Marsiglia. The whole E.P. goes from dark to light: starting off with a very depressed, morbid tone to one of complete optimism and gratefulness.

[youtube https://www.youtube.com/watch?v=XZlACp8iwvE&w=560&h=315]

The E.P. is available to stream on YouTube. In an age where musicians struggle to earn money to survive: do you feel more needs to be done to support artists and ensure they can earn a living from music?

The best advice I can give to anybody that calls themselves a fan of music is to go to your local music store and buy CDs from all your favorite bands. Go to all your nearest local shows to buy up all their CDs and merch. too. If you want your favorite artists to keep making the music they love: put money in their pockets by buying their merchandise and supporting them whenever they have a show. Every one of your favorite bands started off as a shitty local band playing in front of ten people at some shitty local venue. Help these people chase their dreams and they’ll return the favor by making that music you love so much.

You hail from Maryland (Gaithersburg). Is there a big local scene and which Maryland artists would you recommend?

It’s a real hit-or-miss scene but in the places where there’s any scene at all you can find a real sense of brotherhood and comradery.

Every MD band is in it to help every band around them. We know we’re all in it together. We all show swap; share each other’s music; buy each other’s music and support each other any other way we can. The scenes in Frederick, Baltimore and D.C. are all pretty sick. The list of talented Maryland bands goes on and on: Hydra Kyll, In Dying Arms; Animals As Leaders, Periphery; Silent on Fifth Street, The New Reign; Heijeira, Black Matter DeviceBlack Matter Device; Existential, Silence the Requiem; Mirrors, Phantoms; Delenda, Sharptooth, Subvert; Kalevra - and the list just keeps going...

As a Metal band; which other bands – older or new – have you drawn inspiration from?

Oh man, this is a long list...

Killswitch Engage; Lamb of God; August Burns Red, The Contortionist; Fallujah, Periphery, The Ghost Inside; Architects, Letlive; Whitechapel, Erra; This or the Apocalypse; Volumes, Underoath; Parkway Drive, Born of Osiris; Attilla, etc.

For those who find Metal a niche genre and not universal enough to be accepted into the mainstream, what would you say?

I’d have to say that isn’t true mainly because there’s just so many sub genres of Metal - it’s almost impossible not to find something that makes your head move. Also, it’s becoming more and more accepted by the general public due to the majority of Metal’s content becoming more uplifting and positive - with a life’s-tough-but-power-through-it type of mentality. The music is just so much more passionate than any other type of music and with the substance of rap in the decline thanks to all these mumble rappers now a days its music that is a lot more relatable for the more emotional kids.

You have started touring to support your E.P. Which towns and crowds have been memorable and do you enjoy the touring lifestyle?

Well, unfortunately, our bus broke down recently so we’ve been saving up and keeping it to short runs (until we can fix our bus).

Our best crowd will always be in our hometown of course.

We were born for the touring lifestyle. We love exploring places we’ve never been too before and playing in front of new faces every night. We love meeting people at our merch. table every night and gaining new friends.

Do you have any wild anecdotes or behind-the-scenes secrets from your touring? Which band member is most likely to stir up a bit of trouble on the road?

A lot of partying. If you’re ever at an E.D.P. show, come out to the van if you want to turn up - that’s an E.D.P. fact. If you ever want to buy us drinks or blaze us up we will love you forever! We always gotta have our mind right for our set! Out of all the members, I’d have to say Shields, Ryan and I are the trouble-makers. Whenever we get drunk our fuc***-up sense of humor comes out and we like to mess with people until they hate us. Messin’ with people in public is always the best. Honestly, it depends on whoever is the drunkest that night.

[bandcamp width=350 height=470 album=397822287 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=2017621763]

Looking ahead to the next few months: any new material being worked on or is it going to be touring and a bit of downtime?

Right now we’re working on getting our bus fixed so we can get back on the road!

The U.K. would certainty love to see you. Does the band have any desire to come perform in Europe?

That is our #1 dream! We would love nothing more than to tour Europe! The Metal scene is SICK there!

It seems possible (frightening as it is) Donald Trump could be the U.S. President soon. How does that make you feel as citizens and as musicians, do you have a political side to you?

I hate both candidates with extreme passion. Trump is just a racist moron who grew up with his daddy’s money while Clinton is a crooked criminal that has exploited our system for forty+ years. Politics definitely interest me but I use music to escape politic not voice it.

A sort of Snog, Marry or Avoid? kind of question. Metallica, Iron Maiden and Judas Priest: which would you perform with; which would you go on a drinking binge with and which would you want to be for the day?

Damn, this is tough.

Perform with Judas Priest because their shredding is incredible; drink with Metallica because those dudes were wild back in the day (and definitely know how to party) and then be Iron Maiden because they’re fuck*** Iron Maiden.

If you could be stranded on a desert island with one record each, what would that be and why?

Ashes of the Wake by Lamb of God. I literally listen to that album at least once a day. It’s just so groovy and badass.

For those young bands looking to follow you into music: what advice and tips would you offer them?

Be ready for a rollercoaster of emotions. You’re gonna have good days and then you’ll have bad days.

Sometimes it will seem like your band can do no wrong and other times you’ll wonder how you’re gonna make it one more day without quitting. Just never give up and grind your ass off. Make music and play as many shows as you can.

Finally, and for being good sports, you can select any song (other than your own as I’ll include one) and I’ll play it here…

Burn - Usher

[youtube https://www.youtube.com/watch?v=t5XNWFw5HVw&w=560&h=315]

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Follow EastDear Park

 

Facebook:

https://www.facebook.com/EDPMD/?fref=ts

Twitter:

https://twitter.com/eastdearpark

BandCamp:

http://eastdearpark.bandcamp.com/album/m

YouTube:

https://www.youtube.com/watch?v=zVi7lOXmHZ8&feature=youtu.be

INTERVIEW: Chaos Jigsaw

INTERVIEW:

  

Chaos Jigsaw

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ONE of the most lamentable and sad days of my blogging career…

was hearing Bi:Lingual had split. The group, led by the hard-headed spits and slick-as-you-like rhymes of Dylan Cartlidge, seemed primed for the big leagues and had a passionate fanbase behind them. The details of their disbanding are shrouded in mystery but the shockwaves are evident. A unique band that mixed Rage Against the Machine and Beastie Boys: a cauldron of Metal aggression and political elements with experimental Hip-Hop tossed in. Now, Cartlidge has stepped into the solo arena as Chaos Jigsaw and is showing huge promise – the singles dropped so far emphasise his songwriting talents and, if anything, the music being made now (by Cartlidge) is his strongest so far. An E.P. is coming about and I was excited to grill Chaos Jigsaw on his new material and his inspirations; what subjects go into his music and his views about Manchester City’s recent good form.

________________________________

[soundcloud url="https://api.soundcloud.com/tracks/266184020" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Hey Dylan. How has your week been? What have you been getting up to?

It’s been good week thank you. My birthday has just gone by so I’m still feeling the after-effect of that but we’re putting the cogs in motion for a short horror movie that we’re going to use as a music video - so that’s really what I’ve been doing this week.

Being a Manchester City fan you must be pretty chuffed right now. Is the new manager the reason for their success or is the squad gelling more effectively?

Yeah pretty much in dreamland though getting bashed 2-0 by Spurs in the last game wasn’t fun. Ten wins a draw and a loss: I think any team would take that, and yes, I think it has to be largely down to Pep Guardiola.

Can you tell us a bit about what you do?

I rap, sing; play bass and keys along with other bits and bobs (to best try and express myself).

Chaos Jigsaw is your musician moniker. Where did that name come from?

Ha.

It’s back from when I first decided I was going to be a rapper - when I was thirteen (fourteen maybe) and I just trying to come up with names that best described me and my objectives as an artist.

It also became my Xbox gamer tag for the following four, five years or something, aha ha ha! Oh dear.

[soundcloud url="https://api.soundcloud.com/tracks/275647460" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Love Spoons is your most-recent single and one I love. What was the inspiration behind the song and was it an easy song to record?

Thank you!

Love Spoons was something that came about when I heard about the Orlando attack and I just couldn’t believe people: like humans beings were being targeted and killed for being themselves.

Being a bit of a self-proclaimed loner back in the day; feeling like an outcast at times because I didn’t feel and look like everybody else for one reason or another. This became my biggest strength when I accepted that I was different and that I was ok with that - so it’s really just about being yourself and not being afraid of what people might think. In any circumstance, whether it be love, friendship; dress sense, personality; hell even how you talk; hell if it’s you…do it. Yeah, once I’d figured out the basis of the song it was easy to record due to my producer Brendan Portues. He’s amazing and makes what I do seem so much easier as we have a great relationship and tend to be on the same page when it comes to recording.

[soundcloud url="https://api.soundcloud.com/tracks/269730897" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Strawberry Blonde’s Snip and The World Outside are another couple of tracks you have put into the world. Can you reveal a bit about those tracks and what they represent?

These songs were written quite close together but one was self-produced and the other with Brendan (as it was the first of the E.P. tracks). Strawberry Blonde’s Snip was my first track released after I re-booted Chaos Jigsaw and was really a song about my first sort of feelings around relationship and being close to somebody but not quite knowing what to do. The World Outside was a song (really about) my feelings and experiences towards people I knew growing in the types of environments I grew up in. Knowing how abysmal it can be at the time - especially when maybe outside your house nobody knows what truly goes on inside but you and how it can feel - like literally a whole other world; hence The World Outside. Just really trying to offer a form of hope or encouragement to anybody dealing with anything like that really.

With singles and samples in the ether: is there an E.P. or album in the pipeline?

Yes. I’m releasing the third song on the E.P. (You Make It) in due course and the E.P. (entitled Six Weeks) will follow.

Your music has some rather groovy basslines and fast-flowing raps. Few other artists have that same combination. Was it a conscious decision on your part or is it the best way to deliver your music?

Erm. A bit of both really.

I think I’ve always wanted to play bass as I just love the way the notes sound in that lower register (on a bass) so I did and (just) really everything for me starts with the bass.

The progression or the groove; I always  think of how the bass might sound. Then, naturally after that - as first of all a rapper - you know it’s my domain from there. But yes; it’s definitely something I make myself aware of when writing and find works for me.

Many have made comparisons between you and Beastie Boys and other stellar acts. Which musicians did you grow up listening to and which albums are your personal favourites?

It’s a strange one really because I guess I’ve had like two musical births if you like. I grew up listening to (mainly the) chart music at the time you know and Hip-Hop artists like Kid Cudi, Jay-Z; Kanye West, Perfect Disaster and Stomrae. Disregarding anything that remotely resembled Rock and a lot of Indie music really with my mindset at the time as hating this ‘mosher’ music, aha! Then, I moved away from where I was from; everything I knew really. I started over and I joined a band with some really cool Rock ’n’ Roll dudes who totally changed my musical life. Firstly introducing me to The Black Keys, The White Stripes and Cage the Elephant; from there, I just fell in love with so many bands - really too many to name; it was just all so alien to me, aha!

You were the front-man of (sadly departed) Bi:Lingual. Is it sad to no longer be in a band and what have you learn from your days touring with the guys?

Yes. It was sad to bring it to a halt with Bi:Lingual as they were great guys that taught, gave and made me experience so much than I ever would have otherwise.

I have profited greatly from the knowledge gathered over the course of the band days but we still keep in contact - they are all doing very well and are all involved in new projects which is really cool as well.

Is it very different being a solo artist and is it easier or harder getting music together would you say?

Yes, I would say it’s worlds apart really, you know: from the creative control to gigs and rehearsals. They both have their own unique, challenging and exciting feel - and a rewarding musical experience overall.

A lot of musicians write about personal struggles and anxieties. Are these subjects that go into your music and how important do you think it is addressing these topics through music?

I think any music that is personal can always be great music as it presents authenticity, genuine warmth and honesty to your audience and (I) think it’s very important as it’s something that I use as a way to cope with my own issues. I and my younger brother both have P.T.S.D. and my music’s my way (I guess) of showing that it won’t stop us from doing anything.

What have been the highlights of your music career so far – either with Bi:Lingual or your current work?

I think with both Chaos Jigsaw and Bi:Lingual: there’s just nothing like hearing your music on the radio.

Can you tell us what the rest of the year holds for you and what plans you have?

Some exciting things happening with Sunbird Records.

My E.P. will be coming out as well as my first-ever short film/music video (I’ve been involved in like this).

Are there any new musicians or artists you’d recommend we check out?

I’m loving The Amazons at the moment; The Family Rain are great; my boy King Lion; my boy Mattu and Crazer Beam for sure.

For any musicians wanting to follow you into music; what advice would you give them?

Teamwork makes the dream work. Don’t be scared to get people you trust onboard even if it’s not musically; set small realistic goals on your treasure map.

Finally, and for being a good sport, you can select any song (other than one of yours as I’ll include one) and I’ll play it here…

Mr. AJAD - Living the Dream

[youtube https://www.youtube.com/watch?v=gYxASUPkPJU&w=560&h=315]

________________________

Follow Chaos Jigsaw

 

Facebook:

https://www.facebook.com/chaosjigsaw/?fref=ts

Twitter:

https://twitter.com/dylancartlidge

SoundCloud:

https://soundcloud.com/dylan-cartlidge 

TRACK REVIEW: Leaone - Goldtooth

TRACK REVIEW:

 

Leaone

 

 

Goldtooth

9.4/10

Goldtooth is available at:

https://soundcloud.com/hisnameisleaone/goldtooth/s-yiJ8w

OFFICIAL RELEASE: 16^th September, 2016

GENRES: Pop

ORIGIN:

London, U.K.

PRODUCER:

Jim Lowe

____________________________________

NOTHING provides greater excitement and ease when confronted with...

a musician that seems to have everything figured out and sussed. Before I come to my featured artist; it is worth looking closely at Pop acts and the different types around right now; the hard backstories that some musicians have and the importance music plays to the individuality. I have been looking at Pop acts on these pages for years now and always surprised at the sheer variation and range you can get. I think we all assume – a point I have raised before – that Pop music is going to be chart-made and that same old sound. Maybe we get images of committee-designed stars and the ego-driven, faceless type that is not worth a second look. I, for one, have that sort of image and have long assumed a lot of new Pop stars have the ambition to hit the charts and follow that lead. There is a raft of people out there (playing Pop) that have depth and genuine talent is surprising. Perhaps it shouldn’t be such a shock but you forget that genre term is a little misleading. Perhaps we need to rebrand it and reevaluate exactly what it means. I am a little angry when I see some reviewers and stations turn their noses up at Pop because they assume the sounds are going to be a bit Capital F.M. Pop music is not just Autotune and processed vocals; bland lyrics and artists that are all scandal and shallowness. Cast the net wider and there is a whole world of new Pop stars that have the potential to give the charts credibility and maturity. Leaone is one such artist and a young man who has a serious team behind him. If you pull apart his music: you will not just get a disposable and radio-ready three-minute song. There is depth and nuance to be discovered; fascinating insights and soulful revelations. Maybe he should be labeled Indie/Country as his heroes and idols certainly would not be found named alongside most modern Pop artists. What fascinated me about Leaone is how he names Johnny Cash, Elliot Smith and Soundgarden as influences. It might seem a little naïve, but I have not seen too many new artists name-check Johnny Cash as someone they are compelled by.

That might seem like a generational thing, but maybe it is to do with musical tastes – a point I shall cover in more depth soon. Before I come to that point, and talk about new subjects, it is worth looking at my featured act:

“Leaone continues his rise with the sublime new single ‘Goldtooth’, released this September, and another stunning track that marks out this hugely promising new talent.

Self-produced and mixed by Jim Lowe (Stereophonics), Leaone began writing in his parent’s attic after a series of events (losing his girlfriend, job, and getting mugged) led him back home to his native Suffolk. Following a meeting with Jim at his Shepherds Bush studio the pair started working together, with Jim mixing and performing on some of Leaone’s material.

‘Young Green Eyes’ was the first track from those sessions to be released earlier this year, and an astonishing start for a promising contemporary artist. Written about his ex-girlfriend, the song is a haunting, reflective piece that reflects Leaone’s influences of both Johnny Cash and Elliott Smith.

‘Goldtooth’ picks up where ‘Young Green Eyes’ left off, with Leaone’s distinctive vocals pulling at the emotive heartstrings with superb delivery and melody, all swept along by an undercurrent of haunting and sparse instrumentation.

Since releasing his last single release and performing with Emmy The Great, Leaone has finished work on his debut EP, set to be released this autumn, and from what we’ve heard so far, it’s looking set to be something very, very special. Leaone is also already back in the studio, writing and recording his second EP after securing Arts Council funding for the release.

‘Goldtooth’ will be released on September 16^th 2016, and will be available from all good digital stores. More live dates and details of Leaone’s debut EP are set to follow in the coming weeks”.

When a musician is putting together their material and starting to write their songs; there are a lot of different avenues they can take. Many look at love and heartache – in a rather one-dimensional way – whereas many will recall harder times and try to make sense of them. That is true of Leaone who has arrived in London following some hard times. Not many people would be able to find strength to record music following a job and relationship loss; no less being mugged into the process. That is a hard lot in life and a spate of incidences that would knock many down for good. Living with his parents back in Suffolk – taking stock and thinking about life – the decision to come to London and make music was made. That meeting with producer Jim Lowe has changed his life and given new purpose. Instead of being angry and venting his spleen through music: what we get is music that tackles the past but does so in a calmed and mature way. That word ‘mature’ is one I keep bandying about but it is a very important one. When you look at Pop; many do not put that word into the mix and rightfully so. As Leaone blends other genres together, it would be unfair to see him as purely Pop-based. Too many musicians, those that go through similar trauma and horror, feed it into music that is juvenile, generic and muddled. I am not being voyeuristic and tabloid-esque delving into Leaone’s backstory but feel it is amazing he has found the resilience and inner-strength to press on and focus on his career. Many would be shattered and retreat into mundane work. The fact he is embarking on a career in music makes it all the more impressive. Music is an industry that is renowned for its instability and challenges. Making money and guaranteeing future success is by no means a safe bet. I still see a lot of acts having to break-up or stop making music. Although Leaone is starting out; there is evidence to suggest he will be carrying on and succeeding down the track. There have been positive reviews sent his way and the fans are starting to flock to his pages. As I said with yesterday’s review subjects, Life Aquatic Band: he will want to look at his social media pages and a possible E.P. At present, there are scant photos on his Facebook page – hence the repetition in this review of the images – and little background information. Leaone is represented by a P.R. company so a photoshoot or some promotional images would be helpful. At present, there is mystery and one has to use the music to get insights into the London-based artist.

I have mentioned how Johnny Cash and Soundgarden are influences for Leaone but that brings up a wider point. I feel my generation (the late-20s/early-30s) have quite good taste in music by and large. Maybe it is because our parents were brought up in the ‘50s and ‘60s and were exposed to greats like Bob Dylan and The Beatles. Passing that legacy and tastes on leads the child to discover contemporaries and dig into the best music of the ‘60s. I was brought up with a blend of T-Rex, Steely Dan and The Beatles; The Rolling Stones, Kate Bush and Led Zeppelin. As such, I was fascinated by that music and have (if I do say so myself) keep the quality control high and have pretty fine tastes in music. That is not to say everyone whose parents were born during this time would be exposed to some great music. I am just saying a lot of the younger generation are not looking back and feel that music peaks around the beginning of this year. The attention spans (or lack thereof) of many young people is quite profound. I hear so many young – in their teens – whose favourite songs and albums were taken from the last few years. Maybe they will mention bands such as Oasis and The Libertines but that only takes you back to the 1990s. Too often you name artists like Johnny Cash and Steely Dan and you are greeted with moronic blank stares and the invariable reply: “That was before my time”. The Battle of Hastings was before my time as was Glenn Miller – the fact I am aware of both of these is down to the fact we have the Internet and history; we can talk to our relatives and discover these things ourselves. It sounds like I am heading on a rant but looking at Leaone and his musical influences has raised an interesting point. One of the problems of new music is perhaps it lacks the variegation, quality and consistency we enjoyed a couple of decades back. I celebrate the 1990s like the winning of a world war: a triumphant time when everything seemed safe and wonderful. Looking back, it seems like those days are a distant memory. Part of the issue is the musicians and artists we have do not take time to discover bygone acts and take influence from the here and now. Music is becoming quite homogenised and restricted. There are so many different avenues (the new musician) can take but it is going begging for no reason. Leaone is someone you knew grew up in a musical house and was treated to a cavalcade of music legends. That love and passion for great music has followed him throughout tumultuous times and goes directly into his own songs. The importance of music means something different to many, but for Leaone, it seems like a lifeline and a purpose. We assume music is just a soundtrack and an inalienable right that we all have. Few of us consider just how meaningful music is with regards healing us and keeping us company during tough times; giving up impetus and the desire to keep going and be better people. Looking at artists like Leaone and his background should compel us to think more deeply about our own lives and what role music plays.

