INTERVIEW: Louise Jordan

INTERVIEW: 

 Louise Jordan

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MOST of the interviews I conduct are designed to promote…

a song/album/E.P. - but that is where I will leave it. There is, rarely, a sociological or political importance to the release. We are seeing a lot of reports on the news about wars around the world: the turmoil and daily horror many people face. We, here, cannot get a tangible sense of what that would be like. World War 1 was, in full flight, one of the most harrowing and destructive events to happen to our people. We often assume it was a man-made and fought affair: neglecting the role of women and the importance they played. Louise Jordan is preparing an autumn tour of the U.K. for her album, No Petticoats Here – in the form of a one-woman show.

The album is a collection of songs that concentrate on characters - real-life characters – from the War and what they contributed. Jordan talks about her research process and getting funding from Arts Council England; some of the songs and stories behind it and what her one-woman show of the album/concept possess – it has been performed in over fifty venues so far and is building up a lot of attention and acclaim.

Ensure you check out the No Petticoats Here website and keep up-to-date through Twitter - as it is an extraordinary show/album from a talented young performer/songwriter keen to highlight the fantastic and invaluable contribution women made in the War effort.

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

Hello, Sam. I am feeling creative!

It’s been an incredibly busy couple of weeks bringing everything together ready to start rehearsals for No Petticoats Here stage two – in-between gigs and workshops!

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

Of course – hello, lovely to meet you!

I am a singer, musician and composer whose writing focuses on storytelling and forging connections between people.

No Petticoats Here is your portrayal and representation of real-life women from the First World War. What compelled you to get the project started?

On a visit to the Somme area in France during November 2014, I saw few references to the ways that women experienced this remarkable period of history. I returned determined to find out more about the women whose images I had seen in museums and chapels and to explore the experiences of those I had not yet learned about.

What kind of things can one expect? Is it a series of songs or is there dialogue and theatre-type acts?

No Petticoats Here started with one song which I hoped to place alongside my other material at gigs.

It quickly developed into an album which I released in September 2016 and toured during the autumn 2016 and spring 2017. I have always been keen to talk about songs when I perform and to give some context about where the songs come from – for example, why they were written. No Petticoats Here is a concept album and it comes with an illustrated booklet containing images of the women whose stories are shared - and some explanation of their connection to the First World War.

When performing the songs from No Petticoats Here live, I have always taken time to give the context of the women’s’ remarkable achievements – in what way were they involved in the conflict? How did they come to find themselves in that situation and what happened to them afterwards?

No Petticoats Here gained Arts Council England funding after an album in September 2016. How important was that funding and did it allow you to explore more ground than you would ordinarily?

I am now at a really exciting stage of developing No Petticoats Here.

Throughout the two previous tours, I have been speaking with members of the audience as well as promoters and venue managers - to identify ways in which the performance could be brought more to life. I personally want to find ways to connect people more deeply with the extraordinary lives of these women who lived during the First World War. The development of No Petticoats Here is supported using public funding by the National Lottery through Arts Council England.

This has given me the opportunity to work with innovative theatre professionals so that we can re-create the sound worlds which the women themselves experienced. With the addition of a soundscape of recorded actors and sound effects (and images of the women on stage), I hope the audience will become much closer to imagining for themselves how these women lived and experienced the war.

How much research went into the project? Did you talk to relatives of anyone involved in World War I?

The research began when I returned from my visit to the Somme in November 2014 - and is ongoing.

It stems from a personal interest and determination to keep learning about the events of the First World War and their ongoing impact and resonance. I have been in touch with a number of relatives of the women whose stories are shared by No Petticoats Here - and these have been amongst the most moving experiences whilst developing the project. Finding out information through a family’s oral history – passed down through generations – and through relatives’ memories is precious and can also reveal details which aren’t available in books, journals; museums, history centres and cemeteries.

I have also benefited from speaking with biographers such as Patrick Vanleene and Gail Newsham who have collected extensive material over years of research in their respective fields: Patrick with regards women who worked in Belgium on the Western Front and Gail with regards women footballers - and the Dick, Kerr’s Ladies football team, in particular.

There are songs about women football players (Shoulder to Shoulder) and women workers (Toil, Women, Toil). Is there a particular song that was tough to write? Is there one that stands out in your mind?

The final song, Who Will Remember, was, perhaps, the most difficult to write as it deals with issues of mental health, unpublished records and touches on issues of sexual abuse.

I had originally intended to focus on the strength of the women’s characters - and yet, there is extraordinary strength and resilience in all of these women’s experiences; whether these are classified as positive of negative. I was entirely driven by a passion to preserve these women’s experiences and make them better known a- nd this helped me to overcome any perception of difficulty along the way.

Given sexism in society today – and the music industry – was there a personal desire to put this project out there – to celebrate how inspirational and pioneering women have always been?

I have drawn strength from these women’s experiences and I continue to be grateful for the experience of writing and performing No Petticoats Here.

I believe there is great relevance in sharing these stories now; not least because we are commemorating the one-hundred-year-anniversary of the First World War. It was an extraordinary set of circumstances and a time when women not only experienced change but pursued it too.

That recourse to action and the taking of power for oneself is something I believe and hope anyone who seeks equality can identify with.

You worked with producer Lizzie Crarer and sound designer Jules Bushell. What did they bring to the project and how important were people like Ellie Rogers (videographer) to visualising your music?

Lizzie and Jules both possess wide-ranging skills in bringing stories to life - and both were on board with my vision for No Petticoats Here from the start.

Lizzie has extensive experience of developing pieces of theatre around female perspectives (through her theatre company, The Heroine Project Presents, and, also, of interpreting the First World War (she worked on the critically-acclaimed project, We’re Here Because We’re Here and produced a piece called Over the Top: The True-Life Tale of Dorothy Lawrence). 

Lizzie and I have gone back to my research of the women’s stories in order to devise ways through script and dialogue of invigorating the performance. Jules is a maestro and understands the world of sound like no other! - a musician, sound designer and noise manipulator.

Jules specialises in creating sound for theatre and events – from atmospheric underscoring to layered effects. From simple to conceptual; Jules captures a range of scenes and emotions - which help to immerse the audience in the piece.

A trailer video is out now. What can you reveal what the trailer is designed for and how it came together?

Film-maker Ellie Rogers is putting the trailer together using footage from the development and rehearsals process - as well as interviews with the creative artists involved.

I am confident the trailer will offer an insight showing the audience what to expect at a live performance on this autumn’s tour.

I believe there is an autumn tour. Where will you be heading and how can one book tickets?

The tour will take me from Falmouth to Farnham on the South Coast; from Sale to Stirling further north. There’s a mixture of rural village venues and cities and the tour takes in libraries, museums; arts centres, theatres and house concerts.

You can find a full list of tour dates my website - with links to venues and box office details.

No Petticoats Here has already been shared with dozens of audiences. What has the reaction been like and do a lot of people come up to you after the show to express praise/feedback?

I have been fortunate to enjoy some really interesting conversations with audience members after performances of No Petticoats Here. It is fascinating to hear the many and varied ways that the themes and songs resonate with other people – from self-styled ‘sod-it spinsters’ to people who have written their own songs about relatives who served in The Great War.

After No Petticoats Here’s completion, what comes next? Can we expect a new album in the future?

No Petticoats Here will tour throughout 2018 as we continue to commemorate the centenary of the First World War - and as we celebrate one hundred years since the Representation of the People Act brought the vote to a number of women in the U.K.

In addition, I have received a commission from Vote100 to write about the impact of women’s experiences of the First World War on suffrage.

There will almost certainly be a release in 2018 as I have had a number of requests to record First World War-related material which is not part of No Petticoats Here - such as What Will You Leave Behind (about a kilt I saw in a museum in France).

Do stay in touch on facebook and twitter for latest news - and I have a mailing list which you can sign up to on my website.

How easy has it been transitioning from your normal song themes and focusing on something unique like this? Was it a challenge getting into a different headspace?

No Petticoats Here has drawn on a number of song themes which I have visited before; however, the project has focused on how these human themes – such as resilience, determination and using the resources you have to make the best of a situation; presented themselves within women’s experiences of the First World War.

The writing period was certainly intense. The project involved inhabiting the worlds of these extraordinary women to understand as best I could how they experienced barriers and obstacles: it was a constant reminder of the experiences I have found difficult and yet it was worth it. I felt a connection with the women through the fact of these barriers.

What advice would you give to people who want to create a similar project?

Thorough research is very rewarding; be prepared to persist and persevere.

Finally, and for being a good sport, you can name a song and I’ll play it here (not one of yours as I’ll do that).

I read about two brilliant musicians this week who have written a song about a veteran of the Great War. I was truly moved to hear about their research...

The song, Home, Lads, Home (words Cecily Fox Smith: adapted by Sarah Morgan) also has great meaning to me. If you can’t find a version of Sarah singing this; Belshazzar’s Feast do a great version.

Thank you for your time!

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Follow Louise Jordan

Official:

http://louisejordan.co.uk/

Twitter:

https://twitter.com/ljordanmusic

Facebook:

https://www.facebook.com/louisejordansings

FEATURE: Radio vs. Streaming: The Best Way to Discover Music?

FEATURE:

 

Radio vs. Streaming:  

 The Best Way to Discover Music?

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NEXT week, time willing, I will raise a point that has been on my mind…

PHOTO CREDIT: Brooke Cagle/Unsplash

ALL OTHER PHOTOS: Unsplash

for a long time now. It concerns the monetisation of music and whether, in 2017, a music career is even possible. I know a lot of musicians but, unless you are a mainstream act, how easy is it generating reasonable profit and making a genuine career from music? So many of the artists I encounter have to work several jobs and push themselves to the ragged ends. Sure, they love the buzz of gigs but one feels they are working harder than they should be. I will look into the ins-and-outs of streaming and its equity but, putting this debate on the table; which is the most effective marketing tool: the humble radio or modern streaming services? The two are interconnected and one can debate whether there is mutual exclusivity. I am finding many bemoan services like Spotify and how unreliable they are when it comes to financially supporting artists – and promoting the best new music around. I find it is hard for artists getting attention and proper acclaim from streaming/music-sharing sites. If you are a popular chart act; it can be quite easy gaining millions of views for a music video – the latest release racking up serious views in a matter of hours. Promoters, adverts and sponsors ensure money is notched in. Likewise, they can get a pretty healthy amount of money from downloads but, compared to gig money and merchandise, it is not as impressive as one would think. I will get into that more but have realised how little of my latest music crushes from sites like Spotify, SoundCloud and YouTube. Being a journalist; I have an unfair advantage when it comes to new musicians and being exposed to some awesome humans. There is something anhedonic, mechanical and soulless about streaming sites but I recognise how popular they are. I feel it seems like the go-to solution for any musician. They feel by getting their songs on these sites, and sharing on social media, that will get (songs) into the hands of the masses.

Can the digitalisation of music and promotion really rival the tradition and longevity of the radio? The two work with one another. It is debatable whether an artist would be discovered by radio was it not for their music being on streaming sites and social media. How interconnected are the ‘traditional’ and modern in regards music marketing? It seems like they are completely separate but are more connected and bonded than you’d think. I feel there are merits to both but feel one cannot top and knock the importance of radio. I am not talking about local radio – it is good for promoting local artists but complete shite when it comes to other music – but the national options. Most of my discoveries seem to come from BBC Radio 6 Music. Before you get all smart: I know the station is digital-only. It is still a radio station and not a streaming site. Consider BBC Radio 1 and 2. Between them, one can discover so many wonderful musicians – a lot of my reviews and features have stemmed from finding artists on these stations. Perhaps I am being subjective because, when it comes to my reviews and interviews, the vast majority of the artists I feature are emailed to me – P.R. companies and various management companies contact me direct. From there, I will share the article online and it is passed into the world. I sort of avoid both streaming options and radio so it does muddy the water. Essentially, my favourite albums from the past few years have been discovered through radio – hearing a song off the record and then being compelled to investigate the full album afterwards. There is something magical and dependable about radio. It is no secret BBC Radio 6 Music is a lifeblood and sanctuary for me. Listening to the station; I am immersed in the finest sounds from around the world. The station is wonderful unearthing the coolest and most intriguing acts – aimed at a young-middle-aged demographic.

I listen to BBC Radio 1 if I want to stumble upon some fresh Pop and Dance; BBC Radio 2 for Country, Jazz and Folk – that tends to cover all the basis when it comes to genres and tastes. I supplement that banquet with offerings from Spotify and other streaming options. Each week, I collate a playlist that collects together all the singles and new releases from music – and a track from each new album out that week. For this, I get information from the radio but do a lot of exploring on the Internet. I have fallen for many artists this way and realise the ease and convenience of these sites. With the click of a mouse; I find myself in front of a menu of brilliant music. The most effective and practical way for streaming sites/social media to have true influence is bespoke playlists that employ observant algorithms and intelligence. One of the problems with YouTube is the fact it is not compartmentalised enough. There are loads of great videos and tracks but, unless you KNOW what you are looking for, it can be tricky finding great music. There are tracks recommended for you but I find these are either confusingly impersonal or misjudged. YouTube is fantastic and it is the only site I know where one can view brand-new and older videos. It is a fantastic site and does not rely on subscription fees – it is more advert-based and less controversial when it comes to compensating artists. SoundCloud does not really recommend new music and is a more basis portal to host music on – the same can be said of BandCamp. It is left to Spotify, then, to fulfil the role of guru and musical mystic – looking into my heart and taking me around every alleyway and avenue of music. Whereas YouTube could and SHOULD be better organised and lead me to fantastic discoveries: Spotify seems more intent on its playlists and supporting new artists. It is great because you can, with few exceptions, have access to most of the recorded music of the past seven-or-more decades.

Spotify works best when it comes to hosting and backing those new artists. The majority of the new releases I feature and hear come from there. I use Spotify for older music but I find it does not have the mechanism and desire to organise and arrange the best older sounds for a listener – changing upon music from the past that would enrich their lives. It is so focused on the modern and commercial - and getting those streaming figures up – it has forgotten where music came from and what it is all about. There are arguments for and against Spotify (which I will expand upon in my future feature) but I always feel ethically suspect when streaming a song from the site. I am a subscriber but wonder whether I am stealing from an artist. I do not feel that guilt when I listen to BBC radio. The reason I write this is because music needs to be preserved and nourished by future generations. So much of today’s music revolves around the digital. Is it really equipped to ensure new music gets into the marketplace and as available as possible – whilst preserving past music and ensuring it is not devalued and overlooked?! I would debate this: that is where radio comes in. It seems like there is a generational divide but, being a thirty-something chap, I have grown at a time when music and physical formats have changed beyond recognition. I am old enough to remember cassettes – the frustration of having them mangled in a stereo – and the C.D. I used to play vinyl without irony and was glued to stations like MTV and VH1 to discover the best new music around. I am not down on digital means/streaming sites – they are completely essential and indispensable considering what I do – but understand how paramount it is to share old AND new music. The streaming services seem equipped to promulgate sparkling new music but remiss when it comes to classic sounds. If future generations are to have the best music education then they need to know where music came from and how we got to where we are – not only what is around at the moment.

A lot of us do not have the time to listen to the radio and lead busy lives. The Internet and sites like Spotify allow one to dip in and out and put everything on pause. We can look in when we want and compile playlists; have our favourite songs all saved. The problem I have is, when I go to YouTube, I instantly load my saved and recommend videos – those ones I have been playing endlessly. I rarely get out of the rut and actually go searching for new music. It is hard to do so because, as I said, unless you know what you want, there are few helpful suggestions. I mentioned Spotify’s playlists. They have themed lists that range from New Music Friday to summer jams and workout songs. It is, essentially, like those compilation CDs that we all know and enjoy. If you want a particular playlist or set of songs; you are well catered for. Their new music playlist is invaluable but not as expansive as one would hope. I find a lot of songs are omitted and it is a little lacklustre at times. Radio has its faults, of course. It relies on people being in a particular place at a certain time. Unless you are listening at that pivotal moment, a band/song might fly right past. The great thing about the national stations is they will repeat songs from new artists in case that happens. I guess the common solution is a combination of both. I worry digitalisation of music will continue to the extent radio is archived and far less prominent. It would be worrying feeling our mainstream and national stations sacrificed as part of austerity cuts. BBC Radio 6 Music was threatened with closure years ago and, without that station, one wonders whether certain acts would have a career and success – such is the influence and importance of the station.

I will always plump for radio and feel it has always been the easiest and most reliable source for new and old music. If you want to discover the full range of new music; I cannot argue against Spotify, streaming and the Internet – it is far more comprehensive and thorough than radio. One of the issues is the compartmentalisation happening. So many different sites showcase so many different acts – rarely do they coalesce onto a single site/platform. I feel the perfect remedy to the divisions and issues of both methods/realms would be to join them more effectively. Whatever form that takes, I am not sure, but I am concerned about the safety and profitability of new music; the importance and conservation of older music. If some bright spark could create a way of straightening out the creases in digital promotion/streaming sites and combine the best radio stations into a single format, I feel so many of modern music’s issues could be solved. As future-hopeful as I am: we should not lose sight and overlook the great music that inspired generations. We should not be ignorant of new music and how much promise it has. When it comes to settling the question I pose in the header for this feature; I am always going to plump for the…

HUMBLE radio.

FEATURE: Globetrotting (Part One): Ten Artists to Watch

FEATURE:

 

Globetrotting (Part One): 

IN THIS PHOTO: Laurel

Ten Artists to Watch

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THE debut offering of a new feature is always hard to get right.

IN THIS PHOTO: Def.sound

One has to make it interesting, to an extent, but modest – if they wish to publish further instalments. That is the aim here and so, as I look at ten artists who have the potential for big things in the coming months, I have hand-picked musicians from around the globe. I have a heavy leaning towards female artists: a few from the U.K. and U.S. in there. I will diversify it for future editions – I hope to put quite a few out – but wanted to recognise some of the amazing talent that is recording music right now. One or two of the artists have been quiet for a bit: I predict they will be back soon and preparing a fresh assault.

It is without further ado I provide a few musical names everyone should be keeping an eye out for…

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Snoh Aalegra

Location: Stockholm, Sweden; Los Angeles, U.S.A.

Genres: Soul; Alternative

Essential Song: In Your River (Don’t Explain)

Reasons to Watch: Boi-1da borrowed her vocals (from her track, Time) for More Life’s closing track, Do Not Disturb. The Swedish-born, L.A.-based artist has that Drake credit to her name but is a stunning artist in her right. Comparisons have been made to Lana Del Rey in terms of her gorgeous, silky vocals and cinematic scores. It only takes a few bars of her album, Don’t Explain, to know she is a unique artist who owes a debt to nobody. A stunning songwriter who is sure to make huge headway in the coming months.

Follow: https://www.facebook.com/Snohofficial/

The Weeks

Location: Mississippi/Nashville, U.S.A.

Genre: Rock

Essential Song: Gold Don’t Rust (Easy)

Reasons to Watch: Like Snoh Aalegra; the boys of The Weeks are not new to the world of music. The brothers have concocted a potent mix of Rock that has Southern cores and a spicy element of foot-stomping and good times. Their recent album, Easy, is defined by its glorious tunes and memorable moments - from an American band who would find a lot of loving fans here in the U.K. I am watching their rise with great interest!

Follow: http://theweeksmusic.com/

Humming House

 PHOTO CREDIT: Melissa Madison Fuller

Location: Nashville, U.S.A.

Genres: Folk; Bluegrass

Essential Song: Takin’ Over

Reasons to Watch: The Bluegrass is modern but has some vintage touches; the Folk romantic but imbued with a distinct forwardness. Justin Wade Tam leads the band with warming, intelligent and nuanced lyrics. The band comprises a Soul-singer, sociology professor and composer (among others) and, since their eponymous debut album in 2012, the group have built a solid core of fans in the U.S. Another one of those bands who has a fanbase in other nations but not, necessarily, the big festival bookings they deserve. New single, Takin’ Over, shows they are getting stronger and more intent with each track – without compromising the sound that won them so many hearts.

Follow: https://www.facebook.com/humminghousemusic/

REWS

 PHOTO CREDIT: Jonny Finni

Location: London, U.K.

Genres: Alternative; Alternative-Rock

Essential Song: Miss You in the Dark

Reasons to Watch: The London-based female duo, like the guys of Humming House, seem to grow more intent and confident with each song. Miss You in the Dark is the latest epic tune from Collette Williams (Percussion and Vocals) and Shauna Tohill (a Belfast-born musician on Guitar and Lead Vocals) and, together, they are a superb force getting huge gigs and festival bookings. At the root of their music is a sisterhood and shared love that propels their immediate and punchy songs to the next level. One of those acts who is going to ascend to the mainstream and carve up a huge slice of land for themselves – one of the most exciting British acts of the moment.

Follow: https://www.facebook.com/wearerewsmusic/

Billie Black

Location: London, U.K.

Genres: Alternative; Singer-Songwriter

Essential Song: I Don’t Need Another Lover (EP 000100)

Reasons to Watch: It is hard to believe the young London treasure Billie Black is unsigned! There has been some social media dormancy over the past couple of years but, if Instagram posts are to be believed, there could be new music in the works. Music infected her from a young age and she soon got hooked on Jazz – taking part in the Guildhal Jazz Course and gaining entry into the BRIT School. Assimilating underground Electronic tones into that Jazz teaching: she is still putting material together and building her name but I feel this is the year she announces her presence to the world.

Follow: https://www.facebook.com/thisbillieblack/ 

MIYNT

PHOTO CREDIT: Andreas Öhman

Location: Stockholm, Sweden

Genres: Alternative; Rock; Soul

Essential Song: The Deer or the Hunter (EP No. 1)

Reasons to Watch: It is hard to categorise and define someone as varied and cross-pollinating as MIYNT. Her songs range from the affecting romance of The Strangest Game and The Deer or the Hunter to the cool-ass-yet-wary grooviness of Cool – to the Rock-laden sentiments of After the Gold Rush. More work is forthcoming but, on the strength of EP No. 1 alone, it is clear there are no boundaries and confinements for a curious and hungry artist who has a lot more to say.

Follow: https://www.facebook.com/miynt/

Maddy Storm

Location: Manchester, U.K.

Genre: Art-Rock

Essential Song: Tempest

Reasons to Watch: A daring and original songwriter whose reverb-heavy songs are bustling and brimming with passion and intensity. Her debut E.P., To the Sun, was met with acclaim and marked out as an artist to keep an eye on. Her new single, Tempest, is made for dark evenings and contemplation. She makes music, as she claims, that is best heard in the dark – a strange aura and mysticism emanates from her sound. In a music scene that can be quite dull and predictable: there is nothing average or uninteresting about the young British songwriter.

Follow: https://www.facebook.com/maddystormmusic/

Def.sound

Location: Los Angeles, U.S.A.

