TRACK REVIEW: The Wild Things - F.I.A.

TRACK REVIEW:

 

The Wild Things

PHOTO CREDIT: Marcus Maschwitz Photography

F.I.A.

 

9.4/10

 

 F.I.A. is available at:

https://www.youtube.com/watch?v=n3mdk6ht9Ik

GENRE:

Rock

ORIGIN:

London, U.K.

RELEASE DATE:

June 2017

_______

NOW that I have The Wild Things in front of me…

it gives me the chance to have a chat about a few particular things. They are a band who is ready for the challenges puts before them; getting stuck in and ensuring their music is properly decent, original and striking. I will touch more on that soon but, for now, wanted to look at female-fronted bands and the band market (and possible struggles); siblings in bands and friendships; sounds that mix classic Pop and Rock together; professionalism and ensuring you are ahead of the curve – a bit about gigs and steadily building a fanbase. The reason I want to look at female-fronted bands – aside from the fact The Wild Things is – is because of, strangely, the brew-ha-ha surrounding the Doctor Who announcement. One would think we are still in the 1950s given the reaction to Jodie Whittaker’s appointment in the TARDIS. The fact Whittaker is a fine act and great choice: it seems some of the Doctor Who ‘faithful’ have been voicing their displeasure. It would be well, to an extent, were Doctor Who set rigidly in stone – and casting a woman would violate and contradict its ethos and reputation. I am not sure what the circumstance would be where that would be true but it is not – the show is flexible as any and allows for a female Doctor. I do not think it is the change that has ruffled feathers but the fact the new incumbent is a woman. If the new Doctor were black/Asian, would that provoke such a spirited and vitriol-fuelled attack? I feel people would get used to it – despite some hesitance at the start – but why would a woman get the Doctor Who super-fans so angered?! The fact most of them would not have been with a woman is probably one reason behind it. Most of the true fans are happy with Whittaker and looking forward to seeing what she bring to the role. The fallout from the announcement makes me worry whether we are as open-minded as we should be. Besides the fact, when it came to the E.U. and the recent election – our nation made a stupid and dreadful decision on both counts. It seems we are not as smart and sensible as we think we are.fanbase. The reason I want to look at female-fronted bands – aside from the fact The Wild Things is – is because of, strangely, the brew-ha-ha surrounding the Doctor Who announcement. One would think we are still in the 1950s given the reaction to Jodie Whittaker’s appointment in the TARDIS. The fact Whittaker is a fine act and great choice: it seems some of the Doctor Who ‘faithful’ have been voicing their displeasure. It would be well, to an extent, were Doctor Who set rigidly in stone – and casting a woman would violate and contradict its ethos and reputation. I am not sure what the circumstance would be where that would be true but it is not – the show is flexible as any and allows for a female Doctor. I do not think it is the change that has ruffled feathers but the fact the new incumbent is a woman. If the new Doctor were black/Asian, would that provoke such a spirited and vitriol-fuelled attack? I feel people would get used to it – despite some hesitance at the start – but why would a woman get the Doctor Who super-fans so angered?! The fact most of them would not have been with a woman is probably one reason behind it. Most of the true fans are happy with Whittaker and looking forward to seeing what she bring to the role. The fallout from the announcement makes me worry whether we are as open-minded as we should be. Besides the fact, when it came to the E.U. and the recent election – our nation made a stupid and dreadful decision on both counts. It seems we are not as smart and sensible as we think we are.

Applying this to music and I am seeing the same Whittaker-flavoured prejudice when it comes to female artists. Maybe it is me being modern (and not a nob) but I want to encourage the industry to promote female musicians and get them headlining festivals. It appears they (female artists) are getting fewer opportunities than the boys – often overlooked when it comes to festivals. This extends to studios and music roles. We are seeing more and more women speak out against the imbalance but should men become more involved? There are journalists like me who passionately rebuke my gender: we should be doing better and not living in such a caveman-like age. Yesterday, I was looking at a series of advertising campaigns from the 1950s – BBC had it on their website – that included one for cigarettes where the tagline, effectively, said; if the man blew smoke in her face, she’d follow him anywhere. Another was advertising hoovers: the woman, on Christmas Day, was on the floor, drooling over the instruction manual. Another, saw a woman hanging off a cliff with two men, above her, laughing that, at least she was useful in the home – a couple more perpetuated that stereotype of the woman being in the kitchen and not excelling in a ‘man’s world’. I was shocked that was seen as acceptable back then but, in truth, have we really progressed in the last sixty years?! I see advertising when we drop similar atom-sized clangers: music is still allowing sexist practices and inequality to reign. The Wild Things are a band where their lead, Sydney Rae White, is a successful actor and musician but one wonders how much of the attention will come based on her looks – and whether her band will be overlooked because she is a woman? It is a frightening thought and, let’s hope, she has not encountered too much discrimination thus far. What is the solution when it comes to blatant sexism and these issues?!

PHOTO CREDIT: Marcus Maschwitz Photography

I feel we need to change the current order and decision-making cabinet. It is, by and large, white men who are products of an older generation. I feel, sadly, even Glastonbury’s organisers are still not quite up to the times- the fact none of the headliners this year were women is a sad reflection on their booking policy. Music is an industry where the only judging criteria should be quality. Talent, popularity and ability are all important to consider but it is the merit of a band/artist that needs to be the sole consideration. Whether the solution is easy and quick is to be seen but every day, in different ways, I am seeing sexism rear its head and show how unevolved we are as people. Knowing The Wild Things – and how strident and effective White’s talents are – I know she shares my opinions and will keep on sticking a middle finger up to those who dare to doubt her – simply because of her gender. I know the guys have gigs coming up but I do wonder how many are passing by because of the fact they have a woman in the ranks. This is true of festivals who, when it comes to the band, predominantly, are male-heavy. A current BBC reporter shows there is a gender imbalance in their organisation. It is such a widespread problem and I do think it is as simple as blaming it all on men. There are no legislations and lengthy processes to go through to redress the issue: it is, simply, them not wanting things to change. Music is the only industry – possibly the arts/theatre/film – that has that reputation for love, togetherness and support. If female artists are being let down by the corporate heads and decision-makers; how can we continue to advocate this ethos of equality and affection – without it seeming hollow and ironic? I shall move on from this topic but feel, given the fact I am faced with The Wild Things, it deserved a mention.

PHOTO CREDIT: Marcus Maschwitz Photography

Sydney and Cam, from the band, are siblings which is something that intrigues me. I know bands with siblings – HAIM’s three sisters; Oasis’ duelling brothers among them – but there seem to be very few in the modern age. I am not sure whether Oasis’ ‘reputation’ has led a lot of siblings to forge working that closely together – in case there are irreparable strains on their relationship. With The Wild Things, one hears that close connection and understanding between Cam and Syd. They grew up – thinking back to the time I interviewed them – in quite an interesting household. It is what one would think of when imagining an actor’s household. Playtime would have been more creative, eye-catching and fascinating than most; the sort of people the young Cam and Syd would have seen coming through the door differs to most people – their exposure to music and arts would have been quite prominent and insistent. Perhaps it is the fact they both bonded with the arts at such a tender age they decided to go into a band together. I think of HAIM – more than Oasis – when I talk about the West London quartet. There is a lot of love and friendship in their ranks: solidified and defined by that unbreakable brother-sister bond. Sure, there would have been disagreements and spoils over the years – that is natural when you work so closely with a sibling. It is, I feel, the solidity of their relationship that keeps the band so ambitious and strong – the music instilled with so many positives, joyful moments and incredible highlights. Of course, Rob and Pete – friends of the guys and loyal cohorts – are as crucial in the mix; they are invaluable components in that original and distinct Wild Things sound. It is interesting The Wild Things has siblings in the band; they are female-fronted (or Syd is one of the leads) and are based out of London. The group are in the thick of the British music industry and have potential stumbling blocks at their feet. Not suggesting internal issues and aspects will cause this but, more likely, outside voices.

PHOTO CREDIT: Marcus Maschwitz Photography

One of the reasons The Wild Things are proving so popular and accessible is the fact they blend mainstream-possible Pop and grittier Rock. Their music has a summery, light nature but can pack plenty of punch and energy. It is a vibrant and intriguing mix that, the one moment, can showcase a seductive and near-hushed verse – before climbing to a colourful and vivacious chorus. Alongside the incredible music is the band’s effective and charming love of vinyl and older recording equipment. Look at their official page and one can see, when they promote their new single, vinyl copies of them. Naturally, the band relies heavily on digital forums but one suspect there is a distinct passion for proper music hardware. I am not sure how many copies of F.I.A. will be pressed to vinyl but I hope there will be a fair few at their gigs. I can see the guys selling their music on vinyl, C.D. and cassette – ensuring it connects with older generation and those who prefer their music on traditional formats. I am not surprised there is a nod to vinyl because, thinking of Syd and Cam again, the guys must have grown up listening to legends of music. That can explain their chemical blends and decades-mix music. I feel one of the reasons artists can rise of fall is down to the core sound. Going into music; it can be difficult knowing what the public wants and how to stand out. It is easy to compromise ethics and go for something commercial but I feel that is a path had to turn away from. When you have that kind of ideal and aim in mind: how easy is it to disconnect and go for music more ethical and individual? In terms of The Wild Things; they had that upbringing of great music – the siblings and two boys would have been exposed to wonderful sounds. I feel, as they are in their twenties, they arrived into the world at the right time. They would have had the finest of the 1990s but, one imagines, the benefits of their parents’ record collection – those legendary artists from the 1960s and 1970s. Now, they are taking in modern influence but have incorporated some Rock and Pop from the previous decade.

PHOTO CREDIT: Marcus Maschwitz Photography

It is a wonderful blend that manages to create something nostalgic but forward-thinking. The band is not reliant on anyone else to create their sound but have educated and nourished themselves on fabulous music from the past. Genres like Pop and Rock can be quite vague and hard to define and differentiate. So many artists produce a mesh of Pop and Rock that sounds unfocused, limp and generic. The differing styles of music have potential when mixed but it can be risky. Pop, if you take it back to its best days (The Beatles’ harmonies and classics from the 1960s) and unite that with a dose of 1970s Rock and Indie from the present-day. Sure, there is some great Electro-Pop happening now but nothing as durable and genius as The Beatles. I get a whisper of the Liverpool legends in The Wild Things; Rock rumblings from the 1970s and of-the-minute concoctions of Electro-Pop and mainstream tastes. It is a heady brew that engages the imagination and gets the voice primed and eager. Not only do musical tastes and collated influences enforce The Wild Things’ music: one feels, when looking at someone like Syd, there is a lot of herself in the music. I have been reading her social media feed – always a dangerous thing to do! – and hearing about her ‘exploits’ of late. A couple of weeks back, on a particularly ‘memorable’ day; White had her eBay account hacked; her cat vomited over her flat and, most notably, she was caught in her birthday suit by a window cleaner – who didn’t even down his bucket and squeegee (I realise, as I type this, that sounds like a euphemism if ever there was one!). It might sound like something from a Carry On film but, for White, it projects a certain infectiousness and loveable personality – one can imagine a sitcom about her life (fictionalised to an extent) would make a good BBC series, no?! At the very least you have a young woman who, through risqué escapades and nothing-left-to-the-imagination scenarios, brings that quirkiness and fun into the music. I am not sure whether Cam and the get caught in any similar predicaments but one can sense a consensus of fun and frivolity in The Wild Things. Consequently, that D.N.A. goes into the music and differentiates them from the competition.

I shall move on from eBay fraud, Sydney Rae White and the bold-faced window cleaner – she’ll be relieved to hear! – and look at the London band’s professionalism and work effort. Look at their official website and one is greeted with a colourful and striking image of the guys. It is moody and sexy; it is eye-opening and memorable. Look at their social media feeds and you get regular updates and insights into the band. One of my biggest gripes – one that continues to grate the testicles severely – is the fact I get approached by so many people (P.R. companies among them) asking me to interview/review their acts. That is exciting and can lead me to some great discoveries. Even if the music is THAT good, in order to flesh out my pieces; I require a certain number of photos to accompany it. That is not unreasonable but one would think, looking at some artists, the camera had just been invented. If one had to wait for someone to stick their head under a cloth (as the old cameras had) and freeze in position for several weeks – that would put people off taking too many snaps. We are as far from that as humanly possible. People, these days, photo things that go in and out of them; every asinine afterthought and mind-numbing possibility. The fact so many musicians are not putting an adequate number of photos online is something that can risk a career. Fortunately; The Wild Things have an array of gig snaps and portraits that keep people like me happy. It is not only impressive because it suits my ego: it shows the band is serious and wants people to include their music on their pages. The bigger publications are going to be more impressed if they see professional shots and a lot of information. There is no point being enigmatic and piecemeal when considering images and details. This considered and fulsome approach to music extends to their interviews and music. I have alluded to the variegated and fascinating sounds one hears: the band is keen to promote and share their interviews and speak to as many journalists/sites as they can.

PHOTO CREDIT: Marcus Maschwitz Photography

The Wild Things have a gig at The Lexington on the first of next month but one suspects, when things start to hot up, they are going to be pounding the gig scene rather hard. I am trying to book them for a thing I have coming up later in the year. Their live shows are terrific and have gathered impassioned reviews. It is clear they are meant to be in music and have a real bond with the audiences they perform to. Not only is the London band ahead of the game in terms of their sound and social media: they are one of the most reliable and exciting live forces in the U.K. Maybe it is not a shock as The Wild Things have acting blood in their midst. In fact, one can draw a line through each member and see a varied performance C.V. Sydney Raw White, more so than the three chaps, is a prominent and up-and-coming actor. Many of us saw her in the hit BBC comedy, Uncle. It is being shown at the moment but, sadly, wrapped for good earlier in the year. It would have been an emotional time for White but a happy and happy experience on the show. She got a chance to perform with some wonderful comic actors and open the door to other comedy/drama shows. I feel White (and her sibling, especially) bring acting and that discipline into their music. One need only look at their latest music video – where Cam ‘suffers’ for his art, to extent – to know how closely connected acting and music are. I am not saying musicians who do not have acting backgrounds are less effective live performers but one knows The Wild Things have a definite edge. Their histrionic range and performance talents go into live shows that ensure every song they play gets into the head. The videos they produce, on a fairly small budget, are always terrific and original. I will touch more on that but it seems the gang will see themselves privy to some rather illustrative gigs in the coming months. Proving how effective and compelling they are on the stage: how long until the West London four-piece are receiving nationwide/international requests? It cannot be too long, that is for sure!

PHOTO CREDIT: @marcusmaschwitz

Before coming to F.I.A. and why it is a song you need to get involved with; I want to take the mood down a little and talk about bands. Yesterday, when speaking with a website designer friend in Canary Wharf - the jammy bugger works in One Canada Square and has one of the best views of London imaginable! – he was talking about bands and how hard it can be to break them. He, in addition to designing websites, manages a few acts – including the wonderful XY&O. The boys have played Glastonbury but, despite the expensive P.R. campaigns and endless work, they are not where they should be in music. Some P.R. campaigns can cost a grand. A manager/band can put their latest song/album to a P.R. company who will, on their behalf, contact people like me and get as many sites/journalists talking about it. One hopes, with that attack-on-all-fronts approach to promotion, more and more people will get acquainted with the artist. That is true but, one of the biggest drawbacks for a band, is when it comes to monetising their music. Me and Alex (the guy I was speaking with) bemoaned the fact our music passions were not generated as much money as they should – mine generates zilch, in reality. The Wild Things rely on gigs and the revenue they can generate from that source in order to produce new music/videos. Sure, people like Syd have their acting but, considering she pays rent and needs to survive in London; how much of that pay cheque goes into her music? One suspects the band, like many other, have quite tight and troublesome profit-and-loss sheets. The sheer passion they have for music mitigates a lot of the financial pressure but bands are not being compensated and safeguarded enough. Speaking with Alex; we chatted about streaming services like Spotify and the true ‘profit’ associated with these services.

PHOTO CREDIT: Marcus Maschwitz Photography

The reason some artists get success on Spotify is that they are part of playlists which generate millions of streams. For most artists, they have to rely on more modest numbers. The money they are paid for each stream is so meagre; one cannot make any decent money from this source. A recent article from The Guardian laid out the facts when it comes to our smaller venues:

“A dearth of live music venues threatens the UK’s talent pipeline, according to those in the music industry. “Live venues are one of the few places where a new band can actually make a living, and the big problem is that the money which used to be there from recorded music has all but dried up,” Pink Floyd’s drummer Nick Mason said recently. “It’s really important we try to keep open these places where young bands can play and work.” The venues had believed that their pleas for support were being heard. The former culture minister, Ed Vaizey, said in 2015: “A vibrant music venue which is breaking new acts has just as much right to be considered a cultural venue as a local or regional theatre.”

“A lot of our venues don’t just put on pop music,” (Beverley) Whitrick said. “They will also put on jazz and folk, some put on theatre, and most put on comedy. A lot of the stuff they host, they know they are going to lose money on.”

Darren Henley, the ACE chief executive, said it had strived to ensure the new funding allocation was diverse and inclusive. “We are funding some incredible music organisations as part of the portfolio for the first time, including Readipop in Reading, contemporary music promoter Capsule in Birmingham, Loud in Libraries, NTS Live and Sound City in Liverpool. We also fund contemporary music through our other funding streams – for example, we’ve just announced that we’re funding Boiler Room’s coverage of this year’s Notting Hill carnival through our Ambition for Excellence programme.”

This, alongside the paucity Spotify pays artists for having their music streamed, is creating a real fear among bands. Solo artists/duos are in the same position but it seems bands are being hit hardest. I wrote a piece a few days ago wondering why so few of the best mainstream albums from the last year or two were created by groups. Maybe it is harder for them to perform and monetise their music: that, in turn, means they have less money for creating music and have to compromise in a lot of ways. I am not sure this is the complete truth but there is something in it – money is such a pivotal reason why so many musicians are not producing their best material. For The Wild Things; they are one of those hard-working bands who have to take jobs to fund their music and, one hopes, will not suffer because of the venue issues. I would love to see them become one of the biggest bands in the country – no reason why they cannot – but worry there is an alarming trend unfolding before our eyes. Aside from sexism and imbalances – I shall return to this a bit later – so many facets of music are suffering and being let down. Not only will many great venues close – well before new funding talks in 2020 – but bigger spaces too. These spots are crucial for every band when it comes to getting their music to the people. If they cannot rely on the gig fees and merchandise profit they receive from venues: are streaming sites an attractive and effective alternative? It seems not as we are reading tales of artists not being remunerated from Spotify; the fact modern music is not as profitable and compensated as it should be. Whether the government should be doing more and subsidising venues – so they do not face closure – is hard to say but more needs to be done in general. The likes of The Wild Things rely on the small venues to get them into the public consciousness – take them away and it will be so much harder for them to prosper. Now that I have depressed everyone, I better move on. I have been a bit Grim Reaper in the last section but, listen to F.I.A. and I am in no doubt The Wild Things will succeed and reign on the strength of their music alone.

PHOTO CREDIT: Marcus Maschwitz Photography

The band’s aim, Syd especially, is to enslave the human race. Not in a Donald Trump manner but something more melodic and loving. The band’s mingling of sweet harmonies and ball-kicking Rock is enough to get the human race buckled to its knees. Anyone expecting a slight and ineffective enslavement is in for a shock listening to F.I.A. I approve of the opening moments of the song’s music video as it castrates and villainises a few public figures – those who are making the world a worse place. Piers Morgan – one of the slimiest reptiles in the pond – is given Devil horns. President Trump has some of his ‘wise’ sound-snips comicalised and mocked – an epic buffoon who, with his sexism and vile agendas apparent, is being seen as a bit of a joke. It is worrying with have people like Morgan and Trump in the world – especially in such high and prominent positions. The video starts with the first chapter: The Sleazeball. In the video, Cam plays a version of the boss in the U.S. version of The Office – Syd is at a computer; subjected to his ‘management’ style. He is a bit of a sleaze and it is this narrative that perfectly supports the lyrics. Syd’s voice is firm and intent as she reveals, about a subject or general figure, who has certain revelations in the public. In fact, wind back, there is tussle as to whether there is accusation towards the perverse and ill-informed – those idiots like Trump and Morgan – or more a personal perspective. White, as the song’s heroine, has this lighthouse-like beacon guiding the way. It seems she is falling and struggling to come to terms with something. Whether there are ambitions not being achieved – her as the office drone; vulnerable to groping and unwanted advances – might represent a stagnation and frustration. She, as a woman, is playing second-fiddle to leaders/managers that perpetrate negative ideals and are, well, rather crude. Why should she, as the dignified and pure, have to suffer this?! Maybe the song looks back at her previous work experience: perhaps it is a commentary on sexism in society or the way men seem to make more of the decisions.

Whatever the interpretations; one is hooked by the video and music. The former has that low-budget charm and humour chapters – Syd and Cam showing their acting chops and presenting a tableau that is going to familiar to many. The song is a typically boisterous and spirited number from the London band. Syd’s voice is as strong and set as ever: the way she can blend the luscious and cherry-ripe with something spiked and kicking is impressive. She has one of the nimblest and strongest voices in new music and demonstrates it here. The guys help to whip up stomping percussion, liquidy bass and stirring guitars – they whip up a storm and provide one of their tightest performances to date. White, as the ill-fated heroine, wonders why she has to be in the position she’s in. The song’s title – the acronym stands for F*ck It All – is her exasperation at the way things are going. The song’s video projects sexist subtitles – Cam, as the boss, belittling Syd and saying, even though she is not a man, if she works hard she can make it happen – and some rather creepy images (not Cam massaging his sister’s shoulders but that all-too-common workplace ill). I get a sense of Syd speaking for many people in society – not necessarily women. It seems, even if you do have ambitions and good intentions, you can be let down by people. As a musician and actor; she must have faced closed doors because she is a woman. The video for F.I.A. certainly highlights a sexism that we should eradicate. There is this assumption things will be okay – telling her parents it will be okay – but there is tension and rage building under the surface. This is visualised by the song’s video which, rather wonderfully, sees the put-upon heroine take action. Her boss’ too-near-the-ear leering and patronising sexism is too much for the heroine to take. She screams and, as we transform from the office into a multi-coloured-disco-floor-cum-battleground; things intensify. Syd wields a sword – her boss looking concerned for his life – and she has taken more than enough! Coinciding with the next chapter (The Criminal); we see the fall from grace of the heroine.

The song’s lyrics might not be as extreme as the visual arc – the oppressed killer having to escape and evade punishment – but there is a tangible sense of relief and release. This is exemplified by the song’s explosion and passionate burst. The guitars, drum and bass volumise and create a wonderfully boulder-like and fiery sound. Everything gets hotter, suffocated and exhilarating. The band, every one of them, shows their instrumental chops – how they can switch from the summery, harmony-rich calm to full-out Rock jabs without much of a breath. It shows how confident and assured the band is. They can switch one-eighty and make it sound natural and expected. As the third chapter, The Stalker, comes in; it becomes clear there is a combination of the personal and observational. Syd has been around those pervy bosses and types that demean women. Then, she looked at those who strike out and damage the world; stalker, who harass women, are those we need to take to task. Whether there is a personal exclamation – fed up with these people getting away with it and affecting women so severely – or a need for society to clean up, it is interesting to examine. It is clear the heroine is not one to take these issues lying down. In the video, she strikes a man who tries to mug a woman. Then, she tackles a stalker and asks who is running the show – The Big Boss is the final villain that needs slaying. The humorous and comic book approach to video-making is a nice companion to a song that addresses something rather serious. The band takes the song through suites and stages. Syd yelps and spits; she has passionate segments and ensures each part of F.I.A. has its own personality. The band is level to the task and, as such, infuses the composition with different sides and flavours. It is one of the finest, if not the best, songs from the band and one of the most complete. There is a definite sense women/sisters can overcome the worst side of man – something that needs to happen (perhaps a little less violently than in the video!). Whatever your take away from the song; it is a huge and anthemic song from the London band and proof they deserve a lot more oxygen and success. Let’s hope that does not take too long to happen!