It is hard looking at how Goldtooth defines and breaks away from Leaone’s previous material as he is on his second single so far. That said, the two songs do differ and there is a lot of variety between the songs. If one looks at Young Green Eyes and we find a song that documents a relationship split. Just before coming into music; Leaone split from his girlfriend and found himself jobless and a little rootless. With that harsh origin and some painful memories to carry with him – many would create a song that spat with vitriol and rage. The song opens with swaying, moody strings and cinematic promise. The hero’s voice is booming and deep – a little bit of Eddie Vedder mixed with George Ezra – and looks at the silence and wanting it to take him. There is no morbidity and fatalism in the song and, instead, you get a young man that is trying to make sense of it all. His former love (and him) wanted what was best and it seems like the relationship ended because they were on different pages and had different objectives and aims for the future. It is a sad situation but one that is made beautiful and spectral through the swooning strings and affecting vocalisations. The hero yearns for the embrace of his girl and confesses to the pain he is feeling. The hurt one experiences when losing someone is evident and you get a sense of longing and torment. At the same time, there is never any explosion or lose of focus: at every point, the voice remains dignified and instilled with a certain gracefulness. As the final moments come in; Leaone wants to go back to the past when his girl craved his touch and the two were happy. The song was written (or most of it) at his parent’s attic after the relationship ended and you can hear that urgency and hurt surface. Young Green Eyes has plenty to recommend and was a stunning debut single. Goldtooth keeps that emotion strong and has familiar strands to Young Green Eyes. Goldtooth is a little lighter and breezier than Young Green Eyes and has more electronic elements to it. You get a sense of an artist looking to keep nimble and not repeat himself. Not quite going straight to Electro.-Pop; you get cinematic strings but impressions of other genres. As such, the vocal sounds less heartbroken and weighty but still tackles serious themes. Both songs have the same producer and sound and sit together wonderfully well and naturally. The difference is the subject matter and the compositions which differ from one another and show a talent that has plenty to talk about an inspiration. Both songs have their own merits but you can hear confidence and someone that is keen to get back in the studio. I hear there is an E.P. almost finished and that is not a surprise. Given his past and the events that have unfolded: an E.P. is sure to contain a lot of personal insights and documentation of painful times; plenty of wonderful music and rich vocals.

Goldtooth is a likely follow-up to the storyline of Young Green Eyes. One feels they could be a one-two on an E.P. and part of a concept. Like Lana Del Rey and her work – where she brings a narrative and concept to the songs – this seems to be the follow-up chapter or the morning after. That sense of the sun breaking over is sonically presented by calm strings and Country vibes. You get a little impression of Johnny Cash and Leonard Cohen. One hears something more serene and gentle but still packing shadows and hurt in the same breath. When the hero steps to the microphone, you hear about a girl who wanted what was best for her. Like her mother (like everyone) and many out there: perhaps there was a desire to find something different and more appropriate. It is hard saying whether Goldtooth is about a direct break-up but seems to deal with those issues. Some of the vocals do get lost in the mix about and lack decipherability. It is an issue with those possessed of deeper voices. If the lyrics are sung quite fast then it can mean lines and syllables get distorted and collapse into one another. That is not to say it is a big issue for Leaone but just one of those unavoidable problems. That being said, one hears enough of the song and gets an impression of what is being sung. The hero seems to be in his room blowing smoke from the window. Johnny Cash is playing on the stereo and there is a glimmering gold tooth shining. One casts themselves to a lonesome desert road and a troubadour packing his bags and pounding the road. That sense of Lana Del Rey comes through in the lyrics and story. She is wonderful when it comes to Americana and something vintage and fresh. Her songs tend to look at 1950s America and are filmic in their scope and sound. Likewise, you get an impression of that with Leaone. He is someone who has affection for artists like Cash and is capable of taking the listener into a strange and beautiful world. One cannot ignore the heartache that is being assessed and the feelings that are being kept down. Maybe looking back at the relationship break-down and his eyes are not lying. Asking questions of the girl – why didn’t she treat him like she promised? – there is that confusion and bafflement in the lyrics.

The sweetheart has perhaps been dishonest and telling Leaone one thing and not keeping promises. Maybe the love burned bright but there has been deceit and deception. In terms of the vocal and lyrics: you hear something tender and haunted but the words provoke big images and something tangible. A lot of artists deal with clichés and basic language but Leaone is a storyteller and poet and ensures his songs differ from the pack. The “world gets rough” and the hero is being taught how to punch – maybe not prepared for the sudden split and hurt that has come his way. The girl is almost patronising in his words and break-up speech; not treating him with deserved consideration and setting him up for a huge fall. Heavy beats and elements of Trip-Hop – not as overtly pummeling but definite slam and strike – give the song plenty of authority and instantaneousness. In fact, the vocal has a catchiness and rhythm that gets you singing along and, by the time the chorus arrives a second time, is already ingrained in the memory and catchy. At no point do you feel oppressed and depressed by the song; it evokes nuance and has plenty to enjoy. Leaone is one of those vocalists that is original but still puts you in mind of people like Johnny Cash to an extent. The aforementioned legend seems a focal point and someone that is perhaps offering guidance and solace. Goldtooth looks at a young man who has been tormented and let down hard and is trying to make sense of it. Perhaps there is nothing that can be said and it is one of those things that happen in life. Not having down anything wrong and had put money away (“to dress you night and day”). A nest-egg was being built and it seems like plans were made. Perhaps the two sat up at night discussing plans and where they would go: you feel there was a future for them both and it looked safe and secure. Now that the relationship has ended, there is that mourning and not knowing how to move on. How do you readjust in life having made plans and seen the future calling? Perhaps she seeks fast cars and money: a boy that is all cash and no substance; somebody that can keep her wealthy without providing any soul or tenderness. It is a possibility and one that is tearing Leaone apart. In the final stages, you feel the battle is lost but the song keeps affecting and evoking reaction. The fact Goldtooth has a definite sway and swagger to it means it will be a live standout and sure to keep people singing along and entranced. It differs from Young Green Eyes and is the finest song he has released. Perhaps less suffocated and dark than its predecessor: Goldtooth has commercial appeal but is a lot more credible and stunning than most of the music out there at the moment. I can see Goldtooth being the second track on an E.P. and leading on from Young Green Eyes. A fantastic song from a young artist that continues to grow and impress.

I have talked a lot about Leaone and how different he seems to his peers. Maybe his hard road to success and tough times has given him a resilience and strength that few people will have. A lot of young artists face petty relationship fights and have not really experienced real world problems and anything that challenging. Leaone has had his heart broken and been dislocated but has bounced back and is channeling himself through music. Goldtooth is another fantastic track from a young man who has plenty of life left and more to say. I speculated as to the possibility of an E.P. and feel that is an avenue worth exploring. Bonding with producer Jim Lowe it seems like a natural partnership and something that will carry on for many years. I hear an E.P. is already being worked on and Leaone has secured Art Council funding for a new release. Leaone has some great music in his locker and has been performing a series of gigs over the last few months. Not only has he played London but has also gone back to Suffolk to gig and ensuring his music gets out to as many people as possible. When one thinks of the hero, he is an interesting example and a young man that differs to so many of his peers. He was raised on Grunge bands like Nirvana and Soundgarden and inspired by their live performances and the raw energy that emanated from them. Primal and instant; emotional and naked: that flame was lit in his heart and pushed him into a career in music. Music means everything to Leaone and the way he can get his pain onto the page and handle the past. Wanting to collaborate with Swann – he revealed in a recent interview with M Magazine – the young musician sees music as a calling a life preserver. It might not be an exaggeration to say without music he would be struggling and barely able to hold things together. That takes me back to my original thesis and the way music can be medicinal and affirmative. We take music for granted and often have it play in the background: part of our daily soundtrack and something we assume does not go that deep. You only need to read interviews with the more credible acts coming through and they will tell you just how meaningful and important music is. It is not just sounds and words that can put us in a better mood; songs that make us dance and evoke fond memories – much more powerful and intense than you can imagine. If you are a songwriter than perusing that desire is not only focus away from troubles but a way to unpiece things and find sense. In a way, music is a therapy session and prescription all rolled into one.

It is going to be promising seeing just where Leaone heads and what he has in mind. I know the E.P. is coming along nicely and previous single Young Green Eyes is still making its mark. Goldtooth is the latest revelation from an artist that seems to be doing his own things and not concerned with easy comparison. I guess, if you had to put together a Frankenstein’s monster together, you would see him as a splicing of Lana Del Rey etherealness and French Riviera drive; the haunting and affecting vocal of Johnny Cash and the heartbreaking songbooks of Leonard Cohen. That description might cause many to balk but do not be put off. You do not get depressive and heavy songs that are hard to enjoy and endure many times. I love Lana Del Rey’s music but find it can be too dramatic and grand for the themes that are being addressed – a lot of the lyrics tend not to stray beyond boys-in-cars-with-Lane-driving-down-highways-being-rebels. Although her most recent work has stepped things up (Born to Die), Leaone is his own man and infuses a little of each into his music. A final point I wanted to raise is how originality is important to long-term success. It may sound like an obvious truth but one many musicians are overlooking. If you look at Leaone’s official website you will see a short (cycled) clip of a young woman who looks like she is longingly gazing across a pond/river – maybe in France; a tourist spot and scene that looks like it was taken from an old film. I am not sure where that clip is from by the black-haired, sunglass-wearing heroine seems to be shot in Super 8 film and part of a music video. That pretty much describes Leaone as an artist. There is something cinematic and romantic to the music. You get impressions of a man who yearns to live that French Riviera life and drive through a 1950s road film and pack up all his cares. One feels little shades of Johnny Cash and Leonard Cohen and some shades of Lana Del Rey. Such an intriguing and alluring blend that mixes with some deeply personal songs that address some hard times. Young Green Eyes – the opposite of Frank Sinatra’s Ol’ Blue Eyes, it seems – is an original and fantastic talent. There are no upcoming gigs at the moment but you know spots in London will be forthcoming. Backed by a good P.R. company and social media attention starting to build: all this is going to lead to some important gigs and plenty of changes. I would love to see Leaone perform in London and know there are venues and bars he could bring his music to. It is worth ending things by stating the rest of this year will find the build-up to his debut E.P. The as-yet-untitled collection will unite his previous singles together with fresh material and plenty of touring. You wonder just how far Leaone can go when his E.P. does arrive. I know he has a base in Suffolk and London but that could well extend around the U.K. and internationally too. It might seem unlikely a young, fresh-off-the-blocks artist could accrue international dates but Goldtooth is no ordinary song and Leaone is no ordinary artist. That is all to come, but for now, enjoy the sound of a young man making his first steps and already impressing fans and critics. There is no doubt that Leaone will be continuing to make music…

FOR a very long time to come.

[soundcloud url="https://api.soundcloud.com/tracks/278524648" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

__________________________________

Follow Leaone

 

Official

http://www.leaone.com/

Facebook:

https://www.facebook.com/hisnameisleaone

Twitter

https://twitter.com/hisnameisleaone

SoundCloud

https://soundcloud.com/hisnameisleaone

Instagram

https://www.instagram.com/hisnameisleaone/

FEATURE: The October Playlist: Vol. 2

FEATURE:

 

The October Playlist: Vol. 2

______________________

OCTOBER has started off pretty intense and shows no signs...

of slowing down and relenting. New cuts from Kate Tempest and The Rolling Stones should be enough. If not, there are videos from Pixies and Justice; new songs from BANKS and Thurston Moore to wet the appetite. I am not sure what unexpected delights await: I only know October is going to be another fantastic year for music. Take a listen to the second instalment of The October Playlist.

__________________

 

Kate Tempest – Ketamine for Breakfast

[youtube https://www.youtube.com/watch?v=ym3iGD7uNn8&w=560&h=315]

The Rolling Stones – Just Your Fool

[youtube https://www.youtube.com/watch?v=JJZA1TbTBbI&w=560&h=315]

Bruno Mars – 24K Magic

[youtube https://www.youtube.com/watch?v=UqyT8IEBkvY&w=560&h=315]

Hannah Diamond – Fade Away

[youtube https://www.youtube.com/watch?v=vmgp7MHzmBM&w=560&h=315]

C Duncan – On Course

[youtube https://www.youtube.com/watch?v=1ankXJUfB30&w=560&h=315]

Weezer- Fake Smiles and Nervous Laughter

[youtube https://www.youtube.com/watch?v=wbw5_vSzsA4&w=560&h=315]

Tough Love (ft. Karen Harding) – Like I Can

[youtube https://www.youtube.com/watch?v=udMZ08QOD3Y&w=560&h=315]

Honeyblood – Babes Never Die

[soundcloud url="https://api.soundcloud.com/tracks/286166636" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Clean Cut Kid – Make Believe

[youtube https://www.youtube.com/watch?v=O0tc7Orr_sc&w=560&h=315]

Nathaniel Rateliff and the Night Sweats – Out on the Weekend

[youtube https://www.youtube.com/watch?v=5V5_vrZMEYQ&w=560&h=315]

Thurston Moore – Chelsea’s Kiss

[youtube https://www.youtube.com/watch?v=VNSMAuQieuc&w=560&h=315]

Alicia Keys (ft. A$AP Rocky) - Blended Family (What You Do For Love)

[youtube https://www.youtube.com/watch?v=DWACsH1f2So&w=560&h=315]

Baauer x CZ - How Can You Tell When It's Done?

[youtube https://www.youtube.com/watch?v=tMbi65XibvE&w=560&h=315]

Basic Tape (ft. Danny Shah) – So Good

[youtube https://www.youtube.com/watch?v=XUHrLENzT-w&w=560&h=315]

The Killers – Peace of Mind

[youtube https://www.youtube.com/watch?v=n81rOHM4Ayc&w=560&h=315]

Deorro (ft. DyCy) - Goin Up

[youtube https://www.youtube.com/watch?v=6cameV3mPd8&w=560&h=315]

Becky G – Mangu

[youtube https://www.youtube.com/watch?v=5AWHoW5_kQQ&w=560&h=315]

Kings of Leon – Reverend

[youtube https://www.youtube.com/watch?v=1zxzHuSi5ng&w=560&h=315]

John Legend – Love Me Now

[youtube https://www.youtube.com/watch?v=rL_NP1mD0UQ&w=560&h=315]

Tinie Tempah – Bounce

[youtube https://www.youtube.com/watch?v=ZyzZ-SlmE3E&w=560&h=315]

Benoît Pioulard - Anchor as the Muse

[youtube https://www.youtube.com/watch?v=YEZlNE2b8D0&w=560&h=315]

Gucci Mane (ft. Rick Ross) – Money Machine

[youtube https://www.youtube.com/watch?v=g6RWvkRCXOQ&w=560&h=315]

French Montana – Brick Road

[youtube https://www.youtube.com/watch?v=34LqXA8p6S8&w=560&h=315]

MØ – Drum

[youtube https://www.youtube.com/watch?v=37qvCrbilUk&w=560&h=315]

Joyce Manor – Fake I.D.

[youtube https://www.youtube.com/watch?v=IoXCARbHggE&w=560&h=315]

Goat - Union of Mind and Soul

[youtube https://www.youtube.com/watch?v=CDRB19_3DRk&w=560&h=315]

Placebo – Every You Every Me

[youtube https://www.youtube.com/watch?v=eGnhYZh6IUc&w=560&h=315]

BANKS – Weaker Girl

[youtube https://www.youtube.com/watch?v=UOwPcAhBVSk&w=560&h=315]

Emma Ruth Rundle – Real Big Sky

[youtube https://www.youtube.com/watch?v=wDlJ7BBPJw0&w=560&h=315]

Kaiser Chiefs – Parachute

[youtube https://www.youtube.com/watch?v=3svLcAkcw1U&w=560&h=315]

Pixies – Um Chagga Lagga

[youtube https://www.youtube.com/watch?v=wCFPpnHFTts&w=560&h=315]

Justice – Randy

[youtube https://www.youtube.com/watch?v=PLOyUQxIsj8&w=560&h=315]

Another wonderful bag of assorted tunes, I'm sure you'll agree. It is going to be exciting discovering what is to come and which big artists are preparing new songs. Make sure you investigate Kate Tempest's new album, Let Them Eat Chaos. Hers is one of the strongest from 2016. Aside from that, Green Day have released a return-to-form in Revolution Radio. To be honest, that is just the tip of things - have a look at all the quality albums that are coming up and have just been dropped.

TRACK REVIEW: Life Aquatic Band - The Fault

TRACK REVIEW:

 

Life Aquatic Band

The Fault

 

9.6/10

The Fault is available at:

https://soundcloud.com/lifeaquaticband/the-fault

RELEASE DATE:

August 2016

GENRE:

Indie; Folk

ORIGIN:

Sheffield/Leicester, U.K.

____________________

OCTOBER is now upon us and I have been thinking about...

the bands and artists that will make an impact in 2017. It has been an eventful and prosperous (musical) year: one where some heroic albums have come about; artists that could well last many years to come. Over the last nine months; I have been delighted by the variation and courage coming across. Maybe this year has not quite seen some future stars pop through – those acts you know will be around for the long-term – but I have seen plenty of artists that will be making music (I am sure) for a very long time. Success and critical acclaim is something I want to mention first; looking at the bands up the country that are showing originality and ways the music industry can support the finest acts emerging. Before I come to Ben Allen’s Life Aquatic Band; it would be shrewd to start by investigating what we (myself to a degree: journalists and the media) can do to support musicians better. I am still finding too many disgruntled and angry artists that are being spat out by promoters and critics – having to fight in the trenches without necessary support. I am not suggesting every single act should be lauded and promulgated by critics and P.R. bodies – that would be impossible, unfair and unrealistic to the say the least. What I mean is so many terrific musicians are getting bum deals and being overlooked. Whether reviewers are overlooking their music or promoters are being rather deceitful. I am naming no name – of the musicians involved – but it is troubling finding so many unhappy people in the industry. I guess it is challenging ensuring everyone is given a fair shake: music is such a busy, crowded and undisciplined industry; things like this are bound to happen. Going forward, one begs the question: is there a way to encourage new musicians in but ensure (those that arrive) are cared-for more astutely and there is a great sense of fairness? It might seem like an unconnected point – like so many of my ‘tangents’ are – but it applies to every musician I review. With regards Ben Allen and his band, Life Aquatic Band: one knows some warranty and guardianship is going to be needed. They are a fine young act that although led by Allen, are a collective that has been together for a little while now.

