FEATURE: Dizzee Rascal: From the Boy in da Corner to the Man in the Spotlight

FEATURE:

 

Dizzee Rascal:

  

From the Boy in da Corner to the Man in the Spotlight

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I can scarcely believe it has been fourteen years since…

Dizzee Rascal burst onto the scene with his stunning debut, Boy in da Corner. I have written about that previously – so shall not go into too much detail regarding that record. Earlier this year; I questioning where Dizzee had gone – not having produced an album for a few years. Low and behold (no influence on my part) he is back and, on the basis of the first couple of tracks, Raskit is going to be an emphatic return to form. Wot U Gonna Do? is the second cut to be taken from Raskit – out in a couple of weeks. It is a song that takes me back to the earliest days for the Bow maestro. Whilst the circumstances have changed since Boy in da Corner – Dizzee is thirty-two now; he is no longer the struggling kid in the manor; concerns have changed – there is no maturity and degradation when it comes to the lyrics.  One of the reasons Boy in da Corner is one of my favourite albums ever – in the top-twenty, at least – is because of the blend of amazing compositions (different genres, sounds and effects put together in a head-spinning mix) and tight, on-point lyrics. Dizzee, even as a teenager, showed a peerless and hugely intelligent approach to wordplay and lyrics. A flawless album that addressed impure women and the wars unfolding in estates; the social dislocation of the working-class and the sort of stresses and strife a typical East London boy experiences. Showtime was a worthy follow-up – if not quite as sharp – whereas Maths + English contained one of his finest hits: the frightening and intense, Sirens. I am a huge fan of Dizzee but felt he has never surpassed the splendour and unexpectedness of his debut. After Maths + English (2007); I feel the quality took a dramatic dip. By the time of The Fifth; there were too many collaborations and too many fillers. I guess the pressure and expectation foisted onto the shoulders of Dizzee was a lot to take.

I am pleased Raskit is forthcoming and, from what I have heard so far, it seems like it is the London rapper at his finest. Space, in terms of composition, certainly differs from his earlier work. Some critics felt the backdrop was not sufficiently strong to support such (typically) fiery lyrics. The four years since The Fifth has not dampened Dizzee’s lyrical gifts. In fact, it seems like he has come on strides since his previous album. The reason The Fifth gained mediocre reception was the fact too many people were involved. It got to the stage where Dizzee was hooking up with people because he had that pull and cache. His lyrics looked at estates and problems of the streets: too many songs focused on petty cussing and juvenile spats. Maybe the growing attention and celebrity meant singing about the ends; the gang battles and struggle of modern-day Britain was not a possibility. It would seem inauthentic and forced: in the same way The Streets could not talk about these things following A Grand Don’t Come for Free. I wondered whether Dizzee would be back this year: given the social discontent and political issues in the country – it seems like a perfect time for him to launch a fresh assault. If Wot U Gonna Do? is more a jab at washed-up peers and faded stars – what are they going to do when things don’t work out or the attention slips – I am optimistic we will see a lot of relevant and scathing commentary from Dizzee. I have bemoaned the lack of Urban explosion and reaction considering the time we are having at the moment. Perhaps artists are readying themselves for the attack but, over the last few months, it has been a little quiet, to say the least. The nation is divided and people and unsure where we are heading right now. Music has a reactive role and is a great way to channel those frustrations and questions into something meaningful and dramatic. I hope Raskit, in a way, returns to Boy in da Corner: offering some mature insight but possessed of that same spark that brought a young Dylan Mills to the public parapet fourteen years ago.

There is a lot of anger and uncertainty at the moment: musicians have a duty to, at least, try to translate that into something constructive and propulsive. Back in 2003, Dizzee Rascal perfectly articulated the reality and depth of the young, working-class existence – where people were overlooked by the government, for the most part. One can argue that problem is as evident fourteen years down the line. Dizzee lost a bit of his touch in the years following Boy in da Corner but that was going to happen – he could not sustain the same electricity and relevance. This is not a chance to promote an album and say it is going to define this year. I think it will, in a lot of ways, but know Dizzee Rascal’s ‘return’ – if you can call a four-year gap THAT long to consider it a departure – is as necessary and needed as anything else. Wot U Gonna Do? sounds like Dizzee as fresh and hungry as he did all those years ago. Against the tide and continuation of upheaval and unpredictability this year – the best and brightest Urban artists out there have the opportunity to lead the country; in a way the elected leaders cannot. I will be watching closely when Raskit is unveiled. Dizzee Rascal, himself, explained the album in these terms:

“The idea of trying to be my 17-year-old self again just because everyone thinks grime’s landed in their lap this week didn’t satisfy me…I wanted to use what I’ve learned to make the best rap album I could, with no hands in the air moments, just using as much English slang as I could over the best beats I could find”.

Raskit is out July 21 via Dirtee Stank Recordings/Island Records. I urge everyone snap it up and watch the Godfather of Grime show the competition how it is done. Sit back, put the record on and…

WATCH the sparks fly.

RASKIT UK TOUR

Mon 02 Oct Liverpool O2 Academy*
Tue 03 Oct Glasgow O2 Academy*
Thu 05 Oct Newcastle O2 Academy*
Fri 06 Oct Sheffield O2 Academy*
Sat 07 Oct Leeds O2 Academy*
Mon 09 Oct Norwich, Uea
Thu 12 Oct London O2 Academy Brixton*
Fri 13 Oct Cambridge Corn Exchange
Sat 14 Oct Manchester Academy
Mon 16 Oct Bristol O2 Academy*
Tue 17 Oct Nottingham Rock City
Thu 19 Oct Southend Cliffs Pavilion
Fri 20 Oct Birmingham O2 Academy*
Sat 21 Oct Brighton Dome

INTERVIEW: Daniel Molyneaux

INTERVIEW:

 

Daniel Molyneaux

_______

ALTHOUGH he was not born until 1997…

Daniel Molyneaux is an artist who has a great love and knowledge of Pop - self-proclaimed to unapologetically reign as an artist, as he says so himself. he engrossed himself in music as a child; where he had his eyes opened to legends and titans – the young-artist-in-waiting started recording at fourteen and would spend his time pouring over books of lyrics and plotting his way into music. I ask Molyneaux about his early experiences and that first taste of music; the artists that spurred him and how songs come together for him.

He, in turn, tells me about his new album, I’ll Be Waiting, and the themes behind that. Guess What? I Need You is the lead single from it – I was eager to know the story behind that gem. Molyneaux gives me a window into his creative process and what the future holds; how his favourite albums connect him to his late mother - and what he has planned for the future.

_______

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

Hey. I'm great thanks.

My week's just been promo, promo, promo for my new album, I’ll Be Waiting – though, it's been too hot for the past few nights; so I'm a tad sleep-deprived.

Haha.

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

Sure, well...

I'm Daniel Molyneaux. I'm just a dude from London who lives, breathes and sleeps music - and Pop is my niche; though I do love incorporating elements of other genres that I love. I'm an independent artist and I control it all.

I’ll Be Waiting is your new album. What can we tell us about the songs on the record and their inspiration?

Yes. I'll Be Waiting is my newly-released album and is out on every single online store now - please purchase it and give it a listen.

When it comes to the songs off the album: they were mainly just inspired by thoughts and feelings I had at various-given times. But, in honesty, when listening back they mostly share the theme of wanting and waiting for someone. Whether it be to have sex with, to dance with: to form an official relationship with; to be back in communication with, to give me an apology I'm owed.

I'm waiting for a lot of things and I guess, throughout my sessions, it all transpired into the album’s songs - hence why I titled it I’ll Be Waiting.

Guess What? I Need You is the first single from the album. Was there a particular relationship/person that inspired that song?

Yeah.

We met on app. and we didn't officially get together; but we were getting to know each other, and, did become part of the other person's daily routine.

We spoke daily, went out etc. and I was optimistic about how things were going - and then, suddenly, when we were at our peak: they just decided to turn their back on me.

What was it like filming the video for the song?

It seems like it was quite intense at times. Filming the video was a fantastic three days.

The camera operators often wanted other shots to use on top of the singing so asked me to do things like scream and swear to the camera - so things did sometimes get quite loud on set!

Do you know which other songs might be released as singles in the future?

Yes.

I have all the singles planned out but I'd rather not say what they will be. I know being secretive about next movements is such a typical ‘artist response’, and I hate sounding typical when I speak - but I'd rather just let the singles arrive and make their mark.

Who were the artists you grew up listening to and made the biggest impact?

I grew up listening to Luther Vandross and was just inspired by the way he was so free with his expressing his emotions and vulnerability. I'd have to name Rihanna and Barry White as my major influences, also.

I was seven when she first came out and over the years I've just adored how she's evolved into an all-round artist - and makes any music endeavour she does seem so effortless and natural, whatever genre. Pop will always be my forte but jumping into other genres in such an authentic -sounding way - as Rihanna does; it is something I aim to follow.

Barry White has had a huge impact on me, also, as no other music by any other artist gives me the joyful, euphoric feeling I get when I listen to his music's production. This 'Barry-White-effect' is something I always want to come with my music.

You are based in London. How important is the city and its people to your music?

London and its people are quite important to my music as I do see and hear lot of personal issues that I face and sing - about being shared amongst the city with people I do and don’t know so I’d like to think my music comforts the people.

I’d like the city, and the whole world for that matter, to listen to my music and know that I experience similar issues likewise - and find therapy with this. Kind of like “Ah, Daniel went through it too. No-one around me seems to understand but he does. He gets it. He gets me”.

I’m not saying I’m here to be a role model or someone who can halt everybody’s issues...but, it’s always comforting to know that someone else went through similar things you did. I want London to find solace with my work.

Do songs come quite naturally to you? How do tracks come together?

Lyrics and melodies come to me at the most unexpected times, mainly melodies, and I work with producers to strengthen them and turn them into proper-structured songs.

A typical start-to-finish of a finished song would be me catching a lyric and/or melody: recording it into my phone and then asking myself if I could see this becoming a viable, strong chorus. If I'm confident, I take it to a producer and play him the voice-note - and explain where I want the song to go – like, if I want it the song to go down a ballad-path; a fall-to-the-floor-path etc. He works on composing the instrumentation - which usually alters the original melody but, as long as whatever new comes up sounds amazing to my ear, then I'm happy.

I, then, take the stems away and write my lyrics to them then. When I'm satisfied; I record my lead vocals in the studio. I then work with other people to act as external ears - to hear if, what if I've brought to them, at this stage, makes sense.

Once they approve - or advise changes and often compose harmonies/adlibs I like - I record those add-ons and play the product to my best friend and some relatives – and, if they like it, I'm satisfied.

Are you already looking ahead to the end of the year? Is there new material in mind or are you focusing on touring and promoting I’ll Be Waiting?

There won’t be any material released from me - other than the singles from I’ll Be Waiting.

I'm going to be gigging the album for the next year so won't really be in the studio much. I was last there two weeks ago, when the album came out, and am already having studio blues!

For now, it's all about promoting I'll Be Waiting.

Will you be touring your material soon? Where can we come and see you play?

I'm been touring my album through doing a lot of open mics as well as booked shows – but, please do like my Facebook page as I add my dates there.

My next show is 12th July at Undersolo in Camden.

IN THIS PHOTO: Stefflon Don

Are there any new artists you recommend we check out?

Stefflon Don. I'm really liking her vibe.

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

A recent one would have to be Rihanna - ANTi.

The songs on personal growth and development are just so relatable.

I'd also have to name Sean Paul's Dutty Rock.

I was five when this came out and hearing it now always take me back to the flat in Tottenham - where my mother, sister and I lived in my early years. Its songs were the anthems of my life (back then) - so it means a lot to me now - as it's the only audible thing which brings the (most) dearest memories of my youth (that I will never live again).

For similar reasons, another album I treasure is Juanita Bynum - A Piece of My Passion.

My mother was a firm Christian and this album was what she would play around in the car, and in the house, constantly. My mum passed away when I was fifteen and, when I listen to this album and close my eyes long enough, it's almost as if I when I open them - I will see her swaying to the album in front of me as she did.

Do you get much time to take a break from music? How do you like to spend your free time?

Music is something I’m just gravitated towards so, every day I’m at least writing - if I’m not performing or recording. But, on days where a session or a gig isn’t booked, I typically just scroll endlessly through Instagram: laugh at funny memes, listen to music; eat and sleep. Haha.

For a Pop artist, my general lifestyle’s a bit boring I’m afraid. I ought to get back into the gym as well, though!

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

I'd say try not to get too caught up in the nitty-gritty technicals behind a song - but just always ask yourself how it overall sounds as you go along and remember your intentions.

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

Hahahaha.

Please play Cabaret by Alice Smith

I love this one.

_____

Follow Daniel Molyneaux

 Facebook:

https://www.facebook.com/DanielMolyneauxOfficial/

Twitter:

https://twitter.com/SoundOfDaniel

SoundCloud:

https://www.soundcloud.com/danielmolyneau

YouTube:

https://www.youtube.com/channel/UCE7KU79jKwfb17vXEY3RWGA

The Record Deal: Signed, Sealed, Delivered?

The Record Deal:

 

IMAGE CREDIT: Unsplash 

 Signed, Sealed, Delivered?

________

THERE is a split in the music industry that is causing a lot…

PHOTO CREDIT: Pixabay

of confusion. We are in a very digital and technological age so I wonder whether artists are looking for a record deal: if they are, is it practical and profitable? The majority of my reviews and interviews are with unsigned acts. A lot of artists have P.R. companies behind them – promoting their stuff and getting them interviews/reviews – but what about that record deal? Is it something musicians lust after?!

_________

BACKGROUND: PHYSICAL MUSIC VS. DIGITAL DOWNLOADS

We have all heard the statistics about vinyl. Looking at an article by Noisey - they provided the figures:

“In the past ten years, the sale of vinyl has increased to a staggering degree—a roughly 900 percent increase in LP sales between 2004 and now, with 9.2 million vinyl albums sold in 2014. While over the same decade, overall music sales across all formats have decreased annually, dropping from 667 million total albums sold in 2004 to 257 million in 2014. Clearly, vinyl is thriving in spite of the free streaming digital age…But the law of supply and demand is not necessarily applicable in this case, as within the same time frame, the number of facilities producing vinyl has remained static, at roughly 20 active pressing plants nationwide. These facilities can in no way meet the current demand for vinyl”.

If C.D.s are levelling or in decline: it seems there is a need for vinyl and the sheer beauty that provides. Maybe it is a retrospective thing: harking back to a better time; getting vinyl for its artistic values. Perhaps people want to connect with the simplicity of the ‘vinyl age’. Whatever the reason for this; it means there is a definite desire for vinyl. I know a lot of new artists who can print their music to vinyl but, for the most part, it seems reserved for mainstream acts. With the sales of vinyl heating up – and being profitable for the bigger acts – it means other physical forms, like C.D.s are less popular. I hear few people who buys C.D.s – these are formats new musicians release to so one has to wonder how profitable that endeavour is? It seems music hardware is becoming less common and not generating money for new artists. If you are a big act, and can get those vinyl sales in, then it might be okay. Those who rely on the economic and affordable C.D. distribution method – are they accruing the money and profit to make a go of things?! I would argue, unless punters at a gig snap up a C.D., that line of things is quite challenging.

PHOTO CREDIT: Unsplash

Digital income is the only viable option for many new artists. Looking at another article - I got an idea of what kind of money is generated from digital downloads:

“The UK average monthly income is £1,517. How many downloads would a band need to sell in order to reach this figure? Assuming, once again, that there are four (4) band members, they would need to make a total of £6,068 per month to match the UK average income amount.

If selling exclusively on iTunes (which pays roughly 60p per single download), a band would need to achieve 10,113 downloads each month. This would equate to 2528 per week.

I am guessing the ‘average’ amount that an unsigned band makes from downloads is £10/month (per band member). If we add £120 from downloads to the £2,340 from gigs, we can guess that the average band member makes £2,460/year”.

That equates to about £120 per year (per band member) every year. There is a great debate rumbling in the media as to whether Spotify is creating fictitious artists in order to avoid paying them. It sounds like an odd thing but there might be some truth in it. It seems Spotify is magnificent for consumers but not too great for artists who want to be compensated fairly. I have written a piece on Spotify – so shall not go into too much depth – but, for new artists, the figures are quite shocking. They do not have the big teams that can get those streaming figures into the six/seven-digit ranks. They rely on meagre downloads/streams and, in real terms, that is a paucity. Even those massive artists who might get millions of streams each song – does that mean they will get a huge cash-load of from that achievement?! It seems not which, in some cases, is a relief. You wouldn’t want all the money going to the same artists time and time again. I am not sure if there is a way to fairly compensate and remunerate on Spotify. If you paid each artist about 10 pence per stream without any taxation – that would be quite generous and fruitful. Those figures seem low but, in reality, are unrealistic. A lot of people are choosing to use Spotify for free and those who subscribe might not be willing to pay extra at all. Going back to that Spotify and, looking at the contents, there is something troubling emerging.

PHOTO CREDIT: Unsplash

Taking a scan of the article - and it lays out the facts quite clearly:

“The allegations came to light thanks to a piece that recently ran over at Vulture, outlining various outside-the-box ways people try to profit off of the massively popular streamer. (Tactics include filling channels with hundreds of individualized versions of “Happy Birthday,” for instance, or posting song covers under slight misspellings of the actual artists’ names.) Nestled among these tricks by users, though, was a suggestion that Spotify itself was equally prone to screwing with the system, hiring producers to release songs by fake artists to bulk up its popular playlists.

The original allegations stem from this article from music blog Music Business Worldwide, which quotes anonymous but “cast-iron” sources claiming that the streaming company hires producers to create songs to fill out popular playlists like “Chill” and “Deep Focus.” (Vulturecites a few different bands that it says seem to exist only in the form of two or three playlisted songs on the service.) The article claims the original productions aren’t just about avoiding playlist royalties, though, but also about providing quality control, ensuring listeners get the company’s precise definition of what “Chill” actually is.

Spotify flatly denies the idea it’s producing its own music, though, refuting the MBW article at every point. “We pay royalties—sound and publishing—for all tracks on Spotify, and for everything we playlist,” the company’s statement continues. “We do not own rights, we’re not a label, all our music is licensed from rightsholders and we pay them—we don’t pay ourselves.”

There is controversy and pitfalls of a career on Spotify so, is this method of income viable and sustainable? If C.D. sales are declining – and vinyl is profitable for the big artists – are digital avenues profitable and beneficial for new artists? It is a great way to get your music out to people, and link with other acts, but, in real-world terms, it is not going to make you big bucks.

IMAGE CREDIT: Unsplash

GIGS AND PROFIT:

Going back to the first article and it got me thinking about whether it is gigs the natural way for bands/acts to thrive and succeed? Maybe the profit is not immense but is gig income the most reliable way to ensure a sense of safety and gravity? Let us look at the piece:

“Since we are describing ‘Success’ as achieving a gross annual income of £18,200/year (per band member), live gigs must surely play a key role in this. We will not include covers bands, wedding or corporate events bands. For the purpose of this research paper we will use the term ‘band/musician’ for those who want recognition for their own original music.

The average capacity for a venue that houses mainly unsigned bands is 250 in the UK.* The majority of venues will increase ticket sales by hosting 3-6 bands (on average). Assuming that a venue is 80% full and has 4 bands performing, each band would therefore have bought 50 people.

After speaking with approximately 30 diverse bands from London, I have estimated that the average band brings in much less than 50 paying fans on average. I will be setting the average paying fan count (per gig) to just 15.

Bare in mind that this would be the average number of paying fans that turn up to every gig, whether in the bands local town or 500 miles away. Many bands will bring 40 fans to local gigs but find fan counts drop dramatically the further afield they play.

There are several ways that bands can be paid by venue promoters. The average payment however seems to work out at about £6 per fan.

There is no data on the average band size, but I am setting a generic band size of 4 people so that we can work the statistics.

PHOTO CREDIT: Unsplash

With these assumptions we can see that the average band will be paid £90 per gig (£22.50 for each band member). Based on two (2) gigs per week, the gross yearly income for each member would be £2,340, far lower than the UK average wage. This also pays no mention of travel costs or gear hire etc.

Gigs generally provide more income for signed bands than the sale of records. In fact, the number of people going to gigs has increased over the last 10 years, whilst record sales have decreased. Ticket sales can generate huge incomes for large music acts.

Let’s look at a Robbie Williams gig in August 2003. He performed at Knebworth with 3 other acts and 125,000 tickets were sold. I am not sure on the ticket price but I will set the average tickets sale price at £45. That means on one night they generated a colossal £5,625,000. This doesn’t even factor in the sale of programs, merchandise, food etc”

This piece, written in 2011, from Music Think Tank, might seem a bit outdated now but gives a good example of the profits, costs and revenue associated with gigs. Again, their quick answer – usually for the larger bands – equates to £2,340 per year (per band member). Taking a read further down the article and, when thinking about how much unsigned bands make a year – I got a bit of a reality check:

“We have made a guess that (20) unsigned bands managed to reach the UK top 40 in the last (5) years. Let’s assume that just (5) of those bands earned £18,200/year (per band member) in the year that they charted.

Let’s also assume that ten (10) more bands in the UK have generated £18,200/year (per band member), this would give us a total of just (15) unsigned bands that earned £18,200/year (per band member).

Sounds dismally low right? I’ll admit that there is precious little data to go on, but do you know any bands making this kind of money who are unsigned? Remember, an original four piece band would therefore need to generate £72,800 per year to qualify, I am guessing that is extremely rare.

With the information outlined above we can begin to answer the question, “What are the odds of succeeding without a record deal?”

The chances of an unsigned band earning £18,200/year (per band member) without a record deal is 0.00025%. (Assuming there are 600,000 unsigned bands in the UK and only fifteen (15) earn £18,200 per year (per band member)”

PHOTO CREDIT: Unsplash

THE CHARTS AND THE REALITIES FOR UNSIGNED BANDS:

I am sticking with that article and its information for the next consideration. If we know digital revenue is unpredictable and not that extraordinary: is it possible to get into the charts and get exposure from that? Again, going back to 2011, there were some definite trends emerging:

“In the last 5 years (2006-11) I estimate that there have been no more than 20 bands reach the top 40 without record label backing. This figure is a guess, but is backed up by Ditto music, who are one of the few companies that have successfully broken unsigned acts in the UK.

Ditto go on to suggest that, “without record label backing, you would need substantial financial backing to have a serious shot in the industry”.

So why such a low figure? Mark Robinson, vice-president of Warner Music said that “on average, it costs £621,000 to promote and launch a new band”. This marketing budget would be out of reach for almost all bands.

Certainly, there have been many bands who have succeeded with far lower budgets than this, but breaking an act is undeniably costly. PR plays a role in this cost. A band cannot make it to the higher levels without having media contacts. The whole process is much more time consuming and involved than many musicians think. Unless you employ someone with media contacts and experience many marketing avenues will simply not be available to the average band.

Recording, touring, promotion and PR costs add up. Most DIY musicians struggle to turn enough profit to fund growth and fail to gain enough exposure to generate real momentum”.