PHOTO CREDIT: Marcus Maschwitz Photography

Many of us experienced quite a storm last night – you’d think it was the rapture, the way people are going on – and have been thankful it is a lot calmer this morning. In any case, that storm cleared the air and will take the heat down a little. If that meteorological sensation has, after some turbulence, created something positive; one wonders, applying that to music, whether that is the way to broach issues we are facing (pardon my rather clumsy metaphors and linking ‘powers’). In all seriousness; I, as much as anyone, was aggrieved seeing the online disagreements when Jodie Whittaker was announced as the new Doctor. We are seeing more and more sexism make its way into society – this seems rather baffling in 2017. I feel people are not as evolved as they should be: hanging onto horrible and vile ideas of past decades and thinking that is okay. At the very least, there is a stubbornness and unwilling to adopt anything new and progressive. This can be applied to music in a lot of ways. From the mixing desks and studios; to the festivals and looking at the charts themselves – women are subject to discrimination and this has to stop. A lot of charts acts are still promoted based on their looks: sexuality a big ticket for the girls but not as much for the men. How can we logically rationalise this approach and not take action?! The older boys are calling the shots and, until this order is replaced, we are not going to move on in any meaningful way. Sydney Rae White is the lead of The Wild Things and not someone who pays sexist men any quarter. One imagines she would have experienced sexism and, compared to her male peers, not provided the same sort of respect and focus. For the London-based band; their music shouts in the faces of anyone who dares to overlook them. I have mentioned – and shall not elucidate and return to the well – some of Sydney Rae White’s unfortunate happenings a couple of weeks ago. She, to me, is one of those charming and real people we need to see more of. Having a close bond with her brother, Cam, and friends Rob and Pete; the guys are one of the most together and effective bands I have heard.

PHOTO CREDIT: Marcus Maschwitz Photography

I look at a lot of bands and feel they lack anything unique and interesting. Maybe their music has some pluses but, looking at the members, and they are rather indistinguishable and bland. That is not the case with Londoners The Wild Things whose individual personalities and stories makes the listener take notice and dig further. The Whites’ acting background - Syd involved in Uncle and other projects – gives one an idea of what their childhood was like. I think they had quite a creative and illuminating space as children: engrossed in the best arts and music of the time; living in a part of the country where they would have been exposed to so many different people, tastes and cultures. I am not sure how Rob and Pete found Syd and Cam but, one suspects, there was a solid friendship from way back. I talked about siblings in bands and how it can lead to mixed results. One will not hear any Gallagher-esque spats and wars between Cam and Syd. They have that tight and loving relationship that makes the music so solid and natural. The entire group has a tight-knit dynamic and that leads to some wonderful music. Like current favourites Methyl Ethel – the latest album from the Australian band, Everything Is Forgotten, is one of the year’s best – one gets some wonderfully rich and summery Pop; echoes of Rock and concrete – music that would sound epic in the live environment. I shall bring things to a close but want to return, very briefly, to professionalism and the gig profitability for modern bands. I have outlined, via The Guardian, how vulnerable the fabric of live music is in the U.K. The Wild Things, of course, are eager to get their music out there and generate funds from tickets/merchandise. If digital streaming services provided a comforting fall-back for bands, that would appease a lot of the stress we are seeing – the sad fact it is exacerbating pressure and insufficiently paying artists who appear on the site.

Those grassroots venues are, as always, an invaluable rite-of-passage that needs proper conservation. The Wild Things are a brilliant live act who is placed in the busiest music city in the U.K. They will want to have full access to the spectrum of venues around London. If, as has been hinted, many spots will close in the next couple of years; what does that mean for their future?! Their music is righteous and bodacious for sure, I get you, but it can only get its voice heard if they can bring the music to the people. Streaming services get the songs into the ether but gigging has always been the effective way of spreading the word. We need to accost the government and open their eyes to the denigration and depletion of the live music scene. I shall not bum the guys out too much as, and I shall end on this point, they have a bright future. I am not sure whether they have plans for an album but I know the guys have an impressive body of work behind them. Surely, new ideas are percolating and one imagines they are brewing something – whether an E.P. or another single. The vibe and chatter augments; there is demand for their music – how will this drive the band and what form will their ambitious take? I feel they have an E.P. inside them and feel a summer-released four-track, for example, would be a savvy move. In that same spirit, they will be looking for gigs and know there are venues that would house them – an E.P. to show promoters and venue bosses would go a long way. The reason the band are making strides is their professional approach to music. They get images of themselves out there and producing stunning songs like F.I.A. Their hard-working and versatile approach to music is going to take them a long way. I have no doubt the London quartet are going to be headlining stages in years to come so it is good you keep your eyes peeled and ready. F.I.A. is a typical slice of brilliance that shows The Wild Things…

ARE here to stay.

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INTERVIEW: Dani Robert

INTERVIEW: 

 Dani Robert

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ONE cannot deny how well the single, Clouds, has done lately.

ARTWORK: Casey Blair

Its creator, Dani Robert, talks to me about its Spotify success and whether its acclaim was expected or not. Originally from the farmlands at Pain Court - she is now based in Toronto. I ask about the music scene in the Canadian city and how it inspires her. I ask about her latest single and the inspiration behind it; whether there is anything (music-wise) is coming up – and how instrumental music was when she was young.

I ask whether Robert is coming to the U.K. and what tour dates are approaching; the three albums that mean the most to her – and whether it is a struggle being a young artist in a competitive market.

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Hi, Dani! How are you? How has your week been?

Hey.

it’s been a great week! I’ve been doing a lot of press and promo for the new single, Clouds - so a whole bunch of things keeping me busy.

I am so excited about how people have been responding to it. We just broke 100,000 Spotify spins!

Such a giant blessing!

Clouds is your new single and summer anthem. What is the story behind the song?

The song is all about a personal experience I had with a close friend of mine.

I had felt so many feelings for this person and I felt he did too - but we just never talked about it! It made me think of all the times we feel something and are so hesitant to act or even talk about it. I compared it to a cloud because clouds are there, but they’re also just vapor – similar to these experiences.

The feelings were there but weren’t really because we never acknowledged them (like vapor). So, the moral of the story is: TALK ABOUT YOUR FEELINGS!

The video looks like it was fun to film. What was the process of putting it together and how involved were you in putting the concept together?

It was such a great experience filming this video.

We worked really closely with the director, Gord Poon, to put together a story that, essentially, brought the lyrics and song itself to reality. He did a great job really taking my personal story and putting it on screen. I was pretty hands-on in the whole process too: from the initial brainstorm process to the casting - all the way to the end product.

Based on the responses I’ve been getting, I think we were able to capture a real-life experience that is allowing people to truly feel something. If you guys are able to feel something - and I mean anything at all - I’ve done my job!

It seems like a lot of time and thought was put into putting the song together. What was the process of making the song itself?

Definitely!

The song itself took about a year to fully complete. It was a long and worthwhile process that involved many people: from Mic Te to TJ; to A.M. and, of course, Ashton Adams and Kyngs - who produced the whole track.  It started off with a few lyrics and a piano rift but when I took it into the studio for the guys to listen to - they added their touches and it took a life of its own.

That night in the studio, when we finally finished everything, I remember being with my team, dancing and beaming with smiles! It’s a very personal song to me because it’s something that really happened to me!

It has been streamed thousands of times on Spotify and taken to heart by so many people. How important is that kind of reaction and reception to you?

I’m just blown away by how well received the song has been thus far – over 100,000 Spotify listens in less than two weeks!

I’m so happy you guys like it! So many people have shared with me their own feelings on how they can relate to the song, and to me, that’s really what music is all about. As an artist, I just want to connect with people of all backgrounds and walks of life. It’s so beautiful to see so many different people from around the world create their own interpretations of Clouds.

It really shows that us, as people, really aren’t so different from one another.

Is there an E.P. or album on the horizon?

Definitely.

New music is on the horizon soon – whether an E.P. or an album, that’s to be determined. I have a collection of songs in the musical vault!

Right now, we’ve just been so taken aback with the success of Clouds and I’m just really trying to soak that all up. Stay tuned, though!

You live in Toronto but are from Pain Court. How different are the two places and what was the decision to move to Toronto?

Both places are pretty different from one another- but are each beautiful in their own way.

Pain Court is a small French village that is forty-minutes away from Windsor, Ontario. It’s filled with fields, old barns and breathes at a much slower pace.

Toronto, with its diverse neighbourhoods, for the most part, is much faster-paced and taller - in a sense that there are more sky scrapers! The only structure comparable to a sky-scraper in Pain Court would be their grain bins. Haha.

Music is the thing that ultimately brought me to Toronto though. Being there has allowed me to build the team of people I currently work with today. Toronto’s music scene is extremely tight-knit as well. It’s been so humbling to be a part of a community that has bred people like Drake, Shawn Mendes and Alessia Cara!

To call these people my peers is truly an honour.

What is the music scene like there? How does it compare to other parts of Canada?

Like I said: the scene there is so tight-knit and talented!

So many international artists are from there from Drake to Alessia (Cara); The Weeknd, Justin (Bieber) - who’s just outside of Toronto.

Montreal is another place in Canada I really love. It’s also so amazing and diverse - there are so many talented groups from Montreal.

Those are probably the two places I’ve really been able to experience as of late. Canada is such a huge country. I’m hoping to see much more of it when we go on tour.

How early did you take to music? Did you start playing as a child?

I started playing the piano when I was five and began writing songs when I was seven. My babysitter, Jess taught me Heart and Soul on the piano and, from there, I couldn’t stop playing!

There are so many creative ways of looking at the world when you’re that age and I found the best way to express it was through song. I am so grateful to have the opportunity to express myself in such a way - because it really is my most comfortable method of communicating and connecting with others.

What kind of artists and albums did you grow up listening to?

Growing up, my parents always had the radio on. They listened to a lot of '60s and '70s music - and I listened to a lot of Sarah McLachlan.

As I got older, I also started listening to Chantal Kreviazuk - after my mom and aunts brought me to her concert. Watching her play, I remember hearing a voice inside me saying: “You will be doing this someday!”

Is it quite tough being a young artist coming into music? Do the ‘goods’ outweigh the ‘bads’ - or does it depend on the day?

Being a young artist sometimes has its challenges with all the responsibilities involved - and all the different hats you have to wear.

It doesn’t necessarily depend on the day because you’re always thinking and experiencing so many things at once and are always on the go. Whether that is spending hours in the studio, being in constant communication with my managers; having to meet multiple deadlines in a day, odd sleeping hours; meetings, social media management or press runs you’re always on - it doesn’t leave a whole lot of time for myself.

As a young artist, especially, I think I have the added challenge and responsibility to make sure I’m presenting myself in a proper and respectable way. I have so many young listeners that I have no choice but to make sure I set an example for them. Often, when put in that position, a lot of pressure is there to do well not only for myself but for everyone impacted by my music.

But, when I see how people are connecting to the music and my story, all those challenges and bad days are really over-shadowed. Nothing compares to seeing people connect with my music and even having it help people in their lives.

So, to answer your question: the good absolutely outweighs the bad!

How do you unwind and spend time away from music?

I spend a lot of time in nature, swimming; painting, hanging out with my family; friends and Ned the cat (which my mom will soon be making a Facebook page for - stay tuned! Haha).

My faith is also really important to me - so I like to pray and go to church.

PHOTO CREDIT: Kenneth Leung

Can you tell us whether there are any tour dates coming up? Any plans playing in the U.K. this year?

As of right now, we are in the beginning stages of talking about tourin - but I would love to come to the U.K within the next year!

I hear that in general, the music scene in Europe is incredible - as you guys have a true appreciation for music. Wonderfully enough, my primary Spotify listeners of Clouds are actually from there.

Are there any new artists you recommend we check out?

I love Anna of The North – she’s an awesome artist from Norway.

I absolutely love her sound, look and overall vibe. Her melodies are absolutely breath-taking.

PHOTO CREDIT: Jonathan Vivaas Kise

I would also recommend an upcoming Canadian rapper I’ve worked with named Brae.

He’s on the same management team that I am (AMAG) so we’ve become good friends. He’s such a talented young Canadian artist - not to mention he has such a happy-go-lucky personality. His live performances are unreal!

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

Sarah McGlaughlin’s Surfacing (album) is a big one.

I was so young when I first listened to that album on my old cassette player at home. It definitely inspired me to write songs on the piano like she did. The overall beauty, depth and emotion captured on the album is beyond words.

Chantal Kreviazuk’s What If It All Means Something also had a big impact on my writing when I was young.

It was the depth and her ability to capture emotions and tell stories that drew me in. 

Lastly, Frank Ocean’s Nostalgia, Ultra, is another project that leaves me in awe.

My ears never get tired of it and I feel like I’m in a different world when I listen to it. Strawberry Swing, in particular, literally makes me cry!

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

Music isn’t just about making songs: it’s really about discovering yourself and knowing yourself. Get to know yourself in the studio - do you need breaks? Snacks? Do you need to prance around the yard and pick daisies in the middle of a session? (That’s what I do sometimes).

Analyse yourself and get in tune. I know there’s a ‘grind’-mentality out there but, sometimes, stepping away and coming back - or even waiting for that actual experience to capture - is worth it as listeners feel and hear the difference.

Really importantly; my manager Mic Tee always reminds me, that, despite the stress - to make sure to have fun in the process!

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).

Thank you for the wonderful interview and I hope to meet you in person soon! 

I would love it if you played The Dreamer by Anna of the North!

Thanks so much and don’t forget to follow me online: @danirobertmusic!

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Follow Dani Robert

INTERVIEW: Aminu

INTERVIEW: 

 Aminu

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AMINU is some I am intrigued by and how he has progressed…

over the last few years. Not only was he approached for Simon Cowell (for a deal) but has worked with a range of talented producers. I ask him about his new single, Love U, and its compelling video. Aminu is based in London but born in Nigeria. I ask about his heritage and whether he brings his African roots to the music – and if music was a big part of his childhood.

He tells me about future touring plans; when he first got the performance bug and the experience of working with producer Rob Ra – who seems to have a direct and honest approach (like Simon Cowell). Aminu gives a little peek into his upcoming album, DYFM, and what we can expect to hear from it.

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

Hi there.

My weekend has been really nice and relaxing – although, I am getting a little cold from time to time as I'm always on the move.

Battling through different climates can be somewhat of a challenge. L.o.L.

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

Sure.

My name is Aminu and I'm a singer-songwriter - born in Nigeria and raised in the U.K.

Tell me about the new single, Love U, and its video.

The video for Love U has been a really wonderful experience.

It came about from an old song I had written a while back. It came alive again after I played it to Rob Ra - who I’ve have worked with on other successful projects.

We then gave it a much-needed revamp and reintroduced it back into the forefront - with a fresher sound.

Is there going to be any more music arriving shortly?

The single is taken from my album, titled D.Y.F.M. - which stands for Do You Feel Me.

I'm still finalising the tracks on the album - and making sure that it gets across to all the fans!

You were born in Nigeria. Was music a big part of your childhood there?

Yes, I was born in Nigeria.

I remember growing up and hearing lots of Soul and Disco being played during our birthday parties as children. Michael Jackson’s songs and his videos - like Don’t Stop ‘Til You Get Enough and Billie Jean - just drove me to perform in front of the T.V. It, sometimes, felt like I was the only person around.

London is where I wrote my first song as a teenager. I went on to complete my studies in U.K.

Was it difficult leaving home/Nigeria and going into music?

Yes.

It was tricky but my parents saw, from my school days, that I had something. They regularly came to see my plays and shows at school. I always had a good balance between studies and creative time.

It was after university - and music wasn't paying off hugely - that they recommended I got back into the corporate world (which I did).

But, I always had time to create music after sorting out my mobile studio set up. Everywhere I’d go; so too did my music.

I believe Simon Cowell came across your music and offered you a deal. How did he come to your attention?

Simon’s situation was a really good place during my history!

It meant something to me - and it meant something huge! I wasn't offered a deal by Simon, but rather, he had come across my C.D. and advised that I had a communicative session with the top management at BMG then. I received an invite to discuss - but no agreement had come out of it.

I treated it like ammunition! It was the world telling me I got the goods so I needed to get there myself! After that; everything in my life changed!

What was it like working with Rob Ra on your new music?

Rob Ra is so unique!

He's a straight-shooter. Similar to Simon, he tells you if it’s a ‘yay’ or ‘nay’! L.o.L.

I get on well with people who are honest! He advised me to attack the market big-time - and that I had a hit on my hands so don’t keep it on the shelf. He came up with a couple of remixes for my Afrobeat track, Shake U.

I had a video shot as well, and the rest was history. Whenever we get into the studio, it's always fresh!

Your music crosses genres and sounds. Is it important to blend styles and nod to your Nigerian roots?

Yes.

It’s very important to have a mixture of stuff that everyone can bop heads to.

I want my music to reach the kids and the adults. I also want to relate to my Nigerian roots so people outside can also look into how we live, work and play out there!

What kind of music did you grow up listening to?

I grew up listening to Michael Jackson, Marvin Gaye; Frank Sinatra, Boyz II Men; Tina Turner, New Edition; Prince - and many more!

What inspires my music is reality. Reality doesn't always have to be serious! You can still live your fantasies through reality, I believe!

What have been your highlights in music thus far?

When I spent some time in the Middle East, I once had a three-piece band: a fantastic bassist; pianist, and myself. We had to serenade the guest at none-other than the Iconic Burj Al Arab Hotel - the only seven-star hotel I know to-date.

It is where I had a residency gig - that allowed me to spread my wings, make contacts and perform almost every evening. I played Jazz, Soul and R&B classics - including some original material.

Yeah. Those were my best times, doing international gigs - whether in Nigeria, U.K. or the Middle East.

Can we expect to see you tour anytime soon?

Yes.

I am currently organising a U.K. tour but this will happen if certain factors - or perhaps dots - connect properly.

The U.K. is still getting to know me and I don't want to rush - like to go with the flow a little bit.

Are there any new artists you recommend we check out?

Ermm...I would just say watch out for some artists I plan to bring over from Nigeria. The talent there is insane - and it’s digestible overseas.

But for now, I will keep it a surprise!

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

The three albums that meant so much to me are…

Usher – 8701; Michael Bublé - It’s Time; Aaliyah - One in a Million.

These three particular albums drew a completely different side of me as a performer - and a writer.

Usher made me feel like a superhero; Michael Bublé has the voice that I always wanted - and sang the songs I always wanted to sing. Aaliyah’s record fed me with lyrical genius and I know it doesn't make sense - but it did! With top writer/producers like R Kelly, Missy Elliot and Timbaland grooming her - you knew it would be Lit!

What advice would you give new artists coming through?

My advice to new artists is that they should never stop believing, and, I know its cliché, but the moment you stop believing you can - then there’s no point to continue.

Do whatever makes you happy and love the people who love you the most.

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

 L.o.L. Ok.

Can you play me Bruno Mars’ That’s What I Like?

I love this song!

Thank you for giving me this time (Aminu).

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Follow Aminu

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INTERVIEW: The Pocket Gods

INTERVIEW: 

 The Pocket Gods

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THERE are some bands that come and go…

and then there are those who endure and continue to inspire. The Pocket Gods are in the first camp – oh, wait, no: the second one. I catch up with them to talk about the new single, Another Sunny Day, and what it is all about. I learn more about the record-breaking album of one-hundred songs: all thirty-seconds in length (or less). It is a shot against streaming services like Spotify – and their egregious and borderline-unethical payment to artists.

Being such an established and well-heeled band; I learn about the album, The Jesus and Mary Chain – and what it is like knowing such a famous band. The Pockets Gods have been on the scene for years and gained plaudits from the likes of Steve Lamacq.

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

Yep. 

Crazily busy which is great gigs, interviews - and sorting out launch party for the album!

Can you tell me how The Pocket Gods got together and the secret behind your decades-spanning endurance?

Oh, crikey, well: “It was twenty years ago....Sgt. Pepper...”.

Erm, yes. I formed the band whilst working in Tower Records in London, with keyboardist Noel Storey, and recorded a demo of a song called My Next High and we were more Alt-Country at that time - even had a pedal steel, harmonica and a guy on decks!

Well, Noel and I are still in the band - which is a good start – and, despite having a cast of a-thousand ex-drummers and bass players, we all remained on friendly terms.

We just kept at it I suppose and kept recording albums - think there's about fifty-odd albums out there and nearly eight-hundred tracks been released. Also, not taking ourselves too seriously - so no massive egos.

Tell me a bit about Another Sunny Day and the inspiration behind that?

Well. I wrote the basis for the song while surviving a hot summer living in London - some dodgy bedsit in E17 and there was just know where to go to escape the heat.

I was just wishing the rain would come and wash it all away - my then-band-mate Nigel Parrington then added great bits to it and it was a hit single in Belgium for our band at the time, The High Ones. I've always thought it to be a great summer anthem so I wanted to re-record it for this album.

There is a new album out, too. What can you reveal about it?

Aha, yes.

It's our Sci-Fi-Indie-Pop opus - featuring new versions of old songs and some new more experimental tracks. It's written like a classic L.P. with an A and B-side kind of all flows together - there is even a ten-minute track on the end - which is kind of ironic; seeing as we're known for our thirty-second songs!

It is titled after the legendary Scottish band, The Jesus and Mary Chain. What is your experience of the band and how important are they to you?

Ah, yes.

They were fab. My brief experience of playing with them inspired me to form The Pocket Gods so, without them, I wouldn't have started the band. The funniest moment was when I went to audition for them at their own studio in South London - appropriately called, The Drugstore.

I learnt all the bass lines note perfect (ala Paul McCartney) and was happily playing away when Jim Reid came and whacked the bass amp on full-fuzz and distortion all the way to eleven - it was just white-noise and served me right for playing too many notes!

The band has a Guinness World Record for releasing the most tracks (one-hundred) on a digital album. How did you manage to write so many tracks and how long did it take to get them all together?

Oh, yeah, to be honest; it was hard work and was running out of ideas after about seventy songs - especially as I wanted them all to be about the music industry.

The whole album was a critique of the industry and the whole digital streaming - and lack of royalties for artists. To be honest, I wasn't aware that it was a world record until they contacted me. I chose one-hundred as it sounded cool. I wouldn't have been able to finish the album if it wasn't for friends and fans of the band recording tracks for me as well - so, thank you all!

Each track lasts thirty seconds. What is the reasoning behind this?

Ah, there you go...

Well, simply; services such as Spotify pay out a very small royalty of approx.. 0.007 after a track play reaches thirty seconds - and then no more. So, your track could be eighteen-minutes-long but you would still get the same royalty - so I thought: why give them more why not write songs that are thirty-seconds long and, by putting one-hundred of them on one album, you maximised the royalties!

The thirty-second song idea came from Professor Mike Errico in the U.S. - who wrote about it in The Independent - and challenged bands to start writing thirty-second songs.

I took up the baton!

Was there a sense, putting that album out, it would be seen as a bit unconventional? Has it been quite humbling getting such great feedback and kudos?

No, not really.

I did chat to Mike Errico about how I would never write or record conventional longer songs anymore - and we did do two more albums after the first. But, at the end of the day, I fell back in love with playing longer songs and also wanted to show our new fans that we weren't just some fad novelty protest band - but we could actually record great albums.

Yes, it's been very well-received and, especially with a young audience, even the great Steve Lamacq has said we were sounding fresh - which is great.

How do you think music has changed since you started out? Do you think the digitisation of the music world is a good or bad thing? Is it harder being in a band now?

Overall, the industry has changed so much...

It was way too slow to adapt to changing technologies which allowed piracy to reign supreme for a while - it's now only just starting to recover. I do think though people do look back with rose-tinted glasses about how great it used to be. People forget the reality was although bands got advances they were, basically, in debt to the major labels and had to pay it back.

Also, to get a decent demo. made you, would have to spend a lot of money in a decent studio to get something that sounded good - now you just pick up a MacBook and away you go.

So, technology has allowed more people to make music but, consequently, there is a lot of artists out there trying to make an impact which is hard...hence my reason for trying to create an angle and make it newsworthy - with the one-hundred-times-thirty album. 

Back in the 1990s; you were discovered by John Peel. How important was it to have your music backed by such a legend?

Actually, it was much later: it was the year he died, tragically.

I wrote a song called The Ballad of the Peshwari Naan about our local Asian restaurant and thought, after recording it, that John Peel would love it - as it was a mix of Sonic Youth and Cornershop.

So, I sent him a C.D. and forgot about it. Two years later, he calls me up saying he loved the track and gave me his home address to send more stuff (to him).

Lovely man.

Tony Wilson died shortly after finding you; your former manager nearly died of an asthma attack after taking you on. Have you managed to halt the Grim Reaper streak and, in all seriousness, was having Tony Wilson recognise your music your greatest moment?

Yeah, I think we have halted the so-called ‘curse’ to some extent - especially as Huw Stephens and Tom Robinson are fit and well (fingers-crossed, chaps).

Yeah, Tony was a legend I loved the whole Factory music scene and ethic - and he was a one-off and definite character.