Life Aquatic Band are one of many young acts around Sheffield and the Midlands that make me feel there are some areas that need more exploration. I was thinking the same thing during my recent review of Sheffield-based band FloodHounds – a group that ensures many eyes are cast to Yorkshire. Life Aquatic Band is split – in terms of lineage and heritage – between Sheffield and Leicester and, once more, shows there is more to music than that which emanates from London. I know I am guilty of keeping my sights honed to London but I’m discovering there are some agile and wonderful artists playing all around the U.K. Perhaps the lack of opportunities and quietness – a subject I have raised so shall not go into too much detail – is forcing artists to abandon their hometowns and flock to the city. The knock-on effect of that is the over-crowding and suffocation. I am finding a lot of London-based acts struggling to get gigs and earn money due to the sheer weight of competition. To my mind, there is still more quality and variation to be discovered in bigger cities (as opposed to the towns) but Life Aquatic are a band who seem to be settled where they are. It is not something I will beat around much, only to say there is plenty of activity happening around the U.K. Not too much is known about the Midlands band except an intriguing name – not to be confused with the 2004 Wes Anderson-directed film. If the guys omit the ‘the’ that is not to say they do not boast a comparative blend of eccentricity, quixotic and richness. I am not sure whether their name was directly inspired by the film but it gets one thinking. In terms of the social media output and transparency – there is a definite sense of secrecy or lack of backstory. The music sings loudest and tells you a little but it would be savvy were the band to put a bit more of themselves on the page. I often bring this up with regards musicians that keep it bare on social media. Given the competition, usefulness of social media and short attention spans of listeners – not many excuses for musicians to be a little remiss with regards biography and detail. I suppose Life Aquatic are fairly new off the block so the flesh will arrive in the coming months. The bones are awfully sturdy and exciting (negating some of the shortfall) but it would be good were they to campaign for interviews. Getting some blogs/journalists pressing them and probing will not only promote them/the music but provide that all-important revelation and personalisation. That should be present in their intentions and I am sure many would love to quiz Allen and how he got things started.

Part of what distinguishes Life Aquatic Band and sets them up is that original sound and eagerness. It is incredibly tough ranking new bands as there are so many out there – many of whom are playing the same sounds. While Life Aquatic Band have some like-minded peers: what one gets from my featured artists is the unwillingness to replicate other groups. You hear so many bands/musicians that mention their influences without bringing their own personalities into music. It can be depressing suffering through so many acts knowing just what they are trying to do – copycat their heroes – and that is a problem that needs to be tackled. Happily, Life Aquatic Band are not a group that makes you think about artists. They have their influences (I shall touch on this in the main review) but, for the most part, the freshness and originality overcome. They play Indie and Alternative but imbued with more melody and character than so many out there. Although Life Aquatic Band are, in their Facebook words, an experimentation between university students – it is Ben Allen who is up-front and the centre. Jonny Poole is producer (on The Fault) and is a long-term collaborator with the band. It will be fascinating finding out how Allen and the band progress and what they come up with next. The Fault is a song born out of a creative need for expression and a fine vein of inspiration. Few can deny there is a lack of energy and originality in the camp of Life Aquatic Band; that will lead to some wonderful things in the coming year. The Fault has garnered a handful of effusive comments but deserves wider exposure and spotlight.

The Fault is the latest cut from Life Aquatic Band and the finest statement so far. Some fans will prefer the slightly earlier work but I think The Fault captures because of its stunning production and nuance – a song that you will come back to and manages to get straight into the head. I will go into more depth but it is worth taking a closer look at the past work from Allen. What I Did was released a few years ago and is a sparse and atmospheric song that features dual vocals (Chloe Hayward; one assumes)- then, The Native consisted Chloe Hayward and Ben Allen. Part of the What I Did Sessions; the raw and sensual Blues licks and interplay shines through. Both voices have time in the spotlight but are at their strongest when united and blended together. Our hero is slowing down and finding the pace of life a little tough. His actions are not speaking louder than words and one can hear that confusion and anger – not knowing where things went wrong in life. The musicianship throughout is superb and so many emotions and colours come out of the guitars. Lyrically, it is personal but has a universal side to it. Allen has a whiskey-soaked croon and carries the song with that gravitas and emotion. Allen looks around and seeks answers: why he is being treated this way and why life is spitting him out. It is quite a harsh and emotive subject but one that never feels too heavy and intense. Guitar licks give What I Did a sense of movement and groove; the dueted segments are passionate, rich and graceful. I’m Alright is even more tender and evocative than its counterpart. Yearning strings and spine-tingling notes reign from the speakers and get into the heart. Of course, these recordings were made during the incarnation of The Native. Even though the songs were recorded a few years back: one can hear some nods to the current work and the themes being explored. Perhaps more personal and insular than tracks like The Fault; bringing more Folk elements into the music. I Met Myself Today, Political Song #1 and What I’ll Be are the most recent songs from Life Aquatic Band and show different inspirations and sounds. I Met Myself Today is a gentle and touching song that finds Allen musing about life with a hole in his head – looking out the window and is a contemplative mood. Acoustic strings are spirited and riparian; the interplay of voices creates a depth and touching beauty to the song.

Political Song #1 finds Allen evoke memories of early-days Bob Dylan to an extent – certainly in terms of guitar playing. The themes are similar but have a modern edge. Challenging racism and the types the champagne-guzzling types – it is a song with a clear conscience and anger. Maybe motivated by recent political events – the song was released a year ago – it seems to have predicted Brexit dislocation and the rise of Trump. Among the racists and voting public: Allen seems aghast at the elements in society that are either disproportionally wealthy or struggle to get their voices heard. It is a song that deserves fonder unpicking and one that seems to be ever-relevant and speaks for so many people. What I’ll Be sees Allen go more into Dylan-esque realms (released about six months ago) and expose a real talent for pronunciation and delivery. Words are emphasised and elongated; precise at times and stretched the next. The blasé and ignorant are assessed in the song. Those that do not take medication and have a casual attitude to life and wisdom. It is another interesting song whose lyrics go beyond the ordinary and highlights a talent with an original voice and special take on life. You get drawn into the song and get lost in the gripping narrative and wonderful characters being assessed. It is here you get the biggest impression of a full-band sound. Gone are the male-female vocal bond and slighter Folk sound. Now, on What’ll Be, is a deeper and fuller sound with percussion and accompanying strings. It retains the Folk basis but steps into Indie without compromising the established sound of Life Aquatic Band. You can hear the development and growth throughout those three songs and an act growing stronger and more assured. Allen is a prolific and strong songwriter who seems able to take his lyrics in all sorts of directions and speak to people directly. This is true of The Fault which takes off from where What’ll Be finishes and shows Life Aquatic Band at their absolute peak.

The aforementioned song has been shared across Facebook and one feels would be a great inclusion on a future E.P. It is the strings combination that intrigues and first noticed on the song. Scuffed and racing acoustic/electric notes blend with yearning Classical sounds to provide a mixture of emotions and possibilities. You are intrigued by the more seductive and restrained half but wonder if the accelerated sound will overtake and define the track. Despite the balance and difference of the two parts: it hangs together beautifully and gives The Fault a terrific start. The hero races and gets his words out with urgency. He lies awake in bed and feels a sense of suffocation and self-doubt. Maybe motivated by a general weight – issues in life and doubts about his role – or a particular person – the lyrics strike straight away and get into the mind. Looking out the window in a state of ecstasy: he has another body next to his; perhaps ignoring those out the window. “Don’t medicate my mind” Allen sings: it is not his time and he seems to be shrugging off the hands of those trying to control him. Perhaps the most oblique and inscrutable song from Life Aquatic Band so far – it is also one of the most realised and adventurous, too. The strings jump and dance and give the song a fluidity, unexpectedness and spirit. Not quite pure Folk or fully embracing Alternative sounds: a track that is hard to pin down but one that will fascinate you in every moment. Not sure what is up with constant grieving – “I’m only leaving” – you get investigations of mortality and, one suspects, love. The lyrics paint a picture of a man who has someone with them but perhaps things have just ended. The Fault gives impressions of earthquakes and fault lines; caught between tectonic plates and experiencing a natural disaster. If you delve more into the lyrics; one gets flickers of a man who needs to run and escape but is trying to reconcile with the here and now. It is hard to define and explain but everyone will have their own interpretation of events. What fascinates me most is how the words are delivered and accompanied. Allen’s inflections and change-of-speed-and-direction style mean every line sounds different and resonates.

Few singers and musicians take the time to differentiate and distinguish their words but Allen is keen every sentiment hits the mark. Backed by constantly engaging strings – one wonders how many other musicians went into the mix – it is a song that continues to grip with every second. “You can’t fear what you cannot know” is one of the deeper lines: arriving after a machine-gun roll of ecumenical asides and tangles with self-investigation and social philosophy. Allen is a songwriter who portrays love and life scenarios but avoids tropes and clichés. In fact, it is not until several listens down the line one starts to get a better understanding of what is being said. It is a song that will always see various people speculate and question where it originates. On the one hand, there is a potential relationship quandary and conversation between two lovers. Perhaps they are on different pages and each trying to explain their sides. On the other, one feels there are more general and personal themes being addressed. The hero clearly has a desire to change life and discover something purer – oblique lyrics and some intelligent wordplay always keep true origins a little clouded. That not only makes the song one you feel compelled to revisit but showcases a songwriter who wants to keep some his cards close to the chest. Woozy electronic guitars (just after the chorus) have little smatters of The Coral whilst the chorus itself is hard to compare with anyone. One of the great things about Life Aquatic Band is how they remain beyond comparison and seem to be doing their own thing. The Fault is constantly spirited and energetic. The guitars rouse whilst the vocal delivery is impassioned and determined throughout. If it is hard to truly crack the enigma that is Allen’s mind; you have a blast diving into the song and speculating.

The Fault is a song that has a live sound to it and one that will go across very well in the live setting. I would love to see the song performance and how crowds react to it. The Fault is not restricted to a certain audience and genre and, as such, could find appreciation on many different radio stations. I have heard similar songs premiered on ‘6 Music and that would be something I could see happening – The Fault played on one of their shows. By the final notes; you want the song to continue. If mortality is inane and pointless; if our hero is only being who he is – you are thankful he remains one of the most original and fresh songwriters around. Like I said a bit earlier: I can imagine an E.P. coming and would love to hear The Fault on it. I am not sure how Life Aquatic Band is set-up with regards its membership. Clearly, at various junctures, there are other musicians and collaborators that come into the fold, but for the most part, it is Allen who shines through. Jonny Poole’s production should not be overlooked. He manages to bring all the disparate threads and ambitions together cohesively and give the song a polish (so you can understand what is being sung) but ensures its beating heart is quite raw and open. That is a hard trick to pull off so congratulations should be delivered his way. A stunning song from an artist (and band) that continues to impress and grow.

Life Aquatic Band changed their name from The Native to L.A.B. The name might have changed but the music and talent have remained firm and impressive. The Fault has lo-fi charm and a homemade feel but a song that could easily seduce across a number of radio stations. I have mooted the possibility of more material and it would be good to hear an E.P. from the collective in 2017. Ben Allen is a prolific and standalone songwriter and not someone who rigidly sticks to the tried-and-worn subjects of love and relationship perils. The music world is flooded by those kinds of acts and we need to embrace those who are more striking and thoughtful. From penning politically-motivated numbers to those that cast a net on societal imbalances – an intelligent and sage songwriter who pens songs with meaning and food for thought. Against this serious penmanship is an accessible and engaging set of compositions that is sure to catch the ear of outlets bigger than I. Most bands are quite obvious and have a clear-cut history and straight lineage. There is a lot more than meets the eye when it comes to Life Aquatic Band. Allen has been writing for a long time but there is a bit of mystique when it comes to other members and bandmates. Essentially, the partnership of Allen and producer Jonny Poole defines the music and is a bond I hope to see continue for a long time to come. It is challenging remaining in music and managing to get the focus of labels and venues. I have speculated before – ways to make it easier for artists to get their just dues – and it is something that has no easy answer. As with any profession – those who want to succeed and climb – you just need to persevere and keep your head held high. So many have called it time and found the lack of attention too much to handle; money stresses and little gig opportunity has meant some fantastic acts have ended way before their time. The ones that endure and transition into the mainstream are those that keep the soul strong and find ways to overcome hurdles. Similar in tone and nature to the earlier incarnation of Life Aquatic Band – that gentility and stunning beauty reigns through. Among the heart-stopping notes and wonderful Folk strings – there are some heavy subjects and weighty issues being address. Allen is looking into himself and comes with an air of inscrutability. You get a sense of a man carrying on and persevering but not sure if life in general or love’s perils are causing heartache.

It is quite sad and angering there is no more in place to safeguard and secure great music. I feel we are in an age where music-making is easier and affordable as ever. D.I.Y. productions and sounds are starting to overtake studio-made music – the sheer cost of stepping into a studio is putting so many off. I am rather split about the debate and find advantages in both camps. Studios need to survive and continue as they are the natural house of music. If you did not have studios then music would suffer and be less rich; you would not have the variation and quality that we have at the moment. It is axiomatic to say inflation will always exist and mean costs are going to keep rising. Studio bosses and chiefs have to make a living but, to my mind, the prices are higher than they should be. How many bands have to work second jobs and busk endlessly just to be able to get into a studio and record a single track? It is a depressing statistic and realisation we are facing. In terms of overriding and controlling the issue; what can we do about it? D.I.Y. recordings, as I said, are favoured by many as they provide a less expensive option for new musicians. If you can afford a microphone, basic recording equipment and whatever instruments you need: a world of music awaits and the chance to put together a song/E.P./album. Technologies like iPads and tablets are providing musicians with an array of sounds and effects; gadgets and a one-click connect to the wider world. This is an option for many but not a realistic, long-term solution. Luckily, there are artists that manage to balance the expense of the studio with the honesty of home-made recordings and ensure their career continues. Ben Allen’s Life Aquatic Band is mainly homely and small-scale but someone who has seen time in the studio. Perhaps finances will dictate and limit his scope going forward but one hopes he manages to get a few days in a studio and lay down a three/four-track E.P. The past year has been eventful and seen the band/project develop and strengthen. The Fault is the most confident and instant song from the band so far and warrants airplay across national radio for sure. Whether that will arrive and how long it will take; it is hard to ignore the quality and talent that runs throughout The Fault.

I will sign-off by recapping and summarising the earlier points about artists outside the capital and what artists can do to aid themselves. Sheffield-based Life Aquatic Band are making sure Yorkshire is in the mindset and getting focus. I have extolled the virtues of Leeds in past posts – a city that is more varied and unique than any others – and what a variation they have. That is the thing with Yorkshire: a county that mixes genres and time periods and is not as rigid and commercial than London. I find Yorkshire’s musicians are contemporary and fresh but there are those who evoke past times and bring together oft-forgotten musical styles and give it a retro. gleam. From the ‘30/’40s-Swing movements-via-Electro. of Little Violet (who return soon) to a cavalcade of Doo-Wop/Bluegrass artists – a colourful and wonderful world of music. London musicians are capable of this kind of quirkiness and wonder but not to the same scale. Ben Allen is a musician who has one foot in the future and one eye to the past. His lyrics address the modern world and concerns but the compositions and sounds tie together strands of other genres and ideas. I have rambled enough so shall end it by recommending Allen and Life Aquatic Band keep going strong and make a lot more music. Get the social media pages fuller – a few more photos and some biography perhaps – and update the Twitter account – it has not been used or utilised for a long time. One of the ways of getting the music to new ears is to gain new fans. If social media pages are sparse and there is less self-promotion then it is going to be hard getting people engaged and discovering what you do. The Fault is a great song and there is a world on Twitter that would love to share it. The song needs more pushing and if the Twitter account is not properly maintained then that can mean a lot of fans will pass by. Allen is a great songwriter and someone who can attract legions if he wants. Hopefully, he will get onto that and show confidence in his music. On Facebook, there is more movement and followers but one feels more people are out there. I guess full recognition and popularity will come with more music and one feels 2017 is the year Life Aquatic Band get that nod. More stable and defined than ever before: keep your eyes firmly on a wonderful musical force. The Fault is a brilliant song that shows Life Aquatic Band are one of Britain’s standalone acts and have ammunition to keep playing for many years to come. Put the song on and turn it up loud…

AND get carried away.

[soundcloud url="https://api.soundcloud.com/tracks/276527017" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

____________________________

Follow Life Aquatic Band

 

Facebook:

https://www.facebook.com/lifeaquaticbandLAB/

Twitter:

https://twitter.com/lifeaquaticband

SoundCloud:

https://soundcloud.com/lifeaquaticband

INTERVIEW: Michael Jablonka

INTERVIEW:

 

 

Michael Jablonka

____________________________

HAVING just played alongside the Mercury Prize-nominated…

Michael Kiwanuka: Michael Jablonka has just unveiled the sensational single, Mantra. The song is slick and awash with Hendrix-influenced harmonics. Mantra depicts a relationship’s dying flickers and sees a desperate, yet resigned, lover accept his fate. Little bits of Jeff Buckley and Bob Dylan can be heard in the narrative; there are elements of Blues masters and a huge dollop of a twenty-six-year-old with an immense amount of confidence. Jablonka has been gigging since he was fourteen and is a go-to musician-for-hire for artists as lofty as Charlie Brown and Stooshe. As he embarks upon his much-anticipated solo career: I got to talk to Jablonka about the legends he has played with; his hopes for the next few months and how he came to bond with (and conquer) the guitar.

____________________________

 [soundcloud url="https://api.soundcloud.com/tracks/278949833" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Hey Michael. How has your week been? What have you been getting up to?

The past week has been fun and chilled. Been catching up with friends: went to the cinema as it’s been a while and saw the new Tim Burton Movie (weird and wonderful as always) and had a fair few gigs with either my band or other people. Generally keeping happy!

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

I’m Michael Jablonka: twenty-six and I’m a musician trying to succeed in this business in London.

You were born and bred in London. What is it about the capital that fascinates you and keeps you there as a musician?

London is home for me. I’m very fortunate to live in a place where so much culture and activity exists, and as a musician, it’s constantly influencing me.

Your guitar skills are hugely impressive. Were you self-taught and which guitars (brand) do you favour?

Pretty much self-taught. I had a couple lessons at school but told I was better off left to my own devices.

I’m a Strat. man personally but I do like a good Gibson every now and again too.

 

Having gigged since the age of fourteen (being twenty-six): when was the moment you decided music was your calling? Did you balance music and studies or was it a challenge doing that?

I suppose the first couple of gigs I ever played in front of a crowd sort of confirmed that for me: the freedom of performing music gives you a feeling that is indescribable. I wasn’t a very academic kid, so when sixth form came around, I could put all my energy into making music and art which was perfect.

Charlie Brown, Stooshe and Delta Maid are just a list of names you have worked with; either as a collaborator or guitar-for-hire. Who has been the most memorable to play with and what did you learn from your time playing with them?

That’s a tough one. I’ve loved my time spent with every artist I’ve been involved with.

Playing alongside Delta Maid will always remain a particularly memorable one though as that was my first true introduction to big crowds, festivals (the lot).

We’d be a two, maybe three-piece act, so it could be pretty nerve racking at times - but watching Delta absolutely own it on stage definitely helped me to disconnect from what was out in the crowd to being within the music.

At the moment, or very recently, you have toured with Michael Kiwanuka. What is Michael like away from music and do you think he should have won the Mercury Prize?

He’s awesome; Mike and the boys. He’s very calm and collected. It’s great fun to be part of the pack. It would have been amazing to see Michael win but to be honest, we were all just loving our time on stage wearing suits.

Now, you are stepping out as a bandleader and making your own music. What compelled that decision?

The last few of years were proving to be pretty difficult as a band and I feel now that there’s not so much pressure now. If the boys are unavailable there’s nothing stopping me from going out and playing an acoustic show.

Can we expect an E.P. or album in the coming year and can you tell us a bit about some of the musicians you are working with?

I’d like a lot of things to happen within the year, but for now, I do have songs to share and a new single I’ll be putting out very soon that I am itching to reveal.

I’m very fortunate to have my band. Chris Webb (bass) is an incredibly accomplished player and we’ve been playing together for about seven years now. Ed Broad (drums) joined us about a year ago and we share a lot in common musically - so it makes expressing ideas very easy.

[soundcloud url="https://api.soundcloud.com/tracks/284645502" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Mantra is your debut track and one that looks at the dying embers of a relationship. Is it a song based or personal experience or a collection of observations over the years?

It’s a bit of both really. I’ve gone through it myself and observed friends go through that too.

The chorus is raw and huge; powerful and catchy. Was the chorus the first thing you wrote (for the song) or did it just naturally flow with the rest of the song?

I had the chorus melody in my head but with very different chords. It sounded too depressing and instead I wanted the song to represent something brighter. Usually, when a chorus comes everything is dictated by that.

I imagine Jimi Hendrix is an idol of yours. Which other guitarists did you idolise growing up and do you think we have the same calibre of guitar heroes in modern music?