This all amount to this: around twenty bands (a few years ago, mind) who are unsigned make it into the charts. At the moments, the charts are getting overhauled and it means no one artist can dominate like Ed Sheeran did – when he has nineteen songs in the top-twenty. Since 2011, digital music has taken over so Spotify and its figures have more of an impact on the charts. That said; it is still challenging for new artists to rub shoulders with the big players and make it into the lofty positions. I’d say the figures we have been given are subject to a bit of flexibility. You do get some unsigned acts breaking the top-forty but, for the most part, it is mainstream artists who find success here. Radio interviews and chart exposure is crucial for musicians so one wonders, again, if new artists are suffering?

PHOTO CREDIT: Unsplash

Let’s get to the issue of the record deal and its benefits and negatives. Sourcing from this article and they lay out some cogent and practical pros and cons:

Major Label Deals: The Pros

1.       Money: Deep, deep pockets have to be at the top of any major label "pros" list. Even with major-label music sales declining and the industry as a whole struggling to keep up with changes in the way people purchase and listen to music, major labels still have a huge financial advantage over just about every indie label. When your label has a lot of money, that means they'll be able to spend a lot of money promoting your record - which is exactly what you want. It also means they may be able to offer you a large advance and invest a lot in recording, touring, video shoots and other opportunities for you.

2.       Connections: Money helps open a lot of doors, and when a major label comes knocking, most media outlets are ready to let them in. Additionally, most major labels have been in the business for decades and have long established connections that help you reach your music career goals.

1.       Size: Alas, size CAN matter when it comes to record labels. Major labels are behind the vast majority of music sold, and this scale of operations can bring many advantages. First, they can get the best deals on manufacturing, advertising, and other expenses since they do business in such enormous bulk (they have way more purchasing power than indie labels). Second, because of all of the artists on their roster, they can pull some pretty big strings in the media. Here's a VERY common scenario: a major label may call up a big music magazine and say, "hey, if you want to interview (insert mega-selling artist), we suggest you review/feature (insert brand new, unknown label signing)." This is great for you, if you're that new label signing, because you get instant press in all of the top spots, giving you maximum exposure overnight.

PHOTO CREDIT: Unsplash

Major Label Deals: The Cons

1.       Big Pond, Small Fish: A lot of major labels tend to sign a lot of musicians and throw out a lot of music, just to see what will stick. As a new signing, except in very special circumstances, you're likely to find yourself fighting for attention from the label. If your music doesn't start sticking - read: selling - pronto - then you can find yourself with a record out that isn't getting much promotion and a label that doesn't return your phone calls.

2.       Continuity: A big part of avoiding the aforementioned "big pond, small fish" syndrome is having a big fan at the label. Usually, this is the person who signed you. However, turn over at a major label can be pretty high - especially in this day and age - and you run a high risk of waking up one day to find out that the person who loved your music is no longer working at the label. The new person who takes over your album may not be such a big fan, and suddenly, no one is too interested in making your album a priority. You can include a "key man" clause in your contract to try to avoid this, but often the bargaining power is against you when you sign a major label deal, so scoring this set up is not guaranteed.

3.       Artist Unfriendly Deals: Not every major label deal is unfriendly to the artist, but many of them are set up so that if a cashier accidentally gives you an extra dollar in change, you have to pay the label 50 cents. OK, that's an exaggeration, but many major labels want to sign artist for multi-album deals that offer them very little flexibility and that hand over a lot of creative control to the label. They know all of the loopholes, they want a piece of everything, and they have better lawyers than you.

1.       The Passion Question: Many dedicated music lovers work on the major label side of the music industry. However, not everyone who works at major labels loves music. You'll find a higher concentration of people who are in the business strictly for the money in major labels than you will at indie labels, and that often ends up rubbing musicians the wrong way.

IMAGE CREDIT: Concrete Playground

I have been provoked to write this piece for a number of reasons. I wanted to see how much bands/artists made gigging; whether digital outlets are good sources of income and the financial/profitability issues for unsigned artists. The record label, as I will look at in depth at the conclusion, is that contract and golden ticket that is not as sexy as you’d imagine. Let’s look at this article:

“However, once you delve into the inner workings of major record labels and the contracts these artists sign, it becomes clear the musicians most likely are not reaping the financial rewards themselves.

IBTimes UK recently attended a roundtable hosted at London's Real Deal Store where a panel of industry insiders discussed the urban music scene and the pros and cons of being an independent artist.

A&R manager at Island Records, Benny Scarrs, stated that while many aspiring musicians may be under the assumption that it is impossible to succeed without the backing of a major label, they are wrong.

He explained: "There are lots of people making music and they get frustrated because they feel like 'I need a label and [I] need a deal'. You don't really need a label or a deal”

It goes on to give more exposition and revelation – this article was written in 2015:

“Young Money, run by parent company Cash Money, is in charge creatively of its artists but receives funding from Universal's Republic Records.

While it is true YMCMB is one of the most successful hip hop imprints around, being signed to the label is not completely a bed of roses.

British artist Jay Sean was hot property in the UK when he headed over to the States in 2009 and signed to Cash Money. However, each year brought hopes of a huge album with a big promotional push but Sean failed to have a single hit while signed to the hip hop label.

In October 2014, he parted ways and is now going it alone independently. Not to mention both Young Money members Tyga and Lil Wayne are trying to get off the label due to their albums being continuously shelved".

 PHOTO CREDIT: Unsplash

Becoming an independent artist is the direction that an increasing amount of acts are now opting for and Scarrs notes that ultimately, this means more money going directly into their pockets.

Among the perks are few arguments with labels over royalties or the fear of getting dropped without warning despite being signed to a multi single or album deal.

Plus, who needs a major label to take control of promotion when artists now have social media at their disposal to reach fans directly…Signing to an independent label is by no means an easy route but it does give the artist more control - both creative and financially. If Arcade Fire, Lecrae and Mumford & Sons can make it alone, then surely everyone else can”.

PHOTO CREDIT: Unsplash

So, then: how many bands/artists are ever likely to get signed in the first place? I shall bring you back to this trusted source and their findings

“So, what action can a band take to increase their chances of success in an overcrowded market? I will revert back to the Music-Think-Tank Blog once more and agree with the author that moving against the crowd can in some cases be very advantageous.

Creating music that is of high quality, yet different in some respects will instantly give you a unique selling point (USP), which is very important in standing out in a saturated market.

What are the odds of getting signed?

The problem with statistics (where unique talent is concerned) is that they can often be way off.

For example, let’s look at the likelihood of securing a record deal in the UK. We will assume the following;

§  There are roughly 700 independent record labels in the UK large enough to ‘break an act’

§  Each signs 1 acts per year

§  There are 600,000 bands vying for their attention

§  1 in every 4 acts signed make £18,200/year (per band member)

Assuming you are average, you would therefore have a 1 in 3428 chance of being signed (0.029%). However, lets make some further assumptions on the quality of the song submissions;

§  34% of song submissions are not right for the label (wrong genre etc)

§  39% of song submissions are of low quality

§  10% of song submissions are not considered for other reasons

§  17% of song submissions are considered for signing

This would mean that talented bands would have a more attractive 1 in 582 chance of getting signed. Of course, the record label would be looking for much more than a good song, ability to perform live, being nice people and reliability etc would all go into the decision making process”.

Another huge factor in getting signed is getting noticed. Many A&R will not be able to listen to all demo submissions. This would provide a strong argument for submitting multiple demos to a wide range of record labels.

PHOTO CREDIT: Unsplash

IS BEING UNSIGNED THE WAY FORWARD?

I am fortune enough to see a few musicians provide a signature for a record label. It is the result of hard work and talent but, it seems there are big problems for independent artists and the association with a record label. I shall provide my own interpretation but I want to bring in some information from Mic.

1. Indie music is being threatened by the online platforms it needs.

It's one thing to get paid nothing for your music on the Internet. It's another not even to be able to distribute it online.

Recently, YouTube threatened to take down videos from independent labels and their artists (including the Arctic Monkeys) if the labels didn't agree to YouTube's unfavorable terms. And smaller labels and independent musicians could soon be slammed by the changing net neutrality landscape, which would favor bigger sites like Amazon that can afford to negotiate pricey agreements with Internet service providers, thus giving them all the bargaining power when it comes to cutting deals with musicians. All of this leaves small artists and labels with less and less power over careers and finances.

2. Independent labels can't afford to help their artists out.

Beggars Group, a collective of U.K. independent labels including Rough Trade (home to Arcade Fire and the Strokes) and 4AD (Bon Iver, the National) recently announced it will no longer split streaming royalty rates 50/50 with its artists.

The principle reasons, according to Beggars Group chairman Martin Mills, were "economical," because it was getting difficult to sustain. It's also possible that the rate could be lowered even further as streaming becomes more popular.

PHOTO CREDIT: Vadim Sherbakov/Unsplash

3. Moving to a city where there’s a big, established music scene is costly.

The traditional narrative of "making it" in music generally involves being discovered. Unless your social media game is really top notch, that involves moving to a city with a real music scene — one where you can play lots of shows and find other bands to support your bills.

But if you want to follow in the National's footsteps and make the jump from Cincinnati to New York City to get discovered, you better be prepared to swallow a 110.8% hike in the cost of living.

4. No one wants to spend money on music — let alone on something they haven't heard.

Digital downloads dropped 12.5% in the first few months of 2014, while streaming rates skyrocketed.

"No musician I know is making their living from selling music," explainedNicolas Jaar, an experimental electronic musician whose 2011 debut album was a critical, if not commercial, success.

Even if you can convince people to buy your music, you see a diminishing slice of the pie — iTunes pays 70 cents per song, and that 70 cents could be distributed any number of ways, depending on whether an artist is on a label or not. If you go grassroots and sell via Bandcamp, the site takes a 10-15% cut before PayPal takes a cut, too. Even without labels, there are still middle men.

5. Streaming royalties are insultingly low.

Navigating Spotify's payment process is difficult, and sites work out different deals with different labels, but independent artists could be making as little as $0.005 per play. That's what inspired indie soul band Vulfpeck to encourage fans to stream music on repeat while they slept so the group could earn a bit more money for frivolous things like, you know, touring.

But non-scheming artists, more established are hardly making ends meet with the money that they're making online. As Marc Ribot, a guitarist who has played with the Black Keys and Tom Waits, pointed out: "If we can't make enough from digital media to pay for the record that we’ve just made, then we can't make another one."

6. Even if you make it to a major label, your career has no security.

Heard of St. Vincent? Probably. She just closed out the most recent season of Saturday Night Live, played the Pitchfork Music Festival and performed Nirvana's "Lithium" at the 2014 Rock and Roll Hall of Fame Induction Ceremony. You'd think she was in the clear.

But her touring partner and collaborator, Talking Heads frontman David Byrne, predicts a grim future for the indie rock superstar and others of similar ilk: "Many musicians like her, who seem to be well established, will eventually have to find employment elsewhere or change what they do to make more money."

Some professional musicians, like a few members of Grizzly Bear, even lackhealth care — to say nothing of musicians who aren't on a label.

IMAGE CREDIT: Unsplash

7. Touring is a big risk for young musicians.

A lot of independent artists have day jobs, since, as previously mentioned, it is really difficult to make a living selling music. But live music is increasingly an essential part of making it in music. That means that going on tour necessarily means leaving behind a steadier cash flow and prayingthat the job will still be there upon your return. In short, touring is more important for a young band than an established one, but its risk is far higher.

Still, it's one that makes indie music feel all the more vital. Just listen to Mutual Benefit's beautiful Love's Crushing Diamond, a bold celebration of what happened after the lead singer quit his job and went all out on music.

8. Touring is more expensive than ever.

If an independent artist is funding their own tour, that means paying for gas, lodging and other various travel expenses. The average price for gasoline hovers around $3.60 per gallon, which adds up if you're driving around the country. And it really adds up if, like Bear's Den, you're driving around the country in less-than-fuel efficient VW vans. Ah, the '60s — when the vans were stylish and gas cost 30 cents a gallon (not adjusted for inflation).

9. There's already more music out there than anyone will ever hear.

There are pros and cons to the Internet age: It's now easier than ever for someone to make and distribute music, but it's far harder to be noticed. Market oversaturation is real, making it difficult for consumers to know where to start when it comes to independent artists. Approximately four million songs on Spotify have never even been touched by the service's users — so many that they've since been collected into an app called Forgotify.

10. It’s just not profitable for labels to sign artists.

Labels that spend money on developing artists rarely recoup their money, so they’re taking a huge risk every time they sign a new artist.

"Most labels' artists’ signings are not ultimately profitable," Darius Van Armen, the co-owner of indie labels including Jagjaguwar (which launched Bon Iver) and Secretly Canadian, explained in a recent statement to Congress regarding copyrights and intellectual property. If that attitude went to its logical extreme under the duress of streaming service royalties, we may well miss the next Bon Iver.

11. Labels don't develop acts, they only sign popular ones.

Labels are hedging their bets by signing any band, and most likely will not make a profit off of a new artist.

"In the future, artists will get record deals because they have fans, not the other way around," Taylor Swift wrote in a recent op-ed piece for the Wall Street Journal.

This creates a cyclical trap for independent artists, who face the issue of having to promote their music on their own in order to garner enough fans to get the attention of the bigger players in the industry so they can have fans that pay them nothing.

PHOTO CREDIT: Unsplash

IN CONCLUSION:

It seems there is no easy answer but there is this assumption getting a record label is the be-all-and-end-all. So many go chasing it; assuming it will gain them money and stability. If physical sales are unstable and capricious; digital outlets are flawed and geared more to the mainstream acts – surely, then, record labels are the way forward?! We have seen all the arguments and sides laid out. I think, if you get the right label behind you – that can be impossible to define – you get the best of every world. I find P.R. companies are more supportive and give an artist a better deal. They are not steering them for the mainstream or trying to strip them of their cash – not looking at the bottom-line and motivated, as much, by profit. P.R. companies are about promoting music and getting that artist out there. I work with a lot of them and know how tirelessly they work. It is good because you get a promoter looking after interview requests and interviews etc. – helping get gigs and all the things a record label might deal with. In terms of the actual selling and marketing of the track: there is a lot more freedom for the artist. It is hard to give simple answers to but I feel record deals are ONLY desirable and secure if you do your research and know what you are getting into. So many artists are struggling to make money – through streaming and gigs – they go chasing this carrot with everything they have. It is hard and exhausting taking care of all your music but it means you can steer your career and have a lot more say. Maybe it will take more than this article to get to the bottom of things: every artist is different and will have different ideas of how they want their career to unfold. Don’t get me wrong. I am not down on record labels – they can be brilliant and life-changing for artists – but the romance one associates with the label is exaggerated and false. Do not think the record deal is the goal and sign of a successful musician because, as we have seen, it is…

 PHOTO CREDIT: Unsplash

NOT all it is cracked up to be.

FEATURE: Comedy in Music: Always Look on the Bright Side of Life

FEATURE:

 

Comedy in Music:

 

IN THIS PHOTO: The Monty Python boys

 

Always Look on the Bright Side of Life

________

WHEN one is approached with a ‘comedy song’, the reaction…

IN THIS PHOTO: The Streets (Mike Skinner)

is quite ironic. People might laugh: not in the way you’d anticipate. The reason for writing this was because, in my view, comedy is feeding more into music in the current day. There are two types of 'comedy songs'. The first is a more overt and deliberate attempt at comedy - I will come to some of the acts who write comedic music soon. The second type of humour is that which is laced into serious songs – mainstream artists and new acts. I’ll take the second group first because their brand of comedy can be subtler and less obvious. I am always drawn to music that has humour in and I think we need to embrace more artists who put comedy into music. These are troubling times so we could all do with a bit of a laugh. Looking at my record collection and there are a few artists who injected some great one-liners into the music. The Smiths, despite their rather morbid and cynical world-view, were not shy to create humour and put wit into the music. Morrissey’s lyrics were frequently caustic and cutting but provide plenty of moments where the listener could not help but chuckle – or elicit a cheeky grin at the very least. I find a lot of current artists are far too serious with their music. It is understandable they’d reveal some hurt and emotion in their songs. What gets to me is the po-faced and imperious nature of music today. One occasionally hears something ribald and entertaining: those songs are often overshadowed by the very intense, straight-faced and unmoving. I look for various different things in music. For one, I want it to be interesting and have some personality. It needs to provoke certain physicality; get my mind working and dig deep into the heart. Occasionally, one needs to hear music that does all of that whilst putting a smile on the face. I will compile a list of comical songs at the end: not all of them are that good, as it happens. Artists try and write something funny; it can come off as a bit of a parody or juvenile. Those songs are best avoided but do, at the very least, try to be amusing.

IN THIS PHOTO: The Smiths

Going into music is a nervous and unpredictable time. You begin and assume it will be easy-going. It takes a lot of graft and passion to make things work – a lot of artists struggle and never get the recognition they deserve. Are musicians, given the perils and realities of the industry, going to write songs that try to be funny? Well, perhaps not but, even when writing about love and your own self; the lyrics can be funny and entertaining. Take an artist like The Streets (Mike Skinner). His humour was laddish and observational. He wrote about the realities of modern life on albums like A Grand Don’t Come for Free and Original Pirate Material. Straight from the off (the latter); he ensured his songs had that balance of serious and humorous. I listen to songs like Don’t Mug Yourself (Original Pirate Material) and Fit but You Know It (A Grand Don’t Come for Free) and are hooked by Skinner’s wordplay and wit. It is sad he is not producing music anymore but definitely inspired legions of British Hip-Hop/Rap artists to follow in his footsteps. Dizzee Rascal is probably the most relevant contemporary: a man who can bite and spit but pen a pretty good gag here and there. I find a lot of genres are humourless and stringently serious. Take another The Streets song, The Irony of It All, and it pits a lovable weed-smoking intellectual with a loutish beer-guzzler. The former indulges in cannabis but provides no danger to the community: the latter, gets tanked-up and creates chaos. The song looks at how the drunkard pays his taxes and shouldn’t be giving his money to a drug-taker – in return, facts are laid out (more money spent on treating drunks than most things). It is a really great song that, in lesser hands, could be a drag but is lifted by a sharp and witty pen. It is not a surprise some of my favourite albums ever are notable because of their lightness and accessibility.

IN THIS PHOTO: Steely Dan

The Streets’ Original Pirate Material is in there; The Smiths’ The Queen Is Dead – Steely Dan’s back catalogue features heavily. Pretzel Logic, an album I have had on-repeat for days, is, at times, a comedy routine from Donald Fagen. Maybe is more a smart-ass laconic sense of humour but the stomach is definitely given a good workout. I must admit; as said, some of the attempts at humour can be quite misjudged and tragic. There is that danger of creating a novelty song. We all remember (vaguely) artists like Afroman and his drugs paen – a song that was funny in places but not one of the best comedy songs. The main reason for addressing humour in music is to nod to those who deliberately tried to write comedy. My first real exposure to comedy records was Monty Python Sings. That album, released in 1989, brought together the collected songs of the legendary comedy troupe – from their first series to their final film, The Meaning of Life (1983). There are some classic moments that we all know – Always Look on the Bright Side of Life; Lumberjack Song and Every Sperm Is Sacred. Sure, there are skits and moments that have not aged too well but, considering a lot of these songs were written nearly forty years ago; it is amazing they have endured the way they have. I was never a big fan of the T.V. series the Pythons did: the films seemed more consistent and digestible. It is the songs of Monty Python that I keep revisiting. You do not need the sketches/scenes to contextualise the music. The songs stand on their own and elicit plenty of gold. “Weird Al” Yankovic introduced his debut album in 1983, and with it, a plethora of delightful parodies. His talent, as it continues today, is to take famous songs and provide a comedic take on them – the likes of Madonna, Michael Jackson and The Kinks were all in the firing line. Off the Deep End (the cover was a spoof take on Nirvana’s Nevermind) had plenty of great moments and gained a lot of respect from critics – even if some weren’t overly-kind at the time.

IN THIS PHOTO: "Weird Al" Yankovic

The best of the bunch, when it comes to comedic music, is Flight of the Conchords. They say, as it is told, they’re New Zealand’s 'fourth-best Folk parody group'. Dubbed, without much competition one would think, New Zealand’s best novelty group – it consists comic writers/actors Brett McKenzie and Jermaine Clement. They started their Folk incarnation in the late-1990s and, since, have gained celebrity status. The duo started on BBC radio in a series that was largely improvised – their search for fame in London. The bumbling, ever-hopeful Kiwis came to the airwaves in 2004 before (the show/concept) Flight of the Conchords transitioned to T.V. in 2007. The HBO series was similar to the radio show: the duo was in New York (rather than London) but everything else was the same. Rhys Darby played the band’s hapless manager, Murray. Episodes revolved around the duo trying to get gigs – having to take demeaning, mundane jobs to exist in the city – and, inevitably, failing – often having to play really crappy venues and spots. It is quite tragic in places but elevated by some incredible writing and consistently charming performances. It is the music that, no surprise, makes the show. Flight of the Conchords is not a vehicle for two comedians to ‘try their hand at music’. McKenzie and Clement are skilful musicians and singers in their own right: it provided the show some authenticity and naturalness. The duo’s eponymous album, and their finest achievement, is a collection of the songs used during the first series of Flight of the Conchords. Many of the songs were written years before – starting on the radio show, in fact. Because of that; they are honed, chiselled and perfectly delivered. Like Monty Python: one does not need to be familiar with the T.V. show to understand the songs and find them appealing. The best songs from the album – Business Time, Inner City Pressure; Ladies of the World and The Most Beautiful Girl (In the Room) – demand repeated listens and are among the funniest songs you’ll hear.

IN THIS PHOTO: Flight of the Conchords

The guys’ second album, I Told You I Was Freaky, was released after the second series and, because of the short time between series and demand to write new songs, the quality is not as prevalent as the debut. The debut resonates because the songs had years to gestate. The sophomore album, that said, has some great moments and shows huge musical depth. Carol Brown parodies Paul Simon’s 50 Ways to Leave Your Lover but has gorgeous (female) choirs; some beautiful finger-picking and a stunning melody. Too Many Dicks (On the Dance Floor) a club banger in the style of Black Eyed Peas – where the guys examine the male-female ratio in the club; the fact there is too many dudes present. Sugarlumps, as title suggests, is a spoof of, again, Black Eyed Peas – and their song, My Humps. Even trashy Dance-style songs are elevated to something magnificent by the New Zealand duo. On their eponymous debut; you bond with the music as easily as the lyrics themselves. Inner City Pressure knowledgeable and respectful plays with West End Girls (Pet Shop Boys); Boom, a take on Shaggy’s Dancehall songs; Business Time, a cross between Barry White and Prince, oddly. Let’s hope, as has been rumoured, there is a Flight of the Conchords film. The boys are busy with other acting work but have had time to craft some new tracks. I feel there is a genuine vacuum that needs to be filled. Of course, ‘comedy’ songs will never rival more-serious tracks – in terms of quality and mass appeal – but, as shown, there are artists who sprinkle humour alongside emotion and vulnerability. I feel we all need a bit of cheer and uplift right now. Conventional music is a bit hit-and-miss when it comes to delivering mirth and chuckle. As I spin Inner City Pressure - once more, for the road! - and Clement’s woes: “The manager, Bevan, starts to abuse me/Hey man, I just want some Muesli!”; McKenzie’s spot-on observations: “No one cares, no one sympathises/You just stay home and play synthesisers” – it has lifted my mood and, consequently, my outlook on the day. Not all comedic songs do that but, in the case of the Kiwi Folk legends, songs like that…

DO the job pretty well!