He was hailing St. Albans, where we're from, as the ‘new Manchester’ - as we had bands like Enter Shikari around and we were part of that scene (but obviously not as heavy - great band though, E.S.).

It was a shame not to meet him as he died a few months before In The City festival that year - which he used to organise. We got to play the St. Albans showcase, where the best new bands from our area got to play this fabulous festival. I even accosted aforementioned Huw Stephens in a petrol station shop and asked him to come to our gig....which he did and said he enjoyed it! 

You have toured with some legendary acts over the years. Who has been the most memorable?

There's been a few, but I loved playing with The Ramonas: an all-girl tribute to my fave band, The Ramones. They were great and the gig was memorable as my wife Claire (Bass player) was seven-months pregnant at the time - but she rocked. 

What are your plans for the rest of the year? Any tour dates coming up? Another album?

Plans?!

Wayne Rooney-style hair plugs if the albums sell well...or shoes for my kids (do you know how expensive kids shoes are?!).

Yep; a few gigs looking for a decent support slot (nudge, nudge Noel Gallagher!). Gosh, another album I was supposed to be writing - another thirty-second song album this time; one-hundred-Elvis-x-thirty but have been busy promoting this one.

We also should be back on Sky T.V. as house-band on the Nub T.V. music show - which is always fun.

We got to play with Joan Armatrading, Junior and our friend and collaborator, Owen Paul on the last series! 

Are there any new artists you recommend we check out?

Yeah.

Please check out our label-mates, Flaunt - as U.S. Electro-Indie duo who has been described as a "mellower Nine Inch Nails". Their new album, Spectra, is out now and is simply the best album I've heard since Nevermind.

If you had to select the album (of another artist) that mean the most to you; which would it be and why?

Teenage Fanclub - Grand Prix

Following on from the J.A.M.C. stint, I was hanging around with a lot of the Creation bands such as Slowdive - but I really love ‘The Fannies’ (as they're known). It's (just) great Indie-Pop, lush harmonies and great song.

A very underrated band

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

Ha, free time: that would be nice!

Well. My three, wee nippers take me out to the park and make me play football - I'm a massive Huddersfield Town fan (yes, there are some and, after Patrick Stewart, I'm probably the second most-famous fan).

I also like to go U.F.O. hunting as, shush, don't tell anyone, but we live next door to the U.K.'s own Area-51...seriously!

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

Give up...

No, sorry, er…don't give up. Keep at it; believe in yourself but also keep honing your craft.

Also (sounds a bit hippy-ish), but follow your destiny and follow the signs the Universe is sending you.

On a more practical-level: get out and meet contacts face-to-face. There's still nothing better and industry people are more likely to work with you if they have met you - and like you as a person 

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).

Ok. 

Mine is Something Different by Flaunt! 

_________

Follow The Pocket Gods

FEATURE: The Best Albums of 2017 (So Far): Kendrick Lamar – DAMN.

FEATURE:

 

The Best Albums of 2017 (So Far): 

Kendrick Lamar – DAMN.

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OF all the albums I have assessed so far in my...

investigation of this year’s finest (up until this point); few are striking and important as Kendrick Lamar’s DAMN. (or ‘Damn’; depending on whether you are a fan of capital letters and misplaced full-stops). A fulminating, sermonising; searing and finger-pointing album with a dose of braggadocio and political accusation. It is the fourth album from the stunning visionary, Lamar. He first came to my attention with his 2015-owning masterpiece, To Pimp a Butterfly. From its cover – black faces outside The White House – that is both ironic and striking; its music, Jazz-flavoured yet intense and provocative: a stunning work that, rightfully, swept the end-of-year lists. DAMN. is as vitriolic and exclamatory as its title suggests but contains little compositional D.N.A. of To Pimp a Butterfly. Whereas that album has flowing and silky horn beauty: DAMN. is a more punctuated, precise and ‘traditional’ soundtrack. It is purer in its Hip-Hop tones and beats: the songs, as such, are more urgent and have less time to ruminate and explore.

The sheer mass of producers that are credited on DAMN. suggests a militaristic approach to music – a process born out of precision, marketing meetings and committee rancour. In actuality; what one gets from DAMN. is the focal master exerting as much ease, individuality and expression as any of his previous records. One might not witness as much compositional variation, nuance and, perhaps, quality as To Pimp a Butterfly. DAMN. is, in my view, a more essential, timeless and essential disc. It articulates the anger, confusion and divisions of To Pimp a Butterfly but is a more personal, focused and accomplished album – Lamar’s raps, flows and rhymes and slicker, sicker and more compelling than ever. If DAMN. sounds like it was the result of group meetings, big drawing rooms and record label gatherings: the actual origins are a lot more humble and domesticated. He claims most of the album was penned in his mother’s kitchen. The album is the perfect blend of Lamar’s lyrical vision and vital contributions. Mike Will was essential when it comes to inspiring beats – one of the key voices when it came to DAMN.’s finest and most invigorating creations.

Given the hustle, divisions and anger percolating in the U.S. (before the album was released); one can interpret some of DAMN.’s fiery and most judgmental moments as a shot against the Trump administration. In truth, a lot of the songs are more personal and disconnected. There are political references and observations but, for a large part of the record, one hears Lamar switch from bragging and boastful superstar to a tenderhearted young man talking about his roots and family. Blood, the opening track, is Lamar telling a story in which he is shot by a blind woman he’s assisting – not the cosiest and most family-orientated track but one that does not instantly suggest political aggression. The song is inspired by the Book of Deuteronomy and features, in the introduction, an audio clip from Fox News (criticising Lamar).

DNA/DNA. Is Lamar’s most virtuosic and astonishing display on the album – perhaps the finest moment of his career. Few songs are as confident, slick and peerless. Personal and staggering; filled with sick and stunning spits – a tour de force from Lamar. Yah calls out Fox reporter Geraldo Rivera; references religion and breaking the rules of God – the consequences of doing that and the moral choices we make. Element features damning dissing; Feel is one of the deepest and more startling tracks on the album – Lamar looks at the isolation of fame and how he feels detached and distant from his family. Humble is Lamar, with ease, showing why he is leagues above his peers – without letting ego overtake his focus and skill – whereas Lust, in one sense talks of fatigue fighting against the Trump victory and sadness of that, it also looks at material loyalty (and extra-marital temptations). Fear compartmentalises Lamar’s anxieties at various stages in life; Duckworth (Lamar’s real surname) the connection between the American and his father. There is so much going on throughout the album: that balance of personal and the metaphysical/political/socio-economical.

For me, the album could have flopped after To Pimp a Butterfly – Lamar released mix-tapes between albums and showed, even his ‘lesser’ work, was still miles ahead of the competition. The previous L.P. was so celebrated and appreciated: if he were to pen a very similar-sounding album; that could have been a risk. One would understand the temptation of falling back on that album and trying to replicate it. Instead, against all odds; Lamar created something less extravagant, inventive and cross-pollinating. DAMN. lingers because of its directness and incredible words – rather than the luscious and broad-minded compositions. The lyrics are on-point, hugely inspiring and thought-provoking. Lamar’s vocals are at their heightened and class-leading best. There is that mix of old-school and modern; soul-baring and widespread – these contrasts make DAMN. such an exhilarating and unpredictable thrill-ride. The occasional cameos (Rihanna’s on Loyalty the most memorable) could have shifted focus and made the record crowded – the fact Lamar is the only voice one hears is no slight at his cohorts; proof he is a presence that cannot be equalled.

Lamar’s voice adopts a variety of guises and personas – inhibiting various worlds and making each song sound new, crucial and hugely impressive. There are few artists, if any, with the confidence and command of Kendrick Lamar. He has every right to be this forthright and assured: his sales, reviews and popularity have arrived off the back of a sublime and faultless body of work. DAMN. shows he is adaptable and ever-evolving. Taking a step back sound-wise means he has the chance to leap forward in terms of his story-telling and performance. Maybe new ground is no broken but is afford Lamar chance to revisit old ground and return to his roots – both musical and familial. The sheer dynamism of his rapping is enough to convert those who prefer their music a little calmer and less controversial.

He is, you know, not an artist who alienates, plays to elites or those who ‘get’ Hip-Hop. He speaks on behalf of the world and, as a result, makes music for everyone. There are few artists who do that: fewer who can create an album as timeless (as we shall surely see) and mesmeric as DAMN. Its title is very apt given the quality, aggressions and resonance. Those aggressions are never petulant, profane and spiteful – every harsh and anxious moment is sublimely tuned and channelled into some of the most astonishing music you will hear. DAMN., in my mind, is going to sweep the end-of-year lists – exactly the same way To Pimp a Butterfly two years ago. It only takes a single listen of DAMN. to realise what a trajectory…

PHOTO CREDIT: Noel Vasquez/GC Images

KENDRICK Lamar is on.

___________

 Released

14th April

Genre:

Hip-Hop

Length:

55:01

Labels:

Top Dawg, Aftermath, Interscope

Producers:

Anthony ‘Top Dawg’, Dr. Dre; 9th Wonder, The Alchemist; Bēkon, BadBadNotGood; Cardo, DJ Dahi; Greg Kurstin, James Blake; Mike Will Made It, Mike Hector; Pluss, Ricci Riera; Soundwave, Steve Lacy; Terrace Martin, Tae Beast; Teddy Walton, Ying Exclusive

DOWNLOAD:

 Element; Loyalty, Humble; Lust, Duckworth

STANDOUT TRACK:

DNA

INTERVIEW: JoAnna Lee

INTERVIEW: 

JoAnna 1.jpg

  JoAnna Lee

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THE debut album from JoAnna Lee has so many interesting…

tales, avenues and sounds. On So Free’s title track; one hears a strong young woman who is following her own path and ignoring the doubters. A sultry and passionate voice helps highlight music full of richness, strength and emotion. I talk to Oregon-born artist Lee about her album and the themes addressed within. She discusses her new home of Austin, Texas, and what the music scene is like there.

I was keen to know about her beginnings and how she came into music - leaving her home of so many years was an anxious and unsure time. I learn more about a brave and ambitious young artist who is creating some of the most intoxicating and exciting music in Texas.

I learn more about Lee’s touring plans and the kind of artists she connects to; whether we will see her in the U.K. and the story of her latest single, The Real Thing.

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

I am great!

It's been quite a busy past couple months but I am enjoying every minute of it.  

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

I am JoAnna Lee: female singer-songwriter/guitarist; located in Austin, TX. 

I love sharing with others my feelings through my music and through my songs - I know that many people can relate.

Tell me about The Real Thing and how that song came together? Was it inspired by a particular person or relationship or just capturing a particular mood?

I wrote this after moving to Austin. I was hanging out at a local bar with a friend and there was a guy playing - who happened to be way too drunk to be performing...

I convinced him to take a break and I would cover for him - and so I did.

That moment I took over, a guy walked in through the door and I couldn't take my eyes off of him. Once I met him, we connected and it inspired the feeling of new love… and, how (all who start to make the fall question) could it be the real thing?

I believe the album, So Free, is out on 22nd September in the U.K. What can you reveal about the themes and ideas examined on the album?

So Free is a true and honest introduction and reflection of who I am and where I have been - in love, relationships and my growth into figuring out how love really is.

JoannaLee.jpeg

You hail from a small town in Oregon. Was there a big music scene there? What was it like growing in such a place?

There definitely wasn't a big music scene there - speaking on most people’s behalf – but, through my eyes, it was something special.

So many great artists I know were living in the same town with so many talents - and we had the opportunity of being able to live in each moment and inspire and encourage each other to always keep working towards greater things.

Now, like so many great artists, Austin is home. How inspiring is the city and are there any particular bars/venues that you love playing there?

I love Austin.

Austin is my true inspiration. It inspired me to be free, to live for me and truly get to know the person I am. It made my art grow and it showed me the possibilities are endless.

So many venues I have loved playing there: Cedar Street Courtyard is definitely one of my (most) favorite places to play - but there are many that I look forward to playing at.

Joanna3.jpg

How early did music arrive in your life? Did your family get you into it at a young age?

I started singing as early as I can remember.

My family definitely inspired so much, but, above it all, I always knew I wanted to sing.

Was there a particular moment when everything sort of ‘clicked’?

Every time you feel what's right in your heart is when you feel it ‘click’.

That's happened several times in my life, in so many ways.

Tell me how you came to the attention of producer Dwight Baker?

Well, one day I got a call from Les Cutmore - who's the label owner of Cutmore Records - who recently signed me. We were talking about some of my songs and he said there's this producer in Austin - and I'd like to hook you up to work on a track or two. I said yeah, why not.

So, he gives me the address - which is only about a thirty-minute drive from me - he then told me to be there tomorrow at twelve-noon and just ask for a guy called Dwight Baker!

That's how me and Dwight hooked up.

The fan numbers are building on social media; you have a lot of supporters behind you. How humbling is it and how important is the backing of your fans?

I am so very thankful.

If it wasn't for so many of the people who have supported me, I would have folded in a long time ago. So happy so many have been there through it all and will be there for me continuously.

Has there been a memory, thus far, that stands out as particularly special?

To see my music video reach as many views as it has within a short amount of time was truly humbling - and showed me that all my supporters are still listening.

What kind of tour dates are coming up? Any plans to play the U.K. very soon?

I have a lot of shows coming up. Some of them will be actually in the U.K. within the next month.

Looking forward to planning a tour soon… and just working hard to promote the new album, So Free.

Are there any new artists you recommend we check out?

Yes!

Depends on which level you are talking...

On a local basis: Adam Rodgers and Jonny Gray.

On a worldwide basis: Will Heard, NoMBE, and Jordan Rakei.

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

Stevie Wonder - Hotter than July

Has (on it) my favorite song of all time: All I Do.

Eric Hutchinson - Sounds Like This

One of the (most) happiest times I've felt was listening to this album.

Jamie Lidell - Jim

We…..Jamie..Jamie..Jamie….

Give this album a listen and you will know what I'm sayin’.

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

Seriously…even when you feel like you've given it all; just means you need to give more.

Prove to yourself what you love and what it is you want out of life.

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).

Susan Tedeschi - It Hurt So Bad

That’s my jam. 

Thank you - and I look forward to visiting London in a few weeks.

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Follow JoAnna Lee

FEATURE: Bands on the Run: Is Mainstream Music Becoming a Solo Market?

FEATURE:

 

Bands on the Run:

 

 

Is Mainstream Music Becoming a Solo Market?

________

AS I continue my feature about the best albums of…

IN THIS PHOTO: The Amazons/PHOTO CREDIT: Matt Goff

this year; I am noticing one thing: none of them is created by bands. Well, one of them is a duo but, in terms of numbers – and the finest records of this year – one hardly gets past the three-piece. Look at the critical consensus and there is the proliferation of solo artists on their minds. Kendrick Lamar, Lorde and Ed Sheeran (whether you like him or not); Laura Marling, Stormzy and Waxahatchee – throw in The Is the Kit and Kehlani for good measure! None of these acts needs another voice to get their songs out to the public. As a flip-side to the great albums of this year: some of the biggest disappointments have been from bands. London Grammar are, to be fair, a trio but have left many cold with their second album, Truth Is a Beautiful Thing. Same goes with Royal Blood (a duo) but I am finding those mediocre albums – as determined by critics – are not being produced by solo artists, by and large. Imagine Dragons’ Evolve and The Amazons’ eponymous album have not registered big reactions. TLC, Linkin Park and Maximo Park have created less-than-wonderful albums. Maybe it is a funny year but I am finding few bands/duos/trios creating year-defining records. The xx are, perhaps, the only band (a trio, technically) who have made any sort of statement this year. It is a singles-game in terms of the most promising albums. One can quibble with a few names here and there. Fleet Foxes’ Crack Up is by a band but I see the album as a solo vehicle for Robin Pecknold – he writes the songs and dominates throughout. Let me back up and bring in some examples. The reason I have put Amazons as my thumbnail/featured photo is because they represented the resurgence/hope in new guitar bands. When I heard their single, Little Something, I was so excited by the Reading band and what their debut album would contain. Aside from having a stunning and vivid front cover – check it out – and some excellent, memorable song titles – the substance of the songs was a little lacking. Too many tracks geared towards the festival crowds and the audiences they graced/still do – the sweating throngs on the 'toilet circuit'. Many would argue that is what a guitar band should be about but there is little variation in terms of the music, themes and sounds. In forging their own sound; The Amazons have slipped into the realms of the generic and forgettable.

IN THIS PHOTO: Royal Blood/PHOTO CREDIT: Matt Davies

The same could be said of Royal Blood. The Brighton duo had my positively wet – expunge that image if you can@ – when they announced (finally!) their sophomore album, How Did We Get So Dark? Following an eternal gap from their debut; the only thing that has changed in the years since is a few touches here and there – Pop backing vocals and some wider lyrical concerns. The sound has rigidly remained the same: pummelled percussion and meaty, loud-as-an-atom-bomb bass. It is as though the best Rock artists are writing music to blast the masses into next week. It is the rugged working-class and the honest, raw Rock – well, that is what we DO need. There is something too clinical and ‘safe’ about so many of this year’s band-made Rock records. For every promising newcomer like Cabbage – they divide opinion but seem more promising – there are mainstream artists who seem more intent on writing songs for the radio than genuinely trying to progress Rock and Indie music. The legendary artists/bands of the past endured and impressed because they did something genuinely fresh and exciting. Even if they had an established career; one noticed a step forward between albums – new sounds and ideas. Royal Blood, Maximo Park; Imagine Dragons, The Flaming Lips and the likes – they seem to have lost their original promise and purpose. Whether I can turn this semi-rant into a cogent and cohesive piece is to be seen but there is method and logic in the argument. How many mainstream band-created albums can you name that you are hooked by?! There might be one or two but I am betting most of your favourites (from this year) have been made by solo artists – maybe a duo at a push. Perhaps there is no real reason other than the fact the most promising bands are not at mainstream level. A great deal of the poll-makers are recommending solo artists as their tips for success – is this deterring bands and creating a fallacy?! In the past, it was assumed bands ruled the roost.

IN THIS PHOTO: Foo Fighters

Look at the festival bills and one assumes Foo Fighters, Muse and Radiohead are what the public wants. The trouble is, they are older acts and, aside from Radiohead, the others have not released a new album for a while. Foo Fighters have announced Concrete and Gold (terrible title) and, if Run is anything to go by, it might be okay – their last album was a struggle to get through to; it is a bit iffy. Muse released Drones in 2015 and that was not overly-well-received. Coldplay, another big festival act, are not swimming in classic albums: one has to look lower down the list of festival names to discover truly worthy bands. If Rock, or mainstream at least, is showing a regressive attitude; it appears the underground are showing more intrigue. I shall come to them but want to present the flip-side to my slagheap of criticism. I do not write this piece to shame and scold the so-called ‘best’ bands around. In fact, two of the most promising releases of the year are going to be from bands. If the digitally-produced simians of Gorillaz didn’t live up the hype surrounding their album, Humanz (too many Zs, Damo!) then Arcade Fire surely will! The Canadian band has released singles from their forthcoming album, Everything Now (out on 28th of this month). The title track has delirious, kooky panpipes; Electric Blue – the latest revelation – sports some of their strongest performances for years – Creature Comfort and Signs of Life are terrific tunes. They look set to top Reflektor – an album that, rarely for them, was not met with universal acclaim. Everything Now seems like it will be the veritable dog’s wotsits! Similarly, responding to a four-year gap after Like Clockwork…, Josh Homme’s acolytes have teased new slice-of-cool, The Way You Used to Do. Villains is out on 25th August but the first single from that record brings in sounds of Swing and crooning legends; gilded to a stone-cold Rock swagger – the results are exhilarating and turbo-charged. It is a snarling, canine slice of dance that promises much gold from the Californian band. I am already waxing my knees from all the dancing I am going to do when the album arrives.

It seems like Queens of the Stone Age are one of the bands who, despite the fact they have been in the game a couple of decades, are capable of consistency, innovation and malleability. THAT is what the likes of The Amazons, Royal Blood and Imagine Dragons could learn from. Queens’ could easily produce Rated R part two but, instead, bring in fresh influence and sounds. Not every band is blessed with the same skillset and natural-born command of Josh Homme but that is not to say we should see such a dearth of compelling band music. I have highlighted two bands who shall not disappoint: is that enough to counterbalance the raft of underwhelming, half-cooked releases? I would say not, but wonder if this is a malady reserved for the mainstream? Perhaps the sensation has bypassed the blood-brain barrier and gone straight to the top. It seems, given its comparable mass and variety; the bands of the underground are priming themselves for a revolt. I guess it is hard to discipline and organise the truly great unsigned material from that which is merely okay. The sheer volume and berth of the underground means there is a subjectiveness saying THAT is where the best bands will come from. In the same way, Rock is not dead – it does need a colonoscopy, to be fair – bands are not a spent force. Last year was more productive for the market and I guess things will pick up this year. I am glad solo artists are getting the lion-share of the attention but it makes me wonder why. In terms of newer acts; it is pretty equal between bands/solo artists/duos etc. In the mainstream, I feel there is a mass majority of solo artists/duos. I did not realise the tide had turned this way because, as recently as a few years ago, this was not the case. One would see a great band doing well which, in turn, would compel their peers to up their game – that would create a wave and knock-on-effect. Is the reason we are seeing fewer great band albums due to their being no true leader in the field?!

IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Lauren Connelly

I have mentioned the likes of Radiohead and Foo Fighters but we need new blood to strike and compel the field to create truly wonderful music. I feel there is scepticism from the media that is biased towards solo artists. Again, this was not the case until recently. Has something happened to sour the waters or was there the feeling solo artists were not getting proper exposure?! Whatever the reason, I am concerned this year, like last, will be synonymous with terrific albums by solo artists. Last year’s best was, in my view, a mix of Hip-Hop and R&B classics – Beyoncé chief among them. This year, so far, Kendrick Lamar, Laura Marling and Lorde look set to fight for the gold medal. Maybe it is their style of music that is being favoured – bands unable to replicate what the people want. HAIM, another band tipped for a lot of acclaim, have not produced their best work this year – same goes alt-j (maligned by a lot of critics and listeners after witnessing their album, Relaxer). I genuinely think it is an issue reserved to the mainstream right now. I get to see the finest new bands develop and strike – not just here, but all around the world. How easy it will be for the crop’s cream to assimilate into the mainstream is hard to say but we definitely need to see a chance. I am hopeful we will see a bit of a turnaround for the fortunes of the mainstream band dollar. This year, especially, has been lukewarm at best. Whether future releases from Arcade Fire and Queens of the Stone Age will be joined by a litter of unexpected quality releases, has yet to be seen. What I DO know is it is the solo artists of music making the big impact on critics. Whatever the psychology, origin and solution: I am keen to see whether the second-half of 2017 is any different. I hope we are not seeing a prevarication of mainstream band wonder – where solo artists are stealing most of the affection. If this trend continues over the next few years; it will have a damaging effect on the mind-set of new bands hoping to make a success of their careers. THAT, more than anything else…

IN THIS PHOTO: Arcade Fire

WOULD be a huge tragedy.

FEATURE: The Best Albums of 2017 (So Far): Lorde - Melodrama

FEATURE:

 

The Best Albums of 2017 (So Far):

 

  

Lorde - Melodrama

________

AFTER I finished my laudatory piece about Laura Marling…

and her latest album, Semper Femina - it occurred to me how young she is. To write an album like that at twenty-seven is a remarkable feat: the fact that is her sixth album is truly remarkable. Now I face twenty-year-old New Zealander Lorde and I am back in that agog state. Following her 2013 debut, Pure Heroine, critics were impressed by her honesty, striking lyrics and addictive, incredible voice. Some were less kind but it was a felt, from an artist still in her teens, better work would arrive. It did not take long for Lorde to plan her second attack. Not long after the release of the album, a couple of months, in fact, Melodrama was starting to take place. If, in her words, Pure Heroine was the teenage feeling of preparing for a party – putting lights up, getting ready and sound-tracking the never-ending preening, preparing and clothing choices – this album is the youngster at the party and deep in the music. Maybe a clever way of explaining a mature step forward; one cannot help notice how different Melodrama is (to Pure Heroine). Whilst, unlike Sampha and Laura Marling (my two previous subjects in this feature), there are more writers/producers in the mix – it is not to say Melodrama is the work of a committee.