Hendrix is God. John Frusciante was a huge influence in the early years and still continues to be. I was  really into showman guitarists like Marc Bolan, B.B. King; Buddy Guy, Kurt Cobain - there’s so many…

Today, the guys I feel that are making a real impression are guys like Derek Trucks, Charlie Hunter; Doyle Bramhall II to name a few. They all have a voice that is truly theirs.

What does the rest of this year hold for you? Any plans for more tour dates or music?

I’m constantly trying to write so I hope to be (releasing even more) music and keep growing as an artist. Next couple of months are gonna be on the road with other guitarin’ duties - but I have a couple of gigs in the pipeline when I’m back and getting ready for an exciting year ahead.

Having already achieved so much already: what do you hope to achieve in your career? What dreams and ambitions do you hold?

It’s early days for my career at the moment but I’d really love to be travelling with my band: making more of a living with my own music.

Having the time to experiment and create with different artists and genres... A Mercury Award would be pretty sweet too!

If you had to choose five albums to take away on a desert island – getting a bit Desert Island Discs! – which would you bring and why?

Kind of Blue by Miles Davis - simply because it is probably the greatest moment caught in modern day music.

Since I Left You by The Avalanches - I discover something completely new every time I listen to this record. They are geniuses!

Blood Sugar Sex Magik by Red Hot Chili Peppers - this was my grail when first starting out

Nirvana’s best of - I love Nevermind too, but all the hits on this record reminds me of school with the very small group of people into Nirvana and feeling like we were the only ones in the world that knew about them.

A HENDRIX RECORD - I literally can’t decide because this opened up my whole world to discovering every Blues hero known to man. There probably should be a lot more Blues in my choices but I can hear all of my heroes in Hendrix

For musicians and other artists wanting to follow in your footsteps: what advice would you offer them?

I’d say just stay true to what you really love and do what feels right for yourself. Don’t be afraid to make mistakes.

Finally, and for being a good sport, you can select any song (other than one of yours as I’ll put that in) and I’ll play it here…

Jeff Buckley - So Real

[youtube https://www.youtube.com/watch?v=EcaxrqhUJ4c&w=560&h=315]

________________________

Follow Michael Jablonka

 

Facebook:

https://www.facebook.com/michaeljablonkaofficial/

Twitter:

https://twitter.com/jablonka01

Instagram:

https://www.instagram.com/michael_jablonka/

SoundCloud:

https://soundcloud.com/jablonka-music

INTERVIEW: Matt Gresham

INTERVIEW:

 

 

Matt Gresham

____________________________

IT is not often I get to feature Australian talent…

on these pages (something I lament) but Matt Gresham (A.K.A. Gresham) is a young artist with a serious following behind him. His latest single, Survive on Love, is out now (released on his own Trigger Records label). Rolling Stone have claimed the single is equal parts anthemic and reflective. No doubt Matt’s soulful vocal and the minimal basslines help: the electronic flourishes and soul-speaking compositional notes go a long way to causing shivers. Recorded in London with Scott Horscroft (Birds of Tokyo; Silverchair) and co-written by Jaymes Young (London Grammar; David Guetta) there is a lot of excitement and spotlight on the young master. Having graduated and evolved from his appearance on 2013’s X Factor (in Australia): a string of shows at SXSW and award wins are just the tip of the iceberg. I got time to question Matt Gresham on his rise and highlights; an insight into Survive on Love and his musical plans for the future.

________________________________

[youtube https://www.youtube.com/watch?v=z7G5dS3c45M&w=560&h=315]

Hey Matt Gresham. How are you? How has your week been?

Hey hey! Very well thank you. It's been incredible. Just spent three days on a songwriters’ camp creating music with people from all over the world; played an acoustic show unplugged in a super-old Hamburg museum - it had the best acoustic ever.

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

Certainly.

My name is Matt Gresham: I'm a singer-songwriter from Perth, Western Australia. I'm currently living in Berlin after recently signing with Warner Germany.

I'm a huge fan of storytelling through music: I grew up in a house where words were very important; my mother being a poet and my brother an acoustic guitar player, I naturally inherited the gift of sound.

Your first real exposure in music was Australian X Factor in 2013. You left to pursue your own music. Was it a hard decision leaving the show and what was the moment you released you had to leave and go it alone?

The decision was very hard. The show really helped me develop confidence and a strong work ethic but, in the end, it just wasn’t the direction I wanted to go.

But I don't regret it at all: it was a great experience and I learnt a lot.

Your track Whiskey followed in 2014. What inspired the song and how did it feel when it won Song of the Year at Western Australian Music Awards?

Yes, wow that was an honour.

The song is a reflection of a very dark time in my life.

My partner had recently left me - we were married actually - and I was having trouble accepting that it was over - so the song, for me, was a healing song; getting out all the heavy emotions that come along with a break-up.

Having been born and raised in Australia; what is the music scene like there? Being based in Berlin, I am curious which Australian acts you would recommend to the readers?

Well, Western Australia is a very isolated place so the music that comes from there can be a little less influenced by the rest of the mainstream world (which I feel is great).

There are tonnes of amazing artists you should check out: Jaryd Jaymes and Guy Sebastian for sure.

[youtube https://www.youtube.com/watch?v=_k6fRs2aRIg&w=560&h=315]

Small Voices was the previous single on the label. Can you tell us about the song and what the inspiration was for writing it?

Small Voices is a song I wrote with an amazing writer/producer from L.A., Jaymes Young.

The original concept for the song was about my mother being forced to live a city life and how she missed Mother Nature - which was When Jaymes and I got together. The song evolved into a story about a man missing his daughter from a prison cell - and all the emotions that come from losing someone. It’s funny how songs evolve and the same emotion thread, though a song can work with so many concepts.

Small Voices was recorded by Scott Horscroft and co-written by James Young. What was it like working with those guys?

Scott Horscroft is an amazing human. We got along really well sharing a lot of interests musically (and also) outside of music.

When he gets in the zone he has amazing ideas, which I loved instantly. The same goes for Jaymes - it was like a natural brotherhood.

[youtube https://www.youtube.com/watch?v=WXEBrLjTQLc&w=560&h=315]

Tell us about your new single.

My new track, Survive on Love, in my opinion, is the most important song I have created. It's simple but beautiful message can resonate with all people instantly and I really feel the track can help people smile and break down walls in society.

We filmed the clip here in Berlin it really shows the culture and art throughout berlin. I love this city.

Many critics, in Australia and worldwide, have complimented your voice and highlighted the balance of emotions and layers that go into it. Which singers have been most important to you with regards your own voice? 

That's very nice to hear. I’m flattered.

I grew up listening to my mother sing, so she was the first voice I heard - my favourite and forever will be.

She also played a lot of Cat Stevens and Paul Simon in the house when I was growing up and I was constantly singing along. I think my biggest inspiration - not necessarily someone I sound like but for the amount of emotion and soul in his vocal - would have to be Ben Harper.

You’ve relocated to Berlin and signed with Warner Germany. How does Berlin differ to Australia and are you excited by this new venture?

From what I have seen so far I think Berlin as a city is a lot more open and accepting of all kinds of people. It's beautiful.  You see crews of people all dressed totally different; hanging out and getting along. To me, that says a lot. The music scene here is very open and you feel more self-expressive and not afraid to truly be yourself. The downside is there's no surf so I have to fly to France every now and then.

Being located in Germany will give you a chance to tour Europe more easily. Are there any new dates coming up and how is the rest of the year shaping up?

Yeah. I'm playing a show in Austria in a few days and have a few writing sessions set up in Norway with some pretty cool cats.

Just played my first show in Berlin at this really great music night - some amazing writers and performers on the bill. Was a great night.

Can we expect new material before the end of this year?

I’m looking more at the beginning of next year. Really only just put Survive on Love out into the world and I’m enjoying watching it spread like wildfire. It seems to really be connecting with people across the globe which is exciting.

Looking back at 2016: which moments have stood in your mind?

I had the opportunity to work with my favourite Hip-Hop artist, Talib Kwelli. That was my dream as a young kid growing up watching 411 skate videos on tape; hearing D.J. Premier and Talib on some of the skate sections was rad. Was honestly a dream come true and can’t wait to share the track.

A lot of singers and musicians will be inspired to follow you into music. What advice would you offer them?

Always speak up if something doesn't feel right; don't rush; be yourself; spread love.

And trust the universe: there always a bigger picture than what you can see right now. Finally, and for being a good egg, you can name any song you like; I’ll play it here… 

Pharoahe Monch - Let My People Go.

[youtube https://www.youtube.com/watch?v=8iTxU_Zwi2c&w=560&h=315]

______________________

Follow Matt Gresham

 

Official:

http://www.mattgreshammusic.net/home

Facebook:

https://www.facebook.com/mattgreshammusic/

Twitter:

https://twitter.com/mattgreshamm

Soundcloud:

https://soundcloud.com/mattgreshamofficial

Instagram:

https://www.instagram.com/mattgreshammusic/

YouTube:

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

FEATURE: The October Playlist: Vol. 1

FEATURE:

 

The October Playlist: Vol. 1

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JUST five days into the month of October…

and there are already some rather tasty songs surfacing. From Solange and Pixies to Empire of the Sun and Bon Iver: fantastic and memory-lodged music that is ensuring the colder, shorter days are given some necessary fire and invigoration. It is with that, the first edition of October’s Playlist beckons and a run-down of the freshest and finest songs around. The coming days are likely to put some fantastic tunes into the ether; so I shall be prepared to catch them all and put them here.

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Mura Masa  (feat A$AP Rocky) - Love$ick

[youtube https://www.youtube.com/watch?v=RSPnFklojpI&w=560&h=315]

Robbie Williams - Party Like a Russian

[youtube https://www.youtube.com/watch?v=MdYGQ7B0Vew&w=560&h=315]

Hooton Tennis Club - Katy-Anne Bellis

[youtube https://www.youtube.com/watch?v=w95AhKZOQxA&w=560&h=315]

Pixies – Bel Esprit

[youtube https://www.youtube.com/watch?v=Nc6GyNerkHg&w=560&h=315]

The Weeknd – False Alarm (Starboy)

[youtube https://www.youtube.com/watch?v=Tb0zZr3zgFM&w=560&h=315]

Cashmere Cat (ft. Selena Gomez and Tony Lanez) - Trust Nobody

[youtube https://www.youtube.com/watch?v=o9kCz5ew1hE&w=560&h=315]

Seasick Steve - Gentle on My Mind

[youtube https://www.youtube.com/watch?v=2GnfdiS5paU&w=560&h=315]

Julia Jacklin – Hay Plain

[youtube https://www.youtube.com/watch?v=-r4-dcMoiTo&w=560&h=315]

On-The-Go – In the Morning

[youtube https://www.youtube.com/watch?v=G8Cf6ZM1iU4&w=560&h=315]

Metallica – Moth into Flame

[youtube https://www.youtube.com/watch?v=4tdKl-gTpZg&w=560&h=315]

Meghan Trainor (ft. Yo Gotti)- Better 

[youtube https://www.youtube.com/watch?v=l82D-qmp4LE&w=560&h=315]

Tigertown – Papernote

[youtube https://www.youtube.com/watch?v=tLV2O34_9pc&w=560&h=315]

DNCE – Body Moves

[youtube https://www.youtube.com/watch?v=ALZWQGU9JE0&w=560&h=315]

Empire of the Sun – To Her Door

[youtube https://www.youtube.com/watch?v=ZiNX0BYeQT4&w=560&h=315]

Shura – 311215

[youtube https://www.youtube.com/watch?v=oGPDKjrG9jw&w=560&h=315]

Bastille – Send Them Off!

[youtube https://www.youtube.com/watch?v=vn-6fiVkAcA&w=560&h=315]

The Chainsmokers (ft. Phoebe Ryan) – All We Know

[youtube https://www.youtube.com/watch?v=lEi_XBg2Fpk&w=560&h=315]

Fifth Harmony - That's My Girl

[youtube https://www.youtube.com/watch?v=sY3rIlrTTh8&w=560&h=315]

Luke Haines - Smash the System

[youtube https://www.youtube.com/watch?v=zW_ath9-Y0E&w=560&h=315]

Zeds Dead  (ft. Twin Shadow) – Stardust

[youtube https://www.youtube.com/watch?v=7rSmYRfKOtg&w=560&h=315]

Van Morrison – Share Your Love with Me

[youtube https://www.youtube.com/watch?v=PGHc5XuEKbg&w=560&h=315]

Solange – Don’t Touch My Hair

[youtube https://www.youtube.com/watch?v=YTtrnDbOQAU&w=560&h=315]

JoJo (ft. Remy Ma) – Fab

[youtube https://www.youtube.com/watch?v=RwrADhFIkSU&w=560&h=315]

XYLØ - Dead End Love

[youtube https://www.youtube.com/watch?v=pEGKHPwIMUM&w=560&h=315]

Bon Iver - 666 ʇ

[youtube https://www.youtube.com/watch?v=96t0rlPmn2E&w=560&h=315]

Two Door Cinema Club – Bad Decisions

[youtube https://www.youtube.com/watch?v=CJ8_alfIHYI&w=560&h=315]

Anne-Marie - Breathing Fire

[youtube https://www.youtube.com/watch?v=KdXqGQsIgE4&w=560&h=315]

Kero Kero Bonito - Trampoline

[youtube https://www.youtube.com/watch?v=01pIo37feKw&w=560&h=315]

The Well – Drug from the Banks

[youtube https://www.youtube.com/watch?v=GBfR3hCqB94&w=560&h=315]

Joanne Shaw Taylor – Dyin’ to Know

[youtube https://www.youtube.com/watch?v=ijXB2z-Y04Y&w=560&h=315]

Skinny Lister – Devil In Me

[youtube https://www.youtube.com/watch?v=XNXnrpZIKa0&w=560&h=315]

Toothless (ft. The Staves) - The Sirens

[youtube https://www.youtube.com/watch?v=OCk-DZxiAVM&w=560&h=315]

Ms. Henrik - Like Lovers Do

[youtube https://www.youtube.com/watch?v=ngUyh6QYg_Q&w=560&h=315]

Kings of Leon – WALLS

[youtube https://www.youtube.com/watch?v=BdF41Ne2cnQ&w=560&h=315]

Swet Shop Boys - T5

[youtube https://www.youtube.com/watch?v=q4Yb8AWXgLI&w=560&h=315]

Nils Bech – Waiting

[youtube https://www.youtube.com/watch?v=vP7Lajn1Bn4&w=560&h=315]

Liv Dawson - Reflection 

[youtube https://www.youtube.com/watch?v=n-a1o4KzWWc&w=560&h=315]

October is kicking off with plenty of intention and fantastic sounds. The likes of Green Day and Hooton Tennis Club release albums in the coming days/weeks and will give the music world a serious injection of energy and excitement. Keep the eyes peeled for upcoming songs and the best of early-October.

TRACK REVIEW: Signal - Down (ft. Eclipse)

TRACK REVIEW:

 

Signal

 

Down (ft. Eclipse)

 

9.5/10

Down is available via:

https://www.youtube.com/watch?v=51qP6nTKWYI

GENRE:

Grime; Hip-Hop; Rap

ORIGIN:

Basingstoke, U.K.

RELEASE DATE:

2^nd October, 2016

PRODUCER:

Jay Picasso

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IF the last couple of months in music have taught us anything…

then it is the importance of street-level music and preserving the realness of the British manors. Skepta’s Mercury Prize win was the result of a rare and brilliant young artists whose music not only extols truth and reality but has a universality and depth to it. Before looking at music from young artists and changing tastes; I wanted to look at Grime, Hip-Hop and Rap again. These are genres that have always struggled for mainstream acknowledgement and have had to fight against more preferred styles like Pop and Rock. It is baffling, in 2016 no less, that there is segregation and compartmentalisation in music – a lack of integration that needs to change. I know genres like Jazz and Country are always going to have their own audiences and not readily appeal to everyone. It is a shame these genres get clichéd views and are often written off – ensuring there is not a greater understanding and appreciation. We all know what a variety of great music there is but so much of it is being lost and buried. I feel we need to open up channels and make certain styles and sounds more accessible and exposed. Whether it is a greater exposure from radio stations or bravery by consumers – something has to be done. I am a big fan of Jazz but really reserve my tastes to legends like Miles Davis and John Coltrane. I feel we all latch onto a genre or music style but tend to limit ourselves to certain acts. Even if you are a new discoverer of Grime and Hip-Hop it is certainly worth more investigation and inspection. Skepta’s Konnichiwa is an album that resonated with so many people and it is easy to see why. Many musicians are insular and talk about love: pushing some away and coming off to personal and not varied enough. It is hard bonding with musicians that do not push themselves and go beyond the predictable. Skepta ensured Konnichiwa was an immersive but worldwide album that was not just resigned to personal issues and themes of love. Not only were the rhymes slick, confident and commanding: the compositions cross genres and beautifully combined emotions and shades. Deep, stunning and intoxicating: few could resist the temptations and scintillating music within. It is not a rarity discovering someone like Skepta. His award-mate and contemporary Kano was up for the Mercury and was narrowly pipped. It is odd Grime and Hip-Hop is not given more credit and spotlight than they have at the moment. Let’s hope Skepta can bring about some resurgence and reappropriation: make sure more people embrace the wonderful artists and music coming out. It is not just the mainstream talent that is making Grime exciting places to be. One of the brightest names emerging in the underground right now is Dan Amps’ Signal. Not one to be overlooked and play it quiet: his latest track, Down, is another dazzling and stunning cut. It is probably high time I introduce him to you:

“Having been performing for ten years already: 2016 has been one of the most jam-packed for Basingstoke Hip-Hop Grime star, Signal. Appearances on B.B.C. Introducing – The South (a live session and interview) and B.B.C. Berkshire (interview, freestyle; Q&A session) are just the tip of things. An appearancein the Basingstoke Gazette- which promulgated the local hero’s exposure from B.B.C. and his single, All Night- was matched with a feature on 1Xtra via #TargetsNoticeBoard (with D.J. Target). A stunning run in Has Reading Got Talent? - making the final- and a session of Croydon Radio brought the music to a wider audience- cementing himself as one of the south’s most promising new musicians. Signal's Dan Amps studied at The Academy of Contemporary Music (gaining a Music Production degree) and quickly established himself as one of the most dedicated, talent musicians in the south. Produced by Jay Picasso: new single All Night shows what Signal is all about. Hungry beats and slick, fast-flowing raps are filled with confidence, humour, and swagger- lines that reverberate in the mind and demand closer investigation. One of the most intelligent, authoritative and assured newcomers in Hip-Hop: the future looks very bright. After the release of E.P. Make It Happen- Signal’s 5th release- the young star has grows more assured and astonishing with each new offering. Inspired by contemporaries Wretch 32, Kano and Dizzee Rascal- in addition to ‘90s acts like Eminem and Biggie Smalls- Signal offers something both fresh and familiar: music that will not only appeal to hard-core fans of Hip-Hop, Rap, and Grime- songs that transcend borders and tastes. Throw in support slots with the likes of Chipmunk, Sneakbo; Wretch 32, Kano and Krept & Konan- quite an impressive and accompliished C.V. At the heart of things is Dan Amps (the man behind signal) and his warm, down-to-Earth personality. Somebody committed to music-making and spreading his message: that drive, determination, and passion are starting to reap rewards. How long before Signal joins the likes of Kano and Wiley: two of the forerunners in the U.K. Grime scene? Signal has performed across the U.K. - from London to Oxford- and shows an immense hunger and zeal: nothing means more than making music and bringing it to the masses. It cannot be long before his talent is recognised and (Signal is) one of the mainstream artists of the future”.