TRACK REVIEW: Noga Erez - Noisy

TRACK REVIEW:

 

Noga Erez

 

 

 Noisy

9.4/10

Noisy is available at:

https://www.youtube.com/watch?v=gzWZgc2NvrU&feature=youtu.be

GENRE:

Electro-Pop

ORIGIN:

Tel Aviv, Israel

Written & Composed by: Noga Erez, Ori Rousso and Matan Spenser
Produced, Arranged and Mixed by: Ori Rousso & Noga Erez
Production: Poly Creative
Directed & filmed: Hen Makhluf
Editor: Guy Landshaft
Producer: Ayala Drori
Choreography: Gal Gold
Dancers: Gal Gold, Hila Pilo, Shani Ben David, Mor Adelle Nahum.
Animation: Danna Grace Windsor
Styling: Chumi Polak
Hair & M.U: Ronelle Goshen
Hair & M.U. assistant: Sapir Esgav
D.o.P. assistant: Ilay Mevorach
Lighting: Noam Huber
Grip: Denis Nikolaev
Production Assistant & Stills: Arye Tzion
Sfx: Ori Rousso
Vfx: Hen Makhluf & Guy

The album, Off the Radar, is available at:

https://nogaerez.bandcamp.com/album/off-the-radar

______

I am getting all international with my reviews…

PHOTO CREDIT: Sasha Prilutsky

at the moment. Yesterday, I reviewed a Serbian-born artist: next week, I have a New York-based Opera singer and an Australian musician on the agenda. Next weekend is about the boys: this week I am dedicating to the girls. Not just any girl in this case – Noga Erez is one of those rising stars who is, it seems, too big for the likes of me. I feel a sense of responsibility reviewing someone who is practically at the mainstream. Regardless, I am compelled to look at a fantastic female artist who seems primed for worldwide stardom. Before I look at her, I want to investigate critical reaction and the importance of accruing terrific reviews; Israel and Tel Aviv’s music scene; making videos that stick in the mind; making music that unites different people; key inspirations and fusing them together – looking at international artists who cement a reputation in the U.K. Noga Erez is someone who, despite being in music a relatively short time, has a catalogue of reviews most decades-established artists would be envious of. She has caught the ear of The Observer – labelling her “Israel’s most defiant star” – and Sunday Times Culture – who see her as too fierce to be labelled. DIY and Wonderland tip her for long-term success – and support the notion she is fearless – and Quiet & Loud, referencing her videos, feel the combination of music and visuals is hard to beat. It might sound dangerous bringing other reviewers in but it is important to see how far and wide Erez’s music has resonated. Here, she is being taken to heart and seen as one of the best young musicians around. I am interesting seeing how various critics view an artist and what their interpretation is. It might seem risky, being a journalist, bringing others in – maybe distracting from my own review – but, in Erez’s case, there seems to be a consensus. I am stunned by the fearlessness of the Israeli artist. She seems to have no limitations and approaches music with a verve and bravery few others possess. The critics have been out in force and paying tribute to a musician that is in a league of her own. Erez does not play with convention and projects music meaningful to her. So many young artists are determined to fit into the mainstream or wary if pushing themselves out of the blocks.

PHOTO CREDIT: Timo Kerber / Photography

There is that desire to have some conventional sound – so they do not alienate themselves from the pack – and attract reviewers and fans in. As we can see, when it comes to Erez’s reviews, that distinct and bold approach to music has garnered her fabulous feedback. I see a lot of artists get incredible reviews but they are reluctant to share them with people. It is not boastful and arrogant putting them out there. In the case of Erez – I got the information from her P.R. company – she has some of the most impressive reviews I have seen for any artist. That shows she is doing something right and creating music that seems immune to criticism. What I like about the reviews is the variation and diversity of the sources. She is not an artist who appeals to a certain sector/genre. Her Electro-Pop blends are open and versatile enough they appeal to every type of music lover. For a new artist, the desire is to get into the critical mindset and get some positive impressions. Naturally, social media feedback is key; comments on YouTube can be constructive but the journalists are the ones who can make or break an artist – impressing them is quite important. Of course, Erez does not make music solely for critics. She is a singular talent creating music for her fans but, reading that impassioned list of reviews, it must give Erez heart and determination. There are some big newspapers/sites on that list which she should wear with pride. One can underestimate the relevance of mainstream/press positivity but it is very important. I will try and add my own spin to Erez’s music and try to pen some unique thoughts. Many have highlighted her brave and experimental approach; the way she mingles stunning visuals with bracing music – a wonderful young star who has the makings of a future legend.

It has been a little while since I have been to Israel for my reviews. ADI was the last artist I reviewed from the country. There are a fair few who might be unfamiliar with Israel and assume its music scene is quite bare. In terms of historic acts; one has plenty of options. Hadorbanim was an Israeli Disco/Pop/Funk/Rock band who was famed for their howling guitars and spectacular instrumental blends – they even employed a philharmonic orchestra to create some of their songs. They split in 1999 but left the world with three incredible albums. Zohar Argov, considered the king of Mizrahi music, is one of Israel’s most popular talents. Lazer Lloyd was born in New York but spent the majority of his career in Israel. Taught by musicians like Milt Hinton and Randy Brecker; Lloyd’s melting of religion and music was won him many fans. Rockfour, still going, are a Psychedelic-Rock band who writes in English. Influenced by The Beatles and The Who – among others – they are one of Israel’s biggest acts. There are some other legendary artists but it is the new breed that interests me. I have already mentioned ADI. She is a Future-Beats talent who has gained a huge following around the world. She is certainly one of Tel Aviv’s biggest exports – even though she remains there - and is someone to watch carefully. Erez is based in a nation that should not be ignored when it comes to new music. The local press has been a bit quiet for the last couple of years (in Israel) but, they have suggested some terrific names. Tamar Eisenman is a guitar-singer who produces her own work and has a long list of fantastic songs. Hit Me is, perhaps, her biggest track but has plenty of incredible songs to her name. She is based out of Jerusalem and sings in English and Hebrew. Tiny Fingers are the Post-Rock/Electronic groove band who have forged a name for themselves in Israel, the U.S. and Europe. The quartet provides soundscapes – some lasting forty-five minutes – that enchant the listener and has impressed critics. Ethiopian-Israeli singer-songwriter Ester Rada has progressed well the last couple of years and brings a unique blend of Ethio-Jazz and R&B to the adoring public.

Noga Erez is, in my view, the finest artist coming out of Tel Aviv – I shall talk more about the city in a minute. It is unsurprising she is so driven and productive right now. If one looks at some of the more modern artists she is surrounded by; there is enough to suggest Israel is one of the most fertile and fascinating nations for music. Lola Marsh is a band most have heard of. The synchronised harmonies and stunning songs have resounded around the world. They formed in 2013 (in Tel Aviv) and started as a duo – Yael Shoshana Cohen and Gil Landau; they are now a quintet. Sirens, their biggest hit, gained one-million streams on Spotify and has appeared on American T.V. Hoodna Orchestra is an ensemble from Tel Aviv who have free-flowing Afrobeat at their disposal; Middle Eastern flavours and dancefloor-filing rhythms. They are a hugely sought-after live act and make the feet move – gig-goers are helpless to resist the power and prowess of the beats. The band formed in 2012 and released their debut album in 2015 – last year was hugely successful and they are making big moves this year. Vocalist/songwriter Gal De Paz has been labelled ‘Israel’s Janis Joplin’ and is the leader of Rock band, The Paz Band. A fantastic group who have the potential to evolve from local roots and make an impression in other nations; Tigris see themselves as an ‘Afrodelic Power-Pop’ band but, in truth, are a crazy-catchy band that brings together a plethora of styles. They source from Ethiopia and West Africa; Caribbean splashes of the 1970s and contemporary Rock and Electronic. On Shoulder of Giants is an eight-member collective who have a background in Punk, Metal and Jazz. They provide a huge explosion of sounds and colours: one of the most astonishing live acts in Israel and ones to watch. This seems like a length diversion but it shows the type of acts playing in Israel. Noga Erez hails from a city that, not only has a vibrant and consistent music scene, but some of the best venues around.

Barby – down in Derech Kibbutz Galiot 52 – is one of the most reputable Indie-Rock venues in the city. Thurston Moore and Blonde Redhead have played there – a terrific space for upcoming acts and legendary groups.  Zappa Club has outposts in Jerusalem and Haifa that has seen the likes of Hadag Nachasha and Animal Collective play. It is situated away from the hurly-burly of the inner-city (up in the north of Tel Aviv) and perfect if you want some quiet (comparatively) and a wonderful spread of music. Park Hayarkon has hosted some legends in the past – Michael Jackson and The Rolling Stones – and contemporary figures such as Rihanna. Radio EPGB has graffiti-painted inner décor and replicates the flair and looks of New York’s CBGB and brings together well-known artists with the best of the new breed. The Tel Aviv nightlife is bustling with funky beats, renowned D.J.s and bands that set alight the live scene. One can enjoy a film down at Lev or the Cinematheque or enjoy the fantastic history and beauty of the city. It is the live music – from Jazz jams to multi-genre festivals – that sets Tel Aviv apart. Small wonder Noga Erez has taken so much from Tel Aviv and creates such spectacular and immediate sounds. She makes music that unites various different people and has created an enormous amount of affection. It is hard creating music that brings disparate groups together but that is what Erez has done. Maybe it is her range of influences – more on that in a bit – but, I feel, it has something to do with Tel Aviv and the way she works. Certainty, there is something magic in the air (out there) but, as a musician, she tackles songwriting in a different way. There is that fearlessness and bold approach that has already stunned critics. The sounds are never overly-marketable but have that tangibility – keen not to push the listener away with anything too strange and odd. What strikes me about Erez is her blend of Israeli sounds and U.K./U.S. influences. It is obvious her home provides so much impetus and inspiration. From the bustling streets and gorgeous views; that mix of cultures, nationalities and religions – the incredible nightlife and spectacular music that drips from every wall and window.

I shall move on soon but, before then, I wanted to look at something not often mention in music reviews: the music video and how vital that is. Many artists, most, in fact, have to produce them but I wonder how much prominence they are afforded. By that, I am concerned many see it as an inevitable stage of marketing: not expending too much effort and imagination with their videos. It is understandable, to a degree. It is exhausting taking care of all parts of music and it can be difficult finding a budget to create a video that is ‘sufficient’ and impressive. That said; one can produce a video that captures the mind and remains in the memory. I am really interested in the music video and what artists can come up with. It is the chance to do something fantastic and get involved in filmmaking. Look back through the years and all those music videos we love and cherish. For me, I remember those videos that stray from the ordinary and take a lot of skill. I have admiration for simplicity but, thinking about directors like Michel Gondry: his videos are some of the most enduring of all time. The French director has just created a film, Détour, shot entirely on the iPhone 7 Plus. It is worth watching this because; it shows what an imagination and low budget can lead to. Of course, Gondry is famed for his stylish and magical videos – ones that skew visuals and mess with the mind. It is Hard to summarise and define but you need to look at his back catalogue and impressive C.V. Looking at Erez and one gets a similar sense of amazement and originality. Off the Radar, her previous song, was met with acclaim. Not only because of the phenomenal sound but its arresting visuals. "The video takes place at a bizarre sports event where all the participants are weird and eccentric creatures,” says Erez. “We wanted to create a world that shows characters who are trapped in a loop of trying to prove themselves. The judges of this contest are faceless. They express their approval by their moving hands, though you can't really tell whether they like or dislike the performances. It's a very festive looking, yet very alienated world". 

PHOTO CREDIT: @juliadrummond

Directors Eden Kalif and Daniella Meroz add that it “deals with the concept of being judged, and the perceived necessity of having to meet the expectations of others. The characters perform in a ‘competition’ that has no real ending or winner, just like we feel when we put ourselves deep in the race of life”. It is small wonder the video got such a reaction and acclaim when it was unveiled to the world. New track, Noisy, provides a similar treat for the senses. It is a remarkable promotional video that emanates from an artist fascinated by visuals and their power. What I love about Noga Erez is the way she mixes the surreal with fantastical. There are dancers and strange figures; mind-melting, drug-infused trippiness and all manner of incredible scenes. For Noisy; it is more conventional but no less striking. There are dancers and attacks; a confidence that reminds me of Beyoncé and M.I.A. In fact, both artists come to mind when watching the video. Erez, in it, is in command and strutting; she wields a baseball bat and creates a sassiness and vitality that puts me in mind of those legends. The video is different to her previous work but shows a consistency and sense of creativity few of her peers share. I am amazed by the visuals of Noisy and the way the video gets into the mind. Whilst there have been some YouTube detractors – isn’t it always the way there?! – one cannot deny the way the video makes its presence known and perfectly accompanies the song’s lyrics. The track itself, as I shall expand upon, is brimming with passion, prowess and force. It would be easy to make a video that was needlessly brash – with very little imagination and intelligence – but that is not the case with Noga Erez.

I have mentioned artists like M.I.A. already. That is someone Erez takes inspiration from. Aside from that; Björk is someone who has made a big impression. It is hard to say when these artists came to Erez’s mind but, looking at her background, it is extraordinary the way she came into music. She was born four days before the Gulf War started and there was, it seems, no doubt music would be her vocation. It would have been easy to let the turmoil and instability around her derail her flair and passion for music. That way of escaping – getting inside the music and a safer world – was instrumental in her young life. Growing up on local artists of Tel Aviv and sounds she heard on the radio; that has led to a young artist who combines some inspiration legends and fresh sounds. Of course, she is her own boss and not beholden to any other musicians. She wants to, as she’s said, provide escapism and fun for people – Erez is not naïve and knows what importance music has. Not taking that for granted; the way she blends her influences into her own works is deeply impressive. Working in collaboration with her partner Ori Rousso; there is a cerebral quality and curiosity that is loveable and mind-blowing. Yes, there are elements of M.I.A. and fka Twigs; bit of Frank Ocean and Flying Lotuses – acts she takes guidance from – but the individuality and originality reign large. Erez explains how people come from different backgrounds – and can have different stories – but share the same love of music. There is a singularity that can be born from the compartmentalisation of the human experience. Every musician has influences but I am impressed by the range and quality of the names Erez takes from. Kendrick Lamar and Frank Ocean are two of America’s best; there are shades of Tel Aviv musicians and some British idols too. I have mentioned how sensational Tel Aviv’s sounds and artists have made an impression on the wider world.

 PHOTO CREDIT: @chrisssalmeida

I will come to look at Noisy very soon but, before I come to the song, I want to chat about international artists that manage to transcend from local levels and make a name for themselves in the world market. For Erez, she has worked around Israel and spent her formative years performing at some of the best spots in Tel Aviv. It is easy to remain there and take full advantage of the magnitude and diversity of the live scene. Gaining popularity and acclaim; Erez embraced her wanderlust and has travelled the world. Erez has been busy touring and has many great dates approaching – I shall allude to them in the conclusion. It is always encouraging when artists manage to cement a reputation internationally. Critics and journalists are aware of Israel’s music scene but one wonders how effective their features are. I have mentioned some great artists in Israel but how many other people are aware of the country’s music scene? It seems likely those genuine music lovers know about Israel but you’d be surprised. Too much focus is reserved for the U.S. and U.K. – we do not often explore beyond the obvious and different nations. That has to change because, as I have found, being more adventurous leads to some fantastic discoveries. Israel is hardly a new nation or minor one of that: it is a packed and stunning nation for new music. International artists play there and always take something special away. Erez has gained local acclaim but has seen her music translate throughout the world. The demand is there, and so, she has found herself traversing the globe and taking her music to the masses. I hope that continues because she is one of those artists you feel will be hitting the mainstream very soon. The U.K. is a natural base for her and country that has taken Erez’s music to heart. I hope she spends more time in the country and gets requests from other nations.

PHOTO CREDIT: @Yinon fuchs

The opening seconds of Noisy feature a bit of howl and spectral electronics. The song sort of rushing in from nowhere and catches you off guard. There is no huge compositional arrival but the sound of Erez in the spotlight. Her voice is stern and resonant but has some vulnerability and affection to it. “Hold me/I’m just trying to be good” are intriguing opening sentiments that get the mind working in all sorts of ways. There is that romantic possibility but, also, the potential of rebellion and a free spirit – someone who needs to be held back because there is that temptation to strike and run. It seems it is “all talking” at the moment and the noise is quite distracting. There is the need to shut it all off – that sentiment is repeated for maximum effect – and, whether it is a needless conversation or an explosion of sound, it causes the heroine to flee and take action. In the first stages, there are those tribal/bellicose beats that summon physicality and provoke strutting. The listener engages with a funkiness and swagger of the beats; the sheer sway and entrance of the electronics – the heroine up-front and singing with pride and intent. Soon enough, maybe as an ironic nod to the noise and chatter around her – Erez unleashes a repeated wordless chorus that mimics an electronic beat. It stridulates and vibrates to create the sensation of the head spinning and mind buzzing. It is at this point – building from the tension and stress of the opening –the heroine gets involved and strides into the open. Follow the video and one will see Erez joined by some female cohorts. They step boldly into action – Erez wielding a baseball bat – and seem to be confronting a person. The “poor kid in a wealthy town” does not want sympathy or any sort of dispensation. She does not want problems or troubles but is responding to a situation that is causing her dismay and annoyance.

Perhaps, Erez is responding to the way she views music – all noise and chatter without much substance and meaning. She is in a part of Israel that is quite prosperous but not enjoying the same comforts and privilege of many. The same can be said of somewhere like London: different boroughs that vary in terms of their people and wealth. Erez does not want to be understood but she knows this countdown – perhaps the struggle and time it takes to create a music career – is going to be long. She knows all this and is not naïve. Many come into music and assume things are going to happen instantly. This is not the case here: the heroine is armed for the challenge and ready for the fight. Maybe, there is somewhere who assumes she is ingénue and rather young – not quite ready for what is ahead of her. Instead, she is hungry but has a pragmatic and settled perspective. The lyrics have an oblique quality to them and do not instantly allude to a particular person or subject. One can extrapolate what they want and interpret the words in different ways. In my mind; I got the idea of a young woman who wants a lot of success and accomplishment but is entering music at a difficult time. Her homeland is wonderful and vibrant but she is modest and candid. There are those who try to deter her or build up unrealistic expectations; maybe try and get to her or assume she is someone she is not. Noisy builds throughout and gets more intense as it progresses. A lot of Tel Aviv’s finest and most striking young artists mix electronic sounds and beats with elements of other nations. Like ADI; Erez creates warrior vibes and rumbling percussion; together with African beats and British-American sounds. It is a scintillating concoction that provokes all manner of reactions.

PHOTO CREDIT: Ron Kohen

There is, it seems, contractual obligations and issues in music. Perhaps personal relationships are being assessed but, one hears a young woman who is addressing the struggles and realities of music. There might be some people trying to distract Erez and tell her she can’t make it. That endless noise and chatter is getting to her but she is fighting back and brashly reacting. That sense of confidence and physicality is the biggest impression one gets from Noisy. The song is a mantra and anthem from a young woman who is trying to make her own way in music – she is, it seems, having to confront a lot of naysayers and people that are not on her side. Many artists might take it to heart and let it get them down. Conversely, Erez is reacting with defiance and self-pride. She knows it will be a long road but is prepared for the fight and tough days. Maybe I am misinterpreting the lyrics but that is what I get from the song. It is a track about purity and individuality – voices contradicting and trying to lead her stray – and that battle to remain pure and original. Noisy is a typically strong and exciting cut from Off the Radar. Thinking about that album title, in the context of the song, and it might be about a yearning for anonymity and private. Erez may yearn for time to create music and a life she wants to live. That pressure and expectation is on her: leading to tension and a need to speak out. Whatever the true circumstances of Noisy; it is a passionate and fantastic moment from a young artist who is no short supply of confidence and ability. Her L.P. has fifteen tracks and each sound essential and needed. There is no wastage and indulgence when it comes to Noga Erez. Make sure you check out Noisy – and its incredible video – and fall for a musician who has many more years to come.

Off the Radar is the fifteen-track album from Nora Erez – it is a month old and has been gathering some great reviews. That is no surprise considering the quality and innovation she brings to the songs. Noisy is a terrific and bold track that has caught the imagination and made a big impact with critics around the world. She plays the Melt! Festival, in Germany, on 13th July; she heads to Italy at the end of the month. We will hear her in the U.K. on 5th August – as part of the Visions 2017 festival – and she remains in Europe until November. Well, she gets to go back home but it seems there is a huge amount of love for her over here. I see there are few U.S. dates approaching but that is likely to change. Let’s hope cities like New York and Los Angeles come to their senses and get Erez over there. The U.S. approach has provided her some kind words: there is a big fanbase for her music in America and I know that is only likely to increase. I would be shocked were she to remain quiet in the next few years. Off the Radar is an ironical title: the Israeli singer is very much ON the radar and in the mindset right now. I am confident Erez will transcend to rare heights and, very soon, make it as a mainstream artist. She has the potential and the aptitude to handle the responsibilities. I can appreciate the lure and gravitas of Tel Aviv. It is a marvellous city and one that has created so many great musicians. It would be tempting to remain there but I can see Erez relocating to somewhere like the U.S. I know there are opportunities in Israel but, the bigger she becomes, the harder it might be sustaining a career there. The U.S. and U.K. are stocked and capacious enough to accommodate her ambitions and demands. Maybe I am wrong but it would be nice, selfishly, if she moved to London.

I will bring the review down but, before I do, a quick recap concerning some of the points I raised earlier. I want to look back at Israel and Tel Aviv; music videos and creating memorable visuals; bringing influences into your music and why it is important to get under the critical skin. As I said earlier; I have not reviewed an Israeli artist for a while – ADI was on these pages a few months back. How many of us ‘get away’ from the U.K. and investigate musicians from other parts of the globe?! I think we are too restricted and have little time seeing what other nations are producing. Many countries are a bit threadbare when it comes to impressive music. That is not the case with Israel: one of those nations that consistently pumps out tremendous and promising musicians. There are some incredible live venues there and a great atmosphere. The people are warm and friendly; the history of places like Tel Aviv eye-catching and wondrous. I have never been there but must make time to visit the nation. I can see why Tel Aviv is so special to Erez. She is surrounded by myriad sounds – African and Middle Eastern elements; Western influence and all styles – and every genre you can think of. I have mentioned a few Israeli artists that are worth time and appreciation. It is a wonderful nation and one that deserves a lot more time. Noga Erez is one of the biggest exports of Israel and shows the inventiveness and quality of the music emanating from there. I am fascinated by the music videos Noga Erez produces. They are always staggering and skilful. I love Noisy’s video as it is one that differs from previous work but is no less bold and imaginative. Many artists struggle to create enduring music videos and one wonders whether that is an issue with the budget. Noisy is a track/video that does not need a lot of money to make sure it sticks in the mind.