Genres: Progressive-Rap; Contemporary Art

Essential Song: BL▲CK . MIRROR (S)

Reasons to Watch: Many have highlighted the impulsiveness of def.sound off the back of recordings like Kings of Neon (2015). He is a polymath and multi-talented poet/songwriter who pours his soul into his work. Documenting turmoil, triumphs and conquests: there is something alluring and captivating about the America. He has the confidence of Kanye West without the ego; the skills of Kendrick Lamar without the acclaim – he is a unique soul but one who warrants future success and worldwide acclaim. 

Follow: http://cargocollective.com/defsound

Laurel

Location: Southampton/London, U.K.

Genres: Alternative; Pop; Soul

Essential Song: Maybe Baby

Reasons to Watch: It is the voice that compels and seduces: few have the gravitas and allure of Laurel. One could compare her to say, Amy Winehouse, but that would be an easy (and lazy) resemblance. What the London-via-Southampton artist does is create her own unification of older-days smokiness and modern-day sexiness. Her earliest recorded were laid down in her East London bedroom studio: one suspects modern studios and big recording spaces await her in years to come. Right now, she embarking on tour dates – she is in Switzerland at the moment – and, one suspects, provide the music world with some fresh sounds. One of our brightest and most intriguing young talents.

Follow: http://www.classiclaurel.com/

JAIN

Location: Toulouse/Paris, France

Genres: Pop; Alterative

Essential Song: Makeba

Reasons to Watch: Like many of the names on this debut list; it only takes a few breaths from JAIN to know she is a very special artist. Her phenomenal album, Zanaka, hopped the globe and introduced a range of sounds into the mix. Few artists are as bold and authoritative when blending so much into a record – it almost seems easy for the French songwriter. Right now, she is performing in France but has dates in the U.S. later in the year. I hope she has chance to come to the U.K. at some point because she is getting into the hearts of critics and music-lovers alike. A loveable, worldly and astonishing talent who is primed for the big leagues.

Follow: http://www.jain-music.com/en/

FEATURE: Transgenderism in the Music Community: The Final Taboo

FEATURE:

 

Transgenderism in the Music Community: 

IN THIS PHOTO: Aye Nako

 The Final Taboo

________

THERE has not been any major story where a transgender musician…

IN THIS PHOTO: Rita Ora (one of the artists involved in the video, Celebrities Speak Out Against Donald Trump's Transgender Military Ban)

has rocked the charts: nor has there been a howling execration of the transgender community by anyone. Well, hang on a second…back that up. The most powerful man in the world – God help us all – has imposed a military ban in the U.S. President Trump has banned transgender people joining the armed forces: this was met by a wave of discontent, disagreement and opposition. Singers like Sia, Rita Ora and The Chainsmokers have teamed up to send a message of support to the transgender community – Lady Gaga slammed Trump as did Mia Farrow and Laverne Cox. Of the 150,000 transgender Americas, all of whom are loyal and patriotic, that incongruence and foolhardy declaration is, whilst typical of Trump, against the desires of the American people. In a weird way, it has put the issue of transgenderism under the microscope. This piece is not propelled and stocked by interviews with transgender musicians. In the past, I have reviewed transgender artists – but not as many as I would like. I have featured gay and bi-sexual artists but, again, not quite as many as I would want. The Office for National Statistics does not, at present, hold figures regarding the number of transgender people living in the U.K. It makes a sense of invisibility and prejudice heightened. It might be difficult cataloguing those undergoing gender reassignment and consultation. Roughly, however, around one-percent of the British public identifies themselves as gender non-specific. Pansexual-ism is a new phenomenon but one that acknowledged the fluidity and multifarious rainbow of modern sexual identification. In broad terms; pansexual people do not limit their preference in terms of gender and sexual identity. If the country is starting to open to the fact so many people are identifying themselves as gay, pansexual or bi-sexual: how much tolerance and discussion is taking place regarding transsexual people? The reason I want to raise this corner of modern society is because of music and how there is still prejudice. In many ways, the industry is more open-minded than society as a whole.

In other ways, one feels there are struggles for new artists coming through – those who identify themselves as transgender. Anohni – formerly Anthony Hegarty – is an artist very open about her decision and identity. Sexuality is, not any more, a binary choice. It was the time, not long ago, one had to choose between gay and straight. Now, there is an encyclopaedic variation to sexuality that has a great number of configurations than there has ever been. If one looks to the music industry and there are some fantastic humans who are either transgender or non-binary. Ezra Furman is an artist I have great respect for. Perpetual Motion People, Furman’s current album, boasts raspy vocals and a fearlessness that is not confined to the mainstream and convention. One wonders whether his sexual freedom and lack of confinement influences and infuses his musical direction. Little Waist are a Queercore/Transcore band from Brooklyn, N.Y. whose lead – multi-instrumentalist, Audrey Zee Whitesides – is one of the most impressive and eye-catching artists one can discover in Brooklyn. Maybe cities and areas like that embrace openness and frank sensibilities of liberation. A lot of musicians evolve and move from towns where, in so much as there are fewer opportunities, there is a small-town mentality. I am not suggesting population size is inversely tied to discrimination and tolerance but there is a link. Cities allow one to, whether they like it or not, discover humans in every walk of life and persuasion. One takes a trip through Brighton by night and is aware of a colour and vivacity few cities can project during the hottest summer day. It is an area of the world synonymous with its thriving L.G.B.T.Q. community but its people, inherently, have a greater acceptance than most. The same can be said for London who, alongside Brighton, holds an annual Pride festival/celebration. We have just commemorated the fiftieth anniversary of the Sexual Offences Act.

IN THIS PHOTO: Ezra Furman

In 1967, it was still illegal for two men to express their love in public – not sure whether women were excluded too. It is developments and milestones like this that means there is less stigma attached to sexuality and lifestyle choices than generations-past. I still worry whether artists like Aye Nako – the band address racial fetishisation and sexual identity through their music – and Mel Blum (a New York singer-songwriter whose self-deprecating and honest music has captivated critics) have had to fight harder to enter music. Whether they are afforded the same opportunities as their peers – in terms of gigs and media spotlight – I am not sure. I am cribbing from the hallowed electronic pages of WhatCulture and a piece they put out on the subject of transgender artists. They bring a few other examples together:

“Tunde Olaniran, who identifies as genderqueer, has been putting out his playful electronic music for a couple of years now and shows no signs of getting any less theatrical. Every song constantly bounces around between quirky R&B and beats bearing the bawdiness of a buzzsaw. This desire to never settle in a singular musical aesthetic keeps his albums endlessly interesting. There is an allegiance to club music as well as a desire to dismantle it…Against Me! is a punk band from Florida fronted by Laura Jane Grace. Their albums are short bursts of ridiculously anthemic songs that contain darkly humorous lyrics referencing both the personal and the political. The accessibility of the band's anger harkens back to some of the most iconic names in punk. After a public coming out in 2012, followed by the resignation of several of her bandmates (for unrelated reasons), Laura Jane Grace became something of a poster child for the trans* movement (albeit not its spokesperson, to heave the entirety of a movement on a single person or several people is ignorant as all heck). Her deeply personal songs about gender identity on 2014's Transgender Dysphoria Blues provided for the band's most impassioned effort to date”.

IN THIS PHOTO: Tunde Olaniran

What one gleams from the list from WhatCulture is the fact the majority of these artists are American. Also, it seems all of these artists have to justify themselves in a way – proclaim how unafraid and determined they are. That is a courageous and inspiring attitude but, in 2017, should they have to shout so loud and frequently?! I know there are some fantastic underground transgender artists in the U.K. – many seem resigned to the underground through fear they would not be able to assimilate into the mainstream. There are many other frames of reference one can ascribe to the debate but, ironically, their struggle is binary – having to choose between being who they are, and enjoying minor attention and acclaim, or having to compromise. Maybe this is not the case for the artists I have mentioned but, as we know, there is a lot of prejudice and discrimination still rife in music. Is transgenderism still the only taboo in the music industry?! Despite the fact we have Pride celebrations and join together once a year – what is the reality for a gay musician in the modern world? Artists like Billy Tipton, Pete Burns and Wendy Carlos – composer on films like Clockwork Orange and Tron but, unbeknown to many, she is sort of the mother of modern Electronic music. They, in many ways, have helped normalise transgenderism and take away the exotification aspect of it – seeing it as rather fruity and strange. In society, there is taboo attached to coming out: those who decide to choose another gender have to go through so much anxiety and fear. If a musician has had to overcome that: how accepted are they likely to be when it comes to the mass media and charts? I write with authority because I know there are fantastic transgender musician who yearn to assimilate and align with those in the mainstream. Sexuality and gender should not be an issue with regards music. If, in 2017, we are seeing sexism and racism; where on the list of priorities is sexuality and transgenderism?! Whilst those in the music industry crunch numbers and toil over algorithms: how much consideration is being lent to the human beings behind the music.

IN THIS PHOTO: Against Me!

It is dastardly and deplorable seeing such rampant inequality in any sector of society: the fact it is extends to music is quite alarming. Transgender artists, in addition to homosexual musicians, should be allowed to play with unexpurgated relief and freedom. I feel there are alleyways of the music industry that needs to tackled and addressed. There should be no fear in the music industry. It should be an open forum where artists of every sexuality, gender and race should be able to perform and succeed on equal terms. That may sound awfully naïve but it is merely a case of taking action. I am concerned those musicians who are transgender – or non-binary – have enough anxiety in their heart without having to deal with spiked tongues and appalling looks. I know artists here – and around the world – who are exceptional musicians and transgender. They do not want to play to certain clubs and create a particular brand of music. They want to be accepted and have the same platforms as every other musician. If Trump is determined to prohibit transgender people entreating the armed forces: the passionate protest from musicians in the U.S. and U.K. is heartening to see. The focus should turn to music and, as we tackle sexism and racism – and try to affect real change – we need to look at sexuality and transgenderism. These kinds of issues are quiet heavy and, in regards musicians who face discrimination, there is a great weight for them to bear. Because of that, it is incumbent on the rest of us to create dialogue, positive exposure and raise our…

IN THIS PHOTO: Anohni

ARMS to help support them.

INTERVIEW: Jessica Rotter

INTERVIEW: 

 Jessica Rotter

________

IT has been a long time since I have featured Jessica Rotter…

on my blog. It has been a while since her track, Porch Song, came to my attention – I have never stopped following her music. She is a terrific solo artist but is part of the trio, JEMS. I talk about those twin responsibilities and whether there is new material afoot. She discusses life in L.A. and how it is for a young artist there.

Plains, Rotter’s terrific album, was released last year so I was eager to know what the rest of the year has in store - and whether there are tour dates; if we can see her in the U.K. and the artists that have driven and influenced her.

__________

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

Hi, Sam! I’m doing well!

Things are busy right now - so I’m taking a minute to respond to emails and relax!

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

Of course.

I am a singer and a songwriter. I released my first album last year, Plains, along with a dance film for it – and, I also have a career as a vocalist for a variety of projects (movies, T.V. shows; albums, live performances etc.)

I am currently working on my next album and taking my Folk sound up a notch - with a little Rock/throwback air.

PHOTO CREDIT: @abby_shoot

It seems you have wrapped up a new single. What can you reveal about that and the kind of things we can expect from it?

I have a new single out August 18 called Other Side of the Sun.

It is an upbeat vintage sounding song complete with soulful backup vocals. I wanted to release the song with the Total Solar Eclipse that is happening on August 21 (which just so happens to be my birthday.)

The song is about a relationship with bad timing (I’m sure we’ve all had one of those) where the desire flips from one person to the other constantly. Not too close, not too far - as if orbiting on opposite ends of the universe - but still controlled by the same force.

I believe you perform as part of a trio, JEMS. Can you tell me about the girls you play alongside and how you came to meet? How important is their friendship and music to you – not only as a fellow musician but a human?

So. JEMS was formed VERY recently out of a common desire to get out and play more...

Emily Colombier and I have been friends since we were babies and she was the person who encouraged me to play my music in the first place. She and I found viral success with a mashup we did of the song Stay, by Rihanna, and (the song) Animal, by Miike Snow. She’s been singing backup for me at all of my shows since the very beginning - and I would sing backup for her.

Sarah Margaret Huff was a new friend who moved to L.A. from Nashville and, in an attempt to help her find her footing in L.A., we started playing together and hit it off. She came on tour with me as a backup singer and the three of us bonded like crazy! A lot of people were talking about how our voices sounded together and how our personalities filled the stage in such complementary ways.

So, we decided we should team up and play out. We are excited to be playing a series of shows in late-August and September!

Will you be working on an E.P. or album – either as a trio or solo artist?

I am working on an album as a solo artist.

Our trio will hopefully be recording some songs soon! Our cover of Dolly Parton’s Wildflowers has gotten a lot of praise so I hope we can get that out soon.

For now; you can see our video on YouTube.

You describe yourself as a ‘musical storyteller’. How important is it making your music honest, personal and relatable? It seems like your music really connects with people. How vital is that in terms of inspiring your creativity?

I think every opportunity a singer has is an opportunity to take other souls on a journey.

Musical moments shared are powerful, so whether the story is a narrative or a sensory journey, I like creating moments. For my own music, I really do write honestly and from experience – so, I try to find the universal truth or the common thread that a listener will be able to connect with. It’s not even something I overthink though. I don’t know if it’s from writing poetry or directing theatre...but I feel like finding the common thread in emotional experiences is second nature to me.

I still hope people take the time to get to the bottom of a metaphor in a song and let it sink in for a minute. It can’t all be face value.

Was music big in your childhood? What kind of musicians do you fall for at a young age?

My parents are both musicians and so were my grandparents - so music was definitely huge. I listened to a lot of The Beatles and Motown - a lot of ‘oldies’ and a ton of Classical music.

I appreciated that kind of musical foundation because I think it trained my ear from early on to hear harmonies and count beats.

Music you have written has been heard on T.V., film and around the world. How humbling is that and what is your reaction when you hear one of your pieces on the screen?

Hearing my music alongside other art forms is INCREDIBLY satisfying.

I love seeing how different artists can merge crafts so effectively! It’s always an honor to be entrusted to share someone else’s creative moment.

I have heard your latest live performance, Porch Song, which was captured in Woodland Hills – playing as part of JEMS. What was that experience like? Will you be recording any more intimate videos like that?

I’m sure we will.

We have one more video like that to roll out as JEMS along with a few concert videos. JEMS is fun because we all feel like we can take more risks with it - and I kind of wonder if we will put ourselves out there more because there seems to be less to lose.

I haven’t even released a live performance video of myself - and JEMS has three!

The first exposure I had to you was when I reviewed Porch Song – when it first came out. I love that song and never asked where it came from. What is the inspiration behind that?

Strangely enough; that song was written before Emily Colombier’s step-dad (Geoffrey Lewis’) memorial.

I was driving there and thinking through these words and when I parked my car; I turned on my iPhone Voice Memos app. and recorded the song start-to-finish. It was almost like Geoff brought those words to me. Geoff was an actor/author/artist. Their whole family is creative: so there’s a very strong powerful energy around their house and everyone Geoff touched.

You probably know at least one of his children.

Based in California; how important and influential is the area and its people? What is the music scene like where you are?

Living in Los Angeles is crazy.

The stakes are always higher. You never know who's going to show up. It’s good because you get comfortable performing for influential people - I get much less nervous performing in any other city. The music scene in L.A. is very split, geographically. Certain venues are known for certain things and I find the acts that start Indie - and break out of L.A. - are usually East-side, Indie-Rock bands - and everyone else (are) usually Pop artists on labels.

There’s a small singer-songwriter community that does a little Pop-writing, too. It is cool to live here, though, because you can kind of conquer your hometown - and it means a little bit more than if I lived in a city with a population of 100k - or something similar.

Are there any new musicians you recommend we investigate?

I’ve been really digging Phoebe Bridgers, Waxahatchee and Sweet Spirit.

You should check out the band LEAN, too. They are also a production team and they produced my new single. They have a new song out called Come Back. It’s a fun, summer jam.

Have you any tour dates coming up? When can we see you in the U.K., perhaps?

We are playing in Nashville and the Californian West Coast in August - and I’ll do a proper slew of Jessica Rotter shows once I finish my album.

I am planning on mastering the album in London so I would hope to play a few shows there! 2018?

If you could name three albums that mean the most to you; which would they be and why?

Neon Bible by Arcade Fire

Because it was my first album that made me feel like the darkness inside of us wasn’t weakness - and was a shared human experience.

Carole King - Tapestry

 It is so obvious but it really is the best. Those songs kill me and she has the best heart and soul. I have, like, thirty more albums I could put in this meaningful album list…but…

I will say I most often put on Bon Iver - Bon Iver when I’m looking for a record to listen to.

I listened to it tonight. Holocene and Michicant are two of my favorite songs, ever. They’re perfectly melancholic.

What advice would you give to musicians coming onto the scene right now?

Find a way to make money that doesn’t suck out your soul and it will all be a lot more fun.

I have so many artist friends that are trying to make ends meet in the silliest jobs - that are not paying enough and take up too much time. By singing and writing for other people’s projects, and even teaching a few students, I have the freedom to work on my own art.

So, I guess my advice is do everything you can to not let your soul die and spend as much time as possible creating.

Finally, and for being a good sport, you can name a song and I’ll play it here (not one of yours as I’ll do that).

Halfway Home by Broken Social Scene (this song made me feel EUPHORIC when I saw them play last month.)

Thank you!

________

Follow Jessica Rotter

PHOTO CREDIT: @reiten

Official:

http://jessicarotter.com/

Twitter:

https://twitter.com/JessicaRotter

Facebook:

https://www.facebook.com/JessicaRotter/

Instagram:

https://www.instagram.com/jessicaarotter/

YouTube:

https://www.youtube.com/channel/UCExkVTpFLYBZS6bAoKwNSmQ

SoundCloud:

https://soundcloud.com/jessicarottermusic

Follow JEMS

Official:

https://www.wearejems.com/

Facebook:

https://www.facebook.com/wearejems/?ref=br_rs

TRACK REVIEW: Rié - Business Trips

TRACK REVIEW:

 

Rié

 Business Trips

9.4/10

Business Trips is available at:

https://www.youtube.com/watch?v=BMsml8cRNj8

GENRES:

Alternative; Alternative-Pop; Electro

ORIGIN:

London, U.K.; Tokyo, Japan

RELEASE DATE:

28th June, 2017

The Business Trips EP is available at:

https://open.spotify.com/album/68QNlUOETcj4ItttEqu9Fd

RELEASE DATE:

30th June, 2017

_______

NOT often does one come across an artist one…

can literally call ‘unique’. When it comes to Rié that is entirely justified. I shall come to look at her music very soon but, before I do, I wanted to look at Japanese-born music and the vitality of the city; the inspiration behind songs and the link between Rié’s fine art music; transitioning from the Japanese market to Britain; popularity and artists ready for the mainstream – I will look at sounds and fusing unexpected voices. Let us address Japan: an area that does not get a lot of coverage in the music press. Later today, I will attempt to compile a playlist/feature that celebrates the best international artists around – bringing in names from the U.S., U.K.; Sweden, Australia and beyond. Japan is a nation that boasts some fantastic musicians but few make their way to us. When one thinks of Japanese music, especially that which emanates from Japan, one imagines bright-coloured Pop and a sense of the quirky. We look at Japan as a nation and see the bright lights and rush: the strange adverts and the real head-rush of the culture. Aside from that; there is a politeness that we need to adopt here and a punctuality and respectfulness that lures many people in. On the other side of the Japanese coin is a culture of Rock that has been adopted in the West. That class and contrast between variegated Pop and serious Rock makes Japan one of the most intriguing and exciting nations for music. Historically; the nation has brought us artists like Malice Mizer, Aqua Timez and D’espairsRay. Band-Maid, Z’s and OOIOO are other acts worth investigating. I look at the list of Japanese artists and find myself wanting to discover more about the music culture there. I shall look at great venues in Tokyo for musicians in the conclusion – but I wanted to look at some great musicians in Japan. In terms of Rock; Crystal Lake are at the frontline of Japanese Hardcore music and have the potential to break away from Japan and spread their music throughout the world.

Kohh is, actually, a Hip-Hop artist from Kota (Tokyo) who fuses Western lyrical ideals - getting tattoos and a rebelliousness – with flavours and embers that relate to Japanese culture. Quite standout in terms of his words – unusually for a Japanese artist to break away from love in music - he is someone to watch closely. The fin. are a band who have played here a lot and melt dreamy Electronic sounds with urgent Rock. They have soundscapes that take you somewhere special but a definite immediacy. Kyoto’s Tricot are a three-piece are a technical band who have strange riffs and rhythms in their bad. They have toured Europe and are another act that has the potential to assimilate into the Western market. I will come back to this subject later but it is interesting seeing the great artists playing in Japan. Rié started life in Japan and, immersed in the richness and variation of the music scene, and recorded for Sony Japan under the name of Rie Fu. The pink-haired artist was performing something akin to J-Pop-cum-Rock. It has a youthfulness and sense of fun but serious undertones. We get hung-up on stereotypes of Japan and assume all music from the country will fit into that mould. Rié started in a rather ‘traditional’ and cliché way. Maybe, now, she has moved past that and adapted into a unique artist. It is interesting seeing where she came from and the inspiration she takes from Japan. Her Business Trips EP - I will look at the title-track, soon – is half-dedicated to Japan: the other side is focused on London and the U.K. It has been a while since I have encountered a Japanese artist so it was paramount looking at the country and the vivid burst of musical activity one can experience there. It is something I shall come back to later but it is great to back the incredible music that is coming out of Japan.

Coming from Tokyo, with a successful career behind her; Rié could have stayed there and enjoyed life as a Pop sensation. She recorded an album in Japan and, singing with Sony Japan at the age of nineteen. I am not sure whether Rié is returning to Tokyo at any point but, surely, she will have gig requests there. It seems London, and the beauty of the city is enough to keep her rooted. It is hard transitioning from any country but there seems to be a huge difference between Tokyo and London. The former is a bright and sense-enhancing city that is very modern and is dazzling to behold. The latter is modern but has more history and a different pace of life. Having to assimilate to London life would be challenging for someone who comes from Tokyo. Similarly, going to Tokyo – having been based in London – would take a lot of time; acclimatising would be problematic. The reason Rié came over here was to study Fine Art at London’s Central St. Martins. That education facility is somewhere I have seen a lot of musicians study at. There is, as I will explore, a link between art and music but, for the Japanese songwriter; it gave her the chance to embrace and expand her love of art and imagery. I am not sure whether having knowledge and passion for art heightens music: it gives new prescriptive to songwriting and can lead a writer to be more imaginative, abstract and diverse. For Rié and her move here; it seems she has found her calling and home. I know she has spoken about London and how settled she feels at the moment. Of course, there is still that homesickness lingering but, being in a city that can rival Tokyo for music and art, let’s hope there is not too much of a vacuum present. I have seen few artists transition to a new city/way of life as quickly as Rié. She has the look and sound of someone for whom London is the perfect space for her.