PHOTO CREDIT: Dean Chalkley

Eight of the eleven tracks feature Lorde going solo on the lyrics: she co-writes the music on all tracks – her and Jack Antonoff taking care of things for the most part. One feels Lorde could have written everything herself but found a connection and affiliation with Antonoff. Recorded over an eighteen-month period; there is a sense of realisation, discovery and growth on Melodrama. Pure Heroine was a young artist taking her first steps and preparing herself for the party, as it were. Melodrama is the full-flight, volume-turned-up-loud epicentre of the party. Not that there is needless bombast, petulance and rebellion. Instead, Lorde’s intensity and volume come in the form of maturity, huge originality and consistently brilliant lyrics. That might sound like a middle-aged version of ‘cool’ but, considering she was still a teenager when the final notes were being recorded, that is incredibly impressive. Lorde’s second album is, for the most part, battles with loneliness in all its forms.

Many have theorised the songs document a relationship breakup – the New Zealand artist has denied this – but it is about certain awkwardness and the pressures of fame. One would see someone like Lorde and assume – given her success and popularity – she would be fighting people off. Melodrama is a revealing look inside a young woman who is juggling music responsibilities and growing up – trying to find company but finding it hard to come by. Music is, intrinsically, a lonely and tough industry: few albums address it and redact the truth. Green Light, the first single from the album, is one of the more traditional breakup songs- Lorde stated how she loves breakup songs and gets an understanding of that side; not having to Google it and learn that way. Watching Lorde’s triumphant appearance at this year’s Glastonbury was a revelation to me. She was on a huge stage in front of thousands of people. It would be understandable were the nerves to get to her – daunted by the reality of being centre-stage and under the spotlight. Her charming, personal and humble performance was as real and authentic as they come. No vainglorious boasting and ego: a woman, at times dazed, who was overwhelmed by the crowds and their love. This sense of personality and modesty comes through in the music. Tracks like The Louvre – the heroine hanging in the back of the gallery; not quite prestigious enough to be in the atrium or public gaze – is a sheepish woman who wants attention - but knows she might have to settle for being a wallflower.

IMAGE CREDIT: Getty

That is unfair because, hearing Lorde talk and listen to her music, she is second to nobody. It makes Melodrama’s consistency, highlights and themes harder to take – knowing she deserves to be happier and more resolved. Perhaps loneliness and isolation have fuelled some of the greatest albums ever. Taking inspiration from Tom Petty, Paul Simon and Joni Mitchell; Lorde wanted Melodrama to be a catharsis but, also, combine hedonism and vulnerability. Writer in the Dark warns against kissing a singer/writer like her – a blend of kiss-and-tell caution and falling for someone who will lead the guy astray. Album highlight Liability is a bare and gorgeously-sung track – the second single from the album – where the heroine sings from the diary pages and confesses her inner fears (the track is under-produced to allow the words to strike and register more clearly).

Having grown up in the public focus since the age of seventeen; Lorde had no choice but live with that lifestyle. A young woman from the offset – not a petulant or pouting teen – she has become an apostle of maturity and acting your age. So many mainstream Pop stars are immature and too reliant on sex, relations and drama to sell their album. Lorde, by contrast, shows a dignity and steeliness her contemporaries should learn from. The input of Fun and Bleachers man Jack Antonoff is pivotal. He brings in retro. synths., stunning signatures and big, empathic moments: contrasting from Pure Heroine’s less diverse and ‘calmer’s sounds. Colour seems to be a background theme for Melodrama – and Lorde as a woman. The go-now green of the title track to the pastels and watercolours of The Louvre; the black and grey heaviness of Sober to the black-red-and-pink femme fatale allure of Writer in the Dark contributes to a kaleidoscopic collage of textures and tones.

If The Louvre is more about the doomed infancy of a causal relationship: one can extrapolate a sense of anonymity, invisibility and solitude. One hears literalism and obliqueness mix throughout the album. There are autobiographical elements and fictional passages: these contrasts and consistencies result in an album filled with wonder, promise and mysticism. Lorde is queen and master of everything she surveys on Melodrama. Her vocals range from bewitching and low-growled to high-pitched and ethereal. The songwriting is among the most original, personal and surprising you will hear all year – few expected such an evolution from an artist so young. Production values are rich and luscious when needed; under-done and subtle when the music calls for less tangible parentage. Because of this intelligent and wise approach to the music; critics have been buckled and seduced by the young Lorde. She continues to up the game and, at twenty, show there are plenty more albums left in her. Melodrama is a dizzying and wondrous record that has…

FEW rivals this year.

___________

Released

16th June

Recorded:

July 2015 – January 2017

Genres:

Pop; Electro.-Pop

Length:

40:58

Labels:

Lava, Republic

Producers:

Lorde, Jack Antonoff; Jean-Benoît Dunckel, Flume; Frank Dukes, Kuk Harrell; Joel Little, Malay; S1 and Andrew Wyatt

DOWNLOAD:

Greenlight, Sober; The Louvre, Sober II (Melodrama); Writer in the Dark, Supercut

STANDOUT TRACK:

Liability

FEATURE: The Best Albums of 2017 (So Far): Sampha - Process

FEATURE:

 

The Best Albums of 2017 (So Far):

 

  

Sampha - Process

________

THERE is a lot of talk concerning race in music and whether…

the industry is doing enough to support minorities. Whatever your views on this debate; there are a lot of inventive and compelling black artists that are complicated the debate – in a good way, that is. Many assume minority artists play in minority genres – it is a specious argument but one, ironically, created by the media/a section of people pigeonholing these acts to begin with. Step forward Sampha who is impossible to categorise and label. His music could be described as Neo-Soul or R&B; maybe Pop with a bit of Hip-Hop. He is at his most affecting when opening the heart and speaking from his own experiences. This is evident on the astonishing, articulate and deeply moving debut, Process. In past years, the British singer-songwriter has made use of his bedroom/homemade studio. Residing in Modern, South London; Sampha is known for his collaborations with Jessie Ware, Drake and Solange – among many others. Born to Sierra Leonean parents on 1988; the young Sampha (Sampha Sisay to give him his full name) played piano at his parents’ home in Morden. After his older brother made him a makeshift studio – and the curious youngster engrossed his mind with old recordings and new discoveries – the flame was lit. E.P.s Sundanza (2010) and Dual (2013) showed immense process and captured the intimacy and rawness of Sampha’s music. It was inevitable the hungry and ambitious musician would seek the comforts and choices of the studio.

Sampha2.jpg

Recorded at various studios in London; Process was, befitting of its title, a gradual coming-together of songs that were finally released on 3rd February. Not that Process is a huge expansion and sea change from his E.P.s. The songs are finely crafted and meticulous: time to make the notes and ideas gestate, grow and appeal. Around the time the album was written; Sampha lost his mother to cancer. Process, in a sense, is the articulation of the harrowed and devastated man coming to terms with a huge tragedy. On the album, one got a contrasted and afflicted man who was wrestling with grief and loss – someone unsure whether he has abandoned his roots and stepped too far into the mainstream. That could never be. Sampha was progressing from the confines of home and embracing the studio and its surroundings. Process has Sampha’s London roots ingrained in every note: memories and tales of his mother are entwined in the soil like a mighty tree.

It would be hard to give the music (on Process) its lustrous, cinematic and emotional immediacy were it not for some of the more hi-tech recording equipment available at the time. Sure, Sampha would have been able to create a more haunted and bare-naked sound at the home studio. Process is not a man taking a chance to follow money and a label: it is the natural reaction to the circumstances that provoked the album’s progeny. When writing the songs, he would have been acutely aware they would be played on radio – or, at the very least, make their way to people all around the world. The importance of the subject matter and instrumentations/sounds/values needed to authentically define his emotional and creative mindset could only emanate from the studio. He has not compromised values or lost any of his potency and credibility. Process has a sound that is not over-produced: it is organic and free yet has experimentation and scope. THAT is the reason Sampha, in his words and nobody else, felt he had betrayed his roots. One could not hear that unique approach to arrangements without an over-reliance on hand-held technologies.

Songs like Plastic 100°C has koto sounds and is soothing and panicked, all at once. Kora Sings boasts juxtaposed and intense percussive scramble; Reverse Faults showcases Sampha’s gift with samples and sonic patchwork – weaving it into something unnerving, strange and beautiful. What impresses me, and most critics, is that steadfast refusal to conform with the market and copycatting peers. Sampha did not feel the need to become the next Kanye West or Drake. He retained his London blood and distinct, peerless attitude to music and composition. An almost anonymous presence could easily sink without trace. The fact Process is no ordinary album is just as well: it is a moment in time that cements Sampha’s reputation as one of the world’s most impressive and vibrant songwriters.

Compassionate and soul-baring; strident and meditative at other times – a remarkable album that few people were expecting. Given the aftermath of his mother’s death; it would be forgivable were Process an inconsistent and self-indulgent mess. Sampha does not look for sympathy not turn the album into a family photo album. Instead, it is an album everyone can understand and feel connected to. (No One Knows Me) Like the Piano is, perhaps, the most affecting song concerning his mother – that early experience with the instrument and his mother’s hand in that. Rather than shy away from the heartache, stress and troubles experienced: Process is an execration and detox, in a way. It is a brave young man revealing memories and words that many would want to keep concealed – due to them being deeply personal and sacred. That is one reason why Process resounded with critics. Sampha, on the record, managed to turn tragedy into something beautiful and uplifting. There are genuine moments of sorrow but, against the tide of loss and change, there is hope and the need to process things and make sense.

Given Sampha’s work with artists like Jessie Ware; it would have been easy enough to have her sing on, say, Take Me Inside. Process is a personal/familial sermon so would seem disingenuous and tainted were too many other bodies to tell the story. Aside from a couple of co-writes later on the album – Timmy’s Prayer has Kanye West on the credits – it is Sampha alone. Three singles have been released from the album – Timmy’s Prayer, Blood on Me and (No One Knows Me) Like the Piano – and that is quite rare in this day. Many artists release five or six songs from a record. Perhaps there is another single coming but, one suspects Sampha is already looking ahead to his next release. Whether you agree with Sampha’s assertion he has abandoned a bit of his roots, one cannot deny the sheer wonder available throughout Process. It is one of the most impressive debut albums in recent years and, when it comes to this year’s best albums, it is…

PHOTO CREDIT: foxyneela

RIGHT near the top of the list.

___________

Released

3rd February

Recorded:

2014-2016

Genres:

Alternative-R&B; Neo-Soul

Length:

40:17

Label:

Young Turks

Producers:

Sampha and Rodaidh McDonald

DOWNLOAD:

Kora Sings, (No One Knows Me) Like the Piano; Reverse Faults; Incomplete Kisses

STANDOUT TRACK:

Blood on Me

TRACK REVIEW: Sasha Brown - Parallel  

TRACK REVIEW:

 

Sasha Brown 

 

PHOTO CREDIT: @nastassjathompson  

Parallel

 

9.5/10

 

 Parallel is available at:

https://soundcloud.com/sashabrownmusicofficial/parallel

GENRES:

Alternative; Electro; Pop

ORIGIN:

London, U.K.

RELEASE DATE:

14th July, 2017

WRITERS:

Sasha Brown, Joe Kearns and Jason Elliot

_______

AFTER a brief excursion to New York…

PHOTO CREDIT: Anne Laymond (1883 Magazine)

and an investigation of Josh Michaels – I am faced with a homegrown talent who is already making an impact with her single, Parallel. I shall come to look at that – and Sasha Brown, no less – in a minute but, before the, and bearing her in mind, I wanted to look at a few things. I will talk about multi-talented artists and their scarcity; the capital and how I feel more bonded to the people and its music; those who have radio experience and can bring that to music; songs that look at relationships in a different way; those musicians tackling Pop and adding something new to it – female artists who are working hard and deserve exposure. I shall also look at social media and promotion but, before then, I want to look at artists who have a lot of skill and ability up their sleeves. With Sasha Brown, one gets an excellent songwriter and singer but there she is a musician too. A lot of today’s artists rely on other people to write for them and perform every part of their song. What you are left with is the voice and, sadly, good looks – marketed and exploited to the hilt. Sasha Brown, sure, is striking and beautiful but is someone who will never fall into the trap many of her Pop peers do – exploring beauty and sexuality for views, sales and success. Brown is a strong and defiant artist whose original and personal songwriting is doing all the talking. She is a saxophonist and, one feels, has a compositional curiosity that could not only see her learn new instruments – she had the knowledge and ability to add more elements to her music and explore new genres and possibilities. Whether we will be getting a horn-rich Jazz-Rock song – in the manner of early-days Steely Dan – or a sassy Beyoncé-style floor-filler in the next few months, I am not too sure.

Parallel benefits from a young woman who has an affinity and understanding of music that is not as prevalent as one might imagine. I look about the mainstream/new music and I see divisions. On the one hand, I look at the Pop/Soul/Alternative market in the underground and I am pleased to report hysterical talent and promise. Yeah, there are a few artists who need a swift kick up the arse by, for the most part, I am seeing so much talent flow through. Artists taking care of their music and imposing personality, control and direction – with an eye for instrumentation, nuance and mobility. In the mainstream, there seems to be less of that occurring. I know that word gets a bad-rap but, as we know, there are mainstream artists who have created some exceptional music this year. From Lorde and Charli XCX through to Sampha, Lucy Rose and the xx – some of this year’s best albums. The mainstream Pop demographic has a political and ideological division that is making it confusing and challenging for unsigned artists. You have those who are in the big leagues and deserve to be: writing their songs and performing music of the highest order. There is that rancorous and fetid collective of Pop performers who are processed-to-crap and have an army of writers dictating, controlling and directing. I shall not name anyone but we all know those pout-to-the-camera, dime-a-dozen artists who are produce anodyne, generic and insipid Pop. I will touch more on that later but what galls me about those artists is the lack of ability and talent. They hardly expend any effort creating any music/lyrics themselves and, often, sit back and watch a team create their music. When they get to the stage/forefront; one sees a rather faceless and dead-eyed artist churning out by-the-numbers songs. It is a depressing thing to see but a commercialism that has existed for decades. It is more pronounced in a digital age: there are more artists than ever and, I am afraid, that pre-teen/’tween’ market lusts after music with little depth or build-up – something instant, easy and uncomplicated. Maybe I am being too black-and-white and simplistic but I am always plump for musicians like Sasha Brown. She has the ability and hunger to carve up her own empire in music – a rational and genuine artist who wants to bring the public music that will endure for years to come.

I am envious of Brown because, in my view, she has a life I idealise hugely. I can imagine her apartment/flat would be quite Hoxton-modern: minimalist and modern with white-painted chairs and flower-boxes on the windows – a great view of a charming part of London with, perhaps, a cat scurrying around the kitchen now and then. Maybe that is a romantic vision that does not exist but I know two musicians who recently rented a stunning place in London – I can imagine their life is like that. Maybe Brown’s living arrangements are different but, in terms of her success, job and situation – this is something I am jealous of. Every time we hear something horrible hit the capital, I feel more bonded and united to its people. We have endured terrorist attacks and Grenfell; acid atrocities and some near-misses. From small-scale events to apalling loss of life – London has a resilience and togetherness that sets an example to the rest of the world. Sure, there are problems in the city – the immodest rent prices and fact the people are more sane and sensible than the rest of the U.K. – but there is so much on offer for the ambitious, young and curious. Brown is in a city that seems perfect for her. I will talk about her radio career soon but it is not only the landscape and people that will compel and motivate her – there are so many great musicians so close by. From upcoming Urban talent like Loyle Carner and Dave; scuzzy bands such as Goat Girl; Pop duos like MissDefiant. That is only touching the surface because, in terms of those new musicians, a lot of it is not being represented. I look online for those ‘London Artists to Watch’ and have to stick together bits from various sites.

The perfect thing about London is its links to the rest of the world. Brown is part of a city that attracts artists from around Britain and the world. I see a lot of American acts coming here. The fact we have so many great venues means a wealth of fantastic and interesting artists are hitting London. In terms of music cultures; I feel London and Manchester have the best acts, labels and venues in the country. London is a unified city but has its compartments and sectors. The flavour of music in the East of the city differs from, say, Brixton or Westminster. There is no such thing as a ‘London sound’ which means getting a handle on it will be tough. I hope the media does collate a genuine list of the best artists in London as, what I am seeing, is bastadisation and gerund assessments of great acts – we need a rundown that breaks artists into genres, location and age. A, theoretically, London Music Directory could give a map of the capital and put all the artists on there. If one wanted to find all the great Indie bands in Hackney, they could. If you need to know the best Pop acts from Greenwich then that would be possible. It sounds complicated but the reason I highlight this is because Sasha Brown is an artist who deserves a lot of acclaim. If one, anywhere in the world, could discover her music – in the context of London – then that would open more doors. In any case; I am fascinated by the banquet of London music and how inspiring it is. Every time the city comes under attack; it seems to have an opposite effect: people come through and join; many want to live here and do not care about any dangers. There has always been that vibrant and opportunity-laden music scene that is seeing acts like Brown conspire and dream. Parallel is a song born from a personal space but, one feels, born from the beat of the London streets.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

I have already proclaimed my passion for Sasha Brown but the reasons extend beyond her music and personality. In terms of what she does; it seems like she is in a really cool place. If one is unfamiliar with Hoxton Radio – they explain themselves thus:

“Hoxton Radio sits at the top of the pyramid setting trends and influencing Londoners across habitual pop culture pursuits.

We innovate in bringing the freshest insight into fashion, style and new trends bringing fresh music to the airwaves, art to our viewers and picks in food, photography and creative networking across East London.

Our partners include Old Spitalfields Market, Tate, SOS Rehydrate, Frame, Supermalt, Eventbrite, The Hoxton Hotel, Vice, Intel, Shopcade, Tate, V&A, UAL, Foffa Bikes, The Breakfast Club, London Fields Brewery and Hackney Council.

Amongst our roster sits Ashley James, Stefanie Jones, Arielle Free, The Preshaah, Liam Young, Elspeth Pierce, Charlotte de Carle, Sabrina Carder.

Hoxton Radio works closely to support the arts and run in depth coverage for First Thursdays with previews, artist interviews, analysis and editorial coverage on air and online”.

I am not sure what their recruitment policy is at the moment but, God help me, it seems like a Paradise for an ambitious presenter/D.J. In my mind, my perfect situation in life would be working for BBC Radio 6 Music – as a producer or music news presenter – and living somewhere like Hoxton or Hackney. I would be able to do the dream job and, in the evenings, drink in the multicoloured carnival of the London nightlife – a casual cocktail down at Nightjar or a more vivid rooftop night at Queen of Hoxton. Hoxton Radio seems like a station one would be pretty comfortable in. They present fashion broadcasts and talk about culture; focused on interviewing and promoting new musicians – always keeping one eye on classic music and the best artists from the past. Yes, it is ultra-cool and youthful but has a vibe and quality that is hard to ignore. I shall step away from my ‘subtle’ bits at a proxy job interview but know Sasha Brown is one of the most important and talented additions to the roster.

PHOTO CREDIT: @nastassjathompson @zarakaplanmakeup

She, not only, is surrounded by some great people in a stunning location – Spitalfields is right there: right in the beating heart of London’s fashionable quarters – but has that ever-vital work experience. She takes to the airwaves and, not only gets to hear, first-hand, the freshest artists in the capital – Brown has that knowledge of promotion, interviewing and ‘selling’. She helps boast other artists and has a front-row seat in terms of P.R. and exposure. Not that Hoxton Radio allows her the chance to big-up her own music relentlessly – more is the shame but one must have an ethos and discretion – but few musicians have such a knowledge of the inner-workings of music and what stations like Hoxton Radio are all about. It might be small compared to, say, BBC Radio 6 Music but it is one of the finest radio stations in London. The blend of music played and features mean it appeals to a broad demographic: its market-share extends beyond the Über-Hip stalls of the market and its patrons. I hope Brown remains at the station because, looking at her social media feed, she is travling the world and interviewing great artists. If she is able to balance the encroaching and increasing demands of a music career with the day-to-day of the D.J. world – then, she will have the best of all worlds. The two are connected and bedfellows what will help expedite her passage to the mainstream. Having that background in radio gives her the advantage regarding getting her music out there and to the right people. Not only that but she has that enviable reality of not having to take on a job she hates to fund her career – so many modern musicians work several jobs in order to make their dreams work. Even if you take an internship position; one can go to a station like Hoxton Radio and see how the ‘machine’ works. It is an invaluable insight into radio and the music world as a whole – for someone like me, who wants to reach the Elysium of BBC Radio 6 Music, having that convenient and near-located experience at somewhere like Hoxton Radio, that would be immense. Brown, by virtue of her tender years, is on a trajectory that, I feel, will result in chart success and national radio presenting. I look forward spectating her assent and drive. There are few artists that have such a zeal and passion for what they do.

PHOTO CREDIT: @nastassjathompson

This brings me, rather neatly, to why I feel Brown will succeed. I will come to look at my last two/three subjects in a bit but, coming back to Hoxton Radio; Brown has a wonderful attitude towards promotion and spreading her music. Looking at Hoxton Radio and their website; one cannot help be staggered by its design and looks. It is easy to understand and looks beautiful. Considering a lot of their focus is on fashion and London’s stylishness; it should come as no surprise the website is so good-looking and stunning. Brown takes a similar approach and ensures her official website is striking and informative; her social media pages are updated and refreshed constantly. You get a direct look into a bold and hungry young artist who wants to succeed. There are few that have the same energy and work ethic as Sasha Brown. So many artists overlook the necessity of having photos, information and news on their pages. One gets a lot of wonderful images of Brown; a biography and news of what she is up to. That is great for a fan but indispensable for a journalist. It is easy collecting shots to put in a review and one gets an understanding of what makes her tick and compels her music. Right now, Brown is on Hoxton Radio duties elsewhere but, in the past week-or-so, has been on full-throttle promotional duties. Parallel has passed its release day and Brown has been pushing it out to radio stations, websites and reviewers. Many artists have P.R. companies and labels doing that but Brown, inexplicably, has found the time to promulgate and highlight her new song. Many would argue that is what every artist has to do but, I feel, Brown deserves a record deal and P.R. backing – so it could afford her more time to focus on songwriting and her job at Hoxton Radio. In any case; Sasha Brown acts as a shining example of what a young artist should be. Putting in that attention and passion can be gruelling but, if one wants their music to get to important hands, it is something that needs to happen – and not let the ball drop when you release more music.

PHOTO CREDIT: @rhona_murphy

I will tackle Brown’s expose of love and her bent on relationship intricacies but, until then, a little more on her merits as a self-promoter and artist. Hoxton Radio is that perfect boutique station that has its mind of discovering the best artists from around London. Brown can consider herself among them but never relies on her position and nepotism. What she has is the open window of London in front of her. As a D.J., she is able to interview and feature artists both upcoming and established. Seeing how they work and what they need to do to get success will rub off on her. I know she has been watching MistaJam – a stalwart of BBC Radio 1 who is among the most influential D.J.s on British radio – and would have had the time to talk to him about his radio work and the kind of places he has come from. Brown, during her job, gets to unearth an array of artists and will learn a lot about the types of venues they play and what music is coming from them. All valuable experience for an artist who is putting her first moves together. Sasha Brown is not someone who sits back and lets a team take charge of her career and where her songs end up. Instead, she is determined to do things her own way and ensure Parallel reaches the most important and influential sources (and me, obviously!). It is a hard slog and will tire her – even though she projects an endlessly positive façade – but it will reap benefits and long-term success. I am confident Brown’s fastidious and tireless commitment to music will lead her to the big leagues. I guess she has plans and ambitions in the coming years, I will get to those in the conclusion, but, from the off, she has an impressive and focused approach to marketing and promotion. Even though Parallel has dropped; there are performance considerations and ensuring the song makes it way onto local and national playlists.

PHOTO CREDIT: @nastassjathompson

Coming onto Sasha Brown and Parallel; it is, in parts, a critique on club culture and the kind of scenes Brown must experience as a young Londoner: it is a treatise on the complex and detailed intricacies of a relationship. Doubtless, Brown would have found herself entrenched in a relationship that, for one reason or the other, is not running as smoothly as she’s hoped. The reasons behind the dislocation might not be easy to explain or one-dimensional. Perhaps there will be personal differences or each party wanting different things from life. The reasons people find love and fall for the person they are with can be simple and obvious: the reasons they fall apart, rather ironically, can be very complex and unpredictable. Brown’s song, as I will show, spotlights a relationship where the two parties have love and affection but are moving in different ways – much to her chagrin and confusion. In fact, it is more about alignment and synchronicity: lovers who are on the same page but never really coming together as they should. The vernacular of love is different for everyone; the art of a relationship cannot be distilled or confined to soundbytes and easy definition. The task for many modern artists is trying to explain their dynamic and perspective about love whilst retaining an air of mystique and the personal. I feel one of the reasons Brown has chosen to write Parallel – and explain its story and background – is because there is a mass market where love songs are stuffed with basic language, predictable storylines and tattered metaphors. Looking at a lot of mainstream artists and there are recriminations, accusations and judicial vengeance. One never really glean why the relationship crumbles or anything more intricate. Brown does not look at the breakup or rush of affection: there is a forensic examination concerning the tectonic plates and personalities and how one sees two like-minded people moving forward but not gelling as they should. Parallel has an intelligent and deep motif that has a philosophical and metaphysical nature. One finds themselves supporting the heroine but thinking more about their own relations and security.