PHOTO CREDIT: Sasha Prilutsky

I am fascinated by music videos and why various musicians chose to create the films they do. The classic videos are notable for a number of different reasons. I have mentioned Michel Gondry already. He is someone who pushes the limits of the mind and can summon something profound and mind-blowing with little budget. Other directors, like Chris Cunningham, are noted for their darker and more disturbing videos – although he has a great emotional range and should not be pigeonholed. Whatever you look for in a music video; there are plenty of options out there. Noga Erez is an artist who grew up at a time when great artists like Björk were hitting their stride. She is someone I hear a lot of in Erez. That same quirkiness and genre-fusing ability. There are elements of M.I.A. in Erez; older artists and legends from the 1970s – plenty of modern artists, local and international, that go into a terrific melting pot. There are few that have such a variegated, vibrant and fulsome set of influences as Erez. It is clear music was a huge role model in her early life. Being born after the turmoil of the Gulf War; the distraction and escapism of music was vital. Erez writes music that helps others escape so that must stem from her childhood. I engaged myself in music from a young age but did not have the same upbringing and circumstances as Erez. I am impressed by the way she can unite disparate sounds and make it sound original and fresh. I will bring this to a close but want to return to that opening point about critical acclaim and how important that is. If some YouTube commentators have been less-than-positive regarding Erez: the critics have been fairer and seen the true potential of her music. There are few as immediate, impactful and urgent as Erez. I know there are artists who take from M.I.A. and acts like that – able to summon the same sort of command and physicality. There is something special about Noga Erez that means her music (and visuals) get into the brain and compel you to follow her career. That career is getting stronger and more impressive by the release. Off the Radar is an album that announces her potential and key strengths. The critics have already shown their affection and, given the fact the album is so affecting, that praise is going to increase. Noisy is a typical cut that proves Tel Aviv’s Noga Erez is…

PHOTO CREDIT: Ori Rousso

AS exciting as they come.

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Follow Noga Erez

 Official:

http://nogaerez.com/

Twitter:

https://twitter.com/nogaerez

Facebook:

https://www.facebook.com/NogaErezMusic/

Instagram:

https://www.instagram.com/nogaerez/

SoundCloud:

https://soundcloud.com/nogerz26

YouTube:

https://www.youtube.com/nogaerezmusic

FEATURE: Pride: In the Name of…

FEATURE:

 

Pride:

 

 In the Name of…

________

IT is hard to believe it has been fifty years since…

PHOTO CREDIT: Katy Blackwood

homosexuality was decimalised. In fact, scrub that - quite an odd opening line, that one! What I mean is it is baffling homosexuality was ever illegal to begin with. I am glad we are in more civilised times and people are coming together to celebrate that anniversary. London has been lit up but a festival of colour and love: the two-day Pride festival has got underway in emphatic style! The event, in fact, started late last month but the major events have taken place today. Tomorrow is the final day of Pride: a chance for people to take to the capital’s streets and show their support. You can look at the official website and keep abreast of all the happenings. I have a musician friend who is involved with a charity single – all proceeds go to Pride in London. You can access it here - because, not only it is a fantastic song, but one that generates awareness and vital funds. If the past few months have taught us anything is how strong we are together. There have been events and tragedies that could have dragged us down and divided the nation. Instead, against the tide of fear and uncertainty, has been a relentless campaign of unity and positivity. We are a nation peerless when it comes to unifying and battling things/people who try and forge cracks. Right now, London is still buzzing from a day of music, marches and events. The people have come out in droves and, through performances, discussions and socialising, raised awareness of the L.G.B.T.Q. movement and marked a very special day. I know there is oppression and discrimination still – one wonders whether the L.G.B.T.Q. community will ever be truly accepted – but we have progressed from those dark days of the 1960s – when one could be arrested and imprisoned for expressing their human right: to love whoever they want.

Tomorrow will be an important and memorable day. The final chance, this year, to show your support and, quite literally, your colours. It is heartening seeing the thousands painted and daubed with variegation and vividness. The smiles have been on faces and a mystic cheer in the air. It is rare to see that happen in London – making it a shame things have to end – but it is just what the people need. Lest we forget those who fought for years to legalise homosexuality in this country. It was a long and hard fight but, fifty years down the line, we can remember them and know their struggle was not in vain. I know musicians who are homosexual and, even in 2017, there is that feeling they are not as accepted and comfortable as they’d like to me – a certain stigma still attached to having a lifestyle many feel it ‘strange’. Love of all types is beautiful so, God knows why, homosexuality was ever seen as sinful, immoral or wrong. I suppose those sort of narrow-minded people were a product of the times they lived in – generations who knew no different and were brought up to believe scurrilous ‘facts’. Those in the L.G.B.T.Q. community are among the warmest and most loving people you’ll ever meet: denying them a fundamental right, as I said, is criminal in itself. That is why this weekend – and today especially – have been so important. Most of the year, many do not see the realities of being homosexual. Many people are judged, sneered at and made to feel like second-class citizens – simply because their sexual orientation does not fit in with what is seen as ‘normal’. Even, in 2017, we are seeing some disturbing and prehistoric ideologies rearing their foul head. One hopes festivals like Pride make people think twice and makes real changes. We have come a long way in the past five decades but there is still work to be done. Like women in music; many musicians of the L.G.B.T.Q. community are afflicted with stigma and anxiety. It is not right but I am confident effective progressions are being felt. In honour of Pride – and marking the end of a rather special day – I have collated a playlist of, I think, the biggest ‘gay anthems’ and Pride-appropriate songs from across the ages.

Enjoy…

INTERVIEW: Hero Fisher

INTERVIEW:

 

Hero Fisher

_______

EVER since she put out her first song, it seems, there has been…

PHOTO CREDIT: @saulwodak

a huge wave of affection and respect for Hero Fisher. The video for new single, Sylvie, has a low-cost horror feel – sort of like The Blair Witch Project. It is a fascinatingly eerie video – one that accompanies a song that is tender and emotive. I ask the French-raised, British-based artist about the song and what we can expect from the album, Glue Moon. It follows her hugely impressive debut, Delivery, and marks her as one of the finest songwriters we have in this country.

This notion is backed by the likes of The Horrors and Blur – both of whom were blown away by her debut album. She has collaborated with Boy George and opened for, among others, The Rolling Stones and Neil Young; garnered huge support and is tipped as a mainstream star of the future. Her protean, filmic music is matched by fiery and emphatic vocals – one is reminded of PJ Harvey and Patti Smith.

I ask her about influences and the albums she treasures; what gigs she has coming up and whether there are any big collaborations/surprises coming up.

_______

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

Hi! I’m good, thanks.

My week has been full of good things since Sylvie has been released - I’m very happy to finally get some new stuff out into the world.

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

I’m a musician, singer and songwriter. I mainly play the guitar and piano. I’m British but grew up in France - with Australian parents.

I released my first album, Delivery, in 2015 and will be releasing singles from my second album throughout this year.

The full album, Glue Moon, will come out early next year.

Tell me a bit about Sylvie and what the track is all about. How did that song come together?

Sylvie was inspired by a character from the book, Housekeeping, by Marilynne Robinson.

She’s a strange drifter who speaks of a ghost-town hidden in the woods by the lake - a place once full of life now almost gone. There are traces of houses left and she says that if you stand still and quiet, ghost children will come out of hiding.

The song, Sylvie, was written from the perspective of the ghost children.

(You asked!)

What was the video like to shoot? You edited and directed it, too. Was that quite a challenge to do or something you were determined to do?

We shot it up in the Lake District - a place I wasn’t familiar with. It’s very beautiful up there: it’s like something out of a fairy tale. There were only three of us so it was pretty makeshift - we just thought we’d go and film a load of stuff and see what looked good.

I spent some hours in the freezing rain that day and was really sick for the rest of our stay - which was a challenge.

Editing was the hard bit, as I’m just learning how to do that, but I’m very determined to be as hands-on as I possibly can be - on the visual side of things.

I just finished editing my next single, Push the Boat Out.

In the video, there is juxtaposition between the song’s haunting (beautiful) tones and a visual eeriness. Was it instinctual to make the video this way and were any films influential in terms of the storyline/direction?

A lot of the songs on this album are written with a particular place in mind: it's the wee hours by a lake under a big pale, green moon. The eeriness in the video comes from imagining this place for so long that it came through pretty organically.

Also, the album is more low-fi than the first - and I wanted the visuals to have more a homemade feel about them. So, anything with older film colours (like Kodachrome or graininess) seem to fit this album.

Sylvie has made its way onto Spotify’s Indie Songs for Slackers. Were you quite chuffed hearing that?

I was super-chuffed about Sylvie making Spotify’s Indie Songs for Slackers playlist!

Glue Moon is your sophomore album. What can you tell us about the record and how does it differ from the debut – in terms of style and song themes?

There’s a haziness/dreamlike quality to the general atmosphere of this album.

It feels a bit otherworldly and very colourful. It still has a melancholic feel, in keeping with most of my work, but I think there's a lightness and a sense of relief that comes through on this album.

You were born in Britain but raised in France – now back in London. How the music scenes in Britain and France differ? Any plans returning to France or playing some gigs there?

I only played in bars in Paris - never bigger venues; so I can't compare them, really.

I wasn't as extroverted with my songs back when I was living there. But now, I'd absolutely love a chance to play at L'Olympia or the Grand Rex (or La Cigale)!

So far, you have won fandom from Blur and opened for Neil Young; collaborate with Boy George and win praise from huge stars. Does it all feel like a dream or has that kind of patronage made you a more confident artist?

Meeting other bigger artists is a great motivator and reminder that making music for a living is actually possible.

That such amazing people are so supportive feels great.

PHOTO CREDIT: @julian_broad_studio

Any collaborations or big surprises coming up? What do you have planned for the next few months?

I've only been collaborating with close mates recently - but, I've been dabbling in writing for other artists as well.

I'm definitely more open to the idea of collaboration now that I've written two albums of my own.  

In terms of touring; where can we come see you play?

We’ll be announcing shows very soon. Keep an eye on my Facebook page

Who are the songwriters and musicians you emulate or take guidance from? What kind of music did you grow up listening to?

The two people I look to when in doubt are Bob Dylan and PJ Harvey.  I admire them both so much...also:

Jeff Buckley

Billie Holliday

Thom Yorke

Nick Cave

Are there any new artists you recommend we check out?

I’m really loving Chelsea Wolfe at the moment.

Also, Trixie Whitley and Nils Frahm.

I’ve also discovered a lovely singer from the 1950s called Connie Coverse, recently…

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

Nick Cave’s Skeleton Tree AND Push the Sky Away

I can’t pick a favourite between them. There’s a delicate, spontaneous feel to both these albums that is so touching - I love these albums so much.

Astral Weeks by Van Morrison

Because, it makes me really happy and reminds me of being a kid.

Blood on the Tracks by Bob Dylan

Because, discovering it, was a massive turning-point for me in how I looked at songs and how I wrote songs from then on.  

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

Don't over-think things.

Everybody else feels like they’re winging it, too.

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).

We No Who U R by Nick Cave

_____

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TRACK REVIEW: NÝNA - Faces

TRACK REVIEW:

 

NÝNA

 

 

 Faces

9.5/10

 Faces is available at:

https://www.youtube.com/watch?v=o-q8L7tCT-c

GENRES:

Electro-Pop

PRODUCERS:

NÝNA; Shemzy

ORIGIN:

London, U.K.

______

BEFORE I come to NÝNA and looking at…

her music; I want to have a bit of a rant. In fact, that is not fair: it is more a series of points but, before the more light-hearted ones, a note to artists. I am getting a lot of requests for interviews and reviews – which is always good – but so many artists are naively assuming they do not have to do a lot their end. What I mean by that is taking little care getting images put online. It seems like my favourite subject, I know, but the problem is not easing. Even me, who does not get interviewed or featured, is capable of putting a series of images online. If I fancied it; I could hire a local photographer and get a couple of dozen good images put online. It might be a simple concept or a more elaborate set: whatever the design; it would give reviewers and interviewers options. That way, they could take their pick of the photos and produce something visually-pleasing. For me, and the way I write, there are a lot of paragraphs – as one will see – so I do require a bare-minimum. I am finding artists with one or two photos come to me for reviews. Even my interviews require seven images so it is no good approaching me if you are not prepared. If I, as a journalist, has to conform to a certain standard – an official website and being prolific – then artists need to get up to scratch. It does not take a lot of effort (or money) to get photos online so why are so many not doing this?! This does, actually, neatly bring me to NÝNA who, pleasingly, is prepared for music and the demands journalists might place on her. Her social media is fulsome and clear; she has lots of photos and ensures she keeps her fans updated. This is the first point I want to explore but, after this, look at artists born outside London – who come to the capital – and honesty in music; female artists and issues that have been swirling; transitioning from covers and building a fanbase – ending with a little on influences and how that can contribute to a unique sound.

Let us consider my first point and how instrumental and important it is being visible and revealing. I am not saying artists need to uncover their soul and put everything out there. In fact, holding a certain amount back allows the listener to interpret and guess. The most annoying parts of my role is having to do the work for artists. Many do not put their social media links together – or feel it necessary to have a Twitter account – and there are loads that have crummy images – or do not keep them updated. I know there is a lot to think about if you’re a musician but your career will only endure if you consider every aspect and do not get complacent. I have had to turn people away because they do not have images online. It is sad but visuals are just as important as the music itself. It is no good assuming, if you have a great song, that will be enough and journalists will be happy with that. For me, I need images, otherwise there are lots of gaps and will not be able to put the article up. NÝNA is not someone who takes music lightly and ensures she keeps her sites updated. One gets some great images and lots of information; background about her music and some great details. I shall leave this point here but want to urge all artists to take more time to get photos online and take more care in regards their social media. If I have to go scrabbling for details and links – searching online for their SoundCloud and Twitter sites – it puts me in a bad mood and makes me less likely to feature them in the future. The competitive nature of modern music means those who are insufficient or lacking will find their careers relatively short-lived. Journalism today relies on a certain visual aspect so one needs to be appreciative of that. It seems like I am opening on a rant but it is a genuine concern and observation. NÝNA gets what I am saying and, seeing her social media pages, and there are so many positives one can take away from it.

NÝNA was born in Serbia but has been in the U.K. for a long time now. I am always interested in artists born overseas – that come over here to make a bid of their careers. For NÝNA, she has taken, from her birthplace, a lot of education, memories and experiences. It is understandable she would have moved from Serbia because, compared to the U.K., the music scene is quite sparse. That said, Serbia is not a nation that should be overlooked. It is the southeast of Europe’s Balkan Peninsula with northern plateaus and mountainous ski resorts. Its capital is bedecked with Communist-era architecture and is a beautiful area. One can enjoy opera and ballet at the Norodno Pozorište and is worth a visit, for sure. The country is renowned for its opera and ballet so, if you are inclined, there are ample options in Serbia. Move away from that and there are enough venues for those who prefer their music a little more mainstream. If you visit Čorba Kafe, one will, most likely, be drenched in sweat and have an ‘evocative’ evening. It is a small space but one renowned for its energetic performances and range of genres – from ‘70s music to Metal and Pop. If you are not in the mood, Belgrade’s Vox Blues Club is a more relaxed and sedate environment. It is a magnificent club that welcomes international and local acts – patrons are invited to join in the jams. Bitef Art Café is a wonderful mixture of sounds and styles. Here, one can enjoy World and Classic music – in addition to Rock and Soul. In the summer months, Bitef move their music to the Kalemegdan Fortress. Kombank Arena is a natural stopping-off venue for international acts visiting Serbia; Kolarac University Concert Hall is home to the Belgrade Philharmonic and welcomes all manner of Classic artists. There are few notable Serbian bands but the improvised Noise-Rock of Klopka Za Pionira and Činč - consisting Đorđe Ilić and Luka Stanisavljević – are two notable acts from the country.

It might not seem there is much to discuss about Serbia but there are some stunning venues in the country. It is a great place to visit – the architecture, heritage and mix of people – but it has a rich and diverse music scene. Those terrific spaces – intimate and packed Rock clubs to concert halls – are the envy of most nations; so many international acts have come to Serbia to perform. I can understand why NÝNA wanted to move because, here, we have a larger music economy and better opportunities. That said, she has brought quite a lot from Serbia. Her roots have not left her, so, one gets that Classic influences and balletic/operatic side. It would have been hard to avoid the culture of Serbia when she was growing up. That was, as I will explain, taken to heart at a young age – where she bonded with the piano and a more sophisticated, romantic style of music. That all goes into her current single but, one feels, a British influence has mingled with Serbia. One gets the Classic strands of the nation but I hear Pop and Soul of Britain. It is a fascinating mix and one that marks her for big things. I can appreciate why so many artists would want to come and live in the U.K. – London, especially. It is great hearing such a mixed and interesting group of musicians reside here. Were we to see only British acts reside in the capital; it would make the music homogenised and restrict so much potential. All the big music hubs of the country – Manchester and Glasgow, for instance – welcome musicians from all around the world. Here, in the capital, there are huge venues and so many smaller spots: the artist has so many options and a large and supportive community around them. Let’s hope NÝNA remains her for many more years – as she is someone who seems at home in London and excited to see what the city offers her.

I will come to look at NÝNA’s upbringing, to an extent, but, before then, wanted to talk about honesty. I, myself, am not always that honest and can find it quite difficult. One holds back certain truths and seems to mask their true feelings. For me, I have been concealing quite a lot of pain and doubts – through fear it would alienate me from people and make me more vulnerable. The same is true when it comes to romantic anxieties: harbouring feelings for a certain girl but holding it back to, in my mind, save a friendship from being sacrificed. I guess life, to a degree, is a series of tough mistakes and inevitable frustrations. In my mind, I feel I need to be a certain way as not to offend or keep a certain reputation. It means, a lot of times, I am less happy but go without things like love and affection. Maybe I am doing things the wrong way but feel there are issues when one is too honest – it does not always work out the way you wish. In music, there are problems inherent with being too open and transparent. It is, therefore, always impressive seeing a young artist come through who is willing to bare their soul. NÝNA, on Faces, is not one to hold back. She has encountered a lot and, like us all, had to make hard decisions. Maybe, as I will examine when reviewing the song, she has had to conceal her true feelings or disclose less than she’d hope. What I get from her music is honesty and compassion. It serves as an important lesson for us all: if we are too guarded and hesitant; it means chances will pass by and we might end up hurting ourselves. I guess it is hard striking a balance that means we do not keep too many secrets – at the same time, one has to open themselves up here and there. In musical terms, the greatest ‘honesty’ comes when talking about relationships. This seems to be the number one source of therapy and revelation. I hear so many love songs and, for the most part, they are not exactly censorship and redacted. All the dirty laundry hangs out; the intimate details are published and the artist is keen to have their say. Sometimes, this can come across crass and unwise. There are few who are honest when talking about their problems and true feelings. When one is jilted or heartbroken; there are fewer inhibitions and reasons to remain anonymous. If we look inside ourselves, and address doubts, depression and feelings, it can be a lot harder to do. NÝNA is an artist unafraid to talk about herself – in addition to romantic encounters. That serves as inspiration to other musicians who might feel exposed and vulnerable. One can get that balance right and, as one hears on Faces, it leads to extraordinary music.

I shall talk about NÝNA’s rise through the ranks but, before then, I want to talk about ugliness. Not in relation to NÝNA, obviously – she is incredibly beautiful and a very striking young woman – but that, in a sense, creates its own issues. We have all seen occasions, recently, of certain artists perpetrating toxic misogyny and unashamed sexism. In the most-recent occurrence, it was a member of The Dickies – a Punk-Rock band – who have been shamed. It is not an issue that seems confined to genre and nation. A few acts, over the past few months, have been in the news for the wrong reasons. I am getting tired of seeing male artists show such demeaning attitudes to women. One sees this and wonders how ingrained and widespread this ill is. Look at the music industry – make attitudes towards female artists – and there is that undeniable sexism. If we allow our male musicians to spew such old-fashioned and discriminatory attitudes – what does that say about the music industry and the way it treats women?! I worry people like NÝNA will encounter this prejudice in the future. I am not suggesting EVERY male artist is sexist but we are seeing more and more artists not thinking before opening their mouths. What is the solution to this Stone Age practice?! We can ban culpable artists from performing and fine them. That would send a severe message to anyone who thinks it is acceptable to promote their twisted and misogynistic agendas. I am concerned how indoctrinated and unmonitored this problem is. NÝNA is a superb and original artist but I have worries when she becomes big and steps out into the wider world. Maybe she will be afforded fewer opportunities – compared to her male peers – and face the kind of provocation that was displayed at the recent Dickies gig. We definitely need to patrol and police those musicians who feel it is okay to treat women as second-class citizens. I shall come back to this in the conclusion but wanted to take to task the male artists who have shamed music. I know NÝNA is a strong artist who is surrounded by loving people but, when she performs more widely, will see have to face these upsetting and shocking scenes?! Let’s hope not but there is always that concern – considering the regularity and severity of these type of events.

Let us talk about NÝNA and her route into music. Right now, she has Faces out, and that comes complete with a fantastic video and great production values – she has linked with Shemzy who brings extreme confidence and a unique touch to the song. This is the first point I want to explore but, after this, look at artists born outside London – who come to the capital – and honesty in music; female artists and issues that have been swirling; transitioning from covers and building a fanbase – ending with a little on influences and how that can contribute to a unique sound. Before coming to this point; NÝNA built a loyal online following with her interpretations of others’ songs – including a stirring and original rendition of Hozier’s Take Me to Church and Adele’s I Miss You. These songs, much-heard and recognised, were given fresh light and new personalities. In addition, NÝNA featured in Fortitude and Vents magazines; appeared in Contact Music and got her voice/talents recognised and promoted. I guess the ‘covers route’ is a natural introduction for any artist. They want to test and experiment; see which songs suit their voice and how they will mould their own talent. It is fascinating seeing artists tackle certain songs and what they bring to it. I was, earlier this week, on Lauren Laverne’s ‘6 Music show – as caller on her ‘Biorhythms’ section – and chose, as one of my songs, a cut from Jeff Buckley’s Live at Sin-é. The reason I chose a Buckley song, Calling You (a cover of the Jeveta Steele track), was because of the delivery and difference. It is/was a mesmeric performance that reinvented the song and afforded it fresh nuance, beauty and grace. You should go to Spotify/YouTube to hear that performance – and get the Legacy Edition of the album if you can – because Buckley, more than any other artist, showed little fear when tackling songs. He began doing covers and, one can argue, were it not for performances and interpretations; he might not have become the singer we heard on Grace. NÝNA is an artist who has a similar lack of fear when covering songs. I hear her true self, emerge. She does not replicate the song note-for-note and, instead, brings her own agenda and spin to the track. Let’s hope she continues to cover songs because, I feel, it makes her a stronger singer and writer. That chance to mould and push her voice – and see how it adapts to various genres – has given her the confidence to right a song like Faces.