Having performed tours of Asia and wowed the population there: it is now time for Rié to tour around the U.K. and bring her music to the people. Her Business Trips EP was released a month ago – it is still quite fresh in the memory. The reason I wanted to focus on its title-track was the story behind it. In my conclusion, I will expand upon the points I am addressing now but, when it comes to songwriting inspiration, I can probably exhaust it in the opening. The E.P. track, St. Martin, recalls the time the Tokyo artist met with a music businessman and another man – who told her it would be very hard to make a career out of music. That frustration lead to the song: a chance for her to prove, rather demonstratively, she is capable of making a career out of music. There are a lot of detracting voices who will tell people there are unable to fulfil their ambitions. It is quite common but, if they are saying it without evidence, it can be patronising and condescending. Calling, a song document when she moved to a small U.K. town – having been in the epicness of Tokyo – tackles isolation, identity and contrasts. The weather, people and accents; the politics, customs and religions – all conflicting and differing from what she had experienced back in Japan. That is what I was talking about regarding Rié and her travels from Tokyo. Having to disconnect from one way of life and embracing a foreign strangeness is enough to unsettle someone. Instead of retreating and hiding herself away; the songwriting took inspiration from these emotions and feelings. Her E.P. is a collection of experiences in the U.K. and how hard it has been adapting to a new nation. She has immersed herself in Britain but still finding her feet (to an extent). What strikes me about the title track is a couple of things: its links to Kate Buh and her husband.

Rié’s husband, also Japanese, was/is often away on business trips and, in addition to being hard to bare – her special other being away for a long time – it meant the young songwriter was hearing and seeing parts of her husband in static instruments and physical things. The same way Kate Bush embraces the domesticity and simplicity of a washing machine in Mrs. Bartolozzi (from 2005’s Ariel); that is what we get from Business Trips. Kate Bush’s paen to laundry and cleaning is something few artists have emulated. What strikes me about that song is how compelling and beautiful a song about housework and day-to-day work is. It is a song that boasts images of the heroine cleaning – after people traipsed mud into the house – and getting the laundry sorted. There is, in that song, a spirituality and mysticism in these appliances. Bush turns the song into a hymnal: a prayer to the pleasures and escapism of domestic chores. Rié takes guidance from Kate Bush and how she embraces the mundane in an extraordinary way. Business Trips was inspired, oddly, by a gecko that happened upon Rié one day. This, I think when her husband was away, was an embodiment of him – maybe an emblem that provoked her to bond with her surroundings. I am not one who believes in fate or reincarnation but, creatively, the creature could have represented remnants of her husband – someone watching over here and keeping her company. As she was recording and away on tour – and he was elsewhere – that sense of separation could have put strains on the marriage. Rather than dwell on the loneliness and distance: she has connected with her home and found elements of her husband in her environment. That gecko, and what it symbolises, drew her to Kate Bush and how she found romance in the ordinary. Alongside the extraordinary story and vocal performance are electronic beats, piano and koto – a mix of Japanese sounds and Western Electro-Pop inspiration.

There are few who take inspiration from original sources for music. I am seeing too many people go to the love-well and splits of love. Anyone who steps aside from the predictable and represents something unexpected finds a place in my heart. It is so easy going with the common and not thinking outside the box. Rié is someone – maybe motivated by her heritage and Japanese characteristics – who does not go with the average and expected. That is one reason why I am drawn to her but another aspect of her personality stands out: her bond and affiliation to art. Studying Fine Art in London; many would immerse themselves fully and not have much time for music. I can only imagine what an experience that degree/course is. Fine Art is not only about studying historic pieces and those famous painting. Many assume it will be a one-dimensional course that does not offer a window into any other cultures. One can imagine there is a chance for Rié to study Japanese art and a lot of the work she would have seen as a child. Not only would it be confusing having to adapt to a British way of life – after coming from Japan – but based in London; the differences in terms of art would have been immediate. The greatest and most reputable art galleries are based here. That provides a wonderful portal for Rié but, in terms of cultures, one wonders how many Eastern works would be hanged there. All these dimensions, diversions and dynamics, naturally, would have spiked a curious imagination and romantic soul. I listen to a song like Business Trips and see art and colours in the composition. It might be pretentious to suggest Rié composes as she paints. She will not use bland colours and project in a predictable way. She sees music as a canvas on which she can create something majestic.

Because of this; one hears fusions of East and West; beautiful nuances and spectacular moments. It is a very direct link, for me. Few musicians have such a creativity and mindset as Rié. She is accustom to our ways of life but is not someone who wants to abandon her home. One gets suggestions of Tokyo in her music and where she came from. Vibing from the incredible culture and opportunities in London: that has gone straight into the music and connected art to music. One hears vivid brushstrokes and depictions in the E.P. I am not sure how long Rié has to go on her Fine Art course but let’s hope she pursues this route and continues studying. I feel this is one of the reasons she is such a prodigious and individual musician. I shall move onto my last point soon but feel a real connection to Rié. She is one of those musicians who feel constrained by limitations and conventional routes. Her songwriting is accessible but can never be seen as commercial. Look at the inspiration behind her songs and one discovers a woman whose heart, imagination and soul resonate to a different beat. This is all true of her voice that could, one imagines, conforms to cliché and national stereotypes. I shall return to Japan but, when one thinks of artists there, the mind is split between a girlishness and intensity. Many J-Pop groups are quite cutesy and sugary. The harder Rock bands have a huge masculinity and ferocity to them. There are few that fit in the middle of the spectrum and offer anything beyond the binary.

In many ways; Rié is more Western in the way she performs and articulates her music. Comparisons have been made to Karen Carpenter and Suzanne Vega. There is that balance of lush and romantic: two artists who, between them, have performed some of the most beautiful music ever. When listening to a song like Business Trips, I am reminded of those singers – and Kate Bush – and notes that are unfamiliar to all. Rié is not someone who clings too closely to others: she is unique and keen not to be labelled alongside others without much consideration. One of the reasons her voice has such a lustrous and candid quality is her connection to Japanese art and poetry. She adores the poetry of her nation and the emphasis its poets/writers place on beauty. There is a sense of the oblique and intangible; nothing is ever spelled-out – only alluded to. Because of this; her music has a mix of the tangible and distance. Beauty is evident but never forced; there is physicality that suggests sexuality and longing. Such a fascinating brew from an artist who has very few competitors. The story and background of Rié is one that seems set for the screen. I know there are many musicians with an interesting back-story but there is a definite drama to be found from Rié’s story – a lost Haruki Murakami novel, perhaps? I love his work like Norwegian Wood and A Wild Sheep Chase and, looking at Rié, see someone who is a heroine from one of his works. That obsession and passion for art; the husband away on trips and the musician who has to get used to a new city (and world). Were she to portray her life onto the screen, it could be called Business Trips. It would be, essentially, an expanded version of the music. The tale would follow Rié from her teenage years – singing for a big label and engrossed in the gaudiness and buzz of Japanese life. From there; she would transport herself to a town in Britain and have to transform herself into someone else.

The novel/film would then see her following her love of art in London and making the E.P. – that encounter with the gecko and new experiences. I am getting a little off-topic but there is plenty of scope for anyone who wants to pen the Rié story. I shall return to my earlier point but find it interesting there are older Western artists in the mind of Rié. One might think local artists or modern mainstream acts would be her influence. Maybe I am stereotyping again but feel too many artists are beholden to the mainstream and have a very narrow focus. A young woman like Rié would be forgiven for sticking to music of this decade and not really casting her mind back. The fact she recalls Suzanne Vega and Karen Carpenter suggest the kind of sounds she grew up to. It has been a while since I have put those two names together in a review. It is a testament to an unpredictable and unconventional artist who does not want to be easily defined and written off. That defiance and uniqueness is a demarcation between Rié the Artist and Rié the Musician. There is an inherent link between the two but there both are different sides to her personality. Business Trips employs art in its compositions, designs and videos. It is the raw and real story of the Japanese artist that goes into the vocals and lyrics. Because of this, artists like Suzanne Vega and Karen Carpenter seem like obvious idols. Both articulated a sense of loss and longing; a blend of romance and confusion. I am a big Bangles fan and grew up listening to Vega perform for them. Carpenter is someone I came to later in life but feel a real affinity towards. Rié, in a way, refreshes my mind and draws me back to childhood. Her performances are so evocative and intoxicating: one forgets she is a mere human. This might sound like hyperbole but such is the sense of wonder one experiences listening to her music.

The openings seconds of Business Trips presents the rush of (what sounds like) trains and clash. It is he rush of feet and the sounds of commuters. That is balanced by piano – which is romantic and tender – and that mesh of lush and hectic gives the song a rather strange energy and dynamic. The heroine sings and is surrounded by the smell of turpentine. Maybe she is engaged in painting and setting down to create a commissioned work – perhaps something to pass the time. Whatever the origin; one senses a distraction and need to connect with her husband. His departure creates an emptiness that, one feels, is filled with art. As she started to paint on the canvas; a gecko approaches and is in her sights. Perhaps, one assumes this was set back in Tokyo, a rare creature like that seems born out of a dream. This was a literal happening and a revelation that provoked the song. In a way, or as she says it, the physical embodiment of her husband. It is company and inspiration but it is a rather mystical and odd happening. Those Japanese strings – the subtle pluck and Eastern flavour – give it is a homely feel and connection to her past. Bird sounds and a breeze blows and, this gecko arriving, happens every time her husband is on the business trips. What I get from the song is a woman who longs for her husband and feels his departure quite hard. I know she has her own life and purpose but it is quite uprooting having to face regular spells without her husband. The vocals, to start, float and have that Suzanne Vega tone to them. It is romantic and swaying but starts to heighten and embolden. They always retain their romance and beauty but get heavier and more pressing. The composition brings in fizzy and electric that signifies the internal struggle and turmoil the heroine is faced with. She works from five in the morning to nine (that morning): odd hours that see her dedicated to her work but fulfilling her role as a wife and housekeeper. That early wake-up might be because she has nobody else around. She is free to keep her own hours but needs that distraction.

It is interesting noting the change in pace and sound in the song. It is not announced by the vocal or lyrics – a huge chorus or shift in narrative – and happens quite naturally. Because one does not expect it; it takes one by surprise and creates quite an effect. It is a stunning sea change that brings a lot of physicality and emotion into proceedings. Business Trips starts life tenderly and with grace but grows more anxious and heated. In a way, the vocals of Rié remind me of Lana Del Rey and her finest work. There is that sweet-and-husky mix that reminds me of her latest album, Lust for Life. The voice sways and floats in the breeze but its mantra concerns the office and a domesticity. In the song’s video; she drops paint into a cooking pot – maybe that is the way she mixes paint but seems to represent the art of housework and mixing her work and home life – and puts images of the gecko on the wall. It is a busy and active space that is her day-to-day routine. Her office is bustling and alive; it is her vocation and explanation – the way she can find some sort of solace and meaning. Having to deal with her husband’s absence means there is a definite quiet and loss. Rather than dwell on that; she picks up her paints and creates murals and spectacular work. The composition seems to mirror that colour-burst and epiphany. The electronics and percussive elements are productive and assiduous; the vocal is disciplined and imaginative – it all seems to be like paints being mixed and put onto the walls. One imagines the other side of the coin: her husband waiting at airports and having to bundle onto the train. It is a stark contrast to the peace and creative perfection of an office studio. Maybe there is anger and disappointment at the state of the relationship. The two make plans and speculate projects but then, when things are starting to happen, another business trip comes up.

It seems work is getting in the way of the relationship. Whether there is a sense things could be different and less divisive, I am not sure. Rié pines for a simpler life where the two live together and can have their own careers. Maybe that will never be possible because her husband has to travel. Whether the song has its heart in London or Tokyo, it is hard to say. One imagines this is a recent occurrence and, as such, does Rié pine for her simpler days? I guess, when you transition in a new nation, sacrifices have to be made. In this case, the two have very different careers and they do not really overlap. Rié is someone who can be based at home and does not need to travel. Her husband’s itinerant agenda means Rié is, in a way, having an affair with the home and surroundings. The same way Kate Bush longingly sung about a washing machine on Mrs. Bartolozzi: here, the artist is guided by the gecko but seems closer to her subject and passion. She is not seeing anyone else but desires a connection and conversation. This occurs through her art. Painting on the wall and mixing colours; dreaming and speculating distract her from the sense of isolation and loneliness that has been created. This is perfectly rendered in a song whose composition tells the husband’s side – the rush and energy of travel – whilst Rié’s vocal is a more sensuous and artistic thing. Both, ironically, unite harmoniously in a song that talks of distance and bridges. The song’s coda – the heroine working in an office – seems to spark new interpretation as it is repeated. Towards the end of the song, maybe that is the conversation and echo of her husband. When Rié asks why he cannot be there: that is his response, I guess. It is simple and terse but cannot be defined and rationalised. Maybe he needs to pursue a career in the arts: where he can be with his wife and they are a more connected couple. That might not be practical so it makes Business Trips a fascinating and tense thing. The song starts to grow and crawl: the composition showing teeth and starting to stomp. Everything tightens into an anxious crescendo. The heroine continues to remain calm inside the storm but one feels an explosion and execration is imminent. Perhaps there is mediation and discussion required but, in a sense, one is a voyeur when listening to the song – watching something intimate and personal break and go through strain. In any case; Business Trips is a song that will remain long after it has ended – and announced the presence of a unique artist with few equals.

I mooted as to the cinematic potential of Rié’s story. Such is the strange and wonderful route she has taken in life – I cannot help but marvel and speculate. Some artists go from Japan to the U.K. but none have the same course and consequence as Rié. A married and domesticated woman; there is a sense of the ordinary and predictable – in a very good way. Part of Rié concerns hyper-focus and singularity: she sets her mind of one thing and has that discipline. Her songs are the results of, in a lot of ways, whimsy and strange inspiration, but the actual composition and production suggest someone who engrosses themselves in the business of recording. On the other side; one can see a rather flighty and dreamy soul who loves to wonder and lose herself in all sorts of art, culture and music. Earlier this week, Rié performed a live version of Business Trips at Craxton Studios. It is a performance that takes a different approach to the recorded version. It is interesting seeing the dichotomy of the versions and what the live version brings to the plate. I will let you watch that – on her Facebook page – and what an incredible rendition it is. Rié has been interviewed and spoken about her E.P. It is a work that, one hopes, will be fostered by many cities and towns. She has that London base right now but, one wonders, will she return to Tokyo in the future?! It seems her husband’s business jaunts are quite unsettling and that distance creates stress. It does also provoke creative bursts but one senses a sentiment of yearning inside Rié. Maybe Tokyo was perfect for her when she was a teen: London seems more designed for the more mature person; someone who has a vibrancy and curiosity but it is more settled and composed. Let’s hope Rié remains because she is someone I want to see perform. I love the way she writes and her strange intelligence.

Whether Business Trips EP gets a U.K. tour I am not sure but the music is being celebrated and promoted by Rié’s fans. Her social media numbers and huge and she already has that mass of fans back in Tokyo. It means her songs can be heard there – in addition to London. I will return to my earlier chat about Japanese music. I provided a few names that are worth seeking out but there are some great venues around Japan that are perfect for musicians – whether native or going there on tour. The Living Room Café is based in Shibuya and is, it is claimed, Japan’s biggest live music café. It combines art, food and music and manages to fit 300 seats into its 1,200mÇ floor. The Guinguette is a five-minute walk from Shibuya’s station and hosts live music in the basement of the three-storey venues. There are colourful lanterns and a classy feel that sees Jazz musicians take to the stage – often dressed in suits with top hats. Art Space Bar Buena is an art gallery-cum-bar that, one feels, would be perfect for Rié. It is a more ‘experimental’ space where Punk artists played and, on some occasions, the patrons wear blindfolds – tables are pushed over and all hell breaks loose! Not only is there is a variety of genres being played in Japan: cities like Tokyo are set up to house them. Metro is a hip club that attracts a younger crowd. It is one of the best venues in Kyoto and somewhere one can go to untangle themselves from the hustle of Tokyo. Taku Taku is a reputable bar and live venue that, again, seems to be established for a hipper crowd. Jittoku has stone floors – it used to be a sake brewery – and has that authentic feel.

It has been great discovering Rié because she seems someone born to perform music. Business Trips is a terrific E.P. whose stories are rich and fascinating. You do not get your average and boring love songs with Rié. Instead, there is a nod to domestic bliss and missing one’s spouse; being refused opportunity and rebelling against it; the head-mess of having to adapt to a new nation and its people. It is, effectively, the tale of Rié up until now. The title might suggest her husband’s business trips are the main focus but, in a way, she is on a business trip – both in different worlds but connected by their love and marriage. Two human beings who have had to change their life and get used to a new country is enough to unsettle the steeliest of souls. For Rié, she has based herself in a country that affords her the chance to indulge her love of art and poetry. How her life will progress from this – setting up a family or studying still – I am not sure but there is a real opportunity ahead of her. Her music is incredible and she has the chance to be one of the finest new artists on the block. The mainstream welcomes artists who are different and have the potential to remain for years. That is true of the Japanese songwriter who, on Business Trips, shows she is a force to be reckoned with. Ingratiate your soul with music that goes further and provokes more reactions than anything you’ve likely heard. The title track from Business Trips EP is a song that stays in the mind and takes your body…

 TO a strange and fascinating place.

_______

Follow Rié

  Twitter:

https://twitter.com/riefuofficial

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Facebook:

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YouTube:

https://www.youtube.com/channel/UCSBrxtfstYnH-PNDvpmrivQ

FEATURE: The Hyundai Mercury Prize 2017: The Best of British?

FEATURE:

 

The Hyundai Mercury Prize 2017:  

 The Best of British?

________

I shall keep this short but, seeing as the chatter regarding…

IN THIS PHOTO: Ed Sheeran (his album, %, drew criticism from many who felt it should not be on the Mercury shortlist)

this year’s Mercury Prize shortlist has died down; I wanted to examine it from both sides and ask the question as to why it has quietened down so readily. Last year, as I remember; people were talking about the nominations for a little while longer. Why has this year’s dozen artists not lingered in the attention as long as previous years?! Perhaps I am over-analysing because, as with every awards show; people are only going to be interested a short time – the actual awards are not for a while so it would be illogical being enthused for weeks on end. Many have been debating whether this year’s list of artists is the weakest we have seen in recent memory. Last year, we had the likes of David Bowie and Radiohead on the shortlist: this year, the impressive, but perhaps less-stellar nominations of Sampha and alt-J. I wondered why the panel decided to omit critical favourites such as Laura Marling, Sleaford Mods and Jane Weaver in favour of Ed Sheeran, Blossoms and alt-J – three artists whose most-recent albums were not as popular and well-received as the aforementioned? Someone I know on social media asked whether the Mercury Prize should be about brand-new artists and giving them a platform. To me, it should be a meritocracy: the finest British albums making the cut of twelve. In fact, I am starting to find myself siding with the friend. If we are going to have an award for British artists: should we be dedicating it to underground and hot-off-the-press acts? Sampha and J Hus are two-such artists who would fit the bill; in that sense, Blossoms would also fit – I argue we should substitute them with IDLES to make it more quality-driven. This year’s list of nominees is ethnically diverse and certainly covers a range of genres – from Sampha’s beautiful and soul-searching songs to the extraordinarily unique sounds of The Big Moon and Dinosaur.

In fact, The Big Moon – and their album, Love in the 4th Dimension – is a proper band-made record that gives me hope in Britain we have some of the finest groups around. Dinosaur might be seen as the rank-outsiders for 2017 – seeing as their album, Together, As One, is a Jazz record. The ‘J-word’ might bring about scowling in many but for me, who loves legends like Miles Davis and John Coltrane, can see the same majesty and depth that runs through a record like Kind of Blue (Miles Davis). The Laura Judd-led band might not win the Mercury but are a worthy inclusion. On the other side of the argument; there are lesser albums like Ed Sheeran’s Divide (or %) and Blossoms' eponymous debut. Both albums reflect mainstream sensibilities and seem to address a different market. In the past; the Mercury Prize has been about Indie music and bands: in recent years, there is a sonic and demographical shift to address the changing nature of modern music. I admire an award that recognises a broad demographic but one can argue the BRIT Awards has enough categories for artists like Ed Sheeran and Blossoms: are they encroaching on foreign territory and taking too much focus away from other artists?! I feel there need to be limits when it comes to award ceremonies and the likes of the Mercury Prize. You could say there should be no limits imposed when it comes to celebrating music – if it is good then it deserves to be credited and acclaimed as much as possible. The panel of the Mercury Prize has, especially in the last couple of years, started to recognise Urban acts – those who are more fiery, charged and fast-flowing than their peers. Skepta scooped the award last year for Konnichiwa: this year, we have Stormzy’s incredible debut, Gang Signs & Prayer vying for the gong – it is already tipped as one of the favourites. I love the fact black artists are being given nods: last year, Kano and Michael Kiwanuka were on the list; this year, Sampha and Loyle Carner join Stormzy in that respect. It is clear the organisers and bosses are making positive shifts when it comes to racial equality and recognising genres like Hip-Hop, Rap and Grime.

IN THIS PHOTO: Loyle Carner (his debut album, Yesterday's Gone, is one of the favourites for the prize)/PHOTO CREDIT: Sonny Malhotra 

Is it, therefore, hypocritical criticising a more Pop-driven motive if we are going to celebrate the resurgence and recognition of Urban acts?! That is a fair point because I think, more than anything, the Mercury Prize should not be stifled, homogenised and rigid. Looking at the twelve artists; there are very few women nominated – Kate Tempest, The Big Moon and Dinosaur are overcrowded by a largely male dozen – and that is something that needs to be addressed. If we get it back to new artists and recognising them: is it causing issues cramming mainstream artists and upcoming talent in the same award list? I think an award that limits to a single list of twelve is going to cause splits when you include everyone from British music. Should we, then, make the Mercury Prize solely about the best-established artists are limit it to debut acts and underground musicians? I think there should be an award ceremony that has various categories that is exclusively for unsigned and new acts. I see so many great bands and artists come through the underground: they do not have their own award show and it seems rather strange. Many would say the point of a music award is to celebrate an artist that reaches a certain level/audience. Does that refined assumption mean we are deliberately overlooking artists who, despite their tender experience, are superior to the so-called ‘best’? It is thorny and complicated but we need to establish another award show that goes away from the mainstream and recognises new and unsigned acts. I feel the likes of the BRIT Awards are too focused on the mainstream and less-effecting artists – niche awards like Q, Kerrang! and MOBO caters to certain tastes but are confined to a certain taste/genre. I am aghast BBC Radio 6 Music does not have an award show as they, with their wide remit, would probably cure the malady. Taking it back to quality and, whatever your viewpoint, the Mercury Prize should ONLY represent the twelve BEST British albums of the year. It is not solely about new artists or mainstream; it is not about making things diverse and overhauling old practices. Like film awards; music ceremonies should reflect quality and the absolute finest of the sector.