I’ll return to this point in the conclusion – as it warrants fonder explanation – but I am keen to examine Brown’s music in relation to the Pop market in general. I feel Sasha Brown is keen to add a breath of fresh air to the Pop industry. It is a complex genre that has a lot of sugary-sweet songs and commercial artists; too many acts driven by Spotify streams and download figures – their heads concerned with profit and popularity as opposed to credibility and respect. I know there are ample amounts of artists who pen proper Pop – it has an adult mind and appeals to a variegated and cross-pollinating mindset. Hoxton Radio, Brown’s employers, tends to spin Pop/music that has cooler and credible edges – less reliant on the florid and vacuous brand one hears on some national radio stations. As I type this, rather fortuitously, I am listening to a Desert Island Discs broadcast conducted with Scottish poet, Liz Lochhead. One of her song choices is Marvin Gaye’s I Heard It Through the Grapevine. That spikes something in my mind. That is a Soul classic but is a different take on love and its harsher nature. I feel Brown, whilst one cannot draw a line between her and Gaye, is more concerned with avenues not often discussed and explored in the mainstream. One can argue the word ‘credibility’ is a subjective construct. Music is very personal so how can we say what is good or poor?! I argue there is a consensus that is looking for something a little more substantial in mainstream Pop. It is the most profitable and burgeoning sector for music and the most influential – because it is the young demographic who listens; they are the ones who will dictate music trends in years to come.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

If we are going to produce a generation who hold great music in high esteem; we cannot logically defend some of the Pop music we are subjected to. Crusaders and pioneering artists like Sasha Brown are not trying to overthrow the hegemony of the mainstream – they want to offer a viable alternative that can assimilate into the current Pop culture and provide young listeners with something different. So much of modern music is dictated by what is quick and instantly effective. That is okay if you want to appeal to short-term memories and those who do not want nuanced music. Artists like Lorde have produced Pop albums that show what can happen when you write adult, layered songs. She has been taken to heart and not conformed to the worst traits of the mainstream. Lorde is someone I can tie Sasha Brown to – easier than Marvin Gaye, anyway – and the kind of music that, whilst less prevalent in the mainstream, is much more appealing and intriguing. I shall wrap the introduction up wanted to highlight Parallel as a song one will be hearing a lot more of in the approaching weeks. Brown has been non-stop promoting and getting the song to the people. I am hearing from people who have heard the song and there is the impression it is different to what is out there. It has a summery vibe and distinct energy but there is an anger and explosiveness that adds something spicier and darker. There are few new artists as impressive and hard-working as Brown. She has her sights set on the future and making a big success of her career. The initial stages are always nervous and unpredictable but, so far, everything has been good and sweet. That is because, in no small way, she is a diligent and driven individual that wants to dedicate her life to music.

“All the noises make it hard” is a sentiment that instantly gets the imagination conspiring. Before then, one hears a brief electronic swell and pulse that projects some shadowy images. It is a perfect way to get the song underway: never too long and aimless; tight and compelling in its brevity. When the heroine comes to the microphone; she looks at this relationship and why things are taking a turn for the worse. The lovers are driving/moving slow in the fast lane; they are moving in different directions – it seems odd considering they are together and, one assumes, things were fine until this point. Maybe things have changed or the relationship is running its course. Brown never confesses whether there is any indiscretion and infidelity in the relationship. The two parties are looking at one another and, from the outside, seem connected and solid. We know that is not the case and there are definite cracks forming. “Play pretend to make it better” seems like one of the more heart-breaking and naked revelations from the song. It is though she is conspiring to tell a lie to save a sense of face and hurt. Putting on this mask means people in her life never get to know how bad and stressful things are. In a way, the sweethearts and kidding themselves and delaying the inevitable. Perhaps it is easier putting plasters over the splits because letting go is a final solution they do not want to entrain. I guess every relationship has its struggles so it might be premature to go separate ways when the first bump in the road occurs. One suspects this is not the first time the duo have had to encounter difficulties. Brown, in the verse, expends a little of effort providing her thoughts to the situation – it is quite heavy on narrative, exposition and language. The voice is fast and heated which gives the song a sense of anxiety and hurry. The listener is taking in one direction: when the chorus comes; that dynamic changes and the song is less accelerated. Well, in terms of vocals/lyrics it is because, in its place, is a warped, skewed and echoed electronic ‘voice’ that seems to embody the combination of emotions occurring inside the heroine.

Sasha15.jpg

PHOTO CREDIT: @charlicohen

There is something familiar and pleasingly tangible about the chorus. It has an oldskool vibe to it but – like Beyoncé, Lorde and the queens of Pop/R&B – that blend of easy confidence and hooks. Brown has a wariness and hesitancy but controls the song in a way one never feels the need to rescue her. There is not the sense the dam will break and the tears will come out. Rather, one hears a strong young woman who is calling her fella out and trying to confront the problems in a very mature way. In the same way as, say, Beyoncé looks at a sour love without rose-tinted glasses – Lemonade has its aggressive moments but there was candour and consideration mixed together – Brown seems like she is attempting to reconcile the divisions with a pragmatic and dogmatic approach. There are definite truths and appears there is no one-sided culpability. The beats are thick and bellicose; the swagger and defiance there – coupled with a sadness and sense of confusion. Brown rides the electronic-percussive wave like a G but reserves herself from cussing, exploding and breaking down. In a way, she is detached from the white-hot heat of the situation and viewing the relationship like the proton in the atom – never disembodied or disconnected; surveying the fragmentation with a bird’s eye view of the surroundings. Brown is not too engrossed and biased; there is never naivety that would cloud her vantage point or exacerbate the situation. Things are a mess – as she says so herself – as the need to play for the crowd is starting to wear thin. She cannot pretend and is exhausted by the emptiness and cold nature of the relationship. If two lovers are sharing a bed and a physical connection but do not have that intellectual and personal simpatico – you are not in a real relationship; more in a sexual bond. That might be alright for some but Brown seeks something deeper and more fulfilling. One cannot give their heart and time to a relationship that is bankrupt and morally fraught. It appears the guy has some culpability and Brown is not one to exonerate without good reason. One never gets the reason behind the disenchantment but things have run their course – two people with conflicting ideologies and views on what a relationship is about.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

It might be iconoclastic to say this but I feel some of the finest Pop artists exaggerate and embellish songs of love/relations in order to connect with their audience – heightening their commercial appeal and meaning their songs get onto radio quicker. That might seem cynical but one hears a lack of genuineness and authority in some songs. With Brown, that can never be the case. You hear Parallel and follow its arc and tribulations. Maybe she is still invested in the relationship – it is reaching its ugly conclusion and still has some tattered feathers clinging on – but the best days are very much dead. It is quick voyeuristic spectating as one hears the heroine pour her heart out and unveil her troubled thoughts – quite hard to divorce oneself from the emotion and struggle the heroine faces. The good thing about someone young and in love is the fact heartache will be a familiar currency down the line. That might not seem positive but (it might not be the first time Brown has been heartbroken) a certain exposure and experience make future breakups easier to handle. The tender in years have a tenacity and resilience others do not share. That is not to say any upset and anger would be unwarranted: there is a sense of pain that runs through Sasha Brown’s new song. The heroine’s voice retains its proprietary blend of sexuality, seductiveness and strike – she is alluring and silky-smooth but has the high heels on (and is determined to stick them in the nuts of her doghouse-bound man). Maybe the fact she acknowledges things are past salvation gives her some closure – one can never get closure in any situation but a comparable sensation – and clarity. She is not doggedly clinging to a sinking ship hoping it will turn the right way up. Brown is in her twenties but does not display the ignorance and naivety many of her contemporaries do. It would be incongruous to suggest Sasha Brown has transcended the situation but she has mollified and mitigated her most poisonous sense of revenge and attack with passing of time and anger – not as aggrieved and dismayed as in the beginning.

Anyone approaching Parallel and expecting to hear your run-of-the-mill Pop voice – over-produced and produced to crap; lacking any emotional spectrum and inflexible to the core – will have to think again. In the first-half of the song alone, I hear so many different inflections; cadences and shades emerge in Brown’s vocal. Backed by electronic and percussive entanglement that ranges from sweaty and sexual to jungle-cruising and street-pounding – it would be hard to coalesce these diverse components into a cohesive whole. Maybe her work on Hoxton Radio – and natural exposure to variegated Electronic music – has given Brown a sixth sense and natural affinity. The composition is the arrhythmic heartbeat that defines the entropy and fragility of the relationship. It is rude and righteous enough to gain nods from the most credible and cool city-dwellers but blissed and sweet-leaf so it could traverse the islands and luscious beaches and gain the kudos and flirtatious winks of the most bronzed and bountiful bodies. In essence, its brain and bones are installed and instilled in London: the soul, essence and spirit seem to have their sights set on the beaches and warmer locales. Brown sits in the mix as the narrator and heart-acher: a staunchly brave woman who realises the relationship is ready for disposal (“All our love is all dried up”). Looking at Brown’s voice and one hears quivers and soulful touches emerge. In terms of her influence, there seems to be a blend of U.S. R&B/Pop with British Alternative/Pop. On the one hand, she has a sultry and luscious tongue with an imperious and unyielding confidence. It means Parallel sounds natural and distinct but has some familiar sounds creeping in. This will mark Sasha Brown as an artist to be reckoned with but, one feels, give her an advantage when it comes to getting the song into the wider market. There is no shortage of honesty in the song. The heroine knows things have dried and there is no real way back. It is a song that will resonate with a wider sector of the population – not just the teen/pre-teen market or females. Parallel is a rewarding song that demands repeated plays: new insights and joys can be exposed every time you hear it. Among the seriousness and potent emotion is a sense of fun, frivolity and dance-ability – this is true of the composition that is adaptable enough to rule in the clubs but primed for various radio stations and locations around the world.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

I will finish this up but, before I do, look back at some of the things I addressed in the introduction. Before then, a look ahead at Sasha Brown’s year and what it holds. We are past the halfway mark of 2017 and, so far, it has been a great one for music. Some of the best albums of the last few years have been produced in the first few months of the year. This is having a knock-on effect on new musicians who are providing the world some stunning music. Brown is among that pack determined to have the same chances and platform as the big artists. Parallel is a strong and intent declaration from a young artist who could easily fall into clichés and pigeonholes. She is young and beautiful and has brought out a song about relationships. Look at the mainstream and there are plenty of people doing that. What separates Brown from the clan of empty-eyed Pop artists is the personality behind the ‘looks’. On the surface, yes, she could be labelled as an average and everyday Pop artist. Discover more about Sasha Brown and one bonds with a bright, vivacious and fascinating young woman. Parallel is no ordinary song and tackles love in a new way - I will return to this later. What I want to see if London opening its doors to Sasha Brown and providing her some chances to shine. There are so many venues close by that would eat up her music. Maybe Brown will wait until there are more songs in the ether - but I am sure she has some cover versions in her repertoire. I do not know but am sure there will be more songs/an E.P. further down the line. There is a definite passion in Sasha Brown: a need to capitalise on the affection Parallel is receiving and keep that momentum going. Whether she will put an E.P. out before the end of the year I am not certain but it would seem likely. Then, she will have more songs to take around London and rock the best venues we have. Brown will play Secret Garden Party at 12 P.M. on Saturday, 22nd July, so make sure you catch her there!

PHOTO CREDIT: @nastassjathompson 

Almost finished but, before I leave, a revisit of some things I talked about earlier – London and its importance; artists who are strong, original and multifaceted; female artists and getting them promoted (something I overlooked in the introduction). London continues to impress, awe and amaze. It is a city that is at the forefront of modern music and produces some of the finest acts in the world. Not only do we have the best venues here but the most diverse and fascinating sounds around. Maybe I am biased but, the fact so many international and nationwide artists are coming here, proves my point to an extent. It remains that natural calling for those resigned to towns and villages. The same way New York provided a sanctuary and new life for people years ago: London is the Mecca and perfect location for the musical immigration. The situations are not the same but London is synonymous with its musical heritage and attractive qualities. I know there are downsides to the city – like any, in fact – but the benefits and allure outweigh any negatives. I bemoaned the fact some people I know have moved into an idyllic place in London very recently – and the fact I have a very London-centric ‘dream life’ mapped out. One cannot refute the seduction of the capital: that is especially true when it comes to music. I am determined to get there but Sasha Brown is already there. Working for Hoxton Radio, she is in the enviable position of getting to see some of the capital’s best and most eager artist come through. Against the feculent belch of the mainstream’s worst; Brown is being exposed to artists who have the chance to make positive changes in music. She is among them and in the best city to exploit her talents and determination. I looked at how effective Brown’s promotion is and that is something one cannot overlook. Too many rest on their laurels and assume a P.R. company/label will do all the hard work.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

What strikes me about Sasha Brown is her many talents and how that can lead to a long career. She is a saxophonist and, in a strange way, gives her more options than you’d imagine. In terms of genres; Parallel is not pure Pop and suggests Brown will be experimenting with new sounds very soon. In any case; she is someone who can play music and more at her disposal than most of her peers. As a singer, she has a definite blend of colours and emotions that stick in the mind. Her music appeals to the heart, soul and bones. One hears a song like Parallel and gets their body moving but stops and thinks. It digs deep and makes one think about their life/relationships and the complexities of love. The music, production and vocals all shine and project so much energy, curiosity and passion. These are components that, when mixed with the enthusiasm and talent of Sasha Brown, creates a wonderful music concoction.

Brown is not someone who needs a cavalcade of people putting her music together. There is a singularity and determination that one would like to continue. I am excited to see how Brown develops and evolves as an artist – whether her new songs will tread the same path or take in new inspiration. I feel female artists have to prove themselves these days. There are fewer big chances for female artists - which is an injustice that needs to be redressed. I am unsure whether it is ingrained practices or stubborn prejudices that are prohibiting some incredible artists progressing as fast as they should. I do worry whether there will be any quick changes or easy answers but I am hopeful something will happen in years to come. In the meantime, one looks at an artist like Sasha Brown and whether she will reach the mainstream as quickly as she deserves. Sheer talent and work rate will go a long way but she warrants as much affection and backing as possible. I have run out of time, in a sense, so will leave things as they are. Parallel is a curious revelation that looks at love in a different way. Two people who seem like they are moving in the same direction but are not as in-sync and fully-formed as they should be. There is little anger and accusation: a young woman who wants to get to the bottom of the imbalance and find some artists. It is a big and stunning number from a singer-songwriter who has a lot of years ahead of her. Parallel is the start of things but, one suspects, Sasha Brown has…

PHOTO CREDIT: @charlicohen

MANY more songs to come.

_______

Follow Sasha Brown

FEATURE: The Best Albums of 2017 (So Far): Laura Marling – Semper Femina

FEATURE:

 

The Best Albums of 2017 (So Far): 

  Laura Marling – Semper Femina

________

IN the same way I have conducted a round-up of the…

best songs of the year so far – in my opinion – I will do a little piece on five albums that, in this journalist’s humble view, have defined 2017. We are just over the half-way mark but, already there has been a bounty of great material. The first album, and one that could well claim the top-spot when I do my end-of-year lis, is Laura Marling’s Semper Femina. Two years after Short Movie (an album where Marling co-produced and felt like, in a way, she didn’t exert enough control) it was no surprise to hear of a new arrival from the Berkshire musician. I have followed Marling’s career since the beginning and KNEW Semper Femina would be a great album – I did not expect it to still be bouncing around my brain four months after its release. The title (‘Semper Femina’) is culled from the poet Virgil and is a truncated sentiment from a longer line of Latin – roughly translates to ‘woman is ever a fickle and changeable thing’. Given Marling’s proactive stance tackling sexual inequality in music society; that title might seem like a tongue-in-cheek approach.

The record is confident and, in places, angry offering from an artist who, nine years since her debut (Alas, I Cannot Swim) has yet to put a foot wrong. In fact, such is the consistency and variation on Semper Femina – it suggests there will be another album along very soon. Initially; the album was intended to be a man’s perspective as perceived by a woman. That would seem apt given the title and translation but Marling realised the narrative had to be hers. Semper Femina HAD to be from a woman’s viewpoint and a record that addressed a woman’s world – as written by a woman. It is no surprise Semper Femina has a transitory and itinerant nature. Conceived in Marling’s (at-then) home in Los Angeles; the young musician soon moved back to London – she moved to L.A. in a period of confusion and self-discovery. One can hear elements of Californian life in the music but, on a whole, it is more universal, personal and poetic.

Songs like The Valley demonstrates that reliably intelligent and poetic pen. At a time when artists like Lucy Rose are progressing and blossoming – one can argue they take a lot from Marling. Certainly, those deep and nuanced lyrics; the stunning pure (yet elastic) voice and immense candour can be applied to both Marling and Lucy Rose. There is, like Short Movie and other Marling work, a nod to Joni Mitchell. Maybe it was the Californian air but one can hear elements of Mitchell – her Ladies of the Canyon and Blue albums – on delicate and expertly-picked tracks like Noll. Wild Fire and Nothing, Not Nearly burn with passion and promise but are some of the slower, more contemplative numbers. Lead-off single, Soothing, contains fantastic Jazz bass and slinks and slithers (Blake Mills co-writes). It was one of my favourite singles of last year – the single was released in late in 2016 – and shows new direction and sounds in Marling’s arsenal. Despite the fact Semper Femina is nine-tracks-long; one hears Marling muse on relationships, short-lived ambitions and reflections on human life. One senses a woman experience turbulence and uncertainty: often refracted away from the heart to encapsulate a wider, less concise malaise.

Less electric, direct and simplistic than some of her earlier work; here, there are Jazz expressions and new textures: vibrator guitar lines and shimmering, evocative strings – one notes whispers of Nick Drake in some moments. “I do well to serve Nouel, whatever service I may be…Fickle and changeable, weighing down on me” might be a twenty-seven-year-old burdened by responsibility and wisdom but it has an oblique manner (one can interpret it in various ways). Semper Femina, away from gender concerns and female purpose, looks at the younger Marling compared to her current incumbent. That sense of wanting to return to less-responsible ways: more spirited and less indebted to maturity and consequence. In the end – chronologically and realisation-wise – it that need for a certain transformation that leads to something structured and mature. The album ends with Marling, one suspects, plotting a future and, whilst older than ever and missing elements of her past – a woman keen to press forward and explore. Semper Femina is a fantastic record and one that overspills with incredible songwriting and near-career-defining songs. It is not a truly great year in music unless Laura Marling releases an album: Semper Femina could well top many critics’ ‘Best of 2017’ lists in five months. In my opinion, it would…

BE thoroughly deserved.

____________

Released:

10thMarch 

Recorded:

2016

Genres:

Folk-Rock; Alternative-Rock

Length:

42:19

Label:

More Alarming Records

Producer:

Blake Mills

DOWNLOAD:

Wild Fire, Don't Pass Me By; Nouel, Nothing, Not Nearly

STANDOUT TRACK:

Soothing

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FEATURE: Music Makers Festival 2017

FEATURE: 

 Music Makers Festival 2017

________

SOME of the biggest festivals of the year have…

already finished and left us. After the first bout of big festivals: the nation is priming itself for another round of terrific events. I am looking at the calendar and seeing what is coming up. It is going to be a fantastic next few months – some awesome festivals and artists one can enjoy. Away from those traditional and perennial standouts: there is a legion of smaller festivals one should be aware of. Chief among them is the exciting lineup that has already been announced. I will put in the press release; a bit about the organisers and details of the acts involved – and how you can get tickets:

Music Makers is a brand new two-day independent music festival taking place in London on the 5th and 6th of August 2017. Organised and curated with love, by the team behind London-based musician Albert Man. The festival celebrates other fellow musicians that both Albert Man and his manager, Manoja Ullmann, have had the pleasure of getting to know over the years during their time in the business.

The event is taking place at Omnibus Theatre, a converted Victorian Library, situated in the heart of Clapham Old Town. Showcasing 16 talented artists/bands (consisting of solo artists, duos, trios and full bands) over the two days, the festival will have 8 unique performances each day in the main theatre.

The line-up includes Michele Stodart (The Magic Numbers), Prose, Tom Speight, Dani Sylvia, Albert Man, Up Down Go Machine, Anna Pancaldi, Brian McGovern, Tara Lee, The City and Us, Belle Roscoe, Adam Masterson, Ilona, Mark Sullivan, Matt Perriment and Steve Young.

Early bird tickets for the two days are available in limited numbers as well as day tickets for either the Saturday or the Sunday.

ORGANISER: MANOJA ULLMANN

Twitter: https://twitter.com/ManojaUllmann

Email: manoja@albertman.com 

Phone: +44 (0) 7918652368

ORGANISER: ALBERT MAN

1 CLAPHAM COMMON NORTH SIDE
LONDON, SW4 0QW

DAY 1

PROSE (5th August, 10 P.M.)

Up Down Go Machine (5th August, 9:15 P.M.)

Dani Sylvia (5th August, 8:30 P.M.)

Belle Roscoe (5th August, 7:45 P.M.)

ILONA (5th August, 7 P.M.)

Adam Masterson (5th August, 6:15 P.M.)

Matt Perriment (5th August, 5:15 P.M.)

PHOTO CREDIT: Joe Lindsay Photography

Facebook: https://www.facebook.com/MattPerrimentMusic/

Steve Young (5th August, 4:45 P.M.)

DAY 2

Michele Stodart (6th August, 10 P.M.)

Tom Speight (6th August, 9:15 P.M.)

Albert Man (6th August, 8:30 P.M.)

The City and Us (6th August, 7:45 P.M.)

Anna Pancaldi (6th August, 7:00 P.M.)

Brian McGovern (6th August, 6:15 P.M.)

Tara Lee (6th August, 5:30 P.M.)

PHOTO CREDIT: @wolfmarloh

Facebook: https://www.facebook.com/TaraLeeArtist/

Mark Sullivan (6th August, 4:45 P.M.)

__________

Follow Music Makers Festival 2017:

TRACK REVIEW: Josh Michaels - Break Around You

TRACK REVIEW:

 

Josh Michaels

 

 

 Break Around You

 

9.4/10

 

Josh2.jpg

 Break Around You is available at:

https://soundcloud.com/user-215619536/break-around-you

GENRES:

Alternative; Pop; Opera

ORIGIN:

New York, U.S.A.

RELEASE DATE:

July 2017

The E.P., Out of the Deep Blue, is available at:

https://itunes.apple.com/us/album/out-of-the-deep-blue/id1152278451

_______

EVERY time I arrive at the feet of an…

PHOTO CREDIT: Josh Michaels

American artist; I find myself looking at where they come from - in terms of state and county. Before I look at Josh Michaels; I want to address a few subjects. To start, Opera and Classical music; writing from the heart and connecting with people; getting your music played across the world (and various media sources); artists who experiment with sound and want to connect with listeners through music; the idea of ‘making it’ and where one goes to do that – a bit about New York and the music coming from there. In the course of my reviews, I get to address all manner of artists. In terms of genres, I think – over the last five-and-a-bit-years – I must have covered every style and sound going – including sub-sub-genres and newly-invented portmanteaus. It is always interesting discovering something genuinely ‘new’ and exciting. Over the past few weeks, I have had the chance to check out some terrific Pop, Indie and Electronic music. It has taken me all around the world and introduced me to some fantastic future stars. In the case of Josh Michaels; his operatic tones and fusion of ideas – a melting of Opera/Classic/Pop and Alternative – is intriguing, to say the least. If I were to say the words ‘Opera’ and ‘Classical’ to you: one might assume there is going to be something quite stuffy and grand. Sure, Michaels has a big voice and atmospheric songbook – he is not someone who creates purist Opera that is reserved for those who stubbornly refute modern elements and any invention in the genre. It would be redundant, if one wants to be popular and widespread, to perform in a more ‘traditional’ sense - a pure operatic delivery that is found in theatres rather than national radio. Michaels’ background is in Italian Opera. That is what he trained in and employs a lot of its merits and disciplines in his music. The great thing about modern Opera is its adaptability and evolution. It is not a stuffy and elitist genre that alienates other listeners. At its core is a triumphant and emotional delivery: a vocal-cum-instrumental presentation that gets the heart beating spiritedly and the blood pumping hot. The lyrics are modern and universal. One will find few tales of doomed ancient lovers and interfamilial strife – one might, but it would be a contemporary equivalent.