NÝNA has an itinerant and fascinating background. She began life in Serbia and grew up, one images, on a diet of Western music and local sounds. In terms of Serbian music, during the late-1990s I guess, there would have been few local treasures. Sure, there were bands and artists playing in Serbia but they were not quite as attractive as the artists she would have heard on the radio. NÝNA discovered the likes of Alanis Morrisette and Madonna; bits of Nirvana and, lately, Lana Del Rey and London Grammar. Those ‘older’ influences have grit, legacy and passion; the newer artists emotion, cinema and beauty. Together, it creates a heady and scintillating aroma. It all goes into her own music and gets me thinking about influence and how important it is. My list of influences is impressive and diverse so, if I ever embarked on a music career, I would incorporate them into my sounds. NÝNA lionises strong female artists but has a great affection for all types of music. As a youngster; NÝNA started writing modern Classic music. She found the piano at five and wrote from twelve – I could make a bad time joke at this point – but transitioned to Pop a bit later. One can tie this to her move from Serbia to England. One imagines the Pop music heard in Serbia would have been predominantly British and American. It is unsurprising she was more connected to older, mainstream music than the artists coming through in Serbia. I can hear Classic elements to her music but, now, NÝNA is more influenced by acts like Sia and London Grammar – elements of Lorde and Lana Del Rey combine. Maybe this is a commercial move – more popular and accessible – but one makes a connection between NÝNA’s childhood and the modern mainstream. I like all the artists she is inspired by so, it is no surprise, I bonded with Faces. I feel too many modern artists do not have that broad a range of inspiration. They take from modern music but do not cast their mind back that far. This can create something quite limited and simplistic. For NÝNA, even though she is very young, her influences go back to the 1980s and '90s. Bring that together with of-the-moment musicians and one gets a rich and fulsome blend. Of course, her originality shines through but it is nice hearing elements of other artists in her work.

Right from the off; one gets shots and slams of artists like Lorde, Sia and Lana Del Rey. That is not to label NÝNA’s music but show the urgency, modernity and quality of it. That essential ethos – “Nothing’s gonna break my world” – is put up-front and chanted proudly. In the video, one sees a fast-flowing series of images – some disturbing and hard; others, more defiant and compelling. Despite the challenges and cruelty of life; there is not going to be a barrier big enough to stop the heroine. She, backed by electronics and big drums, lets her voice ring and reign loudly. Faces could refer to the façade and masks one must adopt: maybe, it is about the two sides to a person and the deceit we are all open to. I am not sure but, one think I do know, is how effecting and strong the opening moments are. NÝNA takes command of the song and ensures her words are drilled into the brain. The heroine, elucidating on the title, is engulfed by millions of faces and at the mercy of life’s capriciousness and fragility. There is judgement and expectation; a pressure and anxiety on the street. In the video – one I shall return to when commentating – she sits at a piano as imagines appear on a screen. It is the embodiment of a calm and passionate soul surrounded by the wider world – one that is not as sympathetic and dignified as her. There are people who are happy to offer hostility and brutality. The faces are being seen – of ordinary people and those caught in the rush of life – and feeling the weight and fatigue of modern life. Our heroine is aware of this and share their pain. It is hard dethatching from the realities of life and finding time to reflect and embrace the self. NÝNA is struggling to make sense of  the conflicting emotions and mass of sad faces around her. Maybe that is the reality of the city: it is so fast-moving and packed it is rare finding reformation and happiness. One experiences it here and there but, in reality, many people are busy and are not necessarily unhappy. Perhaps projecting a smiling image is not natural or easy to do.

Regardless; there are people who are struggling to find the good and discover a sense of self-worth. Mindfulness is hard to achieve in a city and busy environment. NÝNA is the same as all of us but is determined to embrace the good inside her and appreciate all she has to offer. One gets a real rush of emotion and physicality in the composition. The piano notes and punctuated and precise but have a romance and flourish to them. Beats and electronics mingle to summon a concrete sense of the city and the modern world. One hears and feels the cracks form in the pavement; the strains and age in the faces – all those upturned smiles and tearful eyes. There is little chance of NÝNA taking control and solving these issues around her – she can “walk away”, as it is said. That might seem submissive but she is not uncoupling herself from humans the world around her. Instead, she is not letting bad things get in and taking life’s realities too much to heart. It is easy letting that stuff absorb in the skin and affecting your mood. Instead, the heroine is pragmatic and sympathetic – that need to give herself a break and discover goodness is paramount. If anything, I would like to hear the vocal higher up the mix. I know how strong NÝNA’s voice is. Sometimes, when the composition is accentuated; the vocal seems to take second-place. This might be a production decision to promote the beat and electronics – ensuring they summon new images and emotions – but NÝNA regains spotlight when the mood is taken down. Softer, compassionate and contemplative: her voice whispers, searches and calms. She has, by this point, managed to throw off many of the ghosts and shackles of modern life. Faces is brilliantly balanced and unexpected. One predicts a certain structure: that never really arrives. Instead, there is a nimbleness and sense of flourish and Classical suite – the song goes through stages and grows.

Towards the final stages; NÝNA brings the chorus into the light and repeats its defiant and strong message. She sings about the pollution, injustice and poverty we all see. Images continue to project and open the eyes. There is, as we all know, so much horror and injustice in the world. The news is full of this but does not really break the skin. The true extent of the world’s problems will never be known: Faces, in a way, suggests we should not obsess over the scale and not let it drag us down. Again, this might seem like walking away but it is the only thing one can do. We cannot solve the problems ourselves but that does not mean we do not care. If one lets all those bad images and stark scenes linger in the imagination – that will have a destructive impact on our lives. Everyone should be conscious of what is happening around them but find balance. NÝNA is connected to the world but determined not to neglect herself. Faces is the sound of a young woman seeing so much upset around her. Rather than let it haunt her bones; she is discovering the potential and goodness inside her. Not many songwriters look at these areas and promote an air of positivity. Many, when talking of love, lose perspective and struggle to realise there are bigger issues happening elsewhere in the world. NÝNA understands this point and, with it, the need to find a way to cope with the realities of life. One is struck by the range and emotions inherent in NÝNA’s voice. She goes from powerful and impassioned – shades of Alanis Morissette, one assumes – to tender and emotive – colours of London Grammar, Lana Del Rey and Madonna come through. Faces is a huge and impressive song from a young talent who has a lot more to say. I know many singles will come but they will have a lot of work to do to equal Faces. It is a song that seems apt for the times we live in. Many of us will struggle to find positive light in the darkness around us – Faces is a song that will linger in the mind long after you have heard it.

I shall leave things here but, before trotting on, wanted to have a look forward for NÝNA and what is approaching. I know there are more releases coming and, as we can see from her social media, people are reacting to her music. It is hard generating publicity and appreciation: it is not always the case music does all the talking. Faces is about dealing with the badness of the world and finding love for yourself. That can be hard in these modern times. We are subject to so much negativity and vitriol; it can be hard embracing the love and goodness that is around us. It is encouraging finding a song like Faces and something that promotes a self-love and worth. That might seem all New Age and hippy but it is actually a very positive and relatable message. How many of us go through life and dedicate time and effort to appreciating ourselves? It can be very draining and tiring going through the day – never much chance to uplift and channel any positivity. NÝNA’s latest track will give inspiration and motivation to many of us. The video for the song is striking and has had a lot of care and effort put into it. It is clear NÝNA is taking music very seriously and ready for the challenges ahead of her. I shall return to my earlier points but wanted to look at NÝNA’s diary. She was recently interviewed at Hard Rock Café and hosts Mada Presents… in London on 23rd August. Lianne Kaye and guests will be performing and it is one of many dates coming up for NÝNA. Everyone from Electronic North and The Drunken Coconut – THERE’s a band name if ever I heard one – have lent their thoughts to Faces. A lot of love is coming in and it seems. I am very pleased for NÝNA and know she will be making some big moves this year.

The summer is approaching – the hot weather is already with her – so it is a prime time to get gigs and festival appearances. I am not sure how may gigs she has later this year but, right now, NÝNA is looking ahead to some cool dates. Faces is out and a tantalising insight onto a raw and unique talent. I will end things by returning to a couple of points I raised earlier: artists who come from the U.K. (to other nations) and sexism in music; honesty in music and influences – I know that is more than two but I meant ‘a couple’ in conversational terms. Serbia, as I said, might not jump out as a musical hotbed of wonder but it is not to be sniffed at. There are great venues – not only reserved for Classical music – that suites the diversity of music one hears in the country. There are European nations that have fairly fallow music scenes: that is not the case with Serbia. It has a rich history of Classic music and some wonderful Opera. Whilst a lot of its modern Rock and Pop is inherited from Britain and America; there are some great local acts that remain in Serbia. I feel many come to the U.K. to find opportunity and bigger crowds. There are limits to the Serbian music industry and it is not really set-up to accommodate ambitious artists. I see a lot of artists emigrate because the country they live in is a little confined. Even acts from Sweden – one of the most productive and astonishing nations for music – come to Britain and the U.S. It is testament to a nation like ours so many are happily settling here. We have some of the best venues in the world and greatest young artists. NÝNA would have been exposed to British music as a child and fascinated by the lure and history of our land. Not that hers was that immigrant-sailing-to-the-new-world scenario but there would have been an attraction to Britain. That desire to embrace her music ambitions is impressive. She is, as it stands, one of the more interesting artists is London – one whom is gaining a huge public support and critical affection.

Sexism and misogyny are, rather troublingly, aspects of society that are bleeding into music. We need to cauterise the spate of male artists who spit such arrogant and degrading remarks at women. It is not only troglodytes like The Dickies’ frontman who should be banished from music: there is sexism woven into the grain and fabric of the music industry. I can understand how there would have been sexist attitudes decades ago – people were a bit more ignorant and naïve back then – and it was, unfortunately, seen as part of society. We know better now so should not indulge or accept sexist attitudes. We all know female artists are not put on the same pedestal as the men: this is something that need changing very soon. If we want to accentuate the finest aspects of the music industry – the talent, vitality and love we all know it possesses – the dark and seedy underbelly needs to be savaged. It is an issue created by the white man – one they need to eradicate and overcome. I know most male musicians are very respectful and open-minded but it is the minority creating a problem. NÝNA is a fantastic artist who not only creates stunning music – her videos are eye-catching and impressive. She is active on social media and proven she is level to the demands of the mainstream. That transition is imminent you’d think but, when she gets there, is she going to be exposed to the same sexism and indiscretions levelled at her female peers? It is a very present and possible danger and one I am uncomfortable contemplating. Will she be judged upon her looks or overlooked because of her gender? It is quite telling little is being done (by men) to address and stamp out sexist practices. Every artist should be valued and judged on talent and promise – not their gender and colour of their skin. NÝNA is strong and determined but, like everyone, has a vulnerability that does not need to be tested needlessly. She proves how stupid and infuriating the sexist issue is. Her music is among the best you’ll hear this year so, why then, should she have to work harder to get her voice heard?!

Faces was written and produced with her close friend, Shemzy – whom she met at music college a while back. The artistic partnership has blossomed and led to the nosegay delights of Faces’ bouquet. The Baroque-Pop aspects, one imagines, are part of her Serbian heritage and Pop idolisation (as a child). The dense drums and lustrous strings create a happy-sad dynamic that has resonates with many people. There is so much going on and beautiful vocals. The honesty and revelations from NÝNA are the most striking elements of the song. Empowerment and self-love are the mantras and mandates that guide the song to the heavens. One wonders how much of NÝNA’s idols go into her music. Certainty, I can hear the boldness, confidence and allure of Madonna; the emotive and emphatic tones of Morissette and the gracefulness of London Grammar. It all formulates and bubbles in a wonderful brew – one that hits all the senses and gets one thinking. I shall wrap up this review but want people to follow NÝNA and all she does. One of those acts who deserves big acclaim and lots of opportunities. I know there are gigs coming up but there is a lot of love coming her way. People are connecting with her music and a wonderful human. That is it but it has been a pleasure discovering Faces: the start of a productive and wonderful career for NÝNA. She has a stocked and ready arsenal; a bucket-load of talent and the passion to succeed. Those ingredients are reserved to a certain few so it seems inevitable NÝNA is…

GOING all the way to the top.

_______

Follow NÝNA

 Twitter:

https://twitter.com/ITSJUSTNYNA

Facebook:

https://www.facebook.com/ITSJUSTNYNA/

Instagram:

https://www.instagram.com/ITSJUSTNYNA/

SoundCloud:

https://soundcloud.com/itsjustnyna

YouTube:

https://www.youtube.com/channel/UCN3vDVR10hXx_sELILABp9Q

INTERVIEW: CC Smugglers

INTERVIEW:

 

 

 CC Smugglers

_______

AFTER the success of their single, Rhythm…

many eyes and ears have turned the way of CC Smugglers. That song was picked up by BBC Radio 2 and BBC Radio 6 Music – the band played live sessions of the station. The boys have enjoyed sold-out shows across the U.K. and Europe; great festival appearances – including Latitude – and supporting the likes of Old Crow Medicine Show and Bruce Springsteen.

The new single, Dirty Money, is another huge track and one I was eager to find more out about. Richie from the band talks about their music and details of each member; how they all came together and what their diary is looking like – and, whether being a sextet is a benefit or quite unwieldy.

_______

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

Hello.

I’m fine, thank you very much.

This week, we’ve just returned from three dates in Switzerland playing some great festivals - including Montreux Jazz Festival!

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

We are a group of lads who play original music with a gung-ho attitude for cross-breeding influences, old and new, from around the world. We are very proud of our well-established reputation for absolute scorching live shows.

We use Folk instruments like fiddles, banjos; harmonicas, acoustic guitars - alongside electric guitars keyboard and full drum kits.

Did you catch Glastonbury? What was your opinion? Any performances stand out to you?

I caught bits and pieces but I don’t have a lot of time for telly really. I spent most of that weekend demoing a track I was writing – but I was aware it was on.

I do know Jamie Cullum was playing. I would have loved to have seen that live. I also watched Jeremy Corbyn’s speech on social media: that was quite interesting, I must say.

Dirty Money is the new track. What inspired the track and what can you reveal about it?

Being a musician in the music industry is hard: in the same way being a human in the 21st century is hard.

There’s always something just out of reach that will make us happy when we finally get it - and when we get it, there’s always something else… just out of reach. Money’s a bit like that. Doesn’t matter how much I earn: I’m always skint.

It’s taken me many years to realise that happiness isn’t a result from getting something, or having money or buying something. That stuff is fun, but fun isn’t happiness.

So, like many of my songs, they’re just notes to myself to remind myself of feelings - some of them we end up sharing with everyone – I think this one's relevant to most people.

Is there going to be more material coming soon? What can we expect later in the year?

We are toiling over some secret plans – just be patient, you cheeky rogues.

I am interested in the name, 'CC Smugglers' – sorry if you’ve been asked before – but where does that band name come from?

Yes, that is something we’ve been asked a few times…

Let’s just say ‘CC’ refers to the 125 C.C. motorbikes we used to ride when we were troublesome kids - riding across the fields in our home county.

You can just use your imagination for the 'smugglers' bit.

How did you guys all form in the first place? Was there an instant spark the first time you got into the studio?

I was doing stuff on my own for a few years and went into a studio to make a demo. When I made that demo the producer laid some double bass and electric guitar.

It was then that I sent those demos to my two friends Ryan and Dan - who were traveling Australia. The pair of them flew home and we started a band! We never really looked back after that!

I am interested in the six-piece – I do not see too many bands with that many members. Do you think having that strength in numbers heightens your sound and makes the creative process easier?

It has its strengths and weaknesses but, as far as being on stage, we are a force to be reckoned with - and that is because we are a large, strong; well-rehearsed team unit.

Who are the real ‘characters’/trouble-makers in ranks? Any one member the rest have to keep a cheeky eye out for?

Well, that’s a bit personal, isn’t it!?

We all have our own unique little niches:

Sam, our fiddle player: he’s the pretty boy; insists on getting his hair cut twice a month; is a front-runner in fashion and loves a bit of self- grooming.

Dan is the ladies’ favourite: tall, dark and handsome; has done a bit of modelling in the past - but is the ultimate gentleman and a real kind caring chap.

Ryan. He’s the quiet, surly one: absolutely on-point all the time - but just watch out for the quiet ones. He’s always one step ahead: captain cool.

Tom is a total gent, very stylish - and one of the best musicians I’ve had the pleasure to work with.

Iain a true Scot: can drink like a fish, tumble like a boulder and graft hard.

I’m the loudest and gobbiest. I’m a bit scatty but can, and have, talked us out of a pickle or two (I’m also damn good at driving in deep mud and snow - and have almost dangerous amounts of confidence on and off the road.)

So, there…you asked one simple question and you got a character reference of everyone. I told you I was gobby.

What has it been like getting attention from stations like BBC Radio 2 and '6 Music? They are quite diverse so it must mean you are doing something right!

It’s amazing, really.

If I could tell that funny, little loner twelve-year-old sitting in the field playing his guitar terribly (me-twelve) - or the angsty, spotty Slipknot hoody-wearing fifteen-year-old playing the school guitars in the music corridor at lunch time (me-fifteen); that, one, day he’ll be legging it round the world playing gigs and getting played on national radio station…it would have done my self-esteem the world of good.

It’s funny how things work out: it would never have happened without a huge team effort. Not only from my best mates in the band, but our families and friends - and all of the people who work with us because they believe in it.

I know you have some tour dates coming up in October. Which venues are you most looking forward to playing and are there towns/cities on the list you have not played before?

Oh, there’s loads!

The Cambridge Junction one is a biggy!

Also, London at the Union Chapel is a big old show.

What is touring like for the band? Is that a side of things you enjoy or can it be quite demanding?

Oh, man!

That’s what I live for! It can be very demanding: long drives, short sleeps - especially when voices start getting tired - but I kind of see it; in a very pretentious and non-realistic way - like being a soldier.

We go out on tour with the squad and rough it; rely on each other; bond and get through it – it’s an absolute adventure where we get to see the world and we have moments of exhilarating adrenaline every night. That’s living!

Are there any new artists you recommend we check out?

My friends have formed a band called Funeral Shakes.

I have heard their stuff and heard the plan. When it drops it is going to drop-hot. They are quite heavy but so, so clever and artistic.

Trust me: it’s going to hit the ground running.

It’s not out yet, but, boy…when it comes…

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

For me, Jamie Cullum’s Twentysomething

It has been the soundtrack to every single one of my (blossoming) relationships and crushing breakups.

It introduced me to Jazz and Swing - and there is not a song on there that doesn’t remind me of someone or something.

I will always love that album.

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

Be different, be brave and never ever think you’ve done enough.

There will always be someone out there better than you: all you can do is do your best. The competition is high so work your fingers to the bone and always go the extra mile. You never know what may come of something so never make decisions out of fear.

Don’t think of reasons why not: think of ways to make things happen.

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

Ok, thanks!

Here goes:

Richie: Leon Redbone – Please Don’t Talk About Me When I’m Gone

Dan: Aretha Franklin – Think

Ryan: Muddy Waters – I Want to Be Loved

Sam: John Mayer - Slow Dancing in a Burning Room (Live in L.A.)

Tom: Billy Joel - New York State of Mind

Iain: The Brandon Brown Collective (ft. KIKI KYTE) – Honey

_____

Follow CC Smugglers

 Official:

http://www.ccsmugglers.co.uk/

Facebook:

https://www.facebook.com/ccsmugglers/

Twitter:

https://twitter.com/ccsmugglers

Instagram:

https://www.instagram.com/ccsmugglers/

SoundCloud:

https://soundcloud.com/ccsmugglers

YouTube:

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

FEATURE: Sexism and Misogyny in Music: Time for Changes

FEATURE:

 

Sexism and Misogyny in Music:

 

 PHOTO CREDIT: Unsplash

  Time for Changes

________

THERE are two things I want to concentrate on tonight.

IN THIS PHOTO: Punk band, The Dickies

The first, as you will see, is quite weighty and serious: the second is a nod to the Bella Union label – which is twenty-years-old. I will come to that soon but, before then, something has reared its head. A music friend of mine – who works down in Brighton – has set up a Facebook group for promoters; essentially, ensuring bands who promote intimidation and fear are not given the oxygen of publicity and performance opportunities. This piece, and her group, to an extent, stemmed from an incident that occurred at a performance by the Punk band The Dickies. Frontman Leonard Graves Phillips, during the Warped Tour, directed a tirade against a young woman in the audience. There has been, in fact, an article published in LA Weekly that gives two sides to the debate. There are those in one camp – the older men who feel the ‘Punk Spirit’ is perfectly defined by such offensive and ill-judged verbal barrages – and those, quite rightly, who has taken umbrage at the attack. I believe the woman in the crowd was a friend of the band but, whether she agreed to be disparaged and belittled during that gig – does that send out a positive message?! Of course not! Even if Punk, which it doesn’t, depends on a certain amount of shock and disgust: where do we draw the lines and how far can we go?! I am all for music having some unpredictability and controversy. I am all for bands having a political motive and speaking out against corruptness and those who do not protect the needs of the masses. Artists might have a particular affection for environmentalism and conservation – that is impressive and commendable. So long as, playing devil’s advocate here, these subjects are not forced down the collective gullet – would one ever temporise and deter artists from having a voice?! I would say not. It is prudent musicians are not reserved to talking about music and being confined. So many artists are calculated, scared and confined to boxes – made to talk about their material and reluctant to have any ideas that might cause discussion.

PHOTO CREDIT: Ebru Yildi/IN THIS PHOTO: PWR BTTM

I am not saying every musician should say whatever they want but there need to be lines drawn and barriers opened – certain mouths need to be stapled shut, it seems! LA Weekly went on to offer some exposition and explanation:

“I consider myself a feminist (the piece was written by Lina Lecaro) and I think, in theory, that the idea of Safer Scenes is good and needed. But you can’t expect the people you oppose to take the higher ground if you don’t take it yourself. (We should all keep this in mind every time we insult Trump; we should focus on his shitty policies, not his bad hair, weight or orange-ness.) Safer Spaces is on the Warped Tour, with an info booth, to provide dialogue identifying, preventing and addressing sexual harassment and violence, racism and ableism at the festival. This should be done with positivity and some semblance of the respect they are fighting for”.

As a feminist; there would be easy temptation dangling from the tree in the Garden of Eden: attack Graves Phillips and his ‘publicity stunt’ and not provide any sort of balance. Lecaro went on to say:

“Actors don’t perform in blackface anymore. Rock stars don’t have sex with 13-year-old groupies anymore. Punks don’t wear Nazi regalia anymore. What’s acceptable culturally changes over time, and our entertainment reflects this. Those of us living through these transitions may find it more challenging to accept, but we need to try…At the heart of the present moment's transition is a simple truth, one that today's kids seem to grasp intuitively: If you’re not, for example, black, you will never really know what it’s like to be black, or know how certain trigger words feel when they’re uttered in your presence. Never. Same for women: If you don't have a vagina, you don’t know. (OK, dudes?) All that any of us can do is accept that we don’t really get it and respect others when they tell us this is so”.