IN THIS PHOTO: Blossoms (their eponymous album is one of the twelve that has been nominated this year)

The Oscars have been accused of racism and ignoring the best black actors around. Music, in a way, suffers racism and sexism but, as we can see from the list of nominations for the Mercury Awards – the last few years, especially – we are making strides, at the very least (bigger than the Oscars, that is for sure!). I feel the Mercury Awards should solely reflect the very finest British albums of the year. We want to showcase a prestigious award that promotes the absolute pinnacle of British music. Whether that is new musicians (unsigned acts) or mainstream stars: it should be about the sheer quality and critical acclaim. I admire the need to diversify and expand the Mercury nominations and give nods to lesser-known artists. If it weren’t for the Mercury Prize; would the likes of The Big Moon, J Hus and Dinosaur get acclaim and recognition anywhere else? Kate Tempest would do alright elsewhere but one feels she would be overlooked by the looks of the BRIT Awards and other ceremonies. We can create a shortlist that reflects diversity and genre-mix; included a fair balance of black-male-female artists and a sprinkle of bigger albums and underground treasures. If you take British albums in terms of quality/critical acclaim alone, then three albums that should be on the list are Paul Weller’s A Kinder Revolution; Laura Marling’s Semper Femina and Sleaford Mods’ English Tapas. Take away the less-than-effusive reviews accrued for Ed Sheeran, Blossoms and alt-J and, not only would you still keep the genre-spread clean and solid, but would bring in an older artist, a female performer and a consistent duo – not only improving the quality but adding diversity into the mix (the all-male artists all playing mainstream-ready sounds as opposed to the trio that would take their place). Even those small changes would placate the critics of this year’s list and ensure the Mercury Awards recognise the very best British albums – that revised list, surely, would be the absolute cream of the crop?!

In fact, one could remove J Hus (sorry!) and have IDLES take his place. It might be a step too far but it would show we are making cuts based on quality and no other factors. Maybe I am overthinking things but I take music seriously – and feel British music is the very finest in the world. Given the fact there are only a dozen spots on the Mercury shortlist; could we ever please everyone and make it perfect?! Perhaps not but I feel there is, in an attempt to broaden the nominations (genre and sound) a danger it is becoming too broad and less focused. It is clear this year’s shortlisted artists have provoked conversation and debate. There were some definite notable omissions which make me wonder what the criteria was for this year’s line-up. I know the race will come down to Sampha, Kate Tempest and Loyle Carner: it is clear people favour artists who write their own stuff and have a diverse and astonishing palette – not songs with endless credits on them; sallow and generic sounds. I shall leave it there but wonder whether, next year, we need to implement some guidelines or review – ensure the Mercury Award retains its reputation as one of the finest (if not the very best) awards of the music calendar. Whoever wins the award on 14th September – the fact the official site for the Mercury Prize does not mention when it is happening or where it is taking place is quite poor! – should be commended. Put all the arguments and nitpicking aside and this year’s Mercury Prize is going to be…

A hugely memorable evening.

FEATURE: The Marshall Mathers LP: Time for Reinvestigation?

FEATURE:

 

The Marshall Mathers LP:  

 Time for Reinvestigation?

________

IT might not be the album of his that gets the fond recollections….

of The Slim Shady LP but, in terms of its stature and legacy; I feel The Marshall Mathers LP is a superior listen. Whatever you think of Eminem; you cannot deny what a talent he is. In February 1999, we received The Slim Shady LP and, from its violent and distrusting cover; one knew they were not going to experience an ordinary album. Trailer-park trash and over-the-top violence were all included in this theatrical piece from ‘Slim Shady’ – the alter-ego of Eminem (which, in turn, is the alter ego of Marshall Mathers III). Critics reacted with a mix of mock-horror and genuine amazement: others went for revilement and moral outrage. That album separated and divided critics but, putting retrospective acclaim into the mix, that L.P. was a huge triumph. The lyrics concentrated on domestic violence, anger felt by Eminem and fighting against poverty – the man behind Slim Shady grew up in poorer climbs and had to work his way to success. It is understandable Eminem would spit and rally against an older life – the fact he reserved so much venom for women was baffling to many. At the time, Eminem claimed not to hate women at all – he was angry at them sometimes but it was all part of his persona. Anyone who looks at the album’s reception could see critics reacting to the quality and confidence of the lyrics: the controversy and alarm of the subjects addressed.  Regardless of any negative reactions; The Slim Shady LP has been placed on many critics’ ‘Top 100 Albums Ever’ lists and, at the time, did very well on the end-of-year lists (1999). Standout hit My Name Is won Best Rap Solo Performance at Grammy Awards; the album sold 283,000 copies in its first week – debuting at number two on the Billboard 200 charts (behind TLC’s FanMail). The disaffected youth felt the album articulated their sense of frustration and confusion.

Eminem, through Slim Shady, represented an anti-hero unafraid to vocalise his inner-demons and violent fantasies. Eminem ended the 1990s with a stunning album that created a huge stir and marked him as one of music’s leading lights. Whether you agreed with his attitude and songs; there was no denying how talented he was – and is to this very day. He leapt into the '00s with his record, The Marshall Mathers LP. If Eminem’s earliest albums was the artist known as ‘Eminem’ projecting one persona – and Slim Shady being a cartoonish and exaggerated form of Eminem – then Marshall Mathers was the eponymous album in many ways. Take away the ‘III’ in his name and it is the twenty-seven-year-old Missouri artist at his most personal and electrifying. Two months ago; the album marked its seventeenth anniversary: it seems amazing it was released that long ago. The reason I wanted to write this piece is that Eminem is taking to the stage at Reading and Leeds very soon. He will, no doubt, perform songs from across his career but one wonders how many of The Marshal Mathers LP’s songs will be included. To me, it is the height of Eminem’s career and a record we need to hear more of in this day – THAT is, perhaps, the real reason for creating this feature. Rather than being retrograde and conceding: the American artist strove forward and released an album ever more venomous and urgent than its predecessor. It might seem foolhardy celebrating an album that has so many burdens and issues. One could say The Slim Shady LP was a fictionalised version of Eminem – not someone who would ever realistically espouse the same questionable values of his alter-ego. If that is the case – shady logic from Slim Shady – then how could one rationalise and pardon The Marshall Mathers LP?! In fact, me not doing the maths right, this was Eminem’s third album. One could argue he had not really decided on an identity at that point – three different monikers in as many records. That seems symbolic and appropriate for a young man who, one suspected, as recent as a few years before was moving between towns and homes. If The Slim Shady LP was the promising rapper focused out and attacking: The Marshall Mathews LP was more introspective and investigative.

Having had fame thrust upon him; many would forgive him for creating and creating a ‘safe’ and mainstream album. How could an album that garnered a lot of criticism from certain reviewers have connected so much with the public?! The record sold nearly two-million copies in the U.S. (in the first week) and was, at that point, the fastest-selling studio album by any artist in American history. The album won Best Rap Album at the 2001 Grammy Awards and lost out on the biggest prize to Steely Dan’s Two Against Nature – two more-different albums one cannot possibly imagine! The Marshall Mathers LP has sold over 10 million copies in the U.S. – over 32 million around the world. The second part of The Marshall Mathers LP was released in 2013 and did not perform as well as its 2000 predecessor. What attracts me about The Marshall Mathers LP is its sheer scope and quality. I will address the controversy surrounding the album but the songs themselves are extraordinary. I listen to a song like Kim – a track about his then-girlfriend, Kim – that ends with Marshall Mathers strangling his lover. They argue and shout. Eminem screams throughout and launches a tirade of abuse against her – feeling they would be together forever but knowing she was going to leave him. It is one of the most intense and shocking songs in music history. One can only imagine how Eminem got into the mindset to perform the song in the studio. It would have taken immense mental preparation and rest – the sheer physicality of the track would flaw most singers. Dr. Dre produced most of the album’s first-half. One can hear his touch and guidance on songs like Kill You and Stan. The songs came together through creative binges: Eminem embarked on a two-month-long residency in a studio where he blocked out the rest of the world – keen not to be distracted and feeding off the isolation of the studio.

Songs would often sprout from overheard conversations and chance moments – Kill You was penned when Eminem, heard the track playing in the background as Dre was on the phone; Eminem went away and wrote the lyrics as the two joined to finish the song. Stan is that brilliant story of an obsessed young fan who does not hear back from his idol. Badgering and belittling the star for ignoring his fans and leading him on – a brief nod or conversation warranting harassment, it seemed – that leads to the troubled fan driving his girlfriend into a river. Eminem/Slim Shady was, as he explains, busy, but replies to the fan’s letter. The opening-half is the narrative from the fan as he chides and scorns the singer. That is switched after as Eminem takes to the microphone and offers caution to the fan – who seems suicidal, homicidal and unnervingly attached. It is a brilliantly written and realised song that went to number one in eleven countries. That famous sample of from Dido’s song, Thank You, gives the song its edge and uniqueness. One expects that exert to lead to the chorus of Thank You – thankfully, it is a beautiful bridge between verses. That said; the two work well together despite the fact, one suspects, they were never in the studio together. Skits like Steve Berman sees the artist hauled into a record boss’ office to be eviscerated for the album’s content – and the fact nobody is going to buy the record. The Way I Am and The Real Slim Shady look at identity and authenticity. The former is an unapologetic explanation of Eminem’s raw and untamed vocals; the fact he courts controversy and seen as a pariah among some critics. The latter calls out those who imitate the American rapper – harking back to his previous incarnation – and weak imitations. It was another huge hit and incredible highlight from the album.

Amityville, with its refrain “Mentally ill from Amityville…”, is a hypnotic track which features form the input of the Bass Brothers. Those Trip-Hop beats give the track a real swagger and danger; Eminem’s vocal commanding and astonishing throughout – the lyrics consistently impressive and memorable. The entire album is the commingling and peak of Eminem’s powers. The compositions are inventive and kaleidoscopic: ranging between genres and putting samples in; heavy beats and guitar riffs sitting with more traditional Hip-Hop/Rap sounds. It is an infectious and peerless work from an artist who was venting his frustrations and creating a work of art in the process. Many would say, on the flip-side, how can anyone admire an album that seems to promote violence against women?! On The Marshall Mathers LP; one discovers tales of murder, rape and threats. Nearly every song features some form of brutalism and criminality. It is a stark and black album that spews blood and guts from every verse. One could overlook the weaponry and murder rages – aimed at critics and contemporaries. Hip-Hop has always been marked by a certain songwriting inspiration. It is not unusually discovering heavy and hard-hitting songs in this genre – often, artists would boast and brag about violence. That is a different issue but it is the seeming misogyny and attitude to women that repulsed many at the time. There is homophobia and racism and, in an album that is meant to inspire and represent Rap/Hip-Hop; should we really ignore the obvious flaws?! To exacerbate this; former Senate chairman Lynne Cheney decried the album and the degradation against women. She highlighted songs like Kill You as especially worrying and culpable. That number boasts about rape (against one’s own mother, no less) and murder. Cheney argued there should be an age limit on the album – so it does not find its way into the hands of young and impressionable listener.

That song gathered more approbation as Eminem was scheduled to perform in Canada in 2000. He was banned because of his attitudes to women and advocating violence against women – other suggested he should be allowed to perform and arrested for hate-crime offences. Eminem argued he was being persecuted and merely exercising his right to free speech. Perhaps the morals and tolerance levels differed between the U.S. and Canada – the more polite and moral-heavy nation finding little merit in Eminem’s brand of music. A 2001 and 2004 study by Edward Armstrong discovered the majority of songs on The Marshall Mathers LP contained violent and/or misogynistic values/lyrics. Throat-slitting, drowning and rape; murder, shooting and beating. Maybe, in order to top the competition, Eminem felt it necessary to go full-throttle – never had an album of this kind contained so much hate, violence and bloodshed. Eminem predicted some of the furore that would be generated in cuts like Paul – an exasperated friend leaves a message on Eminem’s answerphone to say he’d heard the album and, lost for words, hangs up – and he knew how it would be received. At a time when we sexism, racism and discrimination are as rife as ever: should we really be talking about an album like The Marshall Mathers LP in fond terms?! Retrospective reviews have heaped praise on the record and stripped some of the self-righteousness and hysteria experienced in 2000. Sure, there are questionable and loose morals throughout the record; the author could have toned down the cuss and disgust on some songs. The fact is that Eminem was not suggesting people go out there and kill. He was not sending subliminal messages and saying everything you hear on the album is his views. It is, like previous albums, a mix of fantasy and truth. Before the album was released – and the years after – Eminem did not commit murder and go out beating women on a nightly basis. He is, as you will see in interviews, quite humble, shy and reserved. A fiercely intelligent man; it is a stark contrast to the man we hear on the album. Albums made by Dr. Dre and his contemporaries, around the time, contained braggadocio and boast: the promotion of a lavish lifestyle and sporting bling. Dre is no more a reviled figure nor is he any less controversial (in person) than Eminem. Both artists are morally aware and conscientious but Eminem chose not to follow the standard path trod by peers at the time. He wanted to project something that reflected the anger he felt in the wake of The Slim Shady LP’s release – and the fame he accrued from that. Depending whether you agree with the lyrical content and themes contained on the album: few can deny what the album was going to sell big and get some great reviews. It has gone on to be one of the most influential records of the time and, according to many at the time, was the most important record of that era. Eminem has, in my view, not topped The Marshall Mathers LP.

It arrived at a time when the young rapper was finding his sound and having to live under the constant scrutiny of the media. Because of that, he either had to step-up or take a step back. Attacking the problem and spewing through the microphone; it is an incredible response from Marshall Mathers III. It is an album I go back to time again and feel we should hear more of today. Aside from artists like Kendrick Lamar and Beyoncé; there are few artists that can throw so much into an album and keep their messages on-point and inspiring. So much of today’s Rap and Hip-Hop is defined by lazy lyricism, clichés and old messages – the boasting and arrogance; bragging about wealth and success. Few albums stand out. Aside from Kendrick Lamar’s DAMN.: I have not heard an album this year that really goes for the throat. The world is in a more perilous and confusing time than ever. We need someone like Eminem to step up and get both barrels out. When he takes to the Reading and Leeds stage next month; it will be interesting to see how many of The Marshall Mathers LP’s songs make it into the sets. Whether Eminem makes another album will be another fascinating consideration. He will never reach the heights he did on his 2000 masterpiece so, because of that, we need to preserve the record and realise what an accomplishment it was. The recurring homophobia and misogyny still causes criticism but, strip away lyrics that certainly were not endorsed by the man behind the album – who is, as we know, not someone who beats women and has, since the album’s release, has stated he is not homophobic – and you have one of the finest albums of the past twenty years. Its sheer range and quality is deserving of a new audience and fresh ears. If one is impressionable enough they will hear the album and follow it to the letter – they should not be let near music and out in the world. The Marshall Mathers LP is a mesmeric album from a man who ensconced himself in the studio and wanted to create something worthy of his hype. He certainly did that but, with it, went on to release one of the most-talked-about and important albums…

IN the history of music.

TRACK REVIEW: Robyn Cage - Slow the Devil

TRACK REVIEW:

 

Robyn Cage 

PHOTO CREDIT: Bryce Johnson (for the Slow the Devil video)

 Slow the Devil

9.5/10

Slow the Devil is available at:

https://www.youtube.com/watch?v=W4Oe2PGKCqE

GENRES:

Alternative-Rock; Alternative-Pop

ORIGIN:

Utah, U.S.A.

RELEASE DATE:

18th July, 2017

SONG:
Written by Robyn Cage and STOLAR
Music Produced by COAV
Mixed by Brenden Bytheway and COAV
Lead Vocals and Keys: Robyn Cage
Vocal Harmonies: Callie Crofts
Drums: Zac Bryant
Viola: Ammon Chung
Synths: Caleb Loveless
VIDEO TEAM
Directed, Filmed & Edited by Bryce Johnson www.GoBigFilms.com
Set Photographer: Darryl Dobson
Hair & Makeup: Amy DeVore
Wardrobe & Styling: Mask Costume
Production Assistant: Laura Johnson
Craft Services: Nan Kemp
Featured extras: Melody Gonzalez, Katie Marie Pollard, Natalie Jones, Nan Kemp, Tabitha Dunn, Kathryn Dunn, Liam Dunn
Read the story behind the video on Robyn's blog: http://www.robyncage.com/blog

The album, Slow the Devil, will be released shortly

_______

THIS review seems very timely and apt as…

PHOTO CREDIT: Bryce Johnson

Robyn Cage has passed a milestone in regards the crowdfunding for her album, Slow the Devil. I will come to that later but, running up to that, I want to talk about American artists and the diversity of the landscape; the political climate how that inspires artists; flame-haired artists and those that stand in the mind; evoking certain singer-songwriters and fantastic imagery/videos; unity and strength at a time of dislocation and, as promised, a bit about Cage’s Kickstarter campaign. I am excited to talk about Robyn Cage’s new track – from the album of the same name – but it is interesting looking at America, tying in topics of geographical diversity, and how compelling its landscape can be. Robyn Cage is based in Utah and has the mountains and views at her door. It might seem, for an ambitious and stunning songwriter, there would be a lure and attraction of the city. In her career, she has played Boston’s Symphony Hall – thousands at outdoor festivals – and toured the prestigious singer-songwriter circuit in N.Y.C. One would feel those areas would be a natural base for Cage but, when one hears her music, it seems to take from all of America. It is important she has that experience and C.V. but these times have moulded who she is now. I do not feel we have the same range and wonder in the U.K. – when it comes to the cities and contracts. A nation like America promises panoramic cities and the history of various cities; the deserts and hot climates and the beauty and stillness of the mountains. Robyn Cage has that background touring cities and has been inspired by the people and places she has visited. To me, it is where she is now that is most instrumental.

PHOTO CREDIT: Carla Boecklin Photography

I am not sure whether there was a single moment - or series of realisations – that led the red-headed singer-songwriter to Utah. Talking about the state and, easily defined, one can distil it to this (taken from Wikipedia):

“Utah is a western U.S. state defined by its vast expanses of desert and the Wasatch Range mountains. Salt Lake City, the capital, is centered around Temple Square, headquarters of the Mormon Church and site of its majestic temple and tabernacle, with its massive dome and renowned choir. The Great Salt Lake’s buoyant waters attract swimmers and sunbathers, especially at Antelope Island State Park”.

One can see the sites and splendours of the state: no wonder Robyn Cage would have been seduced and pulled to Utah. She is based in the Park City area and has National Parks like Zion, Arches and Bryce Canyon not too far away. One need only look at her promotional shots and videos to know she has a real affinity and connection to natural and beauty. That is why America fascinates me: there are so many contradictions and polemic sides that give one songwriting influence. What interests me about America’s artists, as opposed to ours in the U.K., is how they connect with their surroundings and produce the best music in the world. I have changed my mind slightly regarding the nation that produces the best music. We, here, have some extraordinary history but, when it comes to the contemporary artists defining 2017; that seems to be reserved to the U.S. Maybe it is the political climate – I will expand on that soon – or an innate affiliation with their history, climate and people. Robyn Cage has an almost-spiritual bond to the earth and the mystique, beauty and stun. One detects these components and themes on her previous material but, when listening to Slow the Devil; there is a direct nod to political figures and the need for people to come together. American artists are rawer and more striking, when it comes to addressing politics and the need for unity, than we are here.

PHOTO CREDIT: Carla Boecklin Photography

Perhaps the stakes are higher there – and the suppression and repression more severe – but the musicians in America are articulating a frustration and malaise that is, one hopes, leading to a revolution. Returning to Utah, for a bit, and the Western state is the thirteenth most-populous of the U.S. and has three-quarters of its population living along the Wasatch Front – centering on the state capital, Salt Lake City. It has Colorado, Wyoming and Idaho around it; Arizona and Nevada close at hand. There is a big Mormon population but, away from that, Utah is a modern and growing state that has high-earning businesses and a great economy – one burgeoning and growing by the year. Utah, interestingly grated women the vote not long after Wyoming – the first states to make that important decision. Despite the fact the state is largely a Republican battleground; they have an open-minded approach to same-sex marriages and women’s rights. There is a definite sense of contrast when it comes to political and social rights – a state that wants equality and is very modern; still holding to a political party that longs for the past. Maybe its religious population yearns for a more together and unified population: it seems to be attracted to an ideal of Trump’s America, too. I shall return to that point but Utah, to me, seems like a state that is a lot more forward-thinking and together than other parts of the U.S. I feel a lot of those wise decisions stem from the landscape and physical beauty of the place. Those mountain views and deserts create a sense of reflection and calm. The likes of Jon Bon Jovi, The Killers and Demi Lovato have exploited the serenity and atmosphere of Utah. It is a part of America that, to the outsider, seems old-world and simplistic. When one researches and investigates more; there is a tangible and evident modernity and evolution. It is a state as synonymous with technology and youth than it is the vintage and rustic – the state has reputable universities and a vibrant young populous.

PHOTO CREDIT: Darryl Dobson Photography

Robyn Cage, one knows, will vibe and take from the state and all the colours it offers. Fellow Utah musicians like Parlor Hawk, The Moth & the Flame and The Blue Aces are showing what variation and quality there is in the state. The latter, in fact, are natives of Provo have the directness and evocativeness of Alabama Shakes but are an original and highly effective. Desert Noises, coming out of Provo, have Southern-fried magic and create music that, not only speaks to Utah residents, but has resonate across the U.S.A. Jay William Henderson is a local hero and has a set of sophisticated arrangements that perfectly accompany his heartfelt and striking voice. Koala Temple, in contradistinction, see themselves as ‘Gloom-fi’ but, has a sense of nostalgia and vivacious that belies that rather moody and off-putting tag. 

L’anarchiste recalls the likes of Grizzly Bear and Foals and provide progressive Folk of the highest order. Lush and fulsome production gets the songs into the brain and seeps into the imagination. That is merely a nod to the variety of artists performing and succeeding in Utah. The state is, like many in America, a productive and eclectic market that stretches beyond the confines of the inhabitants. Robyn Cage, even in a state that has a range and musical treasure chest as vivid as the surrounding landscape, seems to stand out – but she takes from her contemporaries in a lot of ways. I will come back to that in my conclusion but it seems like Utah has a very hospitable and supportive music network. I want to return to Utah but, looking at Robyn Cage, I want to discuss her musical motives and inspiration points. On her bio (on the official website), she starts my offering this insight:

“Last Spring, I spent a week alone camping in the remote red rock desert of Southern Utah. No internet, no cell phone service, and not a soul for miles,” she shares. “It was magical. Songs poured out of me, starting with this optimistic ukulele tune called “Flying Machine.””