There was a time, not too long ago, when music suffered a bit of limit and restriction – not as cross-pollinating and varied as one would imagine. The inspiration chest has been replenished and, in 2017, artists are as explosive, original and ambitious as any time in recent memory. There is still a commercial aspect to music (I shall nod to that later) but new artists are taking the effort to produce music that stretches the imagination and engages the mind. That is true of Josh Michaels who, lacing Italian Opera with flavours of Pop and Alternative, creates something heady, arresting and mature. If one is wary of embracing a genre like Opera: listening to artists who bring aspects of it into their music is an accessible way in. Michaels has that knowledge and knowing; he is a commanding vocalist and someone who appreciates the principles and dignity of Opera. He does not tamper and make light of its personality and power. Rather, he harnesses the romance and emotional power of Opera and introduces it to the open and for-the-people qualities of Pop, Alternative (and other genres). It is a great blend and one that provides people like me – not that au fait with Opera and its D.N.A. – a portal into a phenomenal style of music. The issue one can have with artists who are sonically ambitious is a lack of identity. In fact, I am reading reviews of alt-J’s latest album, Relaxer, and some of the most disparaging feedback – some say the songs are scattershot and the band lack any cohesion and personality. If an artist has that no-barriers approach to their sound; there is always the risk of lacking focus and cohesiveness. That is not the case with Michaels who keeps his music rooted, tangible and infused with infectious personality and real depth. It is an emotional and physical experience – discovering his music – and once one hears a song like Break Around You; you are compelled to dig further and witness the full spectrum of his talent.

Most artists, one would imagine, try and write from the heart. It is a way of making their musical personal and direct. Even if the song you’re writing about is not about yourself or a relationship; it does not mean you cannot project a sense of the heartfelt and tender. Josh Michaels is a storyteller who, despite his youth, has experienced a lot and is keen to open his soul through music. I guess there is a certain vulnerability being too transparent and revealing. A lot of artists are either too hesitant when it comes to talking about their experiences/relations or doing it in a rather predictable manner. It is one of the hardest things to nail: writing about love/yourself and making it accessible to the masses. Michaels is not someone too concerned with the mainstream and commercial avenues – he does want his music to connect with as many people as possible. That is why he has been so hard promoting the Out of the Deep Blue E.P. – to make sure people are aware any experience everything from it. Traversing the E.P. and one is struck by the conviction and emotion that comes out. I use words like ‘emotion’ a lot and that can be an ambiguous term. Michaels, in the E.P., talks about his life but there are some hard revelations and sensitive moments. It can be all-too-easy shrouding those in obliqueness but he does not favour that approach. Instead, we have a young man who feels the best way to resonate and make an impact is to keep his language simple and intelligible. Maybe that stems from his Opera background – although, there are productions and composers who favour florid language – it is more to do with Michaels’ nature. Every utterance and line stem from someone who wants the listener to immerse themselves in his mind – become engrossed and involved with the song completely. The performances explode from the heart and have such a lasting effect. I am finding a lot of musicians complicating language and shielding themselves behind metaphors similes and clever wordplay. It is impressive to hear poetic and fascinating lyrics come from an artist but one yearns to hear something bare-naked and uncomplicated. The downside of this approach is appearing too-simplistic or generic but, when it is done right, the results are clear. That is what one gets from Josh Michaels: no pretension or graces; someone who takes his tales and observations and ensures they get straight to the listeners’ hearts.

I shall move on to something that has appeared on a few of my reviews lately: artists who get their music played on various stations and across the world. For Michaels, he has had his songs played on radio in Europe and America. It would appear there is a lot of attention coming his way which is pleasing to hear. His E.P. was released late last year but, since its unveiling, has been met with acclaim and interest. Based in the U.S.; there is a huge market over here – the biggest music economy in the world. It must be daunting for artists to make a career and separate themselves from the crowd. How does one, realistically, get their music played on stations all over the world? It seems easy, in an Internet-age, to make that happen – it is not as easy as one might perceive. It is not a case of popping a song online and hoping D.J.s bite like fish. One has to put leg-work in and actually do their research. Of course, you need the talent and originality to resonate with stations and their demographic. Some artists, those who play mainstream sounds, have an easier time targeting stations and sites. For those, like Michaels, who play something different – where do they go and how easy is it to get the music heard?! In the U.S., there are few artists who do things the same way as he does. Promotion is an important asset and something new musicians should not overlook. Michaels has ensured he’s being interviewed and focused on by some big sites. He has been chatting about his music and, when the interview is online, sharing the post to ensure people see it. That will get into the mind of his contacts – many of whom will be radio stations and D.J.s – and make an impact on them. Right now, Michaels is promoting Break Around You – the first new track since his E.P. - and will be eager for it to be played in as many countries as possible.

It is an assured song that shows he is among the most interesting and inventive artists in the U.S. I am not sure what his promotional campaign involves but, having come to people like me, he wants it exposed and reviewed. Were the song weak – which it isn’t – then it would be hard getting it celebrated and shared. As it is; it is a powerful track that can easily shaft itself about the airwaves. For Michaels, it will be a case of getting the song out to blogs (national and international) and hitting as many as possible. He knows all this – for the benefit of those who do not – but there are niche and general blogs who would be interested in the track. Doing the leg-work and putting the graft in is an essential part of being a musician. In terms of the digital/written world: social media is an important tool. Directly contacting sites and asking them for interviews and features. It can be harder to get into the sights of the stations as they have set playlists. If one wants to get their songs on radio stations; it is best to start locally. That does not mean the lesser stations and those who you do not respect. There will be at least one that plays the sort of music you like. Making that contact and putting an email to the director/producer of the show/station will never hurt. Being a big fan of stations like BBC Radio 6 Music; a lot of their songs are from new artists and those underground. Many of those tracks are discovered online; artists get in contact with them. It is important doing your research and not throwing your music to everyone and hoping something sticks. Michaels, as a New York-based artist, is around a mass of stations. He knows the kind of station who plays his music and needs to persist. Keeping them updated about his latest releases means he is in the consciousness and has that passion for being heard. Naturally, one needs to have that talent and skill so their music gets played on the radio. Michaels develops his music and, with every release, brings something new in. This skill and evolution – together with a determination to get the music across the airwaves – will pay dividends and see Michaels heard around the country. I am confident, because he has already been heard in Europe, the music will be more known over here soon. It is hard fitting in and seeing which British stations will play his music – there are a few, for sure, that will host his music. I will keep my ears out by the American artist is working hard and showing how it should be done.

Josh Michaels has international ambitions and wants to get his music to the people of the world. I have followed his music for a little while and can see new things coming in. At the beginning, the genres employed with Opera and Pop. Now, I am discovering something heavier and more experimental. There are Electronic elements and sounds that would be familiar to the coolest radio stations around. Whether this slight shift is a reaction to the market demands – Michaels wanting to get his sounds to new people – or an unconscious decision, I am not sure. It is interesting looking at the developments in Michaels’ sounds and how he is growing in confidence. That Opera background fuses with of-the-moment chart sounds but does not compromise its purity and intelligence. At its heart; the music is designed to get into the heart and connect, on several fronts, with the listener. It is not shallow and overproduced music designed to make an instant impact and not linger in the mind. Michaels is a purveyor of nuanced and multi-dimensional music. It is not reserved for those who know Opera or have particular tastes. It is becoming broader but, as I say, not compromising anything or losing identity and credibility. An interesting time for the New York artist. I am excited to see how his career develops and how the rest of 2017 plays out. Break Around You is a song that suggests there is plenty more left in Josh Michaels. I am keen to see what his next move is and whether there will be another E.P. Out of the Deep Blue has already been met with respect and acclaim: there is a desire for Michaels’ music; it is crossing boundaries and making its voice known in a number of countries. Before I come to long at the song in question; I want to look at New York and whether it is the best city for Josh Michaels to make his name.

I have never been to New York but I can understand its allure and appeal. It is a wonderful city that attracts millions and has that incredible reputation. For Michaels; there is so much music and life available to him. The opportunities and possibilities are enough for anyone to move over there permanently. Many have told Michaels, in order to ‘make it’ in music, he needs to get himself to Los Angeles. L.A. is seen as the place to go for any musician who really wants to succeed in music. I am not sure where this perception comes from. Maybe, the clement climate and luscious scenery, connects to that classic ideal of Paradise and the perfect. The Los Angeles bodies glisten; the sun shines and it is an ideal landscape for everyone. That is the cliché ideal - but not one that is realistic and necessarily true. There are downsides to Los Angeles and definite drawbacks. There is a different music scene in L.A. so one cannot assume any musician would succeed and flourish there. It is harder transitioning from a city like New York and going to L.A. The people are different and way of life differs between the two. That East Coast mentality is at-odds with the West Coast ethos. Sure, there is more money is Los Angeles but the musicians there, in my view, no stronger than New York. Both places have validity and positives but there must be that immense pressure (for Michaels) to relocate. He has spent his life in New York so knows the people and vibe of the street. So far, he has garnered respect and positivity from stations and sources in New York and is building that local reputation. It is a challenge – in both cities – getting ahead of the pack but that is true anywhere. Michaels has already done the hard thing: created music that does not easily fit into the mainstream. I am not sure whether New York is as chart-driven as London but there is going to be that desire for something commercial and accessible.

Michaels has sounds that can be extrapolated and appreciated by the masses but, for the most part, his music has a unique edge and definite original skin. New York promotes and fosters artists who do things differently so I would not be in a rush to go to the other side of the country. I can see the appeal of L.A. in the sense there is a big market for music and some of the biggest labels and artists reside there. There is, away from downtown Los Angeles, a chance to unwind and be inspired. Would Michaels be a different person if he moved to Pasadena or Malibu? Would he be a different musician, for that matter?! I am not sure but do know he would have to change, to an extent, and start over again. How tempting is it to start from scratch and be someone he is not? I am not sure whether he will spend time over there and relocate in the future. New York’s music scene is legendary and undeniably world-class. Consider all the great bands who have come from there and the terrific artists there are right now. Go from borough-to-borough and one gets a different climate and flavour. The music of Brooklyn and Manhattan is distinct compared to Long Island and The Bronx. There is so much available for the curious musician. For me, I feel the only real way to make it as a journalist is to move to London. That is understandable as it is the capital and has the most lucrative music market in the U.K. Like L.A., it is not the only part of the country that is set up for ambitious creatives. Manchester is a wonderful part of Britain that has an active and thriving music scene. I would be happy in each but, the reason I want to come to London, is because it is busier and closer. For Michaels, he has spent his life in New York and not ready to abandon the city he loves. Why should he as he has the chance to do something wonderful.

It is evident, from the opening seconds; one gets the whole package from Josh Michaels. The introduction is brief but offers bubbling and atmospheric electronics. You get some determined percussion but the mood is kept light and intriguing. When the hero comes to the microphone – those who do not know his voice might expect a different sound – it takes the song in a new direction. I was expecting, from the sound of the introduction, something quite light and Pop-driven. Instead, the voice has that seriousness and passion. It is a nice contrast and one that adds gravitas and layers to the song. One hears about the darkness – maybe he is speaking about a heroine or friend – and the fact the light will come soon enough. Maybe it is intended towards a sweetheart or a song that looks inward. Whatever has brought the uncertainty and darkness; the dawn will come and the shadows will be refracted and dissipated. It is the voice that keeps the listener engrossed and fascinated. It is hard comparing it to anything else but there is a definite nod to legends of music – Michaels is original but has that command and conviction reserved for a certain few. It is a wonderful sound and one that gets into the mind with ease. I hear crackle and vintage echoes; there is an undertone of electric swirl and the distant sound of the city. It seems, when hearing that crackle, you are listening to an older record. The production values mean the sounds are clear and crisp. There is a moodiness and atmospheric haunt; romantic and alluring delivery and cautionary words. Michaels, it appears, it talking about a companion. She – I think it is about a girl, at this juncture – seems afraid to be alone and must be wrestling with a few things. Maybe Michaels is being used as a sounding-board and shoulder. She is putting out her concerns and Michaels is reacting.

Michaels’ voice, David Bowie-like in places, wobbles and strikes. It is a wonderful delivery and one that ensures every word get into the heart. The heroine should not “go chasing shadows” and, it seems, she is holding on to old memories. Maybe there is a sense the girl is looking in the wrong places for love and guidance. Looking deeper into the song and one wonders whether Michaels is a lost love or current flame. There is that affection and support for the girl: maybe a need to save her and keep her close by. In terms of the vocal, he is keeping dignified and cautious. Offering support and maturity; one feels he would rather be candid and let his true emotions come through. Break Around You, in terms of the title, is about the darkness and shadows eroding; the need to cast off the shackles and live a better life. Getting impressions of Boy George and Anohni – hope he does not mind those comparisons – the vocal gets hotter and more involved. The composition comes into the foreground and those beats and electronics do their work. The heroine is letting others control her and living a way of life that is not working. Michaels offers a force of light and sensibility. He is there to show she needs to embrace the goodness and potential inside her. “Stay above the hate” is a mantra accompanied by intense electronic hums and an eerie mood. The hero is determined to make a change in the girl’s life – at the very least, show her why she cannot continue the way she is. It is interesting interpreting the lyrics because they would be different in Michaels’ mind. I get the sense they pertain to a friend: someone who has had a tough ride but is starting to turn a corner. It is easy submitting to the hate but that will not be wise. If I were to dig deeper; I feel there is a romantic component to the song. It seems Michaels has some fondness for the other party. I am not suggesting this is a call-out and seduction but, with the friendship and wisdom, one hears his heart beat faster and more passionately than normal.

It appears the world needs to break around her. Things are getting complicated and intense: allowing the rocks to crumble and splits to appear might declutter things and offer some form of clarity. One can feel the strain and emotiveness in the vocal. There is a personal element to the song that takes it beyond the intangible and really starts to connect. We have all been in a situation where we have experienced these emotions – or seen someone going through some tough times. Michaels articulates a universal message but projected from a personal place. That is what he tries to do with all his music. Rather than separate himself from the listener: one gets a young man who involves them in the music and writes songs they will understand. The composition gets more intense as it bounces, percolates and strides. It has the potential to be a big club hit. One gets involved and finds their bodies moving and compelled. Such a full and physical song that urges (the heroine) to turn her “black world blue”. Things are bad now but there is a way out. What I love about the song is how unexpected it is. Even if you are familiar with Michaels’ E.P., Out of the Deep Blue, you might not expect something like Break Around You. The sheer conviction and passion in the song tops anything he has attempted before. The final moments reiterate the chorus and implore strength and bravery. You find yourself singing along to the chorus and supporting the girl. Maybe I am reading too much into the romantic: the song could be about a friendship or a way of Michaels singing about his own life but detaching himself slightly. Surely, as a young man in a big city, he would have felt black days and scared at times. Whatever your viewpoint and interpretation; Break Around You is a fantastic song from one of New York’s finest young musicians.

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I shall come back to some of the points I raised earlier but, right now, a look ahead for Michaels. He will be looking to tour and perform his latest music very soon. I know he has gigs in the U.S. but he must be thinking ahead to new music. Out of the Deep Blue is an E.P. that has done very well but there must be that temptation to build on that – Break Around You is not on the E.P. and shows where Michaels is heading right now. I am not sure whether he does have new material ready but the confidence he has right now surely drives that creative impetus. I would like to see Michaels come to the U.K. as there is a definite audience over here. Knowing Opera-based artists like Gemma Louise Doyle; it seems, between them, they could organise something. There is a great Opera scene in London and a lot of modern artists who would be able to support Michaels. I know, from various interviews, the style and complexity of British Opera. You have the pure and unadorned form that keeps things to history and tradition. More and more, I am seeing artists inject Pop lightness and fun into Opera; Rock elements and Soul. Genres do not have to be rigid and static: artists can add new elements without making the original source watered-down and foreign. Josh Michaels has the energy and talent to take his music wherever he wants so let’s hope Britain is part of his plans. There are countries in Europe that would love his music so that is something to consider. He will need to do a bit of research but his appeal is not confined to the U.S. On the subject of new music; whether Michaels continues the sound of and themes of Out of the Deep Blue or not remains to be seen. Break Around You is a song that comes from the heart and one of the most direct and affecting tracks that he has ever created. I approve of artists who create emotional and open music without making their lyrics sound stereotyped and predictable. There are too many acts who employ clichés and do not stray beyond convention.

Michaels is a musician who takes from his own life and reacts to his experiences. I have done my best to get to the nub of Break Around You – and hope I have done it justice. In the past, he has had his music played on MTV and short films; been heard around America and built up an impressive fanbase. The social media numbers are climbing and bringing in fans from various nations. Maybe it is the personal approach Michaels takes to music that has seen him gain such acclaim and interest. I know many musicians do create similar music but it is the way Michaels does it that really interests me. He is vulnerable with the listeners but does not look for sympathy or cast blame. There is a young man who responds to his stories and heartaches and tries to make sense of it all. He has felt love and disappointment; the sting of betrayal and the elation of the music world. Making sense of that all and forming interesting music is harder than one might imagine. There is that temptation to copy your peers and make something that has radio-friendly sounds. One does get commercial appeal and potential (with Michaels) but there is a distinct soul who has the desire to make his music internationally known. That will come very soon because, with each new release, he is growing stronger. The reason behind his development and popularity is the way Michaels puts new sounds and elements into his music. That is not to say Michaels is becoming less focused. I started by looking at a band like alt-j who, on their latest album, have been accused of lacking identity and personality. They, on Relaxer, experiment with sounds and cover so many genres. Is that a danger for artists? In their zeal to distinguish themselves; perhaps they have done TOO much and need to reign their music in. That is a danger for new artists, too. Many can get carried away with their sound but that is not the case with Josh Michaels. He is level-headed but knows musicians need to adapt and try new things.

Right now, Michaels does not have a Twitter account but I hope that changes in the coming months. There is a world out there that is unfamiliar with his music – and would love to hear it – and is waiting. Right now, there is the sense he can go as far as possible and make some real headway. New York is a bustling and never-sleeping hub that buzzes and explodes with people, sound and energy. I can see the attraction of remaining there. One can never get bored in the city and, for a musician, it is one of the best places to be. I do not know whether Michaels will surrender to the lure of L.A. but, when it comes to making a success of things, L.A. does not own the rights. New York has huge stations, labels and P.R. companies. Los Angeles has a different way of life but that does not mean it is better or more opportunity-filled. Michaels’ official website is impressive but, from a P.R. perspective, there is a great chance for him. He is a photogenic chap – much more so than me – and has a face that many would like to see. There are some great shots of him on the website but, in my mind, a couple of official shoots would be great. Whether he shoots solo – or has a model/people in the photos – is his choice but taking to the New York streets. I am not sure how close he is to the Metropolitan Opera (30 Lincoln Center Plaza, N); Neil Simon Theatre (250 W 52nd St) or Bryant Park but there are some great locales and spots. It would be good to see a collection of high-quality photos of the young artist adjacent to some landmarks and hotspots in New York. Maybe he does not need to confine himself to his home city but there are ample photographers who would spare the time. The same goes for social media. Getting that Twitter account set up; putting more music on YouTube and getting a music video made would not only see the music get to more people but make it easier to market, share and gain feedback.

In his twenties; there is time to do that but I wonder whether that will coincide with his next release. I digress but see a lot of potential in Josh Michaels. With that strong voice and incredible songwriting ability; he has the talent to be a star in years to come. Break Around You is ample evidence and a fantastic cut from the New York resident. I shall leave this by talking about Opera. It is a genre Michaels grew up listening to. His teaching is in Italian Opera so it is not surprising it should for the core of his music. To me, it is the vocals and expressions that owe a debt to Opera. In terms of sounds, there is Pop and Electronic aspects. That is a great way of introducing Opera to people but ensuring it crosses age and taste barriers. Many still have that stuffy and ignorant view of Opera. They assume it will be a drag and something that will not appeal to them. It has updated a lot over the years and, as I said, a lot of modern artists splice Opera with modern themes, sounds and ideas. You get a sensation that pleases the purists but brings in new audiences. That is true of Josh Michaels who is modern and classical all at the same time. Make sure you follow his music and see where he is heading. He is loving New York and taking so much inspiration from it. At his feet, he has access to Opera houses and theatres; some of the finest art in the country. I am not surprised he wants to remain there as it sounds like a city that accommodates his passions and personality. One can hear this happiness, passion and comfort in his music. That incredible and determined voice sits with personal and memorable lyrics. One gets a window into a superb musician who is taking the first steps of his careers. I, for one, cannot wait to see where Michaels goes from here. Wherever that is, let us hope, the course of his travels, he makes the time and…

COMES see us over here.

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INTERVIEW: July Child

INTERVIEW:

 

 

July Child

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KIKS and Amber and two great friends who, together…

consist July Child. They share a birthday in July (the same day, in fact) and have a definite simpatico. Their music mixes ambient, soulful Pop but has a vibe of the 1990s’ best Dance – a wonderful blend that is both modern and nostalgic. Since their haunting, uplifting reworking of the 2013 classic C O O L (by Le Youth); the duo has gathered huge interested from both sides of the Atlantic. Cover versions have formed a lot of July Child’s past: they are determined to forge original material and push out on their own.

I ask Amber and Kiks about their friendship – and how they came together. They discuss new single, Be Real and whether it will lead to more material. The guys talk about London and its importance; the artists that inspire their own sound and whether each of them is planning anything big for their upcoming birthday – 29th is going to be a shared day of celebration!

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

Amber: Hey! All good.

I’ve been away this week with my mum by the coast

Kiks: Hola!

My girlfriend, from L.A., arrived earlier this week – so, a lot of eating and sightseeing.

‘July Child’ is a name that stems from the fact, Amber and Kiks, you both share the exact same birthday. What date are your birthdays and have you bought each other presents yet? Any plans for the big day?

A: No presents yet – we usually do a joint-party if we’re both about.

K: Yeah. I think this year we’re hiring a beer garden and getting all our friends and family down.

I can’t remember the last 29th of July when it’s rained – so hoping for good weather.

How did you come to know one another? When you met; was there an instant connection and common-ground?

A: We met through music clubs at school. I think the connection came with time.

We were friends first and then Kiks asked me to sing in some of his earlier projects.

K: Even though we’ve known each other since primary school: July Child came to be after we finished university.

We’d been studying in different towns so came back to each other with a whole list of new influences and ideas for where we’d want to take a project.

Be Real is your latest track. Is there a story behind it? How did the track come together?

K: I’d been sitting on this chord sequence played out by the piano for a while. We’d recorded vocals on it but it wasn’t anything special.

One day, in the studio, I decided to copy the chords onto a new synth (Spire) and run through presets – that’s when we stumbled upon the ‘extraterrestrial’ bouncing lead synth. that’s present throughout the track.

It was a weird and slightly annoying sound but we decided to run with it. After laying out the foundation of the track, it honestly took about twenty minutes to write the lyrics.

The track has a club-going vibe and summery sensation. Is it a song you hope will be played in the clubs or do you see it more as a beach-dwelling anthem for the coming summer?

A: I think it lends itself to both really – definitely a sunset-chilled-beach vibe, though.

K: I’d say our previous material has been more suited to clubs or lazy beach days.

Be Real hits harder in the Pop realm – so, I guess our ambition for this track was to showcase ourselves as strong Pop writers.

Naturally; radio, T.V. spots; fashion collaborations are a place we’d want Be Real and its sound to go.

In the past, you have tackled cover versions – before transitioning to originals. Was it quite hard making that shift? Do you think, the fact you have that experience performing a range of different songs, made you more confident and daring as songwriters?

A: We wrote originals for years before we put our first cover out – it’s just our first ever cover (C O O L by Le Youth) was really successful and brought us to the forefront.

We love putting our own spin on covers and it does actually give us ideas for our own tracks – writing styles and lyric combinations.

K: I think covers are a great way to showcase your prowess as a producer; because you’re taking an already-successful and popular song and trying to put a completely different, but still attractive, spin on it.

Amber’s voice is so versatile that sometimes, when we’re writing originals and we get stuck, we spend an hour just recording her singing cover songs - to see if we can get inspired by anything.