There are some wonderful young artists emerging right now and it is only a matter of time before they get the credit they deserve. Signal splits his time between Basingstoke and London and has been enjoying some time at Starcity Studios under the tutelage of Jay Picasso. I have been following Signal for a while and watching him rise and grow. All Night was his last single and was as urgent and desirous as the title proves; a man with only one thing on his mind. With each Signal song, there is that utter confidence and charm that is hard to ignore. You get seduced by the conviction and panache of the delivery and the ingenuity of the lyrics. There is a great focus on Pop and Rock acts coming through and it seems certain artists have to struggle harder than others. I feel British Hip-Hop and Grime is among the most exciting and compelling music you can hear. Throw away the preconceptions of needless profanity and drug-referencing M.C.s – we all need to forget the stereotypes and let the music deliver. With Signal, there is that accessibility that some of his peers lack. He is not someone that rolls to the mic. with fire and aggression – without offering any sense of relatability and familiarity. There is no unnecessary and undeserved ego: instead, you get an accomplished and hungry performer who is laying his marker down and intends on sticking around for many years to come. It is wonderful finding so many consistent acts in music who have overcome the hurdles and are setting their sights on the future. You might think British Grime and Hip-Hop is quite understaffed and it is a minority genre. You only have to drive around some of the clubs and venues of London to see how naïve that assumption is. From Camden and Hackney through to Clapham and Brixton – all manner of prime and lean talent to get your teeth into. In terms of sound and sensations: Signal takes a little bit of Wretch 32 and Chipmunk but is very much his own man.

There is still that zeal to embrace musicians in the capital and narrow in too closely. It is an issue I mention in (nearly) every post but there is a logic to bringing it up. It seems Signal might make his way to London and has performed across the city many times in the past year. He seems very much at home and would be based at the centre of the Grime revolution. Around Basingstoke; he has a legacy and name that is being cemented; one feels there will be fewer opportunities in the coming months – a natural evolution will see him based in London and making his way around the capital. It is a little ignorant feeling all good music emanates from the cities (very little to be found outside) but cities like London are set up to accommodate all type of artists. More open and opportunity-laden than smaller towns: many eyes will be on Signal and where he heads the next year. It is important not to forget your roots and those who begin towns and villages – before moving on – should acknowledge where they come from and how important it is to their development and character. Amps has spent his formative years around Basingstoke and been lauded in the local press. Without the respect, backing and attention from newspapers and radio around the town; it is debatable whether he would be able to perform and get gigs around London. That is a theory for another day but one thing is crystal-clear: 2017 is going to be the year we see a lot more coming from Signal.

When one approaches Down and Signal’s fresh output – it is worth looking back and seeing where he arrived from. I feel Down marks an apex for the Basingstoke star who has been feeding off the recent waves of Hip-Hop/Grime stars like Skepta. A lot of modern-day contemporaries are being inspired by the kings of the scene: including Wiley, Kano and Giggs (with a touch of Stormzy). All Night was a slick and sexy cut that found Signal in commanding mode and full of confidence. The vocal was assured and seductive whilst the composition provided a suitably louche and sweaty basis. Down is a sharper and more adventurous song that beats harder and incorporates a wider palette of electronic moods. Deeper, darker and more neon-lit than its predecessor: it finds Signal fresh from the bedroom scenes of All Night and roaming the midnight streets; maybe thinking of a new conquest; energy renewed. Maybe it is the continued partnership with Jay Picasso and his input that has resulted in this change. With Signal growing stronger and bigger each time a song arrives: you can hear that Picasso-esque rich production and compositional touches but the abiding impression is of Signal and his clear and distinct direction. After gaining live experience and picking things up on the road: that all comes to the plate in his most instant and professional track to date. You imagine it will not be long until Signal assimilates to the mainstream and stands alongside his peers and heroes of the genre.

I, for one, am very excited about Down’s arrival as it announces another bold move by Dan Amps and his creative rise. The opening moments of Down are a symphony of drive-by moods and street-level beats. The percussion cracks and whips; it is hollow and tasty with a definite swagger and sense of cool detachment. Strutting slams marry alongside echoey, cooing electronics that dives, warp and swallow. The combination blends supremely and gets the listener imagining the opening scenes and settings. You see yourself (I did at least) at night, down on the street. You wander under late-night smoke and stalk the pavements: part of you escaping a feeling of anxiety and being watched; the one vibing from the atmosphere and lingering energy of the post-pub revelry. Composition-wise; Down begins with an evocative and layered sound that is not too crowded or hard but never too slight either. The video – featuring Signal, Jay Picasso and Jamie Jooste – sees the trio swing and dance to the introduction: sassy and vibrant; head-nodding and ready to go.

When Signal approaches the microphone; he seems to be directing to a heroine. Maybe a rendez-vous or easy hook-up: he wants her to get on the phone and bell a taxi. He might be at his place and wanting her to come around. In the vocals, you hear a young man with no limitations or shortage of bravado but someone who keeps things cool and clean in the first stages. Sweetleaf and dope-scented; beer-soaked and musky: a perfect combination of grimey, jumping beats and yearning vocals. If All Night has some innuendo and tease then that has been swiftly replaced: a man who has no intention of beating around the bush. Revived, renewed and energised by his libido: Down finds the hero playing Ken (to the girl’s Barbie) and wanting her to bend down. Keen to sneak a peek and get some side-boob action: raw, direct and full of confidence. Were the vocal and lyrics not supported by appropriate compositional flair then the song would suffer as a result. Picasso and Signal make sure the beats keep snapping away and back in viper-like. Those woo-wooing electronics hark back to the origins of Grime and remind me a bit of Dizzee Rascal during his Showtime period. Perhaps not as scuzzy and rampaging as Rascal: Signal provides his own take on sexual come-on.

If contemporaries like Rascal, Stormzy and Wiley document the theatre and unpredictability of the London streets – where they came from and the reality they faced – Signal represents the larger voice; drawing from his own experiences and the sort of night-to-night adventures he enjoyed (and possibly still does). There is never any sense of crassness or sexism throughout the song. The boy is smoking weed in the penthouse and lusting after the girl. Whether they have hooked up or he is speaking from experience; you know she is someone in-demand and knows what she’s doing. Never a shy or demure heroine: someone who is on a par with Signal and capable of throwing back the flirt. The listener’s body will be compelled to jut, dance and groove around; captivated and drugged by the simple (but highly catchy) backdrop. Signal is up-front and in no way one for reservations and hesitations. Eclipse (Jamie Jooste on joint-lead vocals and Jay Picasso on backing) acts as Signal’s sweetheart/backing and counterpart (Jay Picasso as the backing voice is particularly affecting). With her voice processed and given that stridulating, machine-like sound: it is almost like she is the hero’s imagination and subconscious. Whereas Signal’s voice is clear and natural; the counterbalance gives the song new light and layers. The duo plays off of one another well and, instead of being compartmentalised and not gelling; the vocal parts naturally flow and go together perfectly. Picasso adds the odd note and vocal snatch to back up Signal; giving it extra gravitas and defiance – if you see the video; the trio remains in the picture from start to finish – and you become more engrossed in the song. Whereas the first half of the song was pure Hip-Hop and Grime – straight-ahead and quite edgy – Jamie Jooste's introduction gives the song more Pop edges.

The vocal (from Jooste) has elements of mainstream stars like Rhianna and Sia but the heroine has her own flair and personality that separates her from the crowd. Mixing sunshine vibes and Reggae dance; salacious Hip-Hop tongue licks and a balance of sexuality and playfulness – the song opens up and is at its catchiest. Signal muscles into the scene and Down turns into a tussle between the two parties. At its most physical, flirtatious and desirous: the duo have progressed to the dance floor – if you are following the scenes – and tangling around the carnival beats and inevitable throw-down. The heroine can get him/herself up – whether added by something a bit recreational and strong or just natural spirit – but she can also get down. In that up/down dichotomy; one gets images of contrast and two people from different sides of the track. Signal is someone who has professed to some weed smoking and chilling. Despite his eagerness and charge: he is someone that is laid-back and calm. Eclipse (Jooste as the heroine; Picasso as the brotherly wing-man) seems a more fiery and accelerated element that has an air of a party girl but someone with sophistication and sassiness – the two have that chemistry on the microphone and there is that sense of tension and what-is-going-to-happen-next. The heroine provides the “D-da-d-da-down” snake dance in the chorus. An insatiable hip-swiveling delivery that is bolstered by some caning beats and a up-through-the-nose head-rush of electronics and slung-low-groove. Throughout, there is a conflict between cocaine confidence and mellow smoke: not necessarily as source material but in terms of the personalities of both. Few can accuse Signal of being more sedate and closed-off compared to Jooste's heroine. Picasso gives the song some vocal depth and adds his cool blends into the mix.

Signal is hectoring the girl to get round and has his in-the-mood-to-get-down rider that includes Mount Gay (wonder if he’ll get sent a case for the name-check?) and smoking Marley. The hero invites her friends around so you wonder whether he is just looking for a good-time party or his sexual ambitions are truly heroic. One assumes the former is true and there is that desire to get high and chill rather than necessarily get instant gratification. Signal’s voice gets harder and deeper as he drills down to the core. Netflix is mooted for the date night – whether a mutual decision or a suggestion from the girl – and there is a Pippa Middleton vibe about the girl – perhaps a bit haughty and high-priced but able to slum it, one feels. Once more – as we have seen with previous songs – there is subversion and humour to be found.

As you imagine Signal leading a girl – and perhaps her girlfriends – into the bedroom to play some games (that game is “Sega!”); it is announced with a wink and tongue firmly in cheek. Signal busts out the white Power Ranger – sure he has mentioned Power Rangers before but can’t put my finger on it – and she seems like a keeper. As they have reached the bedroom; one wonders how much innocence and game-play (of the electronic type) is happening and whether the hero is making a move. Holding slightly back but putting his heart out there: Signal is firmly in the spotlight and laying down a solid and authoritative vocal delivery. The humour book is whipped out as the clothing starts to come out. Whether looking at some underarm hair or a bit further along the course: she is a “Neymar”; a Brazilian that is in need of the razor. There is a bit of cockiness to the sentiment but cannot help but laugh at the imagery and wordplay. It is clear Signal is down and ready to get it away but has some guidelines and rules, it seems. Blending the chorus’s repeated mantra (the song title fragmented, repeated and chanted; perhaps by Picasso); and Eclipse’s reintroduction – it seems like she can wait and time is on their side. Maybe Signal is too keen for things to happen and rushing into it. She is more relaxed and someone who can “share my candy” and promises fire. Stepping aside from the processed vocals and chorus representation: Jooste shows her natural voice and unwraps a sick and slick declaration. Wanting the ladies to get their hands up: she is someone that can get up and get down. Like Signal and his mix of narcotics, sexuality and natural charisma: one wonders how much of a comparison chemistry set is in Jooste’s handbag. Perhaps not quite as buzzed as Signal and more spiritual and pure: the lip-licking, salacious delivery draws you in and hooks the listener.

One hopes Signal and Eclipse (Jooste on the vocals especially) work together again as their personalities mesh naturally and they bounce off of one another very well. Whilst Picasso busts some moves – in the video, he is decked in shades and playing the Bez figure it seems (with way cooler moves) – and is very much the unsung lead and inspiration behind the song. His sharp and assured production takes the song through the motions and gears and provides it so many different emotions and sides. Never resting purely in Hip-Hop territory; it manages to ably splice genres and vocal elements without losing focus and keeping the story on track. Lesser Grime/Hip-Hop artists might put too many words in and be too keen to get the story on the page. Picasso, one assumes, has insisted on some compositional punctuation and treated some of the vocals. It gives the song greater depth and resonance and ensures there is more seduction, nuance and variegation emerging from Down. In the closing exchanges; the sense of intoxication and festival is explosive. One starts listening to Signal reveals his intentions and make their assumptions – thinking he was just after sex and was the dominant one – but has found a natural equal in Jooste. Her vocal gives the song its swagger and cool; Signal provides the directness and grit – together, there is so much to love. The chorus is the finest Signal has created and the catchiest to date. You cannot help but dance and flail around the room (look at Picasso’s moves in the video to see how it should be done!). Another sign of Picasso’s direction is the last segment which finds the opening lines – Signal asking the girl to ring a taxi and get round to his place – fed through a machine and given a bit of a low-down husk. Almost like a captor making ransom demands over the phone – the sound of the vocal rather than anything creepy – it is another great left-turn and means the song ends as strongly as it started. Everything is slowed down at the end and the duo trade to the end. One wonders how things ended and just what happens.

Credit to Signal who has delivered his (perhaps) finest song to date. The equal of any Grime/Hip-Hop cut out at the moment; Down proves he is ready and mature enough to handle the demands of the mainstream. He could well stand up alongside Skepta in future years and already has a sense of command and confidence that is key to success. If he does release an E.P. or album: that will be interesting to see if the tone is overtly sexual or he gives us an insight into his daily life and other elements. Maybe not experiencing the same urban decay and gang battles of many Grime contemporaries: Signal offers a more accessible and relatable set of lyrics. Not just reserved for young men – it seems a lot of Hip-Hop and Grime aims for that demographic – Signal’s latest song – and the fact he combines with Eclipse – will cross the genre lines and manages to cross-pollinate genres; meaning he will have a wider market and get radio-play across a number of different stations. Kudos to Eclipse (Jooste on vocals) who is a new collaborator with Signal and manages to smash it. Her unique tones and endless confidence give the song something extra; let’s hope the two works together again very soon. Picasso adds plenty of rawness and candour with his vocals; his production values are typically excellent. With Picasso guiding production and adding creative elements throughout - the overall effect is sensational and slick. Down is the first statement from Signal that takes him from local hero and Basingstoke boy-done-good to an artist that has the guts and ammunition to make his mark on the wider scene. With some wise tutelage and a constant attention to P.R. and getting his music out there; that transition and realisation will come quicker than he imagines.

I recently interviewed Jay Picasso (who produced Down) and he extols the virtues of Signal. The working relationship between the two is solid and brother-like – Picasso ribbing Signal and applying cute nickname (which I shall not reveal). The duo has worked together before and one feels it is a partnership that benefits both parties. Picasso has the chance to take a young talent under his wing and experience new sounds and stories. It is helping craft and develop him as a producer and mentor. Signal, in turn, has been afforded the opportunity to work alongside a recognised and reputable studio boss that has seen many artists pass through his door. I know the two have been discussing the possibilities of an E.P. or album in the coming months. There is a lot of momentum and excitement in Signal’s camp and plenty of fresh ideas coming to the fore. Whether there is quite enough material for an album – he might go in with an E.P. – the coming months are crucial. The reception and acclaim Signal’s been receiving in the live setting has given him a definite boost.

The past year has seen radio interviews, live performances and some stealthy reviews. Coming from a humble basis and worked hard to where he is now: few can deny how deserved the attention and positive feedback is. All Night was championed by many people and sounded contemporary and fresh but with enough edge and unique spin to distinguish it from everything else. Down continues where that left off and is another dizzying assault from one of the finest young artists working right now. These are now the first moves from Signal: he has been performing for a long time and created an impressive back catalogue already. I feel the evolution and development he has undergone throughout 2016 will lead to some great things. I hope an E.P. does arrive in 2017 and we see many more tracks from Signal. Looking back at the earliest recordings and comparing them with today and you can just hear how much stronger he is. Whether that is down to work with Picasso or the experience picked up in the last few months. When Down seeps into playlists and gets picked up; one imagines Signal will have more London gigs and more chances to bring his music to the masses. One feels he could go even further and tour throughout the U.K.; perhaps some international dates might not be out of the question.

I opened up by talking about Grime and Skepta especially. There is an artist that is leading a charge and highlighting just how good Grime and Hip-Hop are. It is not acceptable to be tepid and tame with our musical tastes because so much great music is being overlooked. One of the best things about what I do is getting to hear such a wide range of music and some really fascinating people. I’d like to think – without the blog- I would be as adventurous. There are those of us who do take chances but not nearly enough. It is hard to say if anyone is to blame and what is to be done. I guess mainstream radio stations have their own tastes and cannot really break their format. There are not many websites that people use that aids the issue; many of us rely on word-of-mouth and a certain amount of luck. That might take time to change and it is going to be tough ensuring genres like Grime get a fair shout and feed fully into the mainstream. What the Mercury Prize did this year – like it has done recently – is to recognise music that falls outside of the mainstream and would not necessarily top festival bills. In the past (the award) has been given to popular bands that have been approved by critics and are a tad predictable. Over the last few years, the judges have taken chances on artists that fall outside of these spheres. That kind of shake-up is what music needs and let’s hope it continues. It relates to Signal who is not someone that is necessarily going to be sharing the stage with festival bands – his path and career will be a little different.

The public is starting to discover wonderful talent like Skepta and this trickle-down will see acts like Signal gain new audiences. Down is his latest revelation and emanates from a young man that has not even hit his peak. One feels, with every new song he brings out, the best days are ahead of him. Down has plenty of fire and roll; it swaggers and sticks in the mind but Signal will bring more sounds, strands and layers into future music. He will get heavier and perhaps collaborate with other like-minded artists. When all that comes together – whether it happens on a future E.P. – then you feel awards and huge gigs are likely to follow. It is always risky and difficult making these predictions when there are so many eager and talented musicians wanting the same thing. It is easy to discover those that go above and beyond expectation and elevate above their contemporaries. I hear plenty of artists on national radio that are weaker than Signal; let’s hope this injustice is rectified and (those like Signal) get their dues. It is worth wrapping up and recommending you follow Signal’s career and his upcoming moves. Down is yet another addictive and brilliant offering from a young man out of Basingstoke who has the potential to conquer new worlds and join the likes of Skepta under the microscope of the mainstream critics. Contrary to the title of his latest single: Signal is very much…

ON the way up.

[youtube https://www.youtube.com/watch?v=51qP6nTKWYI&w=560&h=315]

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Follow Signal

 

Official:

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FEATURE: The Twenty Best Singles of This Year (So Far)

FEATURE:

 

The Twenty Best Singles of This Year (So Far)

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IT has been such a busy and amazing year…

for new music and the mainstream. So many wonderful albums have come through; some incredible creations from some of the world’s finest artists. Last year, I bemoaned the lack of great albums and songs emerging: this year has surpassed expectations and really come up trumps. As the year start to close in; I have been thinking about the finest singles of this year to date (so far).

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Radiohead – Burn the Witch

There was a lot of trepidation with regards a new Radiohead album. 2011’s The King of Limbs was a great album but not up to the lofty heights of their previous oeuvre. A Moon Shaped Pool had such build-up and hype that it absolutely had to deliver the good. When lead single Burn the Witch arrived; all those anxieties and tensions dissipated. Nervy, politicised and string-laden: a golden Radiohead track that mixes the orchestral touches of Kid A and the dark undertones of Hail to the Thief. Complete with a Trumpington-inspired video and one of Thom Yorke’s finest vocals in years – the Oxford legends back to their very best.

[youtube https://www.youtube.com/watch?v=yI2oS2hoL0k&w=560&h=315]

M83 - Go!

French Electronic band M83 underwent some changes prior to the release of the April-released album, Junk. Morgan Kibby, their long-term keyboardist and vocalist, departed the group before recording began and forced M83 to change things slightly. Junk is a more collaborative album with performers like Beck, Jordan Lawlor and Mai Lan lending their vocals. Lan’s contributions go into the best moments from Junk: chief among them is the album’s third single, Go! One of the most infectious and bright choruses from any artists this year: an intoxicating rainbow-coloured celebration that is impossible not to sing along to. Junk split critics and contained its share of filler but tracks like Go! stood out and proved the French outfit had plenty of invention in their locker.

[youtube https://www.youtube.com/watch?v=U3YZTYXftzg&w=560&h=315]

The Stones Roses - Beautiful Thing

On May 12^th All for One was released and The Stone Roses provided a shock return to music. It was back in 1994 they released Second Coming: an album that was not up to the lofty and peerless standards of their eponymous debut. A lot has happened in the ensuing twenty-two years but it seems like the Manchester band are ready to release a third album. They are touring next year and Beautiful Thing is the second single from the band’s 2016’s output. Different in tone to All for One but hitting just as hard: another authoritative and joyous song from the Mancunian legends. Who knows what 2017 will hold for the band – an album or more singles – but it is great having them back – it has been far too long.