Then…

PHOTO CREDIT: @carlaboecklin

“…one morning, she woke up with a song in her head. “Slow The Devil” was “a gift from the songwriting gods, and the closest thing I’ve ever written to a protest song,” she says. “I realized that music was helping me through these dark times.”
While Born in the Desert is an ode to self-expression and loving what makes you different, Slow The Devil is a call for Unity and loving what makes others different. “I don’t believe that ‘Unity’ means we should all be the same. For me, unity is about celebrating diversity,” Robyn shares.

Cage retreated to an idyllic and detached are where modern appliances and the distraction of social media held no appeal – keen for people to connect with the land and not be obsessed with the Internet. A perfect chance for reflection and inspiration: returning home and a more modern surrounding; she noticed how her country had changed. One spring, when looking around her, she noticed the climate and feeling in the country had changed. Whether it was a pre-Obama thing – or started when Trump came to The White House – something had altered for the worst. The people had become colder and more distant. One can look at this separation as a gift from the Trump administration but, looking at the racial tensions and gun violence that was percolating in the U.S. – perhaps a sign of growing fears and a need for something different in the country. I would not suggest Trump’s victory is a result of confusion and a need for a radical change in America – feeling the country was being taken over by outside forces and ‘spoiled’ by foreign people – but, against that time of balkanisation and trouble; the people made a rather worrying decision. Few could ignore what was happening around them and not address it. Robyn Cage is an artist who has always taken from events happening around her so, seeing a nation become cold and cracked compelled her to put her pen to paper. Slow the Devil, in a way, is broader than a judgement against people like Trump. It is that feeling (the nation) is beholden to dark forces and an evil that has no place in a country that promulgates unity, liberty and freedom. I mentioned how America is leading the way when it comes to urgent and socially aware music – more strident and enflamed than the British variety. The Triple-X Bourbon America gives the world makes our paler and alcohol-free brew seem rather weedy. What I mean is artists like Beyoncé and Kendrick Lamar, in Lemonade and DAMN., have produced albums that perfectly document the struggles and troubles in America.

PHOTO CREDIT: Carla Boecklin Photography

Robyn Cage, by comparison, is less inflammatory and angered than many of her peers but is eager to confront the splits running down the spine of the country. Politics is a rather risky side of things to get into: many artists can get it wrong and it’s difficult writing a song that makes you think. In a lot of ways, a song like Slow the Devil, and many songs that will be on the same-titled album look at people, love and the self. It is not only about the state of U.S. politics – but, there is a determination to examine why the people are on different plains and reading from different hymn books. With Cage, there is this sense of loving and ecumenical that gives her music an almost religious ideology. I am not sure whether Cage has faith – and, like a large percentage of Utah’s people is a Mormon – but one does not need to have religion to find faith. Cage does not sermonise not hector: her music is a hugely romantic, emotional and spiritual sound that needs not pontificate, judge nor discriminate. Her music has a conscientiousness and is keen to examine why her nation is feeling strained. There is something alluring and tempting about Robyn Cage. Not in a sexual way, you see – well there IS; but that is not where I was headed – when one sees her. The flame-haired songwriter is striking and eye-catching. Without hearing a note, she projects a sense of authority and mystery. Her promotional shots and videos utilise the beauty of her surroundings and show she is someone to be taken rather seriously. It may seem odd me looking at red-headed artists but, in a weird way, there seems to be a colour connection between Robyn Cage and her idols. Maybe it is the fact red-headed artists are rarer (than brunettes or blondes) or it may not to a sense of romance and allure – there is something about artists like Robyn Cage that stands in the mind longer than you might think. She is someone that makes the heart skip but, when hearing her songs, that spreads around the body and lingers in the mind.

PHOTO CREDIT: Carla Boecklin Photography

Artists like Tori Amos and Florence Welch are two artists Cage has been compared with – both are red-headed, strong and unique songwriters. Whilst there is a generational gap between Amos and Welch: both are defined by their beguiling music and powerful deliveries. The fact they are both red-headed makes me curious – whether the flame hair, in some way, ignites the music. It might be coincidental but it is interesting Robyn Cage finds inspiration from Tori Amos and Florence Welch. Those songwriters are established and legendary and, the fact Robyn Cage stands alongside them, is testament to her strong and nuanced music. It is not only her hair and extraordinary music that lingers in the imagination – there is a professionalism and determination that sets Cage out for long-term stardom. I have already mentioned her Kickstarter campaign – and will come back to it – but it has, as of last night, closed. Over two-hundred people contributes and $20,000 has been generated. Cage has supplemented the donations online with house concerts and performances. This means, not only will her album be able to spread its wings, but that money can be used on promotion and videos. Just look at her photos and there is a high-quality standard that few of her peers uphold. One sees these wonderful images and looks at her official website – full of information and links. One of my biggest peeves is when artists approach me and have very little to recommend. Their music might be fantastic but, if I am reviewing or interviewing, there needs to be photos and information. If I have an interview with a few grainy images – and a paucity of biography – then that reflects badly on me. It shows, more than that, the artist is not taking things are seriously as they should. There is an inherent link between exposure/fullness and the intent of a musician. It is not good enough – something I hear endlessly – for music to do the talking. Music, today, is a competitive and highly professional industry that does not want its artists untucking their shirts and slacking off with regards the household chores.

PHOTO CREDIT: Carla Boecklin Photography

It wants them to be a free spirit but dress with sartorial elegance and ensure their housekeeping is assiduous and diligent. Robyn Cage ensures her social media is updated and there are loads of great images for her fans. Many will argue the visual is not as important as the sonic: if you are a musician who wants to attract reviews and supporters; it is paramount you take every aspect of the industry seriously. Going back to Robyn Cage’s Kickstarter and, having passed a milestone (and closed its door); it shows there is a great bond between the songwriter and her fans. Cage, as she says herself, is someone who knows music is free and available these days – it does not mean it needs to be devalued at all. The fact so many have thrown their weight behind her album shows there is a demand to foster musicians and ensure they receive adequate support and equity. Wrapping everything up and it seems, when one looks at Robyn Cage’s music and output, she is someone who takes music very seriously. Her Kickstarter campaign has ended but there is a legacy and lesson that has come from it. I have been amazed by how many people have backed Cage’s campaign but it’s clear there is a lot of affection for her.  When speculating as to the reason why so many people have supported the album drive, it can be broken down to the personality, music and professionalism. The videos and images how Cage is someone who looks for beauty and the memorable in everything she does. Her photoshoots and campaigns are well thought-out and beautiful. The videos are filmic and seem to have the ability to transfer into longer pieces. It seems Cage is a professional musician who could make it as an actor – as she has a theatric and dramatic talent that few musicians possess. The music itself is among the most original and astonishing I have heard. The vocals are immensely griping and affecting; the lyrics mix personal and universal whilst the compositions are busy, diverse and accomplished. Throw that together with a woman who is bright and lovable; friendly and open. All of this has resulted in a huge wave of affection from her supporters. This should act as guidance for any musician who wonders what it takes to get people to back their music – and gain success and longevity in the music industry.

PHOTO CREDIT: Bryce Johnson

Anyone who wants a song they can instantly bond with should direct themselves towards Slow the Devil. As a representation of Robyn Cage’s album – this, as its title track – it is a wonderful revelation and realisation. The opening shots of the song’s video (directed by Bryce Jonson) take us over icy mountains and a cascading waterfall – looking more like the depths of Iceland rather than Utah. The opening notes of Cage’s voice are as striking and evocative as the setting. A view-rich, physical sound that sees the heroine viewing the Devil in his Sunday best. Her soul and body are unassigned and departed: a sense of emptiness and surrender rushes from the first verse. One hears definite embers of Florence Welch in terms of the pronunciation and punctuation of the words. It is a flourishing and bellicose delivery that manages to steal focus from the lush and gorgeous vistas. The heroine is in the forefront and enraptured by the situation she finds herself in. There is a wicked dance unfolding – the entwine of Hell’s Tango – as Cage starts to slip away. Of course, the words are a virtual and spiritual representation of a pain that is as personal as it is common. Maybe the state of the nation – people on different plains and in different minds – is causing her strain but it appears there is a personal aspect to the song. Perhaps there are burdens of love and thought: unable to reconcile the state of her life compared to that of her country; feeling unsettled and foreign around people who seemed familiar and family beforehand. One feels, based in Utah, there might be some separation from the real compaction and explosion in the country – a slight geographical distance from the political arguments and the President’s agenda. There is a division, for sure: Robyn Cage wants to create a community and neighbourhood of like-minded souls. Tarnished and harrowed by the seismic shifts and rumble of turbulence; the vocal, for the most part, remains dignified and restrained. There is a gorgeous Country-like twang and hold that has a fluidity and smoothness. It mixes with a clarity and crystal tenderness that puts me in mind of Kate Bush – whether that is someone who inspires Robyn Cage.

In terms of the composition; there are beating percussion notes and strings lingering. It is kept quite light but manages to elicit a vibrancy and ominous quality. Robyn Cage’s songs are defined by their fullness and compositional intelligence. Here, in these early stages, that need to let the voice have its say is evident. One hears some intriguing undercurrents but is drawn to the heroine. Slow the Devil is as much a prayer and supplication as it is an exposure of fear and torment. It is hard seeing your people on different sides of the fence: fighting and arguing; conflicted and conflated; burning and judgemental. I have stated how Trump’s ascension might have influenced the song but the origin and story of Slow the Devil seem to hark back even further. There has been unrest in America for years. Many have felt the level of gun violence is unacceptable: the President unable to get a hold on it and compromise. It is hard saying just how wide Cage’s influence runs but it clearly has a lot of relevance in the current climate. America is still very unruly and not able to unify its people. One hears a mix of Synth. and Country mix with Alternative and Indie. On the one hand; there is a bubbling electronic sound that sticks in the mind. It seems to represent confusion and a physical release impending. The beats remain strong but become more pressing as the song progresses. The mood gets more intense and probing; there are yearning strings and something romantic working underneath. All of this put together – backed by COAV’s intuitive and assured production – means the song really strikes hard. STOLAR co-wrote the song and brings his voice and talent to the mix. It is a combination of talents that could have failed but does not. Cage’s voice gets more heated and passionate as the words indicate a sense of helplessness.

PHOTO CREDIT: Carla Boecklin Photography

“Every morning, feel you when I wake” so goes the second verse: “Wash myself of your sins and shame” provokes religious images but it seems less righteous. It is a very real way of washing away a sense of disgust and dirt – that has been accumulated by the rising tides in America. There are bloodied eyes and pointed lies – maybe it is someone personal or a political figure?! My mind is split between the two possibilities. In a way, Slow the Devil can only really be about someone who wields power and uses it to further their remorseless and questionable desires – almost an allure and sensuality to the way Cage renounces their spiked tongue. The pointed-tail Overlord is moving in a merry fashion: the need to be together and of one mind is enforced. I cannot get over how passionate and emotional the vocal display is. There is so much in the delivery that it is hard to get a handle on. As Cage lets her voice rise and swoon; the beats and electronics build up like an army. It is an evocative and compelling sound but not one that becomes too intense or intruding.  It seems the heroine is not willing to relinquish her soul to this cruel figure. Many people around her are being tempted to a darker side: this is not going to happen to someone who wants to see her country and people returned to their former best. Given the relevance of the song; Slow the Devil will resonate with many and create something. It affected me in terms of the lyrics and vocal. Cage takes her voice to new heights and seems engrossed in every single moment. The lyrics have simplicity but, in a sense, it reads like poetic prose. One envisages scenes and possibilities; all manner of dark and staggering possibilities. By the end, you are exhausted and moved by the song. It is a stunning release from one of America’s finest emerging songwriters. Small wonder so many (including myself) backed Robyn Cage’s Kickstarter campaign – given the strength of her music and how different it is.

PHOTO CREDIT: Carla Boecklin Photography

I will end this now but, before I come back to the earlier themes, want to see where Robyn Cage is heading. I know she has new music – single-wise – very soon but I was keen to look at Slow the Devil’s title track – seeing as the video was revealed a week ago. It seems Park City provides ample opportunity for the young American. Looking at her tour diary and one sees the Montage Vista Longue (tonight) begin a run of dates that takes in Prime Piano Bar and Riverhorse of Main. It seems she splits her time between Montage Vista Lounge and Prime Piano Bar. Whether she has residency there or feels more settled among its people – valuable bookings and chances for Cage to spread the word and bring her music to the people. I am not sure whether there will be other U.S. dates this year – whether she has time to fit them all in – but the past twenty-four hours have been hugely important for Robyn Cage. If one wants a fuller sense of Robyn Cage, I urge them to take to her YouTube and Facebook pages. On Facebook, one can see Kickstarter updates and her speaking to fans. It is great seeing those clips of her providing updates and keeping fans abreast. Not only a window into her home (and soul) but a way of connecting with her fans – refreshing to see it in an industry where many are falling short of the mark. I’ll touch back on her Kickstarter campaign but I am so glad it has reached that $20,000 marker. It means all the music can be completed and produced to the highest standard. When the album is completed and out to the world; from there, Cage can think about new music videos and making her promotional shoots as professional and ambitious as she can. That money will also go to touring and getting out to as many people as possible. The U.S. is a vast nation and one that, in every state, provides plenty of spaces to perform in.

PHOTO CREDIT: Carla Boecklin Photography

I hope Robyn Cage comes to the U.K. at some point because there is a definite market for her over here. I looked at, among other things, red-haired artists and musicians like Florence Welch and Tori Amos. The Florence + the Machine lead has not released an album for a little bit and there seems to be a vacuum there. No artist like her is making music and one feels many would welcome her spirited and extraordinary music right now. Similarly, there is a real demand for Cage’s music. She cements a general feeling of unity and the need for change. Her lyrics look at the nation and how things have got tangled. The Devil is that embodiment of repression, struggle and negativity. Slowing that ill is something many are trying to do: the album’s title cut is a perfect distillation of feelings many of her country’s patrons share. I am not sure whether the track looks at the changeover between Barack Obama and Donald Trump and how the nation has transformed since the latter came to power. I know many supports Trump but it seems there is a lack of faith when it comes to his leadership. Those who support him are perpetrating ideals and values that seem to clash with those who favour progressivism, togetherness and equality. I have not seen America this divided in decades and it is a worrying time for the people there. We are in a similar situation in the U.K. Our Prime Minister is making foolhardy decisions and leading the country in a bad direction. The world is less assured and safe than it was so I can understand the need to profess a certain anger and annoyance. I am looking forward to seeing Robyn Cage’s album in the ether as it is a record of the times. Not only are there political and social concerns but plenty of emotion and personal revelations.

PHOTO CREDIT: Carla Boecklin Photography

I will bring this to close but want to end by returning to Utah, Kickstarter and Cage as an enigma and beauty. Her album campaign ended and reached an incredible mark. It shows platforms like this are crucial: crowd-sourcing is a great way of artists being able to fund their music and ensure the songs are brought to a wider audience. Many artists are struggling in the current climate given the fact music is (largely) free. It is a strained economy that finds so many having to gig relentlessly and break their backs. There is no easy way to overturn this and ensure there is a sense of structure and fairness. Robyn Cage knows music can be free but she knows it should not be devalued and taken for granted. Fans agree and, as such, she has ensured her Slow the Devil camping gas fruited and grown into something beautiful. Many have got behind it and want to see the music out there to the masses. I have mooted whether she will come to the U.K. but there is enough of America waiting for her. Utah is a magnificent state but one that is close enough to areas like Nevada and, it seems, The Beehive State is close enough to the West Coast. Cage could tour in California and find popularity there. I am not sure whether she is tempted to play out there and feel her music would connect with the people. I speculated Robyn Cage’s music took a lot from the diverse landscape of Utah. Those huge mountains and vast deserts; the contrast between the built-up areas the wide-open sweeps. Atmosphere, passion and calm feed into the music but there is evocative and fiery intensity that one cannot overlook. Here is an artist who has the potential to carve out a large chunk of the U.S. and find success throughout the nation – come to Europe and get her music to the people here. Looking at Utah and, aside from the spots Cage performs at, there are many others she might find favour in.

PHOTO CREDIT: Todd Cole

Look at Robyn Cage’s Kickstarter site to see how much the donations mean to her. This affection and appreciation, one hopes, will parlay into some gigs around Utah. A lot of the more popular spaces are situated in Salt Lake City but Kilby Court is somewhere that would be set-up for Cage. It is a hole-in-the-wall venue that has attracted the likes of The National, Vampire Weekend and Bowerbirds. The venue finds unique talent and is a great stop-off for rising artists seeking a wonderful, unexpected treat. The Depot features small Rock performances but they do switch genres here and there. Michael McDonald and Alice in Chains have performed here and (the venue) draws an eclectic crowd. Head to 400 West South Temple and one might encounter a great new artist in this trouble-free space. The Urban Longue is one is the best venues in Utah and has hosted artists like Sleigh Bells and Unknown Mortal Orchestra. I could see Robyn Cage performing there but, in reality, she might be too busy with the gigs she has – and getting the album out there and completed. With the Kickstarter success fresh in her heart; it will be a busy next few months for the young talent. There is something arresting and heart-breaking about Robyn Cage. In a time where the looks of female artists – men finding them more valuable than the music – are put under the microscope; it feels rather shameful highlighting Cage’s natural beauty. Not that this will ever take prominence (for me) over her music but it is hard to ignore the immense beauty and allure of Cage. This beauty is reflected in music that mixes calls-for-unity, strident anthems and huge anthems. The flame-haired musician is one of the most mystifying and staggering in the music world and someone who is in my mind. I have been stunned by the incredible potency of Slow the Devil – a tantalising insight into what the album will possess. There is a lot of love for Robyn Cage that extend beyond the U.S. When her album is made public; it will find her getting attention from stations over here like BBC Radio 6 Music. I will do my best to bring her to their attention because we need to have her over here. It is a great and prosperous time for a musician whose glory and success…

HAS only just begun.

_______

Follow Robyn Cage

PHOTO CREDIT: Carla Boecklin Photography 

Official:

http://www.robyncage.com/

Twitter:

https://twitter.com/robyncagemusic

Instagram:

https://www.instagram.com/robyncagemusic/

Facebook:

https://www.facebook.com/robyncagemusic/

SoundCloud:

https://soundcloud.com/robyncage

YouTube:

https://www.youtube.com/robyncage

INTERVIEW: Bella Barton

INTERVIEW: 

 Bella Barton

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DAUGHTER is a sensational and unique song…

I urge one to stream and investigate - Buy/Stream: https://bellabarton.lnk.to/Daughter; Listen on Spotify: http://sptfy.com/1q7N. Not only it is a confident and original song from seventeen-year-old Bella Barton but it is so different to anything out there. One would think, looking at a singer of Barton’s age, she would be producing commercial Pop or machine-suffocated Electronic jams – designed for the meat-and-sweat of the club floors. Perhaps I am being terribly stereotyping and prejudicial: Bella Barton is, refreshingly, a musician who mixes soulful Jazz of, say, Tony Bennett - with sumptuous, romantic Pop elements of (1965/'66-era) The Beatles.

Barton talks about Daughter’s story and what one can discover from her upcoming album, 10 Songs – and which of the tracks hit her the hardest. She talks about the BRIT School – where she is studying – and the three albums that mean the most to her; where she will be performing and (sage) words of advice for any artists coming through at the moment.

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

Hi.

I'm about to go to France for a couple of intimate gigs which will be nice - so I’m feeling great, thanks!

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

Well.

I’m a seventeen-year-old singer-songwriter - and I go to the BRIT School; where I studied music for two years. I'm continuing to study there for another year.

I'm releasing my first album very soon - which I'm really looking forward to. My music is mainly acoustic with Jazz/Blues themes throughout.

Daughter is your new single. Can you tell me about what compelled the song and what the track is all about?

Ironically, Daughter is the most-recent song I wrote for the album - but one that I've wanted to write for, probably, two years. When I was fourteen, I realised how often it was: that men would cat-call and hit on me in the street. It was, basically, every day – middle-aged men would follow me and harass me etc.

So, about a year later, I went on Radio 4's The Listening Project to discuss the effects this had on me - and all of my female friends - and how vulnerable it makes young girls feel. Then, I was invited to Parliament to a select-committee to talk about this topic - and I remember realising that we are never taught how to cope with it or how to get out of the situation.

My passion (in this) compelled me to write a song from my own perspective.

Listening to the song, and it has Jazz elements and, oddly, reminds one of a smoke-hued, mystica night-time walk through Paris. It is classic-sounding and has a coolness and suave swagger. Was it quite easy putting the song together or did it go through various versions?

Thank you!

I knew that I wanted a fast-paced Motown beat with a Jazz feel, and so, from there, I found it quite easy to write lyrics to the groove of it. I played around with the conversational outro for a while - because I didn't know how much scatting I wanted.

Who are the musicians you grew up listening to and inspired your career in music?

I remember seeing Ed Sheeran at a festival - when + had just been released - and it definitely inspired me to learn how to play the guitar and start writing my own songs.

Amy Winehouse, on the other hand, got me into Jazz and I've always aspired to create music as distinct and beautiful as hers.

I also saw Tony Bennett in concert recently: he's a massive icon of mine…I loved it!

10 Songs is your upcoming album. How does it feel having it completed and are you excited seeing what reaction it gets?

It feels great to have it done as I spent almost a year on it - so it's nice to be able to finally put it out there.

My friends are definitely getting me hyped-up about it because they're all very supportive and excited to hear it...so I can't wait!

Which of the ten songs, would you say, is dearest to your heart?

I Want You is very dear to me because I feel that it depicts the pain I was feeling a while ago and, when I sing it, even now, it brings back the emotions I felt then.

Serenity, on the other hand, is my favourite - I love the trumpet solo!

I believe the record tackles issues like misogyny and sexual advances. Is this approach been motivated by personal experiences and was it important, to you, distancing from predictable love songs and obvious themes?

As I was saying before: it was definitely motivated by personal experiences - but also from many of my friends who have also been verbally harassed. I did feel that it was an interesting topic for a song: especially the contrast between such a fast-paced and happy tone with quite dark lyrics.

But, most of my album has other, more emotional songs about relationships and emotions.

As a young new artist, you could have created something commercial and chart-based – Daughter is the opposite of it. Do you feel having your own sound is more important and inspiring than penning something generic and mass-produced?

Having my own sound is important to me because I would love to have a very distinct style - so that my music is noticeable.

I write from the heart and I feel like I have to write honestly.

You are, hard to believe, still in your teens. How do you balance academia and growing up with the demands of music?! Are there times when you want to disconnect and have some ‘me-time’?