Who are the bands and artists you are both inspired by? Do you have similar tastes in music?

A: I used to love Corinne Bailey Rae and my main girl is Jessie Ware – she’s amazing and I love the way she sings. We do have similar taste, mostly.

K: Yeah. I’d say now, we do!

I grew up on Indie, Rock and Metal - and it took me such a long time to admit I even slightly appreciate Electronic music.

When it comes to pure songwriting: I’m most inspired by Conor Oberst and Neil Young.

There are 1990s Club and Dance elements in your music. What is it about the decade that gets into your hearts?

A: The decade we were born!

We grew up listening to '90s Pop and Dance on Top of the Pops.

K: I remember sitting by my cassette recorder patiently waiting for my favourite songs like Waiting for Tonight by J-Lo to come on so I could record them.

It’s funny going back now and listening to those records. There are so many ideas that are still being used and regurgitated. But, to me, nothing can have that  '90s feeling - all we and other artists can do is try to replicate it.

Be Real is a hungry and uplifting track. Is there an E.P. coming anytime soon?

A: We have lots and lots of new music - so fingers crossed.

K: A few more singles coming out this summer and then, hopefully, an E.P. by the end of the year.

PHOTO CREDIT: Chris Hoare

You guys have worked for a number of labels over the years/months. Do you feel like you are still looking for that perfect label and ‘home’?

A: For sure.

We’re always open to new ideas and input – we are definitely looking for what you call ‘home’ but we want to make sure everything is right and feels right.

K: The landscape of the music industry has changed so much in the last few years.

An artist can genuinely act as their own record label, with the same amount of success, if not more. To us, it’s more important to build a team of people around you that you can trust.

Having toured throughout Europe and Asia; I presume touring is something you love to do? What dates do you have coming up?

A: Playing live is what we enjoy the most – we’re just in our element up on stage.

K: Waiting on a few important things to play out before we can book and announce shows.

We love Asia so much that we’d love to book a long tour there: going to places we’ve never been before. The U.K. has its own energy when it comes to shows and the only place we haven’t yet played is America - so hoping to get over there within the next year.

How important is London as a base and Muse? Do you envisage staying in London long-term or is there a city/country you are ‘working towards’ as it were?

A: I think London will always be our home but we’re open to ideas - if that’s where the music takes us!

K: I spent a lot of time living in L.A. over the last two years.

It’s an incredible place and there are so many like-minded musicians over there - but London is the city we see our future in. The music coming out of London is just unreal at the moment and we would love to be a part of that.

IN THIS PHOTO: Warpaint/PHOTO CREDIT: Mia Kirby

Are there any new artists you recommend we check out?

A: Well, they aren’t new, but new to me – my mate just took me to a Warpaint gig and I love them.

K: I’m going to be annoying, too!

Joe Goddard has been around for years as a member of Hot Chip - but his solo album that came out this year (Electric Lines is one of the most creative records I’ve heard in a long time).

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

A: Jessie Ware – Devotion

I know all the words and definitely do the power-grabs while I’m listening – her voice is incredible.

K: Fleetwood Mac – Rumours

Classic and overdone I’m sure but there has never been a record so seamless and meaningful from start to finish.

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

A: Keep writing, keep positive; keep moving.

K: Don’t get ahead of yourself.

You learn more about yourself and become better every single day - so don’t get frustrated if things end up taking longer than you thought or had planned

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).

A: Tinashe – All Hands on Deck

K: Motez – The Future

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FEATURE: Nick Drake: Five Leaves Under the Fruit Tree

FEATURE:

 

Nick Drake:

 

 

 Five Leaves Under the Fruit Tree

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A few days back, the forty-eighth anniversary of Nick Drake’s debut album…

Five Leaves Left was marked. Born on 19th June, 1948; Nick Drake signed to Island Records aged twenty and, as is the case with a lot of legends, gained mass popularity after his death. It is hard to believe – or perhaps not – his albums did not sell more than a-few-thousand copies. In this day and age, it would be seen as a travesty: then, due to the lack of critical expectation and public awareness; few made too much of a drama about it. One of the reasons behind Nick Drake’s lifetime anonymity could be down to his ‘enigmatic’ approach to promotion. Few photos of him exist – making this feature a bit desperate when it comes to sourcing images – and there is a surfeit of interviews. That is the way Drake operated: keeping himself away from the marketing and promotional side of things: concentrating on the music and his art. Today, he would not last too long and be resigned to the status of ‘cult hero’ or something minor, perhaps. It is as well people have proffered and preserved his music through the decades – one wonders whether he would have such a legacy if Drake relied on the critics of the time to pass his music to future generations. For me, the passing of Five Leaves Left’s anniversary serves as a reminder as to the sheer talent and relevance of Drake. On 26th November, 1974, Drake died of an overdose – whether intentional or accidental – and, many would say, had given up on life. The final years were marked by a progressive sense of retreat and unhappiness – although, his family claim his mood was positive leading up to his death. Strip away the mythology, psychology and rumours and see Nick Drake as the incredible songwriter he was – and a hero that inspires musicians today. I will have a look at his three studio albums – and the effect he has had on contemporary musicians – but one cannot underestimate the effect Nick Drake had on music. In such a short career, he wowed critics and gained a reputation as one of the finest Folk songwriters of the 1970s.

In fact, that last point is doing him a disservice: Drake is one of the greatest songwriters ever and, during his short career, had few equals. The way he wrote and expressed himself; the candour, gravitas and emotion his voice – a fine and extraordinary poet who could convey so much with the merest picking of the guitar strings. The 1979 album, Fruit Tree, allowed Drake’s back catalogue to be reopened – his music was in danger of being overlooked after his death – and provided an opportunity for musicians of the time to connect with a unique artist. The likes of Robert Smith and Peter Buck, during the 1980s, cited Drake as an influence. Today, I hear the tones and colours of Nick Drake in so many artists performing today – not only those who perform Folk music. Drake’s language and lyrics – from mundane items like a garden shed or solitary fruit tree; scenes of the city at dusk or the complexities and demons of the human mind – have given modern artists more confidence. Antifolk artists – who rebel against, what they see as, a rather stilted and limited lyrical palette in Folk – have bonded to Nick Drake. He was not someone who limited himself or followed the pack. The debut, Five Leaves Left, arrived in 1969 – Drake started recording in 1968 with Joe Boyd as producer – and found the student Drake skipping lectures so he could record the album in London. Inspired by John Simon’s production work on Leonard Cohen’s debut album: Boyd was keen to capture the same sort of intimacy and gravity – without reverb, Pop shine and cheesiness. He recruited legendary musicians Richard Thompson (Fairport Convention) and Danny Thompson (Pentangle) to help with the album – Richard A. Hewson was drafted to arrange the strings. Despite the glorious results we have all grown accustomed to: the early stages of production were anything but smooth. Drake and Boyd clashed over artistic ideas. Boyd, advocating George Martin’s idea of using the studio as an instrument, riled the more organic-minded Drake. Both, during early sessions, were unhappy with Hewson’s contributions and there was a general air of anxiety and unhappiness.

Robert Kirby – a music student friend of Drake’s – was drafted in. Boyd was sceptical about an untested and inexperienced musician. Drake’s assertiveness won over and the results are plain to see. Aside from the epic River Man – Kirby not confident enough to do it justice – the string articulation and beauty throughout the album added a huge amount. Five Leaves Left is considered one of the finest Folk albums of all-time. Drake’s voice is commanding and filled with wisdom, curiosity and graveness; the music is elegant, melancholic and sublime. All these ingredients, one would think, would connect and impress critics. That was not the case: Drake was disenchanted and the album was a commercial failure. Looking back; it seems songs like River Man, Three Hours; Way to Blue and Cello Song would stagger – even if they were not accompanied by other brilliant offerings. Maybe the album was too ahead of its time and unlike anything else; perhaps the lack of publicity and promotion meant people were unaware. During this time; Drake was in London – sofa-surfing and spending time on friends’ floors. Letters between Drake and his father revealed a scepticism and wariness – advising his son to continue his studies at Cambridge (Drake dropped out before graduating) and having that safety net. Drake had no intention of playing things safe and was determined to pursue his goals. By November, 1969, Drake opened for Fairport Convention at the Royal Festival Hall in London. He also played at Folk clubs in Birmingham and Hull. A lot of the Folk purists were not sure how to take to Drake – not ready for his brand of music. Folk singer Michael Chapman, reflecting on the Hull performance, assessed it thus:

“The folkies did not take to him; [they] wanted songs with choruses. They completely missed the point. He didn't say a word the entire evening. It was actually quite painful to watch. I don't know what the audience expected, I mean, they must have known they weren't going to get sea-shanties and sing-alongs at a Nick Drake gig!”[30]

It is dismaying reading about Five Leaves Left’s poor performance. The experience left Drake jaded and affected – he retreated from touring and, as such, the rare times he did perform were marred by long silences and songs played in different tunings. One would imagine a pastoral-sounding album would do well in the folk scene of the late-1960s. Determined not to see his second album suffer the same fate; Drake included drums and bass on Bryter Layter. More commercial, perhaps but, in my opinion, an album that contained the same sort of unique energy and beguiling songwriting as its predecessor. John Cale contributed on Northern Sky and Fly; Fairport Convention were involved – as was Beach Boys musicians Mike Kowalski and Ed Carter. In fact, Drake wanted to replicate the sounds and moods of Pet Sounds – lush strings, romantic orchestration and nuanced soundscapes. Accompanied on every song; there is so much depth and colour to be found. There was, around this time, a contrast between Nick Drake the artist and Nick Drake the person. In the studio, it seemed like inspiration was high and there was a definite stability and ambition. Away from the microphone, Drake was consuming more cannabis and reaching near-psychosis levels of mental unrest. He was cloistering himself away from people and becoming less communicative – his depression exacerbated by a lack of critical affection and touring issues. Relationships with Island Records were strained: Drake was/is an incredible artist but was not gaining the sales and reviews he had wished for. I guess psychological and personal issues conflated with music. There was no demand for a third album but Nick Drake made one: thank God he did because it was the remarkable, Pink Moon. If Bryter Layter was a reaction to Five Leave Left’s (appropriately) pastoral and relaxing sound: Pink Moon was an attempt to return to the reflective end of the spectrum – a stunningly sparse and simple album. Aside from the title track (a bit of piano in the chorus), Pink Moon’s songs was Nick Drake accompanied by acoustic guitar. I feel, of all Drake’s album, Pink Moon has been the most influential and affecting – you can hear its embers and nuances passed down to musicians today.

The twenty-eight minutes of music was created in two nights in 1971. The bleak sound of the record, perhaps, reflected the mental state of Nick Drake – although many claim he was in positive frame-of-mind when he was recording. The sub-half-hour running time was, I guess, about right for an album that manages to expend as much beauty and revelation as it does starkness and dark shadow. After Five Leaves Left; Drake expressed a desire for a fuller, more evocative sound: Pink Moon was the result of unhappiness of Bryter Layter. A contrary and restless artist: Pink Moon, strangely, is Nick Drake at his most comfortable and confident. The nakedness and uncomplicated nature of Pink Moon has resonated with artists of today. At the time, when the album was completed, Drake delivered it to Island Records – mythology claims he popped it to a receptionist and sloped off. Regardless of truth: the album was presented with no fanfare and hype. Drake, perhaps, because of his mental welfare and drug use, was unwilling to commit to promotional duties. The record company were dissatisfied – the album was given a small advert and not a lot of attention. Critics at the time were mixed, to be fair. The sense of Nick Drake being a 'mysterious artist'; someone who was not as revelatory and open as one would hope – there was frustration and a need for greater expression and variation. Those who ‘got’ the album realised shyly-songs like Things Behind the Sun were stunning insights into a unique soul. Pink Moon is an incredible title track that, alone, makes the album a twilight wonder. Free Ride – a rare three-and-a-bit-minute excursion – is a standout: Harvest Breed one of Drake most-famous numbers. We all know (or perhaps not) the aftermath of Pink Moon. Drake became more insular and frugal – receiving a paucity from Island Records; existing a very modest and un-musician-like existence. Friends would see Drake and a blank stare – someone who would look through them (rather than at them). That deepening depression foreshadowed an inevitable conclusion – one where the extraordinary musician would – maybe a sense of having burnt as hard as he could; unable to take the pressures of life – departed the world.

After his death, it took a while for the world to realise the genius and talent of Nick Drake. The classic example of someone unappreciated and overlooked in their lifetime – someone who did very little promotional work was always going to struggle. It was not until the mid-1980s – rather shockingly – Drake’s artistry and true potential was realised. R.E.M. and Robert Smith helped spread his music to audiences at the time. Today, there are musicians overt in their appreciation and love of Nick Drake. Consciously or not: so many of today’s musicians owe a debt of gratitude to the legend. I am not sure what it is about Drake that hits people so hard. The lack of airs and attitude: an artist who was dedicated to the business of making music. In a time where ego and marketing define music – as much as talent and the songs themselves – it is refreshing someone as unassuming and focused as Nick Drake has made an impact so many years after his death. One wonders, if he were alive today, he would be making music. Sure, his life was as synonymous with trouble and problems as it was success and accomplishment. The three studio albums Nick Drake left the world are a reminder of what a singular, exceptional artist he was. His influence will live through the decades; those classic songs – many of which are collected into the playlist at the bottom – are instant and timeless. For me, I am caught between Pink Moon and Five Leaves Left: the astonishing orchestral masterpieces of the latter; the bare and desolate beauty of the former. Whatever your connection to Nick Drake – assuming you ever have one – the forty-eighth anniversary of Five Leaves Left (just gone) should compel many to revisit a master of music. I will be spinning his incredible music tonight and remembering a human being, in all his modesty and mystique, who truly created some of the most…

BEAUTIFUL songs born to this world.

INTERVIEW: Valenti Funk

INTERVIEW:

 

PHOTO CREDIT: Dennis Webb Jr.

 Valenti Funk

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HE is well-known around Texas for his work…

with the award-winning group, The Effinays. Valenti Funk is someone who, very soon, will be better known in the U.K. He is a multi-instrumentalist and Funk-fusion purveyor – someone whose music has charmed the masses in the U.S.

I ask the compelling artist about his album, Valenti, and the kind of themes he addresses. I learn about the Texas music scene and what he has been up to lately. The album was released on 7th June: to coincide with the birthday of the late, great Prince. I ask the Texan musician about his connection and love of Prince.

Valenti features contributions from the likes of Big Spook (Effinays’ frontman) and LaLa Johnson – introspective lyricism of Zach Pohl, Snearley and Aisha Mars. I ask Valenti Funk whether he has any U.S. dates, and whether he is coming to the U.K., the albums and musicians that have impacted him hardest – and whether there is any new material brewing.

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

Man! Good. Just loving the heat. 

We complain about the heat and sun here in Texas a lot - but I secretly love it.

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

Well howdy!

My name is Valenti Funk: born in Dallas; raised in Irving, TX - and music is my drug! 

I like to consider myself a Funk aficionado and a self-proclaimed band nerd - and I love it! (“…and I want some mo”).

Valenti is your new album. Is it as personal as the title suggests? What kind of subjects and themes are explored?

I’d say, yes: it is personal as the title suggests.

With that being said; I enjoy all types of music and you can surely hear some of those types of music I enjoy bleed through on this project. 

This project spans from party-music to conscious, thought-provoking music - with some nice groove-oriented instrumentals sprinkled in.

Is there a song from the album that is particularly memorable/important to you?

More Light would be that track. 

In my opinion, it’s the deepest track on the album (lyrically). It’s one of those tracks where two people may hear two totally different themes.

The album was released on the 7th of June to honour Prince’s birthday. How influential was Prince to you and what song/Prince moment first came to your ears?

This is where I’d like to input a picture of the big ‘Prince symbol’ I have tattooed on my right side! Without a doubt: he’s one of my top musical influences. 

I came into my ‘Prince consciousness’ at a cousin’s sleep-over. His older sister had just gotten the Purple Rain album and I recall wanting to listen to it all night, not-stop.

You are endorsed by Billy Blast Drums and play keys and percussion simultaneously. Is it important for you to have that control and, tell me, when did you first discover the drums?

It’s not important, per se, to have that control - but more so that I do enjoy guiding the groove and melody when I can. I knew I loved the drums from the time I recall literally zoning-out (trance-like state) with two tree limbs in my hands - beating on my grandmother’s three-section, barrel barbeque grill. I didn’t snap out of it until my aunt yelled out my name asking me to quiet down some.

(Side note: I’m so thankful to Billy Blast for putting me down at a time when I wasn’t where I am now, but yet, he still chose to endorse me. (I’m still working on that ‘goal’ we spoke of Billy Blast).

I know Valenti features LaLa Johnson, Zach Pohl and, among others, Aisha Mars. How did you come to know these guys and was it hard deciding how you wanted each singer/musician to fit onto the album?

Before I started my project, I pretty much had them all in mind to be on my project. Zach and I are high-school classmates who graduated together. Aisha and I use to be in a band I played keys for called Melody Memory. Joe is the lead singer for my current band, The Effinays - LaLa is just a beast I met throughout the Dallas music scene. I first met her when she came to a Melody Memory practice.

Kelyn is another beast I met in the Dallas music scene. His former band (Fatty Lumpkin) and my band at the time (Blu Pearl) seemed to (always) be doing shows together. 

PHOTO CREDIT: Dennis Webb Jr.

I met Kevin Snearly almost the same way. His band at the time (Gravity Feed) and The Effinays use to do shows together as well. I met Versatile back in high-school at a piano shop in the mall (and, yes, a mini-impromptu show happened, then, with him freestyle rapping and me on the piano). Also, the lovely High Moons are a sister-group who I’d always see at an Effinays show and knew I’d like to eventually work with them.

Julian Ayacannoo and Marquise Jones use to play sax. for The Effinays -and now have their own band called The Diamond Kings. (To whomever I forgot to mention: please forgive me!)

Texas seems like an area you are very comfortable in and inspired by. What is it about the state that inspired music and creativity?

Since we (Texas) are in the middle; I’d like to think that I was able to hear music from the East to the West Coast - and from areas in-between. So, ironically, I feel being in Texas put me in a position to hear music and gain influences from all over - even if it was introduced to Texas at a later time (mainly referring to hearing East Coast (N.Y.) and West Coast rap in the '90s - later than most).

Do you know what is coming up the rest of the year? Are you working on new material?

I’m mainly focusing on making sure the masses are aware of this project. 

My band, The Effianays, are about to start working on another project. I’m also staying busy playing drums with Ronnie Heart – so, my summer is pretty much filled up for now.

 PHOTO CREDIT: Marisol Farda

How about touring? U.S. dates coming up, I assume? Are there plans to come to the U.K.?

There are no plans for touring just yet for my solo project - but I did just get a text from Ronnie the other day (saying) that things were finalized for a Midwest tour this summer.

We don’t have any plans for touring with The Effinays this summer - but we are working on some killer Dallas (Fort Worth) shows at the moment.

PHOTO CREDIT: Dennis Webb Jr.

Who are the musicians, apart from Prince, who have inspired you and compelled you to get into music?

My, for sure, six musical influences are Prince, George Clinton; James Brown, Rick Ruben; Stevie Wonder and Dr. Dre. 

I grew up listening repeatedly to all of those guys.

Are there any new artists you recommend we check out?

Surely check out Ronnie Heart, The High Moons and Zach Pohl.

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

Wow, that’s a hard one. 

I’d have to go with James Brown - In the Jungle Groove

(For the song, Funky Drummer, alone). 

I’d, then, go with Beastie Boys – License to Ill

Mainly because it was one of the first Rap tapes I had - and I loved how funky it was (Rick Ruben produced). 

I’d then go with Prince’s Purple Rain (or the Parade album)

I feel that both of those albums show what Prince is as a whole.

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

Believe it or not: I’m a big-time home-body. 

When I don’t have a show, I stay home in bed and watch The Food Network - or try and catch up on some Religious History reading.

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

DON’T STOP!

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).

Oooh, I’m going to give you an obscure song to play! L.o.L.

Play Galt MacDermot – Space

Thank you so much for having me!

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INTERVIEW: Catherine McGrath

INTERVIEW:

 

 

Catherine McGrath

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ONE cannot help but fall in love with…

Catherine McGrath’s music. There is something about her voice and the way she performs: the incredibly personal lyrics and sense of warmth and intrigue. I talk to the Northern Ireland-born, London-based artist about her latest track, Never Wanna Fall in Love. It is, in my view, her most immediate and emotional track – I ask where the inspiration for it stems. She talks about her E.P., One, and whether, since its release, she has changed as an artist.

McGrath discusses the possibility of new work and what dates she has in the diary; a recent appearance alongside Picture This (at The Great Escape festival) and the career memories she treasures most.

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

Hi!

I’m good. Just about to play a show at Under the Bridge in Chelsea - so I’m feeling excited!

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

I’m a twenty-year-old Country/Pop singer from Ireland.

I’ve been writing music in London and Nashville and have been putting it online - and playing as many shows as I can in the past few months - and I’d love for you to have a listen!

Never Wanna Fall in Love is your most-recent single. Can you tell me about that song and how it all came together?

It was one of the first songs I wrote when I moved to London.

I can’t fully remember the process but I can remember being so nervous cause I hadn’t done much writing with other people - so I was singing super-quietly.

Haha. 

One, your E.P. released last year, received acclaim and impressive reviews. Was it a surprise seeing such love for it and how would you say you’ve changed as an artist since its release?

Yes!

I had no idea so many people would listen to it and respond so well. I don’t think I’ve changed: except for, maybe, getting a little more confident on stage etc. But, in terms of my style etc., I’m still very much the same.

Can we expect any new music later this year at all?

Yes!

I’ve been working really hard on my debut album which is going to be released towards the end of the year - with a single in the autumn.

How do songs come together for you? Do you set time to write or is it a more spontaneous process?

I usually have my songwriting sessions planned ahead, so there’s a studio to work in and I know who I’ll be writing with etc.

But, I come up with song ideas and write lyrics all the time - so I keep them in my phone until the next time I’m in a studio.

Tell me how you got started in music? Did that passion start at childhood or did you get into it a bit later on?

I’ve always loved music: mum always says I used to hum myself to sleep when I was little.

Who were the artists you grew up on and idolised as a youngster?

The music I heard most of was the music my parents played - traditional, Irish music. My dad writes his own songs; so I grew up listening to those, too.

When I turned twelve, I properly started listening to American Country – so, as a teenager, that was what I grew up to.

County Down is your home. What is the music scene like there for a young artist? Is it quite active at the moment?

Where I live specifically is a really small place: there are loads of pubs with live music and everyone loves to play.

I knew to do what I wanted to do: I needed to move to London where there were more opportunities and people to work with.

It’s always so good to go home, though, and be back around the people and music I grew up with.

I know you have recently played The Great Escape and toured with Picture This. What were those experiences like?

So much fun!

Especially the Cork shows with Picture This. There were 5,000 people per show and they were so enthusiastic and amazing. 

You have a few tour dates coming up around the U.K. Is there any particular venue you are really excited about?

I was really excited to play British Summertime festival in Hyde Park last weekend – and, also, Harvest Festival in Ireland. I’m hoping it’ll be sunny! 

If you had to look back on all your time in music and pick that one special/defining memory; what would that be would you say?

Signing my record deal with Warner Brothers was the craziest moment - that just seemed like something that would never happen.

It’s been amazing having a team of people with me along the way to give me advice and get excited about new music etc. - it definitely made a huge difference.

Are there any new artists you recommend we check out?

Seth Ennis are RaeLynn are two of my favourites right now.

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

Taylor Swift - Fearless

It was the first of Taylor’s albums I bought - and I just fell in love and bought them all from then on. I found Country music through Taylor so that introduced me to the kind of music I want to make.

Justin Bieber - My World

When I was thirteen, I was in love with Justin Bieber like every other thirteen-year-old girl, ever. I was listening to Country music but I was also listening to Pop music. Listening to that album just sounds like being thirteen again: it reminds me of some of the best times I had with my best friend.

I love how hearing a song takes you back to certain moments and that’s what hearing the album back now is like for me - so it’s special to me in that way.

Matthew McGrath - Spirit of the Village.

My dad’s always written songs. Growing up around that probably inspired me a lot. I used to try to come up with my own songs and ask him to help me figure out how to play chords on guitar.

His songs are the ones I grew up with and they’re my favourites.

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

Just to give it everything you can, if you’re able to: just set everything else aside and focus fully on music and see where it goes.

Even if it seems almost impossible; don’t be afraid to do what you really love because you’re scared that it might not work – because, maybe it will.