[youtube https://www.youtube.com/watch?v=lCk34IVVgcc&w=560&h=315]

Skepta – Man

There was little doubt Skepta deserved this year’s Mercury Prize. David Bowie was the bookies’ favourite, but in hindsight, it was a smart move awarding it to the Tottenham-born Grime artist. Konnichiwa was a song compelled by anger and, in the words of Skepta, getting revenge on critics – many branding him an idiot and doubting his credentials. Man peaked at number thirty-four in the U.K. charts and number seven in the U.K. R&B charts; the song’s main riff samples Queens of Stones Age’s lesser-known song Regular John. Man is Skepta fired-up and in control: throwing down the gauntlet and providing he is not only one of the leading lights on the Grime scene – one of the most exhiliratiing and accomplished artists in British music.

[youtube https://www.youtube.com/watch?v=sOhxPhqzMwg&w=560&h=315]

Beyoncé – Formation

Lemonade was released in April and shrouded in mystery and speculation. Many see (the album) as a rebuttable to Jay Z’s infidelity: others see it as a more general look at indiscretions and love. Not all the tracks across Lemonade addressed relationship issues – whether fictionalised or personal – and lead single Formation showed that. In a post-Ferguson, #BlackLivesMatter climate: Formation is a protest song that implores the black community to stand together; for people to join in unity. Although Beyoncé is one of six writers in the mix: her voice and commanding performances carries the song and ensured it was not easily forgotten.

[youtube https://www.youtube.com/watch?v=1ZDEX2ggvao&w=560&h=315]

Liv Dawson – Still

 

Liv Dawson is teenage talent that has a huge career ahead of her. Similar to artists like Billie Marten (see below) she has a very mature head (on young shoulders) and sounds like she has been performing for decades. Tapestry was a song that wetted critics’ mouths but that, in my opinion, was topped by Still. It is a gorgeous number that frames Dawson’s spellbinding voice and gravitas: an artist that can allure and seduce but has power and nuance in her voice. Lyrics are mature, world-wise and intelligent; the composition detailed but not too overcrowded. As 2017 comes into view, Dawson is a young artist that is going to gain more foothold and mark herself as a huge talent to watch.

[youtube https://www.youtube.com/watch?v=SUae53jt6Wc&w=560&h=315]

DJ Shadow (feat. Run the Jewels) - Nobody Speak

 

The Mountain Will Fall arrived after a five-year gap from DJ Shadow. While the album was not up to the lofty standards of Entroducing… it is not to say it was a failure. Although a few filler tracks remained: second single Nobody Speak is a genuine classic that could have been taken from DJ Shadow’s ‘90s period. Run the Jewels bring the swagger and defiance whilst DJ Shadow laces boisterous horns and slick beats to the party. Rap verses from El-P and Killer Mike give the song plenty of kick and bite whilst guitar loops, funky bass and DJ Shadow’s Midas touch take the track over the top.

[youtube https://www.youtube.com/watch?v=NUC2EQvdzmY&w=560&h=315]

David Bowie – Lazarus

This year might be notable for its terrific music and wonderful emerging artists but it is also, rather sadly, synonymous with tragedy. In addition to Prince’s passing; the death if David Bowie sent shockwaves around the world. Much of Blackstar was written and recorded as David Bowie accepted his fate: he knew he was not long for the world and in many ways; the music is a self-epitaph. That is true of Blackstar’s second single, Lazarus. The song’s video was shot in November 2015 in a Brooklyn studio. In a 1:1 ratio aspect and focusing on Bowie (buttons sewn over eyes) it is a haunting and beautiful video that affected many listeners and one of the last times Bowie was committed to film.

[youtube https://www.youtube.com/watch?v=y-JqH1M4Ya8&w=560&h=315]

Shura - What’s It Gonna Be?

 

If we are to examine the finest albums of 2016; it would be foolhardy to overlook the debut from Shura. Nothing’s Real was lauded because of its ‘80s-referencing Pop and beautifully constructed tracks. On an album stuffed with infectious, dance-along songs: What’s It Gonna Be? is one fo the finest cuts from a brilliant album. Shura has released seven singles from the album – one assumes that will be it – but What’s It Gonna Be? was written and produced by (along with other writers) award-winning producer and instrumentalist Greg Kurstin – he worked with one of Shura’s heroines, Madonna. Expect big things and a wonderful 2017 from Shura.

[youtube https://www.youtube.com/watch?v=nJ4uBdmnKds&w=560&h=315]

Anohni – Drone Bomb Me

 

Following the exceptional first single 4 Degrees: Drone Bomb Me is a song, in Anohni’s own words: “…a love song from the perspective of a girl in Afghanistan, say a 9-year-old girl whose family’s been killed by a drone bomb. She is kind of looking up at the sky and she’s gotten herself to a place where she just wants to be killed by a drone bomb too.” Politics and anger ran throughout Hopelessness: the first album from Anohni and a Mercury Prize nominee no less. Her dominating and gravity-filled voice is enough to buckle knees and drop jaws; the lyrics cut deep and get people thinking. Drone Bomb Me cold be an angry and unfocused song – given its subject matter – but, instead, is a heart-breaking and thought—provoking song from one of music’s absolute treasures.

[youtube https://www.youtube.com/watch?v=aUEoic7ro_o&w=560&h=315]

Glass Animals - Life Itself

 

The sexy, multi-vibe Oxford four-piece released How to Be a Human Being in August and it was greeted with huge critical acclaim. Life Itself departs from their previous work and is altogether slinkier, funkier and wittier. Pulsating, warrior drums and cool synths. sit with comical, slice-of-life lyrics: the hero lives with his mum and is “North Camden’s own Flash Gordon”. It is a song that epitomised the album and the originality Glass Animals bring to music. The fact Life Itself is still regularly played on radio proves it is a song that not only resonates with the public but D.J.s and tastemakers alike. Few modern bands do things quite like Glass Animals: Life Itself is an infectious and brilliant track that bounces around the head; one you are glad to have in there.

[youtube https://www.youtube.com/watch?v=yd9p4n5hLEg&w=560&h=315]

The Avalanches – Subways

Like DJ Shadow’s ‘return’ to music – or new album after a slight hiatus – there were nerves and excitement when The Avalanches unveiled plans for a second album. 2000 was when the world was introduced to the Australian D.J.s and their life-affirming record, Since I Left You. Wildflower was never going to equal the blueprint of that record but it did contain flashes of their debut-era brilliance. Lead single Frankie Sinatra was not overly well-received; many felt the group has lost their touch. When Subways was released – the third single from the album – those fears and doubts were allayed. Subways is a Disco-Funk song and samples Warm Ride by Bee Gees; performed by Graham Bonnet – also sampling Patrick Simmons’ Black Water. The lead vocal is taken from a 1980 song called Subways – Chandra Oppenheim was only twelve when she recorded the song.

[youtube https://www.youtube.com/watch?v=bPIMfOIuEe4&w=560&h=315]

Bon Iver – 33 “GOD”

There is not much that can be said of 22, A Million that has not already been said. The American’s third album has gained hugely positive reviews and almost makes you forget about the odd song titles – he has earned the right to be a little mysterious and pretentious. What you get from 33 “GOD” and much of 22, A Million is a record that deals with personal distress and crisis better than any other. Justin Vernon’s confusion, heartache and displacement is fed through oblique lyrics you are happy to second-guess and unravel. If the lyrics push some listeners away: the exceptional composition (on 33 “GOD”) draws you in; into a wonderful, strange world that belong only to Bon Iver.

[youtube https://www.youtube.com/watch?v=6C5sB6AqJkM&w=560&h=315]

Parquet Courts – Dust

 

Human Performance was released in April and the fifth album from American Punk-Rock band Parquet Courts. Dust arrived in February and was the lead single from the L.P. A perfect way to kick the album off: Dust is drone-like but has plenty of determination and spirit; its chorus is instantly catchy and memorable and the band performance is completely tight and compelling throughout. Backed by rich and clear production values and you cannot fault the multiple layers and nuances of Dust. The rest of Human Performance switches between goofy Pop and addressing gun violence in the U.S.  and proves what a nimble and far-reaching band Parquet Courts are.

[youtube https://www.youtube.com/watch?v=lRG3R2FmGlY&w=560&h=315]

Tegan and Sara - Boyfriend

There are those still unfamiliar with Canadian duo Tegan and Sara. The Grammy-nominated sisters released their eighth album, Love You to Death, in June and the single Boyfriend two months prior. Co-writing with producer Greg Kurstin: the song tackles defining a relationship and the switch between lover and friend. The narrative was inspired by Sara Quin’s past where she was dating a bisexual woman – who has never dated another woman – who was dating a man; it also touches on L.G.B.T. themes and heteronormativity. Boyfriend is very much Tegan and Sara what they do best, albeit it, tinging their celebratory energy with something confused and heartbroken.

[youtube https://www.youtube.com/watch?v=HJOHoiPGpac&w=560&h=315]

Teenage Fanclub – I’m In Love

After six years away: Scottish Alternative rockers Teenager Fanclub released Here. One of the best albums from their 21^st-centiury cannon: no cracks or fatigue to be found; simply an unstoppable band full of inspiration and quality. In fact, Here could have arrived back in 1990 (when their debut, Catholic Education, came out) and I’m In Love is the perfect exemplification of that theory. Breezy, catchy and romantic: a song that puts a smile on the face and motivates you to sing along. It’s insanely catchy chorus states: “It feels good/With you next to me/That’s enough, that’s enough/”This is not such a mystery/I’m in love/With Your love”. A sensational, hugely uplifting and glorious track from the Bellshill legends. Let’s hope they have many more albums left in them.

[youtube https://www.youtube.com/watch?v=FDOLKSp2AWU&w=560&h=315]

Jamie T – Tinfoil Boy

Trick was finally released last month but the consumer has plenty of Trick material to salivate over prior to the record’s release. Lead single Tinfoil Boy came out In June and marks one of the lariest bangers from Jamie T to date. Its chorus sounds like bit like Born Slippy with a fleck of South London; the lyrics find the hero being “tricked into waking up” and address issues of anxiety and depressions. If some songs on the album play too close to Arctic Monkeys (Power Over Men) and Combat Rock-era The Clash (Tescoland): this is one of the most Jamie T-esque songs; a ballistic strike and outright stunner from an artist still capable of surprising and bringing the good.

[youtube https://www.youtube.com/watch?v=TElBPcFIk0E&w=560&h=315]

Kate Tempest – Don’t Fall In

 

It has been a busy last couple of years for London-based poet-songwriter-authour Kate Tempest. After the success of her debut album Everybody Down (which gained a Mercury nomination) she has been restless and breathless: the novel The Bricks That Built the Houses and play Brand New Ancients were introduced and the groundwork for her second album, Let Them Eat Chaos, created. Don’t Fall In was unleashed last month and a perfect taster of the upcoming album. Propelled by a dark and seed pulsed beat; subjects of social stagnation and survival are thrown together in an exhilarating, fast-flowing song. The “half-hearted, half-formed” and half-furious, half-bored are trudging through life. Whilst separate in tone to many of Everybody Down’s tracks; Don’t Fall In contains that inimitable blend of social astuteness, endless determination and entrancing delivery.

[youtube https://www.youtube.com/watch?v=-aRxIWgFLpA&w=560&h=315]

Billie Marten – Lionhearted

If seventeen-year-old Billie Marten was nervous about the release of her debut album, Writing of Blue and Yellows, the critical reception must allay that somewhat. Unanimous praise and love have come her way. Many highlighted the tender, breath-taking vocals and mature songwriting; the incredible beauty and emotions that come through in the music. Despite being a debut album: there is no doubt Marten will be a huge star of the future. Lionhearted is one of the standouts from the album and looks at the heroine getting away from things and wanting a steelier heart. Whether affected by the strains of life or going through tough times: everything is made to sound entrancing and utterly beguiling because of Marten’s affecting and gorgeous voice and finger-picked composition.

[youtube https://www.youtube.com/watch?v=_oD9hGnZqgw&w=560&h=315]

Nick Cave and the Bad Seeds – Jesus Alone

 

Undoubtedly one of the finest albums of the year – perhaps just pipped by David Bowie’s Blackstar – Skeleton Tree is a hugely emotional record and one tinged with tragedy – following the death of Nick Cave’s young son, Arthur. Jesus Alone is the album’s sole single (to date) and mixes squelches, haunting electronic wave over a sonorous, ethereal Cave vocal. Lines like “I am calling you” seem directed at his departed son and the entire song is spine-tingling and haunted. In a year that has seen so many fine singles come forth: Jesus Alone surely stands above them all.

[youtube https://www.youtube.com/watch?v=9iGxoJnygW8&w=560&h=315]

INTERVIEW: MissDefiant

INTERVIEW:

 

MissDefiant

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I have dedicated a lot of column inches to duos and just how…

varied they are. They are never as predictable as bands and I find duos have much more longevity and quality (than most groups out there). MissDefiant consists Jordan Cather and Emily Rose Adams. The London-based two-piece is one of the most colourful, assured and delightful duos around and always bring it hard. Their three-track single Calculator is out next week and it seems like a perfect time to chat with the girls and see how the year has treated them; how they came together and what they have planned for the remainder of the year.

HEADER PHOTO CREDIT: @robgardnerphotography

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[youtube https://www.youtube.com/watch?v=b8YsAWJ8_Bg&w=560&h=315]

Hey girls. How are you? How has your week been?

Jordan: Wassup! How’s it going? It’s been a manic week! Rehearsing for our upcoming gig at 93 Feet East and working on the promo around the release of our next single Calculator - which is out on the 7th October.

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

Emily: We’re MissDefiant! We are an Electro-Pop duo from London. We write our own music and our producer and silent member of the band is the amazing Mike Tournier from Fluke and Syntax. Our debut album will be out soon along with a B-side of acoustics and remixes - so there should be something in there for everyone.

How did you two meet in the beginning and when was the moment you realised you would go on to make music together?

J: We went to the same performing arts school called Millennium; over a year ago we met again on a film set, randomly! It was a long day of filming and we were both catching up with what we had both been up to since leaving Millennium.

It was quite apparent that we both wanted to do something in music so thought it would be cool to have a jam and write some music together…the rest is history!

Duos don’t have the comfort of additional band members or the same critical attention as solo artists. Has it been challenging putting MissDefiant in the mindset and getting your voices heard? Is it quite difficult getting exposure and attention in the modern climate?

J: Yes it’s been a challenge at times but we love a challenge and are always forward thinking! We also like being a duo as it’s a bit different. Two minds can create magical things!

E: Exposure is tough as there are so many amazing artists out there.

So we’re always thinking of new ways to get our voices heard!

How do new songs come together for you? Do you both set time aside for writing sessions or is it very much a case of putting pen to paper when ideas strike?

E: It’s a bit of both: sometimes when we go into the studio we have written a full track beforehand. But quite often we go into the studio and brainstorm ideas together and record them there and then. It can be really spontaneous. 

MissDefiant has a very colourful vibe and sense of fashion - lots of bright, neon lights and variegated tones. Is fashion and imagery a visual representation of the music or a subject you have both been interesting in for some time?

J: We are both very much into fashion and make-up! We love experimenting with new looks and arty ideas. We wanted to not just be known for our music but also for our fashion style and the imagery of what we are trying to create. We want to be music and fashion icons!

[youtube https://www.youtube.com/watch?v=JlDiX5FtDlM&w=560&h=315]

The video to recent single Ear Candy is out. The song mixes elements of ‘90s Dance and modern Pop artists like Lady Gaga. It is one of those addictive songs that have huge energy and rush. What has the reaction to the song been like?

E: It’s been great! It’s probably our catchiest song that we released so far and its particularly gone down well in clubs.

Your music videos are always eye-catching and memorable. Is that a side of music you enjoy and do you feel it’s vital to keep the art of the music video alive?

J: It’s a lot of fun creating the music videos: something I used to dream of doing as a kid!

I think the videos are very important in connecting with our fans and to also show people what we are about but also to show different sides to both of us.

Calculator is your forthcoming three-track single. What can you tell us about the themes and tone of the song? Are there remixes as part of that release?

J: This song is quite different to some of our other songs that we've released. It’s quirky with an urban feel and it’s got a lot of attitude! The lyrics express some of our personal experiences with dating!  We feel that a lot of women will relate to this song, as let’s face it, we have all been there ;)

E: We have a fab remix of the song by Hectic. Big shout out to Hectic: you are amazing! We also have a more stripped-back ‘acoustic’ version by the awesome Humbringer too, which sounds so different to the original version. It’s super laid-back and melodic.

A lot of your songs address deep issues and social concerns. Do you think musicians have an obligation to dig deeper? Is it important for MissDefiant to mix serious subjects and important messages into the music?

E: We love digging deep and spreading a strong message. Some people might think it’s a bit full-on at times but we want to feel like we make a difference to our listeners' lives, and let’s face it, we’re MissDefiant - we’re not going to just write about love and heartbreak!

We’ve been running anti-cyber bullying workshops in London schools this year; helping teens deal with it and performing our track Fairytale to them. It’s an amazing feeling helping young people through our music.

You are both hosting a festival showcase in East London on 13th October. How did you become involved in that and can you reveal any of the acts who will be playing?

J: We really want to play at festivals next year! We were reading an article about how it’s so important for festival bookers to see acts live or else it’s very unlikely they will book you for a festival. So we came up with this idea of putting on our own festival showcase to showcase us and other cool acts to festival bookers that are ready to perform at festivals next year.

We have the amazing DOPEBOYLDN, Ella on the Run; Episodes and Zen Blythe performing. It’s going to be a really great evening!

Your debut album is out in December. I guess many of your previous singles will be incorporated. What can you reveal about the songs that will appear and the general theme of the album?

E: The album has a mix of Electro. party tracks and statement songs. A few of our previous singles will be on there but there’s loads of new stuff too. It’s a really fun album that we hope our listeners will LOVE! The B-side stuff is pretty cool too: we’ve got some acoustic versions of our tracks on there which sound so different to the original. 

PHOTO CREDIT: Anna Urik

You have had such a busy year and have so many great memories. What sticks out as the best (or several) that has defined the past year?

J: It has been an AMAZING year!

The memory that sticks out for me is performing at KOKO supporting LMFAO: that was an unforgettable experience which I will remember forever.

In terms of the artists and musicians that have inspired you most: which would you rank as most important?

E: Big inspirations to us are Die Antwoord, Grimes, Madonna, Lady GaGa.

Are there any new musicians – either mainstream or underground – you would encourage us to check out?

J: Tove Lo has some awesome tunes! Also, DOPEBOYLDN is a serious talent to check out!

There will be similar duos and artists who want to follow in your footsteps. What would you say to them?

J: Be bold, be brave and don’t hold back on what you want to achieve in life! Never be afraid of what people think of you; just be YOU.

E: Don’t give up! The music industry can be a tough industry to crack and many awesome artists give up before they’ve got to a real level of success.

So keep going and find ways of doing things differently to everyone else!

Finally, and for being good eggs, you can name any song you like (not one of yours as I’ll include that) and I’ll play it here...

Cool Girl - Tove Lo! It’s a sick song!

[youtube https://www.youtube.com/watch?v=XsFneCExrCQ&w=560&h=315]

________________________

Follow MissDefiant

 

Official:

http://www.missdefiant.com/

Facebook:

https://www.facebook.com/MissDefiant/

Twitter:

https://twitter.com/MissDefiant

Instagram:

https://www.instagram.com/MissDefiantOfficial/

SoundCloud:

https://soundcloud.com/missdefiant

YouTube:

https://www.youtube.com/channel/UC-2ky3QstIV_tG19NbHYqYA

FEATURE: Warning: Ten Essential Green Day Tracks

FEATURE:

 

 Warning:

 

 

Ten Essential Green Day Tracks

_________________________

IT is hard to comprehend the fact Green Day have been…

releasing albums since 1990. Considering they are about to release their twelfth album is quite staggering. Revolution Radio is out 7^th October and sees a return to the Punk/political sounds of American Idiot. Following the rather lukewarm reception given to the band’s trilogy – ¡Uno! ¡Dos! and ¡Tré! – the Californians are returning to something more assured and solid. Whilst is yet to be seen whether they can scale the heady realms of American Idiot we shall see. In honour of the band’s amazing and varied career: I look at their ten most essential songs to date and a little bit about each.