IN THIS PHOTO: Eagles of Death Metal's Jesse Hughes

It is a fascinating piece and one that is delivered with maturity, candidness and consideration. As a man – and a lover of the rebels of Punk – there would be the temptation for me to say this is a one-off event and there should not be such a sensitive reaction and sense of outrage. The problem is this: it is not a one-off occurrence and it is getting worse. Artists/bands including Moose Blood, The King Blues and PWR BTTM have caused shockwaves - the sexual misconduct/allegations that were levied at, especially, members of Moose Blood and PWR BTTM, were truly shocking. I remember when PWR BTTM were accused of sexual assault - and found promoters and venues cancelling their shows through fears of uprising and protest. I know there are many who say Punk has always been associated with these kinds of issues – why make such a furore of it?! Back in the 1970s, bands like Sex Pistols would spout off and create a storm – often voicing their disapproval of the monarchy – and modern bands talk vociferously about the government and society. If it is ‘okay’ for them to show little discretion towards these issues then why should we be so protective and disgusted about sexism?! The sort of (crude) language and vulgarity Leonard Graves Phillips spewed during that set has reverberated through the music community and seen a lot of people speak out. It does not surprise me legendary bell-ends like Jesse Hughes (Eagles of Death Metal) offer his support to Graves Phillips. Consider the things he said about the Bataclan attacks – conspiracy theories regarding the security guards being involved – his views are not only predictable but completely insane. There are others, on social media, who have backed Graves Phillips and undermined the argument. They say people should get over it and, in the grand scheme of things; it is not such a big deal. If you heard this kind of thing on the street; would you shrug it off and forgive the culpable party?! You would, I hope, be offended and inculpate the offender – knowing they had done wrong and carried around tired and Neolithic attitudes. We are, I believe, in 2017 and know a lot better than previous generations. We cannot, without seeming idiotic, claim to be progressive and evolved when we allow, supposedly mature and intelligent adults, forum to promulgate such hideous ideals.

IN THIS PHOTO: U.S. journalist and D.J., Lina Lecaro

As a male journalist, I think it is important many more men express their disapproval and anger. It is great there is, for the most part, the right reaction to this event. We do not want children growing up thinking such things are commonplace and acceptable. Yes, there are a few isolated incidences but the fact there have been a few within a short space is worrying. If we had female artists saying sexist things you know the media would eat them alive – men would come out and take them to task. It seems the male writers and peers are not as loud and noticeable when it comes to tackling this issue. Maybe I am wrong but it would be nice to see more support from the boys. The Dwarves are another band who have opened their odious mouths and not engaged their peanut-sized brains. It is men creating the issue: my gender should do everything they can to eradicate such obstreperous and vile musicians. The music industry, as it should be, promotes love, togetherness and acceptance. Recent events like Grenfell – and the awful fire that engulfed the tower – have seen musicians come out in force and voice their opinions of the government – bringing love to the debate. The fact so many artists got together and did fundraisers; joined together and did all they could was very heartening. That is the positive and extraordinary side of music: when great people go the extra mile and try to make things better. The other side of the coin is tarnished and rusty: it is less severe and prevalent than the positive but leaves a very nasty aftertaste. I, like many, do not accept sexist and ‘male attitudes to women are not natural parts of a genre. Punk is all about free expression and an irascible spit. Going back to that LA Weekly article and a particular paragraph stood out:

“While nobody can define “punk" right now, we can probably all agree that it's a form of expression that came as a reaction to close-minded people imposing their views on others, right? If this is so, then the way it's delivered will have to change with the times, whether purists or old-schoolers like it or not. If that means my daughter feels more comfortable at a punk show when she's a teenager than I did, great. If it doesn't, I think she'll be OK, too”.

IN THIS PHOTO: Moose Blood, whose drummer, Glenn Harvey, was accused of sexual harassment

Maybe there is that generational argument: those who grew up where this kind of controversy was more common and more acceptable; those, now, who expect better standards from musicians and know it is not part-and-parcel of the modern age. Regardless of your age, upbringing and expectations; we cannot allow mealy-mouthed, black-souled sermons to be seen as ‘alright’ and impressive. Those who have stood in support of this sexism and offence are not people you’d expect to have a strong moral compass and be ambassadors of a purer society – making their idiotic opinions null and pathetic. It all comes down to how important music is and what legacy we want to leave for the generation. As I said; I think musicians shouldn’t be robotic soundbites who are puppets of the record label – speaking in clichés and making sure their answers as vanilla and safe as can be. We would be taking liberties – and denying basic human rights – were we to muzzle all artists. As a consequence of The Dickies’ controversy; they have had gigs pulled – included one scheduled in Leicester at The Musician. The promoters there felt the misogyny and crudeness displayed by The Dickies’ musician was unacceptable. That is the lesson for musicians: you think you have the right to descend to the level of the caveman and you will find yourself at the mercy of the Sabretooth Tiger – and get your head the f*ck bitten off! I’ll close this down now but wanted to bring to light a shade that is threatening to tarnish music’s good name. In the past, I have written extensively about sexism and how female artists are not given headline slots – fewer chances than the men and made to feel, by comparison, meagre and inferior. This hardly helps and leads me to think a major overhaul needs to happen. It is clear the kind of people perpetuating such sexist and old-fashioned ideals: the white middle-aged men. That is not true of ALL injustices but there is a clear pattern. Sure, certain Hip-Hop/Rap artists – among many other artists – have always been associated with a casual attitude to gender rights, sexism and decency.

PHOTO CREDIT: Unsplash

We cannot label a particular group and say it is the sole responsibility of the middle-aged man to correct their minds and come into the modern age. Sexism and misogyny extend across genres, nations and age ranges – it not confined to niche demographics and types of music. That might sound worrying on paper – like a plague spreading without abatement and cure – but it is not an unwinnable war. There needs to be education and outrage. If bands like The Dickies think it is acceptable to casually shoot off offensive insults and degrade a female gig-goer then their punishment, like gigs being pulled and widespread condemnation, should compel them to take stock and sober-up. I worry there will be those reluctant and rigidly hanging onto their beliefs: why should we change who we are and be tamed?! I have mentioned a few bands who have been accused of sexism but we cannot simply race to decry and band all of them – there needs to be constructive debates and decrees. Simply prohibiting all of them from touring would not be the right way to do things – not ever member of each band support their guilty member(s) and can be tarred with the same reputation. What we do need to do is, when certain artists create storms and problems, act swiftly and set examples. The harsher and, in fact, fairer the repercussions are, the less likely we are to see repeat offences. This should extend to racism and every type of similar offence. Sexism and misogyny are, essentially, a form of harassment. It is not acceptable for people to do this in society so why should we be more relaxed with musicians? I know it is hard determining boundaries (of) freedom of speech. If we reign-in bands like The Dickies, does that mean we are saying ALL musicians should be monitored? It is hard to police but it is clear the recent sexist/misogynistic happenings are completely unacceptable. Whether you are a Punk band of rebels or a stone-cold Hip-Hop stud: never should you demean a woman or think misogyny is ‘cool’ and necessary. It is 2017, guys, so, with that in mind, let’s, please…

PHOTO CREDIT: Shutterstock

GROW the hell up!

FEATURE: Bella Union: Twenty Years of Music Gold

FEATURE:

 

Bella Union:

 

  

Twenty Years of Music Gold

________

I was, as I do most days, listening to BBC Radio 6 Music today and…

IN THIS PHOTO: Bella Union head, Simon Raymonde

heard an interview with Simon Raymonde. He was a member of Cocteau Twins between 1983 and 1997 and, after the breakup of the band, set up the Bella Union label. Listening to Lauren Laverne interview label boss Raymonde talk about the gestation and creation of Bella Union got me thinking – how many great artists are signed to them. In fact, following releases on the 4AD label - for most of their career - Cocteau Twins set up Bella Union – it wa spearheaded by Raymonde and Robin Guthrie. Dirty Three, the Australian band, were one of the earliest acts to sign up – the label features everyone from John Grant to Laura Veirs. Listening to that interview, just now, and I understand John Grant, when he first sent demos. to Raymonde, was not considered that good. He was in the band The Czars and took time to forge a sound that was approved of – I think it took nine months of back-and-forth submissions for Raymonde to fall for his charms. Raymonde has been in sole charge since 2000 and has steered and evolved one of the most reputable labels in the world. Fleet Foxes, in 2008 and 2009, remained in the charts for one-hundred weeks and had the biggest-selling independent album of the year. John Grant is a huge success story and one of the biggest name tied to Bella Union. Mercury Rev, The Low Anthem and Jambinai are a sprinkling (among a deluge) of stunning artists who have helped propel and cement the reputation of Bella Union. They won Independent Record Company of the Year in 2010, 2012; 2014 and 2016 – in 2014, John Grant was nominated for a BRIT Award; Holly Macve, the Yorkshire-born singer, was signed in 2015; Father John Misty was nominated for a BRIT – another mainstream act who is happy and proud to be with the label. In honour of twenty years of sterling service; I have collated a playlist of the Bella Union artists who have made Simon Raymonde’s stable…

IN THIS PHOTO: John Grant

SUCH an impressive one.

INTERVIEW: Sasha Brown

INTERVIEW:

 

Sasha Brown

_______

THERE are few as busy right now than Sasha Brown.

PHOTO CREDIT: @channelkish 

The singer-songwriter prepares to release her single, Parallel, on the 14th – she is busy D.J.ing at Hoxton Radio and seems to be constantly moving. She found some time to discuss her upcoming single and the story behind Parallel. I learn about her music past and how she got to this point; how influential her D.J. work is and the sort of music she is vibing to.

In addition, in a full-bodied interview, she talks about how Pete Tong discovered her music; whether she caught this year’s Glastonbury and what the approaching weeks have in store.

_______

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

Sam! I'm good, I'm good.

Busy getting ready to release my debut single! 

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

Hey (*wave*).

I'm Sasha Brown: singer/songwriter; saxophonist; radio D.J. and presenter. 

Did you catch Glastonbury? What was your opinion? Will you be heading to any festivals this summer?

Please, don't even go there: I'm doomed against Glasto!

I can never get tickets even though I was sitting on about five devices with my mates! I caught Ed Sheeran's performance on T.V.

I've kinda been in love with his music since seeing him at Benicassim music festival at eighteen.

Parallel is your upcoming debut single. What can you reveal about the inspiration behind that track?

It's a reflection of where we're at today. I co-wrote it with these guys Joe Kearns and Jason Elliot - who are awesome.

I came into the session with this word that had been playing on my mind for a while: parallel. 

Jason was saying how the world's kinda messed up and sometimes it's hard to feel a connection when everything feels so lost. For me, there's a frustration behind the song. It's about a relationship. Two people are moving together - in the same direction - at the same speed but, for some reason, they aren't coming together.  

From the outside, everything looks perfect but it's not - there's no connection.

How much of your personal experience and romantic endeavours go into the song?

Haha, ummmmmm.

Yeah, I mean songs I write have to mean something to me or what's the point?

What I write about doesn't necessarily relate to current relationships. I like to play on the past, present and to think about the future.

It's probably better no one knows who I'm writing about - that's a lil dangerous! 

Was it quite nerve-wracking putting the song together? How does it feel releasing a debut single to the world?!

No, it feels really right, actually.

Last year, I had a featured release off Jamie Jones’ label, Hot Creations - which got quite a lot of (BBC) Radio 1 play and support from Pete Tong. That was a dream.

It was a Techno, track, though, and I'm a Pop artist – so, for the past year, I put myself into the studio with different producers to really develop and discover my sound.

Parallel feels really good and I'm getting really positive feedback. I'm excited.

 PHOTO CREDIT: @charlicohe

The song’s video was shot in Shoreditch and is quite minimal and stripped-back. How much say did you get in the concept and what was it like working on the shoot? 

So, Charli Cohen (the fashion designer) and I have been following each other on Twitter for the past couple of years. I'm very into fashion and have done some modelling in the past. After her LFW 2017 showcase, I just messaged her saying I wanted to collaborate.

I came up with a concept for the video as I could literally see it in my head. I pitched it to her and her partner, Ben Thompson, who’s an amazing videographer and director. They were on it so we got Ben's team, PXL Post, together and shot the video one weekend! 

The shoot was really good fun. I love Charli's designs and the team were all vibing so it was great! 

Of course, you have been in music a little while and gained support from the likes of Pete Tong. It seems Parallel is a softer and more evocative song than, say, Talk On (you featured alongside Nathan Barato). What was the decision behind this stylistic change?

I was a featured artist on Nathan's track. I’m not a Techno. artist, but I do love Dance music - so it was a pleasure to do!

Funny story actually: Nathan and I met in Ibiza a few years ago. My best mate and I went up to him and his friends in the club Space - cos we thought it was hilarious that their whole crew were head-to-toes in black.

We all became friends and then Nathan and I stayed in touch - as he was a producer/D.J. and I was looking for people to work with!

I sent a couple of demos to Nathan in Toronto and then had this little idea. I still remember standing in my kitchen and singing it into my iPhone. You know how they say 'shot on an iPhone'?: well, Talk On was ‘recorded on an iPhone’! 

I sent it off to Nathan who was D.J.ing with Jamie Jones at the time, and next thing I knew, the track had been cut! It was a bit mad.

I've always been in the Pop world. I grew up on Pop and it's in my blood - so it wasn't a transition; more a case of just doing it!

PHOTO CREDIT: @nastassjathompson

Is there going to be an E.P. to follow and will you mix genres/sounds on it, perhaps?

Definitely! I've got loads of music coming; stay tuned!

Come to my gig at Secret Garden Party festival - Saturday 22nd July at twelve (midday) - and you can hear it all.

Can you tell me a bit about the musicians and bands you grew up listening to? Who are the big artists that compelled you to go into music?

I just love music.

Honestly, it's the one thing that can completely change my mood. Music has always been a massive part of my life.

I grew up on Pop. My dad bought me Abba's Gold album at eight and I loved it. I started playing the sax. but couldn't read music at the time - so my teacher had to write out all the letters so I could play the album! 

I grew up on everything, to be honest. All the great singer/songwriters like Carole King, The Supremes; Gabrielle - but I also went to dance classes every weekend so listened to a lot of Hip-Hop and RnB. I’m very into artists such as Tove Lo and Sia at the moment - but I listen to different playlists on Spotify every day, so there’s a lotttt that I like.

PHOTO CREDIT: @rhona_murphy

You are a D.J. on Hoxton Radio. How influential is that work to the music you make and what is it like working on the station?

I was Head of Music at Burst Radio (Bristol Uni.) in my last year there. I love now having my show on Hoxton Radio - Mondays 12-2 P.M. (tune in: cheeky plug) cos it means that there's constantly a reason to look for new music and share that with my listeners!

I listen to different Spotify playlists every day and get sent quite a lot of music by P.R. companies for my show - so, all the sounds I'm hearing, obviously, have an effect on me as an artist.

I play a lot of remixes on my show and Dance music because my show is on a Monday and people need a little help feeling good on a Monday. Monday’s are tough so I call my show the Feel Good Show!

I’m a little obsessed with ODESZA and Zhu - and that new Camelphat and Elderbrook tune, Cola, is just, well: it’s perfect.

I love interviewing other artists and seeing what they’re up to! I interviewed Rudimental last week who are just awesome. You can just tell how much they love music and how it brings people together.

What does the rest of the year hold in terms of gigs and appearances? Where might one come and see you play?

Secret Garden Party 12 P.M., Saturday 22nd July!

I’m so excited as I’m playing the same stage as some of my favourite acts at the moment - including Mabel, Zak Abel and Bonzai!

I’m also playing Metropolis Rising at Bicester Village on Friday 28th July.

More coming - and I’ll be posting gig dates on my socials.

Are there any new artists you recommend we check out?

Astrid S! I’m obsessed.

I saw her live at Scala last month. She’s amazing. Her single, Breathe, was co-written with some of the guys working with Tove Lo - so no wonder I like her!

Also, check out Julie Bergan: she dances as well so her stage presence is ridiculous.

ALMA, Zak Abel...ahhhhh; there are too many!

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

Work really hard.

When I interviewed Grace, from Clean Bandit, I remember asking this exact question. She said “Just work really hard”; and I was like, “yeah, and have talent”; and she was like, “No, just work really fricking hard”.

Obviously, talent has a lot to do with it but hard work will always override a talented person who’s a little lazy. You have to really want it badly in this industry.

I would also say to be present everywhere and get out and meet people – cos, in my experience, people have generally worked with me after they’ve met me. You can find networking events wherever you are. Just start to build your community.

Also, get on social media. It’s not all about the stats: figure out who you’re targeting and find a way to connect and build relationships. Music is an industry based on passion and love so people just want to work with cool people - and people they think they’re going to vibe with.

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).

Ah, thanks.

So, there’s this wicked little tune called France by OPAL - which I include in some of my chilled D.J. sets.

Enjoy!

_____

Follow Sasha Brown

 Official:

https://sashabrownmusicofficial.com/

Facebook:

https://www.facebook.com/sashabrownmusicofficial/

Twitter:

https://twitter.com/thesashabrown

Instagram:

https://www.instagram.com/sashajadebrown/

SoundCloud:

https://soundcloud.com/sashabrownmusicofficial

YouTube:

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FEATURE: Björk: Debut Gold and Post-Partum Progression

FEATURE:

 

Björk:

 Debut Gold and Post-Partum Progression

________

THERE are few artists who have made as big a contribution to...

The album cover for Björk's sophomore effort, Post

modern music as Björk. In terms of innovation and reinvention; none match her sense of style, impact and wonder. This year (in July) it will be twenty-four years since Debut – strangely, not her debut album – was released. From the opening notes of Human Behaviour – the first track from the L.P. – you know something special is happening. The strange and bellicose percussion; the experimentation and odd sounds – all elevated by a unique and otherworldly vocal. When I first heard that album - I must have been ten at the time – it was like stepping onto another planet. Nobody like Björk had made its way to my ears: there has been nothing quite like her since. Sure, artists like Kate Bush may have inspired her vocal approach and style of songwriting – that is the only other artist I can think of. What amazes me about Debut is the sheer confidence that runs through it.

PHOTO CREDIT: Jean-Baptiste Mondino

Produced with Nellee Hooper; it is an album that bristles with passion, storybook fantasy and intensity. Venus as a Boy is beguiling and flowing; Big Time Sensuality feverish and emphatic; There’s More to Life Than This intimate and atmospheric – the fact it was recorded at the Milk Bar toilets gave it a certain ‘gravitas’ and unusualness. There are fans/critics who think Björk made a better record but I am not so sure. Taking this position suggests everything that followed Debut was inferior but that is not the case. Post, the sophomore album, is more varied and confident than Debut but I will always hold Björk’s first album as her finest. I get sucked into the record and everything unfolding. Even then, at such a young age, the Icelandic legend was taking charge of the songwriting and ensuring as few hands as possible was in the mix. That is a lesson for songwriters in today’s market: look at what can be achieved when you assume control and create a singular listening experience. Maybe contemporary artists do not have the same vision and talent as Björk - but too many rely on other producers/writers to help them achieve their sound.

The cover to Björk's 1993 introduction, Debut

Debut is an album that, yes, has a few minor songs – One Day and The Anchor Song do not get mentioned often – but they are still fantastic tracks. The entire album makes a huge impact and shows what Björk is one of the most enduring and respected artists of the past twenty-five years. Following on from Debut was 1995’s Post. THIS is the album you’ll see on the critics’ best-of-the-best lists and always gets people talking. From its beautiful and striking cover to its brilliant videos – the promotional for It’s Oh So Quiet is especially memorable – you felt an artist growing and increasing her confidence. Not that she was lacking on Debut but, on Post, the songs were bigger, kaleidoscopic and diverse – everything from tender and child-like (Isobel) to domineering and machine-like (Army of Me). A few writers do make their way onto the album but, for the most part, it is Björk at her purest and most widescreen. There are a couple of weaker tracks but, like her debut, the sheer brilliance and quality that runs throughout compensates.

Another magnificent album that brought in new instruments, soundscapes and ideas. That is why Björk remains unique but compels so many young songwriters: those cinematic and evocative scores; the way she weaved her vocals and creates something physical and spiritual. Skewed, peculiar – yet always accessible and inviting – it meant Post gained huge critical acclaim and saw Björk elevated to the public bosom. It was another two years before Homogenic arrived. That album was a salute to her home country of Iceland – despite the fact it was recorded in Spain. Homogenic has glacial strings and lava-warm pulses: the innocence of childhood and the fears of adulthood. It is a spectacular album that does not repeat previous works.

The striking cover for Björk's 1997 album, Homogenic

Artists in her position could easily have replicated themselves and done something quite familiar. Homogenic retained Björk’s distinct vocals and pioneering compositions but walked into new territory. Perhaps icier and more simplistic than previous work – Björk wanted a single sound and something quite pure – it contains few sweet and Pop-like numbers. Anyone expecting bombast and big anthems would have been a little disappointed. An album dedicated to Iceland would, naturally, have some cheerier moments and optimism. That was not what Homogenic was about. Björk wanted to try something new and go back, sonically, where she started her life. It is another bold move and spectacular album that, in lesser hands, could have been a disaster. Critics were welcoming and impressed by the album. Rather than hark back to Debut and Post; they found much to admire in Homogenic. Some felt Björk would never equal and album as groundbreaking and astonishing as Homogenic. A daunting gauntlet and proclamation for an artist to hear: it did not phase Björk – she went on to create many more astonishing albums and, in many respects, did not need to top Homogenic. It is a singular creation that showed a very special side to her.

Medúlla, in 2004, was a huge success for the Icelandic star

Later albums, Vespertine and Medúlla arrived in the early-mid-2000s and carried on that legacy of wonderment and brilliance. Those albums, more in common with Homogenic than her earlier material, gained huge plaudits from the critics. Vespertine, especially, was seen as one of the finest albums of the '00s and a mature work – from an artist able to project eccentricity and excitement without seeming undisciplined and unfocused. That balance of maturity and youth – sounding grown-up without appearing old – was a bold move from someone renowned for her captivating energy and experimentation. This phase of career - compared to the Debut-Post regency - signalled new endeavours and mood – a woman wanting to compel in silence; little need to overwhelm the senses with sound and histrionics. Not that her early albums were over-emotive and reckless – this was Björk more settled, at peace and, dare one say, better?!

Björk's 2001's, critically acclaimed album, Vespertine

That is a claim shared by many critics at the time. Vespertine shot to the top of many critical lists – some put it among the top-five albums of the decade (as it was released in 2001, these were retrospective lists). Medúlla (released in 2004) was less glacial and demure than its predecessor. It reignited some of the joy one experienced (last) on Post. Not that it was a complete return to her previous days – a way to tie some of her older sounds with new discoveries. Volta arrived in 2007 and, forged a balance between her Pop-sounding work of the '90s with her experimental music of the '00s. It was embraced by critics but some were unsure whether it was as coherent as striking as it could be - a bit messy in places and not what we would expect from someone so spectacular. Björk wanted the album to be a lot more 'up' and propulsive than her previous two albums - that need to create something fun. Almost a return to Debut and Post: Volta encapsulated that early energy and youthfulness. Perhaps those albums captured a time and were part of a 'phase' for Björk - some were not ready for a return to that sound. Regardless; tracks like Earth Intruders and The Dull Flame of Desire have a unique eccentricity that one could not help fall for.