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).

Rascal Flatts - Life Is a Highway

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INTERVIEW: Kerri Watt

INTERVIEW:

 

Kerri1.JPG

 

 Kerri Watt

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THERE are few people who can boast they have had a song…

A-listed by BBC Radio 2 AND worked/toured with Embrace. Kerri Watt is no ordinary artist and someone who has immense talent and promise. Old School Love is a single that mixes vintage sounds and modern urgency – a departure from her previous work but the signs of an artist who is always moving and pressing forward. I ask Watt about her previous material and why Old School Love has a different tone. She talks about Embrace and how her music comes together; the importance of getting backing from big stations and the musicians who inspire her.

I find out more about Watt’s career highlights and whether music was a pivotal part of her childhood; the albums most important to her and the advice she would offer any new songwriters coming through.

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

Hey!

I’m feeling great, thanks.

The week has only begun but there’s an exciting few days ahead!

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

I’m a singer and songwriter from Glasgow.

My lyrics tell the stories of my great loves and adventures of my life so far. Over the last couple of years, I’ve had the opportunity to travel around the U.K., Europe and the States supporting acts such as Embrace, Starsailor; Nina Nesbitt and Ward Thomas to name a few - I’ve also got to play some really fun festivals including Glastonbury and Isle of Wight!

I lived in California for a while, as a teenager, and it was at music school there that I really learnt about different styles – so, there’s definitely some Americana influences in my sound. 

Old School Love is your new track. What can you tell me about it?

Old School Love is a song straight from the heart.

A couple of years ago, I was on the road with my tour manager, Steve, telling him how amazing and different this new relationship I was in felt.

I said to him: “It feels like an old school love” and Steve goes: “That’s the name of your next single!’. So, when I got back from tour, I went away and wrote it.

It came really easily because I could use the way I described the relationship to Steve as lyrical inspiration for the song. 

How do think Old School Love differs from previous singles. It seems quite a shift from earlier work.

When I’m writing, I don’t consciously think ‘does this fit with my other songs?’ - I find it’s best to just write what comes naturally and then, if the demo gets some good feedback from people, and I also love it, I know I’m onto a winner. In my eyes, it’s just a natural progression.

I’m always evolving and learning as a songwriter. The thread that ties all my music together is the lyrical content - I always want people to feel something move inside them when they listen. 

The song mixes new styles and production values but it has a great, vintage sound. Was that a conscious decision – to mix styles and periods, as it were?

I think the thing is, with Old School Love, when you hear the title you automatically get an idea of something that’s a bit vintage and true.

So, naturally, I wanted the feel of the production to relate to the title of the song. I think, because the song tells a story, it didn’t need production to do any of the talking for it. 

How do songs come together for you? Do you set time aside to write or do they come naturally?

The writing process is always different.

I do plan weeks of writing where I’ll go to Nashville and have a number of songwriting sessions arranged. Sometimes, I’ll have some of my musician friends around the house hanging out and we’ll start jamming something - and a song will just sneak up on us out of nowhere!

Other times, I’ll have gone through something and feel so strongly about it that it just has to come out of me that day! Those are usually the best. 

With Old School Love, as I mentioned, I had the title and the idea. So, as soon as I had the chance to sit down, it came flowing out. 

Can we expect any more songs in the future?

I’ve got loads of songs demo-d at the moment; so, there’s plenty of material waiting to be recorded. You can definitely expect to be hearing more music very soon!

You have worked with Embrace in the past. How did you come to know the band?

I was introduced to the singer of the band Danny by a friend. He was very helpful and would give me advice after coming to see me play.

After I wrote Long Way Home and let Danny hear it; he introduced me to his brother Rick (the guitarist of Embrace) who is also a producer. He had some amazing ideas for the song so we started working together and the rest is history.

I’ve played festivals with them: the full band play on my recordings and this week I’ll be joining them on stage to support Coldplay at Cardiff Millennium Stadium! I’m so grateful for the doors they’ve opened for me. 

Stations like BBC Radio 2 have backed your music. What has that been like for you?

Having BBC Radio 2 support my last two singles has been a dream come true. For a station like that to get behind an unsigned artist, which I was at the time and put me on the A-List, is an absolute dream.

Getting to perform live on Radio 2 is one of my career highlights so far. 

When did you get into music? Was it always part of your childhood?

My parents introduced me to Michael Jackson very early - I’m talking like eighteen-months-old! They had the V.H.S. of his live tour and used to put it on the T.V. while I was in my cot! He stuck with me throughout my childhood and I was always in awe of him and his stage presence.

As I got a little older, I discovered Celine Dion and LeAnn Rimes. They were probably the two biggest female influences for me growing up.

I’m finally getting to see Celine live in London later this month! 

Can we expect to see you tour anytime soon?

I’m just confirming my first headline tour for the Autumn which is super-exciting.

But, I still have a bunch of shows throughout the summer - which you can check out the dates for on my website! 

What, would you say, how been your career highlights to date?

A real moment for me in my career so far was joining Starsailor on stage for a number at Paradiso in Amsterdam. The place was packed and the crowd so enthusiastic.

I really felt like I was living out my dreams – but, I have a feeling Coldplay might top that this week… 

I also remember my first open mic in Glasgow - the audience consisted of my sister, her friend and three drunk old men. That was really a test for me. Am I willing to do these kinds of gigs for as long as it takes for someone to notice me?! I’m glad I stuck it out. 

Are there any new artists you’d recommend we investigate?

Keelan Donovan - Love of Mine - that’s my new favourite song.

Keelan is an artist from Nashville that I met at a songwriters conference in L.A. in May: he’s like a mix of Paolo Nutini and Thomas Wrett.

Awesome stuff. 

Can you name the three albums that have meant the most to you – and the reasons why?

Van Morrison – Astral Weeks

This album just makes me feel so happy and so relaxed. Van is one of my biggest inspirations as a songwriter - and I think Astral Weeks is really a work of art. 

Michael Jackson – HIStory

I mean; this album is just my childhood. I don’t know how many hours I spent in front of the mirror in my room, as a seven-year-old, making up dances to Billie Jean and Don’t Stop 'Til You Get Enough.

Eagles – Hotel California

It’s a hot, sunny day: you’re driving with all the windows down; The wind is blowing your hair. You’re singing at the top of your lungs with the friends you love.

It’s the soundtrack to the perfect summer. 

What advice would you offer any new artists coming through?

Do, you.

People will like you more if you are completely honest and totally yourself. If anyone tries to change that, they’re shouldn’t be part of your journey.

Going back to the open mics: it’s always hard in the beginning and it continues to be difficult. It’s a seriously competitive industry.

But, if you think you’ve got something the world needs to hear, and you’re willing to put in the work - there’s nothing stopping you! 

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

Move On Up - Curtis Mayfield 

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FEATURE: The British Live Music Scene: Improvements and Divisions

FEATURE:

 

The British Live Music Scene:

 

  

Improvements and Divisions

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A report by Wish You Were Here....

presented some rather pleasing findings in relation to music tourism in the U.K. The report revealed the impact of music and tourism on the U.K. economy – at a local and national level. I shall start by quoting from the report:

“The number of people who enjoyed live music events in the UK rose by 12% in 2016 to 30.9 million – up from 27.7 million in 2015.

Live music fans generated £4 billion in direct and indirect spending in 2016 by flocking to concerts and festivals across the UK – a rise of 11% on the £3.7 billion they spent in 2015.
The total number of music tourists from the UK and abroad increased by 20% in 2016 to 12.5 million, of which 11.6 million were UK citizens visiting live music events in other parts of the UK.
Collating a vast amount of ticketing and other data from hundreds of venues, UK Music annually compiles this unrivalled insight into live music in every region of the UK and its impact on the local economy”.

The report includes an introduction by Culture Secretary Karen Bradley and will be officially launched at the House of Commons on Wednesday 12th July.

The key findings of the report include:
UK LIVE MUSIC IN NUMBERS 2016
- 30.9 million - total audience that attended live music events in the UK
- 3.9 million - total festival attendance in the UK
- 27 million - total concert attendance in the UK
- 18.4 million local residents attended local music events in the UK
UK MUSIC TOURISM IN NUMBERS 2016
- £4 billion total spend generated by music tourism in the UK
- 12.5 million music tourists in 2016
- £656 million box office spend on tickets by music tourists in 2016
- 40% of live music audiences are music tourists
- 47,445 full time jobs sustained by music tourism
- £850 average spend by overseas music tourists in the UK
- £150 average spend by domestic music tourists in the UK
SMALL MUSIC VENUES IN NUMBERS
- 6.2 million total audience at small music venues
- 1.67 million tourist visits to small venues
- £367 million total spend generated by music tourists visiting small venues

It seems concert attendance is higher than ever. Festivals are seeing rising numbers and the gig-going audience soared by 12% to 30.9 million in 2016 – that is according to UK Music. That has contributed £4 billion to the nation’s economy. It is heartening seeing those key figures/facts - 4 million people attended a festival in 2016; and that 823,000 people travelled to the UK from abroad specifically to watch live music, spending an average of £850 per visit – and, since 2011, the U.K. has seen a 76% rise in music tourism. I shall look at the flip-side of the report but, looking at those statistics, it seems there is much to celebrate. In terms of the word ‘tourist’, in this context, it is very apt. Britain is seeing a lot of international music fans come here and see some of our biggest festivals. Whilst nations like the U.S. have great festivals themselves: there is a definite appetite for the finest British festivals. Glastonbury has just passed and saw huge numbers flock there. We have Reading and Leeds approaching; many more festivals approaching – as the weather warms, so too will the live music economy. Maybe the improved weather has helped boost numbers – if it continues, that will attract more tourists over here. It is not only the major festivals enjoying boosted numbers: smaller, boutique festivals are enjoying increased numbers and sales.

PHOTO CREDIT: Ben Bentley

Maybe political events have caused a social rebellion. The tragedies at Grenfell and terrorist attacks have seen, as predicted, people come together and defiantly embrace life. Music festivals are the perfect place for the masses to unite: no shock festivals are seeing more bodies through the barriers. There are security fears but, for the most part, festivals are being stringently policed and monitored. It is good to see the raised threat of terrorism is not deterring music-hungry crowds. The fact two-fifths of those contributing to the coffers of live music are tourists is good news. One wonders, however, whether political decisions will impact on this prosperity. If Brexit does go through – it is a BIG if at the moment – and limitations are imposed on E.U. citizens coming to the U.K. – how damaging will that prove?! There is a lot of confusion and uncertainty surrounding restrictions and decrees. At the moment, before any legislation has been passed, some are wary of travelling through fear of persecution and reprisals. The murkier the Brexit waters get; the more obfuscated the music tourist community will become. I am buoyed by the figures released by Wish You Were Here’s annual report and wondering if this is influential…

DIGITAL MUSIC OVERTAKING PHYSICAL SALES:

One cannot look at the growth of the live music scene without talking about sales and the digitisation of music. It appears, for the first time, digital music streaming/purchases are overtaking physical formats. This trend looks set to continue. An article, written by FACT, explains it:

“Streaming revenue is to overtake physical music sales in the UK, according to figures released by the British Phonographic Industry (BPI).

Streaming accounted for 30% of overall label revenues in 2016, compared to 32% for physical sales. According to the BPI, the rate of growth means that streaming is expected to overtake physical in 2017.

According to the BPI’s report, 11% of the UK’s adult population were subscribed to a service such as Apple Music or Spotify at the end of 2016.

The figures also revealed that overall revenue (streaming, physical and download sales, performance rights and licensed music) rose by 5.1%. The £926 million total is the largest in five years.

However, the BPI was cautious about the challenges the industry still faces, including piracy and the difference in revenue generated for artists and labels from services such as YouTube.

BPI chief executive Geoff Taylor also warned of the uncertainties surrounding Brexit, arguing that UK artists needed to retain access to EU markets after the UK’s withdrawal.

“Britain’s world-leading music sector has the potential for sustained growth in the years ahead, but this exciting future can only be realised if government makes creative businesses a priority post-Brexit,” he said.

“It means making sure that UK artists can tour freely in EU markets and that UK businesses can access the best talent.”

The boom in streaming and rise in overall revenue for the UK music industry mirrors that of the US, where streaming accounted for a massive 51% of all revenue in 2016”.

Bringing in another piece - https://www.pwc.com/gx/en/industries/entertainment-media/outlook/segment-insights/music.html - and more exposition is provided:

“Global music industry revenue grows with consumer preference shifting towards subscription-based, rental services

Global music industry revenue is expected to grow at about 3.5% CAGR thru 2021, with growth driven by both the recorded music and the live music sectors. The most significant trend witnessed however, has to be the marked consumer shift away from purchasing and owning recorded music to showing an increasing preference for subscription-based, music-rental services. The five leading markets also all headed in the same direction.

Digital recorded music revenue will increase at about the same rate that physical recorded music revenue declines

Physical recorded music revenue continues to decline, with even long-stalwart German music fans now turning their backs on CDs in number, as consumers look to digital music to provide their audio entertainment. However, this decline in physical recorded music will be more than compensated for by revenue growth in the digital recorded music segment, driven by consumer uptake of music streaming services”.

I am a bit torn by these findings. On the one hand, it is hard seeing formats like C.D. and vinyl decline – by comparison – and the physical side of music. Maybe pricing and limited availability is seeing more people turn to digital methods. More people are listening to music on the move: they want to access their tunes through their Smartphones and laptops. Another reason digital music is starting to grab the majority marketshare is the fact many can get it for free. Spotify, YouTube and BandCamp are free; many can subscribe to Spotify and not pay anything – making is more attractive than buying a C.D. or vinyl. That said, the greater availability of music – through digital methods – means better education. If people are not able to afford music, or find they cannot find everything they want at the local record shop, it is a good thing one has options like Spotify. I shall talk more about this service in relation to small venues’ future but, for now, it appears there is a correlation between festivals’ growing numbers and the popularity of digital streaming.

The Internet opens one to the full majesty and scope of music. Once we have that degree of access: it means we discover more artists and, as such, are more inclined to go to festivals – knowing who is playing and what their music sounds like. One might argue there are issues with streaming and remunerating artists – I shall come to look at the issue of restitution and checks-and-balances later. We should, as a music community, be pleased festivals are expanding and flourishing. I wonder whether streaming sites are contributing to the profitability of the biggest festivals. We all are aware of the headline acts but many are attending festivals because of the minor acts – many of whom they would only come into contact with via streaming sites. Even though there are ethical discussions around streaming services; one cannot quibble with the fact it is putting more music into the masses’ hands.

For many, who cannot get to a new band’s gigs, they will often go onto sites like SoundCloud and Spotify and find their music. A few of the issues with physical formats comes down to availability, cost and choice. I have often gone into a record store, looking for a particular album, and find myself empty-handed. High-street stores are struggling with rent prices: meaning stores are smaller and more compact. Many shops have to stock records that fit into the ethos and ‘personality’ of a town and, because of that, it is only the biggest stores that provide a pragmatic choice of music. When you get to these shops; one finds them crowded and the prices a little unreasonable. A study has shown how vinyl sales are increasing at the moment. This is wonderful but, if one actually looks at the price of an L.P., it can be quite galling. C.D.s are a more affordable option but are still putting a lot of people off. Because of this, many are using streaming services and getting as much music as they can – often without having to pay much. It is the availability and selection of music one gets – through digital stores – that attracts so many. I can get a brand-new album without having to pay too much (I subscribe to Spotify) and can find any classic album without having to traipse around and wait. The more we have at our fingertips; the more curious we will be. I have found so many great new artists through the Internet. Many people are discovering music they would not usually know about. It is this serendipity that is seeing, not only artists find success – and get added to festival bills – but drawing more people in. Live music is burgeoning in one area but, in another, there are real cracks and doubts forming.

SMALL VENUES IN DECLINE?

The money being spent on small venues is becoming less and less - those with a capacity of less than 1,500 are in real danger it seems. The fact, in some areas, we are seeing fewer venues close does not reflect a national issue. London’s Astoria and The Boardwalk in Sheffield are two venues that have closed their doors in recent years. I wonder why there is such an explosion for festivals – contrasted against the shaky nature of the smaller venues. Perhaps it is the sort of acts who play festivals that are drawing people in. Although, as most festivals are annual; there is going to be that need and sense of release - waiting a year for something extraordinary to come along. Small venues are open most nights and it can be hard constantly pulling people in. We know we’re becoming a more ‘indoor’ society. Folk are staying in more and not enjoying music venues as much as they once did. A lot of artists are scaling-back European tours because (many) have to apply for visas and £1,000 ‘carnet’ documents – temporary import/export agreements – so they can transport equipment across borders. Brexit might mean fewer European artists are coming to play small venues around the U.K.

PHOTO CREDIT: Sandie Levent

A single visa would limit the issue but, until we know about the details of Brexit; what will be the fate of our small venues? There is a fear many acts are willing to play these spaces but the public is not quite as eager. Perhaps there is less disposable income – the cost of living is tightening their budgets – but, more likely, people are getting their new music from streaming sites. It was the case, a while back, before these sites, people would go to gigs to discover new artists. Rather than see a new band/artist play; go and find their music online: now, people are discovering them online and, in a lot of cases, not feeling it necessary to see them perform. For a lot of musicians; the smaller venues are their way of getting music heard – it compromises the future of live music is we do not provide it necessary loyalty and love.

It is hard to take the news of festival boom with anything other than caution and pragmatism. Right now, there are a lot more tourists attending festivals and embracing live music. Events like Glastonbury – Reading and Leeds coming up – have brought the crowds together and shown there are few nations that put on a music festival quite like us. It is clear the summer festivals are going to bring in people from all around. This is good news because, in past years, we have seen smaller festivals end – through lack of demand and financing. This turnaround could revive some festivals and create new ones. Glastonbury is on a break next year: there is a fantastic opportunity to fill the void and provide the June gig-goers a great alternative. There is another occurrence that threatens to undermine the industrious and elevating festival business account: the unsure fate of the small venues. In a way, in the middle of these disparate corners of music is the battle between digital music and a physical release.

Streaming is overtaking physical sales: we are entering an age where our buying habits have altered. Finance and affordability are seeing fewer people regularly attending gigs and buy C.D.s/vinyl. Divisions are occurring but there is remedy and a way to move forward. More money needs to be set aside for our smaller venues. Ensuring their sustainability is a paramount concern. Without them, there is a risk the fabric of live music will crumble. It is all well dedicating a budget to small venues but can we easily regulate the way people but their music?! So many are downloading/streaming songs for free. I read a report that underlined how many people choose to get their music for free – keep them on hard drives and websites for months/years after purchase. There is an ethical argument: should we all pay for music or not? But, in the long-term, it will hit the fortunes of new artists. Many are getting fewer gig requests and struggling to survive (with venues closing down). They need the revenue from sales. If they are denied this then that will have awful consequences for music. I am hopeful we can redress the imbalance but, as recent surveys have shown…

IT is certainly not black-and-white.

PHOTOS: Unsplash

INTERVIEW: George Taylor

INTERVIEW:

 

 

 George Taylor

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IT has been a frenetic and busy twelve months…

for young George Taylor. He has been turning heads with a steady stream of singles. His debut album, Give It Up, got him a deal with Warner Chappell – having amassed over two-million streams in a couple of months. His music has made its way to Zane Lowe – he backed I Hear Your Song, Sweetness on his Beats 1 show. Ears are turning onto his unique blend of sounds. The London-based musician has brought out Ophelia. I ask about the song and its origins. Taylor explains the process and story behind the song: emotion and a hard situation few would expect to hear - given the sweetness and purity of the song.

He released The Youth, his previous single, last month and is one of the most consistent artists working right now. I ask Taylor about his upbringing and introduction to music; some of the artists who have influenced him and what it feels like having the support of big names – and getting those all-important streams on Spotify. He discusses the future and what it is like being signed to Warner Chappell.

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

I'm good, thank you.

I've had a good week and I'm heading down to Cornwall on a train as we speak.

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

I am a twenty-four-year-old singer-songwriter; currently living in London - but I grew up near Leicester. I started writing songs when I was, about, thirteen - and have kept going ever since.

I've spent a long time preparing my music over the last couple of years. I'm very excited to finally release some of it.

Ophelia is your latest single. What can you tell me about it?

Ophelia is a song I wrote after a girl that I knew who was over in London on holiday – and, sadly, ended up getting sectioned - she was in hospital for a while. She has since made a full recovery and returned home.

Visiting her in the hospital was an eye-opening and emotional experience - and something I really wanted to write about.

It sounds like it was a tough and emotional song to put together. How hard was it writing and recording it – given it has very personal aspects to it?

Sometimes, my songs can come together very quickly: sometimes, it can take weeks. I wrote and recorded a full demo of it just over a year ago in my bedroom at home. I finished it in about twelve hours, from what I remember.

I really wanted to 'go in' musically and lyrically on this track - and try to create the right juxtaposition between a dream-like state and an epic-sounding chorus.

It was a song I wanted to write to try and make sense of all my experiences of mental health - so, it definitely felt and feels emotional to me, yes.

It is your second single in a month – following The Youth. It seems like you are in a productive creative state. Are you already looking ahead to the next song?

I'm always writing (or trying to) and I'm very conscious of not letting that slip. As with anything: the more you do it, the better you get.

I've got lots of new material that I'm excited for people to hear. I will have another single coming very soon.

Can we expect an E.P. later this year?

We will have to wait and see how we are going to release the next batch of song. Maybe that will be in the form of and E.P.

You are signed to Warner Chappell. Do they give you a lot of freedom to create the music you want? Is it quite comforting having their backing?

Warner Chappell have been so good to me since I signed a publishing deal with them just over a year ago.

I signed in the New York office and I have spent a lot of the last year over there and in L.A. writing and recording – and, I suppose, developing as an artist.

I feel very lucky to have met and worked so many amazing people both here and across the pond. The whole team around me, now, are giving me unbelievable support.

The single, Give It Up, notched up a couple-of-million Spotify streams. Is it quite humbling knowing so many people connected to it?

Yes.

It's nice that a lot of people have connected with that song. I didn't expect that at all for the first song that I put out. 

Now, I'm mostly (just) looking forward to my new material.

I Hear Your Song, Sweetness caught the ear of Zane Lowe. That must have been quite a moment? Is he someone you look up to?

The man, the legend played it on his Beats 1 show. I used to listen to him a lot on the radio - especially in the good days of The Strokes; when he would basically play them on-repeat.

He's obviously a great name in the industry so I'm really grateful for his support early on.

How many tour dates do you have planned? Will you be playing live a lot this year?

For the moment, I'm just letting a bit more music out - and it looks like I'm gonna be on the road before the New Year.

I can't wait to get playing shows again.

Tell me how you first came into music? Is it something you were fascinated by as a child? What kind of artists did you how up listening to?

I can't remember music ever not being an obsession.

My dad would always be playing us Dire Straits, Pink Floyd and Madness - and my first connection with music, I remember, was in the car hearing Sultans of Swing ("Check out guitar George/He knows all the chords").

When I was nine or ten, I started listening to a lot of David Bowie and listening to weirder Pink Floyd records like Meddle - and some of the Syd Barrett stuff.

In my teens, I discovered Bob Dylan and, I think, he probably got me writing songs. As I got slightly older; I started listening to Blues and Soul music. I fell in love with a lot of the great singers: Al Green, Janis Joplin and Otis Redding. This probably helped me develop my voice.

Music is demanding and time-consuming. Do you get a lot of time to chill, and if so, what do you like doing?

I seem to have weeks at a time where it can be really nonstop - and, then, weeks when there is not much going on. I think that's just to do with the stage I'm at.

So, yes, I definitely get time to chill. I enjoy playing ping pong and going to the pub when I can.

Are there any new artists you recommend we check out?

ISLAND and Otzeki, I think, are two of the most exciting new bands around.

I can't wait to see them do well.

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

Pink Floyd - Dark Side of the Moon

This often feels like an obvious choice; I don't care: I think it's the greatest record ever made.

Grizzly Bear – Veckatimest

This was a very significant album in my life when I first started writing music.

It felt like one of the best written, strange and interesting things I'd ever heard - especially in modern-day guitar music.

Radiohead - In Rainbows

I didn't really get properly listening to Radiohead until I got a bit older.

But, this record, was a mind-blower for me.

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

Just do it all the time.

Play, write and listen all the time - and constantly push yourself to get better.

Also, a lot of people will try and tell you it's too hard to do - but just ignore all that bollocks and do it.

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).

Some Things Last a Long Time - Daniel Johnston

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