______________________

 21 Guns (21^st Century Breakdown)

21^st Century Breakdown was a typically political, angry album from a band witnessing homeland carnage and disruption. Not as focused, astonishing and acclaimed as American Idiot: the album did manage to mix fiery, hands-in-air anthems and poignant moments. 21 Guns is in the latter camp and was nominated for Best Rock Performance by a Duo/Group with Vocals and Best Rock Song at 2010’s Grammys. The song looks at patriotism; Billie Joe Armstrong, in his head, saw it as a 21-gun salute for the fallen – through the prism of stadium Rock and intended for the huge crowds. Comparisons to All the Young Dudes was made – huge chorus that gets people unified – but it is typically Green Day. Others brought in names like Toto, ELO – hardly bands you’d link with Green Day – but a song that goes through various phases and is the highlight of the album. Whereas other album singles Know Your Enemy were critisised for their stiffness and lack of inspiration: this is a song that is very much anti-war and complete with some high-pitched vocal heroics from Armstrong. If many passed 21^st Century Breakdown as a lesser sister of American Idiot: this is the song that should remind them there are some classic Green Day cuts to be found.

[youtube https://www.youtube.com/watch?v=Mke9EHMQMYI&w=560&h=315]

When I Come Around (Dookie)

Dookie is arguably Green Day’s finest album (that, Nimrod and American Idiot usually divide people) but you cannot argue against the fact Dookie possesses many awesome songs. The album’s final single was inspired by a woman (Armstrong’s wife; former girlfriend at the time) and a dispute between the two. Following an argument with Adrienne; Armstrong left to spend some time alone. This was the band’s most popular song in their early days and one of the standouts from their 1994 album. In a year that saw some phenomenal, world-changing albums arrive: Dookie stood out among them; in no small part because of this song. The band’s second best-selling single of the 1990s; it was championed by critics who found it to be a mature song from a band that were dividing some with their, at times, immature and juvenile music. When I Come Around is still a song that resonates and hits the heart. One of the most emotional and poignant songs Armstrong has penned – When I Come Around shows Green Day were more than mere Punk Rock brats and political warriors.

[youtube https://www.youtube.com/watch?v=i8dh9gDzmz8&w=560&h=315]

Geek Stink Breath (Insomniac)

Insomniac is an album many overlook when thinking about Green Day. Perhaps not in the ‘big three’ when you think of the guys: it is sandwiched between Dookie and Nimrod but does not show any stress and sense of expectation. Armstrong was a new father at this time but the songs, rather luckily, do not focus on that and the sappiness you get from artists who cover this ground. Instead, one enjoys the same self-loathing and disaffected grumbles from a man who still feels under and controlled. Geek Stink Breath might not make many people’s list of greatest Green Day songs but it is such a catchy and strange number – one you have to fall for and experience its quirks and thrills. ‘Geek’ is a slang term for methamphetamine and the song looks at the effects the drug has on the body. The lead-off single from the album; the lyrics look at a singer going down the path of self-destruction and recalls Armstrong’s own experiences with the drug. The track also focuses on people (around Armstrong) who fall prey to the power and allure of methamphetamine and brings in influences of 1970s Punk bands like Ramones and Sex Pistols. Although it was a modest radio hit – probably because of the drug references and bleak subject matter – it is a cracking track with memorable lyrics and a highly-charged band performance. Many found Insomniac lacked any real growth and fell short of Dookie’s standard. The band would address this point in Nimrod but Insomniac, and songs like Geek Stink Breath, are well worth your time.

[youtube https://www.youtube.com/watch?v=zwiNqnOQH48&w=560&h=315]

Holiday (American Idiot)

Following Warning’s rather mediocre reviews in 2000: the band felt the need to step it up and change things up. Whereas Warning was a softer, less charged album than their previous work – American Idiot took critics by surprise and left many reeling. Their most astute, ambitious and theatrical – certain songs were suites; broken down into segments – the band were on-point and angry throughout. Capturing the spirit and defiance of their early work whilst addressing current political malaise and social inequality – the greatest album from the band, in my view. American Idiot is, essentially, a greatest hits collection in one album. Holiday was released as the third single from the album and gained considerable popularity and critical praise. Armstrong spent two months finishing the song as he felt the lyrics were not good enough. Taking pot-shots at American conservatism and how the Republicans segregated groups and alienated one from another – a blatant shot at then-President; one that crowds and live audiences engaged with and felt a connection to.

[youtube https://www.youtube.com/watch?v=A1OqtIqzScI&w=560&h=315]

Good Riddance (Time of Your Life) (Nimrod)

Nimrod is one of those albums one instantly links to Green Day: perhaps the purest representation of their brand of music and what they are all about. The hooks, melodies and short, sharp shocks run rampant through one of the most anthemic and memorable albums of the ‘90s. At 18 tracks, it could be a bit of a struggle but the truth is the album just rushes by. More globe-trotting and humorous than Insomniac: Armstrong was keen to put the wit back in and ensure (Nimrod) was a more consistent and appealing record. Good Riddance (Time of Your Life) shows just how much heart Green Day have. It was conceived in 1990 but not premiered to the rest of the band until Dookie’s recording sessions in 1993 – Armstrong felt the song sounded too out of place compared with the other material. The decision to add strings to any Green Day song is a risky one: it is a gamble that paid off and ensured the song got into the heart and caused something wonderful to happen in the soul. Touching, unforgettable and fantastic: the fact the band released it as a single was one of the most daring things they ever did. The track has gained a huge legacy and, due to its nostalgic lyrics, has been the chosen prom song for many high school alumni. From graduates making their way into the world or lovers reflecting on past times: Good Riddance (Time of Your Life) has captivated an entire generation.

[youtube https://www.youtube.com/watch?v=CnQ8N1KacJc&w=560&h=315]

She’s a Rebel (American Idiot)

On an album that is stuffed full of instant and grabbing songs: She’s a Rebel is certainly among the very best. It does not get singled out among many reviews but that is folly. Not only does the song hark back to the band’s early days but it is a song that just rattles around the head. The song’s rebel is “salt of the earth” but someone very dangerous. With each new line, one wonders who is being referred to. Whether an activist that is striking against injustice – and doing it through questionable means – or the embodiment of Green Day’s disaffected generation – it is a propulsive, hook-laden song that compels you to get off the chair and wave your fists in time to the song’s meaty riffs and swaggering vocals. “From Chicago, to Toronto/She’s the one they call oh-what’s-her-name” displays the keen Green Day wit, whilst the band’s performance is one of the tightest on the album. The heroine signals the dawning of time and revolution; a vivid and tempestuous figure that speaks against corruption. Past the half-way mark that breeziness and insatiable kick comes in - a fast-paced, megavolts riffs scratches away whilst the bass bounces and the percussion slams with abandon. An infectious and sticks-in-your-head-forever song – from an album that was contained them in spades.

[youtube https://www.youtube.com/watch?v=eOv5fF7maFY&w=560&h=315]

King for a Day (Nimrod)

If you ever felt compelled to show a song that would baffle anyone with preconceived notions about Green Day the King for a Day is it. One of Nimrod’s treasures possesses parping horns and a sense of woozy jubilance. Lyrics such as “Sugar and spice and everything nice/wasn’t made for only girls/G.I. Joe in panty hose/is making room for the one and only” stick in the mind and have that quintessential blend of humour and intelligence from the band. It is a song that puts guitars second and embraces something rather silly, immature and reckless. Never in a bad way as the song is one of the most focused and worthy from Nimrod. It proves how daring the band could be and pretty much make everything pay off. Words that sees a young Armstrong rifling through his mother’s drawers – finding something in a size four – and going to bed a king and waking up a princess – one of the most imaginative and eye-opening songs from the group. The percussion is especially impressive and sounds like an eight-limbed beast hammering the skins. If you are not chanting along at the chorus and getting into the spirit then you have lost all zeal and faith in life. Marching, stomping and rambunctious: all the ingredients and chemical elements that go into a Green Day song. Perhaps not highlighted by fans as a particular favourite – another one of their songs that deserves a lot more acclaim and exposure.

[youtube https://www.youtube.com/watch?v=ViWiOs9XySg&w=560&h=315]

American Idiot (American Idiot)

You want meat, grit and authority? From the opening notes, American Idiot’s title track is snarling beast that goes for the balls. One of the most explicitly political songs on the album struck a huge chord with critics and remains one of Green Day’s finest singles ever. The song states mass media has orchestrated paranoia and idiocy among the public – Armstrong not wanting to be another idiotic American. Armstrong recalled how cable media portrayed the Iraq war in deceptive tones. It was almost like reality T.V. he felt. The frontman saw adverts interspersing clips of bloodshed and could not remain silent. Inspired – in a negative way - by songs like Lynrd Skynrd’s That’s How I Like It (which celebrates being a redneck) he honed in the issue. There is that pride is war and violence; celebrating everything wrong with the world. Rather than a finger-pointing song; it is a call for unity and an eye-opening song that promotes change and betterment. The song was nominated for four Grammy Awards and remains one of the band’s signature tunes. Boasting one of their most electric and pummelling riff and most unified band performance – in my view, the song that defines what Green Day are all about. After a rather fallow period for albums (struggling to find the creative inspiration they enjoyed with Dookie and Nimrod); American Idiot was a welcome return. Its title track summed up the feeling of many Americans and is a song that seems entirely appropriate for a time where Donald Trump could lead the nation.

[youtube https://www.youtube.com/watch?v=Ee_uujKuJMI&w=560&h=315]

Warning (Warning)

Building off the success of Nimrod: Green Day went in a different direction with 2000’s Warning. The music remained peppy and spirited but the lyrics reflected new-found maturity and sticking closer to Pop – perhaps less Punk than any album they had written to that point in time. Their slickest and most grown-up album; it did divide some critics that felt the band should stick with what they did best. In fact, the U.S. legends progressed their sound and wrote an album that is their most underrated. Still snarling and rebellious in places; its strengths in the cohesiveness and consistency of the material. The title track is a perfect example of the solid and nuanced material that can be found throughout Warning. Billie Joe Armstrong wanted to create whose lyrics consisted signs and labels. The idea sprouted and grew from there and it rose to number three in the U.S. Rock chart. Making the top 40 in the U.K. and impressing critics: it is one of the most successful songs from the record. If the overall record split some reviewers and fans its title track was a lot more successful. A track that showed Green Day could be more organic and mature without losing their appeal and wonder.

[youtube https://www.youtube.com/watch?v=eebfMFzJHNs&w=560&h=315]

Basket Case (Dookie)

Ending with, in many people’s eyes, the best Green Day song. It is certainly one of their earliest classics and remains a live staple. The third single from the band’s third album was one of the most personal songs from Armstrong. It reflects anxiety and panic that was building in his body – shortly before he was diagnosed with a panic disorder/anxiety. He felt the only way to understand it and make sense was to get it out in music. There is no denying what a legacy this one track has and how it has been taken to heart. It scooped a Grammy nomination for Best Rock Vocal by a Duo or Group and was named the best Punk song ever by Mike Davis and Zane Lowe (as part of their Lock Up Special on Radio 1). Basket Case has also been voted 33^rd-best Hard Rock song by VH1 and topped many other polls. One cannot hear the song without singing along and repeating it. Not just topics and struggles reserved for Armstrong himself. Many fans and listeners connect with the song’s messages and find solace in its, if vivid and eccentric, mandates. The song’s video was actually filmed in a real institution – at the request of the band – and gives extra meaning and reality to a song that summed up a remarkable album (Dookie).

[youtube https://www.youtube.com/watch?v=NUTGr5t3MoY&w=560&h=315]

TRACK REVIEW: Tom Bem - Numb

TRACK REVIEW:

 

Tom Bem

  

Numb

9.4/10

Numb is available at:

https://soundcloud.com/tom_bem/numb

RELEASE DATE:

September 2016

GENRE:

R&B; Soul

ORIGIN:

London, U.K.

The E.P. Beast Side is available to stream here:

https://soundcloud.com/tom_bem/sets/beast-side

____________________

I am always keen to investigate solo artists...

because they offer something you just don’t get from bands and other artists. There are a lot of solo artists emerging and it is really interesting hearing all the different sounds and genres. I find there’s some dissatisfaction with the best in the mainstream so we should be looking to the underground for the replacements and successors. If you feel all new music is weaker than that of the past: you should dig deeper and you will ably find some truly accomplished and fantastic musicians that have the potential to endure and keep on many music for a very long time. Before I come to my featured artists – who fits into my first point very well – he brings up a couple of themes worth exploring in more depth. I wanted to look at Soul/R&B crossovers and artists that blend emotive lyrics into this sound; looking at the musicians that make their way to some rather prominent names and how they achieve this. What we are seeing – in terms of the mainstream – is greater acceptance of lesser-heard genres and more experimentation from the artists. You still get Pop acts and some rather bland and over-produced artists that seem to have a large fanbase and plenty of appreciation. It is rather angered to hear some many of these types of artists remain on the scene and be celebrated. It is not just be ranting and imposing my own tastes: how do these types of act manage to get successful and why are people listening to them? I am talking about those Pop acts that have committees writing their songs and whose vocals are processed to the extreme. It is such inorganic and pointless music it is almost a form of brainwashing. Luckily, the consumer is showing more discretion lately and we are finding more credible and daring musicians being given proper attention and respect.

I have mentioned Skepta (after his Mercury win) and how we might see a turning towards Grime; maybe a genre that can infiltrate the mainstream and actually start to get the recognition it deserves – a topic I shall flesh out more in my review of Signal (tomorrow). One feels the next few years will see the lesser artists and rather cloying musicians start to be channeled out and hopefully reduced to the sidelines. R&B/Electro. blends are coming into fashion and being used by quite a lot of young solo artists. It has not just come across overnight but has been slowly making its presence known. We all have affection for Rock and the harder, more anthemic parts of music but one cannot deny the appeal and beauty you can find in R&B. What a lot of modern artists are doing is combining the pureness of R&B (elements of the ‘70s and ‘90s) with the modern sounds of Electro. Whilst a lot of the songs (you get in this area) concentrate on love and break-ups: there is a lot of variation and depth to be discovered.

It is hard to say what lies behind the resurgence of R&B and why it is favoured by a lot of solo artists but we are seeing so many great and promising musicians emerge and bring their inimitable and unique take to the genres. Tom Bem is someone who is distinct and standout in a world of hungry and ambitious solo artists. Before I carry on – and talk more about his work – let me introduce him to you:

“Tom Bem, Artist / Producer from South East London merges his distinct production of Electro RnB with his thought provoking lyrics in emotive fashion. Tom has written with and produced for an array of artists that span from double Ivor-Novello award winner Christ Difford (Squeeze) to Bastille.

As an artist Tom’s sound is distinctive thanks to his unmistakable voice, individual production sound and his unique guitar playing, making it very difficult to compare him to any other artists.

Tom Bem presented himself as an artist last year, releasing EP ‘Pass It On’, which reached download limits within a month, and helped his Sound Cloud exceed plays of 140,000 last year alone. In 2013, Tom played across the UK supporting acts such as Tinchey Stryder, Sway, Amelia Lilly and Loveable Rogues and has always had fantastic reactions to his performances.

Tom’s latest work comes in the form of ‘Shallows’, a concept EP of love and betrayal. Shallows features two co-writes with classical composer Dexter Britain, fusing Tom’s electro dub and soulful voice with emotive string arrangements, creating his most honest and vulnerable work yet”.

I have extolled the virtues of a lot of musicians on the scene but few have the talents and dynamics of Tom Bem. He is a multi-instrumentalist and producer that pretty much take care of music all on his own. There are a lot more D.I.Y. musicians coming about that produce and record themselves but Bem is someone who can achieve that and not fall into the trap of many of his peers. One of the issues with musicians that deal with instrumentation and songwriting on their own – not bringing other musicians into the fold – is that the music can sound rather rushed and clichéd. What you get are those eager young musicians that want to show they are independent and self-sufficient but tend not to take the time to think about making some original and nuanced. Although Bem unites with other producers and talent: it is his voice and D.N.A. that shines through. The little things are important when you consider Tom Bem. His official website has some beautiful artwork on it and clear and easy-to-access links. You get all the information you can want and it is very easy to navigate. It might sound like an insignificant point but it is vital for the new fan. When you get to his official site (link at bottom of review) you are treated to all Bem’s work and biography; some great photos and all the social media links. It is things like this that have separated him apart from many of his peers – too many new musicians do not take the time to think about things like their official website. Tom Bem has been fortunate enough to work with names as lofty as Squeeze’s Chris Difford to Disclossure. Many musicians would kill to have that on their C.V. but Bem has not achieved this through the virtue of his looks and youth. He is a talent that is not only an exceptional musician and songwriter but someone who is willing to be vulnerable and soul-baring through his art. This is a something that is hard to do but can pay dividends – if it is done right. It is not rare for musicians to unveil their innermost emotions and show fragility. In fact, it is quite a common currency but can get a bit samey. Depending on how it is presented and what music you put behind (those lyrics) can make all the difference. Bem is never keen to reveal everything and look for pity: he is an honest artist that shows his hurt but never asks the listener for sympathy or comes on too strong. Backed by that unique and wondrous blend of R&B smoothness and teasing Electro. and the combination is incredible.

Beast Side is the current (stunning) work from him but not the first offering. Tom Bem has been releasing music for over five years now and has brought out quite a few E.P.s It is impressive finding a young artists that has that much inspiration and material in his locker. Be Silent was out four years ago and a three-track that followed on from the much-lauded, Bête Noire. If that E.P. painted images of bad dreams and nightmares then Be Silent looked for some quiet and consideration. What you find with Bem’s work is the title gives you insight into the nature of the material. Songs like The Marionette are vivid and glistening; polished and sleek but edged with a sense of sadness. The song’s lead/subject has a voice telling them to leave: they are unable to and feel a sense of confusion and fear. It is a song that has a sensual and beautiful vocal and rides clicked beats and chocolate-smooth electronics. Nods to artists like Prince and Michael Jackson can be found yet Bem puts his own stamp on ‘80s R&B and Soul. Pass It On arrived shortly. Whereas Be Silent played more in the wheelhouse of R&B from the past: Pass It On was a much more modern and chart-primed E.P. that was fresher and more urgent. Perhaps more spirited and optimistic than its predecessor: Bem showing how nimble he was and able to show new creative sides and lyrical inspiration. The production was more polished which did take some of the genuine emotion and rawness from the music. While the songs stay in the head and resonated with many people; there is a feeling it is a little bit over-produced; one yearns for some more depth and emotion from Bem. Not that one could criticise the E.P. as it was another great step and assured work from a young man not willing to settle and repeat himself.

Shallows showed yet another new direction and came back to the earlier work of Tom Bem. There were sunnier and Pop edged to be found but, by and large, the abiding mood is one of reflection and personalisation. Plenty of rush and energy comes out in Shallows but there is a definite leaning towards passion and emotional outpouring. Looking at jealousy in love and imbalance: the most mature and rounded work of Bem’s career to date. Someone Else boasts a fine and memorable chorus that is huge and graceful - tinged with sadness and pertinent questions. Captain matches quirky notes and spacey electronics together with rampant beats and tremulous vocals. Bem at his most shivering and delirious here – showing just what his voice can achieve; it covers so much ground throughout the song. Beast Side, aside from its incredible cover art, seems like a natural compassion for Shallows and contains more similar threads. You have the solid and variegated compositions – that go from old-school R&B to modern Electro. – and the vocals seem even more elastic and profound than before. With each new E.P., Bem seems to add colours and weight to his voice and that all comes to the fore. The biggest changes are the production and confidence together with lyrical themes. The production is less polished than previous work which allows more naturalness to come out. The record is not too shiny and it means you have an E.P. that is live-sounding and raw as it needs to be. With that, there is less consideration towards the charts and fitting into the Pop mould.