Björk, during the promotional campaign for Volta

If anything, her two most-recent albums – 2011’s Biophilia and 2015’s Vulnicura – pushed Björk’s music AGAIN. Biophilia composed the album as a concept – during the 2008-2011 Icelandic financial crisis. The album explores ties between nature, music and technology. It was the first ‘app. album’ and was released as a multimedia project – linking the album’s themes to musicology projects.

That was followed by educational workshops in four continents. Not only did Björk create a unique promotional campaign but was determined to educate and bring vital lessons to people. Biophilia, in parts a musical experience; in others, an educational lecture. The music contained astronomy, apocalypse and oddity. Björk created her own sound and (a record) part-spacey and detached; part-focused and human. Critics were not as hot on this album as previous but recognised Björk’s ever-continuing desire to change music and push sound to new limits. Few artists take the trouble to redesign and reinvent music. Many, who might have lost some affection for the Icelandic treasure on Biophilia, were back on board for Vulnicura. Many proclaimed it her boldest and best work in a decade: stylistically similar to Homogenic and expansive – daring and challenging as she was on her debut.

Biophilia saw Björk embrace new technologies to create her sound

It has been two years since her last album but, one suspects, Björk will be back in action very soon! As you can tell from that rundown, and hear from the playlist below, she is someone constantly evolving and surprising the people. Twenty-four years from her debut release; there is a fondness and love for Björk I have not seen in other artists – that constant support and affection. In fact, it is more respect: a woman who speaks out against sexism and proves she is more than a match for any of her male peers. On that note; I have been lobbying, like many, for women to take the headline spots at our biggest festivals. It seems only natural, when Glastonbury returns in two years, Björk is considered as a headliner. Given the impact she has made on music – and the legions of musicians inspired by her – how could she not warrant a top slot?! She would put on an epic and mind-melting production that is for sure. I am surprised she was not approached this year: a Sunday night closer from Björk would have been spectacular. I wanted to concentrate on Björk’s music career – she is someone who engages in politics; is a talented author and a bit of a polymath. Whether you bond with her music or not: there is no doubting the influence and talent of Björk.

She remains of the most spectacular and intriguing talents in all of music. I am excited to see what the next few years hold and whether we will see more material. If/when that does happen; one has to ask what shape it will take? Given the way she has embraced technology – transforming her music through it – will her next album be an ultra-modern technological and digital exploration?! Perhaps she will subvert expectation and release something left-field (even more so than usual!) or return to her roots. We could see a Folk album or something entirely instrumental. Who knows with Björk – that is the great thing about her. I look at musicians one would consider ‘unique’ – in the truest and most unquestioning sense – and would put Björk alongside the likes of Kate Bush and Bob Dylan. She is THAT special – long may she continue to reign! Listening to her music is like steeping into another world. One is, at first, wary but embraced the quirkiness, evocativeness and beauty. When all is said and done it is a…

Björk's latest album, Vulnicura, arrived in 2015

GREAT place to be.

INTERVIEW: Jess and the Bandits

INTERVIEW:

 

  

Jess and the Bandits

_______

FOLLOWING their acclaimed album, Here We Go Again, Jess and the Bandits…

proved they were a force to be reckoned with. The band found themselves much-demanded by BBC radio and T.V. – Jess became the first-ever Country star to be named an ambassador for a U.K. retail chain (Jess is from Texas). Jess, after a whirlwind romance, is engaged to Chris Peavey. I ask her and the band about that; what new song, Kings of Summer, is all about and how they have developed over the last year – and what sort of tour dates are afoot. In fact, their touring schedule is pretty full and impressive – make sure you catch them if you can!

I learn about the creative process and some of the albums/artists that make the guys hum; the reason behind re-releasing Here We Go Again; what Smoke and Mirrors, their latest album, contains and how the guys all got together in the beginning.

_______

Hi, guys. How are you? How have your weeks been?

So far, so good. Busy but great!

Kings of Summer is your new track. What can you tell us about it? How did the song come together?

Well, when creating a new album it’s important to not only write your own songs but to utilize some of the best writers in the world (in Nashville). We are very fortunate to work with the best who even pitch us songs they’ve written. Kings of Summer was one of those.

The minute we heard it we knew we had to make this the first new song people could hear from the new album. It’s fun, carefree and perfect for summer. In a world full of chaos; sometimes you need a song like this that (just) makes you smile!

How does your music general form? Do you write lyrics and music separately or at the same time?

It typically comes around the same time.

I write ideas and some basic lyrics so I know what I want to talk about - but it’s not until I sit in the writing-room with the other writers that it actually comes together.

You re-released of your album, Here We Go Again, as a Deluxe package. What was the decision behind releasing that back into the market?

We knew we had a while before we would be releasing album two - so this gave us an opportunity to give our fans some new music while continuing to promote the first album to new fans.

Smoke and Mirrors is your upcoming album. We will receive it in September. What kind of songs and themes will be on the record?

This album is full of strength.

From songs like the new single, I’m Not Going Home, to The Bullet and Sister - the reoccurring theme throughout this album is how strong we can be as individuals.

Whether that be in relationships, breakups; jobs or anything life tends to throw at us. There is a very soulful County-Gospel feel to this album - which we are so excited about.

Was it a lot easier to record than Here We Go Again or did it formulate quicker? What kind of changes and differences have you noticed between the two albums?

No.

I think every album has its own share of difficulties. They equally took just as long because I would never put out an album that wasn’t thoroughly thought through and formulated carefully.

The first album very much as a fun, Country-Rock feel. This new album, I feel, is deeper lyrically - still very fun but in a different way.

It also touches on Country-Rock but has much more of a Gospel influence this time.

Is there a particular song from the new album that sticks in the mind?

It’s hard to choose just one but Sister holds a special place in my heart.

Will you be touring to support the album? Where can we see you play?

Yes!

We are hitting the road in September and all of the dates are at our website: www.jessandthebandits.com

It is almost summer. Are you partaking in festivals? What are your plans for the summer months?

We sure are.

We are doing a few of the Country festivals and I have gone to a few myself just as a spectator - which is always nice!

This summer will consist of lots of trips between Houston and London - as well as promotion for the new album and upcoming tour.

It’s going to be busy!

Jess, you are recently engaged. Has that changed your creative dynamic and affected your music in any way?

I think, slightly.

Rather than talking about ‘What-if’ kind of love; I can actually speak from experience.

Sometimes, when writing, you have to use other people’s stories and it’s nice to use more of my own now in regards to the mushy-love-stuff.

How did you get musicians together for Smoke & Mirrors? Is it mostly American musicians or British ones in the fold?

We have a great mix on this album!

We recorded it in Nashville and London with Americans and Brits! We have our pick of some incredible talent on both sides of the pond!

Tell me how Jess and the Bandits all got together? Are you all friends from way back or did you meet one another gradually?

The band was formed after working together on a tour back in 2014.

Then, additional players have been added in - as we’ve all met around the music scene in the U.K. - especially the U.K. Country scene.

There is so much talent out there!

The guys filming for Oak Sessions back in May

PHOTO CREDIT: Jess with Oak Sessions  

Are there any new artists you recommend we check out?

Oh my, there are tonnes!

There is a Country band called OSMR; Ashley McBryde is fantastic and a great Texas Country band called The Drugstore Gypsies (are really cool).

Jo Smith is worth a listen.

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

Jess: Stand By Your Man by Tammy Wynette

I remember listening to my grandfather playing old Country music on the radio - and this is one of the ones I remember hearing.

Anytime I hear this song - or any of the others on this album - it takes me back.

Ricci: Thriller by Michael Jackson

It was the very first record I had on C.D. I could remember listing to this as a young boy, falling asleep to it.

The songs just really resonated with me and one thing I am partial to is the production. Quincy Jones is one of the finest producers of our generation.

Dave: Michael Jackson’s Bad

It’s been with me most of my life: the best songs, musicians and artist.

Louis: The Cream of Eric Clapton

I must have listened to this a million times as a kid growing up. My mum has this record and as I started to play the guitar - this was the benchmark.

There are some amazing songs on it as well.

Steve: Night Owl by Joey Rafferty

He is a much-misunderstood and sadly-underrated singer-songwriter - and I’d even go as far to say he is my favorite singer-songwriter - which is quite a controversial thing to say because I realize there are so many good ones.

My dad also raised us listening to Rafferty.

<

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

Don’t give up… it’s such a tough industry but the only ones who actually make it are the ones that don’t stop!

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).

How about the ones mentioned above…

Michael Jackson - Thriller

<

Michael Jackson - Bad

Joey Rafferty - Night Owl

Tammy Wynette - Stand By Your Man

Derek and the Dominoes - Layla

_____

Follow Jess and the Bandits

 Official:

http://jessandthebandits.com/

Facebook:

https://www.facebook.com/JessAndTheBandits/

Twitter:

https://twitter.com/JesstheBandits

Instagram:

https://www.instagram.com/jessandthebandits/

SoundCloud:

https://soundcloud.com/jessandthebandits

YouTube:

https://www.youtube.com/jessandthebandits

INTERVIEW: Sharlene-Monique

INTERVIEW:

 

  

Sharlene-Monique

_______

NOT content with being a successful musician and songwriter…

Sharlene-Monique runs an inspirational blog, Uniquely You. Drawing from her church/Gospel background; Sharlene-Monique brings messages of self-improvement and acceptance into her songs – You is the perfect example of her uplifting brand of songwriting. Produced by her husband Chris Morris; it is a captivating number and one that looks to the future. I ask her about upcoming songs and whether there is more music approaching; how important her childhood visits to church were – and what role her faith plays in her present endeavours.

I learn more about Sharelene-Monique’s tour dates and what her fondest musical memory is; what is was like working with her husband – with some advice for songwriting newcomers.

IMAGES: Relm Photography (except where noted)

_______

Hi, Sharlene-Monique. How are you? How has your week been?

Hey.

I’m having a great week so far.

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

I’m a singer-songwriter, dancer; speaker and blogger.

I’m really passionate about inspiring people and encouraging them using the mediums said above.

You is your new single. Can you tell me about its origin and what inspired it?

You was written in 2014 around the time when I really began to discover my greatness. I had spent so many years prior to that feeling inadequate, from my body image to my talents. 

You is my gift to anyone who has ever felt like they weren’t good enough.

Talk to me about the video. How did the concept come together and can you tell me about the people who appear on it?

The video was produced by MsMono Productions (http://www.msmono.com) and they were excellent. We wanted to find a unique way to tell the story of the song visually - and Karla Williams (the scriptwriter) done that so well along with Rebecca Coley (the director).

Without her knowing, she showed many elements of my childhood in the video. The video features some amazing actors, in particular, Jessica Hagan and Aquila Grant - who play the same character (Jesse) at different ages.

What was it like working with producer (your husband) Chris Morris on the song?

It’s been amazing to do a project together. He is very particular and he pushes me to ensure I give my best.

He has a wide range of musical influences from Hans Zimmer to Robert Glasper - so the production to this song is quite a masterpiece in my opinion.

In addition to music, you are an inspiration speaker and blogger. How do those ‘roles’ feed into music? Is there a connection between them, would you say?

Yes.

My blog is called Be Uniquely You and it’s an inspirational and fashion blog. I very often do talks around the themes of my blog which are purpose, self-confidences and self-esteem. I love it when I get the opportunity to speak.

 IMAGE CREDIT: @rebekahsarahofficia

Be Uniquely You is your blog. It promotes self-confidence and self-love. What was the reason for setting it up?

I primarily set it up for women to be inspired to embrace all of who they are.

But, I have had men message me who enjoy the blog - so it’s for anyone who wants to see diversity celebrated.

I believe you spent a lot of your childhood/youth in church. How important is that background to your music? How much of the spiritual and religious do you apply to your music?

Yes I did and that’s a good question.

My church background plays a huge part in who I am today and the music that comes out of me. My passion to inspire and help people comes from my faith and belief in God - and the fact that, even though the people who listen to my music may not share the same faith as me - we all can connect on a human level.

We all have down days and up days. I want my music to be something all people can relate to and hopefully be impacted by in a positive way.

Is there an E.P. or album coming later this year?

Yes.

My E.P. will be out later this around October.

Can we see you touring at any point? Where can we come see you play?

My next tour date is in Glasgow on 23rd July at the Drygate.

I’ll also be at St John's Church, Hoxton on 18th August for my headline event.

What kind of music did you grow up listening to? Were you surrounded by a lot of genres and different sounds?

No.

To be honest, I listened to a lot of Gospel music growing up - and little R&B. My dad played the piano and was always learning songs for church services and concerts. I love Gospel music.

You have been involved in music for a while now. Is there a particular moment/memory that stands in the mind?

I can’t think of one particular moment.

But, as long as I can remember, I loved the stage: it honestly feels like home.

Are there any new artists you recommend we check out?

I love Cynthia Erivo, Tawiah; Shan Smile, Bianca Rose; Mariam and Yebba.

All except Yebba are U.K. artists - who have amazing talents.

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

I find this question hard and I honestly can’t pick three...sorry.

But, one would be The Miseducation of Lauryn Hill by Lauryn Hill - because it’s a vocal and lyrical work or art.

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

Figure what it is you want to say.

There are so many artists out there right now so make your music relevant and be honest. I think that’s what people connect with: your truth.

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 Was Created for This by Tweet

____

Follow Sharlene-Monique

 Official:

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SoundCloud:

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Hello, World!

FEATURE: The 900th: The Power of the Female Voice

FEATURE:

 

The 900th:

 

IN THIS PHOTO: Tori Amos

 

The Power of the Female Voice

_____________

 IT is not often I get to bring out my musical umbrella and give…

IN THIS PHOTO: Héloïse Letissier (Christine and the Queens)

it a damned good shaking. Before I bivouac said precipitation protection away; I want to pay celebration to the finest female voices around – both past and present. I do enjoy doing features with no relevance and timelessness other than the fact I fancy doing it. I have been looking at articles and debates recently questioning whether there is sexism and imbalance in the music industry. I feel very few women are provided the same opportunity as men - when it comes to exposure and attention. That seems unfair, as the list below documents, there have been some fantastic female singers – many more greats emerging at the moment. To honour some of the greatest female vocalists (past and current); I have collated a collection of stunning artists and a song that defines their talent.

______________

 

Missy Elliot

[youtube https://www.youtube.com/watch?v=cjIvu7e6Wq8&w=560&h=315]

 

Kate Bush

[youtube https://www.youtube.com/watch?v=6xckBwPdo1c&w=560&h=315]

Nina Simone

[youtube https://www.youtube.com/watch?v=eYSbUOoq4Vg&w=560&h=315]

Björk

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

Julia Jacklin

[youtube https://www.youtube.com/watch?v=H8-sRdRHU3o&w=560&h=315]

Carole King

[youtube https://www.youtube.com/watch?v=BDm1xD_Kwyc&w=560&h=315]

Beyoncé

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

Madonna

[youtube https://www.youtube.com/watch?v=a4tD8dy9Reg&w=560&h=315]

Aretha Franklin

[youtube https://www.youtube.com/watch?v=6FOUqQt3Kg0&w=560&h=315]

PHOTO CREDIT: Victor De Jesus

Billie Marten

[youtube https://www.youtube.com/watch?v=smX6xCPDbrE&w=560&h=315]

Rihanna

[youtube https://www.youtube.com/watch?v=sEhy-RXkNo0&w=560&h=315]

Joni Mitchell

[youtube https://www.youtube.com/watch?v=nAK9Pj5-QXY&w=560&h=315]

Laura Marling

[youtube https://www.youtube.com/watch?v=tb0yCaX_xKs&w=560&h=315]

Lauryn Hill

[youtube https://www.youtube.com/watch?v=i3_dOWYHS7I&w=560&h=315]

Amy Winehouse

[youtube https://www.youtube.com/watch?v=TJAfLE39ZZ8&w=560&h=315]

Stevie Nicks

[youtube https://www.youtube.com/watch?v=mrZRURcb1cM&w=560&h=315]

PHOTO CREDIT: Betsy Rose Besser

Maggie Rogers

[youtube https://www.youtube.com/watch?v=PNWsW6c6t8g&w=560&h=315]

 

Jorja Smith

[youtube https://www.youtube.com/watch?v=i59Klb0S1Uw&w=560&h=315]

Patti Smith

[youtube https://www.youtube.com/watch?v=FPwOfwhpiW8&w=560&h=315]

Mary J. Blige

[youtube https://www.youtube.com/watch?v=8XNaPX6MKlU&w=560&h=315]

Neneh Cherry

[youtube https://www.youtube.com/watch?v=OJ9VBMBS3qE&w=560&h=315]

Anne Clark (St. Vincent)

[youtube https://www.youtube.com/watch?v=mVAxUMuhz98&w=560&h=315]

Florence Welch (Florence + the Machine)

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

Laura Mvula

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

Karen Carpenter (The Carpenters)

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

Kelis

[youtube https://www.youtube.com/watch?v=6AwXKJoKJz4&w=560&h=315]

Tori Amos

[youtube https://www.youtube.com/watch?v=_PDlGUdDF8Y&w=560&h=315]

Sade

[youtube https://www.youtube.com/watch?v=_WcWHZc8s2I&w=560&h=315]

k.d. lang

[youtube https://www.youtube.com/watch?v=oXqPjx94YMg&w=560&h=315]

PJ Harvey

[youtube https://www.youtube.com/watch?v=lbq4G1TjKYg&w=560&h=315]

Dolly Parton

[youtube https://www.youtube.com/watch?v=b9re90HG2dw&w=560&h=315]

Hannah Reid (London Grammar)

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

Annie Lennox

[youtube https://www.youtube.com/watch?v=y25stK5ymlA&w=560&h=315]

Cat Power

[youtube https://www.youtube.com/watch?v=QT9qM99l9Yk&w=560&h=315]

Héloïse Letissier (Christine and the Queens)

[youtube https://www.youtube.com/watch?v=ZzFYmz2lfT4&w=560&h=315]

Emmylou Harris

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

Alicia Keys

[youtube https://www.youtube.com/watch?v=Urdlvw0SSEc&w=560&h=315]

Dusty Springfield

[youtube https://www.youtube.com/watch?v=DjydOI4MEIw&w=560&h=315]

Aaliyah

[youtube https://www.youtube.com/watch?v=3NLUthL6-BU&w=560&h=315]

Debbie Harry (Blondie)

[youtube https://www.youtube.com/watch?v=1Tko1G6XRiQ&w=560&h=315]

Billie Holiday

[youtube https://www.youtube.com/watch?v=uYUqbnk7tCY&w=560&h=315]

INTERVIEW: Hayley McKay

INTERVIEW:

 

 

Hayley McKay

__________

DARLINGTON musician Hayley McKay is a multi-talented...

singer-songwriter who has captivated and stunned many with her incredible vocals. In 2011, McKay won a national competition that funded a scholarship to study Vocals at The British and Irish Institute of Modern Music (B.I.M.M.) in Brighton. From there she graduated to an artist development course in London with Access to Music – former alumni includes Rita Ora, Jesse Glynne and Ed Sheeran. By 2016, she had already performed in Nashville, Glastonbury and venues across the U.K. Following that (last year), she performed at Ronnie Scott’s’ and The Bedford; Islington’s 02 Academy and The Half Moon, Putney – supporting Scouting for Girls – and has performed alongside Jamie Cullum, Bryan Ferry and Seal. In 2017, there are even bigger and brighter prospects ahead. I talk to McKay about her extraordinary past and plans for this year: she discusses new single, Unspoken, before talking about what compelled her decision to get into music.

.__________

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

Busy as ever! I'm going through ideas for my second single video, and over the last weekend, I was judging an international music competition.

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

I play with a full band and we have a new music genre with a real difference - it's called Pop/Electro/Country (or P.E.C. for short).

This must be the first time I have featured an artist from Darlington. What is the music scene like and how many opportunities are there for local musicians?

The Forum Music Centre in Darlington is my second home. It's a great live music venue with rehearsal rooms and a recording studio - which are always busy with some great local talent. There are also some great open mics in Darlington.

PHOTO CREDIT: Karen McBride

Last year was a busy one for you. Glastonbury must have been something for the memory chest. What was that experience like? 

It was amazing - I opened the Toad Hall stage playing a solo acoustic set.

It was so good that I'd love to back; but this time with the band. That would really be special.

You have supported Scouting for Girls and shared the stage with Seal and Bryan Ferry. What has been your favourite memory from last year?

Funnily enough, it's getting the band together. I've always wanted my own band and now I have one.

Unspoken is your debut single. What can you tell us about the influences and the inspiration behind the song?

It's a heartfelt ballad which I really hope captures the emotion behind walking away from something you're uncertain about.

[youtube https://www.youtube.com/watch?v=9wYliyZcSr8&w=560&h=315]

The track had Pop and Country edges. What music did you grow up listening to and who were the artists you idolised?

Oh, there are so many - there was always music playing in the house and in the car. From the North-East music scene there was Lindisfarne: but I love ABBA, Whitney Houston; Barbra Streisand and Celine (Dion) for the purity of their vocals and then Kate Bush, Joni Mitchell and Stevie Nicks for their storytelling.

There have been comparisons made - from a visual aspect certainly - between you and LeAnn Rimes. Is it quite daunting receiving that sort of accolade or flattering?

It's flattering, of course.

But I'd rather be compared with someone because of my music rather than the way I look.

You are making your first steps into music. What compelled you to get into music in the first place?

Music has always been a part of my life - apparently, I used to sing in my cot! There was always music in the house and in the car. Growing up, I went to stage school and performed in musical theatre. It really seems that music is in my D.N.A. and I've never imagined doing anything else.

[youtube https://www.youtube.com/watch?v=xdDCF1KX8NU&w=560&h=315]

What plans are afoot this year? Can we expect an E.P. or album perhaps?

Yes, you can.

I'm currently working on an album - which should be ready for release in the summer.

In that sense; will you be touring at all in 2017?

I'm currently doing radio promo tours if that counts. But there will a short U.K. tour playing at some of the festivals.

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

Whitney (Houston): The Greatest Hits. (Because) I used to sing a lot of Whitney's songs as a kid and wanted to figure out how to play them. They're all on this album.

ABBA - Live. Simply because they're (just) amazing.

Bruce Springsteen - Born in the U.S.A. Because it shows why he's The Boss.

PHOTO CREDIT: Karen McBride

Are there any musicians, international or local, you recommend we check out?

Oh - that's impossible: there's just too many to choose from and I'm adding to the list every day.

What advice would you provide any upcoming artists?

Collaborate with other musicians and writers.

Surround yourself with radiators and not drainers and work as hard as you can - because talent alone is never enough.

Finally, and for being a good sport, you can select any song you like (not yours as I'll include that) and I'll play it here.

Run for Home by Lindisfarne. It's my all-time favourite song.