Well, for the past two years or so I have been practising Mahayana Buddhism - which definitely helps me to feel at peace with myself and not get too stressed out with exams; also, creating an album at the same time.

The actual act of writing and playing comforts me, too.

The BRIT School is somewhere you have cut your teeth and won awards at. How important is what you learned there (and still do) to your own music and creative process?

BRIT has been great.

I've had help with my singing techniques and just learned a lot about creating music. The main thing for me, though, is that the people there are so supportive and lovely. The laid-back atmosphere at BRIT has really helped me to come out of my shell over the last few years – and actually record these songs.

What sort of gigs do you have coming up? Where can we see you come and play?

I'm doing some gigs in the South of France and (doing a gig) next month at The Star and Garter pub in Putney Bridge on 25th August.

I'm hoping to also perform at the Lost Rivers Elephant, soon.

IN THIS PHOTO: Frankie Cosmos

Are there any new artists you recommend we check out?

Frankie Cosmos is an act who I've just started listening to - and I love her raw acoustic vibes. My favourite song of hers is Outside with the Cuties.

My backing singer and oldest friend, Sylvie Holder - who also goes to BRIT - is really talented, too.

If you had to select the three albums that mean the most to you; which would they be and why?

+ by Ed Sheeran

It means a lot to me because of his influence on me at a very early age. His lyric-writing in this album, for me, is so personal and distinct that it doesn't seem cliché at all.

It's so hard for me to pick only one album by The Beatle but I would have to say Revolver

It is one of my favourites because it was at a period in their career where they still had a live gigging vibe - before it became very studio-based and experimental (which I love, too).

The last one would have to be Frank by Amy Winehouse

Because it is what made me fall in love with her - as well as Jazz.

What advice would you give to any new artists starting out right now?

I'd say to have confidence in themselves and just go for it because, for years, I was embarrassed to share my music with people.

But, once I grew in confidence and began doing gigs, I realised how important this was...

Finally, and for being a good sport; you can name any song and I’ll play it here (not one of yours as I’ll do that).

I Left My Heart in San Francisco by Tony Bennett

Because it's my favourite Jazz standard.

Thanks!

________

Follow Bella Barton

Official:

https://www.bellabartonmusic.com/

Twitter:

https://twitter.com/BellaBarton_

Facebook:

https://www.facebook.com/bellabartonmusic

Instagram:

https://www.instagram.com/bellabartonmusic/

INTERVIEW: Anna Tosh

INTERVIEW: 

Anna Tosh

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ANYONE who has a love and passion for Talking Heads is…

alright by me but, with Anna Tosh, there is so much more. I talk to her about her single, Weightless, and what, in her words, it means. She talks about her sound and putting music together; what we can expect from her E.P., One Big Fire, and what will lead from that.

Tosh discusses her influences and how much came to her life; the importance of London and picking up the guitar as a teen. I understand about Anna Tosh’s gig schedule and the relevance of love when it comes to song-inspiration – and whether bands like Talking Heads are pivotal in her success and sound.

________

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

Hey!

My week has gone swimmingly. We have been in the studio mixing tracks for my E.P., One Big Fire.

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

I’m a singer/guitarist and songwriter from London. I have recently gone solo and am putting the finishing touches on the E.P. - which will be released in October.

I am intrigued by your new single, Weightless. Can you tell me how the song came together and what it concerns?

The song was written by me and a long-term collaborator, Herman Stephens. We started it in the final days of a previous band we had together several years ago (Shotgun Venus). It languished half-finished on a hard drive until last year - when we started working together again on this project.

It’s about a recurrent dream I had, of walking across a beach and into the sea, drifting underwater and ending up in the Land of the Dead.

It is the first single from the E.P., One Big Fire. What can reveal about the title’s significance and the sort of sounds/themes addressed?

One Big Fire is about relationships and the journeys we go through with other people: trying to discover who we are ourselves.

Based in London, you must take a lot from the people and surroundings. How influential is the city as a source of inspiration?

The funny thing is that, even though I am born and bred in London - and spend 90% of my time here - I have to get out of town to connect with what it inspires in me.

I usually need to leave the city to get enough perspective to write about what I have experienced here. It’s too intense otherwise.

IMAGE CREDIT: Paul Rowson

I start most of my songs holed up in the countryside somewhere, trying to decompress from London. I constantly encounter the most diverse range of people I could ever hope to meet… I am lucky to live here.

As a teen, you learnt your guitar skills to a number of bands/musicians. Was it a valuable experience and when did you decide you needed to go solo?

I have had so many priceless experiences and I still play with (and collaborate with) other people on their projects. I love it and am constantly learning - But, last year, I knew that it was time to stick my neck out.

There’s less risk involved when you are sharing responsibility for a project. It can be easier but life is not about always taking the safe option.

Plus..I got sick of compromising!

How important were relationships – fractured and fraught – to you stepping out and getting your voice out there?

Integral.

Every relationship is a mirror to myself: a constant education and source of inspiration.

Can you tell me about your musical roots? It seems like you are compelled by a range of genres. What kind of artists and sounds did you grow up listening to?

As a kid and teenager, I was listening to a combination of ’60s Pop music, Heavy Metal and ’90s Indie. I had a cool older brother who influenced my musical tastes pretty hard.

I was most interested in Nick Cave, Sonic Youth; The Jesus and Mary Chain, Mike Patton; The Beatles, Ben Folds Five; Sheryl Crow, PJ Harvey; Guns N’ Roses, The Doors; The White Stripes…

I hear elements of Talking Heads in Weightless – with some Punk edge. Are they a band you are driven by and do you think they deserve more attention/exposure in the current age?

I got into Talking Heads about ten years ago: someone made me a mi-tape of them while I was sick. I think, in my feverish state, they wormed their way into my brain instantly.

They are the epitome of an ‘Art Band’ to me - more so than Sonic Youth, even. David Byrne has reasons why he does everything and never stays still.

I think they have the legendary status they deserve.

How far ahead are you planning? Will there be new songs later in the year?

I’m planning another E.P. next year and am about to go away for a couple of weeks to start writing it. New songs are coming all the time: I try to get at least one brand new one in the set every time we play.

Can we expect any tour dates to coincide? Where can we see you play?

One Big Fire will be released in early October and we’re having a launch party at Servant Jazz Quarters (in Dalston) to celebrate (10th Oct).

As for a tour… I’m up for it if you are!

PHOTO CREDIT: Youyang Yu

How do you spend your time away from music? Do you have time to explore the city?

Music is never far away.

There’s not a time where I clock off from thinking, planning; getting inspired… but if it’s doing my head in and I need a break, I’ll flight-mode my phone and try to get lost on Hampstead Heath - near where I live in North London.

Are there any new artists you recommend we check out?

VITO CAMARO, Black Hay and Wildhood.

If you had to select the three albums that mean the most to you; which would they be and why?

David Bowie - The Rise and Fall of Ziggy Stardust

The (most) perfect story ever told in Rock ‘n’ Roll.

PJ Harvey - Let England Shake

Sad, beautiful; intelligent, ambitious; melodic–as-hell: I hear something new every time I listen.

Iggy & the Stooges - Raw Power

If I ever need to be reminded why I chose a life in music; I listen to this.

What advice would you give to any new artists starting out right now?

Do it only if you know you can do nothing else...

Don’t be afraid of what you thought was amazing when you were seventeen. The Internet is the greatest tool invented in the last century but it will never replace real-life experience.

Finally, and for being a good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

Cool!

Let’s stick with the Talking Heads theme: This Must Be the Place (I don’t mind if it’s the live version or the studio version).

________

Follow Anna Tosh

 Twitter:

https://twitter.com/annatoshmusic

Facebook:

https://www.facebook.com/annatoshmusic/

SoundCloud:

https://soundcloud.com/annatoshmusic

FEATURE: The Open Diary of a Music Journalist, Aged Thirty-Four-and-a-Sixth

FEATURE: 

PHOTO CREDIT: Sam Liddicott

The Open Diary of a Music Journalist, Aged Thirty-Four-and-a-Sixth

________

THIS piece is a way of updating people on my…

PHOTO CREDIT: Sam Liddicott

approaching articles (or procrastinations) and a little bit of guidance to any fellow/upcoming journalists. In the approaching weeks, I will be putting out a fair few pieces and reviews. I shall update you regarding reviews and interviews when they come back to me – suffice to say; they cover various genres and nations. It is the features that are, perhaps, the most intriguing. At the weekend, I want to come back to the Mercury Prize – having just put a piece out about the shortlisted artists – and whether it has the cachet and true spirit to represent the best of new and established British music. Many are divided over the nominated artists this year and wonder whether the emerging artists included are being overshadowed by the ho-hum ‘more-established’ acts – if you are including bigger acts; the quality needs to be up there and firm. It seems there is a polemic argument and desire to, in a sense, redefine and rebuild the foundations on which the Mercury Prize was built. Also, and perhaps, more controversially – if that is at all possible – I will talk about Eminem’s career-defining (in my view), The Marshall Mathers LP. As Eminem has a prestigious spot at Reading and Leeds very soon: I wanted to evaluate this album and whether, in a way, it is a record that needs to be replicated – given the energy, genius lyrics and huge command. It has controversy: homophobia, misogyny and domestic violence; a terrifying thrill-ride of guys, blood and spit; a chasm of dark and shafts of light – wit, jokes and impressions all throw in. Merely backing and providing laudatory support to such a record will provoke criticism and disapproval – that, in a way, is what Eminem wanted to happen. The album has grown into a teenager and, given the seventeen years since its creation; I argue whether any modern act has reached it dizzying and dangerous heights.

PHOTO CREDIT: Sam Liddicott

Alongside the intense and deeper pieces will be some light and less provocative. It has been a hectic and whirlwind past few months for me. The last weeks, especially, have been really dizzying and rushing. I have put up more articles in this time period than any other time – the productivity rate is huge and the fingers are getting sore! Long-term, I want to develop my Jeff Buckley documentary and start getting that kicked-off. I will launch a Kickstarter campaign and ensure people are recruited – get production staff hired and begin planning. From there, I want to spend time developing my long-planned music website and making that a reality. It will a huge undertaking but one, when done, that draws decades of sensational music to one site; all the software, streaming services and social media a music-lover/musician could want and endless options and avenues. I am pumped imagining it so will ensure there is something more tangible on the plate before too long. Alongside this, time-willing, getting my interview series going, too. It is a filmed series, Acoustic Vinyl, that puts me into a space (I hope to book the Nightjar bar in London) with various artists, music people – D.J.s/producers/writers and creative talent – and launch a relaxed, unique series that digs deeper but has a lot of fun and relaxed vibes in it. These all seem like lofty and expensive realisations and, in a lot of ways, they are. It will take a fair bit of revenue ensuring these visions are made physical: I am prepared to work for it and, where needed, crowd-source and hope the people will assist. I want to write a lot and keep those features, interviews and reviews flowing…

PHOTO CREDIT: Unsplash

The ambition, going forward, it to ensure this work ethic and commitment leads to something. I want to – he says; with his head in the clouds – work as a producer/music news journalist for BBC Radio 6 Music, one day. I think that is the ideal for any self-respecting music-lover. To work for an esteemed and reputable station: one that delivers the hottest new artists and best-quality older sounds has a lure and attraction that one cannot resist. I’d love to balance that with my blog duties – expanding the site and having more filmed/elements; getting a YouTube channel together and looking more into the business side of things. Going back to BBC Radio 6 Music and who wouldn’t want a weekly show there – like Jarvis Cocker’s Sunday Service, perhaps?! This, yeah, is pretty far-off but I feel I am more qualified than I was a couple of years back – maybe a few months ago, in fact! Essentially, London is the first place I want to move to – that need to get to the city and its wonderful, finer humans, is more nagging and desperate than ever! Manchester is attractive and, if I could commute and work in both cities, that would be bliss. Many might scoff and say it is all pie-in-the-sky-thinking and someone with their head somewhere less fragrant and open-aired as the clouds. I have been writing on my blog for almost six years so this has not come overnight! I would urge anyone with an interest in music to start a blog and get something started. Music is one of those industries whose growth will never slow. Unlike ‘normal’ sectors; the employment rate, as it was, will rise without abatement and discipline. More and more folk are coming into music: all of them will need a review and feature at some point!

PHOTO CREDIT: Bigstock

Music journalism is not lucrative and it might take a long time before you can monetise your work. I will touch on this over the weekend – I am writing a piece about money in music and whether survival is guaranteed for musicians/writers – but would always encourage wannabe writers to get a blog started. If you are an aspiring writer; get a blog on WordPress or wherever and start contacting bands/artists you like. It might only be as simple as conducting a small interview – I send questions and type my interviews; which makes it easier and more flexible for me – and that is a good start. You share that on social media and people see it. The musicians’ followers and contemporaries find your work and will, if you are lucky, contact you. I cannot tell you the buzz I get from seeing my inbox full of interview/review requests. Sure, it is a lot of work – and my hands are pretty sore most of the time (joking aside: it is not that bad) – but the rewards outweigh any aches. Bit-by-bit, the reputation builds and you get bigger names coming your way. It may be a while before I ascend the stairs to a desk at BBC Radio 6 Music but I feel, the more work I put out, the more likely something like that will crystallise and focus. You have to start small but that is where I came from: I am not ‘big’ yet but feel I am growing and becoming more confident with every month that passes. I may not get the same rush a musician gets when they are on the stage: conversely; I do not get the same stress when it comes to finding money and sustainability. Journalism is a vital part of music. Without it, musicians could not exist and get their music shared; they would struggle to promote themselves. Making that connection – and building those relationships – is a wonderful thing and can lead to some wonderful opportunities. It has enriched my life and I am sure, anyone who wants to go down the same path, come my way and I can advise. Making a small step is important and, the sooner you do that, the sooner…

PHOTO CREDIT: Unsplash

A wonderful career will begin.

INTERVIEW: Fond of Rudy

INTERVIEW: 

 PHOTO CREDIT: GG Photography 

Fond of Rudy

________

DIVIDING their professional existence between…

Brighton and London; the exciting, fertile and stunning quartet, Fond of Rudy have provided us with their latest single, LOVE. Fond of the upper-case-pride (OMG! was their last) – they must know I am not a big fan of it! – the boys make up for it with an interview in which they discuss London and Brighton; what the story behind their new song it – and their band name – and how it evolves from OMG!

I was eager to discover how they unwind and more about their music; the elements that go into their vibrant, summer sounds and how Matt – who provides the answers, for the most part – creates a slow-jam-style smoothness with the vocals.

The band are primed for future success: a pleasure chatting with the guys - and learning more about their songs.

________

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

We are well!

This week has been hectic. Just got back from a micro-tour of the North…great fun, however, energy levels are sapped now!

Ha.

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

We are Fond of Rudy: a Brighton/London-based Indie-Alt-Pop four-piece band.

Can you tell me – apologies if you have been asked, endlessly – where the band name, ‘Fond of Rudy’, comes from?

Haha…only a couple!

Our music, essentially, tries to encapsulate the feelings of being in and out of love; and the pursuit of it. ‘Fond of’ generally means really liking and being drawn to something - but the ‘Rudy’ part; you can consider as a blank space… you fill it in.

What is the story behind the new single, LOVE?

The track represents our take on a modern slow-jam. It's packed full of lust and emotion; tuning into that persona of missing opportunities out of fear.

It follows from OMG! and seems like, with every release, you are becoming more confident. Did you notice any differences, in terms of writing and recording, between the two songs?

Every track is carefully crafted and planned: a lot of time is spent in pre-production; making sure every element is perfect before we think about releasing it.

We just want to keep grinding out track-after-track!

Is LOVE going to feature on an E.P. at some point? Anything in the pipeline?

LOVE belongs to an E.P. titled, TWO.

Watch this space in the future - we are always putting out little clues.

Can you tell me how you all got together and how those early days were?

The band, itself, has been going for a couple of years: developing and experimenting with various styles and members. It was only last year that all the groundwork laid down - previously equated to make this formation.

Brighton is your base. How important is the city and its mix of people to your music and creativity? What is the music scene like there at the moment?

We feel like we have two home: one in Brighton and the other in London. There are some great bands in both cities.

With Brighton you can see more bands coming to fruition recently - long may it continue!

PHOTO CREDIT: MJB

You have drawn comparisons to the likes of The 1975 and Blood Orange. Are these bands you admire or do you think it is more important proving yourself on your own terms?

Both The 1975 and Blood Orange are incredible artists; we love their music. Equally as important we want to be our own entity and get audiences to long for our creations.

In describing your music, you have described it is as a sort-of South East version of Calypso-Pop. What kind of artists and sounds were you all raised on?

Being in any band, you are all bound to bring different influences and sounds to the table. On our road trips, we’ve created a playlist roulette-type game: we take turns in selecting a song throughout the journey.

The artists played range from Pop to R&B to ’80s’ Classic-Rock etc.…so many weird and wonderful sounds (too many to name!)

Fond of Rudy have a string of live dates in the next month. Which dates are you most looking forward to?

We are playing at Carfest North this coming Sunday (in Chester) and have been selected as the stage highlight for the day - so that should be pretty epic!

Also, we (always) love playing to an intimate audience in London, too.

What do you guys like to do away from music? Do you get much chance to distance yourselves from the music life?

We all work the day-shift, keep fit in the gym; running or playing sports so we are constantly busy. However, music is always on our minds when we are distanced from it.

It’s a hard to get too far away for a long period of time as we all love doing it.

Are there any new artists you recommend we check out?

Good question…hmm.

We’ve all been digging a bit of LANY recently - those guys are creating tunes.

If you had to select the one album that means the most to you; which would IT be and why?

Another good question - which, I’m sure, we would have different answers to!

For me, personally, (Matt) it would be Fleetwood Mac – Rumours

Why? Because it’s THE GOAT.

What advice would you give to any new artists starting out right now?

I’ll pass on the advice that I have received many times: keep, keep (keep) writing.

The more songs you make, the better the quality will become - practice makes perfect, as they say!

Finally, and for being good sports; you can each name any song and I’ll play it here (not one of yours as I’ll do that).

Not one of our own songs…?! Damn. We would have obviously picked our new single, LOVE. Ha!

Alright…we’ll all go for Spice Girls - Too Much

No explanation needed!

________

Follow Fond of Rudy

PHOTO CREDIT: GG Photography

Official:

http://www.fondofrudy.com/

Twitter:

https://twitter.com/fondofrudy

Facebook:

https://www.facebook.com/Fondofrudy/

YouTube:

https://www.youtube.com/thezapshow

Instagram:

https://www.instagram.com/fondofrudy/

SoundCloud:

https://soundcloud.com/fondofrudy

YouTube:

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

FEATURE: The Hyundai Mercury Prize 2017: The Shortlist

FEATURE:

 

The Hyundai Mercury Prize 2017: 

IN THIS PHOTO: Kate Tempest 

 The Shortlist

________

THIS morning, the shortlist for this year’s Mercury Prize was…

IN THIS PHOTO: The Big Moon

announced on BBC Radio 6 Music – I will drop the ‘Hyundai’ part as the idea of sponsoring music awards makes me want to barf blood. It is an incredible list and one that, as one would expect, is eclectic and unexpected. I include all the albums that have been shortlisted; the odds they have been given and will end with my favourite from the rundown – the one I feel will scoop the prize on the night.

IN THIS PHOTO: Stormzy

The twelve 2017 Hyundai Mercury Prize judges are: Phil Alexander - Editor-in-Chief, Mojo and Q; Clara Amfo - Broadcaster; Jamie Cullum - Musician and Broadcaster; Ella Eyre - Musician and Songwriter; Harriet Gibsone - Music News Editor, The Guardian/TheGuardian.com; Lianne La Havas - Musician and Songwriter; Will Hodgkinson - Chief Rock & Pop Critic The Times; MistaJam - DJ & Broadcaster; Marcus Mumford - Musician and Songwriter; Jeff Smith - Head of Music, 6 Music and Radio 2; Jessie Ware - Musician and Songwriter; and Mike Walsh - Head of Music, Radio X. The Chair of the judging panel is the music executive, Tony Wadsworth CBE.

The Awards Show will be held at the Eventim Apollo, Hammersmith on Thursday, 14th September, 2017.

_________

alt-J – RELAXER

What the Critics Said:

The Daily Telegraph:

"The inscrutability of lyricists is nothing new in rock culture, though it can be especially frustrating when songs offer tantalising glimpses of meaning obscured by references so abstract they could only resonate with the author. It is this aspect of wilful obscurity that still makes Alt J an intriguing band rather than an essential one. Relaxer dazzles and delights the ears yet still feels like the work of a band who might have something to say, if they weren’t too precious to actually come out and say it".

Current Odds (Ladbrokes): 8/1

Blossoms – Blossoms

What the Critics Said:

CLASH:

"Blossoms have a sound that brings garage rock and pop together, and their debut is worth filing alongside Temples, The 1975 and Catfish and the Bottlemen.

Not every track on the record would make as strong a single as ‘Charlemagne’ but with an album that flows so well, its nice to have moments that break up the lively nature of the album. Blossoms have produced an album of perfectly structured songs accompanied by strong lyrics that tell many tales to the large cult they seem to have already acquired".

Current Odds: 16/1

Dinosaur – Together, As One

What the Critics Said:

Evening Standard:

"This debut band album features her longstanding quartet, a supergroup of sorts featuring keyboardist Elliot Galvin, bassist Conor Chaplin and Corrie Dick, a revelation on driving, West African-flavoured kit drums.

Ideas and moods jostle through eight originals including the ambient Awakening, the multiple keyboarddriven Steadily Sinking and Extinct, a simmering nine-minute excursion that finds Jurd revelling in her knack for improvisation, deft use of space and elegant, melodic lines".

Current Odds: 22/1

Ed Sheeran - % (Divide)

What the Critics Said:

NME:

"There’s nothing here with the incongruous sex appeal of ‘Sing’, everyman Ed’s saucy 2014 collaboration with Pharrell Williams, and the rap verses on ‘Eraser’ indicate Suffolk’s finest has less than wicked flow. But his latest album is as likeable as he seems in interviews: assured but unassuming and sometimes hard to fathom. There’s probably a mathematical formula to Ed Sheeran’s success, but he’s the only one who can crunch the numbers".

Current Odds: 14/1

Glass Animals – How to Be a Human Being

What the Critics Said:

The 405:

"The painstaking planning of this album reminds me of the work process of Guillermo Del Toro, who illustrates storyboards, characters, and scenes before any pre-production. Through this consideration, he creates worlds within cinema much in a way Zaba became a musical universe. There's a reason there is no sequel to Pan's Labyrinth much in the way How to Be a Human Being is not an extension of its predecessor more so an original entity altogether. Although elements remain, the core of humanity and character drive this collection to an equally intriguing effect and leaves a far more immediate impression".