One thing that worried me about E.P.s like Be Silent was a sound of a young man trying to fit alongside the worst of the mainstream – betraying his talent and full abilities. Beast Side is Bem as his own man and changing his tones. Less mournful, sensitive and tender than Shallows: it is a more toothsome, attacking and sexualised E.P. I find comparisons with Michael Jackson and his transformation from Bad to Dangerous. The former was defined by its smooth and heartfelt love songs with the odd flash of grit and anger (Leave Me Alone). Dangerous was Jackson angry and in more defiant mood. Love songs tended to be more accusation and cynical tones: a tougher, leaner and more masculine voice came out. Bem, on Beast Side, is reacting to hurt and deceit and coming out on top. That is not to say there is chauvinistic attitude and indiscretion ruling the music. The title track – as I will detail – is one of the most vulnerable and heartfelt songs he has created but there is a shift to grittier and spiked subjects in the E.P. It is rewarding finding a musician that continues to grow and react to his changing circumstances. Maybe he has had his heart broken but not going to let it get to him. In a way, Beast Side is like a concept that starts from numbed and pained beginnings and ends in an explosive song in Kalashnikov. On WHDK; Bem combines with Effie – someone I have reviewed before – and it is wonderful hearing him bring other singers into the fold. Beast Side is the most complete, consistent and memorable work from Bem and one that will see you come back time again. It is not just reserved for his fan-base and is capable of bringing in plenty of new fans. It is the opening track that interests me most and one I have been compelled to investigate.

Numb is a song that starts with a bit of tease and build-up. A little bit of electronic warp and racing beats give the song some early intrigue and settle. That restraint does not last long as everything starts to get tense and more sexual. Whilst I mentioned Numb was a revealing and vulnerable song from Bem: it is, but more in a sexual way rather than emotive. He has never before shown this side to his soul – one that seems to have abandoned patience and flirtation and is going right for the jugular. “She’s frustrated, I’m inpatient” he says – giving you an insight into what path the song will follow. If his soul and sense of trust has been numbed then so too is that sense of demure and foreplay. Like a beast on the prowl; he wants to capture the girl and make her feel numb. That sense of sexual anesthetisation and surrender gives the track a definite sweatiness and knee tremble. One can practically imagine Bem roaming around the night – perhaps at a club or bar – and hunting for a woman. At no stage is the song vulgar or crass and it is a slice that could have been taken from Prince’s back catalogue. I hear a lot of Prince in the vocal and lyrics and that is quite a revelation. Never has Bem sounded quite as grown-up and desirous as he has here. Past E.P.s has seen him explore emotions and his damaged heart; he has provided elliptical numbers and sunshine but never sounded as raw and close to the bone. “Don’t you want it?” he declares backed by sizzling electronics and savage beats - one of his most explosive choruses – and it is a song that springs into life. I have mentioned how Bem does not fit into the Pop mainstream mould and that is true here. While there is a little taste of mainstream Electro. and Pop artists – that same electronic sound and lyrical breakdown – Bem’s voice and clear musical direction steers him away from obvious comparisons. Numb sets Beast Side up perfectly and defines the E.P. with ease.

Through every note he is in command and completely authoritative. You feel him close in and get close to the girl. Maybe she is reluctant and a bit hesitant to submit to someone so pressing and confident. Warning the girl to give in to her primitive and primeval side: our hero wants to cage her and ensure she is fully under his spell. It seems like there is backstory with the two and he has been waiting to get her alone for the longest time. That frustration, tied with an un-quenched sexual thirst, makes the song palpable and urgent from start to finish. Each new line reveals more of the plot and sees the duo get closer to one another. The girl seems to be resisting for a while but, like prey in the wild, there is only so much running you can do before the energy collapses and you have to accept your fate. I am making it sound rather seedy and sworded but that is not the case here. It seems like a mutual call and the two are circling one another. Our hero wants to feel numb and has a need to get his rocks off but there seems to be more to it. Seeing as his girl is someone he has affection for and been keen of for a bit: maybe plans of a relationship and love are in his mind. Backed by some solid and polished production values – not too much though – the song blends raw and primal undertones with something luscious and honeyed. The song gains its stripes with repetitions and familiarity. Many artists might want to put too much story in and risk losing the listener. Numb is a song that has many possible moves and chapters but Bem ensures he keeps the words simple and grounded. Numb’s strength arrives when it comes to the chorus and mantras. That question he poses to the girl – why does she not want it – and the intention of making her/him numb keeps coming around. Not only will it find listeners and live crowds singing along but it makes the song instantly memorable and addictive.

PHOTO CREDIT: Rebecca Need-Meanear (http://www.rebeccaneedmenear.co.uk/) Nick Byrne Design - Edit 

After the reception of Shallows and the credit is accrued: many would forgive Bem for keeping on that same path and releasing another E.P. with the same themes and sounds. Credit to Tom Bem whose new work, Beast Side, is a more agile and hardened work. You get a bit more anger and attack but the production values and songwriting have all sharpened and improved. Constantly evolving and smoothing out any rough edges; getting stronger and more assured with every new release. Beast Side is an E.P. I recommend you check out. If you like Numb then you will find much to enjoy and love within the accompanying E.P. Although Numb deals with some tough issues – Bem states it is controlling the battle inside him and not letting the dark side rule him – you do not get a song that is suffocating and oppressive. Likewise, one does not feel bored or disengaged at any stage. It is still common for artists to deliver songs like Numb and either come across as a bit pretentious or generic. Bem suffers no such issues and puts his personality on the page. His music never suffers stereotype and predictability and everything is given a distinct lift due to his constant commitment and unending talent. All of this is expanded throughout Beast Side and it is going to be exciting seeing just how far Tom Bem can go. The London-based producer-musician has already achieved much in the last few years and he is in no mood to stop there. One of the difficulties for solo artists that play R&B/Electro. combinations is that there is quite a lot of competition to be found. These genres are becoming popular and are endlessly accessible. The questions will remain: how do you separate the wonderful from the plain? Yes, it can be difficult but I would advise some patience and discretion. In terms of the composition, the haunted and spectral electronic rushes meet alongside simple clicked beats and vocal processing. Bem’s lead is kept clean and natural but his voice is layered and utilised in the background to create more weight and conviction. Numb will appeal to those who love their R&B vintage and sexy but has enough commercial appeal to draw in those who prefer their music chart-destined. The London boy has created an original and impressive number that makes him a definite name to watch. Numb begins an E.P. that has some golden moments and is his best work yet. Make sure you check out this artist and experience a wonderful and engrossing song.

PHOTO CREDIT: Rebecca Need-Menear (http://www.rebeccaneedmenear.co.uk/)

Bem is definitely someone who is worth your time and long-term appreciation. Beast Side is a typically strong and nuanced set of songs from someone who is still finding their way through music. Tender in years and possessed of huge ambition and energy – let’s see just what can come about. I see him releasing an album in the next year and feel he has enough material to go into one. Maybe his P.R. guides will be advising him to hold off for now. The problem with an album is the sheer cost and tireless work that goes into it. If an artist is not quite ready or needs to take more time, then making an album can be a risky gamble and a lot of time wasted. It is the financial side that is the biggest concern for musicians and is putting many off. That is something I will look at a bit more and want to raise. I know there are a great deal of musicians around so why is the business of making music and recording not more affordable? Even in an age where technology is freely available and recording music is easier than ever – why are our studios so pricey?

Tom Bem is someone you would love to hear record an album but one wonders if the sheer expense involved in this is going to put him off. Even someone established like him might need a lot of time to raise the necessary finances. Maybe the proliferation of iPad-led recordings means fewer people are going to studios – thus, the prices are being raised. All pure musicians want to record and mix at studios but the bosses need to be more realistic with their pricing schemes; lest they repel a lot of great artists and risk putting the future of music at risk. Although Bem is unsigned and still making his first moves in music; it is going to be a very bright future indeed. I shall not put too much pressure on the shoulder of Tom Bem only to say that he should be thinking just what the future holds. His music has that translatable quality and is already favoured across the globe. It is not like he is working in narrow confines and his music is reserved for a chosen few. Although he is distinct and superior to many out there: that R&B/Electro. parabond is a popular dollar and one that many are willing to hear a lot more of. I know, in many of my reviews, I highlight nations like the U.S. and Australia. They are two nations – you can put Canada in the mix – that every new musician should set their sights to. In America, you have L.A. and New York; still huge markets for music and absolutely set-up for people like Bem. I would say L.A. is perhaps a little more favouable and suitable for his brand of music. Not to define a city but New York still favours the harder-edged musicians and bands. Yes, there are some great R&B acts in New York but I feel Los Angeles is a lot more suitable and hospitable in this regard.

PHOTO CREDIT: Tessa Michaelides

Maybe that is somewhere he will be looking to in the coming years – I know finances are, once more, going to put the kibosh on that sort of thing. Likewise, and perhaps even less likely, is a period in Australia. It is not just Melbourne and Sydney that would provide audiences and masses but Brisbane is another part of the nation worth exploring. Many of us overlook Australia for new musicians but the nation is still one of the most productive and consistent. Whatever is in Bem’s mind, he should take heart and pride from the reception his E.P. is gathering. Beast Side’s lead-off single is one that is gathering plenty of stunning feedback and it seems Bem has a huge army behind him. He may want to rest and take a breather before he takes his need charge but I am sure he has his own plans and goals. If you are bored of the raft of average solo artists out there then cast yourself adrift from them and latch onto Tom Bem. Someone who has that mainstream sound but is a lot more credible and distinct than 90% of musicians out there. Go discover him and let his music take you somewhere wonderful. Once it gets inside the head…

PHOTO CREDIT: Josh Lamptey

YOU won’t want it to get away.

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Follow Tom Bem

 

Official:

http://www.tombem.co.uk/

Facebook:

https://www.facebook.com/TomBem/?fref=ts

Twitter:

https://twitter.com/tom_bem#_=_

Instagram:

https://www.instagram.com/tom_bem/

SoundCloud:

https://soundcloud.com/tom_bem

YouTube:

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

INTERVIEW: Cassi

INTERVIEW:

 

 

Cassi

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FEW of us take time to get away from our cosy…

tastes and explore music we would not normally experience. Drums and Bass is a genre that still seems reserved to a clique: a small sector of music fans; it is hard assimilating the genre into the mainstream. Hot young talent is coming through and making it more exciting and accessible for those taking their first steps into that arena. I have been talking with Surrey-based D.J.-producer-songwriter Cassi following the release of her debut E.P., Sonder. She discusses her career so far and plans in the pipeline; her reaction to the positive feedback of Sonder and the single biggest influence behind her music.

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[youtube https://www.youtube.com/watch?v=zpcvJSMDZTI&w=560&h=315]

Hey Cassi. How has your week been? What have you been getting up to?

Hi Sam! My week has been good thank you. I’ve been at lectures all week although I’ve come down with Freshers’ Flu - so I’m currently under the duvet with a Lemsip and Logic!

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

Of course! My name is Cassi and I’ve recently got into the music scene. Considering where I am now; it’s a bit crazy to think it was only half-a-year ago I actually started producing music properly. But I am more determined than ever to ‘make it’ in the music industry so I think I'm definitely on the right path. I also run a business with Jamie Ford called Quantum Arc Ltd. We are predominantly a graphic design company but have expanded to music and commissions on other artwork as well.

Sonder is your debut E.P./mini-album. Have you been surprised by the reaction it has received so far?

To be honest with you I have been utterly overwhelmed by the support I have received throughout.

I was unbelievably lucky enough to meet Jayline, Levela; Intraspekt and The Qemists who have listened to my E.P. and shared it. Now, that is just unreal. I’m very lucky! The best support has come from my friends and family - I wouldn't be here, doing what I’m doing without them. The tracks from my E.P. have had 498 views so far on SoundCloud; WOW!

The song titles are really fascinating and get the listener guessing. How do you come up with song titles and what inspired the E.P.’s name?

I’ve got a thing for finding deeper meanings; in everything. It means I question everything in life but it also means I never take anything for simply what comes across. I don't judge books by their cover, you could say - I read every word in the book first and then read in between every line too! I have also loved music and lyrics with deeper meanings than simply what is being said to the listener. 'Sonder' is actually a made up word from The Dictionary of Obscure Sorrows but it has become quite recognised. It refers to the realisation that each and every person is living a life as deep, vivid and complex as your own. The lyrics in Sonder are: “Don’t you know? One day you’ll have to be your own hero. ‘Cause everyone else, is too busy saving themselves”. You can piece the rest together… ;)

Your music mixes Drum and Bass and Electronic. Are these genres that deserve more mainstream exposure and what attracted you to these styles of music?

It’s difficult to say. Yes, I do think Drum and Bass deserves more understanding and respect. I know a lot of people who negatively stereotype Drum and Bass listener but D’n’B is a community with a lot of passion and energy - again, try not to judge books by their covers.

On the opposite side: I like that D’n’B is not in the limelight and being played everywhere. I have no disrespect for the music we hear on the charts and in 90% of clubs in Guildford - those songs are popular for a reason! However, I feel that D’n’B has a certain personality to it; it’s more underground, more thrilling, more dangerous - and so, for me, that makes it more exciting.

How did you decide to get into music-making and producing? Was there a point in life that compelled you to follow that course?

Jack, my boyfriend, is my soul inspiration and reason for why I'm here. He is a Drum and Bass producer, who goes by the name Mania. We had been together for a year before I even thought about actually making music myself. I taught myself to play piano at the age of nine and carried that on throughout. I have written some (awful!) songs on my guitar which have equally awful lyrics to them! I picked up Ableton very quickly and the first track I ever wrote was That High which features on my E.P. Without Jack, I would still be very lost and there is no chance I’d be producing if it weren't for him.

Music can be very healing and escapist for a lot of people. What effect does music have on you and how important is it in your life?

As well as Jack; music has absolutely saved me. I’m not going to go into my ‘sob story’ but I have had a pretty rough time for around 8 years, and thanks to Jack and music, I am happier than I ever have been.

Music has always been an escape for me but actually making the music gives me a whole different experience. You become the music and with Drum and Bass’s upbeat tempo; even the dark music makes you feel better and stronger. Music has been a huge influence in my own personal healing.

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Sonder brings together some great vocal talents like Roxi Yung and Luna Ward. What was it like working with them and how important have they been with regards the songs on the E.P.?

Working with Luna and Roxi is incredible. It can be challenging working with some people but these two are absolute stars. Luna has been a big part of my life for a long time. I started off recording with her and we have so much fun: she’s fantastic at inputting ideas and is a phenomenal singer… not to mention she's actually studying marine biology!

Roxi is just extraordinary. She’s given me a new look on life and really makes you believe in yourself. Working with Roxi is so easy. It’s as simple as ‘here are the lyrics’ and half-an-hour later we have a song. She’s such a unique person with an unreal amount of passion and talent, and together, those bring out some absolutely beautiful results. I know she’ll go far.

But let’s not forget Mania. He’s the inspiration behind the whole E.P. and features on the track Sonder. The E.P. wouldn't even exist without him. I owe my whole musical journey so far, and life really, to him.

I hear whispers there might be a new song coming up? What can you tell us about that?

Ah! I’ve got a new track ready and will be collaborating with Roxi for the vocals. There’s talks of Roxi and I producing and recording a whole album together which is very exciting. I’m really looking forward to getting the vocals down for this new track!

Not only are you a musician but you are an artist too. Your drawings are particularly memorable and beautiful. How do you think your art and music connects and is the visual side of music important to you?

Thank you! Art has always been a massive part of my life. I actually had a place at art uni. but I dropped it to pursue music. Art and music come hand-in-hand; art can really add to music in so many forms. Logos for starters. I have created a few logos for artists at A.C.M. which really adds to the professionalism of their work and persona. But art tells just as much of a story as music does . I’d love to learn how to animate so I can create animations as music videos but I’ve tried and I think that’s a little beyond me!

You are currently based out of Surrey. What is the local scene like there and any musicians/artists you’d recommend we check out?

I live in Guildford. Musically, it’s sad that there isn't much variety; but there is a Drum and Bass night coming up soon which is a fantastic step towards an open music community. I know a lot of people at A.C.M. are pushing for more variety in the genres played around the area so I really hope we succeed in accomplishing that. Uhuru is a band based between Guildford and Southampton which I really believe will go far in the music industry - you should definitely check them out! Here’s a link to their Facebook page: https://www.facebook.com/uhurumusic/?fref=ts

Music can be cathartic and meaningful for so many people in so many different ways. What do you hope your music does to people and has it changed you as a person?

Music has given me so much: it’s given me life, confidence; a sense of self. I hope that it does the same for those who listen to my music.

Drum and Bass, in particular, can feel like you’ve left Earth and you're completely in another realm. It’s a world that you can take everywhere and you eventually see this world through the lens of the other. It probably doesn't make sense, but music is like a shield I wear - it helps me get through life and enjoy it too. I know that probably won’t make sense to a lot of people but hope that my music at least brings a feeling of freedom and energy to people.

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Of all the songs you have written and produced so far, which is the most meaningful to you?

Sonder. Absolutely. The lyrics alone mean so much to me. It reminds me to fight for myself and not rely on others - because at the end of the day you have to keep yourself above the water.

It reminds me to remember that everyone is fighting their own battles and to respect and support them with that - and it also reminds me that I'm not alone.

The male vocals, by Mania, are powerful and strong. They represent the more demanding, almost forceful voice in the female’s head. The female’s vocals are more passive, emotive and almost desperate - as if she is stressing to herself in desperation what she knows to be true. It is supposed to represent a battle of will: a fight to save yourself; an understanding that everyone is treading water.

As a D.J. you will be premiering a new show on Kane F.M. What will the show entail and are you excited about it?

I’m excited and super-nervous for the radio show! It’s an incredible opportunity, but as a ‘D.J’, I need a lot of practice. I wouldn't even call myself a D.J. at all - a radio presenter, yes; but I need a lot of work to allow myself the title of a D.J.! It’s a specific talent which requires a lot of skill - so I’m working hard on refining that!

The show will be an hour-and-a-half of Drum and Bass and then will follow with half-an-hour of local talent; songs from up-and-coming artists from A.C.M. I think it’s a great opportunity to support my peers and give those who often go unnoticed a voice. I love that Kane F.M. is a radio station that promotes underground, independent music: it gives those that don't fit into the stereotypical ‘box’ a way to connect and express. I’ve been sent some incredible tracks by my peers to play on the show (which will be every Sunday from 7-9pm on Kane 103.7).

You study at A.C.M. (Academy of Contemporary Music). What has the experience been like so far and are there a lot of like-minded creatives there?

It’s opened my mind to how much talent is out there and how hard you need to work to make it. The music industry is a big and saturated world and you really need to put in 100% to even get a chance. I’ve met some incredible artists at A.C.M. - you’ll hear their talent on the radio show! I’m looking forward to the course. It’s very hands-on, industry-related and will definitely set us up for the music industry! The tutors are incredible. We are very lucky to be taught by such people.

In terms of the albums and artists you grew up listening to: which have been most important to you?

It may seem odd but Ludoviccio Einaudi is my biggest inspiration in music, and being a classical pianist, it seems strange - even to me. But I learned to play piano because of his music and I try to incorporate the way he layers and layers different parts into my own songs. The melodic layering and composition of his music is outstanding and without his music I probably would never have learned piano - and therefore wouldn't have gotten into music as I have now. His new album is my favourite: it’s called Elements and like D’n’B does; it takes me to a whole different planet - I get utterly absorbed by his music.

For musicians/D.J.s tempted to follow in your footsteps: what advice would you offer them?

Work HARD. It’s a difficult reality but with 40,000 students applying to music production courses each year you really do have to be unbelievably passionate and determined to get there.

Learn to have confidence in yourself. Believe in what you do and truly believe that you're going to make it.

That’s what I do anyway. Be humble and always take the opportunities you're given if you want them - even if you don't feel ready. Sort of like my radio show: by no means can I D.J. but now I need to it has massively pushed me to learn. These are all things I want to be doing and I create pressure for myself to keep me focused. Also, you never know when opportunities will come around again so grab everything with both hands and just run (and keep running)!

Finally, and for being a good sport, you can select any song (other than one of yours as I’ll put that in) and I’ll play it here…

Einaudi's Experience: the reason I am where I am today.

[youtube https://www.youtube.com/watch?v=_VONMkKkdf4&w=560&h=315]

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Follow Cassi

 

Facebook:

https://www.facebook.com/cassiofficial/?fref=ts

Twitter:

https://twitter.com/cassi_edm

SoundCloud:

https://soundcloud.com/user-188189449

YouTube:

https://www.youtube.com/channel/UCNeAvsX4c_nhIM0314JZuPg