[youtube https://www.youtube.com/watch?v=6ZNjvo1_3PE&w=560&h=315]

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Follow Hayley MacKay

Official:

http://hayleymckay.co.uk/

Facebook:

https://www.facebook.com/hayleymckaymusic/

Twitter:

https://twitter.com/mckay_hayley

SoundCloud:

https://soundcloud.com/hayley_mckay

YouTube:

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

FEATURE: Kurt Cobain at Fifty: The Playlist

FEATURE:

  

Kurt Cobain at Fifty: The Playlist

___________

I realise it is a little bit ghoulish and pointless...

celebrating the birthday of a deceased musician; but we do it to remember what they gave us – and how much inspiration they provide; even after their passing. I know I will not do the late, great Cobain full justice but wanted to pay tribute to one of the true icons of modern music. Were it not for the Nirvana frontman, it is debatable how many of today’s greatest Rock bands would exist. So many current artists take inspiration from Cobain and his songwriting: there are multiple reasons to adore the Grunge king. Not only was he one of the most compelling songwriters and impassioned vocalists of his generation: his personality was largely at-odds with the stylised, media-friendly persona many of his peers adopted. For starters, Cobain never wanted to sing: just playing guitar at the back of the room and be ignored. He missed – when the band hit the big time – blending in with people and yearned to have the adoration of John Lennon – but the anonymity of Ringo Starr with it. A complex and contractionary character that still yields fascination and legend nearly twenty-two years after his death. Nirvana’s live performances were legendary. In 1991, when the band were asked to perform over a pre-recording backing track, Cobain refused: he sang Smells Like Teen Spirit in a lower register and made a shambles of the performance. At 1992’s Reading Festival – following reports Cobain was ill after the birth of his daughter, Frances Bean – he came on stage in a wheelchair; the band barely regressed but went and nailed the gig.

If anything, Nirvana were forefathers: Cobain, the spokesperson who was years ahead of his time. He advocated equal rights for homosexuals and better rights for women. He abhorred sexism and fought to banish racism, homophobia and sexism in all areas of society. In today’s culture, these kind of attitudes are lesser-heard and rare (among celebrities): back in the 1990s, it was almost non-existent. In addition to that, Cobain introduced the world to music that seemed to speak for them. Yes, there was teen angst, defiance and depression: it was honest music that did not hold back and did not hide behind metaphors. Baring his soul through music; many fans resonated and connected with the troubled lead. Not going into his tragic suicide, but one wonders whether it was the toil and weight of life or the fears of commercialisation – Cobain worried his music was being marketed to the wrong people and losing its authenticity – that led to his untimely demise. You just need to see the band play the famous MTV Unplugged session to know that things were almost over. Aside from the lilies, candlelight and symbolism – many thinking Cobain was playing his own funeral, in a way – the band shunned the big hits and seemed to revert to their early days – playing obscure covers and doing what they wanted to do. By 1994, Cobain had had enough of being controlled and playing the role of a musical puppet. What he left behind was a mixture of incredible words and spellbinding music. His messages of inclusion and togetherness have connected with a new generation whilst his incredible personality and unforgettable performances have gone down in legends. Most importantly, perhaps, is the phenomenal music that defined the Grunge era and forced hopeful musicians to get in the garage and follow their icon. Cobain might have struggled with life and fame but his legacy and legend cannot be understated. In that spirit, I have included the definitive Kurt Cobain songs and performances to honour what would have been his fiftieth birthday.

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Blew – Bleach (1989)

[youtube https://www.youtube.com/watch?v=7J37mp0JJCE&w=560&h=315]

About a Girl – Bleach

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

Love Buzz – Bleach

[youtube https://www.youtube.com/watch?v=ZLthJDXbq6Y&w=560&h=315]

Molly’s Lips – Incesticide (Compilation Album)

[youtube https://www.youtube.com/watch?v=f76GsOBxUg0&w=560&h=315]

Aneurysm - Incesticide

[youtube https://www.youtube.com/watch?v=QD0D7IuriWQ&w=560&h=315]

Smells Like Teen Spirit – Nevermind (1991)

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

Come As You Are - Nevermind

[youtube https://www.youtube.com/watch?v=vabnZ9-ex7o&w=560&h=315]

In Bloom - Nevermind

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

Breed – Nevermind

[youtube https://www.youtube.com/watch?v=Ee6xkwVucIE&w=560&h=315]

Polly – Nevermind

[youtube https://www.youtube.com/watch?v=k2Fr90sOxbs&w=560&h=315]

Something in the Way – Nevermind

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

Heart-Shaped Box – In Utero (1993)

[youtube https://www.youtube.com/watch?v=n6P0SitRwy8&w=560&h=315]

Rape Me – In Utero

[youtube https://www.youtube.com/watch?v=TqseYiGA0us&w=560&h=315]

Dumb – In Utero

[youtube https://www.youtube.com/watch?v=Lj3bCXViNNM&w=560&h=315]

Very Ape – In Utero

[youtube https://www.youtube.com/watch?v=91yrS5PUJBY&w=560&h=315]

Pennyroyal Tea – In Utero

[youtube https://www.youtube.com/watch?v=gb71GyLkGYc&w=560&h=315]

All Apologies – In Utero

[youtube https://www.youtube.com/watch?v=0LFVQpDKHk4&w=560&h=315]

Rape Me - Live on Nulle Part Ailleurs, Paris (1994)

[youtube https://www.youtube.com/watch?v=wt0qhMEg-Xk&w=560&h=315]

Drain You - Live In Munich (1994)

[youtube https://www.youtube.com/watch?v=yY5ov_IYaAs&w=560&h=315]

My Best Friend's Girl - Live In Munich (1994)

[youtube https://www.youtube.com/watch?v=ikkhmkAH72U&w=560&h=315]

About a Girl – MTV Unplugged in New York (1994)

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

The Man Who Sold the World – MTV Unplugged in New York

[youtube https://www.youtube.com/watch?v=fregObNcHC8&w=560&h=315]

Lake of Fire – MTV Unplugged in New York

[youtube https://www.youtube.com/watch?v=uItAH1nA990&w=560&h=315]

Where Did You Sleep Last Night – MTV Unplugged in New York

[youtube https://www.youtube.com/watch?v=gOZKz_sPM6U&w=560&h=315]

You Know You’re Right – Nirvana (2002)

[youtube https://www.youtube.com/watch?v=dNtnWbGi71s&w=560&h=315]

Silver – Live at Reading (2009, Album; 1992, Performance)

[youtube https://www.youtube.com/watch?v=0DSIJD20V28&w=560&h=315]

Lithium – Live at Reading

[youtube https://www.youtube.com/watch?v=SJLe1UTqKvA&w=560&h=315]

Negative Creep – Live at Reading

[youtube https://www.youtube.com/watch?v=C-r9tuPrZK4&w=560&h=315]

Happy birthday to Mr. Cobain, wherever you lay. I can imagine he is jamming with (Jimi) Hendrix, (John) Lennon and (John) Bonham or maybe just sitting around tutting at the world! It is sad to think Kurt Cobain is not with us but we can never forget the fantastic music and inspiring legacy he has left. That word ‘legacy’ is not hyperbole or undeserved. There are few musicians that deserve such high praise, but then again, there are few like Cobain. One of those songwriters that comes around once every lifetime: will we ever see his like again?! Of course not, but that is not to sympathise. Enjoy what he left and just imagine what could have happened were things to be different. Maybe he’d still be performing: perhaps he would have run for President to topple the tyrannical Trump. It is amusing to imagine but, whilst we all do that, sit back and enjoy the great man’s incredible music.

INTERVIEW: IMAN

INTERVIEW:

 

 

IMAN

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THERE are not many new musicians who...

have penned songs for major-label-signed artists – which have gone on to sell triple-platinum. There are fewer still who have managed to balance that and created their own music. IMAN is no ordinary songwriter. The highly sought-after artist discusses her latest single, Wishing, and her route into music. Tastemakers like MOBO and The 405 have lauded previous singles Naïve and Golden and provided high kudos. These songs have accrued over 50,000 streams on SoundCloud so I was keen to see how she is adjusting after such attention. I asked IMAN what it was like writing with Ed Sheeran and touring with Rudimental; how she battles self-doubt and overcomes fears. In addition, she discusses the singers that matter most to her and what it was like working with Brett Shaw (who mixed Wishing and has worked with Lady Gaga).

____________

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

Hey! I’m good, thank you. My week has been busy with studio sessions - and rehearsals for my tour that’s about to start.

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

I’m a London-based independent recording artist. I write my songs and sometimes even direct and co-edit my own music videos. I would say that my sound has Pop, Soul; Electronic and R&B influences. My music can be heard here: www.imanmusic.co.uk

Wishing is your latest single. Can you tell us about the inspiration behind it?

It’s about a guy I was crushing on.

He had a girlfriend so I stayed well away - and I’m glad I did!

Some things just aren’t meant for you I think.

https://open.spotify.com/track/3am5yWG6Z9aIStLCTUYKFf

It is a dance-floor smash that really leaps out the gates. It was mixed by Brett Shaw who has worked with, among other people, Lady Gaga. How important was his contribution to the overall sound of the song?

The records he’s worked on says it all. He’s developed an ear that allows him to mix a record to a very high standard. I’m so glad he heard my song and was up for it.

You have written and recorded with the likes of Ed Sheeran and toured with Rudimental. What was those guys like and what has been your fondest memory from your time in music (so far)?

Ed was cool - very kind and sweet (and so were Rudimental).

My fondest memory was when I writing a song with Ed and it was such an easy, go-with-the-flow session. We ended up writing two songs and he was good company.

One of my fave memories was performing my first festival with Rudimental. I made a pact that if I ever went to a festival it was going to be one I was performing at. Not sure why I was so strict with myself but, yeah, it ended up coming true and my first festival was with them performing. I walked off BUZZING and I remember still feeling so high from it all for a good few days after. The energy was insane.

You have stated how you received rejection in the early days and were battling with yourself. Is your music now a reaction that and a sense of defiance?

Yeah, I’ve written some songs when I have felt very low about the rejection I think we all can face in the industry; but I’d always put a positive spin on it. I’m naturally an optimistic person and I’m curious about life and what’s around the corner. People have told me my voice is emotive and I think my experiences come through when I sing. I tap into emotion and I think it’s fair to say that, yes, it comes from my experiences.

In those bleak moments, did you ever think you’d be where you are now?

It’s funny how you can look back and I know I often question myself thinking how and what made me just keep pushing on.

I’ve always been driven and I think one of the things that drives me the most is a fear of not having my music shared with the world the way I feel it deserves to be.

As a creative, I create in order to ultimately share it. That’s what brings me joy: connecting with people and performing these little songs that have come out of me. They weren’t made to just sit on my Mac for my ears only. That alone gives me so much drive to just power through any type of rejection - and rejection can be a good thing. I still have so much more to give and I’m proud that I kept persevering (and am where I am). I still want more, though.

You have written songs for other artists – from U.K. Germany and Australia, among other nations – and their songs have gone triple-platinum and reached gold sales standards. What is it like writing for other artists and do you feel constricted writing for someone else? Is it an experience that strengthens and evolves your own writing/songs?

Honestly, they were songs that I had written for myself which I didn’t feel were right for me. Luckily, they found a home. The times when I have written for others can be a bit restrictive, and at the same time, I guess it does help strengthen writing for myself. I say this because every time you write - no matter who for - I am effectively exercising that creative ‘muscle’. Practice makes perfect and all that!

Having been championed by the likes of Annie Mac and MistaJam; how has this kind of love and support made you feel?

I was on a Wilkinson track where I was featured and it's always great to have quality tastemakers get behind something I was part of. When you’re in the studio recording with the song you never quite know where it will end up or how it could go - so when I started hearing it on the radio the feeling was incredible. I don’t think I will ever not be excited to hear my music be broadcast on any platform. It’s so rewarding and very humbling.

Your voice is rich and sensuous but has an energy and power to it. Which singers were most important you growing up and inspired who you are now?

Thank you! I enjoyed listening to Tracy Chapman and Jill Scott a lot. Lauryn Hill also. I like a vocal to have character. A big range is not so important but character in a voice always hits the spot with me.

I have asked many female/black artists whether it is harder to find opportunities in music. Do you think there is an imbalance? Do we need to work harder to make music a more equal and opportunistic space for both women and black artists?

I absolutely think there is a discrepancy in the amount of ethnic U.K. artists in the mainstream charts.

I remember being called into a label one time and the guy sat me down and proceeded to tell me how unlikely it would be that radio would play me because I’m not white. Luckily, I didn’t buy into that bullsh*t but who knows how many artists sat in his office and walked out feeling like it was the truth? There is an abundance of incredibly talented, hardworking and focused artists that have paid their dues and deserve a platform. There is space for everyone and the more artists - with great music out there that is - being supported by various platforms the better it is for the industry on a whole I think.

You have dates in London coming up in the coming months. You play Pop Revue on 7^th March; ROAR on 28^th March and Collage Arts on 12^th April. Which date are you most looking forward to and are you performing any more dates this year?

I’m looking forward to every single one! Some will be with my full-band; others will be acoustic sets. Acoustic sets, though, do tend to be my fave – less stress and they tend to be way more intimate. My band, though: it is a vibe I can’t deny.

PHOTO CREDIT: Jakub Koziel

On that same topic; can we expect an IMAN E.P. or album in 2017?

Throughout 2017, I will be releasing a series of singles and online content.  I’m focused on growing as an artist and collaborating with others. So, stay close to me and watch this space!

Which have been the three albums that have inspired you most, would you say?

Eminem – The Slim Shady LP. Still fresh to death!

Jill Scott – Who Is Jill Scott? Word and Sounds Vol. 1.  Vocally and lyrically 100% on-point - still speaks to me in every way.

Sam Sparro  - Sam Sparro . Vibes, vibes, vibes!

Are there any new acts out there you recommend we check out?

Loving RAY BLK, Loyle Carner and NAO: strong U.K. vibes all round.

What advice would you give to new musicians coming through?

Stay focused, humble. only keep positive vibes around you and always be honest with yourself.

Also, don’t bother comparing yourself to others – It’s a waste of time. Do ‘you’; stay in your lane and use every day productively.

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

Lucian (ft. Jordan Corey) – Infrared

I’m not sure I’m ever going to stop listening to this one!

[youtube https://www.youtube.com/watch?v=wRX-94CDjXQ&w=560&h=315]

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Follow IMAN

Official:

http://imanmusic.co.uk/

Facebook:

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

Twitter:

https://twitter.com/imanmusicuk

Instagram:

https://www.instagram.com/imanmusicuk/?hl=en

SoundCloud:

https://soundcloud.com/imanmusic

YouTube:

https://www.youtube.com/channel/UCBX4jCX_a2DSV_DQD8kbkvg

LIVE REVIEW: Lydia Baylis/Van T/Jasmine Rodgers/Michelle O Faith at The Finsbury, London

LIVE REVIEW:

 

 

Lydia Baylis/Van T/Jasmine Rodgers/Michelle O Faith at The Finsbury, London

____________

I had been itching to get back to The Finsbury…

ever since putting up four acts there last year – including Saints Patience and SALT. With that in mind, it was great being back in the north London bar for another night of terrific music. Special thanks go to Chris Sharpe and Lost in the Manor for not only putting it all together but allowing me another chance to stage some fine musicians. That is not to say the last event went badly – it was a fantastic night – but one, especially a non-professional journalist, is not often afforded such patronage and faith. Speaking of faith – me and my slick wordplay – I shall come to a certain ‘Michelle’ soon. The scene was very much set: a warm and near-spring-like evening was enveloping a part of London normally engulfed in a variety of different scents – it is certainly one of the most ‘vivid’ and aromatic parts of the capital. I like the area – around Finsbury Park – as it offers a slice of ‘real’ London. Earlier in the day, and marked contrast to the environs of The Finsbury, I was standing outside Harrods in Knightsbridge. There, basking in the genial warmth of the afternoon, was a multi-genre saxophonist who switched through various styles to enthral the agog collective. Many were circling and still; captivated by the music and funky sounds. By the time last night’s gig started, I had seen every side of London and the contrasts it offers. The idea behind the night was to showcase female singers only: something I have been meaning to do for a long time now - I hope I am allowed a third night because the events of last night have left an indelible smile.

The first act of the night was someone I have been eager to meet for a while: the charming and ever-lovely Lydia Baylis. In the course of reviewing and interview, I (unfortunately) do not get a chance to meet artists face-to-face so was great to meet Lydia and her band. It is hard not to be struck and awed by her: someone incredible genial, pleasant and warm; radiant and incredibly bright too.  I would love to meet her again in the future as I was bowled over a little bit by her (and have a little music crush now). Speaking with her, she explained how new material was in-the-works and it has been a while since new stuff has come out. When she hit the stage, there was no sense of nerves or any doubts. Launching into a wonderful and passionate set; from an aesthetic viewpoint, I saw little bits of London Grammar. With the keys and percussion (drum pads and electronic beats) it was almost like watching Hannah Reid and her bandmates. In a sense, Lydia showed she had the same sort of power and beauty as Reid – albeit a lot more warmth and ability to engage with a crowd. Her beaming smile and alluring voice got the crowd uplifted and seduced from the very start. She is one of my favourite artists because you get a real sense of someone who was meant to be in music. Throughout the set, Lydia and her band ran through some wonderful material that had The Finsbury’s patrons hooked and stunned. In terms of stage presence, she managed to turn the small pulpit into her own space. A couple of her faithful followers were in attendance and offered warm applause – as did the rest of the crowd – after every number. It was great to hear Lydia in the flesh and that incredible music up-close. In terms of sound, it is hard to compare her with anyone else: it is Electro.-Pop and Soul but delivered from a very personal place. Lydia is someone I am keen to work with more in the future as she left her mark on the crowd for sure – providing a wonderful set and showing why she is one of the most promising young artists around.

PHOTO CREDIT: Callen Jefferson

Whilst many of us only had to tackle the London Underground – Lydia coming from the Victoria area, I believe – that was not the case with Van T. The South African-based artist (Chantal Van T) had only a short time in London – making it a huge honour she played The Finsbury. Having arrived in the country early yesterday morning; she only had a short space of time to perform with her band. That ‘band’, I am not sure, they have played a lot before. Despite the short rehearsal time; it was great to hear the trio play – the set contained vocals, bass and electric guitar. It was quite a stripped-back and lo-fi compositional showcase that very much focused on Chantal’s voice. That voice, like Lydia’s, is impossible to compare and contained so many emotions and sides. Being such a young singer, many would have forgiven the South African for replicating modern Pop stars and going for something quite easy and common. Van T’s set was a striking and mesmeric as one could imagine. Chantal’s voice switched between sweet and child-like to raw and empathetic: never missing a beat and sounding completely natural at every stage. Showcasing some newer material – there will be more in the future – you got a sense of an artist that should spend a lot more time in the U.K. The Cape Town resident – her fellow band members, for the night, hailed from Germany – and provided a cosmopolitan, multi-cultural show that went down extremely well with the audience. She is soon to depart for home and really impressed the audience with her natural stage presence and warmth. Speaking with her before (and after) the set, it was clear Chantal has huge affection for London and wants to perform more here. With Cape Town being less busy and appealing for musicians; I predict Van T will be back in town in the coming months. In any case, the beautiful and powerful showcase left very few in doubt: an artist with a big future and incredible voice.

If Jasmine Rodgers’ trip to The Finsbury was shorter and less continent-hopping; her set was no less emphatic and memorable. Armed with her acoustic guitar and ukulele: she was the only ‘solo’ artist of the night. Again, this was the first time I met her but was completely awed – you get the impression of someone falling for every female musician they meet – by her humour, personality and grace. Coming from Brixton, where there are plenty of great live spaces, it was clear Jasmine has a great bond with the city and a magnificent stage presence to go with it. Blood Red Sun, Jasmine's current album, was one of my favourite from last year; moments from it played on the north London stage. Her set featured the incredible hit Icicles and some of her finest material. In the between-song pauses, she provided jokes – that gained a respectful amount of mirth and laughter – and sounded completely at-one with the audience. Again, there were people in the venue definitely there to see her. Catching up with Jasmine before the set; she explained how new material was coming and future gigs approaching. She is a musician I have enormous respect for and is definitely one of my ‘artists to watch’ this year. There are few that have such an ability to leave a crowd silent with little more than acoustic strings. Her evocative and emotionally-rich lyrics get inside the mind whilst her stunning voice and incredible musicianship leave you wanting more. That is very much the sensation on the night: a lot of people could have listened to her play for a long time after that. Owing to the set times and limitations, Jasmine certainly left her mark and, I hope, will get a lot of people racing to hear her songs. It is rare finding a musician that has humility and affection with no ego and pretence. Jasmine is one of the most ego-less artists I have met and wins your heart with her balance of exceptional songs and charisma. I, like many in attendance, naturally gravitated to her were gripped by her set. I hope to see Jasmine at other gigs and she is someone I am eager to review again very soon. I am excited to think what is to come for her and how far she can go.

Ending the night was Michelle O Faith and her band. Unlike Lydia, Jasmine and Van T; this set contained heavier percussion and was the most direct and hard-hitting performance of the night. Michelle is someone who delivers big and bold songs intended to get heads nodding and bodies moving. I met her (and her mother: a lovely lady) at the gig and loved finding out more about her and what she has been up to. Birthday Blues is her current E.P. and she showcased material from that collection. The title track and Lemonade were songs that got big reactions and were matched with incredible performances by everyone on that stage. Michelle herself is someone who has a personal and professional persona. In person, she is this sweet and intelligent young woman who you could listen to for hours – interesting to hear and filled with kindness and passion. On stage, she adorns a blue wig and is one of the most physical performers I have seen. Completely involved with the music and the lyrics; Michelle made great use of the intimate stage and ensured the crowd got a memorable performance. Michelle, throughout her songs, employed a lot of movement and emotions and proved she is an extremely natural and incredible performer. She and the band had a terrific kinship and produced a tight and professional set that, again, was received with warm applause and impressive whistles (the crowd was particularly energetic and supportive after every song). I know Michelle will go on performing and play larger stages so it was great hearing her play The Finsbury. Her was a headline set few will forget and ensured the February Sunday evening was ended with a bang. In listening to her, I got little hints of singers like Adele and Beyoncé. In terms of persona, physicality and command; one can draw comparisons between her and Beyoncé – there is that similar blend of sexuality and vulnerability in her music that makes me think of the U.S. legend. Let’s hope there is more material from Michelle O Faith this year as she is a terrific artist with plenty more to say. I can see her playing festivals stages in years to come: seeing her in smaller spaces like The Finsbury was a real treat.

PHOTO CREDIT: Anne Campbell

Aside from a few noisy patrons – Chris having to have a quiet word with one or two – that were a bit chatty during the songs – and blues (ambulance) lights flashing past the window every few minutes (it is north London after all) – it was a fantastic and successful night from four different and amazing acts. Each artist stood out and created an incredible and evocative performance. Whilst each had different merits and styles; they came together extraordinarily well and gelled. I know the girls were meeting each other for the first time and seemed to strike a natural and warm bond. On stage, it was great seeing this quartet of female singers perform some fantastic songs. I know 2017 will be an eventful and busy one for each of the artists and I am excited to follow them all. Thanks again to Chris and Lost in the Manor (and to my ever-faithful gig companion, Adrian) and The Finsbury for a fantastic setting last night. It is a small space but one filled with atmosphere and potential. Every performer gave an incredible show of themselves and, in turn, received a lot of love from the audience. I am keen to do this again and always love coming to The Finsbury. Until such time, and whatever form that takes; a huge thanks to the artists that came and played last night. Truly, it was a gig that will…

NOT be forgotten in a hurry.