Current Odds: 12/1

J Hus – Common Sense

What the Critics Said:

The Guardian:

"While Common Sense finds the Stratford singer/rapper going indulgently long at 17 tracks, the quality is undoubtedly consistent – be it the richly produced Bouf Daddy, the dancehall-inflected, hazy Fisherman or the sun-drenched Good Time, featuring Burna Boy. J Hus imbues an admirable introspection to his bangers, as likely to bring in his Ghanaian heritage or consider his past illicit behaviours as he is to spit wry bars on smoking and partying. This is 2017’s zeitgeist Notting Hill carnival soundtrack".

Current Odds: 9/1

Kate Tempest – Let Them Eat Chaos

What the Critics Said:

The Guardian:

"Her musical restlessness underpins that message, constantly changing tempo and tone, with the feeling that one could be plunged from a lullaby to a piece of savagely fast-paced satire; a clever reference to Bob Dylan’s A Hard Rain’s a-Gonna Fall, a brilliantly downbeat sampling of Sister Sledge’s Thinking of You. But perhaps Tempest’s greatest achievement is not to fall prey to the pressure for unnecessary revolution; her work sits more comfortably in the tradition of perfecting the groove, not changing it. That perfection might be illusion, but its pursuit can produce wonderful work, as it has right here.".

Current Odds: 6/1

Loyle Carner – Yesterday’s Gone

What the Critics Said:

DIY:

"‘Yesterday’s Gone’ might be a humble record, but Loyle Carner doesn’t hold back on quick-smart wit either. “They ask why every fucking song the fucking same,” Loyle quips in ‘Ain’t Nothing Changed’ before turning his focus towards a cutting analysis of stagnation and loneliness. In truth, Loyle’s endlessly inventive…The universe of ‘Yesterday’s Gone’ might be a small one, but Loyle Carner’s scope is far from a tight-knit bunch of arbitrary themes. Letting endless threads unravel, in vivid detail, this album might creep up on you at first, but make no mistake, its creativity and poetry will floor you".

Current Odds: 8/1

Stormzy – Gang Signs & Prayer

What the Critics Said:

The Independent:

"‘Overall, Gang Signs & Prayer is a daring debut. Stormzy could have played it safe with this album, but rather challenged himself with gospel. A key factor about this album is the complexities to Stormzy’s character—displaying a multi-dimensional black British man who goes against a simplified image that’s usually portrayed. Balance makes this album beautiful, as Stormzy worships on "Blinded by Your Grace Pt 1 & 2," falls in love on "Velvet" and raps his socks off on "Cold." Gang Signs & Prayer is a multi-faceted masterpiece and a testament to Stormzy’s talent that warrants his phenomenal rise to the top".

Current Odds: 7/2 (Favourite)

The Big Moon - Love in the 4th Dimension

 What the Critics Said:

The Guardian:

"As if recorded on a grotty Camden bar crawl, the quartet’s debut crashes and careens, as romantic as it is ramshackle, with Pixies-style quiet/loud contrasts a staple structure of their songs. Hopeless love story Cupid is a cross between early Libertines and Freakin’ Out-era Graham Coxon, its lyrics berating the sugary-drink-fuelled braggadocio of a misguided lothario (“He said, ‘I’m gonna make the Earth shake tonight’ / Pineapple juice, tropical Rubicon courage!”). There’s a rudimental rock’n’roll quality to its composition, and the soporific vocal style of Juliette Jackson – which recalls Sleeper’s Louise Wener at times – weaves a wry, stoic narrative throughout the chaos. Nostalgia for noughties and Britpop guitar hits echoes throughout – but played by a gang of twentysomethings, its wide-eyed conviction amplifies the emotional carnage".

Current Odds: 18/1 

The xx – I See You

What the Critics Said:

NME:

"A blast of synthetic horns gives way to a Burial-esque beat and Oli Sim and Romy harmonising on a shuffling chorus straight from a ’90s garage rave, “You are dangerous but I don’t care/I’m going to pretend that I’m not scared.” The vibrancy continues. ‘Say Something’ is lush and glowing. ‘A Violet Noise’ is Oli singing over a Euro-house backbone and the Hall & Oates sampling lead single ‘Hold On’, come summer, will sound huge in the festival fields…They find a balance with the old xx though. Fragility and self-doubt are still themes. Indeed, the highlight is Romy’s pensive, vulnerable ballad ‘Performance’. “I’ll put on a performance/I’ll put on a brave face,” she confesses, accompanied by a single, guitar and scurrying violins. ‘I See You’ is not simply an album then, but a moment of realisation. The moment where The xx stop glancing shyly at their reflection and confront themselves in the mirror. What they discover is infectious".

Current Odds: 7/1 

MY PERSONAL CHOICE:

Sampha – Process

What the Critics Said:

The Guardian:

"There is no such thing as a shoo-in for the Mercury prize, an award whose breadth of reference is admirably erratic. But you can’t help but feel that the debut album by Sampha Sisay, Process, might be the record to beat this year. Distinctly British, sonically restless and emotionally action-packed, Process starts with a bleep and a squawk, and ends with Sampha beating himself up for not visiting his brother. “It’s not all about me,” he mutters mournfully on What Shouldn’t I Be?. He beats himself up fairly regularly. On Timmy’s Prayer it’s a lost love. “I’m on the floor trying to dress my wounds/ Address the fact it was mine to lose…”…Elsewhere, Sampha mourns his mother, who died in 2015 after enduring cancer.(No One Knows Me) Like the Piano is the album’s big ballad, depicting the introverted, youngest child of five who became himself through the instrument. If Sampha’s process sounds like one big downer, it isn’t. Every listen throws up some new, previously unnoticed innovation.".

Current Odds: 4/1 

 IN THIS PHOTO: Laura Marling

I am glad the list includes my favourites – Loyle Carner, Kate Tempest and Sampha – but there are, as many have alluded to, some notable omissions. I was certain, not only would Laura Marling be on the list – there was a good chance she would win it. I am shocked Semper Femina is not there as it is a wonderful Folk record that has no real comparisons on the Mercury list – albums that have a similar flavour. It is a gap that needed to be represented and, in sheer terms of quality, Marling’s latest record was worthy of a spot. Jane Weaver, similarly, is someone everyone felt would make the cut – one of our finest songwriters and most solid talents. IDLES, perhaps, one of the very few genuine and promising new bands of the moment did not see their L.P., Brutalism, represented – many feel this is an attempt to ignore the underground and new acts. I am glad there are bands in the nominations – alt-J and Blossoms – but, in my mind, neither produced an album that gained widespread acclaim – neither solid or memorable enough to warrant a prestigious. My feelings towards Ed Sheeran’s music are well known – the fact his album, %/Divide, made the list has shocked many. It seems the voting panel was trying to reflect a more mainstream and Pop-inclusive tone this year. Dinosaur and The Big Moon are this year’s typical outsider/quirky choices: I feel the latter has a good chance of winning the thing; maybe the former, for that matter...

IN THIS PHOTO: IDLES

In a year when political and social anger has fuelled Mercury nominations – Kate Tempest, Stormzy and Loyle Carner – one would feel there’d be space for the critical hit of English Tapas - from the ever-reliable Sleaford Mods. Their album resonated and connected with critics but perhaps a line needed to be drawn. Marika Hackman is another name that could have made the grade – sad she was not mentioned. I suppose we have some genuine stars and achievers on the list; albums that have helped define British music. I want Sampha to win but feel Kate Tempest and Loyle Carner are both worthy winners. Encouraging to see previous include-es like Tempest and alt-J on the rundown; the newcomers like Loyle Carner and Stormzy being given a boost. Maybe the ignored will draw bigger reactions than those who have actually made the shortlist. If an outside-bet like Ed Sheeran or Blossoms wins the awards: maybe a bookies’ favourite like Sampha will come through – you can never tell with the Mercury Prize. It is going to be fascinating to see who walks away with the gong on 14th September. One thing we do know is that, with the Mercury Prize, one can never guess…

WHAT will happen on the night.

FEATURE: 1987

FEATURE:

IN THIS PHOTO: Pixies (1987) 

1987

________

ONE might ask why the year 1987 should…

IN THIS PHOTO: Aretha Franklin

happen into my consciousness. Well...for one thing; it is thirty years in the past so, in a rather arbitrary way, deserves a commendation – on account of the fact it has reached its thirtieth anniversary. More than that, I want to celebrate the best albums of a decade that, to many, was rather insignificant and cheesy...

In this year, Aretha Franklin became the first women to be inducted into the Rock and Roll Hall of Fame; Bon Jovi’s Livin’ on a Prayer storms the world and Beastie Boys get themselves censored! Throw in the fact The Beatles’ first five albums were released onto C.D.; Fugazi played their first live show and Cher returned to music (following a five-year gap) and it was pretty damned eventful!

More than that; there were some sensational albums that have inspired and endured this far down the lines. I will be featuring the Mercury Prize-nominated acts/albums tomorrow and, one feels, were the Prize around in 1987 – the panel would have a bloody hard choice choosing a shortlist from this rundown (if they included international albums - before you get all smart-arse!)...

________

Michael Jackson – Bad

Release date: 31st August

Genres: Pop; Rock; Funk; Dance

Standout track: Leave Me Alone

Prince – Sign o’ the Times

Release date: 30th March

Genres: R&B; Rock; Funk; Psychedelia; Soul

Standout track: If I Was Your Girlfriend

The Smiths – Strangeways, Here We Come

Release date: 28th September

Genres: Alternative-Rock; Indie-Pop

Standout track: Last Night I Dreamt That Somebody Loved Me

Whitney – Whitney

Release date: 2nd June

Genres: Pop; Dance; R&B

Standout track: So Emotional

U2 – The Joshua Tree

Release date: 9th March

Genre: Rock

Standout track: Where the Streets Have No Name

Guns N’ Roses – Appetite for Destruction

Release date: 21st July

Genres: Hard-Rock; Heavy-Metal

Standout track: Sweet Child o’ Mine

George Michael – Faith

Release date: 30th October

Genres: Pop; Funk; R&B; Soul

Standout track: Faith

Dinosaur Jr. – You’re Living All Over Me

Release date: 14th December  

Genres: Alternative-Rock; Noise-Rock

Standout track: Kracked

Midnight Oil – Diesel and Dust

Release date: August  

Genre: Alternative-Rock

Standout track: Beds Are Burning

Public Enemy – Yo! Bum Rush the Show

Release date: 10th February

Genres: East Coast Hip-Hop; Hip-Hop

Standout track: Public Enemy No. 1

R.E.M. – Document

Release date: 1st September  

Genre: Alternative-Rock

Standout track: The One I Love

10,000 Maniacs – In My Tribe

Release date: 27th July  

Genres: Alternative-Rock; Folk-Rock

Standout track: What’s the Matter Here?

Pixies – Come On Pilgrim

Release date: 28th September   

Genre: Alternative-Rock

Standout track: Caribou

The Housemartins – The People Who Grinned Themselves to Death

Release date: September   

Genre: Indie-Rock

Standout track: Five Get Over Excited

The Wedding Present – George Best

Release date: 12th October

Genre: Jangle-Pop

Standout track: A Million Miles

Beastie Boys – Licensed to Ill

Release date: 15th November

Genres: Rap-Rock; Hip-Hop

Standout track: (You Gotta) Fight for Your Right (to Party!)

Sonic Youth – Sister

Release date: June

Genres: Noise-Pop; Art-Rock

Standout track: Stereo Sanctity

INTERVIEW: Zap

INTERVIEW:

PHOTO CREDIT: Davey Woodhouse    

Zap

________

THERE are few people who distills the essence of Zap better…

PHOTO CREDIT: Joris Felix

than the trio themselves. They are, in their own words, defined by this riddle/answer:

“What do you get when you throw a washboard, mini megaphone, ukulele, rubber chicken, some tap shoes, a trumpet, 2 kangaroos and some tzatziki into a blender? Zap grew in the artistic playground of Berlin, blossoming from a craigslist add for swing music lovers, some special feelings and generally nice times. Drawing inspiration from Bob Fosse, Louis Prima, skiffle music and ancient laundry practices, Zap creates much more than just tunes that get your feet and vocal chords loose... It's gonna be a wild physical show to lighten your load and bubble your bath!”.

I talk to the guys about their music and how they came together – sourcing members from Greece and Australia – and how Berlin, their adopted home, is suiting them. They talk about musical plans and artists they recommend; what their music consists and ‘personality quirks’ of each member.

________

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

Great!

We had Will’s 30th birthday - and Gabrielle has been performing at ImPulsTanz festival in Vienna!

Petro’s walking around Berlin and taking energy!

PHOTO CREDIT: Joris Felix

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

We are Zap.

A three-(and often, also, four)-piece Swing/Taps/Honks group living in Berlin - but originating from Australia and Greece.

We are a theatrical show brimming with smiles and finger workouts!

PHOTO CREDIT: @beboptaranto

You are based in Berlin - but you have two Australians and one Greek in the trio. How did you all come together and why choose Berlin for your base?

Gabrielle moved to Berlin to study physical Theatre; Will chased her, here, penniless after six months - and created an advertisement on craigslist looking for "fellow Swing-heads".

Petros was first to reply, and after about three weeks, we could communicate without the use of Google Translate - and strongly through music. We took it to the streets and markets around Berlin and ended up touring and playing festivals throughout Europe, Asia and Australia for the last three years!

What is the vibe like in the German capital? I can imagine it has a very different scene to Australian cities like Melbourne and Sydney?!

It has been an incredible change from the tight laws and money/time-driven cities of Australia. We have really enjoyed the everyday freedom immensely and met a lot of kindred souls from all parts of the world - searching for the open, liberated and relaxed vibes of Berlin.

Gabrielle. I guess, most of us in the U.K., know you from the Trivago adverts. Does that sort of recognition humble you or can it get quite repetitive? How do they react when you explain you’re a musician?

We mostly perform in countries where my Trivago ads are not aired, so, for now, I am remaining inconspicuous.

What are Zap working on the moment? Any fulsome, multi-coloured stompers currently gestating?! Maybe an E.P. down the line?

We have an E.P. in the oven.

We are going to lay it out in September and put a bit more love and time into than the last two. We’re excited!

We are always making fun clips of our new music and travels.

We have upcoming tours to Italy, the U.K.; Thailand and Australia.

I know you share a love of Bob Fosse and artists of that ilk. In terms of other artists/bands, do you have similar taste or are you forever trying to ‘convert’ members to the acts you like?

Petros and I both have a background and love for Latin music; Gabrielle and Petros love cheesy old Jazz numbers.

The weather is pretty shocking in the U.K. Any chance you guys are coming over here at some point to give us sunshine and a serotonin boost?!

I love it that you slipped in the ultimate British line!

We are heading over for a wedding in September - but haven’t planned a tour there yet. Perhaps, if we get into Glastonbury next year, we will come with a couple of sets of gumboots.

Everbreaking Heart was released last year. What was the reaction like to the E.P./mini-album and tell me a bit about the clip you shared on social media – of Zap in the Philippines?

We released the E.P. for something fresh to sell on our two-month East Coast of Australia tour. We haven’t had any hate-mail - and a lot of people let us know they play it a lot.

Our Unbuccen Lucky clip went off like a frog in a sock. We were lucky enough to have such beautiful and generous friends on the Island of Boracay – so, making it was fun and simple!

It has had the furthest reach thanks to a lot of Pilipino crew sharing it around!

Each trio/band has members with various ‘quirks’ and personality traits. Is there a messy member or the one who falls asleep and snores loudly? Any dirt to dish?!

Will can sometimes have a bit tad too much to drink and gets silly and in his own world on stage. It’s hard for the rest of us to keep up!

Gabrielle can sometimes get a bit grumpy on stage.

Petros snores like an elephant with pneumonia.

Are there any new artists you recommend we check out?

For sure!

Kane Muir

Facebook.com/kanemuirmusic

J.Lamotta すずめ

Facebook.com/jlamottasuzume/

IN THIS PHOTO: J.Lamotta すずめ/PHOTO CREDIT: Helen Mari Mare.

Yvy Maraey

Facebook.com/Yvy-Maraey-1683528038557488/

Harvey

Facebook.com/musicharvey

IN THIS PHOTO: Harvey/PHOTO CREDIT: Lucy Alcorn

The Milkshakes

Facebook.com/themilkshakesmusic

Los Monos Flamenco

Facebook.com/losmonosflame nco

IN THIS PHOTO: Hektisch Kunst

Hektisch Kunst

Facebook.com/hektischkunst

James Chatburn

Facebook.com/jameschatburn

IN THIS PHOTO: James Chatburn/PHOTO CREDIT: Aleksandar Jason Photography

Noah Slee

Facebook.com/noahsleemusic

Malibeau

Facebook.com/malibeauband

The Lips

Facebook.com/thelipsblues

PHOTO CREDIT: @joris.felix

If you each had to select the album that means the most to you; which would they be and why?

Will: Probably Fat Freddy’s Drop - Based on a True Story.

It encapsulates a whole lot of love: life sketches and beautiful relaxed moments that remind me of the last ten years

Gab: Sergei Prokofiev - Peter and the Wolf

This L.P. accompanied my entire childhood.

What advice would you give to any new artists starting out right now?

Busk; sell C.D.s; figure out your tricks that set you apart. Write music and create stuff as much as you can - and co-create with as many new art heads as possible.

Dream big and stay true to your heart.

Finally, and for being good sports, you can name a song and I’ll play it here (not one of yours as I’ll do that).

Fat Freddy’s Drop – Seconds

________

Follow Zap

Official:

http://www.thezapshow.com/

Facebook:

https://www.facebook.com/thezapshow/

YouTube:

https://www.youtube.com/thezapshow

Instagram:

https://www.instagram.com/thezapshow/

INTERVIEW: Ben Pryer

INTERVIEW: 

PHOTO CREDIT: Jas Poole Photography    

Ben Pryer

________

IT only takes a glance of Ben Pryer to know he is not someone…

PHOTO CREDIT: Jas Poole Photography

who follows the crowd. The music industry has a fluidity and diversity that encourages variation and progression. Ben Pryer, in many ways, alludes to a golden age and style of music one does not encounter too much in 2017. Call it Rockabilly or Rock ‘n’ Roll: it is a fun, toe-provoking and captivating breath of air in an industry that suffers commercial blandness and overly-precise songs. I talk to the West Sussex-raised artist about the music of the 1950s and its influence on him.

He talks about his eponymous debut album and what we can expect from it; the relevance of artists like Elvis Presley and how, with thousands of fans behind him, it feels to be a unique and eye-catching artist – someone who not only captures the heart but plays music to get the body shaking!

________

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

Hi! I’m great!

My week has been so busy: but that’s a good sign, I think; seeing as I’m releasing my debut album!

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

Of course!

My name Is Ben Pryer. I’m a twenty-one-year-old Rock & Roll singer/songwriter from West Sussex, England - with a huge passion for all things music!

PHOTO CREDIT: Jas Poole Photography

Your eponymous album is out. What has the writing and recording experience been like? Have you learnt a lot from it?

Yes!

Well, the writing of the album was probably the longest part, as I really wanted to focus on creating something I knew I would be really proud of. I think the writing taught me quite a lot about myself; not only as a songwriter but also as a person. I found the purest form of expression and wielded it like a tool - to create an exact musical representation of my mind at that time.

As for the recording; that’s always fun. It’s, quite literally, the icing on the cake: the coming together of your vision.

One track that stands out to me is Heartbreak Town. Can you tell me the story behind that one?

For sure.

Heartbreak Town is, probably, the most personal song on the record. It’s how I perceive my love life, all in under four minutes - which is (also) how long most relationships seem for me. Haha.

But, it’s also how I thought a lot of other people might experience love and lust - which is where the metaphor of this literal ‘Town’ came in: a place where all the lost and lonely would be between relationships - almost like a stopover.

I really liked that idea of creating a real place for a state of mind.

How much of the music is taken from personal experience; how much is fictionalised would you say?

I think most of it is taken from personal experience, with Young J.C. being the exception - which is a fictional story I made up about what I believe it would have been like for a young man to go away to war in the 1940s.

I’ve always liked war stories so I wanted to express my interest for that, also.

Looking at you, as a twenty-one-year-old, you seem to be a man from another time. It is rare to see a Rock ‘n’ Roll/Rockabilly artist in this age. Is that the sort of music you spend your childhood listening to?

 Yes!

I understand it’s not the norm. for a twenty-one-year old to be playing this sort of music, but I think we all need a little change right now. I did spend a large amount of my childhood listening to early 1950s-to-late-'60s music.

Thanks to my grandad, who introduced me to many of the artists who inspire me today - and did back then. He used to play me old records of his and we’d sit there and be in total awe.

What is it about Rockabilly that speaks to you? To me, it lacks critical pressures and seems freeing and expressive. What do you get from it?

I love Rockabilly/Rock & Roll because it’s fun.

It makes you go a little bit crazy and want to get up and dance -that’s what’s always stood out to me. Nothing else really did that for me.

Elvis Presley died, more-or-less forty years ago, now. Is he someone you idolise and emulate, in a sense?

I think, most artists of the last forty years have all been inspired by Elvis, in some form - whether they know it or not! He changed music forever. There’s nothing more inspiring than that.

I’ve always idolised Presley: he was a true hero for many. In a way, Rock ‘n’ Roll has this reputation as being legendry – but best left in the past.

Are you trying to bring it back and give it a cool, contemporary edge?

I don’t think I’m consciously trying to bring anything back.

Don’t get me wrong; it’d be amazing if I were able to do that. I’m just playing my own songs in the style that I love - and hoping that people also like it as much as I do.

But, wouldn’t it be cool to see everyone dancing in polka-dot dresses and Teddy Boy suits? Haha.

What is your view on modern music and the charts? Is being a mainstream artist something you aspire to or do you think you’d have to compromise your sound too much?

I think there’s lots of great music out there: I listen to a lot of new bands, also. I’m a big fan of Mumford and Sons. I love what they’re doing.

What sort of gigs do you have coming up? Where can we see you come and play?

I’m headlining the Radweb stage at Victorious Festival in Southsea with my live band, which should be really fun. We love it over there.

We also have some exciting shows in the pipeline for my fans to get ready for!

PHOTO CREDIT: Jas Poole Photography  

How does your music go down in the live setting? What kind of response have you been getting?

I think people are really taking to it!

I think they find it quite refreshing and different. I mean, everyone’s different, but even the grumpiest of guys can’t help but tap his foot!

Are there any new artists you recommend we check out?

I heard this guy on the radio the other day, Louis Berry.

He seems like a really cool guy and his songs are wicked.

IN THIS PHOTO: Louis Berry

If you had to select the three albums that mean the most to you; which would they be and why?

I’d have to start with The Sun Sessions from Jerry Lee Lewis

I think that compilation album is really what started me off on Rock & Roll – so, I owe a lot to it.

Secondly, Elvis’ Golden Records

It was another that really inspired me to play the guitar. I loved how diverse it was as an album.

PHOTO CREDIT: Jas Poole Photography

Lastly, John Mayer’s Born and Raised

I think it’s truly one of the most beautiful albums of the last ten years.

What advice would you give to any new artists starting out right now?

Never stop practising - and never give up!

If you truly believe you have something different, you should never let that go.

Finally, and for being a good sport; you can name any song and I’ll play it here (not one of yours as I’ll do that).

Could you play Don’t Be Cruel (by Elvis), please?

________

Follow Ben Pryer

PHOTO CREDIT: Jas Poole Photography  

Official:

https://www.benpryer.com/

Twitter:

https://twitter.com/BenDavidPryer

Facebook:

https://www.facebook.com/BenPryerMusicOfficial/

SoundCloud:

https://soundcloud.com/benjaminpryer

YouTube:

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

Instagram:

https://www.instagram.com/benjaminpryer/

INTERVIEW: Marina Avetisian

INTERVIEW: 

  Marina Avetisian

________

I have been finding out about U.K.-based singer-songwriter…

Marina Avetisian and her new single, Shivers. It is from her E.P., All Shades of Blue (out on Friday), and, to me, has shades of Joni and Norah Jones – a hard blend to articulate and easily cohabitate together. She explains how she arrived from Russia (where she is born) and the role of Jazz, Classic and Folk in her early life; what it was like working with Nathan Britton and Brando Walker at EC1 Studios – and the story behind her latest single.

I find out more about her London life and what she has planned; what music means to her; a new artist we recommend we check out – and where she is heading in the coming days.

________

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

Hi. It’s been really good, thanks.

Getting ready to travel to Greece; the E.P. is out on Friday - so all is just great.

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

I'm a singer and songwriter, born in Russia. I have lived in the U.K. for the past fifteen years. I have many different influences from different folk traditions and my diverse cultural backgrounds - which I take a lot of inspiration from.

My new E.P., All Shades of Blue, is coming out on the 28.07 and it's very exciting. I'm hoping it will tell you a bit more about me.  

Shivers is your new track. It lives up to its title and has romance, lust and purity at its heart. Was there a relationship/person that inspired the song? What would you say the song represents?

It started from just one line someone said to me and a very easy, light; free and beautiful feeling around it - and I think that is the mood of the song.

But, then, the song also evolved into something that has a deeper meaning for me. Shivers is a very romantic song but it is (also) a metaphor for other aspects of relationships - like relationships with life, soul; freedom, yourself and everything.

That is also the main theme for the E.P.

It has embers of modern Soul greats like Norah Jones. Were genres like Soul and Jazz prominent when you were growing up or do you take a lot from modern artists like Jones?

Thank you for such a reference.

I love Norah Jones. I went to see her in Somerset House a few weeks ago and it was stunning. She is definitely an inspiration. 

All Shades of Blue is the new E.P. What kind of memories, events and emotions influenced the songwriting? 

Songwriting is always different...

It can be some emotion, feeling or just a moment; sometimes, a very small moment or feeling that might seem insignificant and then it becomes a song. Sometimes, it's a whole song that just comes like it was always there - and I just had to catch it. Sometimes, it's several stories in one song.

But, it always comes from the heart-rhythm. 

All Shades of Blue has a lot of romance as it’s always inspiring - but it also reflects on many other things like sense of freedom; following dreams, letting things go; connections with ourselves and each other.

I like using metaphors in songs - so it's not always straightforward. 

Nathan Britton and Brando Walker feature. It was captured at EC1 Studios. What was it about those musicians, and that space, that really spoke to you?

I am really lucky to meet Nathan and Brando and work with them. They are just amazing!

I felt they really got me: my music and mood and this connection is precious. They helped me to create the natural, organic sound. They are absolutely incredible musicians - ‘sound ninjas’ - and wonderful people! We had a lot of fun recording All Shades of Blue.

Also, EC1 Studios is a great space; relaxed and focused, which is perfect for recording. It is really well-equipped and, of course, the most important thing is people who work there. They are all very professional and lovely.

There were two other musicians recording with us: Yelfris Valdes played Trumpet for Campervan Blues. He is such a great trumpet player.

Andrea Callarelli recorded Guitar for all four tracks. Me and Andrea have been playing together for few years. He just moved back to Italy and I miss him - and our good times creating music together. 

You were born in Russian and have Armenian-British roots. How does the music scene differ in this country – compared to countries like Russia? How important is your heritage and upbringing to your music?

I was playing piano as a child. Then, I played in my first band when I was fifteen. It was a girls’ band. We played Jazz standards and I played bass, there. Then, I sang in a Funk band but then I moved to U.K. – so, I didn't get to experience music scene there for very long.

But, I know some wonderful musicians out there and I know that there are many very interesting things happening. I think all my backgrounds and the diversity of cultural upbringing are integrated in my music. 

What kind of music were you listening to in Russia? Was it more mainstream Western sounds or did local artists make an impression?

I grew up, mostly, on Classical music as my grandmum was a classical pianist; some Beatles and Rolling Stones (as my dad loved them); some Russian and Armenian Folk - as that what was around.

I used to love one Russian band when I was a teen but then I discovered Jazz, Blues and Soul - and realised I loved that band cause they had many Blues elements in their music.

There were few other artists I remember that influenced me a lot. I still remember hearing Nina Simone and Stevie Wonder for the first time.

I also remember my friend went to U.K. for summer-school and brought me a tape with OK Computer by Radiohead. I was blown away. This album is still one of my favourite.

My dad used to take me to different gigs when I was a child and I remember Sting, Ray Charles; Tina Turner and James Brown. It was very inspiring to see them live. 

It seems, when you came to London to study, you fell in love and never looked back. What was it about the city that hooked you in?

I love the diversity here and it never gets boring...

There is always something new to discover in London. It is always moving and changing. I love the fact you can meet anyone from absolutely any corner of the Earth and connect.

Of course, London's art and music scene is just mind-blowing. 

Do you ever get to go back home or does life here keep you pretty busy?

Unfortunately, I don’t go home very often but I see my family and my childhood friends around in Europe.

I should try and go more often. 

Can you define what music means to you? Is it freedom or a sense of unique expression, would you say? 

Music is a journey: it's constant discoveries; it's a connection with everything: a romance between soul and matter. 

What kind of live dates do you have coming up?

I'm off travelling to Greek islands and will be playing around there. Live gigs in London will be set for the end of August/September.

Are there any new artists you recommend we check out?

Thundercat.

It's probably not that new - but I (have) just discovered him a few weeks ago and I love it. 

If you had to select the three albums that mean the most to you; which would they be and why? 

Let It Die by Feist

I just love her: she has been one of my favourite for a long time. I love every single song on this album. 

Shadow Theate by Tigran Hamasyan

It's unique and complex: a beautiful fusion of Jazz and Armenian tradition.

Play by Bob McFerrin and Chick Corea

Just because it's perfect in every single way. 

What advice would you give to any new artists starting out right now?

Always be your authentic self - because there is no one exactly like you.

Always listen to your heart and do what feels right to you and, regardless what anyone says, never give up - and follow your biggest and wildest dream. 

Finally, and for being a good sport; you can name any song and I’ll play it here (not one of yours as I’ll do that).

Lines by The Hics. It’s pretty magical. 

________

Follow Marina Avetisian

 Official:

http://marinaavetisian.com/

Twitter:

https://twitter.com/marinavetisian?lang=en

Facebook:

https://www.facebook.com/marinaavetisiansinger

SoundCloud:

https://soundcloud.com/marinaavetisian

YouTube:

https://www.youtube.com/channel/UCsGJKw3mxGrMREgHZuSQhKQ

Instagram:

https://www.instagram.com/boatsinthemarina/

INTERVIEW: Matt Koelsch

INTERVIEW: 

 Matt Koelsch

________

IT is, after a chat with a North London musician…

over to America and the L.A.-based Indie-Folk singer-songwriter, Matt Koelsch. He is, as I discovered, an artist hard to define and rationalise – in the sense his music takes in many different textures and influences. I was scheduled to promote the single, Incomplete, which he talks about but, in the days after I sent the questions, the new song, Thinking of You, has been released. Koelsch talks about Incomplete but discusses the E.P., Thinking of You – and how, invariably, the title song will fit in.

He lets me know about his early life in New England and some dates he has approaching; the albums that have inspired him and what advice he would offer any new songwriters.

________

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

I’m very well. Thank you for the interview!

I am playing a string of shows on the East Coast - and then heading to L.A.

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

I’m an L.A.-based singer-songwriter - originally from New England. My music is in the Alternative-Folk genre – although, my latest record has a bit of an Electro. vibe. 

Thinking of You and Incomplete are your new singles. Talk to me about Incomplete. What can you tell me about the song and how it came together? 

Incomplete is about falling just outside someone’s radar. 

You really enjoy being around them but they are off-limits. I co-wrote the song with one of my music friends, Alfa Bieselin.

We worked on it in person for two sessions and then passed it back and forth through the Internet for a few months.

The catchy vocals and warm cello sounds go together nicely. Was it quite hard getting the sound right or was it instinctual?

I waited about a year to record the song with the full arrangement so I had several pre-production recordings of my performance of Incomplete.

 This gave us more time to sit with the song and weave in the complementary instrumentation.

Thinking of You is your latest E.P. What has the reaction to it been like? What kind of experiences and influences went into it?

I’ve heard people react to each song claiming it is their favorite.

It’s hard to tell which one is the crowd favorite since it is available on so many different digital outlets - so there is a different one on the top of each of those lists. It seems like people like it; I don’t really know.

Ahah.

Thinking of You is inspired by leaving the comforts of home and building a new network thousands of miles away in a new environment. There is more time and space to explore and discover when you are in a completely new and foreign setting: removed from the comforts of your close network of relationships. The relationships that formed and/or dissolved during this chapter of my life were woven into the writing of this record.

Are you looking at making more music this year?

I’m always looking to make more music but my budget for recording is exhausted for the foreseeable future.

PHOTO CREDIT: Edward Baida 

I know you grew up in New England. What was it like there for a young and aspiring songwriter? Is it a part of the U.S. that has a thriving music scene?

The Boston area has a myriad of colleges and universities: it’s a great place to study music, experiment a bit and get your feet wet in a modest but sincere music scene. There are several places you can branch off to and tour within a four-hour drive: Brooklyn, Burlington, Portland; Providence and North Hampton.

I think the talent level is high and there are great musicians in New England: although, I see a lot of them moving because the opportunities in other music hubs are greater, more diverse - and they’re looking to make connections with the media, management firms and labels. 

PHOTO CREDIT: Peter Zuehlke

What kind of artists were you listening to during this time?

I listened to Classic Rock: Led Zeppelin, Guns n’ Roses and Motown.

Later, in high school, I listened to Jack Johnson, Ben Howard; John Mayer, David Gray and Dave Matthews Band.

In college, I listened to more Electronic/House music and Hip-Hop.

Can you remember the moment you gave up your job in finance to pursue music? What emotions were going through you when you quit?

I had recently been accepted into a general business cover band in Boston while (also) working my desk-job in Finance.

I was busy building client relationships, learning new songs every week - and I was overwhelmed. I was in the Boston Commons on my lunch break wearing a three-piece suit and just sat on the end of a park bench with my head in my hand.

I came to the conclusion that I needed to make a change. I did not feel completely comfortable in either setting - the stage or conference room - but something was telling me to give music more of a shot.

I had a few exit-interviews and, also, met with all of my colleagues individually to break the news first. We were part of an extensive training program and worked hard together and partied quite a bit as well; so I wanted the team to hear it from me instead of our managers that I would be moving on. 

PHOTO CREDIT: Peter Zuehlke

How easy was it moving and transitioning to music? Do you still miss New England or are you settled in L.A.? 

It was a long and windy transition.

I worked for a great music-tech company called Cakewalk which eventually led me to the engineers and musicians who helped me create my first record in 2010.

I miss New England, so I tour there a few times each year and play in New York as well.

I try to stick to locations I can get back to every six-twelve months. 

What is the music scene like in L.A.? Is it quite tough getting gigs or are there enough opportunities for young artists?

I like the music scene in L.A.

My friends are pretty involved and people work hard to keep things fresh. For the past year, there has been a mansion in Brentwood along with a staff of volunteers called SunSeshLA - hosting weekly concerts for artists and their invited guests.

The shows were always free; B.Y.O.B - and the theater fits about seventy people. There are places like this in the Hollywood Hills, too. There are tech and film home-owners who want to create a unique experience and support the arts community.

Like any city, there are plenty of places to play for young musicians to break into; but you have to look beyond the expected areas. A lot of the venues on the Sunset Strip are pay-to-play - so we usually don't spend a lot of time over there.

Most of my best opportunities and experiences have been at non-traditional venues or events. 

On that note; what dates do you have in the diary? Any plans to come to the U.K., perhaps?

I’m performing on the East Coast until August, and then, I am planning on touring more in the fall. I would love to come to the U.K. and I am open to recommendations for venues.

Camden was a lot of fun the last time I was in London.

PHOTO CREDIT: Myke Wilken 

Thinking of You is an E.P. that looks at everything from Wall Street to romance. Do you think that big move and career transition has made you a broader and more diverse songwriter? 

I think I have just opened up more as a person and the diverse array of people I have met have influenced my life and writing.

I am grateful for the journey and I think it helped me break some of the patterns I was in.

Over the course of your career, you have sold thousands of C.D.s are sharing the stage with (members of) R.E.M. What has been the highlight and biggest high?

I think some of the biggest moments happen when I am collaborating with other people on stage or in the studio - and everything just clicks into place. It really is magic. It’s so hard to describe the unifying force of a group of people playing music together.

It feels like you are all on some mission and you’re creating the soundtrack to a chapter of life.

IN THIS PHOTO: Porter Robinson

Are there any new artists you recommend we check out?

Lately, I’ve been listening to more Electro-inspired music: SOHN, ODESZA; Bob Moses, Poolside and Porter Robinson.

Also, check out my friend Alfa’s new record, Spark & Fury. I co-wrote Incomplete with her. She’s doing well: she recently toured the Philippines and just opened for Shawn Mendes.

If you had to select the three albums that mean the most to you; which would they be?

Led Zeppelin - IV

Dave Matthews and Tim Reynolds - Live at Luther College 

Fugees - The Score

I listened to these records on repeat growing up. I was fascinated by them and I would just listen to them over and over and think about them.

Sometimes, a certain record just hits you in a way that is really impactful and shapes the way you appreciate music. I think these were a few records that steered me in the direction of becoming an artist.

What advice would you give to any new artists starting out right now?

Keep exploring ways to learn new styles; whether it is through other musicians: one-on-one teaching, classroom style; videos, articles; online or books. Try not to limit yourself to the method through which the information is being transmitted to you. One way may work better than others when studying and/or writing music.

Stay involved and collaborate: try not to isolate yourself for too long.

Finally, and for being a good sport, you can name a song and I’ll play it here (not one of yours as I’ll do that).

It would be cool if you could play Alfa’s Incomplete. It’s a nice contrast and produced well. 

Thank you for the interview; have a wonderful summer!

________

Follow Matt Koelsch

 Official:

http://www.mattkoelschmusic.com/

Twitter:

https://twitter.com/MattKoelsch

Facebook:

https://www.facebook.com/MattKoelschMusic/

SoundCloud:

https://soundcloud.com/mattkoelsch

YouTube:

https://www.youtube.com/channel/UC8CmjnUP3cYAzeWjmwcPPsA

Instagram:

https://www.instagram.com/mattkoelsch/

INTERVIEW: Alex Francis

INTERVIEW: 

 Alex Francis

________

FEW people have as much drive and passion for music…

PHOTO CREDIT: JPBoardman

as Alex Francis. He has a series of festivals and dates throughout August – including one at Camden Assembly on 1st – and is showcasing his new single, The Last Time. I talk to him about his new track and what it is about; the E.P., These Words, and the origins and moments that went into it. Alex Francis has travelled and played across the U.S. and big British gigs like the Isle of Wight Festival.

I ask him about his music background and how he came to meet his live band; what dates he is especially looking forward to playing – and the albums that have defined and guided him as a person.

________

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

Great, thanks - busy!

Prepping for next weekend’s festival show and I’ve got two friends’ weddings to fit in between those, too.

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

I’m Alex Francis; originally from Hertfordshire - and now residing in North London.

The Last Time is your newest track. What inspired the track and was it quite an easy one to write?

The Last Time was conceived a (some) time ago after a relationship that I had come out of; but my co-writer and I felt the theme for it was universal, so we analysed it again.

It follows the idea that it isn’t as easy as simply letting go of somebody once you’ve called it quits - even if you really want to.

Its video sees you travelling and playing around America. Which cities/areas did you film it and what was the experience in the U.S. like?

The U.S. footage in the video is from the time I spent in Brooklyn, New York - back in June. It was the second time I’d been over for music rather than leisure! (Although time was made for leisure).

It was a great trip and we got a whole load done. I’m back in Brooklyn in the autumn.

There is, in that video, clips of you playing the Isle of Wight Festival. What was that like? Is it a career highlight, so far, would you say?

Definitely a career highlight!

My live agent curates the festival so getting to perform on the bill this year was a massive treat. We couldn’t believe how well the set went down - and it was an amazing experience to perform two shows over the weekend in two pretty different settings.

The Last Time is from the E.P., These Words. How would you define the E.P. and were the songs inspired by relationships and friendships? What kind of aspects and people go into the music?

The songs are all inspired from experiences of my own; born out of themes that I feel are personal but also relatable.

I wanted the sound of things to give the listener an introduction to how I write and arrange my music - something more than just a demo. but not a fully-blown production either. The time will come around for that.

I love the idea of there being a genesis of each release. I feel as though I can take listeners along with me that way.

How did you come to meet the band you play with on the road? Do you bring in new musicians or keep the same players?

I’ve been with my core-band now for just over a year. Lucky logistics and a bunch of super passionate, incredibly talented people have meant we have been able to make it work for that long! I’m in a lucky position to have a bunch of guys working alongside me who are as invested in these songs as I am.

From time to time, things do clash and I do have a bank of like-minded individuals that I can call upon (which is a bonus in itself). However, now I have my guys and I’m so pleased with the way it’s going.

Come see a show!

You have dates in Hampshire and Hertfordshire coming up - Standon Calling (28th) among them. How excited are you about that gig – it seems like a pretty big one!

Can’t wait for Standon!

It’ll be awesome to come back to a festival in Hertfordshire: something that I haven’t done for a couple of years. We’ve got two shows on the Friday at Standon Calling - the first on the main stage at 14:00; then the BBC Introducing Stage at 17:50.

Starting life in Hitchin; you moved to Brighton and now live in North London. What was the reason for leaving Brighton and coming to London?

I was a student in Brighton at BIMM: an academy that has now expanded outward all over the U.K. and beyond.

Life got in the way after I finished studying and I actually went back home to Hertfordshire for eighteen months. It was during that time that I began to travel to London more and more often and I began collaborations with new songwriters.

Thankfully, home at the time wasn’t too far away - so I could make a regular thing out of that quickly.

Eventually, I got myself to a place where making a home out of London was the natural and logical next step for me and my career.

How influential is the city when it comes to your music and ambitions?

There are so many different things to draw upon from living in a city: life lessons, new experiences or tiny everyday details that stimulate the creative psyche. I love the diversity - it keeps me creative and motivated knowing that there are so many like-minded folks here all chasing stability and success in their own right.

It fuels me to know that a lot of the opportunities I used to fantasise about exist in the city I live in.  

Do you feel the music you grew up listening has moulded the musician you are today? Can you remember your favourite artists and albums as a youngster?

Absolutely.

I think that almost everybody’s love for music is sewn-in at a young age. Every music-lover I know says the same thing about their youth and how they knew pretty early on that music was going to be a feature in their life.

I grew up on a pretty contrasting diet of Rock and Soul music - very different, at times, but always with the same thing in common: real music that moved me in ways that I still can’t clearly describe.

What kind of live dates do you have coming up?

We’ve got a bunch more festival performances to see out - including one more show in Hertfordshire on 25th August at Goatfest; then a spot up-North (near Newcastle) in Gateshead on 26th August at Chase Park Festival.

I’ve also (just) announced another headline show in London at the Camden Assembly on 1st August partnering Oxjam - all proceeds on the night going to Oxfam!

Are there any new artists you recommend we check out?

I’m really into the current Leif Vollebekk album, Twin Solitude. He’s totally his own thing but the album has got great little subtleties that remind me of Bob Dylan’s Blood on the Tracks - which is one of my favourites ever.

Leif does so much with very little and that’s real power in songwriting as far as I’m concerned. He lets the space sing, too.

I’m also really enjoying Lianne La Havas’ Blood (Solo) E.P. - which is a selection of cuts from her latest album, Blood, performed stripped back with her electric guita.

She’s pretty mystical when she goes it alone.

IN THIS PHOTO: Lianne La Havas

If you had to select the albums that mean the most to you; which would they be and why?

Ray LaMontagne - Trouble (2004)

This album doesn’t have any particular sentiment for me more than the fact that it’s just so beautifully crafted in every measure.

I’m into so many artists that channel the organic and the soulful vibe. Not many deliver the kind of conviction and sincerity like Ray does on this album. Beautiful production from Ethan Johns.

The Rolling Stones - Exile on Main Street (1972)

My friends and I were completely obsessed with The Rolling Stones in our first couple of bands – totally immersed with everything from the music to the bravado. This is a particularly long album in general - eighteen tracks, I think.

It got A LOT of spin – mostly because it would survive most gig drives without us having to argue about the next thing to play! You can literally SMELL the damp in Keith’s basement studio when you listen to these songs.

Apparently, Jagger doesn’t dig the production on this record but I absolutely love it. It’s The Rolling Stones at their possible best - with every nuance of their amazing songwriting craft present on this record; whether it’s big ballads or total Rock ‘n’ Roll wrapped up in this ‘rough-and-ready’, sometimes-demo-sounding collection. It’s so visceral to me now - I’ll never stop listening to it.

It’s a great example of bottling up the magic you can get from the live recording: something that will never be fully recreated artificially.

What advice would you give to any new artists starting out right now?

I think; try and be as involved in everything as possible - definitely to begin with and even after you’ve begun to gather your team around you.

Everything from the performing to the digital marketing to the networking is as important as each other, I have discovered. There’s so much to grasp so quickly - whether or not you are professional - and I think it’s important to keep yourself aware of the mechanics of this industry so you can position - what it is you do best with the very best chance at every opportunity.

Finally, and for being a good sport; you can name any song and I’ll play it here (not one of yours as I’ll do that).

Better go out on the raddest 'Stones tune you’ve never heard: Can’t You Hear Me Knocking!

 ________

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